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New Statesman
24-07-2025
- Entertainment
- New Statesman
Beware the girlosphere
The word 'girlhood' is everywhere. But hearing it feels a bit like being flashed by a nudist. Nobody complains about Richard Linklater's film Boyhood; and 'childhood' is completely normal. As a young woman, I feel comfortable admitting I was recently a girl; but saying I had a 'girlhood' sounds bizarre. The feeling started to creep in around 2023, when the word came up as a fashion-industry descriptor – baby pink was legion and you couldn't move for fear of bumping into a hair bow. The online magazine Who What Wear collaged together some outfits by Miu Miu and Sandy Liang and used the headline 'How Celebrating Girlhood Quickly Became the Internet's Favourite Trend'; Dazed called the same thing 'Girlhood-core.' That year, director Sofia Coppola released a book of behind-the-scenes photos, bound in the same pastel pink, to her female fanbase. 'Bows, Sofia Coppola's The Virgin Suicides, and the entirety of Lana Del Rey's discography are all things that were once shamed for enjoying, but have become core components of what makes up girlhood…' The look isn't new. But it found its creepy moniker as adults flocked to TikTok over the pandemic, bearing years of residual Internet detritus from the time when Tumblr held most of the alternative market share. For around fifteen years this exact amalgamation of whites and pinks, Nouvelle Vague hairstyles, Lana Del Rey videos and Sofia Coppola films has held currency wherever young women exist online. The nostalgic aesthetic is refined but has no single creator; its resounding motifs have been pinned, reblogged and retweeted until they became a universal online language. Welcome to the girlosphere, the least understood corner of the political internet. We are already familiar with journalistic fretting about the 'manosphere,' which shovels anti-feminist and white nationalist ideology from underground message boards onto increasingly visible parts of mainstream social media. Influencer Andrew Tate allegedly radicalises young men into misogyny, they say (though recent Ofcom research has found his reach might be overstated); Canadian psychologist Jordan Peterson forms the more acceptable face of this loose digital grouping. More than any individual, the manosphere's standard bearer might be the green cartoon frog, Pepe, who presides over the digital basement of the alt-right. In May this year, Stephen Graham's smash Netflix show Adolescence took over the national conversation. The four-part series follows the Miller family after their 13-year-old son kills a female classmate. It's all about male rage, and online misogyny. 'Adolescence is such powerful TV,' the Guardian wrote, 'that it could save lives.' Now, secondary school pupils in England are to be taught about incel culture, and misogyny inherent to the so-called manosphere, according to statutory government guidance recently published by the Labour government. Less thought – almost none – is given to the opposite corner of the internet. We know all too well about the damage social media has wrought to a specific class of online adolescent women. Their rates of depression, anxiety, and self-injury surged in the early 2010s, as social-media platforms proliferated and expanded. Being in the 'girlosphere' puts you at personal risk. The current 'manosphere' panic revolves around a group of all-powerful influencers, who basically act like radio pundits; it seems frivolous by comparison to worry about how the internet looks. But young women do things online that men don't; they make moodboards, curate feeds, and live vicariously through 'aesthetic' images. In this case, the visuals themselves might be key. The girlosphere is broad enough to subsume any ideology without obvious cognitive dissonance. The beliefs that reach it become glamorous by association; it is aesthetically coherent but politically all over the place. It has no Andrew Tate; its only universal 'influencers' are enigmatic fictional characters, models and pop stars. Nine or ten years ago you could plausibly be a teenage Dworkinite and have all the same glittery pink images on your blog as a pro-porn liberal. 'Cottagecore', the vague grouping of unthreatening rural aesthetics that emerged in the dying days of Tumblr, accommodated both 'tradwives' and second-wave feminists. Today, pro-eating disorder images on X and Pinterest are made more palatable when they use suitably 'coquette' images of Slavic fashion models. Dangerous habits get embedded in the girlosphere at light speed; young women searching for escapism are at higher risk of getting sucked in. Subscribe to The New Statesman today from only £8.99 per month Subscribe The fictional basis of the girlosphere has stayed the same for over a decade. It is deliberately voyeuristic and distant. Goodreads tells me that the Virgin Suicides gets tagged as 'girlhood' more than any other novel on the platform; the book and its film adaptation have had a cult online fanbase of young women for over a decade. But both are narrated by a cast of male characters; we barely see the central, insular group of sisters outside of dreams, rumours, windows and the 'coquette' craze on TikTok was borrowed wholesale from a decade-old Tumblr subculture, whose prime influence was the haunted paedophilia-Americana of Vladimir Nabokov's Lolita. If you're a young girl in this sphere then you're probably edgily imagining yourself as the abductee – but the whole point of the novel is that it obscures the abductor's criminal motivations through a veil of aesthetic-first literary devices. The manosphere, by contrast, is fundamentally anti-aesthetic. It puts its real-world grievances and ambitions before its visual concerns. Men do not participate in the collaborative collaging that made 'girlhood' into a nebulous vibe and Lana Del Rey into an all-purpose political tool. Nobody's living vicariously through the MS Paint cartoons of Pepe the Frog; Andrew Tate's livestreaming backgrounds have made no impression on the current generation of interior designers. You can write its acolytes off as political undesirables after a single glance. The girlosphere is a different kind of entity. There was nothing inherently malevolent about it in the beginning, but its escapist foundations have made it into a potentially sinister tool. Young women come to seek aesthetic pleasure and end up ricocheting over the political spectrum. The mainstream fashion devotees of the 'girlhood' aesthetic pose it as a symbol of reclaimed sisterhood, but this is the most sinister proposition of all, like something out of the Stepford Wives. It has only resounded for so long among young women online because its creepy voyeurism puts it at arm's length from the real female experience. You don't have to think with empathy when you mix modern-day policy and the vibes of a fictional middle America; you don't have to consider the practicalities of your own body when you spend all day collaging together old photos of Slavic supermodels. And once you enter the girlosophere, you can never leave. Future generations will have to endure this too: a ballet flat stomping on a human face, forever. [See more: On freedom vs motherhood] Related
Elle
03-07-2025
- Entertainment
- Elle
Chanel Opens an Outdoor Theater at the Louvre
Culture Watch is a new series spotlighting the intersection of fashion and art, bringing you the latest must-see exhibitions, pop-ups, installations, and more. Summer is the perfect season for gallery-hopping and enriching your cultural horizons. This month, immerse yourself in the best of the arts, starting with Chanel's open-air cinema beneath the stars at the Louvre. Then, witness fashion history in the making as one of the world's most iconic handbags goes under the hammer at Sotheby's. From now until July 5, you can relax under the Parisian stars and enjoy an outdoor film screening at the Louvre, courtesy of Chanel. This year's Festival Cinéma Paradiso Louvre kicked off with a screening of The Virgin Suicides by Sofia Coppola and will be followed by In the Mood for Love by Wong Kar-Wai, Twin Peaks: Fire Walk With Me by David Lynch, and The Secret Agent by Kleber Mendonça Filho. Tickets are free and available through a lottery here. The white whale of collectible bags is up for sale. On July 10, Sotheby's will auction Jane Birkin's original Birkin bag. The design was initially created due to a chance encounter on a flight between Birkin and Jean-Louis Dumas, the then-artistic director of Hermès, transforming handbags forever. The Birkin is scheduled as Lot 8 and bidding will begin at approximately 10:10 A.M. ET. You can watch the live auction here.
Newsweek
30-06-2025
- Entertainment
- Newsweek
New on Paramount+: Full List of Movies, Shows Hitting the Streaming Platform in July 2025
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources. Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content. Entertainment gossip and news from Newsweek's network of contributors Paramount+ is prepping for summer by announcing all the titles that will drop throughout July, with things kicking off on the first of the month when over 70 films land, including Breakfast at Tiffany's, Titanic, The Virgin Suicides, and City of God. If you're looking for some laughs to start your summer, an abundance of comedy movies also land on July 1, including Beverly Hills Cop I, II, and II and a selection of Jackass movies. Reality television fans are being fed well throughout the month, with season 27 of the hit series Big Brother arriving on July 10 and season 17 of RuPaul's Drag Race landing on July 23. CBS Presents BIG BROTHER 2025 CBS Presents BIG BROTHER 2025 CBS Broadcasting, Inc. Paramount+ subscriptions start at $7.99 per month or $59 annually. Paramount+ also has Paramount+ with SHOWTIME, costing $12.99 a month or $119.99 annually. For the complete list of titles arriving on Paramount+ in July, read on below. What's New on Paramount+ in July 2025? July 1 A Soldier's Story A Walk Among the Tombstones A Walk on the Moon Airplane II: The Sequel Airplane! An Officer and a Gentleman Beverly Hills Cop Beverly Hills Cop II Beverly Hills Cop III Boys And Girls Breakfast at Tiffany's Chicago City of God City of Men Congo Cracks* Crisis* Defiance Don Jon Downhill Racer Election Failure to Launch Full Metal Jacket G.I. Blues G.I. Jane Gasoline Alley Girl, Interrupted Glory Go Hamburger Hill Hit & Run Jackass 2.5 Jackass 3 Jackass 3.5 Jackass Number Two Jackass Presents: Bad Grandpa Jackass Presents: Bad Grandpa .5 Unrated Jackass: The Movie Jarhead John Grisham's The Rainmaker Limitless* Looper Lords of Dogtown Machete Kills* Major League Monster Summer Mud Pet Sematary (2019) Rules of Engagement Saving Private Ryan Seabiscuit Set It Off: Director's Cut Side Effects* Sleepless* South Park: Bigger, Longer & Uncut Stardust Staten Island Summer Stop-Loss The Aviator The Book of Henry The Fighter The Gunman* The Killer Inside Me* The Lincoln Lawyer The Patriot The Presidio The Quiet American The Survivalist* The To Do List The Virgin Suicides Titanic Training Day World Trade Center Zero Dark Thirty July 2 DORA (Season 3 Premiere) Dora & Diego: Rainforest Rescues (Special) Dora and the Search for Sol Dorado July 8 White Famous (Season 1) July 10 Big Brother (Season 27) The Great Debaters* July 11 Dexter: Resurrection* (Series Premiere) July 13 Alone in Berlin* July 16 The Challenge: All Stars (Season 5) Max and the Midknights (Season 1) July 17 Star Trek: Strange New Worlds (Season 3 Premiere) July 23 RuPaul's Drag Race (Season 17) RuPaul's Drag Race: Untucked (Season 16) July 30 CMT Live - Nate Smith at Busch Country: One Night Only Sports Streaming on Paramount+ in July 2025
Cosmopolitan
27-06-2025
- Entertainment
- Cosmopolitan
Sorry, Baby: How Eva Victor, Naomi Ackie, and Lucas Hedges Created 2025's Best Movie
Forgive me for what is about to be a bit of a sentimental beginning to this story. As a person who covers movies for a living, I've often heard stories of critics or editors going to film festivals and seeing the start of a legendary career. People speak with reverence about seeing Quentin Tarantino's Reservoir Dogs at the Sundance Film Festival in 1992, for example, or Sofia Coppola's The Virgin Suicides at Cannes in 1999. Those stories are always accompanied with a sense of wonder, like they can't believe they were lucky enough to be in that place at that time to witness that thing. I've always hoped to have a moment like that myself. And this year, with Sorry, Baby premiering at Sundance, I finally got the chance. Eva Victor's beautiful directorial debut, which comes out in limited release today, follows Agnes, (played by Victor) a grad student who experiences something traumatic at the hands of a person they trust. The story focuses less on the traumatic event itself and on all the ways Agnes tries to cope and heal after the fact, especially as the people around them start to move on with their own lives. It blends a sharp poignancy about grief with moments of humor and light, relying on the comedic sense Victor used in the front-facing videos they became known for. Naomi Ackie (Blink Twice, Mickey 17) plays Lydie, Agnes's best friend and anchor, and Lucas Hedges (Ladybird, Manchester by the Sea) plays Gavin, Agnes's neighbor. They both try to keep Agnes grounded as she moves through her own healing. The movie earned glowing reviews out of Sundance and is produced by Barry Jenkins, the Oscar-winning director of Moonlight. Cosmopolitan sat down with the movie's three leads to talk through making the movie in less than four weeks, how Victor got both Ackie and Hedges to hop on board, and why the friendship at the center is the real romance. Eva Victor: It did influence the setting of the film. I felt very inspired by it, and I felt that it was both upsettingly cold and dreary and lonely, and also at the same time very romantic. I loved that. It's a very personal story, but I found a lot of joy in creating parts of it. Maine was a huge part of the creation of the story. I grew up in San Francisco and there's no seasons. Seasons tell time in a way that feels so weird, and you feel time differently, and winter is so weird in terms of loneliness. When we finally decided to shoot near Boston, it was about finding locations that felt sort of analogous to the places I had imagined them taking place in Maine. EV: The whole shoot was supposed to have snow, and we scheduled it at that exact time to try to capture snow, and it snowed the weekend before, and then the last shot of the film, there was a little snow coming down. We couldn't even use that because it didn't match. Then I found out that happened to Certain Women, Kelly Reichardt's movie, and I was like, okay, so it's a good thing. Eva: Always non-linear. It was always starting with the friendship weekend away, the joy of that. You have to fall in love with them in order to later care. In the edit, we experimented with many versions of how that beginning moved. And our final realization is that if you don't have this moment where Naomi does this thing where she's like, you're fucking your neighbor, Gavin, waving her arms around, the film doesn't work. I want to start the film with the joy and the love, because then there's something you lose. And I also wanted to give Agnes this fighting chance of being a whole person. As a society, we often flatten people who've been through that sort of trauma. Naomi Ackie: It's what I love about filmmaking. Every film feels like a student film. Every single one. Lucas Hedges: Even Mickey 17? Naomi: To an extent, yeah. You're always conscious of time, and you're always running around. It's like a house. No matter how big it is, you'll always feel it. Eva: No matter the budget, time is time. Lucas: Every human is mortal and every film is mortal. There's no amount of money you can do to make something immortal. Eva: And sometimes time is a constraint that's beautiful. Naomi: It's like when you watch a toddler and they start making their first words. You're actually watching someone build the language for the first time. That's really, really cool. And usually that language evolves over time. With Eva, with Zoë, the film you make is who you are. And then if you're a part of that first creation of that first language, then you have the privilege of getting to watch how that evolves over time. When I'm going to watch Eva's next movie, I can see how they stretched. Naomi: Yeah, I did actually. It was even in feedback that we got about their friendship, this reminds me of me and my best friend. It also made my job very easy, to enact that idea of a really strong bond and a friendship. Friendships are romantic. They're the loves of your life. And you get to choose it. Eva: When I was looking for this partner on the film, I would always say, Agnes is the moon and Lydie is the sun. Naomi: And I'm a Leo, so that makes sense. Eva: Then I met Naomi, and she was so awesome. And then we read together. I fell in love with her, honestly, and it really elevated the film. The film doesn't work if this friendship doesn't work. And it was this huge exhale from everyone, we found this person who makes the film. I feel like God touched me in sending me Naomi. Naomi: Oh, don't you dare! That's very nice. Eva: It was just right. That she wanted to do the movie is crazy. I'm still not over that she wanted to do it. Lucas: The letter mattered more after I read the script, because the letter takes on the context of the script. I read the letter, and then I read the script, and then I was like, Oh, I can't wait to read the letter again, because now I know who this person is. I got to read something and fall in love with the story, and then immediately connect with it as Lucas. It was a cherry on the top. Immediately I wrote my response, but it was 11 p.m. so I couldn't send it until I got up. I got up early the next day to reach out to my manager. And I sleep in, so... I woke the fuck up. Lucas: I pictured him being an opera singer. The film is operatic almost, in terms of the emotions. Even the sets, it feels like somebody could just start singing. He also felt big, in a way that was full and yet also inherently silly. And there's something about an opera singer that's inherently kind of laughable. What they do is so earnest. They're stuck in a gesture so large that you can't help feeling bad for them. Eva: The experience Agnes is having is the classic thing of being left behind. Lydie shows up with their partner, who is a funhouse mirror, evolved version of Agnes. Agnes has been the baby, and Agnes is like, I'm not the baby anymore. And so the baby takes on this pain of, I'm not gonna get all the love anymore, which is inherently selfish. In moments after trauma, the way to survive is to just think about yourself, which is selfish to people around you, but it's also necessary for survival. Though Lydie has done all this generous loving and care, the end of the film is the first time Agnes is able to see outside herself and see Lydie's need, which is wanting to go on a walk with her partner. Agnes watching the baby for 20 minutes is obviously a super small thing that doesn't balance anything out, but is a moment of, this isn't about me. And I think for Agnes, that's huge. And then Agnes seeing the baby, that's the moment when Agnes is like, I'm going to be able to give you what Lydie gave to me. It's really small, and it's not at all balanced. But I think that is the small change of going from FOMO to, I am of use, just not how I used to be.
India.com
26-06-2025
- Entertainment
- India.com
Director Sofia Coppola Hates Violent Films, Applauds Old Cowboy Movies
Washington : In an era of action cinema, the 'Lost in Translation' director, Sofia Coppola, says that she doesn't prefer watching "overdone" violent films as it is quite "upsetting" for her, reported Variety. While speaking at a masterclass at the Biarritz' Nouvelles Vagues Festival, as quoted by Variety, Coppola explained her lack of affinity for the action cinema. She said that watching violence in cinema "upsets" her due to the gun violence in the US, her birthplace. "There's so much gun violence in my country. It's really hard to see [those] movies. Old cowboys are cool, but just the way [violence] is overdone now is upsetting," said Sofia as quoted by Variety. Coppola, who flew from New York to be the guest of honor at the third edition of Nouvelles Vagues Festival in the picturesque south-western town of Biarritz, cited Martin Scorsese as a filmmaker whose movies have violence that serves a narrative purpose, reported Variety. "I love Scorsese, so there are moments for it," she said, adding that "violent themes can be interesting or insinuating. But really, gory, not so much for me," as quoted by Variety. At the masterclass, the director also reminded us about her childhood, her early passion for fashion, photography and the making of 'The Virgin Suicides'. She said a male director was initially developing the adaptation of Jeffrey Eugenides's novel "The Virgin Suicides" before she came on board and had a much different take on the book, reported Variety. "When I read the book, I loved it, and I heard that a guy was going to make it. He was going to make it very dark and sexual. I was like, 'That's not how I see it. I hope they don't make it like that," said Sofia Coppola as quoted by Variety. The director shared that she started adapting a few chapters to "learn how you adapt a book into a screenplay," and later on, when she felt confident enough, she asked the producers to consider her script "if it didn't work out with the guy they had," she said, reported Variety. Eventually, Coppola directed the film, which world premiered at the Cannes Film Festival in 1999 and became a cult classic.
