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A fatsuit being worn in London

A fatsuit, also known as a fat suit or a fat-suit, is a bodysuit-like undergarment used to thicken the appearance of an actor or actress of light to medium build into an overweight or obese character, in conjunction with prosthetic makeup. Fatsuits worn by characters are either deliberately visible or mainly concealed. Most are intended as unseen body padding beneath a costume (e.g., Rosemary Shanahan in Shallow Hal, and Sherman Klump in The Nutty Professor), others appear as realistic flesh and are viewed directly (e.g., Fat Bastard in Austin Powers, and Les Grossman's hands in Tropic Thunder). A fatsuit is often used to provide comedic effect, as in music videos for "Fat" by "Weird Al" Yankovic, "Marblehead Johnson" by The Bluetones, "Keine Lust" by Rammstein and "Way 2 Sexy" by Drake, and the episode "The Cooper Extraction" of The Big Bang Theory.

Experience of obesity

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Fatsuits may also be used to impart the experience of being obese to the wearer, not just the appearance of obesity to their audience. The suit in this case is weighted, as well as padded. Where the intention is to impart the experience of being seen as overweight in a community, its appearance must also be realistic and so a fatsuit rather than just a weight belt is needed. Several celebrities noted for their slimness have worn such garments and recorded their, and others', reactions as documentary of social attitudes to weight.[1]

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Fatsuit

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from Grokipedia
A fatsuit is a custom-made prosthetic or designed to artificially enlarge an actor's body, simulating the physical appearance of without requiring actual . Developed as an advanced form of theatrical padding, fatsuits emerged prominently in Hollywood during the late , evolving from rudimentary pillows or foam to sophisticated silicone-based prosthetics that allow for realistic movement and detail. Their widespread adoption in the and early 2000s fueled a trend in comedies, enabling slim performers like in The Nutty Professor (1996) to embody multiple overweight personas or in (2001) to critique superficiality through exaggerated girth, often prioritizing visual humor and transformative acting over casting based on body type. This era marked fatsuits as a staple for roles demanding rapid physical alteration, avoiding the risks of yo-yo dieting seen in extremes. By the 2010s and 2020s, fatsuit usage drew intensified scrutiny amid rising movements, with detractors claiming they reduce obese individuals to caricatures, hinder authentic representation, and ignore real-world experiences of or —such as genuine affecting balance and , which prosthetics weighing far less cannot replicate. Notable flashpoints include Brendan Fraser's heavily prosthetic portrayal in The Whale (), defended by director as essential for narrative depth but lambasted for "spectacle" over empathy, and Sarah Paulson's regret over her role as in Impeachment: (2021), where she acknowledged the optics of a non-obese assuming the part. Proponents counter that such critiques overlook and the impracticality of mandating actors' bodies match roles, arguing that bans on prosthetics echo selective compared to other transformative makeup like age or simulations. Despite pressures from and casting trends favoring "own voices" narratives, fatsuits persist in select theater productions and films where directors prioritize performance fidelity over conformity to evolving cultural sensitivities.

Definition and Construction

Materials and Design Features

Fatsuits are primarily constructed using lightweight, flexible foams such as or for the core padding, which simulates distribution across the torso, limbs, and neck while permitting natural body articulation. These materials are molded into layered contours to replicate realistic folds and bulges, often built atop a supportive harness or wire cage framework in theatrical applications to enhance durability under prolonged wear. An outer prosthetic layer, typically or gelatin-based, provides skin-like translucency, texture, and vein subtlety, blended seamlessly with the actor's actual via adhesives and makeup for realism in . The assembly is encased in stretch fabrics like or lycra, hand-stitched for anatomical definition, including elements such as pendulous breasts or abdominal protrusions, to ensure the suit integrates under costumes without restricting mobility. Design features emphasize functionality, including adjustable straps and modular components for custom fit to varying body types, ventilation ports to mitigate overheating during extended shoots or performances, and lightweight construction—often under 20 pounds for full-body suits—to minimize actor fatigue. In modern cinematic uses, embedded wiring or elastic reinforcements prevent sagging, while hyper-realistic variants incorporate subcutaneous detailing via sculpted foams for dynamic responses. These elements balance visual authenticity with practical wearability, though limitations like restricted agility persist in highly detailed prosthetics.

Functionality and Limitations

Fatsuits primarily function as prosthetic garments that augment an actor's physique to simulate excess body fat, utilizing lightweight materials such as sculpted foam, latex, or affixed to a form-fitting worn beneath outer clothing. This design adds visual bulk to the , limbs, and sometimes , creating a convincing for on-screen or stage appearances without necessitating actual , which avoids associated health risks like metabolic strain from rapid changes. Modern iterations emphasize customization around the wearer's body for better fit and reduced encumbrance, enabling functionality in dynamic scenes through segmented prosthetics that permit partial articulation. Despite advancements, fatsuits impose notable limitations on performance, particularly in mobility and realism. Heavy prosthetics, such as the approximately 300-pound ensemble used by in The Whale (2022), can constrain natural movement to the extent of resembling a "straight jacket," often requiring crew assistance for basic actions like standing or shifting position during filming. Earlier designs frequently sacrificed for mass, resulting in stiff, unyielding structures that hindered and flexibility, compelling actors to exaggerate mannerisms to compensate. Fundamentally, the external layering of padding diverges from the physiological realities of , where distributes internally and subcutaneously, altering like center of gravity, stress, and endurance in ways that surface-level augmentation cannot replicate. This discrepancy limits the suit's in conveying authentic physical or habitual adaptations, potentially undermining portrayal accuracy in prolonged or physically demanding sequences, though it excels in static visual .

Historical Development

Early Uses in Theater and Film

The use of padding to simulate obesity in theatrical performances dates to at least the mid-19th century, particularly in depictions of Shakespeare's corpulent knight Sir John Falstaff. Actor and manager Samuel Phelps (1804–1878), in his productions of Henry IV and related works at Sadler's Wells Theatre, employed a fat suit to exaggerate his physique for the role, as evidenced by contemporary reviews and photographs of the performances. This approach allowed slimmer performers to embody Falstaff's exaggerated girth, a character whose obesity serves as both comic relief and thematic contrast to leaner figures like Prince Hal, without relying solely on natural body weight or dietary changes. Such padding typically consisted of layered fabrics or rudimentary prosthetics secured beneath costumes, prioritizing visual exaggeration over realism or mobility. Earlier theatrical traditions involved body padding, as in tragedy where actors wore prostikhn (padded garments) to create bulky silhouettes for heroic roles, though these emphasized idealized muscularity rather than pathological . By the , however, padding specifically for obese comic characters like Falstaff became more targeted, reflecting a growing emphasis on physical in British stage comedy. These early devices were often improvised from available materials like cork, cloth, or , attached via harnesses or sewn into undergarments, and served practical purposes in ensemble casts where casting naturally obese actors was inconsistent or unavailable. In early cinema, prosthetic obesity simulation emerged with Orson Welles' transformation for the 1958 film noir . Welles, directing and starring as the bloated, corrupt detective Hank Quinlan, collaborated with makeup artist Maurice Seiderman to apply over 60 pounds of custom to his torso, back, and face, augmented by plastic bags under the eyes for a sallow effect. Welles later described the apparatus as a "terrible, enormous makeup" that restricted movement but achieved a visceral depiction of moral and physical decay, weighing an estimated 310 pounds on screen. This marked one of the first documented uses of extensive body in film to portray non-comically, predating the more widespread adoption in later decades and highlighting technical challenges like heat retention and limited expressiveness compared to natural performers. These pioneering applications in theater and film prioritized narrative exaggeration and actor versatility over anatomical precision, with limitations including discomfort, reduced agility, and visible seams under scrutiny. Early fatsuits thus functioned as costuming tools to enable slim actors to access roles requiring pronounced adiposity, though their crude often prioritized over seamless integration.

Evolution in Modern Cinema (1980s–Present)

The use of fatsuits in cinema proliferated during the and , primarily as a comedic device for rapid physical transformations, often employing foam padding or basic overlays to exaggerate body size for humorous effect. Early instances included episodic gags in television crossovers to film, such as Courteney Cox's portrayal of an overweight teenage in a 1998 flashback episode of Friends, which epitomized the era's reliance on quick-application prosthetics to depict without requiring actors to alter their physiques permanently. This approach aligned with the period's emphasis on visual spectacle in comedies, where fatsuits facilitated multiple character iterations by the same performer, as seen in Eddie Murphy's seven distinct roles—several requiring extensive padding—in The Nutty Professor (1996). By the late and early , fatsuits became a staple in Hollywood comedies, evolving from rudimentary suits to slightly more articulated designs that allowed limited mobility while amplifying . donned a heavily padded fatsuit for the character in Austin Powers: The Spy Who Shagged Me (1999), contributing to the trend's peak as a trope for body-swap or disguise narratives. Similarly, wore a prosthetic suit in (2001) to simulate extreme , reflecting the era's casual integration of such costumes for plot-driven exaggeration rather than nuanced representation. These suits, typically constructed from and layered over the actor's body, prioritized exaggerated silhouettes over realism, often restricting natural movement and breathability. In the and , fatsuit technology advanced toward hyper-realistic prosthetics, incorporating blends, custom-molded pieces, and digital pre-visualization to better mimic skin texture, folds, and weight distribution, enabling use in dramatic contexts beyond . combined partial with a prosthetic overlay for his depiction of in Vice (2018), while utilized layered padding for Linda Tripp in American Crime Story: Impeachment (2021). A pinnacle of this refinement appeared in The Whale (2022), where Brendan Fraser's 600-pound character Charlie was realized through a meticulously crafted prosthetic suit designed by , employing , digital sculpting, and over 20 individual pieces applied in four-hour sessions to achieve anatomical accuracy and facilitate authentic physical performance. This suit's design earned an Academy Award for Best Makeup and Hairstyling in 2023, underscoring the shift toward prosthetics that prioritize tactile realism over digital augmentation, despite CGI alternatives, to avoid visual artifacts in intimate scenes. Overall, while digital tools have supplemented fatsuits for adjustments, physical prosthetics persist for their irreplaceable conveyance of embodied weight and motion.

Applications in Entertainment

Notable Examples in Film and Television

One prominent example is Eddie 's portrayal of Professor Sherman Klump in the 1996 comedy film The Nutty Professor, directed by , where Murphy donned a custom fatsuit constructed from padding and to depict the 400-pound character, enabling multiple roles including family members. The suit, weighing approximately 60 pounds, restricted movement and required hours of application, contributing to Murphy's but drawing later criticism for exaggerating stereotypes. In the 2001 romantic comedy , wore a 40-pound fatsuit to play , an overweight woman seen as attractive only through hypnosis-induced perception, with the prosthetic design by makeup artist adding layers of and fabric for realism during action sequences. Paltrow later reflected on the suit's discomfort, noting it caused overheating and limited agility, while the film used body doubles for wide shots to enhance the illusion. Ben Stiller employed a fatsuit in (2008), directed by himself, to satirize as the obese actor Tugg Speedman in the fictional film Simple Jack, with the suit featuring exaggerated padding to mock Hollywood excess and earning praise for its comedic integration despite prosthetic limitations in fight scenes. More recent cinematic uses include Colin Farrell's transformation into Oswald "Penguin" Cobblepot for The Batman (2022) and the HBO series The Penguin (2024), where a combination of fatsuit prosthetics, facial appliances, and digital enhancements added bulk to depict the character's physical deformity and , requiring 4-6 hours daily in makeup as confirmed by production reports. In television, wore a fatsuit in Friends flashback episodes from seasons 6 and 9 (1999 and 2002), portraying a 150-pound pre-weight-loss , with the inflatable suit designed for quick removal but criticized for perpetuating fat-shaming humor through exaggerated proportions. Similarly, donned extensive prosthetics approximating a 50-pound gain to play in : Impeachment (2021), focusing on accurate replication of Tripp's documented body type from 1990s photographs, though the choice sparked debates on representation.

Role in Theatrical Productions

In theatrical productions, fatsuits—prosthetic garments consisting of foam padding or silicone appliances attached to an actor's body—have been employed to simulate , allowing performers to convincingly portray characters defined by their physical bulk. This technique facilitates the depiction of exaggerated body types essential for comedic or dramatic effect, particularly in roles where an actor's natural physique does not match the character's described corpulence. Padding has been a staple since at least the , with actors using rudimentary cushions or stuffed costumes to represent overweight figures in plays by . A prominent historical example is the portrayal of Sir John Falstaff in Shakespeare's Henry IV Parts 1 and 2 and , where the knight's is repeatedly emphasized in the text (e.g., references to his "huge" belly and "wallow[ing] in the lily beds"). Non-obese actors, such as in a 2015 National Theatre production, have relied on custom fatsuits to achieve Falstaff's rotund , enabling authentic movement for scenes involving physical humor like evasion or feigned death. Such prosthetics not only alter but also influence and posture, aiding actors in embodying the character's lethargy and vitality. In modern musical theater, fatsuits have seen continued use, particularly for roles requiring drag or transformation. The Broadway production of Hairspray (2002–2009), adapting John Waters' film, featured male actors in the role of Edna Turnblad—originally played by the obese drag performer Divine—using padding combined with dresses to exaggerate maternal heft for comedic effect. Similarly, in (original Broadway run 1981–1985), performers portraying the plus-sized Effie White employed body padding to align with the character's scripted , enhancing vocal and choreographic demands despite the role's emotional depth. These applications underscore fatsuits' role in prioritizing character archetype over casting , though they have drawn scrutiny for potentially reinforcing stereotypes.

Applications in Education and Research

Simulation for Medical Training

Obesity simulation suits are utilized in medical training programs to replicate the biomechanical and logistical challenges associated with treating bariatric patients. These devices consist of padded garments with adjustable pouches, typically adding 10 to 30 kilograms of distributed mass to simulate excess , thereby altering , balance, and procedural access points such as arm injection sites or abdominal areas. Trainees practice essential skills like intravenous insertions, wound care, and physical assessments on wearers or adapted mannequins, confronting real-world impediments like reduced maneuverability and equipment compatibility issues. In clinical simulation scenarios, standardized patients don these suits to embody obese individuals, enabling medical students to experience firsthand the difficulties of routine examinations, such as challenges in auscultating heart and sounds or positioning for ultrasounds. A 2019 evaluation in an undergraduate medical curriculum at the demonstrated that interactions with suited actors improved students' recognition of obesity-related barriers in patient encounters, outperforming traditional didactic methods by providing tactile and kinesthetic feedback on procedural adaptations. The study, involving 120 third-year students, reported statistically significant gains in perceived realism and preparedness for obese patient management, though it noted limitations in fully capturing chronic physiological effects like joint strain. Such simulations extend to interprofessional training for nursing and allied health personnel, focusing on safe patient handling techniques, including bed transfers, wheelchair navigation, and emergency evacuations under increased load. Commercial models, like the Laerdal Adult Bariatric Suit introduced around 2015, incorporate reinforced access ports for catheterization and perineal care, facilitating repeated drills without suit degradation. Evidence from training protocols indicates these tools enhance competency in bariatric-specific protocols, reducing injury risks to staff during lifts estimated at 20-50% higher for obese patients compared to average-weight individuals.

Studies on Empathy and Bias Reduction

Some educational interventions employ obesity simulation suits—padded garments designed to mimic excess body weight—to enhance toward obese individuals and mitigate weight-related es among healthcare trainees. A study involving medical students interacting with standardized patients (actors) wearing such suits during simulated encounters with an obese patient found that the suits helped reveal implicit biases, as students exhibited less patient-centered communication and more negative attitudes compared to encounters without suits, suggesting the simulation exposed rather than necessarily reduced prejudices. Similarly, a 2024 randomized controlled trial tested mindfulness-based training combined with obese simulation suits on students, reporting improved attitudes toward and heightened scores post-intervention, though long-term effects remained unassessed. However, empirical evidence for sustained bias reduction is limited and inconsistent. A 2025 role-playing exercise using obesity suits with nutrition students showed no significant changes in explicit weight bias or empathy levels, with trends indicating increased "fear of fat" and reduced attribution of obesity to willpower, potentially reinforcing rather than alleviating stigmas. A 2016 randomized study required non-obese participants to wear fat suits, resulting in elevated cortisol levels, heightened eating behaviors, and diminished well-being—effects mimicking acute stigma experiences—but without demonstrating reduced anti-fat attitudes among wearers or observers. Critiques highlight methodological flaws in these approaches. Researchers in a peer-reviewed analysis argued that fat suits fail to advance weight stigma , as they superficially add weight without replicating the physiological, developmental, or social realities of lifelong , such as metabolic adaptations or chronic , potentially distorting by fostering superficial or inaccurate simulations. Broader reviews of simulation-based interventions, including suits, indicate short-term gains in healthcare but emphasize the need for embodied, emotionally evocative methods beyond suits alone, with mixed outcomes across populations. Overall, while suits may uncover biases in controlled settings, rigorous longitudinal studies are lacking to confirm reductions in , underscoring the preliminary nature of this application.

Controversies and Criticisms

Debates on Representation and Casting

The use of fatsuits to portray obese characters has prompted debates over whether such prosthetics undermine authentic representation by prioritizing thin actors over those who naturally embody the physicality of the role. Critics argue that casting slender performers in padded suits perpetuates a Hollywood preference for conventionally attractive bodies, effectively sidelining overweight actors and reinforcing the notion that fatness is a temporary costume rather than a lived reality. This perspective gained traction in discussions around films like The Whale (2022), where Brendan Fraser donned a prosthetic suit to depict a 600-pound man, prompting accusations of fat-shaming and calls for directors like Darren Aronofsky to select actors matching the character's size to avoid exploitative portrayals. Proponents of fatsuits counter that demands transformative techniques, akin to makeup or work, enabling performers to inhabit roles beyond their inherent traits without mandating identity-based casting that could limit artistic range. In The Whale, Aronofsky defended the choice by emphasizing Fraser's emotional depth and physical commitment, arguing that the backlash overlooked the demands of embodying extreme immobility and vulnerability, which few morbidly obese —scarce in professional circles due to and industry barriers—might sustain across long shoots. , who is , expressed frustration over the decision, questioning why a fatsuit was used instead of casting heavier performers like himself, yet acknowledged the challenge of finding talent capable of the role's intensity at such weights. This view aligns with broader defenses that prosthetics facilitate nuanced character exploration, as seen in historical uses from stage to screen, without equating obesity simulation to immutable traits like race, given its causal links to modifiable factors such as diet and activity. The tension reflects wider industry patterns, where fatsuits appear in both comedic (e.g., , 2001) and dramatic contexts, often drawing scrutiny for emphasizing spectacle over substance and contributing to of fat actors in peripheral roles. Studies on media representation indicate that characters remain underrepresented, comprising under 10% of speaking roles in top films despite higher real-world prevalence, fueling arguments that fatsuits exacerbate exclusion rather than expand opportunities. However, empirical critiques of mandatory body-matching overlook cases where thin actors' suits enable award-winning performances, as with Fraser's Oscar for The Whale, suggesting that merit-based selection—prioritizing acting skill over physique—better serves narrative integrity than rigid representational quotas. Mainstream media coverage of these debates, often from outlets with progressive leanings, tends to amplify anti-fatsuit voices, potentially undervaluing practical constraints like actor availability and the physical toll of unassisted extreme portrayal.

Ethical Concerns in Simulation and Perception of Obesity

The use of fatsuits to simulate in and theater has drawn criticism for potentially reinforcing negative stereotypes rather than fostering accurate understanding, as thin actors in prosthetic padding often depict as a superficial or comical trait detachable from deeper physiological and social realities. For instance, in the 2022 The Whale, Brendan Fraser's portrayal of a 600-pound using a fatsuit sparked backlash from advocates who argued it portrayed fatness as grotesque and isolated from everyday viability, with critics like contending that such depictions harm fat individuals by implying their bodies preclude nuanced humanity. Similarly, analyses of Hollywood's reliance on fatsuits, such as in Eddie Murphy's The Nutty Professor (1996), highlight how these devices create uncanny, exaggerated forms that prioritize visual spectacle over authentic embodiment, potentially distorting public perception by equating with caricature rather than . In educational and research contexts, fatsuits intended to simulate obesity for empathy-building exercises face ethical scrutiny for failing to replicate the embodied, lifelong aspects of adiposity, such as metabolic adaptations or cumulative social stigma, which padding alone cannot convey. A 2017 peer-reviewed critique in Obesity journal argued that fat suits undermine weight stigma research by promoting illusory empathy—participants experience temporary discomfort but not the causal pathways of obesity, like altered biomechanics or hormonal influences—potentially leading to superficial attitude changes without addressing root biases. Empirical studies, including randomized trials, have shown mixed outcomes: while some medical students wearing suits reported short-term increases in empathy toward obese patients, long-term reductions in anti-fat bias were not sustained, raising concerns that such simulations might inadvertently highlight differences in a way that entrenches othering. Reflexive analyses further warn of ethical risks, including participant distress from induced self-consciousness and the reinforcement of obesity as a "costume" rather than a biological state, which could skew training toward performative rather than evidence-based interventions. Broader perceptual impacts include the opportunity cost to authentic representation, where fatsuits preclude casting obese actors capable of drawing from , thereby limiting diverse narratives and perpetuating industry norms that view fatness as a barrier to serious roles. This practice, evident in recurring Hollywood examples from the onward, has been linked to audience internalization of as inherently pathological or undesirable, with no verifiable evidence that prosthetic simulations enhance causal understanding of obesity's multifactorial —, environment, and —over direct engagement with affected individuals. Critics from fat acceptance perspectives, often amplified in media but rooted in selective interpretations of stigma research, claim fatsuits exacerbate harm, though causal data on audience perception shifts remains sparse and contested, with some defending their utility in revealing implicit biases when used transparently. Overall, these concerns underscore a tension between simulation's intent to illuminate and its risk of distorting as a reversible aesthetic , detached from empirical correlates like elevated cardiovascular risks documented in longitudinal cohorts.

Cultural and Scientific Impact

Influence on Public Understanding of Obesity

The portrayal of obesity through fatsuits in films such as The Nutty Professor (1996), Shallow Hal (2001), and Norbit (2007) has often emphasized comedic tropes, including slapstick scenarios where characters become stuck in spaces or exhibit exaggerated clumsiness, thereby reinforcing stereotypes of obese individuals as inherently humorous or inept. These depictions, which collectively grossed hundreds of millions at the box office, prioritize entertainment value over accurate representation of obesity's physiological burdens, such as reduced mobility or metabolic strain, potentially skewing public views toward mockery rather than recognition of associated health risks like type 2 diabetes and cardiovascular disease. Critics from weight stigma advocacy groups contend that such media uses normalize fat-shaming humor, implicitly endorsing audience behaviors that stigmatize and may discourage individuals from seeking medical interventions by framing excess weight as a punchline rather than a modifiable . This perspective aligns with analyses of "fattertainment," where fatsuit-clad characters serve as vehicles for clichéd narratives that overlook the causal links between prolonged caloric surplus and comorbidities, instead amplifying perceptions of as a or comedic failing. However, defenders of fatsuits in dramatic contexts, such as Brendan Fraser's role in The Whale (), argue that they enable non-obese actors to convey the visceral realities of severe —including isolation and physical encumbrance—in ways that casting alone might not, fostering greater audience empathy for its consequences despite ongoing debates over authenticity. Empirical research on fatsuits' broader cultural effects remains limited, with studies primarily critiquing their inadequacy in simulating lifelong obesity experiences, such as chronic inflammation or societal adaptation, which thin wearers cannot fully replicate; this limitation may inadvertently trivialize obesity in public discourse by presenting it as a temporary or superficial state rather than a persistent physiological one. For instance, experiments using weighted suits have shown short-term behavioral shifts, like increased snacking among women perceiving stigma, but fail to capture enduring metabolic adaptations, potentially misleading viewers about obesity's entrenched nature. Overall, while fatsuits facilitate visual storytelling, their predominant association with caricature in popular media has been linked to heightened stigma, complicating efforts to promote evidence-based understanding of obesity as a condition driven by energy imbalance rather than mere aesthetics.

Recent Developments and Future Prospects

In the realm of medical training, recent innovations include the development of a bariatric system evaluated in April 2025, featuring seven case-based scenarios and exercises to enhance healthcare providers' skills in managing patients. Commercial suits, such as the adjustable model from True Phantom Solutions, enable incremental weight addition up to specified limits and localized volume expansion, simulating daily physical challenges like restricted mobility to foster among trainees. Similar products from Tetcon and GTSimulators incorporate features like simulated pitting , supporting realistic bariatric care scenarios without relying on live actors. In film and theater, fatsuit usage persists amid controversy, as seen in Brendan Fraser's prosthetic-enhanced role in The Whale (), which earned the Academy Award for Best Makeup and Hairstyling in March 2023 despite backlash for prioritizing thin actors over authentic casting. Critics, including those in outlets like , contend that such practices reinforce body type hierarchies and echo outdated tropes, with calls to phase out fatsuits akin to prohibitions. Prospects for fatsuits in point toward diminished reliance due to ethical pressures and alternatives like CGI, potentially yielding more inclusive casting of performers to avoid spectacle-driven portrayals. In contrast, educational applications may expand with wearable simulators integrated into clinical scenarios, improving realism in bias reduction and procedural as of 2024 advancements.

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  68. https://pubmed.ncbi.nlm.nih.gov/39774190/
  69. https://www.truephantom.com/product/obesity-simulation-suit-unisex/
  70. https://tetcon-ge.com/en/product/obesity-simulation-suit/
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  72. https://www.healthysimulation.com/how-wearable-simulators-can-improve-clinical-simulation-realism/
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