Home 2026

Archives

We survived Thrillz, Doraville’s new indoor adventure amusement park

0
Mega Slide Tower at Thrillz

Courtesy of Thrillz and Brown Bag Marketing

The day before school started, my husband, 7-year-old daughter, 10-year-old son, and I checked out Thrillz, the new indoor amusement park in Doraville, for one last summer hurrah. Was I overstimulated within three seconds of entering? Yes. Was it worth every second to see the joy on my kids’ faces? Also yes.

The first words out of my son’s mouth were, “Woah! What is this place?”

Set in a bright pink warehouse just off I-85 near Spaghetti Junction, Thrillz, which opened in July, is every school-aged child’s fantasy, teens included. It’s an assault on the senses in the best way: colorful neon lights everywhere you look, upbeat music punctuated by happy screams, and adrenaline-inducing rides and slides scattered throughout. The list of attractions is long and varied, including VR rides, carnival rides, massive slides, inflatable obstacle courses, trampoline sports, laser tag, arcade games, and a toddler zone.

We arrived at 11 a.m. with pre-paid tickets and were able to skip most of the line. Numerous packages and a la carte options are available, with pricing based on activities and day of the week. We grabbed a small locker for $5 to store our belongings, including phones, hats, and shoes. Thrillz sticky socks are required for everyone participating in the attractions and cost an additional $5.

Our two hours allotted for “slides and sports” began immediately, so we dove right in, tempting fate on the Space Shot slides, which took us headfirst on yoga-style mats down a steep slope, soaring through the air before landing on an airbag. Hearts racing, we climbed to the top of Mega Slide Tower where we each chose a colored slide and raced down through twists and turns.

Interactive climbing wall

Courtesy of Thrillz and Brown Bag Marketing

Next, we competed for best time on the interactive climbing wall, where rotating gears and shifting poles threatened to push us off. I was the only one who tumbled. My rotten balance continued through the Sweeper, where rotating horizontal poles felled me again and again. My kids, however, had no trouble jumping over or crawling under and kept trying to coach me as my husband laughed. I fared better on the rolling barrels, spinning log, and swinging lily pads, though I had to pause for a breather between challenges. What a workout! My son and I loved the inner tube zipline, where dropping onto the cushioned stuntman-style landing zone sent me into a fit of giggles.

Next, my kids took a quick detour through the 10,000-square-foot soft play jungle gym, designed for ages 4 to 10. But there were bigger thrills to be had. The Cyclone Slide dropped us down, then sent us spinning around an orange toilet bowl-shaped vessel before releasing us through the center. The black-and-white checkered Phoenix Slide reminded me of a halfpipe at a skate park. Instead of riding on a skateboard, we were face-first on a mat, soaring down and back up until eventually sliding to a halt in the center. My daughter’s favorite was the Quad Showdown, which is similar to the Super Slides at fairs of my youth. She loved racing the family side by side.

The ninja-style obstacle course features rolling barrels, among other challenges

Courtesy of Thrillz and Brown Bag Marketing

Tummies were grumbling by the time we reached the trampolines and sports courts. Still, we squeezed in a few minutes of bouncy basketball and volleyball before heading to the café for a well-earned break. Lunch was what you’d expect at a place like Thrillz: hot dogs, pizza, chicken tenders, and fries. If you’re hoping for something lighter, plan to eat elsewhere.

Energy restored, we hopped on the Spinning Coaster, which is less scary than it looks. Riders sit two-by-two in cars that rotate 360 degrees as they hurtle along the track. It was over as quickly as it had begun. Next, we got in line for Grave Digger VR, a giant green Monster Truck and one of the first attractions you see when entering Thrillz. It only holds six people at a time, so the wait moved slowly, especially since birthday party guests are permitted to skip the line. When it was our turn, we donned VR headsets and entered the Monster Jam arena, our seats jostling and vibrating as Grave Digger raced over dirt hills and through canyons. We saved the Drop Tower and VR Coaster for another day, and none of us were brave enough for Rush 360, a crazy-fast soaring, flipping, spinning ride that requires participants to be at least 50 inches tall.

Grave Digger VR

Courtesy of Thrillz and Brown Bag Marketing

My kids could’ve stayed at Thrillz all day, but after four hours, I was beat. We gave in to one round of laser tag, running guns blazing through a black-lit Aztec jungle and ducking behind barriers to shield ourselves. I liked being able to choose between teams or free-for-all. It eliminated the usual scuffle over who was with whom.

A few parent notes: arrive early, book online if possible, bring or budget for sticky socks, and consider doing rides at the beginning of your visit before it gets crowded. A few hours are enough for a taste, but thrill-seeking kids will absolutely want more time.

As we retrieved our belongings from the locker and let our eyes adjust to the sunlight outside, we reflected on the day. “It was awesome!” my son exclaimed. “When can we go back?” my daughter wondered.

Suffice to say we’re already looking at birthday party packages for next year.

Quad Showdown

Courtesy of Thrillz and Brown Bag Marketing

From scrap to song

Jaci Calderon, Nathan Diaz, Michelle Zink-Muñoz, Isabel Conzalez, and the cast of Basura

Photo by Greg Mooney

What do you make when you have almost nothing? Now playing at the Alliance Theatre, Basura answer that question with music, community, and hope. The new musical, featuring song by Gloria Estefan and her daughter Emily Estefan, draws from the true story of Paraguay’s Recycled Orchestra—a group of young musicians who transformed discarded materials into instruments and reshaped their futures. The show builds on that story, which was previously told in the documentary Landfill Harmonic, expanding it into a portrait of resilience.

Directed by five-time Tony Award nominee Michael Greif (Rent and Dear Evan Hansen) the production brings the audience into a world far from their homes, where broken families dig through trash to survive. A group of teenagers meets Mario, played by Tony Award nominee Kevin Del Aguila, who feeds, teaches, and inspires them to rise above their circumstances using music as a lifeline.

Kevin Del Aguila, Jaci Calderon, and the cast of Basura

Photo by Greg Mooney

Basura feels part Rent and part School of Rock. It carries the same sense of found family and urgency, paired with a belief in music as a path forward. Throughout, the show returns to the idea that exposure to other lives and cultures has the power to change how we see the world. It’s a shift in how people see themselves and how they see one another.

“The more we learn about others, the more we can have empathy and coexist and make change together,” says choreographer Patricia Delgado, best known for her work on Buena Vista Social Club. “It’s about togetherness. We can bring beautify into the world regardless of our circumstances. This message is so necessary right now, living in divided times.”

Performances began May 30 and run through July 12. Tickets for this world premiere are selling quickly, with prices ranging from $25 to $155, plus taxes and fees.

“I’m grateful that it’s catching on and having this moment,” Delgado says.

Nathan Diaz, Zack Calderon, and Dario Alvarez in Basura

Photo by Greg Mooney

The Atlanta History Center turns its attention to the next generation

0
Time Machine Climber

Courtesy of the Atlanta History Center

I’ve been to the Atlanta History Center building numerous times, meeting friends for coffee at Brash. I’ve often peered into the pristine museum while waiting in line at Souper Jenny. My daughter even visited with a friend’s family in the fall, enjoying a picnic on the scenic grounds. But no one in my family had ever been to the museum—until now.

This month, the Goizueta Children’s Experience opened at the History Center, offering a colorful, 5,000-square-foot exhibit targeted at children ages 1 to 8. It is the first in a series of revitalization projects slated in coordination with the Center’s centennial in 2026. Themed “Our Great Big City,” it replaces the “Shaping Traditions” Southern folk-art exhibit that ran for 20 years. “Our Great Big City” is designed to inspire learning about Atlanta’s history and landmarks with interactive areas focused on exploration, storytelling, and play.

“I think of it as bringing Atlanta down to a child’s eye level, making it feel manageable, like something they can have some control over, as opposed to a little kid in a big town,” says Pola Changnon, Atlanta History Center chief content officer.

Creator Hub

Courtesy of the Atlanta History Center

My husband and I took our 6- and 8-year-olds to check it out. We entered through what looks and feels like a neon-lit tunnel. There are a number of stations throughout, each labeled with the recommended age range and both English and Spanish instructions. The placards in each area suggest talking points for caregivers—useful for those looking for ways to connect with their children. Not as much so for those like me, who just want to let their kids loose and sit down. (Thankfully, moveable soft seating is strategically staged throughout the space.)

The biggest area, by far, is the Time Machine Climber, an orange double-decker play space with stairs and a slide. It features a time dial on the exterior and shares facts about important dates in Atlanta’s history. My kids fidgeted with it but preferred running through the climbing structure.

Another highlight is the Mini Fox Theater, complete with velvet drapes and a Mighty Mo–inspired “organ.” Children are encouraged to choose costumes and props (ranging from a microphone to a toy rabbit) and use their imaginations to put on skits. They can also set the stage lighting to a variety of colors created by mixing the primaries. During our visit, plenty of staff members were on hand to help children get started.

Toddler Town

Courtesy of the Atlanta History Center

My daughter enjoyed rearranging Atlanta landmarks (the Varsity, Oakland Cemetery) on a wall-sized magnetic map to create her ideal city. She also liked inserting plush stuffies such as a guitar (referencing the Atlanta Jazz Festival) and a soccer ball (a nod to the Station Soccer league) into a scanner and learning about how they relate to past local events. A third grader, my son thought he was too cool for most of the exhibit, but he did enjoy cozying up in the Krog Street Tunnel–inspired reading nook.

A large space called the Creator Hub is dedicated to crafts, with ample child-sized tables and chairs, art supplies, and a guided project that changes frequently. During our visit, children were building and decorating houses and ambulances out of paper.

Parents of small children will appreciate the designated stroller parking and the Tiny Toddler Town, a soft area in which ages 1 to 3 can crawl, climb, and explore. Those with sensory needs will receive a backpack with noise-blocking headphones, fidget toys, and other items to enhance their experience.

Sydney Cooper, 6, plays with the Time Machine

Photo by Carly Cooper

Overall, the exhibit acts as a nice hook to bring new life to the History Center. Best for younger children, it entertains for 1 to 2 hours. It can get pretty loud in there, impeding your ability to hear some of the exhibit, so it may be best to visit on a weekday. Tickets cost $27 for adults and $24 for children ages 4 and up. Ages 3 and under are free. Tickets include access to the entire museum and grounds.

Will Moseley is ready to wow hometown fans on New Year’s Eve

0
Will Moseley

Photo by Jessica Christian

Hazlehurst native and American Idol season 22 runner-up Will Moseley says he’s “super excited” about opening for the Zac Brown Band at State Farm Arena on New Year’s Eve. “I think the fact that we get to play our first arena show in Georgia on New Year’s Eve with Zac is just absolutely special,” he says.

Moseley is a fast-rising star in the country music scene, and he says much of the credit belongs to the Hazlehurst community: “Whether it’s local sports teams, or whether it’s me on American Idol, everyone truly supports one another, and that’s the beauty of small-town America.”

Will Moseley

Photo by Frank Fortune

Moseley’s songs range from light and lively to poignant and heartbreaking. He possesses a powerful, low, sonic-country twang. His most recent single, “Everything But Me,” starts light and effervescent before diving headfirst into heartbreak and unrequited love. In discussing the meaning and motivation behind the break-up song, Moseley says, “It’s just taking an idea of a situation that we’ve seen happen so many times with different people, including ourselves, and putting it in words. As a songwriter, our job is to write a song that relates to as many people as possible. For me and you, it may mean one thing, for someone else, they may hear it and it means something completely different.”

Moseley says he’s living his dream and he hopes he can make it last.  ”My goal and where I hope to see myself in five to ten years is still working as a musician and making a living off of it,” he says. “Staying humble and staying grounded, and  keeping everything authentic; making sure that the music that we’re writing and putting out is really us.”

Adult Swim’s surprise feature film returns with another horrifying sequel

Adult Swim’s Yule Log 2

Photo courtesy of Adult Swim

Billing itself as “unapologetically absurd, dark, and wildly comedic,” Atlanta-based Adult Swim‘s unconventional original film Yule Log returns with a sequel, Yule Log 2: Branchin’ Out, on December 6. Shot entirely in the city, the production relied on a crew comprised solely of local talent.

The first film’s surprise midnight release in 2022 captivated audiences with its offbeat humor and genre-defying storytelling, earning rave reviews and even Emmy buzz. By fusing holiday romance with science-fiction horror, it introduced unsuspecting viewers to a uniquely twisted world where a seemingly innocuous yule log became a murder-hungry antagonist. Now, fans are eagerly anticipating what’s next for the characters. With director Casper Kelly once again at the helm and Adult Swim’s trademark irreverence, the sequel promises to push boundaries even further as the main character Zoe (Atlanta actor Andrea Laing) attempts to escape the murderous fireplace log by traveling to a quaint small town in a new country.

Adult Swim’s Yule Log 2

Photo courtesy of Adult Swim

Laing shares that the sequel offers a natural evolution for Zoe, amplifying both the stakes and the comedy. “These moments of vulnerability and self-doubt are at the heart of her character, and they’re woven into the larger, wackier narrative in a way that feels raw and relatable,” she says.

At a time when Atlanta’s film industry is grappling with a notable downturn in productions, the film serves as a reminder to viewers and studio executives of the city’s enduring presence in entertainment and the creativity that Atlanta filmmakers bring to the screen.

For Laing, the film is more than just another acting credit—it’s a chance to spotlight the cailbre and camaraderie of Atlanta’s film community. “I’ve worked with so many talented local actors and crew members, and there’s a real sense of community,” she says.

When asked what she hopes audiences will take away from the sequel, Laing channels Zoe’s knack for finding clarity in chaos: “I hope audiences take away this sense of acceptance—acceptance that life is messy … and that it’s okay to find humor in the weirdest, most inexplicable parts of our journey.”

Watch Adult Swim’s Yule Log 2: Branchin’ Out on December 6 at midnight. Both films will be available to stream on HBOMax on December 7.

Adult Swim’s Yule Log 2

Photo courtesy of Adult Swim

Tribute: “He was a great man who played great men.”

Chris Kayser as Ebenezer Scrooge in A Christmas Carol at the Alliance Theatre

Photo courtesy of the Alliance Theatre

Over the decades, tens of thousands of Atlantans saw actor Chris Kayser in his signature role as Ebenezer Scrooge in the annual Alliance Theatre production of A Christmas Carol. And while he played the part first at Atlanta’s Academy Theatre and then for 16 seasons at the Alliance, he never tired of playing Charles Dickens’ signature skinflint.

“People always ask, ‘How can you play this every year?’” Kayser reflected during a 2015 interview. “I always answer, ‘Easy.’ It’s an all-star cast, you get to work with amazing people, and just headlining a show at the Alliance Theatre is a great thing. Every year you hope you’re a year better at being an actor.”

That ever-present modesty is a recurring theme in the tributes being posted across social media this week as Atlanta’s theater community mourns the loss of the Atlanta acting icon, who died December 3 at age 75 after a prolonged battle with prostate cancer. Last month, Kayser was honored with a Lifetime Achievement Award at Atlanta’s Suzi Bass Awards.

Chris Kayser as Ebenezer Scrooge in A Christmas Carol at the Alliance Theatre

Photo courtesy of the Alliance Theatre

If you went to see a theatrical production in metro Atlanta over the last 40 years, it’s highly likely you’ve seen Kayser at work. He was in The Light in the Piazza at Theatrical Outfit; routinely performed in French at Theatre du Reve; appeared in dozens of Shakespeare plays over 20 years at Georgia Shakespeare; was in everything from Quills to Superior Doughnuts at the Horizon Theatre; Swindlers, Mamma Mia!, and Wit at the Aurora Theatre; and Sailing to Byzantium, Hometown Boy, and Skintight at Actor’s Express. But he was most frequently onstage at the Alliance, where in addition to A Christmas Carol, Kayser appeared in One Flew Over the Cuckoo’s Nest, Glengarry Glen Ross, Ever After, and most recently in Everybody, where he was co-directed by Alliance Theatre’s artistic director Susan Booth, just before she departed to become the artistic director of Chicago’s Goodman Theatre.

“Chris was the heart of our theater community because he cared for everyone,” Booth recalled December 5 during a phone call from Chicago. “There’s no one who worked with him who wasn’t madly in love with him. For good or ill, we work in a field where people can be competitive, and being competitive can make people not always support one another. You ask, ‘Why did he get that job? Why didn’t I get that job?’ Chris didn’t participate in that. He loved getting to do the work that he did, and he was happy for everyone else who got to do that work as well.”

“Chris was arguably one of the most interesting people I have ever met,” remembers Atlanta actor-director David de Vries, Kayser’s friend and fellow tennis player, who directed the actor and appeared alongside him on stage for decades. “It was because he was fearless. When he did Quills, he was buck naked onstage for two hours. He would dive into acting in French. At the same time, he was humble, transparent about his fears and his vulnerabilities. He was an actor’s actor. He was a great man who played great men. He had a depth of soul that he would just dive right into and anchor to whatever character he was playing, whether it was Richard II or Scrooge.”

Decades ago, as a young man preparing to play what would become his seasonal signature role, Kayser worked with iconic Atlanta actor and Academy Theatre founder Frank Wittow to physically transform himself into Ebenezer Scrooge. “We did breathing patterns, body, facial mask, voice, everything,” Kayser recalled in 2015. “We did an exercise, something silly like filling up a bookcase, but doing it as Scrooge would fill it. What his hands meant, why he’s kind of protecting his genitals and yet his jaw is stuck out, expecting blows and physically maneuvering his body in order to make himself a small target. That all helped me transform and kept me from acting in any kind of a young way.” Kayser added, laughing: “Later on, of course, I got to stop wearing the old-age makeup! I finally aged into the role.”

“What made Chris a good actor is that he tuned in, he listened to you, and what you fed him is what he reacted to,” recalls actress Terry Burrell, who played the Queen of France opposite Kayser’s king in the 2019 Alliance production of the musical Ever After. “He had such a great sense of that, and also a great sense of timing. It was perfect.”

Originally in the show, the king and queen had a second-act duet that was later cut. While not primarily known as a singer, Kayser was crestfallen. “He was so looking forward to it,” Burrell remembers. “He sang just as he talked. It was smooth. He approached it as he did everything—as a storyteller.”

In the summer of 2022, a visibly annoyed Kayser stopped Susan Booth in the hall at the Alliance prior to the production of Everybody. The ensemble piece requires its cast to draw cards at the start of the show each night, and the person who draws the Everybody role has to take the journey from life to death in real time onstage. Booth had been told of Kayser’s cancer diagnosis. “He asked me, ‘Did I piss you off or something?’” she recalls. “‘You’re not going to bring me in for Everybody?’ I said, ‘Chris, I know something about you, and you know this play. This play demands that you deal with your own mortality on a nightly basis.’ And his response was, ‘Right! So I’d be brilliant for this!’”

During the show’s first table read, Kayser drew the Everybody card. The climax of the part culminates in the actor running around the theatre until exhausted, screaming, “My body is failing me! I’m angry at my body!” In the moment, Kayser, forever a physical actor, leapt out of his chair and ran the circumference of the rehearsal space yelling the dialogue.

Recalls Booth: “Everyone in that room who has loved this man for decades was just in puddles. Chris was full-out committing. It was breathtaking. But it was so Chris. He derived joy from the words, from the liveness of it, from the people he was working alongside. It was always, ‘I get to do this for a living!’ His life was his work, and his work gave him profound joy.”

In a public Facebook message posted Wednesday, Kayser’s daughter, actress and choreographer Noelle Kayser, announced that a celebration of his life will be held in the new year. She added: “Father, how lucky am I to have your eyes so I can see you every time I look in the mirror. Like you always said to me—I love you perfectly. I love you completely. I’ll see you on the ancestral plane, Pops.”

Chris Kayser

Photo courtesy of the Alliance Theatre

After Hurricane Helene, a Ponce City Market pop-up gallery supports Asheville artists

 

A work by Asheville artist Colton Dion

Photo courtesy of Colton Dion

Ponce City Market is widely known for its support of local art and artists. Its next pop-up gallery, however, has a particularly special meaning. Titled Love Asheville from Afar, the month-long exhibit will help Asheville artists gain reach and sales after the devastating loss of their physical spaces and financial well-being due to Hurricane Helene. One hundred percent of the proceeds will go toward artists affected by the hurricane.

Amy Michaelson Kelly, principal at hospitality group Hatteras Sky, splits her time between Atlanta and Asheville and is the catalyst of the pop-up gallery. Her hotel property, the Radical, is in Asheville’s River Arts District, and she has seen firsthand how her neighbors’ livelihoods have been devastated. (The hotel also suffered water damage and is temporarily closed.)

A work by Asheville artist Kevin Andrew

Photo courtesy of Kevin Andrew

Ponce City Market was an obvious choice for Michaelson Kelly, who is familiar with the property’s artist pop-up markets. “Ponce City Market and Jamestown celebrate art, and I love that it’s part of their programming,” she says. Michaelson Kelly says she’s been keeled over by their support of Asheville. “Everyone has been so willing and insistent on helping Western North Carolina.”

A collaboration between the River Arts District Artists Foundation (RADA), The Radical, Explore Asheville, and Jamestown, Love Asheville from Afar will highlight artists from the over 300 studios and galleries in the River Arts District. Participating painters, sculptors, and mixed-media artists include Kevin Andrew, Colton Dion, Molly Sawyer, Zati, and Elizabeth Porritt Carrington.

The gallery will kick off its time at Ponce City Market on December 5th with a free and open-to-the-public event featuring Asheville-based live musicians, drinks, and light bites. Throughout the month, the gallery will host other events, such as live paintings.

A work by Asheville artist Molly Sawyer

Photo courtesy of Molly Sawyer

The 3,600-square-foot temporary gallery is located on the front side of Ponce City Market, near City Winery, and will be open 11 am to 7 pm Thursday through Sunday, now through December 29.

Ponce City Market

Photo courtesy of Jamestown

In new SCAD FASH exhibit, Oscar-winning costume designer Sandy Powell’s work comes alive off-screen

0
Sandy Powell

Photo courtesy of SCAD

Long before Sandy Powell’s costumes would grace the silver screen, she was sewing her first bold creation at 5 years old. It was a pint-sized bikini, and the start of a remarkable career. Four decades later, she’s still transforming fabrics into unforgettable characters, each with its own story to tell.

Now, three-time Oscar-winning costume designer Sandy Powell, known for her work on films like The Favourite, Shakespeare in Love, and Carol, showcases her visionary talent off the screen with a new exhibit at SCAD FASH Museum of Fashion + Film. “Sandy Powell’s Dressing the Part: Costume Design for Film” displays her iconic creations and offers an immersive look into her character-driven creative process.

Sandy Powell: Dressing the Part exhibit

Photo courtesy of SCAD

Spotlighting Powell’s 40-year film career, the exhibition features more than 125 costumes and props from nearly 30 films. Although Powell is well-known in the international film community as an iconic costumier—and the first and only craftsperson to win the coveted British Academy of Film and Television Awards (BAFTA) fellowship in 2023—this is her first museum retrospective. But she’s long thought about having an exhibition, if only to have somewhere to display her ever-growing treasure trove. “I have quite a large collection of my own costumes, which I’ve been sneakily collecting over the years,” Powell told The Hollywood Reporter.

After decades of using the corners of her house as archival storage, her costumes have finally found a place beyond the silver screen at SCAD FASH. “There’s a part of me that doesn’t want them to come home,” she says. “I’d like them to stay out, being looked at.”

Rafael Gomes, curator and creative director for SCAD FASH, approached Powell two years ago to gauge her interest in doing an exhibition. “Featuring the work of Sandy Powell has been a goal of ours since the museum opened nearly a decade ago,” Gomes says. “SCAD FASH always wants to highlight the best in costuming and fashion, and Sandy Powell is such a highly awarded and revered designer, artist, and storyteller in her field.”

Sandy Powell

Photo courtesy of SCAD

In 2021, the SCAD Savannah Film Festival honored Powell for her outstanding achievements in film costume design. From there, Gomes says, the art college and designer formed a close relationship that ultimately led to the new exhibit.

The show is designed cinematically, following a timeline of Powell’s life and highlighting the films that inspired her most iconic work. Each costume is displayed within an elevated black box that “mimics larger-than-life film cells,” says Gomes. Lit from beneath, with the lights focused on the clothing, they replicate the feeling of watching a movie in a theater.

Each costume display at SCAD FASH invites visitors into the scenes of Powell’s most influential projects. As guests walk in, they are immediately taken to the set of Caravaggio, Powell’s first feature film, which was released in 1986 and marked the beginning of her fruitful collaboration with director Derek Jarman.

Since then, she’s worked with some of the biggest names in film, including Martin Scorsese, Todd Haynes, and Yorgos Lanthimos, and costumed films ranging from The Wolf of Wall Street to Velvet Goldmine. Powell says she particularly enjoys working with directors who are interested in visual details: She told Rough Draft Atlanta that Martin Scorcese once instructed her to watch an entire French film just so she could see the stripe on an actor’s collar.

Working with Scorsese on films like The Aviator and Gangs of New York helped solidify Powell’s interest in costume styling using color theory. While curating her exhibition, Gomes noticed how much attention Powell gave to the colors of each piece of clothing.

“I noticed a recurring use of a particular shade of blue-green throughout Powell’s films. That’s a detail that one notices as they move through the show,” Gomes explains. “A great example is the train inspector costume worn by Sacha Baron Cohen in Hugo, which Powell designed in this specific shade so that the audience would visually gravitate to this character in crowded scenes.”

SCAD President Paula Wallace

Photo courtesy of SCAD

Powell’s use of visual storytelling is apparent in her work in Todd Haynes’ 2015 film Carol, where she blends her designs into the fabric of the characters’ narratives. In a documentary that accompanies the SCAD FASH exhibit, Powell dives into a tan fur coat she created for Cate Blanchett, who plays the titular character as she grapples with her sexuality and failing marriage. “The one we actually used was pieced together by old bits of vintage coats, simply because I was determined to get the right color for her—because it’s Cate,” says Powell in the documentary. “It was very fragile. It split every single day of the shoot, so every day the costumer was underneath, sewing or taping up the splits.” This “sad coat,” she explains, exemplified Carol’s unraveling life. Just as she comes slightly undone in each scene, so does the fur she wears on her back.

To Gomes, such details are what make Sandy Powell a true visionary in the film industry and bring her creativity to life in a way that extends beyond clothing. The impact of her costumes is monumental, he says: “Her work in and of itself can be used as a source of fashion history.”

‘Sandy Powell’s Dressing the Part: Costume Design for Film’ is on view now at SCAD FASH through March 16, 2025.

Leading designer Matthew Quinn holds book signing and panel discussion at PDI’s Atlanta showroom

0
Matthew Quinn, Richard Anuszkiewicz, Emilee Stone (PDI), Mary Elizabeth Finkey (PDI), Fielding Alderman (PDI), William Webster (PDI), Jerel Lake, Dan Donnelly (PDI), Mary Kathryn Timoney, and Brandon McNeal (PDI)

Dozens of local designers and trade professionals gathered on November 7 at the PDI Kitchen, Bath & Lighting showroom in Atlanta to celebrate the release of Quintessential Kitchens and Collaborations by Matthew Quinn, which is volume three in the author’s Quintessential Kitchens series. The event was sponsored by PDI and Atlanta Magazine’s HOME. Quinn is the chief executive officer of Design Galleria Kitchen and Bath Studio and founder of the Matthew Quinn Collection, a luxury kitchen, bath, and architectural hardware showroom.

Designer and author Matthew Quinn signs books

Following cocktails and hors d’oeuvres, attendees were welcomed to the event by Emilee Stone, vice president of marketing at PDI. Sean McGinnis, president and publisher of Atlanta Magazine’s HOME, then introduced Quinn, who moderated a panel discussion with Design Galleria colleagues Mary Kathryn Timoney, Jerel Lake, and Richard Anuszkiewicz on the importance of collaboration to the design process. Quinn also signed copies of his latest book.

Laura Jacobson Turner and Fran Worrall, both with Atlanta Magazine’s HOME, and Mary Kathryn Timoney of Design Galleria Kitchen and Bath Studio

Quintessential Kitchens and Collaborations is a 344-page, hardbound book that includes a curated collection of kitchens, bathrooms, dressing rooms, and other treasured spaces in homes from coast to coast. It chronicles the rewards—and challenges—of teamwork between architects, builders, interior designers, space planners, and other design professionals. “Collaboration, although not always easy, is the key to intelligent design,” Quinn says. “More minds create more layers, and it’s the layering of talent and perspectives that delivers the best outcomes.”

Panel discussion with Matthew Quinn, Richard Anuszkiewicz, Jerel Lake and Mary Kathryn Timoney

Quinn is a leading authority in kitchen, bath, and product design and is the recipient of numerous national design awards. He has worked in residential and commercial settings around the world, and his work has been featured in a variety of publications, including Architectural Digest, Elle Décor, House Beautiful, Traditional Home, Veranda, and more.

Design Galleria Kitchen and Bath Studio has showrooms at ADAC in Atlanta and at the Nashville Design Collective.

The Pink Pig, a favorite Atlanta holiday tradition since 1956, returns Nov. 23

The new Pink Pig ride at the 2024 Georgia Festival of Trees

Photo courtesy of the Georgia Festival of Trees

Once the fog of childhood nostalgia lifts, many Atlantans are prone to admit that one of the city’s oldest holiday traditions—the riding of Rich’s department store’s famed Pink Pig—was also pretty damn terrifying. According to author Jeff Clemmons’ 2012 book, Rich’s: A Southern Institution, the kiddie monorail debuted at the old downtown Rich’s for the 1956 holiday season, transporting small fry 10 and under in three chicken wire–like, mesh-enclosed metal train cars across the ceiling of the toy department as parents excitedly waved below.

As the late WRNG and WSB radio humorist Ludlow Porch reflected in his foreword to the 2004 book, I Rode the Pink Pig: Atlanta’s Favorite Christmas Tradition, his four-year-old daughter was so terrified of the thing she refused to ride it without him. “That’s when I made the biggest mistake of my life,” wrote Porch. “She got into a car and I squeezed my six-foot-plus frame into a space made for an eight-year-old. It was almost too tight to sneeze. By the time it was over, my body was numb. I was unable to move, let alone disembark the pig.” Porch was finally helped out of the yuletide death trap by a teenager running the ride. Looking at the metal monorail through modern eyes, it’s a wonder Santa didn’t hand out tetanus shots and Dramamine tablets along with candy canes to the brave youngsters exiting the original Pink Pig.

According to Clemmons, even in its first year, the ride was such a hit it attracted 90,000 riders and $9,000 in revenue at 10 cents per ride. In her 1967 book Dear Store: An Affectionate Portrait of Rich’s, the late Atlanta Constitution reporter Celestine Sibley writes that by the mid-1960s, the ride (now hoisted outside on the roof of the downtown store, where riders had a bird’s eye view of the emerging skyscrapers) had grown so popular that Rich’s even began resurrecting it for holiday sales at Easter.

In 1991, the Pink Pig was located at the Georgia Festival of Trees. Tickets were 50 cents per ride.

Photo courtesy of the Atlanta Journal-Constitution Photographic Archives. Special Collections and Archives, Georgia State University Library

But in 2021, the holiday tradition was finally mothballed during the pandemic by Macy’s, where it had been running an updated version of the Pink Pig at Lenox Square (the old Priscilla and Percival Pig twin trains, mesh wire and all, are now housed at the Atlanta History Center).

Blessedly, when the Pink Pig triumphantly returns this holiday season (Nov. 23 to Dec. 1) at the 2024 Georgia Festival of Trees at the Gas South Convention Center, the brand-new ride will be completely reinvented for modern families. “The original ride probably wouldn’t work today,” concedes Festival of Trees Executive Director Angie Ulibarri. “I’ve talked to people who rode the original, and while they have great nostalgic memories, they will also tell you it was a little scary.”

Ulibarri says when she took over the festival in 2021, Pink Pig fans came out of the woodwork, pleading with her to bring back the tradition the Georgia Festival of Trees temporarily inherited from 1991 to 1995—after the downtown Rich’s store closed and before it was transferred to Macy’s at Lenox in 2003. “I’ve never told people ‘No’ so many times in my life!” Ulibarri laughs. Finally, she listened, relented, and let the festival’s marketing team and her husband have one last crack at resuscitating the tradition with the help of a trademark attorney, who reached out to Macy’s, who still owns the Pink Pig name.

Angie Ulibarri, executive director of the Georgia Festival of Trees, with mascots Penny and Porter

Photo courtesy of the Georgia Festival of Trees

Miraculously, a deal was struck between the festival and the department store to bring back the ride. But the Lenox Square Pink Pig train was long gone, so the Georgia Festival of Trees had to create a new ride and characters. The costumed mascots greeting children this holiday season at the Gas South Convention Center are Penny (short for Penelope) and Porter, the grandchildren of Priscilla, the original Pink Pig.

The new open-air, five-car trackless train transports 30 passengers at a time, from grandma to granddaughter. Tickets are $5 each. A voiceover from Penny gives riders the history of the Pink Pig, along with highlights of the festival along the route.

Ulibarri says Penny is not your grandma’s Pink Pig. “She’s really wacky, so it might be a little bit of a wild ride,” she says. “Let’s just say it’s sometimes difficult for Penny to stay on topic. It should be fun and engaging and bring back the past but also offer a fresh new twist on the Pink Pig.” Costumed Penny and Porter pigs will also be on hand for photo ops with kids, and there’s new Pink Pig merch as well, from ornaments and T-shirts to a plush Penny doll.

With just days to go now before unveiling the new Pink Pig to Atlantans, Ulibarri says she is still pinching herself that they were able to pull off the return of the famed ride. “People get very emotional about the Pink Pig,” she says. “They cry and their hands start shaking, they get so excited. We’re thrilled that the festival was able to find a way to bring back this holiday tradition that resonates so deeply with Atlantans.”

Follow Us

69,386FansLike
144,836FollowersFollow
493,480FollowersFollow

NEWSLETTERS