Year in Review: 17 Wigs From 2017

Each day a new "year in review" angle. Here's Chris Feil...

Perhaps it's the return of RuPaul's Drag Race next month or the fact that we finally have Greta Gerwig in the Oscar race, but we've got wigs on the brain. While Oscar has nailed down the potentially nominated wiggery for the Makeup and Hairstyling category, it's worth reflecting that this year gave us far more glorious wig moments than can be captured in a single Oscar category.

From Michelle Williams's subtle 70s waves in All the Money in the World, the white trash extravaganza of I, Tonya, to The Greatest Showman's candy confections, the movies had us shouting "WIG!" all year long.

Here are 17 memorable moments in wigs in 2017...

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TFE Does Halloween

The time has come… for you to block all the Kardashians on Instagram to prevent any self-harm you’ll be tempted to cause after seeing what percentage of your student loans they’re about to invest on a never-to-be-worn-again Halloween costume. We, at TFE, like to think of ourselves as better than the Kardashians—except for Kris, she is untouchable—so we have come up with a nice list of zeitgeist-friendly costumes that promise to be easy to assemble. Try to wear these at parties filthy with cinephiles, unless you want to be explaining yourself all night. We promise we’ll keep these cheap to assemble, except for the occasional requisite $600 lace-front.

Inspired by all the pop culture that's come out since last All Hallow's Eve, we've come up with a pretty specific list of costumes for you to avoid the store-bought. Check them out!

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The Furniture: Breaking House in Colossal

"The Furniture," by Daniel Walber, is our weekly series on Production Design. You can click on the images to see them in magnified detail.

Colossal is a movie built upon one very, very big metaphor. Gloria (Anne Hathaway) and Oscar (Jason Sudeikis) are highly destructive people, each at a different stage of addiction and personal crisis. They also have kaiju-sized avatars that tromp across Seoul every time they drunkenly stumble through a playground at 8:05am, the result of a bizarre electro-magical accident. It’s quite the premise.

But it works because director Nacho Vigalondo doesn’t rely exclusively on CGI monsters to get his point across. After all, they are only exaggerated versions of Gloria and Oscar, stomping through their lives. It matters not whether their feet land on a playground or through the first floor of an office building.

  

Or, as the case may be, their homes...

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What did you see or Smurf this weekend?

The weekend's biggest new film was Smurfs: The Lost Village... which probably says all you need to know about this mini Spring lull between blockbusters (another Fast & Furious is next).

Audiences weren't of one hive mind with people going to see a little of everything, though The Boss Baby and Beauty and the Beast still dominated as they did last weekend. Beauty and the Beast has been so dominant already that it will surely end the year as the second or third highest grosser. For comparisons sake, if you throw it back into last year's calendar, it would be #3 behind Rogue One and Finding Dory and ahead of Captain America: Civil War...

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Review: Anne Hathaway is "Colossal"

by Jorge Molina

As much as her career seems to have been engraved by "light" and "fluffy" material like The Princess Diaries or The Devil Wears Prada, and despite the bubbly and eager-to-please persona that she has become infamous for, Anne Hathaway is no stranger to playing characters plagued by demons: recovering addict, martyrized mother, troubled wife, woman with degenerative disease. She’s always had the outstanding capacity to portray a complex darkness within.

Colossal brings this into the light like no movie she’s done before...

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