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esonetwork · 17 days

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Sci-Fi In Film: The Early Years

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Sci-Fi In Film: The Early Years

In the new episode of Tales From Hollywoodland, join Steve, Arthur, Julian, and Mike as they discuss classic sci-fi movies from the early years of Hollywood. They are delving into the production, cultural impact, and personal anecdotes related to these films. They highlight the historical context of the era, such as the fear of atomic bombs, and the rise of sci-fi cinema. The conversation covers iconic movies like “The Blob,” “The Amazing Colossal Man,” and “Forbidden Planet,” noting their influence on later works like “Star Trek.” They also mention the use of color in films, the profitability of low-budget sci-fi, and the significance of drive-ins as social hubs. The episode is a nostalgic trip through the golden age of science fiction, celebrating the genre’s lasting appeal.

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#Earlysci-fifilms #Pre-1970sciencefiction #Hollywoodsci-fihistory #Classic sci-fimovies #Thegoldenageofsci-fi #Sciencefictioncinemapodcast #Sci-fifilmanalysis #Hollywoodhistorypodcast #Vintagesci-films #Hollywoodnostalgiapodcast #Sciencefictionstorytelling #Hollywoodclassicspodcast #Sci-fimovietrivia #Sci-fifilmindustr #Hollywoodcinemaevolution #EarlyHollywoodsci-fi #Hollywoodfilmhistory #Hollywoodsci-fipioneers #TalesFromHollywoodlandpodcast #ESONetwork

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humanoidhistory · 8 months

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Publicity still for Frankenstien (1931)

#frankenstein #boris karloff #monster #halloween #hollywood #history #horror #science fiction #sci-fi

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hometoursandotherstuff · 2 years

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Reasons why old Sci Fi is still so cool. They had food in pill form- I’ll have another potato pill, but I’m just too full for another chicken pot pie. From Conquest Of Space, 1955

Movie titles aren’t the same, anymore. The classic, “The Blob” from 1958. Doesn’t it look like strawberry jelly? (And, don’t forget The Attack of the Killer Tomatoes.)

Oh, shit! It’s coming down the stairs!

There was no green screen or special effects, so they built creative sets. From Time Tunnel, 1956.

Living in space was fancy. From 2001: A Space Odyssey by Stanley Kubrick, 1967

They had homemade aliens. Looks like it’s a giant spring, Boing! The Monster that Challenged the World, 1953.

They had lots of space babes. Missile to the Moon, 1958.

My all-time favorite old Sci Fi movie- The Attack of the 50 ft. Woman, 1958.

It’s the giant paper mâche hand that gets me every time. I wait for this scene.

Their little laser guns looked like plastic water pistols w/spark plugs. A ‘blaster’ gun from Forbidden Planet, 1956

Cool space fashion. Forbidden Planet, 1956 & Things to Come, 1936

And, look at this- didn’t those become the color Xmas tree wheels for the silver tinsel trees in the 60s? This Island Earth, 1955

And, finally, campy Adults-Only Sci Fi. They didn’t need no damn space suit.

https://www.messynessychic.com/2013/10/02/10-reasons-why-vintage-hollywood-sci-fi-is-still-so-good/

#old hollywood #vintage sci fi #long post #film history

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tygerland · 1 year

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2001: A Space Odyssey (1968)

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schlock-luster-video · 4 months

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On January 5, 1939, filming ended on Son of Frankenstein.

Here's some new Boris Karloff art!

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fans4wga · 10 months

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'The Hollywood strike can and must win – for all of us, not just writers and actors'

Excerpt:

"The thousands of workers engaged in this enormous, multi-union Hollywood strike – something America hasn’t seen since 1960 – represent the frontline of two battles that matter to every single American. You might not naturally pick “writers and actors” to be the backbone of your national defense force, but hey, we go to war with the army we have. In this case, they are well suited to the fight at hand.

The first battle is between humanity and artificial intelligence. Just a year ago, it seemed like a remote issue, a vague and futuristic possibility, still tinged with a touch of sci-fi. Now, AI has advanced so fast that everyone has grasped that it has the potential to be to white-collar and creative work what industrial automation was to factory work. It is the sort of technology that you either put in a box, or it puts you in a box. And who is going to build the guardrails that prevent the worst abuses of AI?

Look around. Do you believe that the divided US government is going to rouse itself to concerted action in time to regulate this technology, which grows more potent by the month? They will not. Do you know, then, the only institutions with the power to enact binding rules about AI that protect working people from being destroyed by a bunch of impenetrable algorithms that can produce stilted, error-filled simulacrums of their work at a fraction of the cost?

Unions. When it comes to regulating AI now, before it gets so widely entrenched that it’s impossible to roll back, union contracts are the only game in town. And the WGA and Sag-Aftra contracts, which cover entire industries, will go down in history as some of the first major efforts to write reasonable rules governing this technology that is so new that even knowing what to ask for involves a lot of speculation.

What we know for sure is this: if we leave AI wholly in the hands of tech companies and their investors, it is absolutely certain that AI will be used in a way that takes the maximum amount of money out of the pockets of labor and deposits it in the accounts of executives and investment firms. These strikes are happening, in large part, to set the precedent that AI must benefit everyone rather than being a terrifying inequality accelerator that throws millions out of work to enrich a lucky few. Even if you have never been to Hollywood, you have a stake in this fight. AI will come for your own industry soon enough.

And that brings us to the second underlying battle here: the class war itself. When you scrape away the relatively small surface layer of glitz and glamor and wealthy stars, entertainment is just another industry, full of regular people doing regular work. The vast majority of those who write scripts or act in shows (or do carpentry, or catering, or chauffeuring, or the zillion other jobs that Hollywood produces) are not rich and famous. The CEOs that the entertainment unions are negotiating with make hundreds of millions of dollars, while most Sag-Aftra members don’t make the $26,000 a year necessary to qualify for the union’s health insurance plan."

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disneytva · 16 days

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The Hollywood Reporter Unveils Preview To The Art Of Futurama

Maybe the drawings were a little crude, but all the characters were there

Abrams ComicArts, one of the leaders in the trendy format, will release The Art of Futurama, billed as the first art book to delve into the development and history of the acclaimed sci-fi comedy.

The book will be replete with the cool behind-the-scenes visuals the Art of books are known for and will come with commentary from creator Matt Groening, showrunner David X. Cohen and producer Claudia Katz.

📚The Art Of Futurama - October 8, 2024

AbramsComicsArts

Disney Publishing Worldwide

Disney Press

Disney Books

Disney Hyperion

From Matt Groening, creator of The Simpsons and Disenchantment, the first art book that delves into the development and history of his beloved TV series, Futurama—timed for the show’s 25th anniversary The world of Futurama comes to life in this deluxe art book, with commentary from the show’s creator, Matt Groening, showrunner David X. Cohen, and producer Claudia Katz. Just in time for the show’s 25th anniversary and the new season on Hulu & Disney+ , this first and only Futurama art book examines the first seven seasons of the series, which first aired on Fox in 1999. Readers can dive into the development and visual history of all 150 episodes, including brand-new content, never-before-seen concept art, sketches, developmental work, and a complete episode guide. TV Guide named Futurama one of the Greatest TV Cartoons of All Time. This comprehensive visual history is a must-have for any animation, television, or sci-fi aficionado.

#Futurama #Matt Groening #David X Cohen #30th Century Studios #30th Television Animation #20th Century Studios #20th Television Animation #AbramsComicArts #Disney Publishing Worldwide #Disney Books #Disney Press #Disney Hyperion #20th TVA Art Books

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melodylsimpson · 3 months

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Book-to-Movie/TV Adaptations From Black Writers

Did you know that only 160+ movies/shows have been adapted from books by Black authors since 1908? 4 of these were sci-fi/fantasy. Of the 160+ adaptations, 61 are adaptations of 2 books. Meanwhile, in YA alone, 50+ adaptations have been released in the past 20 years, half of which were sci-fi/fantasy. But that's not all.

My findings can be found in the essay, "Dear Hollywood, Where Are the SFF Book-to-Movie/TV Adaptations From Black Writers?" over on Reactormag.com, previously Tor.com.

Also, be sure to check out:

My Spreadsheet of ALL Black Book-to-Movie/TV Adaptations From Black Writers

My Letterboxd List of ALL Black Book-to-Movie Adaptations From Black Writers

Happy Black History Month!

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natlacentral · 2 months

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How the Costume Designer Behind Netflix’s ‘Avatar: The Last Airbender’ Brought the Iconic Animated Looks to Life

Farnaz Khaki-Sadigh explains why Aang's outfit was so hard to perfect and shares the easter eggs hiding in the show's fashion.

2005’s Avatar: The Last Airbender is one of the best examples of world-building put to screen in television history—thanks in large part to the show's fashion. The Nickelodeon animated series pulled its viewers into the magical universe of “benders,” by giving each of the world’s four nations—the Fire Nation, the Earth Kingdom, the Water Tribe, and the Air Nomads—a distinct, recognizable aesthetic inspired by Asian and Indigenous cultures. The original ATLA also handled intricate character arcs and heavy themes around war and colonialism with a nuance that both kids and adults could appreciate, and the gorgeous 2D animation sucked every viewer deeply into the fantasy world. So Netflix’s new live-action adaptation had a tall order to meet when it came to bringing the beloved cartoon to life.

The streamer met the challenge with an impressive, charming flair by gathering a talented cast and crew filled with fans of the original cartoon, including costume designer Farnaz Khaki-Sadigh. While speaking with Marie Claire over Zoom, the Emmy winner—who previously worked on sci-fi/fantasy shows like The 100 and R.L. Stine’s The Haunting Hour— shared how she was able to successfully infuse real-world cultural inspirations into all of the outfits. It's something she hopes has lasting effects outside of Hollywood: “I hope that it inspires [viewers] to learn about other cultures and different parts of the world, to want to go visit them and understand them,” she says of the new series.

Here, Khaki-Sadigh chats about her favorite costumes from the original series, her months-long research process, and the practicalities she considered while designing real-life versions of Team Avatar’s looks.

Marie Claire: How familiar were you with the original animated series when you got the opportunity to work on the Netflix show?

Farnaz Khaki-Sadigh: I watched it a dozen times before I even got the job. When it was first announced that they were going to do a live-action series, I was like, ‘I want to work on this.’ This is a dream job.

Now knowing you're a fan, how did you approach honoring the original show while putting your own spin on the live-action clothes?

FKS: I definitely wanted to pay homage to the original. I think a lot of that comes through with the color palettes that we've chosen. [Also] keeping the silhouettes of the original animation and then breathing life into it with real-world materials and inspirations from the various cultures. The animation is more of a broader reference of the Asian and Indigenous cultures, so we went in and did a bit more specification—to give it a more dimension and narrow each culture in the show down to a specific group.

With the Southern Water Tribe, for example, we did take a lot from the Inuit culture. But I also learned that they did a lot of trades with certain other Indigenous groups and Northern Vikings, so we have a lot of those influences coming into [their clothing] as well. With the Northern Water tribe, we went a little bit more towards the Siberian Indigenous groups, such as the Yupiks and the Turkic tribes, to give it more variety and differentiation between the two fictional tribal nations. Then with the earth-benders, we see other cultures referenced. Omashu is very much based on Southeast Asian and Indian cultures. Whereas, there are smaller towns that we see in certain episodes that are based on other Asian cultures and Asian countries. So we brought in some Korean influences and some Vietnamese influences [for those]. We wanted to give [each nation’s aesthetic] a broader spectrum as opposed to just unifying everything under the one umbrella.

What were some of the challenges you faced in bringing these animated looks to life?

FKS: It was definitely a lot of trial and error. You want to be authentic, but then you also have to take into consideration the fact that it is a show, and it is present-day as opposed to the mid-1800s, when the show is technically based on. They used a lot of materials back then that we don't use in the present-day. So it's just finding a balance of making the costumes look like they belong in that time period, but they're still comfortable enough for actors to wear today, and that they can move in it and fight and do all of their actions. We tested a lot of things. We built mockups and had stunt performers try to do fight moves in them to see what we had to change. Like if the weight of the armors were too heavy, or if they didn't sit properly, and [the actors] couldn't move their arms a certain way to do the bending that they needed to do. And we adjusted accordingly. We had a good enough chunk of time to do these trial-and-error runs to make sure that, once the garments were actually put on the performer, they were actually functional for them, and they could move and perform in them.

Is there a character who you really loved designing for, or one of the costumes that you're really proud of?

FKS: I cannot pick a favorite, to be honest. Every time a costume was done, and we would see it for the first time on camera, I think I cried a little bit because it felt so good. It felt surreal as a fan too, just to see everything come to life.

Aang has the most recognizable look out of all of the characters. What was the process of figuring out his costume?

FKS: That one was the hardest one because it is one of the simpler ones out of all of them. Just because it's simple, it doesn't make it easy. We had to go through so many different materials to make sure that it flowed and moved with the air-bending. Then we had to make sure that the colors worked with the animation, but were also realistic at the same time. They had to work within our Air Nomad world, especially since the Southern Air Temple was based on Tibetan monks and their aesthetic [on the show] was pulled from that culture and their color palettes. We decided that, within the Air Nomads, we couldn't use any synthetic materials or anything that came from animals, just because of what that culture is based on. Everything had to be natural fibers. For the color of the Cape, I think we went through anywhere between like six and 10 different fabrics. We made so many different capes for him because the color kept shifting under the lights. So we had to find the perfect material and the perfect color, that moved, looked great, and didn't change color under the camera lights. One of the simplest costumes took us the longest time to figure out, but it was worth it.

The show also has so many great accessories from Katara’s necklace and Sokka’s bone choker to the Fire Nation crowns and helmets. What was the process of figuring out which accessories from the cartoon would be brought into live action?

FKS: We wanted to feature anything that was really iconic to the characters. Katara's necklace is a very big part of her character. It's a memento from her mother that sort of brings the North and the South together. It's all those little things that really made the characters in the animation. You look at that piece and you know exactly who that person is without them actually having it on. So those are the elements that we wanted to include.

Did it ever get overwhelming to handle something on this scale of world-building?

FKS: Absolutely, all the time. I did so much research and so much reading and talking to people from those cultures and learning from them. I probably spent like three or four months before I started the project—just between prepping for my interviews and then prepping to start conceptualizing once I had the job. I was constantly trying to learn more about the materials that were used and why they were used, and why certain cultures used certain colors and what it represented. There's how the materials moved; how the garments moved; how different ranks and social status affected and influenced the garments in that time period; the wars, the trade routes, and what was and wasn't traded, what was traded for what...all of those things. It really was a historical study of the cultures within the story as well as in real life. For example, Kyoshi is very much based on Japanese culture, and specifically Samurai culture. There's actually a group of female warriors in Japan called Onna-bu Geisha. A lot of the inspiration for the Kyoshi Warriors comes from those female samurai warriors.

Are there any looks you're looking forward to bringing to life in future seasons?

I'd really love to do Ba Sing Se. That would be a world that I really would love to create, because I think there's just so much there that we can play on. I would love to do Ember Island. That was a really fun storyline in Book Three, and I think it would be really fun to realize that.

#natla #atla #avatar the last airbender #netflix avatar #netflix atla #avatar netflix #atla netflix #farnaz khaki sadigh #interview #marie claire

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legallybrunettedotcom · 1 year

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PLEASE do you have any film podcasts you recommend??

the next picture show is super interesting, they do roundtable discussions examining how classic films influence and inspire modern films so you'll have something like all the president's men and spotlight comparisons or the wicker man and the vvitch, i think it's cool to maybe have like double feature evenings, see what you personally notice and then hear what the "pros" have to say.

the big picture has reviews, especially of latest movies, but they also talk about some arthouse stuff. they also do these like top 5 lists, oscars analysis etc. roundtables and interesting guests

the rewatchables it's what it says on the tin. rewatching movies and talking about them.

you must remember this host does incredible research, it's really about like secret and forgotten histories of 20th century hollywood. they did like a 12 part series on eroticism and sex in 80s cinema it's so interesting.

filmspotting and the film cast for reviews of new and old as well

sardonicast does pretty much everything

sleepover cinema is super fun and definitely the type of podcast i would want to have, just two friends talking about late 90s/early 2000s movies and pop culture in general that sort of shaped the collective unconscious of "girls and gays" as they say

black on black cinema for black film reviews and discussions

reel asian podcast for asian and asian american film reviews and discussions

a piece of pie for lgbt films and topics and subtext and such

junkfood cinema for shitty and cult movies. i haven't listened to how did this get made but it's also about bad movies we love.

blank check cover entire filmographies of directors

space brains for science fiction

final girls horrorcast for horror, sci-fi, thrillers both well known and obscure

i think these are all i've listened to at some point, can't say i religiously follow any one in particular but i can say all of these are pretty great. it's just a matter of which hosts and guests don't annoy you lmao. sometimes i'll just search for a specific movie or director on spotify and some episode will pop up so i'll check it out. hope you find something you like!

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power-chords · 2 years

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Simply one of the greatest movies ever made.

#contact #contact (1997)#carl sagan #ann druyan #robert zemeckis #jodie foster

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pandoramsbox · 6 days

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Sci-Fi Saturday: Cosmic Voyage

Week 17:

Film(s): Cosmic Voyage [AKA The Space Voyage] (Космический рейс, Dir. Vasili Zhuravlov, 1936, USSR)

Viewing Format: DVD

Date Watched: 2021-09-24

Rationale for Inclusion:

My partner and I are not just science fiction nerds, we're also space race history nerds. Part of the interest in watching any Soviet produced sci-fi films is better understanding the cultural context for the later real life firsts associated with Sputnik and Yuri Gagarin. As we moved into the 1950s section of the survey, we frequently found ourselves asking, "Had Sputnik happened yet?" and that milestone will no doubt be invoked when I get to that decade of films.

The other reason Cosmic Voyage [AKA The Space Voyage] (Космический рейс, Dir. Vasili Zhuravlov, 1936, USSR) was of interest when I ran across it during my titles roundup for this survey was that it is a silent film.

If you've been paying attention to this series, then you may recall that the last silent film discussed was Woman in the Moon (Frau im Mond, Dir. Fritz Lang, 1929, Germany). Histories of the Hollywood film industry have the silent film era ending in 1929, with some notable exceptions, mainly made by Charles Chaplin. In other countries their silent eras lasted longer due to the complications and expense of technical conversion and/or artists who accompanied the films not wanting to give up their jobs. In Japan, for example, silent films continued to be produced until 1939 due to katsudō benshi narrators being an essential component of the country's filmgoing experience.

In Soviet Russia, their film industry began converting to sound around 1930 and had essentially stopped producing silent films by 1935. Cosmic Voyage is an outlier largely due to its prolonged production, which began in 1932 amid the overlap of formats. The creation of futuristic sets, special effects to create the illusion of space travel, and stop motion animation sequences took awhile to create and combine in the analog era.

Once Cosmic Voyage finally was completed, it only had a brief theatrical run in 1936. In the middle of its four year production, the Soviet leadership had declared in 1934 that a doctrine of socialist realism would govern the written and visual arts throughout the Soviet Union. Having the goal "to depict reality in its revolutionary development," the censors found Cosmic Voyage with its use of special effects to be too fanciful for widespread public consumption. If they knew that pioneering rocket scientist Konstantin Tsiolkovsky had been a consultant on the screenplay, it may not have factored into the censor's decision process.

Amid cultural shifts in the 1980s, Cosmic Voyage began making the rounds at international film festivals and gradually came to film nerd consciousness.

Reactions:

Like The Woman in the Moon before it, watching Cosmic Voyage comes with the joy of how many things the filmmakers got right about spaceflight and microgravity. It also has the same narrative structure and concerns that would be oft repeated in the 1950s films about experimental space flights.

As a late silent film, unencumbered by early sound technology, the cinematography is quite wonderful, and shows off the amazing set pieces. We were particularly amused by the fact that the spaceship is effectively shot out of a rail gun. I like the symmetry of the first space flight silent film that we watched, A Trip to the Moon (Le voyage dans la lune, Dir. Georges Méliès, 1902, France), and the last one using the same means of launching their spacecraft.

Overall, Cosmic Voyage is a nice piece of cinema that straddles where spaceflight movies had been thus far, and what they would evolve into.

#sci-fi saturdays #silent cinema #soviet cinema

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raisinchallah · 10 months

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you know im really fascinated by people who think alien is some kind of incredible anti capitalist text or something like surely your standards are not so low and like idk unless all you watch are like action movies funded by the us military or something surely you have seen a few evil corporation movies in your day like its a stock trope of a lot of bleaker sci fi like im not saying its a bad or evil secretly conservative movie im just like this is a pretty common trope even in american blockbusters whats so special its not like this was made at peak mccarthyism hollywood is contemplating releasing death of a salesman with a 10 minute short about how great being a salesman is so nobody gets called a communist like in some ways the evil corporation plot like its so over the top so comically evil and especially with how its often implemented in cyberpunk stories is also often written as like asian usually japanese encroachment on american cities intentional racist xenophobic angle and like also obfuscation and transferal of blame from american companies and like ridiculous reversal of actual history of american interests in economies in asia whatever but this is unrelated to alien i just think in general treating like evil corporation plots as something like deep and not just a broadly accepted opinion like a lot of people think their boss is greedy and sucks or giant corporations are kinda scummy this isnt like radical and that making them so comically evil and involved in weird convoluted sci fi plots also in some way disconnects the idea from reality and defangs the whole venture of whatever edge people might think it could have like its literally an expensive blockbuster etc etc

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schlock-luster-video · 1 month

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On April 15, 1932, Frankenstein debuted in Japan.

Here's some new Boris Karloff art!

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walks-the-ages · 1 year

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Twenty-five years after the influential sci-fi show went off the air, an animated movie will bring back six members of the original cast. Babylon 5 is coming back as an animated movie, series creator J. Michael Straczynski revealed last week, and today The Hollywood Reporter has the exclusive on what it’s about: Sheridan traveling through the multiverse in search of a way home. The basic synopsis, via THR: “Travel across the galaxy with John Sheridan as he unexpectedly finds himself transported through multiple timelines and alternate realities in a quest to find his way back home. Along the way he reunites with some familiar faces, while discovering cosmic new revelations about the history, purpose, and meaning of the Universe.” As Straczynski hinted, many of the original surviving cast members are returning, including Bruce Boxleitner (Sheridan), Claudia Christian (Ivanova), Peter Jurasik (Londo), Bill Mumy (Lennier), Tracy Scoggins (Lochley), and Patricia Tallman (telepath Lyta Alexander). What’s a little surprising is that many of the cast members who tragically died over the years also have returning characters, with Delenn, G’Kar, security chief Garibaldi, Dr. Franklin, original Babylon 5 commander Jeffrey Sinclair, and the omnipresent Zathras all voiced by new actors. Then again, it’s a multiverse play: they could well be very different versions of themselves. If you’ve ever watched Straczynski’s excellent Netflix series Sense8 (co-created with the Wachowskis), you can easily imagine how he could nail such a story with shifting, intertwined personalities. It’s not clear when during the B5 timeline the story is set or whether that necessarily matters — without spoiling the original show, fans might say it wraps up Sheridan’s story fairly well while leaving an opportunity for more. Straczynski has said on Twitter that the new film “feels the most B5-ish of anything we’ve done since the original show” and suggested it’ll debut at San Diego Comic-Con 2023, which begins July 20th.

I don't know if the news hasn't spread here yet or I simply don't follow enough Babylon 5 blogs, but we now have a title, synopsis, and release date for the Babylon 5 movie!!! It's coming out in 2 months as of this post!!

#babylon 5 #bb5 #b5 #Babylon 5 the road home #babylon 5: the road home #the road home #babylon 5 spoilers #bold text #italics

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doctoriletyougotogalaxy · 10 months

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Deniz Melissa Benetton

Rocco Benetton is the son of Luciano Benetton, one of the four founders of the Italian fashion brand Benetton. He met Bahar Boyner, the sister of Boyner Holding's founder, their distributors in Türkiye, in 1995. They got married in 1998, and in 1999, their daughter Deniz Melissa Benetton was born.

Deniz spent half of her childhood in Italy and the other half in Türkiye. The excitement of Formula races in Italy and his father's F1 background drew her into the sport, and at a young age, she developed an interest in it. Deniz participated in regional karting races and achieved unexpected success. In 2015, she joined the Ferrari Academy, where she won 1 Formula3 and 1 Formula2 championships. In 2018, she took his first step into Formula 1 by becoming a test pilot for Ferrari. In 2019, she filled Kimi Räikkönen's vacant seat and finished her first season in Formula 1 in 10th place. In the 2020 season, she had a victory in Canada and finished the season as 8th. In 2021, she moved to McLaren and ended the season in 5th place with 2 victories. In the 2022 season, she finished 6th. At 2023 season, she moved to Mercedes, she is currently racing for this ream.

Deniz considers Türkiye as her second home. She is native at Turkish and Italian, fluent in French, and English, and she speaks German and Spanish midly . Also she tries to learn Russian and Japanese.

Thanks to her achievements in the lower category series and her family's business, she didn't face many difficulties in finding sponsorships. As the only female driver on the grid, she receives both strong support and negative reactions from different groups. She responds to the sexist questions with a sharp tongue, and during these moments, her friends like Vettel and Hamilton also defend her, and she appreciates these moments.

Being the only female driver on the grid, Deniz is featured in more programs on SkySports and the F1 YouTube channel compared to others. She is close friends with Lando Norris, and she tries to get along with everyone on the grid, admiring Vettel and Räikkönen. She feels happiest and pushes herself the most during races in Italy and Türkiye. When she won in Türkiye in 2021, she couldn't hold back tears of joy.

Deniz is known for being sarcastic. When she first appeared in front of the cameras, she was perceived as insincere and faced criticism, but over time, she got used to being in front of the cameras and felt more comfortable as she established a genuine connection with the people around her, leading to more positive feedback. Of course, there are still some misogynistic detractors, but there is also an army of supporters fighting for her on the internet.

Above all, she is a nerd, geek, and fangirl. She knows even the smallest details about various subjects, from superheroes to Eurovision history, from old Hollywood sci-fi movies to astronomy. Sailor knots, morse code, origami, sign language... She doesn't stop until learn everything about a subject she interested to. If she doesn't wear F1 merchandise, she's probably wearing Star Wars or Marvel merchandise because her wardrobe consists mainly of that. After learning to read and write, she researched F1 history and documented every significant event in an old notebook. She has an extensive F1 almanac that starts from the first race in 1950 and covers scandals like Spygate and Crashgate, as well as details like Nelson Piquet's race rankings in different races and the rules that applied in different years. She was also successful at school lessons until she fully concerned to F1. She thinks about studying astrophysics after her retirement from F1. Also she writes various fanfictions on Tumblr and AO3, but her account is unknown.

Her favorite sport after F1 is swimming. While she's swimming, she doesn't think about anything else. There's nothing better for her to clear her mind and relax before and after races.

She actually loves Turkish cuisine more than Italian cuisine. She spent all her summer holidays in Turkey during her childhood and holds a deep affection for the country. She shares celebration messages for national and Islamic holidays on social media.

Sometimes, she sees videos that edited in a romantic way about her and other pilots. And although she was embarrassed by them at first, she no longer cares. She maintains a professional attitude towards her work. (No one knows that she constantly listens to War of Hearts by Ruelle and thinks about Mick Schumacher.) Her closest friends on the grid are Lando, Carlos, Charles, and Mick. She spends most of her time with them during events and F1 media department chooses her with mostly these 4 to make content.

She is a huge fan of literally every driver that she watched at her childhood; Vettel, Raikönnen, Schumacher, Button, Webber, Rosberg, Alonso... She thinks that she is the luckiest person because she was reserved pilot at Ferrari while Vettel and Raikönnen racing. She had biggest crush on Sebastian and Jenson when she was a child. In 2019, while playing an ask game, Seb asked her who was her childhood crush is. She immediately blushed and started laughing while throwing hinting looks at Seb, after he understand, he started laughing too and said that it was cute. She covered her face with her hands and stand up by saying that she needs to find someone to hit her with a car. And everyone knows about her crush on Jenson because she revealed this in her very first interview made by Jenson Button's himself.

Carlos Sainz and Charles Leclerc are like brothers to Deniz. She loves spending time with them. Charles is always so kind to her, and a photo of her sleeping on Carlos' shoulder after FIA's prize night is wandering around the internet.

Mick Schumacher and Deniz know each other since they were babies. She found a photo of them with pacifiers in their mouths, for Netflix show producers from their infancy. She posted the photo on Instagram and got a response from Mick, another babyhood photo. They didn't grow up together, just 2 people who knew each other but lived far away. After the accident of Michael Schumacher, they made a phone call, did not speak, just cried loudly. They met at some karting races and had a little chat while their mothers taking photos. Years passed without intimate acquaintance until they met again at the F1 paddock. Mick's kindness and endless radiance of sunlight drew her in immediately as it evoked some warm childhood memories. She tries very hard to keep things professional. But some fans on the internet are catching how she acts different and timid around him. How she blushes and laughs awkward-long after she making him laugh. No, she should keep things professional.

She started a campaign to get women's attention to motorsports with Susie Wolff. Also, she attends to some activities for protecting environment. She posts some campaigns and news about global warming at social media. After his retirement, she started supporting Sebastian Vettel's bee campaign. She also fights for homophobia, Islamophobia, antisemitism, sexual discrimination, racism, animal rights... She just tries to make the world a better place.

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