panting leopard, Sylvia a snarling black cat, Flora a monkey, Miriam a vixen (female fox), Peggy a lamb, Mary's mother an owl, Edith a cow chewing its cud, Lucy a neighing horse. TCM.com incorrectly identifies the leopard as a lion and the fox as a wolf.All of the animals in the picture are female. The New York Times reported on Cukor's strategies for managing a cast of 135 women led by three famously demanding stars. He described one technique for dealing with precedence: He made sure that all three stars were called to set simultaneously, either by sending separate staff to knock on their dressing room doors at the identical moment, or by calling "Ready ladies!" so all could hear. This system lapsed only once, and the offended star (not named) remained in her dressing room for a very long time. When it comes to bloopers, the film contains a fine example of misused stock footage. The film transitions from Little Mary weeping in the bathroom over the news of the divorce through an establishing shot—a night scene of a train speeding through a desert in the far West—to the compartment where Mary consoles a weeping Peggy. Peggy barely managed to catch the train for Reno. It is the first night out, and the train is nowhere near the West. The journey from New York to Reno took three full days at the time (and was no faster in 2013). The same desert shot had been used appropriately three years before, in After the Thin Man, as Nick and Nora Charles near the end of their two-day trip to California. Technicolor fashion show The Women has one sequence in Technicolor, a fashion show. When interviewed by TCM host Robert Osborne, director George Cukor stated that he did not like the sequence and that he wanted to remove it from the film. New York Times critic Frank Nugent agreed with this assessment. In his September 22, 1939, review of the film, he reported that "a style show in Technicolor...may be lovely—at least that's what most of the women around us seemed to think—but has no place in the picture. Why not a diving exhibition or a number by the Rockettes? It is the only mark against George Cukor's otherwise shrewd and sentient direction." In 2018, British critic Peter Bradshaw describes the “remarkable” technicolor fashion show as “a mesmeric, wordless interlude that