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That's Amazon.com-ad-free-true-crime to catch up on the latest episodes without the ads. Who Doesn't Love Costumes? We play dress-up as kids. We plan for Halloween for months. And not to get deep here, but aren't all clothes costumes. The way we dress is part of a performance of who we are. We all know the power that can come from a certain outfit. How it can make us feel totally different.
Whether or not you personally care about clothes, I think we can all agree that they matter. And they matter a lot in movies. Especially in rom-coms. A cornerstone of many rom-coms is the makeover sequence, or the fashion show. Think of the shopping scenes in pretty women, where Julia Roberts totally changes her look. Or the montage in 27 dresses, where Catherine Higel tries on all of the bridesmaid dresses in her closet.
A lot of rom-coms simultaneously operate as a fashion magazine, giving us gorgeous, aspirational outfits to look at and covet. How to lose a guy in 10 days has the iconic yellow dress, of course. But there is also fascinating costuming throughout the movie. When Andy is trying to hook a guy, she dresses one way. When she's trying to lose him, she dresses another way.
Her clothes are one of the ways that we are glued in to which version of herself she's portraying. And it tells us something about what this movie thinks, annoying women, dress-like. Costumes tell a story. And I have so many questions about what story they are telling in this film. To help me analyze them today, I'm talking to Colin Wilkes. Colin is a costume designer whose designed theater, opera, puppetry, TV, and film in many genres.
Her design work on rom-coms includes the 2020 Hulu movie Palm Springs and the 2022 Netflix movie Look Both Ways. She's currently the designer for the Apple Plus show Big Door Prize. I'm Vanessa Zoltan, and this is Hot and Bothered. Hi, Colin. Thank you so much for coming on to talk to us about costumes. Hi, Vanessa. Thanks so much for having me. It's a pleasure.
Okay, so what does a costume designer do? You arrive at your first day of work. And like, is there a brief? Who tells you what your job is? How do you decide where to go? All of it. Well, typically it's a one-person show when we first get the script. So there's this really magical incubation time where you've been hired on a project. You've probably done a pitch. So you have a little bit of a lookbook or at least some basic imagery as jumping off points for the project.
But then this is probably about a couple of weeks where you're just flying solo, able to really dig your teeth into the project. So it's the research time. It's really kind of getting familiar with who these characters are and thinking about the world. And then it kind of blooms out and you get to hire your team. And then that's when the physical part starts where you start to gather all of the images and then start shopping. All of your team has all their things to do.
And then it's about four to six weeks is a typical feature length. So that gives us a pretty short amount of time actually. And then we get the actors around last two weeks of prep. And then we go right to camera. And so if you get a script and it says Nancy is preppy, who decides what preppy means? Are you going to the screenwriter and saying, what year is this taking place? How are you figuring out what that look means?
It's a good question because obviously these kind of touchstone archetypes that we see have really evolved over the last 20 years. And so prep now can look very different. So typically what I like to do is have my interpretation of it. So I'll put a mood board together. And then if the writers involved because sometimes they're a little less involved, sometimes the writer is the director. They'll have ideas to and we kind of marry them.
And the other kind of key component of it is the actor. I mean, a lot of times actors can be great chameleons, but it's like, can this person rock this look? And if they aren't cast, you really kind of have this moving target of like, how are they going to fit this bill? You know, so sometimes when you watch a movie or TV show, right, like this world has a very distinct style.
It's not necessarily about any like individual character. There's a vibe of the whole shoot. So who are you collaborating with as a costume designer? Are you like talking to set designers so that if the background is white, they can wear blue to pop. Who are you talking to? Great question. I mean, this is such a integral process with your collaborators. It's like light needs be where you're prepping things. So that kind of key communication is really important.
And so the way that I like to kind of approach projects is a three step process. They're kind of like nesting dolls the way I like take things apart and look at them. But with story, I like to kind of focus on details. That's one part. So how is this costume fitting on the body? What are the kind of key components? Is it the ring that she wears the whole time or is it like a whole in there, you know, just these kind of granular details.
And then the second piece is how does it show up in the frame? And I think that's where that kind of key part of talking to your collaborators, the DP, the production designer, set decorators, all of that. How is this body composed in the frame in space? And the third is really looking at it on the macro scale of how is this person looking through time and space? So how is a character developing and how is the story kind of helping that happen?
So it is a really important piece of that to be able to say, OK, well, what is it emotionally saying when we are making them pop in a red against a white and using all of those kind of visual cues to help us with story is really powerful. So yes, very important part. You have worked across a lot of different genres. I am wondering if you get a brief and it's like you are making a rom com. What does that tell you immediately about certain things in terms of how you design?
rom coms are specifically fun because I know I can be playful. There are more liberties that I can take to help drive the story of the kind of like excitement of love. What that kind of flirtatiousness looks like, how we present ourselves as our best selves. It's a little bit more exploratory and you're getting to maybe create a world that can be a little bit more vibrant because it's totally it feels a little more light on its feet.
Yeah. So when you're watching a rom com, what are you looking for that I wouldn't know to look for when are you like, wow, that person did a really great job. This is so well designed. Are you like, I do that differently.
I really like to see the most real authentic version of how we live and how we dress ourselves and how we are in our intimate spaces, how we are in our public self. You know, rom coms can kind of turn in that aspirational way where I feel like they get a little too shiny and they lose the lustre of the humanness. I think that does hurt story and my perception of things because of how we want we want to view ourselves in these characters, right. That's what helps us take the journey with them.
One of the first movies I remember really noticing costumes was in reality bites. I was like, oh, one owner writer is wearing the same dress for her internship that she wore at graduation. But she's wearing a gap shirt that she probably got for free because her roommate works at gap over that like I was like, yes, this makes story sense like she's broke so she's layering free items. I really like that.
Yes, totally. And I think the other thing I look at is really kind of what color story is saying is there kind of the stylistic choices that the designer has made or the production designer and how's the cinematography kind of like guiding those things through story. Well, okay, so what is the color story of how to lose a guy in 10 days. You know, it's really interesting because this is a fashion romcom. I mean, for sure, you got the low key luxury Andy is decked out all the time.
But I do like how instead of color story, it's more just about how much of a chameleon she is. It's kind of a fun thing to look at who Andy is in these different settings, right. Like the simplicity of when she goes home with Ben and how kind of classic a time with all of these looks are really. And I think that's what kind of like helps it stand the test of time to the story like this.
But there's sort of like two different Andy wardrobes. There's like cool slash real girl Andy and then there's trying to get Ben to break up with her annoying Andy. I have some questions about annoying Andy's costumes. Yeah, why is matching annoying because annoying Andy has a dress with a matching headband and a matching bag. Why are we like got it. She's annoying. I'd break up with that.
That match you lady. There's something that is so uptight. I think visually that we see about someone like that. It's so visually a lot like the need to be seen and the kind of garrisonous that comes with that that I think that that is where as an audience member.
We have an actual reaction. And that's where those kind of costume moments can really play to our advantage when we are designing to rom coms because it's like there's these cues of the matching shirts at the sling yon show and they're so fucking loud and garish and she has that moment where she breaks in to his apartment when they're playing poker.
She has a matching purse. It's like a polka dot and then it has a matching dress with it. But there's that kind of 50s female silhouette too, which I think also speaks to her playing the part a little bit more in those spaces of fake Andy. Yeah, I had not been able to articulate why matching is coded as annoying is it's because you're picturing hardgoing home at night and emptying out that purse in order to put all of her belongings in her new purse that matches her outfit for tomorrow.
It just shows a level of controlling this in organization. Yeah, it's very type A. Yeah, you have a purse for every outfit. Yes, yeah, yeah, barely have a purse for any outfit.
And there was this, you know, the era of it kind of transitions, right, where I mean, I remember when having the Kate spade bag was really popular and now it's back. And so I mean, this is a particularly unique film because the early odds are their fire right now. So I feel like revisiting those kind of things is really interesting because they're popular again.
They can go out and say something else at a different time when you're watching it. You know what I mean? Oh, this person is wearing it in this era. They're not really clued into what the fashion is. So it's really like about setting time and place to and when you're watching it. What do you think cool girl Andy is coded to us? How are we supposed to know that this is like someone we'd want to hang out with. I think because she has this balance of chic, timeless feminine.
And there's such a variety that we see her in, you know, we see her sunbathing with her friends and in casual clothes and then in an A tank and jeans that I still don't totally understand the trend of having the top button and button like they're almost done. But I'm off where Laura is coming back, whatever. But you know, in that way that there's all these kind of subtleties in the way she wears things. She's like forever cool girl without being too dated. And there's a lot of beige.
I mean on everybody. Yeah, it's a lot of monochromatics. Beige. What do you make of her statin island outfit statin island is this like very strange place where she's like kind of being cool girl Andy, but also still has to be annoying losing Ben Andy. And so she shows up in this white dress. Is that supposed to be coded as a knowing Andy or is that cool Andy usually I can be like got it annoying Andy.
Yeah, I think there's some pieces where and I can't speak to Karen's kind of like visual mapping of how the store plays out with how she's dressing, but it feels like there's a little bit of neutral zone right where we see this kind of like vulnerability emotionally in those moments.
So it's kind of nice to have the lines blurred where you don't know, you know, and I think that that gives a little bit more of an insight into kind of how the relationship actually is unfolding naturally and yeah, I didn't pick up on one way or the other not part either. I love a costume that makes me imagine another scene. And with this outfit I can imagine Andy being like, what do I wear because I don't want to be a dick to his mom.
Yeah, totally like the care I still have an assignment to do. Yeah, but like now other people are getting involved. So like what do I wear where I can stay in character, but not be a total asshole to these totally unassuming people. Yes, for sure. So there's that outfit and then you know when they're writing on this motorcycle and they get splashed with water and it's like who cares.
And they're both in these very simple outfits, which I think is just such a nice truck down version of seeing them kind of fall in love and outside of their space outside the elements of the facade of work and having to put on a front in many different ways like all these different person has stacked up. Can you talk to me about Matthew McConaughey's clothes in this movie? What am I supposed to know about Ben based on his clothes?
He is a guy that clearly doesn't take a lot of feminine influence. I mean, and this speaks to also where costume design and production design play with each other. You know, like so we go into Ben's office and we see it kind of mirroring a lot of his color palette and these denoms and deeper blues and then he throws on a work shirt.
So who does he become at work? You know, he's not somebody that wants to be uncomfortable and these kind of like tight clothes and they're both people that feel able to be themselves in their work environment knowing who they are. You know what I mean, which I think is kind of a nice thing in seeing in their costumes because there's a comfort ability and a kind of like casualness they both have. It was likeable for both of them. You know what I mean? It wasn't stuffy and over the top.
Good taste is easy to spot but hard to pin down. You know it when you see it and in today's culture there's no greater signifier of taste than the car you drive. You want something is sophisticated but not stodgy. Daring yet classic, approachable but with an air of opulence. That's where the Range Rover Evoke comes in. The Reductive Xtereer is an elegant expression of Range Rover DNA and the Chiseled Tay Light Graphics give the evoke a sense of motion even at Stansteel.
Explore the Range Rover Evoke at LandRoverUSA.com. Ryan Reynolds here for I guess my hundreds mid commercial. No, no, no, no, no, no, no, no, no, no, no, no, no, you know, honestly when I started this I thought I only had to do like four of these. Unlimited premium wireless for $15 a month. How are there still people paying two or three times that much? I'm sorry I shouldn't be victim blaming here. Give it a try at midmobile.com slash switch whatever you're ready.
$45 up from payment equivalent to $15 per month. New customers on first three month plan only. Taxes and fees extra. Speed slower above 40 gigabyte to CDTales. Okay, I have a question that I've been dying to ask someone for months. How much are items like Matthew McConaughey's t-shirts tailored to fit the actor in a very particular way? Or is that really just like a Hanes medium t-shirt and Matthew McConaughey looks that great in everything?
Well, you know what? It can be a little bit of both and every single actor is different depending on their body. But oftentimes we will just build the dress shirts from scratch. And I think that's kind of the key way. If you want that iconic look that is like zipped up and just so tight, that's where you where you go. But I'm pretty sure that Matthew McConaughey looks good in pretty much everything. Really, you don't think that those t-shirts are brought in at the arms to show off his arms.
Oh, 100%. I don't know. I just I felt like yeah, everything looks good on him. There wasn't one thing that didn't. But yeah, it was a lot of t-shirts and jeans. But no, but are they like is this movie magic? Are they tailoring t-shirts? When you're creating an object of desire, you want that whole package to look just like you want, you know? So I would imagine there was some tailoring and finessing to kind of just really dial that in just right.
Did somebody go up to him right before they said action and perfectly do that curl to fall across his forehead? I look, I just really think Matthew McConaughey always looks that good. Okay. What else did you notice? Like do Ben's friends shop at Old Navy? Like what are we supposed to think about that? Yeah, I think that those archetypes were super mailed.
I especially was struck by the polo with I think it was like a gingham or micro checkered button front shirt over it, which I don't remember being popular like a button front over a polo, but I was very there for it. You can take a little bit more liberty in these kind of characters that you aren't seen on camera the whole time to make them a little bit more not characters, but just take them extra mile. And so I really appreciated a sweater vest with the bow tie.
Those kind of moments where I feel like it builds out the world text really and kind of creates these characters that immediately you know who they are. And I think it kind of really helps flavor it and give it a little bit more dimension, you know. I also just really liked the use of the Duke shirt on Ben and just these kind of subtle ways is telling saying something without saying something.
It was not just all t shirts, you know, and I think that those are impressionable moments that viewers really do take with them. They needed to really pat a lot of reasons as to why this southern accent is living in New York City. I know. And he went to do. Yeah, wow, no one that I know that went to Duke came out with an accent. But you know what that's. No, that's not how accents work. No, I agree with you.
But it's how Matthew McConaughey works because he can get away with anything with his eye. Okay, talk to me about the dress. The dress. So I did a little bit of digging. So Carolina Herrera designed this dress with the costume designer. And the thing about moments like this that I find so impressive about costume design is what we're saying in not saying things, right? So as how impressionable something that's simple and elegant can be.
And I mean, it just had I think ever surgeons on TikTok not too long ago, actually, where everyone was obsessed with this dress again. I was going really? Really? Yes. So it is fascinating to think about. So the silhouette maybe you know, has that kind of drop waist. Maybe not so popular anymore, but it has this open back. And it goes back to I don't know if you remember in that. I don't know if it was helmet laying or who the designer was of the first date dress where she.
And these two sides of Andy, which I found to be kind of a beautiful compliment of is very elegant and then also playful and very feminine open back. I mean, obviously Kate Hudson can wear a burlap sack and look incredible. So it's a beautiful moment that has totally stood the test of time. I mean, they did an incredible job with that dress and everyone tries to replicate it. So much of its success is about how simple it is that color and how that dress looks in space. You know what I mean?
It's like a beautiful silk catches light in a certain way and has this elegance and this fairy tale kind of softness for this very kind of like soft emotional raw scene. And I think that it really plays to that part of the story. My theory on the dress is that it's basically a naked dress. You have to look twice because of the color and the color of her hair.
It feels like what you're actually looking at or what Ben is actually looking at is how beautiful Andy is and we are being shown this like artifact of 23 year old Kate Hudson. And when she spins were like, yes, that is a beautiful woman. And it feels like the woman is wearing the dress rather than the dress wearing her. Yes, definitely. I mean, and that's again, speaks to like this was a collaboration specifically for this moment specifically for this project.
And there is something so powerful when you're designing about kind of creating something for moments. It's just like so her you're seeing her and it's just like kind of like this aura of perfect beauty, you know. Do you have a favorite look of Kate Hudson's in the movie? I do. That's why is this the is it your dress? No. Oh, it's not. I do love the blazer and then she were just like a baby tea that had just like a little bit of a little something.
Yeah, at the end when she's bowing out of her job. I love couples therapy. Andy, her like Jackie Kennedy was matching lipstick. Yes. Yes. Oh my gosh, that was so funny. So it's like a pink sleeveless polo with like a kind of Peter Pan collar. Yes. Oh, God. What golf store did she get this from? So I love it for that moment. I know. I think she looks fantastic as Jackie O inspired yacht club mom. Yes. Yes. That scene is also so interesting because Ben is in a white suit.
So they kind of match, but he's being himself and she's not being herself. It's very interesting. I've watched this movie too many times. Colin. Would you say it's your favorite? Bronco? Oh, God. No. I'm a dedicated journalist covering this film. I love it. Well, Colin, thank you so much. I could talk about costuming forever. I love it. I have very strong opinions about it and I appreciate you giving me like baby vocabulary to start to try to think about it critically and not just as the fans.
Thank you. And I love Palm Springs costumes. Thank you. I really do. Thanks. At the beginning of the series, the brilliant comedian and not sorry communications manager, Hannah Rehaak and I looked closely at the scene in which Ben and Andy do not have sex. Today we are going to look at the episode where it is insinuated that they might all we know for sure is that they shower together because they are water conservationists and I really respect that about them.
But let's discuss the scene by getting the wonderful Hannah Rehaak on the phone. Hi, Hannah. Hi. Okay. I'm so sorry. I know this stresses you out. Can you please recap what happened in this scene? No, no, no. I was actually watching this time around. I was like, you're going to have to recap Hannah. Remember that. Okay. So the scene picks up with Andy and Ben. They're all wet and messy because they were on the motorcycle. They got splashed. They giggle together.
They rush home back to his childhood home to go to the bathroom clearly to clean themselves up and Ben starts getting the shower ready and he kind of looks at herself in the mirror and is just being seemingly being herself kind of taking stock of how she looks in the mirror. And then we see her get really reflective as she sits on the toilet and kind of waits for him to turn around to say the shower is ready. And she sits on like the toilet with a closed toilet like she's using it like a chair.
Yes. Oh, I'm sorry. I just wanted to play her by. Yeah, she starts to use the toilet. And basically at some point, Ben is like, you know, what's going on? Kind of like notices she seems a little down and she goes, said something like, I love everything about this home. And he makes a little joke. And then she's like, and you know, earlier when your mom hugged me, she really hugged me for winning at a game of bullshit. And he's very sweet and comforting to her.
And now I've liked that because it gets really romantic and steamy. And so I don't actually remember the dialogue. I just know that like his eyes get all soft and she starts to, you know, really take him seriously and look at him in the eyes. And then he's like, give me a smile and she makes a really stupid silly little smile. And they kind of joke about it. And he's like, okay, there you go. Not bad.
And then ultimately she lifts up her hands for him to take off her tank top, you know, an invitation for him to finish the job. And she does the same for him. And then we stay on their faces while she undoes his pants and they get into the shower. And she seemingly goes into the shower with her pants on. She really might, but she also is giggling at some point in a way where I'm like, okay, I think they're taking off each other's pants.
But most importantly to me, she goes into the shower with her like nice gold watch on. And I don't feel like that's a waterproof watch. No. Doesn't that bother you, Hannah? I'm like, wait, you're watch. You know, it really doesn't, but I feel like that means that movies might just be easy to watch. Because I may, I may let go of a lot more than you do. It looks like a really nice watch. She is a journalist. She probably couldn't afford that watch. She was probably a gift.
So does this mean that you don't love this scene? Because I have to say for me, best seeing the film. Oh, absolutely. It's the best scene in the film. It does this great transition while watching it now. I'm like, wow, her article is screwed, right? She isn't going to lose him. And then days. I think ultimately the reason I say it's my favorite scene in the film is because we've been talking about comedy in the film. And we've been talking about their respective comedic performances.
And I think they do such a great job of it. But again, the cringe doesn't really work for me. So like, I love a good comedic scene. But for me, I think this movie actually does a really great job at the romance when it's given the opportunity. The moment that she gets really sad, it's an, it's an honest, true emotion. A reaction that she's having. It's not fake Andy. It's real Andy.
And he absolutely rises to the occasion of being like her partner in that moment, trying to make her feel better and like meet her where she's at. And I think they're both like kind of following one another's lead in terms of the physical sexual encounter. Like there's also, I think that really holds up super well where there's a lot of nonverbal consent, which I'm really into in films because I'm like always impressed with the film.
I'm like always impressed when a filmmaker can do that really well. We're like, no, no, they're showing us their respective consents by her lifting her arms and just like waiting for him to take up her shirt. But yeah, I think that's, I think it makes us care about the real versions of them. It makes us trust real bad. It makes us care about real Andy.
Yeah. The scene right before this of them writing the motorcycle and him genuinely teaching her and like believing that she is someone who can drive a motorcycle and her feeling. Safe enough to try to learn a new thing with him and him not being a jerk about teaching her right like. And then this scene. Do so much work for me of like wanting the two of them to be together and the last third of the movie.
Working where you're like upset that they fight, you know, and have their karaoke break up because you're like, no, no, no, you guys just figured out. That you're actually good together. You're compatible. Do you want to guess what the one thing about this scene that doesn't hold up for me is the fact that there is a dentist magazine. In the bathroom with the people magazine. And I also did find that kind of distracting who drilled that into the wall.
Who was like, we need a magazine rack in here and rather than like letting them pile up on the floor was like, no, no, today's the day I get the drill out. Well, it wasn't that if that's not it. It's not the watch. It's the song. The song that is doing the heavy lifting of like early 2000s pop like I've waited my whole life for this moment. It feels like home to me and I'm like, you know, we got that. We didn't we actually didn't need all of that. We know.
We got it. Hannah, I'm so glad you brought this up. I am wondering if I can read to you. Our music specialist who is on a couple of weeks ago sent us some information about the song feels like home. So first of all, most importantly, it is also on the Dawson's Creek soundtrack. I knew that in my bones. I knew that in my bones. And since Dawson's Creek raised me like I wanted to be Joey.
Two days ago, my mother said, I watched a lot of Dawson's Creek with you as like a Trump card for an argument we were having. And were you like your welcome? Yeah, yeah. Well, anyway, so the cover of this song is sung by Chantal Kraviyazek, who sung at Lilith Fair, which is like the rest of the people who Andy says she loves to listen to, saying it Lilith Fair. And so there is this great real Andy likes Lilith Fair, even though she is pretending that fake Andy does as an unattractive thing.
And I flip and love that. I love that real Andy is like one of the things that men find unattractive about me is that I like angry feminist music. And like I'm actually going to use that from my own personality to turn off Ben. And so does that make you feel better about this song? Yeah, it totally does. And I will say it's not even like I think it's a bad choice. I just think it's a dated choice. Whereas everything else, I'm like, oh, this could be 2024.
Like easy. I could see this scene in an indie film, right? You know, like I could see it. But no, that makes so much sense. And I also think that that's cool to do to the audience, to like force them to acknowledge that they appreciate. That music that we'd all been laughing at. Like you're saying, like 45 minutes earlier, whatever it was or half hour earlier in the film.
And that like in this moment as an audience member, if you are enjoying that music, which let's assume most audiences, like that's why it's being placed here. It's like this is doing the work of the scene to like make it feel real and make it feel romantic. It is a little bit of like a gacha, which I appreciate. I think that's really cool. Anything else? I wish they hadn't turned away to the towel rack at the end. Keep the camera on them. That's the other thing that makes it feel dated.
Oh, see, I feel like I was just being distracted by the watch and some like show me the towels. Show me the towel where she's going to try to save her watch later. And be like, I wish I'd taken off my grandmother's watch that I got as my high school graduation present. The swatch has a backstory, Hannah. Why don't you care about it? I can't wait to read your fanfiction about it. It's from the watch's perspective, Hannah.
You've been listening to Hot and Bothered. We're a small show, so we need your support to run. If you can, please consider supporting us on Patreon at patreon.com slash Hot and Bothered Rompod. If you love the show, please leave us a review on Apple podcasts. We are not sorry production. Our executive producer is me, Vanessa Zoltan. Our consulting producer is Russell Mates. And we are edited and produced lovingly by Ariana Nevelyn. We are distributed by eight cast.
Thanks as always to our soulmate level patrons, Gretchen Sneakass, whose window we would hold a boom box outside of. Molly Relie, who we would chase through an airport to declare our love to. Becky Boo, who we would wait for hours on the top of the Empire State Building floor. Elizabeth Schweisenberg, whose heart we would play a game of one-on-one basketball for. Lauren Bayer, who we would call up on stage to dance with us in front of the whole summer camp.
And Claudia Hammerman, who we would give the whole tour to float on, even if there was room for both of us. Special thanks this week to Colin Wilkes, and thanks as always to our team. Julia Argui, Nikki Zoltan, AJ Arama's Hannah Rehack, Margaret H. Willison, Courtney Brown, Natalie Fulcourt's Fidious Race and Stephanie Paul Sal. Good taste is easy to spot, but hard to pin down. You know it when you see it. And in today's culture, there's no greater signifier of taste than the car you drive.
You want something sophisticated, but not stodgy. During yet classic, approachable, but with an air of opulence, that's where the Range Rover Evoke comes in. The reductive exterior is an elegant expression of Range Rover DNA, and the chiseled taillight graphics give the evoke a sense of motion even at standstill. Explore the Range Rover Evoke at LandRoverUSA.com. Ready to elevate your everything, shower?
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