“The language Omondi used jumped out at me right away,” Sales tells FASHION. “At the end of the day you guys are going to get your nose jobs and your keratin treatments and change your last name from Ralph Lifshitz to Ralph Lauren and you will be fine.”īen Sales, a writer for the Jewish Telegraphic Agency, wrote about his reaction to the podcast on July 12, saying he was surprised at how “her interview was bookended by antisemitism.” “I couldn’t stomach another white assimilated Jewish American Princess who is wildly privileged but thinks she’s oppressed,” she said. She started off the podcast by saying, “This country was founded by racist white men, and for the purpose of this episode it’s important to note that many of those white men, slaveowners, etc., were also Jewish and also saw Blacks as less than human.”Īt the episode’s end, Omondi used Jewish stereotypes to argue that Medine Cohen has not been oppressed. The episode’s conversation was broken up by Omondi’s personal narrative dialogue, where she made some comments about Medine Cohen as it relates to her being Jewish. Her statements circulated around the internet, and some media outlets responded with pieces like one that came from The Cut titled Upper East Sider Realizes She’s Privileged. This felt particularly tone deaf at a time when many people are actually facing homelessness, and her decision to suddenly shutter Man Repeller left some of her employees without a job in the middle of a global pandemic. The podcast episode focused on Medine Cohen’s privilege, with quotes of her saying that growing up, she thought she was on “the brink of being homeless” until she realized last summer that she had always been wealthy. “The Tanning of America” has garnered new levels of attention for The Cutting Room Floor - this time, because of its casual yet unmistakable antisemitism. The episode touched on Medine Cohen’s decision to end Man Repeller abruptly last year, the backlash she faced for pandemic layoffs (one of which was to a senior Black employee) and the alleged hostile work environment at the publication. The episode containing the Medina interview, “The Tanning of America,” was released on July 7. This is why it was surprising to some that Leandra Medine Cohen, founder of now-ceased fashion publication Man Repeller, chose Omondi’s podcast for her first interview about shutting down the site. The podcast is beloved by listeners but not widely known, with it averaging 10,000 listeners per episode, according to The Business of Fashion. From myths about recycling clothing to the necessary evolution of designers, each episode is packed with Omondi’s signature well-informed fashion commentary. We spoke to experts about why the comments were damaging.ĭesigner Recho Omondi launched the fashion podcast The Cutting Room Floor in 2018, and has since used the platform to tackle important topics in the industry. There was a whole backstory to it that got simplified in the end.Podcast host Recho Omondi has apologized for using antisemitic slurs in a recent interview with Man Repeller founder Leandra Medine Cohen.
It used to be a much more mechanical kind of puzzle-I don't know if you ever saw those Chris Ramsey videos online where he's solving big puzzles. There were a lot of changes that occurred. It took a lot of iterations to come up with exactly the right look and the right mechanism for the box. "You wouldn't think it, but it was a very time-consuming process. That was, very bizarrely, one of the things that we spent a lot of time on," Saint Girons explained of the Machina de Kadavus. In the film, this object was called the Machina de Kadavus and (spoilers ahead!) offered the ability to unleash the botched spell which prompted everyone to forget about Peter Parker's existence to send characters like Doc Ock and Electro back to their respective alternate universes.
Adrien Saint Girons, the visual effects supervisor at Framestore who worked on Spider-Man: No Way Home, explained in an interview with Before & After what happened with the story of what is referred to as "the green cube," because it was just that on the film's set before it was made to look like a magical block for the final cut.
0 kommentar(er)
