![]() You’ve most likely encountered a funny error 404 page before, and you can make it a funny costume, too. That color splotch will make the white space more prominent, transforming you into “whitespace.” 7. ![]() Then add a hint of color somewhere on the outfit, like a colored tie or scarf, or even a paint splotch. Whitespace on the internet might just denote all the blank space you use to help your design stand out, but on Halloween, “whitespace” isn’t just the absence of space.ĭress in all white - add white face paint and a white wig if you’re ultra-committed. Dob some black ink spots on the sheet, get a book and one of those feather quills (or just get a feather, I suppose), and boo - you’re a ghostwriter. To dress up as a ghostwriter, grab a white sheet and cut a hole for your head and arms. Have you ever written something for somebody else’s byline? Such is the life of a “ghostwriter.” Turn your author-less accomplishment into this year’s office Halloween costume. You’re an “instant” “gram” cracker server - or, for short, an Instagrammer. Want another way to turn handing out food into a costume? Dress up like a hipster and hand out graham crackers. This costume also doubles as a great way to introduce yourself and make friends at a party. Wander around holding an appetizer - candy, cheese and crackers, chips and dip … whatever you have on hand. Voila … you’re an actual ninja - just one much more concerned with search engine optimization than lurking in the darkness. Dress in all black, buy a black ski mask, and tape keywords all over yourself. Speaking of dorking out on SEO, you could be everyone’s favorite LinkedIn title - the SEO ninja. She explains, “When Otto returns, there’s the dynamic of what it was like before the way and so a lot of the earlier original themes return.We edited a sash of alt text on to the alternatively dressed girl below, just to help you picture your awesome costume. Marx returned to the musical aesthetic of episodes one and two. However, by the series finale, a semblance of hope and Miep’s resilience returns. “That was wall-to-wall music,” says Marx. Marx’s most challenging episode when the Van Pels family, the Franks, as well as Fritz Pfeffer, are taken into custody by the Nazis. She explains, “It was done very intentionally to make those sequences feel like that was happening right outside your door in 2023.” ![]() Marx incorporates darker electronics and the tension aesthetic starts to sound contemporary. The music evolves and becomes more electronic and classical and less jazz and folk. As the series progresses and Miep makes bigger and more consequential decisions, the music becomes sophisticated.” In establishing Miep’s sonic feel, the composer set about establishing life before the war. Her sound palette draws from 1930s jazz, Belgian jazz guitarist Django Reinhardt as well as Tom Waits and Andrew Bird.” Says Marx, “She is a hero and was so humble, but I didn’t want to paint her in an overly heroic way. ![]() She wasn’t married, she didn’t have a solid job and she was still living with her family. Miep’s character, Marx says, was a modern woman for her time. She says, “It’s still very respectful to World War II and the late ‘30s and ‘40s, but I wanted to make it as relatable as possible.” I’d recut it and reshape it that gave me the movement that I liked.”Ĭomposer Ariel Marx wanted a contemporary sound, but not overly so, that it took audiences out of the period. He perused junk shops and private vendors and bought larger sizes from Etsy, “so I’d have fabric. It drapes and swings beautifully, but you can’t find it,” he says. “Everything was rayon crepe, and there’s nothing else like it. Simonelli’s biggest challenge was finding fabrics that looked and draped like they were period-accurate to the 1940s. He also turned to Gies’ book “Anne Frank Remembered,” in which Gies wrote about her love for fashion and color. Says Simonelli, “We agreed that greens were the color of safety and red was for tension.” Once that was established, Simonelli infused a lot of neutrals into the background, but “I wanted to make sure Miep was punching forward in colors.” Simonelli worked closely with production designer Marc Homes. With Bel’s Miep at the centerpiece, it was important to begin there and get her color palette right. He adds, “I looked at what kids in Williamsburg or London were wearing, just to find places where they overlapped, and that’s the world I tried to live in with Bel.” The Amsterdam Museum‘s exhibit on wartime fashion was his biggest guide where he was able to access clothing from the era.
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