Latest news with #2020s
Gizmodo
a day ago
- Business
- Gizmodo
‘MultiVersus' Shows the Limits of IP Crossover Bonanzas
If every property is crossing over with each other these days, do "new" attempts like 'MultiVersus' truly stand a chance? This weekend marks the end of a short, but strange era: MultiVersus, a platform fighter featuring a bunch of Warner Bros. characters, has shut down. The game was intended as a hopeful rival to Super Smash Bros., and after a promising start, WB has cut bait about a year after its full relaunch. That MultiVersus died isn't really a surprise these days; the mid-2020s have featured a wave of multiplayer games being shut down or losing support not long after they launch. Babylon's Fall, Crossfire X, Gundam Evolution, and WB's own Suicide Squad: Kill the Justice League are just a handful of examples. But depending on who you ask, Player First's platform fighter had plenty of fingers to blame for its end. Some attribute it to the full game's monetization, others the difference in how it played between its year-long open beta and its 1.0 release in 2024. Some think it all boiled down to the roster; WB owns a lot of IP, and clearly the aim was to get a selection of characters that would appeal to everyone. But that broadness means for every general A-lister like Batman or LeBron James (seriously), you've got what could generously be considered B or C-listers in Gremlins and supporting Adventure Time characters. To those who've grown up with fighting games, Player First did the game a disservice without any other DC heavy hitters (your Flashes, Robins, etc.) or Cartoon Network kings like Ben 10, Gumball, and Dexter. There's a certain degree of truth there—no doubt people would've paid to become teenage Ben 10, shift to Rath and subsequently pummel Superman into the pavement—but the bigger problem is the core concept of Multiversus is no longer special. When crossovers first happened between IP, it tended to feel like a genuine surprise to see characters from different worlds hang out. Those born in the 90s probably have a special place in their heart for the likes of Jimmy/Timmy Power Hour, Kim Possible teaming with Lilo & Stitch and Billy and Mandy getting mixed up with the Kids Next Door. The best thing working in their favor was how rare they felt: Jimmy/Timmy was an annualized trilogy, but these otherwise came and went before the shows got back to what they normally did. In the 2020s, that's not really the case, as studios like WB and Disney want these meetings of the media to always feel big, attention-grabbing events that the surprise is lost. Of course WB wants to bring the IP it owns together, it spent about half of Space Jam: A New Legacy stating as such with the subtlety of a Rick & Morty episode piledriving a bit into the ground. Before and during MultiVersus' life, we've seen Batman and Marvel cross over with Fortnite, horror movie characters enter Mortal Kombat, hunt monsters as Aloy and Geralt of Rivia, and gotten into street fights as the Teenage Mutant Ninja Turtles and Overwatch heroes. The last two Call of Duty games have added the Turtles, Squid Game soldiers, WWE stars, and Paul Atreides are post-launch DLC for players to pay money for. Many have, but there's an equal amount of players who think the increasing array of IP skins borders on excessive and at worse, worsens the game. Activision's reportedly taking a more restrained approach going forward, but suffice to say, players aren't exactly hard up to see their favorite characters kill one another. Like Suicide Squad before it, MultiVersus was ultimately a victim of WB chasing and trying to force its way into a space in the hopes of making money. It's a shame Player First took the biggest hit of all—following the game's full launch, WB subsequently bought the studio, and it's now closed alongside its game. Meanwhile, crossovers still persist: DC is about to let some of its characters hang out with Marvel for the first time in 20 years, and Netherrealm will likely get some IP characters for its next project, which many are certain will be Injustice 3. In the same way the number must go up, the crossovers will persist until there's no more worlds to collide.
Daily Mail
2 days ago
- Entertainment
- Daily Mail
How the 'perfect' female body has changed over the last 100 year
As women struggle to keep up with ever-changing beauty standards, more than ever, the idea of the 'perfect' body seems impossible to attain. Weight loss medicines such as Ozempic and Mounjaro have ushered in a new beauty standard for the 2020s - the return of the skinny look. As people around the world began injecting themselves with weight loss drugs and shed the pounds at record speed, people have raised concerns the trend could hark back to another beauty standard popular in the 1990s - heroin chic. But, as with clothes, different standards for the female body have gone in and out of fashion - and there have been brief periods of body positivity in which women have been encouraged by stars and influencers to embrace their figure - no matter what size they are. In the 1950s, weight gain tablets even hit the shelves, while Marilyn Monroe and Elizabeth Taylor became the sex symbols of the decade. Big names in the fashion industry, such as the editorial director of British Vogue, Chioma Nnadi, have expressed concerns about the return of pencil-thin models on catwalks. Nnadi said the fashion industry was witnessing 'the pendulum sort of swing back to skinny being "in"', adding that it should be a 'wake-up call' to the industry. But if the last 110 years is anything to go by, the 2030s will likely bring about yet another change in beauty standards - with which women will feel pressure to comply. Here, experts in the field of medicine, eating disorders, nutrition, sport and aesthetics give their take on how 'the perfect body' has changed drastically over time. 1910s: Gibson girl The curvy-yet-slender hourglass figure, long desired by women around the world, dates all the way back to the 1910s when it was dubbed the 'Gibson girl'. Its features included a tiny waist which was often achieved by cinching in one's flesh with a tight corset. The name was coined thanks to illustrator Charles Gibson, one of the high fashion photographers of the time. His vision for the perfect lady rose to prominence after his models starred in the top style magazines, such as Harper's Bazaar. Danish-born actress Camille Clifford was a famous model for the 'Gibson Girl' illustrations with a trademark style of a long elegant gown wrapped around her eighteen-inch waist. Andre Fournier, the co-founder of cosmetic devices company Deleo, previously told MailOnline: 'This particular era is not too dissimilar to what we have been seeing in more recent years, with the likes of Kim Kardashian and Jennifer Lopez both sporting the perfect hourglass figure, with a cinched waist that females everywhere flock to replicate.' Corsets from the 1910s were usually made from a stout fabric, with bone or metal inserts and are usually fastened tightly at the front with hooks and laces. They were often laced so tightly that they restricted breathing, causing the women to faint. It even compressed the abdominal organs which led to poor digestion. 1920s: Flapper girl Gibson's influence, though strong at the time, did not spill over into the following decade, when accentuated curves were replaced with smaller breasts and slimmer hips. The slender body type, coined the 'flapper girl' figure, coincided with the prohibition era, where the US government banned the manufacture, sale, and transportation of alcoholic beverages nationwide as leaders were concerned about the effect it was having on citizens. As a result, covert speakeasies which served illegal alcohol cropped up across the nation as the nation partied incognito. Women would arrive clad in sequin and lace 'flapper' dresses which came down the knees, be loose-fitting and flattering with the straight, narrow body type. 'In the media at the time, you would notice that an individual's waistline moves several inches below the navel in fashion, necessitating slender hips', said Andre. 'So, for those women who did have love handles during this period would have found it particularly tough to meet those unattainable beauty standards, as the fat in this particular area is extremely stubborn. 'While the trend had drastically changed from the previous decade, the flapper still had sex appeal; it's only that the emphasis has migrated below to the legs, where a shorter knee-length hemline revealed the flash of a garter while executing a 'shimmy'. Margaret Gorman, the inaugural Miss America in 1921, embodied the ideal of the day, weighing just 108lbs with a tiny five foot one frame. American actress Alice Joyce also fit the 'perfect body' of the twenties and embraced the 'flapper' style with long dresses. Housewives often did not need personal trainers to keep the surplus pounds at bay, as more physically demanding housework would keep their figures trim. The Twenties also saw the invention of dieting. Upper-class women who ate a richer diet and exercised less bought the new women's magazines which featured weight-loss diets designed to give that fashionable, streamlined figure that worked so well with the iconic flapper dress. 1930s: Sex siren Just 10 years after the reign of the flapper girl figure as the most desired body, curves were back - with voluptuous women gracing the covers of magazines once more. Women in the 1930s idealised a softer, feminine style characterised by a curved body with a slim waist. Along with the return of curves, women dared to bare more of their shoulders and hemlines were gradually raised. 'There's a hint of shoulder and the natural waist returns', said Andre. 'The favoured flat-chested appearance of the 1920s gives way to a tiny bust-line - probably owing to the invention of a new bra-cup size during this time period.' Actress Dolores del Rio for this time was idolised for her 'warmly turned' and 'roundly curved' figure during this time. Jean Harlow and Joan Crawford were often dubbed 'sex symbols' of the 1930s and would dress in frocks that would show off their curvaceous frames. 1940s: Screen queen Amid rationing around the world as the Second World War raged on, fuller body types became more sought after in the 1940s. Typically, the idealistic body type was around an inch wider than the Flapper figure that had been popularised 20 years earlier. Women were also thought to be more muscular as they were picking up labour heavy jobs previously taken by men, who were fighting in the war. 'Military shoulders' were popular, with ladies aiming to achieve a stronger, broader and taller look, seen in American screen queen, Katharine Hepburn. The ideal woman was personified in Naomi Parker, an American war worker thought to have modelled for the iconic 'We Can Do It!' poster while working on the aircraft assembly at the Naval Air Station Alameda. Lingerie such as the 'bullet' bra also became a wardrobe favourite, summing up the era in a single garment. The 1940s also laid the foundation for women becoming taller as the Government decreed that every child was entitled to one-third of a pint of milk a day, promoting the growth of strong bones. This continued in schools until Margaret Thatcher scrapped it in the 1970s. During the war days, there was no petrol for cars, and people cycled or walked for miles every day, meaning they still maintained their slim physique. 1950s: Curves With the 50s came more curves as stars like Marilyn Monroe and Elizabeth Taylor became regular faces in films and on front pages. Weight gain tablets were also promoted in magazines to help women fill out their curves - a concept worlds away from the weight loss drugs flooding the market today. However, while the 1950s brought curves into fashion, the popular measurements weren't quite the level of the buxom figures popularised in later years. Women with the ideal body type are thought to have an hourglass figure with a large bust, small hips and a tiny waist. Monroe was said to have been a 36-inch bust, 24-inch waist and 34-inch hips, which would mean she was a modern day UK size six to eight. 'Following the angularity of the war and rationing, gentle voluptuousness was sought after, and women with bigger breasts and fuller hips became more desirable, said Hagen. 'The desire for larger breasts led to doctors experimenting with sponge implants that were inserted into women's breasts for a fuller bust. Marilyn Monroe is rumoured to have undergone this procedure.' 'Weight-gain pills were even recommended to thinner ladies in ads to help flesh out curves.' Famed actress Marilyn Monroe became a sex symbol of the 1950s and early 1960s after a successful career in pin-up modelling. 1960s: Petite In the swinging 1960s, the pendulum swung in the other direction and an ultra-thin look became fashionable- with icons such as Twiggy and Jean Shrimpton embodying the new ideal. Andre said: 'It's interesting to see again how the 'ideal body shape' has changed so drastically here where now suddenly being super-slender and petite is the new trend. 'Again, during this time technology wasn't as advanced as it is today, so to achieve that 'perfect figure', women would solely rely upon diet and exercise.' 'As time has evolved, we've realised that it is almost impossible to spot target weight loss, and there are naturally areas of the body where we hold more stubborn body fat. With a little help from devices, we are now able to target those specific areas to help tone, and firm the body.' Celebrity personal trainer Michael Baah noted that there were a lot of cultural shifts at the time and attitudes changed to a 'peace and love' mentality. He told MailOnline: 'Petite, waif-like figures with minimal curves mirrored a cultural shift toward youth, mod fashion, and radical change.' Supermodels such as Twiggy and Jean Shrimpton popularised a more gaunt figure, with young women worshipping them as their role models. Dresses shrunk to suit the favoured petite frame and women craved smaller busts and tinier hips. Many women embarked on diets to fulfil their goals and Weight Watchers was founded - and welcomed - in 1963. 1970s: The 70s pin-up In this era, women went after small hips and flat stomachs to achieve a toned, svelte frame like many A-listers at the time. Ladies were inspired by stars such as dancing queen Farrah Fawcett, who was one of the original Charlie's Angels. She was five-foot-six and her weight was 116lbs. Andre said: 'Whilst the general body shape of this era remains slim, particularly in the torso, we do start to see the return of some curves as women try to add shape to the popular tight spandex outfits.' Women wanted to look tall and lean and have wider shoulders and smaller hips to create an inverted triangle shape. Rowan Clift, training and nutrition specialist at Freeletics said: 'A more natural, active look emerged. 'There was movement through dancing, yoga, or outdoor lifestyles that gave the body a bit more life and tone. Still soft and feminine, but with energy.' 1980s: Supermodel By the time the eighties rolled around, women focused on attaining a tall, athletic build that many supermodels sported during this decade. They took inspiration from Elle MacPherson, Linda Evangelista, Cindy Crawford, and Naomi Campbell who had toned muscles that were visible in photoshoots. Jane Fonda, a fitness pioneer, ushered in an era of fitness in the 1980s with activities such as aerobics and running becoming popular, and women's muscles became acceptable and attractive for the first time. Andre said: 'The 1980s was a time where taking care of your body health was important with women actively taking part in more exercise and eating well.' Long legs were also 'in', with the likes of Naomi Campbell - who is 5ft 10 - strutting down catwalks aged just 15 after being scouted. Lauren Allen, a personal trainer with more than 15 year experience, said: 'This decade celebrated 'toned' figures like Cindy Crawford and Jane Fonda, with aerobics videos flying off the shelves. 'Women were finally encouraged to move - but it was still very aesthetics-focused: flat abs, lean legs, and a firm bum were the goals.' 1990s: 'Heroin Chic' Kate Moss first came onto the modelling scene in the tail-end of the 1980s, before becoming a household name in the 90s and the decade's pin-up model. She was famously known for her extremely thin and waif-like figure, which is said to have caused a shift in the modelling industry. This sparked a shift, and women were aiming to be as thin as possible, have a noticeable thigh gap and have an angular bone structure. 'Skinny culture' was still strong nine years into the noughties, as, Kate infamously said: 'Nothing tastes as good as skinny feels,' which caused uproar at the time. The celebrity later said she regretted her comment. Andre said: 'During these years, Kate Moss was definitely small and slender for a model, even by professional standards, at 5'7'. Kate Moss first came onto the modelling scene in the tail-end of the 1980s, before becoming a household name in the 90s and the decade's pin-up model. Pictured in 1994 Kate Moss was famously known for her extremely thin and waif-like figure, which is said to have caused a shift in the modelling industry. Pictured 1993 'In contrast to the female fitness pioneers emerging from the previous decade, the 'heroine-chic' model look was hugely different.' However, eating disorder expert Marcelle said that it was this era that was the most controversial of the entire 1900s. 'Of all the beauty ideal eras, the 1990s stands out as one of the most extreme and controversial,' she said. 'The term 'heroin chic' described the ultra-thin, waif-like look popularised by fashion magazines and designers. Supermodel Kate Moss became the ultimate poster girl, with her slight frame and unpolished appearance. 'This era fuelled harmful standards around thinness and led to a spike in disordered eating among young women trying to emulate the look.' Lauren also recalls growing up and seeing extremely slender women plastered all over magazines. She said: 'I was born in the early '90s and remember staring at the magazines celebrating the 'heroin chic' look - bodies were painfully thin, with sharp cheekbones and hip bones on show. 'Sadly, extreme dieting and disordered eating were rife. Strength and health took a back seat as the fashion world glorified fragility and thinness at all costs.' 2000s: Toned bodies Having washboard abs like Britney Spears and Christina Aguilera (pictured, in 2000) were now all the rage - but there was no quick fix to achieving this look After entering a new millennium, women idealised strength and muscle as ripped teens and young women became the pin-ups of the day like Britney Spears After entering a new millennium, women idealised strength and muscle as ripped teens and young women became the pin-ups of the day. Having washboard abs like Britney Spears, Christina Aguilera and Gisele Bundchen were now all the rage - but there was no quick fix to achieving this look. The Hit Me Baby One More Time star shocked the world when she revealed she completed 600 sit-ups a day to achieve her toned tummy. By the year 2000, the pear shape became even more marked, with the average waist size having ballooned four inches in 20 years. This trend for women was perhaps best exemplified by Victoria's Secret models, who experienced global fame in the early 2000s following the launch of the brand's annual runway show in the late 90s. Model Gisele Bundchen is seen showing off her extremely toned midriff as she walks down the Victoria's Secret catwalk in 2005 The fashion at the time - low-rise jeans and Juicy Couture tracksuit bottoms, along with crop tops - meant that people could easily show off their abs and toned midriffs. Marcelle said that Britney and Paris Hilton represented the sought-after body type of this era as they were 'slim, toned with flat abs and hip bones revealed by the low-rise jean and crop top fashion of the time.' She added: 'The look would have required constant maintenance, leaving many women feeling inadequate as it was still unrealistic for most.' Nutrition specialist Rowan said: 'There was a strong focus on "problem areas" and sculpting, with routines built around high reps, cardio machines, and core work. 'Fitness became mainstream, but often in a hyper-focused, aesthetic-driven way.' 2010s: Bootylicious With the rise of social media, A-listers like Kim Kardashian and Nicki Minaj with seemingly unattainable hourglass figures became more accessible through Instagram, Facebook and Twitter. Women desired a figure with dramatic curves, a flat tummy and a tiny waist, as stars such as Beyoncé and Jennifer Lopez were put on a pedestal for representing the beauty standard. Marcelle said: 'The 2010s 'bootylicious' ideal saw a departure from the ultra-thin looks of previous decades, celebrating more diverse body shapes but still placing a great deal of focus on specific body parts. Kim Kardashian was held to a high standard in the 2010s as she had the idealistic hourglass figure (pictured in 2019) With the rise of social media, A-listers like Kim Kardashian and Nicki Minaj with seemingly unattainable hourglass figures became more accessible through Instagram, Facebook and Twitter 'Influencers such as Beyoncé, Jennifer Lopez, and Kim Kardashian, popularised round hips, a lifted and prominent bottom, and a smaller waist. Instagram fuelled this body ideal in addition to the rise of cosmetic procedures such as the Brazilian Butt Lift. 'Though more inclusive in some ways, this body ideal also introduced new pressures around body modification and the pursuit of the "perfect" silhouette.' Hagen Schumacher, a leading consultant plastic surgeon at Adore Life, warned that chasing these seemingly unrealistic measurements could have fatal consequences. 'Nowadays, the beauty standards of today are simply impossible. Social media is dominated by filtered images of influencers promoting an impossibly tiny frame, with larger hips and breasts,' Hagen said. 'Naturally, this body type is next to impossible to achieve, and celebrities rely heavily on cosmetic procedures and filters. 'Procedures like the BBL and CoolSculpting have become increasingly popular, but unfortunately, they do not come without risk. Currently, the BBL is one of the most dangerous procedures to undergo, with a mortality rate estimated at 1 in 3000 to 5000, the highest in any cosmetic procedure.' Celebrity PT Michael said that the 2010s was the era of the 'Instagram body'. He added: 'Celebrities and influencers didn't just set the standard, they sold it. BBLs (Brazilian Butt Lifts) skyrocketed in popularity, offering instant curves without the time or effort of traditional training. 'Fitness marketing shifted too. Words like toned and lean replaced skinny, presenting a more aspirational and health-conscious image. But underneath, the ideal still required low body fat and visible muscle, often achieved through unsustainable or extreme methods. Women desired a figure with dramatic curves, a flat tummy and a tiny waist, as stars such as Beyoncé and Jennifer Lopez (pictured in 2015) were put on a pedestal for representing the 2010s beauty standard Celebrity PT Michael said that the 2010s was the era of the 'Instagram body' (pictured, Beyonce in 2018) 'Many influencers built their brands on this aesthetic without full transparency.' Dr Mohammed Enayat, NHS GP and founder of HUM2N, a longevity clinic in London, said: 'Social media and filters celebrated hyper-feminine, often surgically enhanced bodies, reflecting a mix of empowerment and unattainable perfection.' Not only was having a voluptuous figure in vogue, but plus size individuals became celebrated in this era as society became more accepting of larger bodies. Plus size models such as Ashley Graham, Tess Holliday and Paloma Elsesser were seen on more campaigns and some even became cover stars of magazines - a full U-turn from the the 90s. 2020s: Ozempic skinny Sharon Osbourne 72, recently admitted that Ozempic had left her unable to gain weight (pictured left, before taking the drug and right, after taking the jab) In a dramatic shift from the shapely 2010s, being ultra-slim is now back in fashion - but this time it is medically induced and assisted by weight loss injections. As we reach the mid-2020s, experts have noticed another switch in the new 'perfect body' which appears to be 'heroin chic' volume two. Several celebrities who previously had fuller figures, such as Meghan Trainor, Oprah Winfre, Rebel Wilson and Kathy Bates, have admitted to injecting Ozempic or Mounjaro to help them shed the pounds, leading to them looking almost unrecognisable. Ozempic, a brand name for semaglutide, is a treatment for type 2 diabetes, which can help you manage blood sugar levels and has been known to suppress appetite. It is only prescribed to people who have a BMI 35kg/m2 or more and have additional psychological or other medical conditions that are related to obesity. The drug became so popular, that the UK struggled with supply issues in 2024, meaning thousands of people could not access it, according to Diabetes UK, highlighting how much society has shifted. However, this supply problem was fixed in December. Dr Enayat said: 'The rise of weight-loss drugs like Ozempic has reintroduced "heroin chic" aesthetics, albeit with a polished, curated twist. 'The 2020s reflect a fractured beauty standard: while body positivity movements persist, there's a growing dominance of slimness in high fashion, social media, and celebrity culture. Meghan Trainor recently gave a special 'shout out' to the type 2 diabetes drug brand, Mounjaro and admitted to taking it (pictured left, before taking the drug and right, after taking the jab) 'The ideal is both hyper-controlled and paradoxical, aspiring to look "natural" while employing intense interventions. It's a decade defined by contradiction, algorithmic influence, and wellness culture wrapped around old beauty pressure.' But Ozempic can have challenging knock-on effects. Sharon Osbourne, 72, recently admitted the drug had left her unable to gain weight. Though she was initially pleased with the results after starting the medication in December 2022, Osbourne later admitted she feared she had taken it too far—despite revealing last November that she had been off the drug for 'a while.' 'I can't put on weight now, and I don't know what it's done to my metabolism, but I just can't seem to put any on, because I think I went too far,' she shared on Howie Mandel's podcast. Earlier, in February, she told The Guardian she had lost 'three stone [42 pounds] in four months. Too much.' Another weight loss injection, Mounjaro, which is the brand name for tirzepatide, has also become more sought after. It lowers blood sugar and works to increase the level of incretins – hormones - in the body. Similar to Ozempic, it is prescribed in the UK for people who have Type 2 Diabetes. In December 2024, it was approved to treat obesity on the NHS and is available within specialist weight management services in England, according to Diabetes UK. In March, Meghan Trainor gave a special 'shout out' to the type 2 diabetes drug brand, Mounjaro. Oprah Winfrey in 2018 and, right, this January. In December she admitted to using 'weight loss medication' and has now reached her 160lb (11st 4lb) goal 'No, I don't look like I did 10 years ago. I've been on a journey to be the healthiest, strongest version of myself for my kids and for me,' Meghan said. 'I've worked with a dietitian, made huge lifestyle changes, started exercising with a trainer, and yes, I used science and support (shoutout to Mounjaro!) to help me after my [second] pregnancy. And I'm so glad I did because I feel great.' Marcelle, who specialises in eating disorders, said this era echoes that of the 1990s, where being waif and ultra-skinny was the ideal body type. She said: 'The "Ozempic Slim" body standard reflects the growing societal pressure to achieve rapid, dramatic body changes often at the expense of emotional and physical wellbeing. 'Social media platforms such as TikTok and Instagram, along with influencers and celebrities, play a significant role in the rise of women pursuing rapid weight loss and a very lean physique. 'Advances in photo editing apps, filters, and deepfakes have further complicated body image by creating often unattainable and heavily curated online images, fuelling eating disorders among girls and women of all ages. 'This trend also raises questions about the impact of pharmaceutical interventions on beauty standards and body image in our digital age.' Rowan said that people are jumping on the injectable weight-loss trend without putting 'sustainable habits' in place. Australian actress Rebel Wilson - pictured in 2018, left, and 2022 - shed 80lb in four years to reach her goal weight of 165lb (11st 8lb) He said: 'The current ideal is more fragmented and contradictory than ever. While functional training, strength, and wellness are gaining ground, the rise of injectable weight-loss drugs has reintroduced ultra-thin bodies to the spotlight. 'Muscles are softer, waistlines narrower, and body fat minimal often achieved quickly, without sustainable habits. There's a polished, curated kind of slimness trending, where extreme control is masked as effortless. 'The body is less about what it can do and more about how it photographs, creating tension between health and appearance in a way that feels increasingly artificial.' Personal trainer Michael believes that the 2020s have brought about a 'cultural reset', with Gen Z paving the way for a more healthy, informed society. He said: 'The BBL trend is in decline. More celebrities are reversing cosmetic procedures and promoting a natural look. Gen Z is leading the shift toward authenticity, body diversity, and mental wellbeing. But the pressure hasn't disappeared. It has been repackaged. 'The new ideal is wrapped in wellness language. Instead of abs and curves, people now aspire to gut health, sleep quality, protein intake, and stress regulation. Aesthetics remain central, but they are now framed through the lens of discipline, balance, and bio-optimisation.'
Telegraph
21-05-2025
- Entertainment
- Telegraph
This young British novelist is succeeding where others fail
To Rest Our Minds and Bodies, the debut novel by the promising 25-year-old British novelist Harriet Armstrong, ostensibly tells a straightforward and rather uneventful tale. Its unnamed narrator is a psychology student in the final year of her degree at an unspecified campus university in the early 2020s. She attends lectures, grappling with the ideas she encounters therein. She thinks about books she has read, exhibitions she has seen, film and TV shows she has watched. She spends time with a few close friends. Increasingly, however, her attentions are preoccupied by one person in particular: Luke, a postgraduate student in computer science, who lives in the room next to hers. Their friendship blossoms after Luke's girlfriend breaks up with him. And although it's pretty clear to the reader that he has 'friend-zoned' the narrator, she – not especially practiced when it comes to matters of the heart, and at this point still a virgin – is completely infatuated. Armstrong's narrator worries about the fact that nothing of substance has ever happened to her. 'Somehow through existing I repelled action,' she thinks. But she's not so much eagerly waiting for action – which would merely be in line with that traditional trope of the in-between-ness of one's student years, caught between childhood and adolescence, waiting for life proper to start – as waiting for very specific ontological revelations: I did very badly want to know what things fundamentally meant. I still felt that everything around me had some hidden core, I felt that the most important and central meanings were concealed and had to be effortfully unearthed. I really couldn't wait for all those meanings to be revealed to me. And Luke bursts into her life as if he had been fashioned exactly for her – 'acting like the model of an approachable, delightful person… like an actor placed inside my kitchen to delight me'. A certain dispassionate, matter-of-fact prose style has become characteristic of too much contemporary fiction: my heart now reflexively sinks when I encounter it. In such novels, the narrators observe their own lives with the practiced, measured eye of anthropologists. Often they are, as Armstrong's narrator calls them, 'vaguely disembodied cerebral girls'. (This is tongue-in-cheek on Armstrong's part: they're not just the kind of books the narrator likes to read, they're the kind she thinks she would write if she ever wrote one herself.) Seemingly unable to experience a given moment, instead they're trapped in a Mobius strip-like loop of endless real-time analysis. It can make for laborious reading. To Rest Our Minds and Bodies is one of the purest examples of this style that I've encountered yet, so my hackles were initially raised. But I soon found myself proved wrong. So much writing in this vein falls foul of its own aloofness, but the success of Armstrong's work lies in how she conveys all the intensities of her narrator's experiences – from the intellectual, through the emotional, to every part of her embodied life (pain, pleasure, disgust) – through prose that's consistently reserved to the point of incredible clarity. It's rare to encounter so purely candid and redolent a portrait of a life. Instead of fatigue, the novel inspires something closer to exaltation, proving that the accolades that preceded it – Armstrong's publication of a handful of well-received short stories, and her 2024 residency at the Giancarlo DiTrapano Foundation for Literature and the Arts – did indeed herald genuine talent. About halfway through the novel, the narrator writes a short story about her recent attempt to lose her virginity. Another girl in her writers' group disparages the 'faux naïveté' of the work's tone, a criticism that leaves the poor narrator bemused. 'I hadn't made any kind of choice in describing it like that,' she thinks to herself. She'd merely been rendering her experience as realistically as she could. One has the sense that Armstrong might use the same defence for this novel. To Rest Our Minds and Bodies is a fraught chamber piece of emotional intensity: an age-old story – of the highs and lows of first love, and of a young person finding their place in the world – told in a way that feels unsettling, exciting and very fresh.
BBC News
17-05-2025
- Entertainment
- BBC News
More or Less: Behind the Stats How dead is the internet?
In the early 2020s, a conspiracy theory started circulating online known as the 'dead internet theory'. This suggested that, instead of a vibrant digital super-community where people freely share things like cat videos and conspiracy theories, the internet was instead basically dead - an AI dystopia controlled by the deep state, where almost everything you see and interact with is generated by computers. The theory that the internet is 100% dead can be easily disproven, but the theory does hint at something real. The internet certainly is full of 'bots', autonomous bits of software that are definitely not alive. In this episode, we investigate one specific claim about the number of these bots on the internet - the idea that more than half of internet traffic is bots. Where does this claim come from, and is it true? Presenter/producer: Tom Colls Production co-ordinator: Brenda Brown Sound mix: Giles Aspen Editor: Richard Vadon
Daily Mail
14-05-2025
- Health
- Daily Mail
SARAH VINE: I have tried all the weight loss jabs from Ozempic to Wegovy to Mounjaro... and THIS is the one that's easily the best
Every age has its great rivalries: Rome vs Carthage, Mozart vs Salieri, Shakespeare vs Marlowe, the Rolling Stones vs The Beatles. For us, halfway through the 2020s, it's Mounjaro vs Ozempic, the battle of the fat jabs. In the first ever head-to-head clinical trial, tirzepatide (the active ingredient in Mounjaro) has been found to be almost 50 per cent more effective than semaglutide (the active ingredient in Ozempic and Wegovy).
