So... a couple of weeks ago, I was headed to a brand event with fellow makeup artist Eva Perry. It was for IT Cosmetics and I go more into detail about the event on my substack (hint... head there and hit subscribe- it's free) At the event, Jenna Bush Hager along with IT Cosmetics Global Makeup Coach Erica Taylor presented all the ways in which women do it all which launching the new IT Cosmetics Do It All Radiant Concealer. I noticed Erica and I squinting at each other that way you do when you recognize each other... finally we realized we worked together waaaaaay back when at Bloomingdale's of all places (children, there was a career path known as the "Counter Girl"... back then). Yes- Erica, though younger than I, was my trainer at the MAC Counter when we were just kids. I immediately invited her onto the podcast to fill me in on her AMAZING career and all that has happened since then, including gaining over 1 million followers on IG and more on TikTok. She also shares with me her IT Cosmetics faves and plently of those amazing tips that she is famous for. This is a really fun one, you guys. Enjoy! Get full access to Look Behind The Look at lookbehindthelook.substack.com/subscribe

In this episode of Look Behind The Look, we jump into the world of the hit Apple TV show, The Studio, featuring a star-studded cast including Seth Rogen, Catherine O'Hara, Bryan Cranston and Kathryn Hahn. The cameos are unreal with Zoe Kravitz giving an unexpectedly hilarious performance, and Dave Franco giving... well... an expectedly hilarious performance.Hair department head, Vanessa Price, and makeup department head, Jorgee Douglass share their creative insights and experiences from behind the scenes. From the impeccable costumes to the wild hair and makeup designs for Hahn and Cranston, they explore how the show's unique visual style enhances its comedic brilliance. It's a collaborative process that shaped the show, revealing how the creative team worked closely with the actors to craft memorable looks that reflect their characters.Jorgee and Vanessa discuss the challenges of creating hair and makeup that not only fit the narrative but also resonate with the audience. Each episode is it's own beast- and they certainly rise to each challenge. As they share about their experiences on set, it becomes clear that the magic of The Studio lies not just in its writing and performances, but also in the meticulous attention to detail in every look. Join us and don’t forget to share your favorite episodes in the comments! (I know it's a given that everyone's favorite was #2, but that finale!!!!! Wow!)But wait!There's more: https://linktr.ee/lookbehindthelook Get full access to Look Behind The Look at lookbehindthelook.substack.com/subscribe

Shakespeare ​famously ​wrote, ​what's ​in ​a ​name? ​ ​But ​let's ​say ​it ​out ​loud. ​ ​Jack ​ ​Lemmon. ​It ​says ​it ​all ​right ​there ​in ​the ​name. ​​Jack. Ordinary, ​​the ​guy ​across ​from ​you ​on ​the ​subway. Lemon. The ​one ​that ​got ​the ​broken ​car. ​ ​The ​bitter ​taste, ​yet ​the ​surprising ​brightly ​colored ​yellow ​sun ​inside ​of ​the ​bad ​luck. ​Jack ​Lemmon, ​arguably ​the ​greatest ​comic ​and ​dramatic ​actor ​to ​ever ​grace ​the ​screen, ​who ​is ​unrivaled ​​as ​the ​everyman ​who ​trips, ​stumbles, ​ ​triumphs ​and ​gets ​the ​girl. ​Or ​in ​the ​case ​of ​Some ​like ​it ​Hot, ​the ​guy. ​ ​Starting ​this ​week ​at ​one ​of ​my ​very ​favorite ​movie ​theaters, ​the ​Film ​Forum ​on ​Houston ​Street, ​Jack ​Lemmon ​turns ​100. ​ Can ​you ​believe ​it? ​And ​the ​Film ​Forum ​is ​opening ​its ​two ​week ​tribute ​on ​Friday, ​May ​16th ​with ​the ​iconic ​story ​of ​opposites, ​the ​Odd ​Couple. ​But ​I'm ​not ​here ​to ​talk ​about ​Mr. ​Lemon's ​legendary ​roles ​in ​Days ​of ​Wine ​and ​Roses, ​Glengarry ​Glen ​Ross ​ ​having ​a ​revival ​on ​Broadway ​now ​with ​Bob ​Odenkirk ​reprising ​Lemon's ​unforgettable ​Shelley ​Levine, ​The ​Front ​Page, ​Mr. ​Roberts, ​Bell, ​Book ​and ​A Candle. ​A ​personal ​favorite ​of ​mine, ​Some ​like ​it ​Hot, ​which ​I ​watched ​on ​VHS ​until ​the ​tape ​broke…I ​am ​here ​to ​talk ​about ​one ​of ​the ​greatest ​comedies, ​if ​you ​can ​call ​a ​film ​about ​a ​mid ​level ​office ​drone ​working ​at ​an ​insurance ​company ​ ​who ​lets ​his ​superiors ​bully ​him ​into ​letting ​them ​have ​his ​apartment ​for ​their ​affairs ​in ​hopes ​of ​him ​getting ​promoted ​and ​the ​suicidal ​elevator ​girl ​who ​whom ​he ​falls ​in ​love ​with. ​A comedy ​​The ​Apartment. ​ Legendary ​director ​Billy ​Wilder, ​coming ​off ​the ​wild ​success ​of ​Some ​like ​it ​Hot ​with ​Marilyn ​Monroe, ​wanted ​to ​keep ​his ​collaboration ​with ​Lemon ​going. ​So ​in ​1960, ​Wilder ​and ​I.A.L ​diamond ​(Come ​on, ​is ​that ​the ​coolest ​name?)​ who ​wrote ​Some ​Like ​It ​Hot ​with ​Wilder ​were ​inspired ​by ​an ​infamous ​Hollywood ​murder ​story ​about ​agent ​Jennings ​Lange ​who ​was ​having ​an ​affair ​with ​actress ​Joan ​Bennett ​in ​an ​underlings ​apartment. ​So ​her ​husband, ​producer ​Walter ​Wanger, ​shot ​and ​killed ​Lange. ​Check ​out ​Karina ​Longworth's ​excellent ​podcast ​Love ​Is A Crime from ​You ​Must ​Remember ​This ​for ​the ​full ​retelling ​to ​you ​and ​I. ​This ​might ​not ​seem ​like ​source ​material ​for ​one ​of ​our ​greatest ​comedies, ​but ​in ​Wilder, ​Lemon ​and ​the ​adorable ​Shirley ​MacLaine's ​Hands, ​it ​was ​a ​box ​office ​smash, ​winning ​five ​Oscars ​out ​of ​ten ​nominations. ​Now ​I ​could ​go ​on ​and ​on ​about ​Billy ​Wilder's ​meticulous ​directorial ​precision, ​Lemon's ​unreal ​​comic ​timing ​and ​turn ​on ​a ​dime ​pathos ​why ​Ving ​Rhames ​spontaneously ​gave ​him ​his ​very ​own ​Golden ​Globe ​in ​1998. ​But I’m actually here to talk about a hat, a haircut, and a mirror. Let’s rewind to 1960 - President Kennedy just took office, Roy Orbison’s ‘Only The Lonely’ was on the radio, and the kids were doing Chubby Checker’s ‘The Twist’. The very seriously subversive theme and subject of The Apartment can not be over stated in this climate. The film, shot in gorgeous black & white by Joseph LaShelle of Laura and Marty fame, puts us smack-dab in what I’d call ‘Mad Men’ central - a heady swirl of cigarette smoke and ‘Tom & Jerry’ cocktail mix, office Christmas parties, wives holding on line 2 while executive husbands scheduled accepted trysts before dinner and kissing the kids goodnight. Lemmon plays ‘C.C. Baxter’, a hard-working, well-meaning drone who somehow gets himself turned into a sort of brothel landlord. His neighbors wonder how he can withstand being such a Lothario - the sounds coming through the walls everynight don’t match C.C. Baxter’s unassuming Brooks Brothers suit with a rumpled white shirt with rounded collars and tie-bar to boot.But Baxter is caught in a hilarious cycle of paying his dues to climb the corporate ladder. This is what you must do. You must get out of bed at midnight to allow your boss to wine and bed his mistress in your Upper Westside apartment even if it involves you sleeping on a park bench in Central Park and catching your death (which Lemmon really did on that particular night shoot on location in the chilly fall of NYC). Lemmon’s aspiration is to be ‘the youngest junior executive at Consolidated Insurance’ so he MUST climb that corporate ladder to get the accoutrements - the windowed office, the carte blanche phone calls to pass on favors, and the bowler hat!He proudly shows it off to Shirley MacLaine’s elevator operator, Fran Kubelik, who regards it as the ultimate symbol of the last ‘nice guy’ crossing over the river Styx to the underworld of betrayal. She is happy for Baxter, but her eyes register a cultural sadness - this white male corporate culture is a disease and its got it claws in Baxter, and Baxter is completely oblivious to what he is about to sign on the dotted line for. Fran isn’t. Despite her absolutely adorable ‘pixie’ hair-cut, she has been groped by the best of them, and seems unreachable by the hordes of executives. Fran is the Snow Leopard, the last big game that hasn’t been conquered. You can grab her butt, and she firmly pushes you on your way. There is something modern, forward-leaning in her attitude and appearance, punctuated by that hair-cut representing women’s liberation, strength, and independence. ‘I don’t need long flowing hair to make you like me, pal.’ The pixie cut was popularized by Audrey Hepburn in the late 1950’s, followed by the model Twiggy, and reaching its apotheosis with Mia Farrow in Rosemary’s Baby in the mid-1960s. But Shirley MacLaine, in my humble opinion, does it best as ‘Fran’, the hard-working elevator operator girl who won’t fall prey. Fran says in one of the film’s most famous lines of dialogue, “When you’re alone with a married man, you shouldn’t wear mascara.” Shirley MacLaine’s tender and deep performance as ‘Fran’, lets us - and eventually Baxter - know that all is not well in the corporate system and the culture at large. One of the most ingenious uses of the Hollywood film adage ‘show don’t tell’ in filmmaking is the use of a simple compact make-up mirror to tell a major plot turn in The Apartment. Baxter’s boss, Jeff D. Sheldrake played with brave impunity by silver screen star Fred MacMurray, who was so hated after this performance he would be aaccosted in the street by ladies chasting him for playing such a ‘dirty man’. Sheldrake calls Baxter into his office early in the film for what Baxter thinks is his promotion. Sheldrake says he’s heard about Baxter’s ‘key’ - meaning his revolving brothel. Sheldrake wants in. Baxter obliges as Sheldrake is THE biggest fish. Later, in another summoning to the head honcho’s office, Baxter gives him a floral compact he discovered in his couch, assuming it belongs to Sheldrake’s mistress. The mirror inside the compact is cracked jagged down the middle splitting the image of whoever opens it in two. Baxter thinks nothing of it until he is modeling his bowler hat - the Junior Executive - for Fran. What do you think? he askes her. “After all, this is a conservative firm. I don’t want people to think I’m an entertainer…”. In the midst of this, Fran helpful as ever, opens her compact to show Baxter how the bowler hat looks. To Baxter’s deep inner shock, he puts ‘two and two together’ and realizes Fran is in fact Sheldrake’s mistress. The horror. The one that was ungettable gotten by the biggest fish with a wife and two kids. The shot of Lemmon reacting in the cracked compact is on the of most effective story and visual devices I can think of in cinema. Baxter sees himself split apart - two worlds: the happy go lucky Baxter, and the Baxter that is now privy to some vile stuff involving the one girl he actually likes.Fran sees his reaction and asks ‘what is it? Baxter takes a beat. “The mirror…it’s broken.” Then Fran utters one of my favorite lines, “I know. I like it this way…makes me look the way I feel.” WOW. What a subversive revilation! What a profound utterance. Talk about Chekhov. ‘Makes me look the way I feel’. We begin to realize all is not right with Fran. Sheldrake is leading her on. She sets a boundary at the local Chinese restaurant where he apparently takes all his conquests - the back booth. But Sheldrake works her over, and convinces her he WILL leave his wife. After a tryst back at Baxter’s apartment on Christmas Eve, Sheldrake must catch his evening train to make dinner with the family. Obviously having forgotten to get Fran anything of real signifigance for Christmas, he opens his wallet and hands her a hudred dollar bill. Even in today’s anything goes era, it’s a shockingly seedy gesture that is all too real. MacLaine’s Fran takes it in stride - just like Baxter leaving his key under the rug for his bosses - and stands to take off her coat and gets ready to disrobe. Fran says something like, ‘well, you already paid for it.’ Ugh. My heart broke! For Fran, for Baxter, for the sad inevitablity of it all. Trigger Warning. The last portion of this episode deals with suicide. Listen with care. Fran asks to be left alone. In the bathroom, she finds the hundred dollar bill in her purse, and realizing she will never be able to break this cycle, she sees Baxter’s sleeping pills - Seconal - and takes them all. Meanwhile, Baxter is out drowning his sorrows with a hilarious companion, played by actress Hope Holiday. They get drunk and dance, looking for a place to get even closer, they head back to Baxter’s apartment - “Might as well go to me. Everybody else does.” Once back at his place, he discovers Fran and races to his jocular doctor neighbor, played by Jack Kruschen (also Oscar nominated for his hilarious supporting role as Dr. Dreyfuss), and Fran narrowly misses checking out. While recovering at Baxter’s playing gin rummy (which MacLaine was playing alot of as a peripheral member of the Rat Pack), Fran and him bond, more than bond. They fall into bliss and don’t even know it. It’s a beautiful chemistry, one that apparently as it evolved dictated the script. Sources say upon commencement of filming, the screenplay was a mere 40 pages, and Wilder liked to work that way and let things evolve. He was also famous for re-shooting after viewing dallies. MacLaine calls him 'sciencentific, brittle and caustic with women but made you better for it’. She tells a story about once such instance during a climactic scene with Fred MacMurray’s ‘Sheldrake’ where she couldn’t get the emotion necessary for their break-up in the Chinese restaurant they frequent. MacLaine’s native Canadian accent was coming out literally on the word ‘out.’ After viewing the ‘rushes’, he concluded they need to re-shoot, even calling MacLaine out in the screening room. MacLaine, much like Fran, didn’t buckle under pressure, and they re-shot. On the day, Wilder called ‘Action’ and excused himself to give her the privacy to do the scene. She hit it out of the park, uttering the lines from that take that made the final cut, “So you sit there and make yourself a cup of instant coffee while he rushes out to catch the train.”Well, long story short, Baxter and Fran end up together - thank Heavens. I could explain the plot twists to get them there, but I want to leave you with one final remberance of MacLaine’s. When asked what it was like to work with Jack Lemmon, she said, “He would say, ‘Magic time!’, every time the camera rolled. And then we knew we’d better make some magic.”Check out The Apartment on the big screen at The Film Forum in all its glory this Friday, Saturday and Sunday. And all of Jack Lemmon’s ‘Magic time’ over the next two weeks. You won’t be sorry.More about the series here:JACK LEMMON 100Watch The Apartment here:Look Behind The Look is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Look Behind The Look at lookbehindthelook.substack.com/subscribe

In this episode of Look Behind The Look, my better half,Jayce Bartok, guest hosts and delves into the life and legacy of Cathryn Coulson, famously known as the Log Lady from David Lynch's Twin Peaks. Jayce shared with director Richard Green his experience watching the documentary I Know Cathryn the Log Lady, which paints a vivid portrait of her multifaceted life as an actress, camera operator, and a vibrant personality who faced her illness with unwavering commitment to her craft. Richard reveals the intricate journey of bringing Cathryn's story to the screen. From the challenges of navigating intense NDAs to capturing Cathryn's essence beyond her iconic role, Richard discusses the profound impact Cathryn had on those around her and the lessons he learned throughout the filmmaking process. Jayce and Richard discuss the emotional weight of Cathryn's final moments, her passion for performance, and the unique bond she shared with David Lynch as they worked together to create magic ...even in her last days. This episode is a celebration of resilience, artistry, and the indelible mark left by a beloved figure in television history. Learn More About the Film HERE (and check out the shop for cute merch!) Get full access to Look Behind The Look at lookbehindthelook.substack.com/subscribe

Welcome back to another bite-sized episode of Look Behind the Look. Today, we're back with another obscure cinema excavation exploring Spike Lee's 1996 film, Girl 6. The film offers a unique take on the world of phone sex operators through the eyes of an aspiring actress in New York City and, of course, so much more than that. We’ll explore how this film fell into obscurity...and the layered messages on race and female exploitation.Despite its ambitious narrative, the film received mixed reviews upon release and was a commercial disappointment, grossing approximately $4.9 million against a $12 million budget. Girl 6 was dismissed so hard when it came out; it's like it just vanished from Spike Lee's filmography. Reviewers like The Washington Post's Rita Kempley described it as "little more than a profane litany punctuated by Oscar-caliber orgasms," while the Post's Desson Howe stated that "it's enough to reduce expectations over him forever."Even when discussing He Got Game two years later, Spike wouldn't mention Girl 6…That's how much people sidelined it. It's wild because after Girl 6, Spike didn't make another film centered on a female perspective until Chi-Raq in 2015, almost 20 years later. You have to wonder if the reception to Girl 6 made Spike pull back from telling stories about women, especially Black women, navigating systems that weren't built for them. Girl 6 is one of Spike’s most overlooked films, but also one of the most fascinating. That’s exactly why it deserves a closer look behind the look.A Cultural ReassessmentIn 1996, people didn't know what to do with Girl 6. It barely made a dent at the box office, critics were lukewarm at best, and ultimately, it faded into obscurity. But here's the thing—Girl 6 wasn't a failure. It was a film about performance, sex, race, capitalism, and identity. It didn't fit the mold Hollywood—or even Spike Lee fans—wanted it to fit.This was Spike's first time directing a script he didn't write. The screenplay came from Pulitzer Prize-winner Suzan-Lori Parks, and what they created together was something totally different from the more straightforward sociopolitical narratives people had come to expect from Spike. Instead of overt protest, Girl 6 gives us a quiet, messy rebellion in the form of one Black woman trying to survive the film industry without selling her soul.Theresa Randle plays Judy, a struggling actress who ends up working as a phone sex operator to make ends meet. And that premise could've easily become male-gazey or exploitative in the wrong hands. But it doesn't. This is a story about the male gaze, not one that indulges it. The camera doesn't leer. It's observant. It's empathetic. It's watching Judy navigate objectification. Beyond general objectification, it shows how she manages which specific forms of objectification she subjugates herself to, like being told by her boss, Lil played by a perfectly cast, Hollywood legend, Jenifer Lewis, she needs to sound “Caucasian” on the phone, because that’s what “the client likes.”The film also drops in these surreal, meta moments that throw you off, especially the interspersed news storyline of the young black girl who survived falling down the elevator shaft in her building, but that's the point. It draws a direct line from girlhood to adulthood—how young Black girls are burdened from the start with invisibility, impossible standards, and stereotypes they’re expected to navigate alone just to survive. We see Judy auditioning for roles where she's told to be more "urban," more "real," while directors like Quentin Tarantino, in his now-infamous cameo, barks at Judy with lines laced in microaggressions that escalate—into full-blown aggression, unchecked racism, and flat-out exploitation as he demands she take her top off on camera. It’s violent in its familiarity. And that’s the point. Girl 6 doesn’t flinch—it forces us to sit in the discomfort, to confront how easily Black women are dehumanized under the guise of “opportunity.” This isn’t just a scene. It’s a reckoning that begins Judy’s arc. It’s Spike and Suzan-Lori Parks holding up a mirror and asking, ‘How many times has this happened—and how many times did we call it art?’ or better yet "This is what you do to Black women when you 'give them a chance.'"And that’s why the ending hits so hard. Because after everything—after all that growth and pain and disillusionment—it’s gutting to see Judy go back to Shoplifter. It’s framed like a reunion, maybe even a resolution—but it isn’t. It’s a return to something familiar. Something that once had control over her.And when she heads to L.A. for her so-called fresh start, she walks right into the same kind of exploitative audition that launched this whole journey. The loop restarts. But this time—she doesn’t freeze. She doesn’t stay quiet. She doesn’t submit. She assertively leaves. That moment shifts everything. Because even though the circumstances haven’t evolved, she has. It’s not loud. It’s not celebrated. But it’s powerful. It’s self-possession. It’s Judy refusing to play the part again, even if the script is exactly the same.So no, the ending isn’t tied up in a bow. But it’s not hopeless either. Girl 6 isn’t offering a fantasy of escape—it’s showing us what resistance looks like when the world and the people around you won’t meet you halfway. Quiet, deliberate, exhausted… but still yours.So why did Girl 6 flop? Because audiences weren't ready for a Black feminist art film disguised as a phone-sex dramedy. It didn't check the boxes. It wasn't "important" in how people expected a Spike Lee joint to be. The film's portrayal of Judy's experiences resonates with contemporary discussions about the empowerment and exploitation inherent in everything we've come to understand about performance, labor, and digital sex work (hello, OnlyFans), Girl 6 feels prophetic. In recent years, Girl 6 has been reassessed for its ahead-of-its-time commentary on sex work and female agency.It's time we stop calling it a misstep. Girl 6 didn't fail. We did—for not seeing what it was trying to show us. With all that said, I do still think it's worth critiquing how a man directing the film despite having a female screenwriter is a statement and impression in and of itself that is left upon this film, and that’s something we’re still unpacking today.The wigs, costuming, and futuristic sets are all intentional and impeccably designed. Judy is a chameleon, adapting to the fantasies projected onto her. She tries never to lose herself, but as the film progresses, it becomes a hard line to walk. And Randle does it brilliantly. Her performance is nuanced, internal, and often quiet—maybe that's why it got overlooked. People expected something louder. But Judy's strength is in her stillness. I paused the film so many times in awe, wondering - how we didn't get Theresa Randle leading dozens of films post-Girl 6. Her performance has always stuck with me. She is the film.Girl 6 is a wig-lover's dream. Theresa Randle wears over 20 different wigs and styles throughout the film, and each one feels like a window into her state of mind or her persona at that moment. Her hair isn’t just flair—it’s fashion, character, power, and commentary all in one.There's the long honey-blonde crop she rocks in the phone booth—classic "sex symbol" vibes and we see everything from her an ode to Dorothy Dandridge, bantu knots, finger waves, a full-on Foxy Brown afro—it's a whiplash of transformations that, if you blink, you might miss one. Her hair becomes armor, a mask, a performance. And what's genius is that the wigs and styling reflect the emotional tone of each scene without her having to say a word.It also speaks to the fantasy that phone sex work sells. Every call, every client, is a role she steps into. And Theresa's ever-changing look mirrors that idea—who she is depends entirely on who's on the other end of the line and what they're paying for.Plus, let's give some flowers to the hairstyling team. There is not much information out there about who exactly was responsible. I tried to get in touch with Lisa Hazell, but could not reach her for an interview. The hair designs gave Theresa an entire visual vocabulary of Black femininity, expression, power, seduction, and identity.Theresa Randle played Judy, the lead role. Before this, Randle had appeared in supporting roles in Lee's "Jungle Fever" and "Malcolm X." Her performance as Judy marked her first leading role, showcasing her range and depth as an actress.And while a lot of this film wasn't exactly the norm for Spike, he still had a role, as he often does—but this time, it feels especially personal. He plays Judy's cousin and best friend, Jimmy, a comic book nerd obsessed with blaxploitation and sports memorabilia. It's sweet and totally feels like a little bit of an opportunity for Spike to get all his Brooklyn Dodgers gear into the production design. He's one of the only people in her life who doesn't sexualize Judy, who just wants to hang out and talk about old-school movies. It’s giving Letterboxd boyfriend energy… uh if your boyfriend was your cousin and just wanted to debate Pam Grier films over pizza. Their friendship grounds the film, a reminder of who Judy is underneath all the wigs and roleplay.The opposite of Jimmy is Isaiah Washington’s character—Judy’s ex, known only as “Shoplifter.” And that name alone tells you everything. He’s not even given the dignity of a real identity—just a label, a behavior, a red flag. He’s controlling in the way so many men are: smiling, supportive on the surface, but constantly trying to reshape her into someone more manageable. He pushes her to get a “real job,” but what he really wants is her dependence. He wants her small.The tension between them is always there—quiet, but constant. And the way Spike shoots those scenes, you can feel the power imbalance. It’s intimate, but it’s not safe. These aren’t just moments between two people with history. These are scenes about how easily women—especially Black women—are asked to compromise themselves in exchange for stability, approval, or love that’s conditional.Both of these male characters exist to show us different versions of masculinity—Jimmy is supportive, if a little clueless, and Isaiah's character is the opposite: demanding, judgmental, and ultimately part of the reason Judy needs to reclaim her voice in the first place.The film is peppered with notable cameos, adding layers of meta-commentary. As mentioned previously, Quentin Tarantino appears as the self-absorbed director, and this collaboration, interestingly enough, occurred before the well-documented disagreements between Lee and Tarantino over the use of racial slurs in cinema.We also get Halle Berry, Debi Mazar, John Turturro, Ron Silver, John Cameron Mitchell, and Michael Imperioli giving their best, if not strangest, character acting bits to the film.Other notable appearances include Madonna as the competing strip club owner. She looked insanely good—possibly the best she’s ever looked, and that’s saying a lot for someone who literally invented iconic beauty in the 80s and 90s—and, of course, supermodel Naomi Campbell as a fellow phone sex operator, taking on a more demure and reserved role.Pete Travers at Rolling Stone called Girl 6 "the worst movie Spike Lee has ever made," one that "[resorts] to all-star cameos to disguise structural shortcomings." Still, I believe these cameos contribute to the film's commentary on fame, exploitation, and the blurred lines between reality and performance.The PRINCE SoundtrackI could never go without mentioning one of the film's most essential elements, being its soundtrack, composed entirely of songs by Prince. You can't say that about any other film outside of Purple Rain. The entire soundtrack is Prince. Yup. Not just a song or two—the whole thing. And it's not a greatest-hits situation either; We're talking deep cuts, unreleased tracks, B-sides, and songs he gave just to this movie. "She Spoke 2 Me"? Unreal. "Don't Talk 2 Strangers"? Are you kidding? These weren't just throwaways—he curated a whole vibe for Judy's world, and I can't even believe we aren't talking about this every day.Prince was famously selective about who he worked with, and it says a lot that he said yes to this film. You get the sense that he understood what the story was about—performance, femininity, identity, power. And that's all over his music, too. Prince elevates the whole damn film. That's the kind of creative alignment that doesn't happen often. Honestly, the Girl 6 soundtrack is one of the most slept-on parts of Prince's catalog—and of 90s cinema in general.How this happened still blows my mind and definitely leads me to believe that, aside from Spike distancing himself from the film, the complexity of continuing to secure rights to Prince's catalog may be why we haven't been able to stream the film. That's a whooooole other can of worms to dive into for another day…But I will get to the bottom of it.Girl 6's unique collaborations, themes, and the conversations it continues to inspire about representation, exploitation, and agency for Black women and in the entertainment industry are why it remains a fascinating entry in Spike Lee's filmography. Although its approach to these themes may have been clunky, convoluted—dare I say, disjointed—it’s 1000% worth watching, studying, and taking the time to understand the story beyond traditional narrative form.Unless you own a VHS or DVD copy, it's a shame you can only find it for $100+ on eBay right now. Kelli and I mailed the DVD back and forth like it was 2006 to study and put this episode together. So, grab a friend or two and create an old-school Netflix sisterhood of the traveling DVD and watch for yourselves. If you do track down a copy, tag me @lookbehindthelook—I want to see your setups. As always, we love hearing your thoughts, what you want to hear more about, and what films you’d like us to dive into next.Thank you for joining me on another bite-sized episode of Look Behind the Look. Until next time...**At the time that I recorded this, the DVDs were $80-$100 on ebay but now it looks like it jumped to $225-$350! Keep your eyes on those DVD bins at the vintage stores, people!Girl 6 on eBaywritten by Kelli Reilly Get full access to Look Behind The Look's Substack at lookbehindthelook.substack.com/subscribe

You may think that we have already covered The Substance enough for the next 10 years… but I wanted to have Frédérique Aguello on the show because believe it or not… there were still some questions that I had. I also wanted to bluntly ask her about the awards process and find out more about why she was on stage for the BAFTA acceptance, but was absent for the Oscar win. In fact, her name was not even on the ballot… In addition to speaking to me about her inspiration and process on The Substance, we get into the complete process of award submissions and what happened specifically in this case which led to Fred being absent from the Oscar ceremony. Enjoy this episode and be sure to weigh in below.31:50 Oscar contraversyWatch The SubstanceInterview With Marilyne Get full access to Look Behind The Look's Substack at lookbehindthelook.substack.com/subscribe

We came to SXSW this year to cover all things beauty, exciting brand partnerships, and of course, film. But this year was extra special because Look Behind the Look had the opportunity to spotlight The Florist, a new film WE are producing and so excited to share about. The Florist written by Jayce Bartok tells the untold true story of Vivien Leigh’s later years as she battles Bipolar disorder and builds a very special relationship with a local florist. Starring Carla Gugino as Vivien, the film explores artistry, human connection, and the tension between her brilliance and the turmoil surrounding her struggles. We are gearing up to begin production this spring in Philadelphia. We have an incredible team behind the film and our powerhouse producer Lauren Hale Rieckhoff was invited to speak about The Florist at the Keystone House as part of the Amplify Philly: Behind the Lens – Pennsylvania Filmmakers in Focus panel. Armed with posters, postcards, and a mission, it was an amazing afternoon sharing the film alongside other celebrated indie filmmakers. Gino Pesi hosted the discussion, which covered Pennsylvania’s commitment to filmmakers, its production incentives, and why we chose to shoot in Philly. Lauren shared our journey, what’s next, and most importantly, how people can get involved to help bring this film to life. Edit: Kelli Reillyhttps://www.vinylfoote.com/the-florist-film Get full access to Look Behind The Look's Substack at lookbehindthelook.substack.com/subscribe

BAFTA winner and Oscar Nominee Marilyne Scarselli speaks with me about her work on the hair and makeup team of The Substance. From Golum to Requiem For A Dream, hear from Scarselli what inspired the work in this unforgettable film, and learn about working with Demi Moore, SFX designer Pierre Olivier Persin and director Coralie Farageat on the film that would earn her her first BAFTA and Oscar nominations.Use this link to watch THE SUBSTANCE on MUBI for free Get full access to Look Behind The Look's Substack at lookbehindthelook.substack.com/subscribe

Heathers is an undeniable classic. We take a look at the creative elements that came together to bring us the first and arguably the best Mean Girls, and the first appearance of the ultimate bad boy that you have to fight everything to resist. Before toxic relationships became an overused phrase, we had Veronica and JD. Unfortunately, the plot of Heathers has become all too real, but the film is still a favorite of Gen X, and here, we try to explain why to the following generations who deem it to be straight up offensive. HEATHERS (1988) Director: Michael Lehmann Writer: Daniel Waters Starring: Winona Ryder, Christian Slater, Shannen Doherty, Lisanne Falk, Kim Walker Production Designer: Jon Hutman Costume Designer: Rudy Dillon Hair and Makeup: Julie Hewett Heathers Finds on Etsy https://bit.ly/4gFSaWv Watch Heathers https://amzn.to/42RfAoM Get full access to Look Behind The Look's Substack at lookbehindthelook.substack.com/subscribe

Mike Marino talks with me about working with director Aaron Schimberg, and actors Sebastian Stan and Adam Pearson to create one of the year’s most memorable creations in film.In this episode, we discuss more than just his process and techniques. We actually dove into philosophical implications of body image, the marketing of body horror, the genius of David Lynch, and a lot more. Mike offers a fascinating glimpse into the world of prosthetics and its impact on storytelling. Tune in for a conversation that not only highlights the technical aspects of his craft but also the emotional depth that drives his work.WATCH A Different Man Get full access to Look Behind The Look's Substack at lookbehindthelook.substack.com/subscribe

In this episode of Look Behind The Look, we dive into the hauntingly beautiful world of Nosferatu with the Oscar-nominated hair and makeup team: Traci Loader, David White, and Suzanne Stokes Munton. Under the masterful direction of Robert Eggers, this film artfully blends gothic romance with chilling horror, captivating audiences with its mesmerizing visuals and intricate character designs. Join us as we explore the creative process behind the film’s stunning aesthetics, from the realistic prosthetics to the romantic yet terrifying blood effects. The team shares their experiences in crafting the iconic looks, including the enigmatic mustache that sparked curiosity and the chilling eye effects that have left viewers spellbound. We discuss the challenges faced during production, such as maintaining realism in the film's black-and-white aesthetic and the meticulous planning that went into each character’s transformation. Tracy, David, and Suzanne reveal the secrets behind Willem Dafoe's dusty, unkempt look and Nicholas Hoult's gradual deterioration throughout the film, showcasing their dedication to authenticity. Get ready for an in-depth look at the artistry involved in creating a film that transcends traditional horror, merging beauty and terror into a compelling narrative. If you haven't seen Nosferatu yet, prepare to be enchanted and frightened in equal measure. 00:00:00 Welcome to Look Behind The Look 00:03:15 Meet the Oscar-nominated hair and makeup team 00:08:30 Crafting Willem Dafoe’s unique character 00:09:30 Nicholas Hoult's transformation journey 00:20:25 Crafting Willem Dafoe’s unique character 00:25:10 Nicholas Hoult's transformation journey 00:10:35 The mesmerizing eye effects of Lily Rose Depp 00:12:34 The biggest challenge on set 00:14:25 Oh, RATS! 00:15:40 That final scene... 00:16:45 How were Lily's convulsions and eye rolls achieved and testing Lily's wigs. Get full access to Look Behind The Look's Substack at lookbehindthelook.substack.com/subscribe

As Gen Z slowly but surely unearths gems in film history, one of our beloved Gen X films, Less Than Zero, always seems to escape their discovery. This is because the film is not available anywhere- when it is streaming for a few months on MAX, my various text threads light up, but alas, it leaves as quickly as it comes. One of my top 10 gifts ever received was the Vinyl LP for my Birthday 5 years ago and they can pry my burned DVD of the film from my cold dead hands. It's one of my all-time favorites and I am not alone. Everyone knows that this is Robert Downy Jr.'s best performance, that fans of the Brett Easton Ellis novel hated it, that Jami Gertz' performance was widely criticized (not by me- I love it) and that Brad Pitt is famously in the movie as a random party guest, but let's look deeper into the design, the cinematography and the soundtrack. In this episode, we begin looking at the creative elements of this film that no one will discuss with me. No one. So here I am, crowd-sourcing for as much info as possible to put into one place. Kelli and I scoured what is out there and are parsing it into 2 episodes. If you are out there and worked on this film, please know I have reached out to find you and have heard back that you will not talk about the film or I haven't heard back at all and would absolutely love to. This Gorgeous Film was assembled by: Director: Marek Kanievska Starring: Robert Downey, Jr., Andrew McCarthy, Jami Gertz, James Spader DP: Edward Lachman Production Designer: Barbara Ling Costume Designer: Richard Hornung HMU: Deborah Figuly, Adam Christopher, Barbara O'Neill, Angelo Di Biase 00:00:00 1987's Less Than Zero 00:03:20 Depicting Addiction in Film and Robert Downey Jr.'s unforgettable performance. 00:05:48 Robert Downey Jr. interview clip 00:09:16 Impresario Rick Rubin and his first soundtrack- Less Than Zero 00:11:37 Class Consciousness in Production Design For more insights and interviews, check the show notes and stay tuned for a follow-up episode as we continue to uncover the mysteries of Less Than Zero. LINKS:Less Than Zero on DVDLess Than Zero on VinylLess Than Zero BookSome IG gems Looking back on the gorgeous ’80s excess in Less Than Zero - Interview Magazine Bret Easton Ellis - Interview Magazine Brat by Andrew McCarthy Excerpts on Less Than Zero Brat by Andrew McCarthy The BEST way to Support is to SUBSCRIBE INSTAGRAM Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribe

In this episode of Look Behind The Look, I delve into the vibrant world of the film Emilia Pérez with the head of the makeup department, Julia Floch-Carbonel. The film stars Selena Gomez and Zoe Saldaña as you have never seen them, and everyone is talking about Karla Sofía Gascón this awards season. We explore the intricate artistry behind the film's makeup design, discussing the creative processes that brought the characters to life. We also touch on the film's controversial aspects, inviting listeners to engage in the broader conversation surrounding its reception.Julia shares her journey of working with renowned director Jacques and how the collaboration evolved from their previous project. She provides insights into the unique challenges and rewarding experiences of crafting the film's visual narrative, including the symbolic transition of the main character and the collaborative efforts with costume designers like Virginie Montel… Speaking of costumes, just imagine the costume department’s surprise when Saint Laurent came on to the project 3 weeks before shooting had a few new ideas (!)The episode highlights the meticulous preparation and creative freedom that allowed the team to push boundaries and create an authentic yet stylized portrayal of the characters. From the influence of opera and musical elements to the innovative choreography, Julia offers a behind-the-scenes look at the dedication and passion that fueled the film's success.00:00:00 Welcome!00:05:07 So tell me how it came into your life to work with Jacques00:10:28 Everything centers around the mouth because it says something about the character00:14:19 The transformation of Rita (Zoe Saldaña)00:17:17 Saint Laurent came, um, along three weeks before we shoot00:19:03 Film references that inspired Emilia Pérez00:22:20 What was the hardest film to shoot? Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribeFollow us on YouTube Instagram for more updates! Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribe

MARIA premieres on Netflix December 11 and is in theaters now. In this episode of Look Behind The Look, I sit with hair designer Aduitha Lee, known for her iconic work on films like Dallas Buyers Club (for which she wont the Oscar) and I, Tonya. Aduitha shares her insights and experiences from her latest project, transforming Angelina Jolie into the legendary opera singer Maria Callas in the film Maria. This episode delves into the creative process behind the hair design, the challenges of capturing the essence of Maria Callas while maintaining Angelina's unique presence, and the intricate details that bring the character to life on screen. Aduitha discusses the extensive preparation involved, including the use of 12 wigs and various hairpieces to portray Maria Callas' iconic looks throughout the film. She also shares the fascinating story of how she came to be involved in the project, the collaborative process with Angelina Jolie, and the innovative techniques used to achieve the film's stunning visual authenticity. From the opera scenes to the intimate moments in Maria's Paris apartment, Aduitha provides a behind-the-scenes look at the artistry and dedication required to create a seamless and captivating transformation. Adruitha is offering a glimpse into the meticulous planning and creative vision that goes into crafting a character's look. Be sure to tell me what you thought of the film and follow Adruitha on IG for more!00:00:00 Welcome 00:13:01 Wig talk- how many wigs were there and how were they prepared? 00:15:46 Dru gives insight to preparing for the Oscar race 00:18:02 Creating the efforless look of Maria while she is at home in her last weeks of her life. 00:20:10 What was your favorite look that you worked on with Angelina 00:23:03 Dru discusses creating the look of Maria, while being true to Angelina's natural face. 00:25:59 The other creative elements of the film. 00:27:43 Follow Adruitha on Instagram! https://www.instagram.com/adruithalee/Get full access to Look Behind The Look's Substack at lookbehindthelook.substack.com/subscribe The BEST way to Support is to SUBSCRIBE ** https://www.youtube.com/lookbehindthelookpodcast IG https://www.instagram.com/lookbehindthelook/ Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribe

This week we are sitting with Brian Badie, the hair department for the highly acclaimed series, The Penguin. Brian shares his unexpected journey from New Orleans to New York City, detailing how his career in hair design began on the sets of iconic shows like Law and Order: SVU and evolved into crafting the unforgettable looks in The Penguin and the full story behind the creation of Sophia played by Cristin Milioti. Brian details Mike Marino’s creation of the Penguin’s look and the intricate process behind Colin Farrell's jaw-dropping transformation into the Penguin. Brian's expertise in wigs and character development played a pivotal role in the series' visual storytelling and the development of the unforgettable character Sophia.Brian also opens up about his experience working on Queen & Slim, where he collaborated with creative visionaries to deliver layered storytelling through hair design. From navigating the challenges of local hires to the nuances of freelancing in the film industry, Brian provides invaluable insights and advice for aspiring artists.This episode is a must-listen for freelancers who look to work well with Networks in the industry, and how to pick your battles.Don't miss this engaging conversation that offers a behind-the-scenes look at the artistry and dedication required to bring iconic characters to life on screen.00:00:00 Remember! We moved to Substack!00:01:55 Meet Brian Badi: the hair department head for the Penguin 00:05:36 Brian’s journey from Louisianna00:12:44 Law and Order SVU and the story behind how Brian got the job…00:21:02 Working on Power00:23:23 Mike Marino’s creation of the Penguin’s look00:26:47 Brian and Cristin’s method of crafting the iconic hair for Sophia00:34:57 Queen and Slim with Lena Waithe and M. Molina00:38:39 Advice for how the Department Head should communicate with the network and production company.Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribePSA: Pros - Are you getting your discounts? Check out this post and I will help you to make sure you are getting the most out of being a PRO. Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribe

In this episode, we delve into the remarkable world of Diane Warren, the legendary songwriter, through the lens of the new documentary Diane Warren, Relentless by director Bess Kargman. Bess is interviewed by my better half and the producer of this show, Jayce Bartok. He and Bess explore the complexities and triumphs of Warren's career, revealing the woman behind the music and the myths surrounding her. They discuss how Warren's reputation for being "difficult" is both challenged and explained in this intimate portrait.Director Bess Kargman shares her journey in earning Warren's trust and the creative choices behind the documentary. Learn about the challenges faced during filming, including navigating the COVID-19 pandemic and the unique demands of capturing Warren's relentless spirit. Kargman also discusses the significance of Warren's personal experiences, including her Asperger's and past traumas, and how these elements are woven into her songwriting and the film itself.Kargman recounts her experience interviewing Cher, highlighting the superstar's humor, humility, and unexpected normalcy. The episode also touches on the film's upcoming screenings at DOC NYC and its theatrical release, followed by its availability on Masterclass, marking a new venture for the educational platform into documentary filmmaking.Don't miss this engaging episode that offers a behind-the-scenes look at the making of Diane Warren, Relentless and celebrates the indomitable spirit of one of music's most prolific songwriters.00:00:00 Welcome!00:01:25 Introducing Director Bess Kargman00:11:36 What was it like interviewing Cher? 00:15:37 What was the hardest thing about making this film?00:20:16 What is the distribution plans for Relentless?Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribeMy favorite assistant: HEADLINER Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribe

Welcome back to Look Behind The Look! This episode takes us into the world of Kenneth Cole through his documentary, A Man with Soul, premiering at DOC NYC. Join guest host, producer Lauren Rieckhoff as she delves into Kenneth's impactful journey in fashion and social advocacy. Discover how Cole's passion for eradicating stigma and his fearless approach to social issues have shaped his brand and legacy.Through candid conversations with Kenneth and director Dori Berinstein, we explore the evolution of Cole's work from the early days of the AIDS epidemic to his current focus on mental health. Kenneth shares insights into his resourcefulness and the pivotal role New York City played in his career. Learn about the bold campaigns that challenged norms and the ethos that has driven Kenneth's success.This episode celebrates the intersection of fashion and social consciousness and the film that is explaining the importance of messaging in fashion.Catch the documentary at DOC NYC on November 18th and 21st, and stay tuned for its wider release.00:00:00 Welcome!00:01:54 Cole’s “business” is about “how do we impact people's lives?”00:03:28 The impact of amfAR on the fashion world and the world.00:06:45 Dori Berinstein talks about how Cole’s determination have led to success00:08:10 Cole’s fearless approach to tackling social issues 30 years ago and now.00:13:59 Enjoy the film now screening at DOC NYC November 18th and 21st.Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribeMy favorite assistant: HeadlinerQuotes from Kenneth Cole"It's not just about how many shoes or suits or bottles of fragrance can we sell and to whom. It's how do we impact people's lives?""I figured early on in my career that if I could talk to people about not just what's on their body, what's on their mind, not just what they stand in what they stand for, then I'd have such a more meaningful and sustainable relationship with the customer.""These are not political issues. These are social issues. These are human issues.""I think New York is this culture hub and it's. There's anything that. Anything you could ever dream about, you know, exists somewhere here in New York.""Social media has redefined bravery." Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribe

In this episode of Look Behind The Look, we're diving into DOC NYC, the prestigious documentary film festival in New York City. Join me I discuss the much-anticipated documentary Beyond the Gaze, which spotlights the life and legacy of Jule Campbell, the trailblazing force behind the Sports Illustrated Swimsuit Issue. This film, directed by Jill Campbell, Julie's daughter-in-law, is a powerful exploration of memory, empowerment, the beauty of living life with no regrets… and teaching others to do the same. Jill and I discuss the dangers of pigeonholing films, labeling them simply as “fashion films” for example, and how films that may seem to be about something simple and frivolous on the surface, can prove to be about SO much more.Learn about how you can see this important film here: www.julecampbell.com DOC NYC Screening Information And Follow filmmaker Jill Campbell for more about the film here on her SubstackJill's IG00:00:00 Welcome!00:03:25 Beyond the Gaze will premiere at DOC NYC on November 17th. How did this project come about.00:10:11 Earning the trust of your subject and how she felt about this documentary being made.00:17:03 The film's structure building.00:26:35 Facing the pigeonholing of films and filmmakers, and the labeling of your documentary as a "fashion film".00:28:20 Substack and the advantages for filmmakers to offer more.00:30:51 The world premiere of Julie's film and its reception.00:36:02 The a crisis right now in independent documentary and for independent films00:42:46 Look behind the Look premieres November 17th at DOC NYC Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribe

Welcome back, Lookers! This week's Bite-Sized episode of Look Behind The Look is all about the cult classic, Xanadu. You loved Martin Samuel's interview so much that we decided to dive deeper into the film and share some delightful tidbits and behind-the-scenes stories. I also talk to the star of 2007's "Xanadu on Broadway" about her unforgettable time as Kyra. We discuss Kenny Ortega's choreography, take a look at the makeup and Bobbie Mannix's costumes, and I share my interview with Kerry Butler, star of 2007's Xanadu on Broadway about her experience and meeting Olivia Newton John on Opening Night. Don't miss these fun stories and insights into the making of Xanadu. Whether you're a longtime fan or new to the magic, this episode will make you want to rewatch the film and maybe even dust off your roller skates. This episode edited and written by Kelli Reilly 00:00:00 Welcome! 00:02:05 The Choreography of Xanadu with Kenny Ortega 00:06:25 Costume designer Bobbie Manix created over 260 costumes for Xanadu 00:09:05 Xanadu on Broadway with Kerry Butler Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribeLink Love :WATCH Xanadu on PrimeOWN Xanadu (for all my fellow physical media obsessives)Xanadu on VinylStream the Xanadu SoundtrackStream Xanadu on BroadwayOlivia Newton-John’s Autobiography Don’t Stop Believin’There are tons of fun Xanadu items in my Etsy Curation:Look Behind The Look's Etsy Collectio…but with Halloween coming, my favorite Xanadu find is starting with these barrettes because they are the MOST important feature of any Kira costume… aside from the skates of course.Share all your Xanadu stories and love with me below! See you soon… Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribe

Welcome back, Lookers! In this bite-sized edition of Look Behind The Look, we dive into the iconic 90s film, The Bodyguard, starring Whitney Houston and Kevin Costner. From Whitney's unforgettable performance of "I Will Always Love You" to the behind-the-scenes magic, this episode is packed with nostalgia and fascinating insights.I had the honor of speaking with Academy Award-winning makeup artist Valli O'Reilly, who shared her journey of becoming Whitney's makeup artist for the film. Valli reveals the products she used, the makeup tests they performed, and even shares some treasured items from the set that she's kept for over 30 years.Discover the story behind Whitney's "glamorously natural" look, the iconic red lipstick, and the makeup techniques that brought her character, Rachel Maron, to life. Valli's anecdotes and expert tips will transport you back to the film's production and highlight the artistry involved in creating such an enduring look.Let's also delve into the creation of the film's costumes, particularly the stunning Queen of the Night outfit. We found Susan Niniger's inspiration, which drew from Fritz Lang's Metropolis and Thierry Mugler's designs, and reflects on her collaboration with Whitney and the film's director, Mick Jackson.Join us as we celebrate Whitney Houston's legacy, explore the creative forces behind The Bodyguard, and reminisce about the moments that made this film a timeless classic. Share your favorite Bodyguard and Whitney moments with us on our Substack, and let's keep the conversation going!00:00:00 Welcome00:01:14 Whitney Houston first time meeting with Valli O'Reilly00:02:24 The Queen of the Night 00:07:02 Whitney Houston's iconic cover of Dolly Parton's song.Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribe The BEST way to Support is to SUBSCRIBE !! https://www.youtube.com/lookbehindthelookpodcast INSTAGRAM https://www.instagram.com/lookbehindthelook/ Get full access to Look Behind The Look's Substack from Tiffany Bartok at lookbehindthelook.substack.com/subscribe