by Hannah Ogilvie
Your host, fat fashion and film & tv aficionado Hannah Ogilvie (@queenbeastsays), dissects the media representation of fat bodies and other body types. Each week a film or TV show is under the representation microscope to evaluate how these larger characters are treated either positively and negatively and discuss the very real life impact of the media's portrayal of bigger bodies. @fatsonfilm on Twitter and Instagram. Cover art by Hamish Mèk Chohan - can be found on IG at @unpackingtheself
Language
🇺🇲
Publishing Since
3/1/2023
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September 4, 2025
<p>Honey, you look a mess.</p><p><br /></p><p>Summary</p><p><br /></p><p>In this episode of Fats on Film, host Hannah Ogilvie and guest Dr. Vincent M. Gain delve into the 1958 film Touch of Evil, exploring its themes of fat representation, corruption, and cinematic techniques. They analyze the character of Hank Quinlan, portrayed by Orson Welles, as a symbol of excess and moral ambiguity within the film noir genre. The conversation highlights the cultural implications of fatness, the subversion of stereotypes, and the film's commentary on law enforcement and morality. Through a critical lens, they discuss the use of fat suits in cinema and the broader societal perceptions of fatness. In this conversation, Vincent and Hannah delve into the themes of Orson Welles' 'Touch of Evil', exploring the menacing atmosphere created by Quinlan's character, the representation of innocence through Suzie, and the moral complexities faced by Vargas. They discuss the film's commentary on power dynamics, the anticlimactic end of Quinlan, and the evolution of corrupt cop characters in media. The conversation also touches on the impact of media on public perception and imagines a modern remake of the film, highlighting the ongoing relevance of its themes.</p><p><br /></p><p>Links to Vincent's content;</p><p><a href="https://www.instagram.com/drgaine/" target="_blank" rel="ugc noopener noreferrer">@drgaine </a></p><p><a href="https://vincentmgaine.wordpress.com/" rel="ugc noopener noreferrer" target="_blank">https://vincentmgaine.wordpress.com/</a> <br /><a href="https://open.spotify.com/show/2Bii5oZWSs9NHw2XZeK5p3?si=53a216a5aea344e4&nd=1" rel="ugc noopener noreferrer" target="_blank">https://open.spotify.com/show/2Bii5oZWSs9NHw2XZeK5p3?si=53a216a5aea344e4&nd=1</a> </p><p><br /></p><p>The Podcast's socials;</p><p><a href="https://www.instagram.com/fatsonfilm/" rel="ugc noopener noreferrer" target="_blank">IG</a></p><p><br /></p><p>Hannah's stuff;</p><p><a href="https://www.instagram.com/queenbeastsays/" rel="ugc noopener noreferrer" target="_blank">IG</a></p><p><a href="https://www.tiktok.com/@queenbeastsays" rel="ugc noopener noreferrer" target="_blank">TikTok</a></p><p><br /></p><p>You can also email the pod at fatsonfilm@outlook.com</p><p>Takeaways</p><p><br /></p><p>Touch of Evil is a significant film in the noir genre.</p><p>The opening scene features a groundbreaking long take.</p><p>Hank Quinlan's character embodies excess and corruption.</p><p>Fatness is used as a cultural concept in the film.</p><p>The film subverts traditional hero-villain roles.</p><p>Corruption in law enforcement is a central theme.</p><p>The film explores liminal spaces between cultures.</p><p>Quinlan's character is a representation of self-medication.</p><p>Tanya's character offers a unique perspective on Quinlan.</p><p>The use of fat suits in cinema carries cultural implications. Quinlan's influence creates a menacing atmosphere throughout the film.</p><p>Suzie's naivety represents the corruption of innocence.</p><p>The film explores the moral complexities of its characters, particularly Vargas.</p><p>Quinlan's character serves as a critique of power dynamics in society.</p><p>The anticlimactic end of Quinlan reflects the film's themes of corruption.</p><p>Body size is used to represent power and influence in the film.</p><p>The portrayal of corrupt cops has evolved in modern cinema.</p><p>Media plays a significant role in shaping public perception of law enforcement.</p><p>The film's themes remain relevant nearly 70 years later.</p><p>Imagining a modern remake opens discussions about contemporary issues.</p><p><br /></p><p>Keywords</p><p><br /></p><p>fat representation, Touch of Evil, Orson Welles, film noir, Hank Quinlan, cinematic techniques, cultural concepts, stereotypes, morality, fat suits, Touch of Evil, Quinlan, film analysis, corruption, innocence, power dynamics, Orson Welles, body representation, media influence, remake</p>
July 31, 2025
<p>Hey baby, I hear the blues a calling, tossed salads and a brand new episode of Fats on Film!</p><p><br></p><p>Hannah was joined by TV Columnist at New Scientist, Bethan Ackerley, to talk about 90s sitcom staple Frasier. </p><p><br></p><p>We both absolutely adore this show, however it does have some problematic moments when it comes to fatness mainly with the Daphne weight gain storyline. But then surprisingly has very fair, even positive, representation with other fat characters like Daphne's fiance Donny. It is a mixed bag and we do have to remember this is a show in the 90s!</p><p><br></p><p>We explore the cultural impact of Fraiser, our favorite characters and our go to lines which still make us laugh 30 years on. </p><p><br></p><p>You can find Bethan at;</p><p><a href="https://www.instagram.com/inkerley?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==" target="_blank" rel="noopener noreferer">Instagram</a></p><p><a href="https://bsky.app/profile/inkerley.bsky.social" target="_blank" rel="noopener noreferer">BlueSky</a></p><p><a href="https://letterboxd.com/inkerley/" target="_blank" rel="noopener noreferer">Letterboxd</a></p><p><br></p><p>The Podcast's socials;</p><p><a href="https://twitter.com/fatsonfilm">Twitter</a></p><p><a href="https://www.instagram.com/fatsonfilm/">IG</a></p><p><br></p><p>Hannah's stuff;</p><p><a href="https://twitter.com/queenbeastsays">Twitter</a></p><p><a href="https://www.instagram.com/queenbeastsays/">IG</a></p><p><a href="https://www.tiktok.com/@queenbeastsays">TikTok</a></p><p><a href="https://letterboxd.com/queenbeast/" target="_blank" rel="noopener noreferer">Letterboxd</a></p><p><br></p><p>You can also email the pod at fatsonfilm@outlook.com</p><p><br></p><p>fat representation, Frasier, sitcoms, body image, media critique, character analysis, Daphne, Niles, Donnie, Kenny, Frasier, relationships, race, body image, Maris, eating disorders, Niles, heart attack, side characters, reboot</p><p><br></p><p>Takeaways</p><p><br></p><p>Frasier is a significant sitcom that explores various themes, including fat representation.</p><p>Sci-fi often lacks positive fat representation, with characters like Jabba and Baron Harkonnen being negative examples.</p><p>Daphne's character development and fashion choices reflect societal standards of beauty.</p><p>The show critiques fat representation through various character arcs, particularly Daphne's weight gain storyline.</p><p>Fat jokes in Frasier often lack sensitivity and depth, reflecting societal attitudes towards body image.</p><p>Daphne's relationship with food becomes a focal point in her storyline, highlighting disordered eating patterns.</p><p>Supporting characters like Kenny and Donnie provide a contrast to the main cast's dynamics.</p><p>The portrayal of fat characters in Frasier often leans towards stereotypes rather than nuanced representation.</p><p>The show navigates complex relationships, particularly between Niles and Daphne, showcasing emotional depth.</p><p>Frasier's handling of fat representation reflects broader societal issues and attitudes towards body image. Frasier's relationships are complex and layered.</p><p>The impact of race in Frasier's dating life is significant.</p><p>Frasier has a type: model-like women.</p><p>Maris is the prototype for the unseen character trope.</p><p>Eating disorders are often used as humor in Frasier.</p><p>Niles' heart attack challenges stereotypes about health and weight.</p><p>Bebe Glazer is a standout side character in the series.</p><p>The Frasier reboot feels stilted and lacks the original's charm.</p><p>Frasier's legacy is complicated by its representation of fat characters.</p><p>The show receives a two out of five for fat representation.</p><p><br></p><p><br></p>
July 10, 2025
<p>Learn about emotions and bring your tissues - we are talking Inside Out!</p><p><br></p><p>I was joined by singer-songwriter Kate Yeager to dive deep into the emotional well of this film. We speak about the character of Sadness and the decision to portray her as round. We theorise what could have been if Riley was portrayed in a plus size body and we pour one out for the King - Bing Bong.</p><p><br></p><p>This may be the most tangential episode yet covering the need for plus size baths, medieval themed restaurants and our experiences existing online. </p><p><br></p><p>Follow Kate at the below;</p><p><a href="https://www.instagram.com/kateyeagermusic?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==" target="_blank" rel="noopener noreferer">IG</a></p><p><a href="https://www.tiktok.com/@kateyeagermusic?is_from_webapp=1&sender_device=pc" target="_blank" rel="noopener noreferer">TikTok</a></p><p><br></p><p>The Podcast's socials;</p><p><a href="https://twitter.com/fatsonfilm">Twitter</a></p><p><a href="https://www.instagram.com/fatsonfilm/">IG</a></p><p><br></p><p>Hannah's stuff;</p><p><a href="https://twitter.com/queenbeastsays">Twitter</a></p><p><a href="https://www.instagram.com/queenbeastsays/">IG</a></p><p><a href="https://www.tiktok.com/@queenbeastsays">TikTok</a></p><p><br></p><p>You can also email the pod at fatsonfilm@outlook.com</p><p><br></p><p>Do hashtags work on show notes? Lets find out!</p><p>#InsideOut #Pixar #EmotionalIntelligence #FatRepresentation #Podcast</p>
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Your host, fat fashion and film & tv aficionado Hannah Ogilvie (@queenbeastsays), dissects the media representation of fat bodies and other body types.
Each week a film or TV show is under the representation microscope to evaluate how these larger characters are treated either positively and negatively and discuss the very real life impact of the media's portrayal of bigger bodies.
@fatsonfilm on Twitter and Instagram.
Cover art by Hamish Mèk Chohan - can be found on IG at @unpackingtheself
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