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I Got A Tarot Reading For My Career — Here's What I Learned

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It's a typically wet and windy autumn night, and I'm meeting with Anna Grindrod-Feeny for a tarot reading. We sit together in the dim evening light, hunched over a table in a quiet corner of my empty office. Anna sets three different tarot decks onto the table and tells me to choose the deck that resonates with me most. After looking through the cards’ intricate designs, I eventually settle on a beautiful blue stack of cards called the Prisma Visions deck. With that, Anna begins to shuffle.

Anna and I first met at Precious Metal, a small bar in Bushwick, Brooklyn, where she reads tarot on most Friday nights. It was there that Anna gave me my first-ever tarot reading. I still remember being struck by its eery accuracy; at the time I had a lot of existential questions floating around in my mind, and Anna’s interpretation of the cards helped me to distill them into a focused clarity. This time, however, I am looking for insight on something more specific: my career.

Anna does career readings all the time, she tells me, whether it’s someone unsure about taking a new job, feeling stuck in a current one, trying to decide between two offers, or wondering when to ask for a promotion.

“In my opinion, this is what tarot is best at,” Anna says, expertly sifting the cards between her hands. “It’s more of a tool than anything, it’s about tapping into your own subconscious and what you’re already thinking or need to hear. It provides a framework for you to sort through it.”

Tonight, I'm less concerned about a specific job question, but I'm curious about my bigger career picture. Like many millennials, I don't identify as only one thing — I am a journalist, a writer, an illustrator, an artist — and sometimes, knowing how to nurture each of these distinct facets can be a challenge. As someone with an atypical career path (I was a freelancer and entrepreneur for the majority of my career and recently transitioned into a full-time role) and with multiple interests, I decide to ask the cards: How should I balance the pursuit of a multi-faceted, non-linear career path?

Tarot is more of a tool than anything, it’s about tapping into your own subconscious and what you’re already thinking or need to hear.

As I ask the question, Anna begins to spread the shuffled cards out across the table into what she calls a ten-card clarifying spread. I ask her about how targeted readings differ from more open-ended readings. “Questions help you interpret the cards,” Anna says. “And the spread influences what story you’re telling. This one delves into the real-world considerations of things and gets into the ‘what do you need to do about this’ aspect of a question.”

Each of the ten cards Anna lays down stands for a different aspect of my life pertaining to my question: The situation I am in, my subconscious priority, my conscious priority, what I think will help me, what I think will hinder me, what will actually help and hinder me, and what my next steps are. As Anna goes through each of the cards and explains their significance, I find myself paying close attention to how each of the cards makes me feel. “You should take your first impressions seriously,” Anna cautions.

Among the insight that arises from the spread of ten cards, I am able to glean several pearls of wisdom. According to the cards, my conscious priority is currently dictated by the six of wands, which suggests that I am on the right path. It also suggests that I need to take time to reflect not only on what I would like to do and where I would like to go in the future, but also on all of the things I've accomplished already.

I am struck by the cards that represent what will actually help and hinder me: The five of pentacles in reverse and the lovers. The first card — representing what will help me — reminds me that I have more tools at my disposal than what I might think. It encourages me to remember what I have instead of what I lack, and how to use these things to get closer to my goals.

The lovers — which speak to what will hinder me — is a major arcana card (representing a major energetic shift), suggesting that I need to learn to find balance within myself and with those around me. “You don’t want to be too focused on finding the perfect thing right now,” Anna explains. “Be okay with being in the gestation phase. Expecting perfection will hinder you.”

The last piece of advice comes from the final card in the spread: The four of pentacles. This card represents a natural pause. “It’s the idea that you’ve reached a certain level of security, a certain place that you’ve wanted to reach,” Anna says. However, she cautions that this card means that I should not be afraid to take risks for fear of losing what I’ve built or the money I’ve saved.

”You have to be willing to let go of some of the security you’ve built for yourself and set new goals,” she continues, surveying the spread. “You must move on with the understanding that when you take risks you wind up opening yourself up to more abundance than you could have ever imagined.”

My first career tarot reading strikes several chords within me, but I'm especially moved by the idea that I should focus on the things that bring me joy. My spread is littered with chalices and, therefore, rooted in the emotionality of my work. Because of this, Anna warns me not to get so swept up in my feelings that I disregard the practical side of things. The cards also remind me that it’s never good to hold so tightly to things that I no longer push myself out of my comfort zone. “Don’t be afraid to risk something to start something new or continue growing,” Anna adds.

Ultimately, coming away from this reading, I am reminded that we often hold the answers to our biggest questions within ourselves. Anna makes it clear to me that whatever realisations I extracted from this reading are the right ones. No matter what a spread suggests, a tarot reading is, in many ways, a mirror to your own subconscious. For this reason, it's best to go into tarot readings with an open mind and a clear understanding of yourself.

“When people come to me and ask ‘should I quit my job or should I stay?’ they usually already kind of know what they want to do,” Anna says with a smirk. “This is what tarot is best for: Channelling yourself back to you.”

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3 Ways To Add Life To Your Batch Cooked Lunch At The End Of The Week

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We all know that batch cooking/ meal prep/ call it what you will is A Very Good Thing.

It's economical, time-saving, usually healthier than Pret and generally makes us feel like we’ve got our lives fully together.

But it doesn’t half get boring eating the same thing all week, does it? By Thursday lunchtime, that once delicious bowl of chilli is about as appetising as the last sandwich left in a train station Tesco on a Saturday night.

Well, fear not, you can continue to batch cook your socks off because taking your meal from boring to very exciting indeed is totally doable, just by purchasing a few super simple ingredients from the supermarket. Read on for a few easy ways to rejig your batch cook staples so it doesn’t feel like Groundhog Day for the rest of your life.

If you made... chilli

Whether you make this classic Tex-Mex dish with standard beef, amp up the protein with a turkey mince alternative or stick to a three-bean veggie version, a vat of homemade chilli is a delicious thing to dine on… for the first few days. But now it’s Thursday and those kidney beans just aren’t hitting the spot. Time to spice things up.

Method One: Tacos. Get yourself a pack of mini tortilla wraps and a dip of your choice (sour cream, crème fraîche, salsa, guacamole) and make some DIY tacos. Also good with a little gem lettuce to make lettuce boats if you’re off the carbs.

Method Two: Dark chocolate. Pick up a bar of the 70% or above stuff and melt a square or two on top of your existing chilli in the microwave or on the hob. The bitterness of the chocolate brings out new notes in the chilli flavour which you may not have clocked. Nigella and Heston do it, so who are we to argue?

Method Three: Fruit. Now bear with us: sharp, tropical fruits often make the tastiest salsas, so scattering a handful of chopped mango or pineapple across a very spicy chilli actually brings a lovely contrast and acidity to the dish. Try it with a squeeze of lime.

If you made... sweet potato curry

Sweet potatoes are high in vitamins and fibre and – more importantly – make very tasty curries. Whether you’ve gone for Indian style, Sri Lankan or Thai, it still gets a bit same old, same old by day three. Give it a bit of variation for the end of the week by trying out these healthy spins that work across the curry board.

Method One: Cashews. A snack pack of cashews will add crunch and interest to what can be a rather soft-textured dish. If you’re at home, toast them very quickly first for extra nuttiness, otherwise just sprinkle on top or stir them into the curry for a dose of vitamin E and selenium (hello, nice hair and nails). If you’re not into nuts, chickpeas are a lower fat (higher carb) alternative.

Method Two: Peanut butter. Nut butter is still having a moment, so capitalise on it and pick up one of those 9g mini sachets of the good stuff and stir it into your sweet potatoes to make a satay style curry. This works with Thai curries especially well, but Indian style is also great.

Method Three: Make it soupy. A carton of coconut milk (the dairy replacement kind, not the tins) can be used to make that curry into a luscious soup; just add 250ml or so to your planned portion and heat for a bit of a change up. If you have an extra vegetable to stir in, too, this is great (try spinach, small cauliflower florets or roasted peppers).

If you made... tuna pasta

The student mealtime hangover staple we’ve never been able to shift, tuna pasta ticks all the boxes for being a cheap, healthy and reliably nice lunch or dinner… but the week before payday feels long and especially cruel when you’re on your ninth portion. Time for some purse-friendly ways to trick yourself into eating it yet again.

Method One: Puttanesca. Likelihood is, your tuna pasta is some kind of onion, garlic and tomato-based affair, amirite? If so, you’re halfway to an actual Italian dish. Add in some capers and black olives (the cheap kind are best for this) and you have yourself some 'slutty spaghetti'.

Method Two: Salad. Remember, tuna pasta is also a legitimate salad. To further convince yourself of the fact you’re not just eating cold leftovers, see if the budget stretches to a small tin of sweetcorn, some leaves and maybe even an avocado or an egg. Voilà, a new dish.

Method Three: Make it a Bake. Okay, we’re clutching at straws here, but if you haven’t baked that tuna pasta yet, why not? Popping it in an ovenproof dish and sprinkling it with cheese and breadcrumbs until golden transforms that healthy pasta into something far more comforting and happy-making. If you want to add some béchamel, we won’t stop you.

If you made... roasted veg

Blame Deliciously Ella for encouraging us to roast trays and trays of delicious, nutritious veg. Health kick or no health kick, a bowl of roasted veg – however colourful and varied – really is just that, and even she pairs hers with some jazzy brown rice or something. So let’s see what we can add in to make it more filling and avoid that desperate afternoon chocolate run.

Method One: Feta. One of those little one-person portions of Apetina feta gives a satisfying lactic tang to a plateful of aubergine, broccoli, peppers and the like. And it’s a much-needed source of protein because with zero carb or protein how else are you going to make it through the afternoon?

Method Two: Couscous. A sachet of instant couscous will provide some simple carbs to give you a more balanced meal. Choose one of the 'Mediterranean herb' or 'Moroccan' varieties for added flavour.

Method Three: Chickpeas. They can be used to transform that same-textured bowl of veg into something with interest – or if you’ve access to a blender, pop them in with the veg (and about half the chickpea liquid) and pulse away until you’ve got yourself a superfood hummus. Just add Ryvita.

If you made... daal

Daal is the perfect meal in our book, and we’ll happily eat it three times a day. The beauty of it is that it really does lend itself to so many different variations on a theme – whichever type of legume you’ve used. Here’s a few to mull over:

Method One: Coconut yoghurt. A dollop of this over a tarka daal is the perfect cool and creamy contrast to a well spiced bowl. CoYo and the like are vegan, if that’s what you’re after, too.

Method Two: Almost any veg. Dry fry whatever veg you’ve got in the fridge along with some garlic and maybe mustard seeds if you have them, and it’s a ready-made topping for your lovely daal. We like mushrooms, kale, green beans, courgette or broccoli – don’t add oil. Alternatively, cooked veg like squash, spinach or roast tomatoes can be stirred in.

Method Three: Fruits and nuts. A handful of pomegranate seeds, toasted coconut chips or any toasted nut or seed makes a colourfully contrasting topping to the same old daal, especially when combined with fresh coriander and more chilli. Get creative.

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4 Women Just Wrote A Book Of 'Erotica' For Feminists & It's Making Our Day

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Caitlin Kunkel, Brooke Preston, Fiona Taylor and Carrie Wittmer are satirists and comedy writers whose work has been featured in The New Yorker and McSweeney's. They believe that women of the #TimesUp and #MeToo generation need a new type of erotica to get them all hot and bothered so they set about writing a wickedly funny satirical book that "turns the tables on clichéd erotica". In New Erotica for Feminists, plumbers are just plumbers. A man putting the recycling out is a major turn-on, as is getting 14 solid hours of uninterrupted sleep. It's a place where all your feminist fantasies come true.

Click through for six of the best snippets of erotica from the book...

Ed Sheeran releases a new single called "I’m in Love with Your Body of Work", about Agatha Christie. It sells nine billion copies (more than there are people on the earth).

Designed by Olivia Santner

I get catcalled on the street by a construction worker. He says that he can see I’m smart because I have enormous books. He tells me he’s reading the latest Zadie Smith novel. I invite him to join my book club and spend all night fantasising about his insightful commentary on non-linear plot structure.

Designed by Olivia Santner

I can see his massive bulge from all the way over here, despite the crowd. I feel a bead of sweat drip down my forehead, my blood boiling with every second that passes. I’m about to explode.

"Excuse me," I finally say to the man whose legs are open to an impressive 180-degree angle on the short park bench. "Can you move over a bit?"

"Wow," he says, horrified, snapping his legs shut with a THWAP. "What a reasonable request! I am so sorry I was dominating a shared space with my privileged body."

Designed by Olivia Santner

I open my blouse, my naked breasts peeking through for a fleeting moment.

I breastfeed my child in public. It is extremely uneventful and everyone is chill about it.

Designed by Olivia Santner

I walk into my office building, and a sharply dressed man walks in behind me. Feeling his eyes on me, I press the lift button. It lights up.

The man doesn’t press it again, just to make sure.

Designed by Olivia Santner

He calls me into his office and closes the door ... to promote me. He promotes me again and again. I am wild with ecstasy.

Designed by Olivia Santner

For every hot and bothered feminist out there, this book is for you. We hope it makes you burn ... for equality.

New Erotica for Feminists: Get What You Deserve, Again and Again and Again by Caitlin Kunkel, Brooke Preston, Fiona Taylor and Carrie Wittmer is out now, published by Sceptre, £10. Follow on Twitter @NEFFTheBook

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5 Ways We're Styling Ashish x Warehouse For Party Season

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Party season has landed, ushered in by Ashish x Warehouse, the latest designer and high street collaboration to make its way into our wardrobes. Ashish’s collections are always a highlight of the London Fashion Week schedule, and now we can get a slice of his sequin-spangled aesthetic without breaking the bank.

"I wanted to create a really signature capsule collection with lots of sequins, strong clean shapes, dramatic colours – empowering clothes, very classic pieces that are really special, but also fun to wear, and easy to mix into any wardrobe," the designer said of the 14-piece collection.

"My favourite piece is the yellow trench – because it looks like a vinyl mac, but the sequins just make it so luxe," he explained. "It’s the perfect high/low mix. It's super easy to wear and the perfect way to elevate a really casual look."

We've chosen our favourite pieces from the collab and shown you how we're styling them, from office Christmas 'do to New Year's Eve party. Click through to see the sparkle.

Ashish x Warehouse is available now in selected Warehouse stores and online at www.warehouse.co.uk.

At the subtler end of the Ashish spectrum is this black high neck top, which we're pairing with silver glitz and more black. We're diggin' the chain detail on Miaou's cotton trousers, which goes nicely with Alexachung's cute skeleton earrings and Mango's pure '00s rhinestone clutch. Just add Topshop strappy sandals and you're ready for the dance floor.



Alexa Chung Diamante Skeleton Earring, $150, available at Alexa Chung

Mango Rhinestone Purse, $49.99, available at Mango

RAY Strappy Sandals, $46, available at Topshop

Miaou Tommy Belted Cotton Trousers, $315, available at Browns

Ashish x Warehouse ASHISH SEQUIN FUNNEL NECK TOP, $49, available at Warehouse

Who said sequins were for after dark? Update your workwear with daytime sparkle by layering this electric blue bandeau over a classic Palmer // Harding deconstructed shirt. Get tonal with sky blue trousers, and add Zara's slip-on mules for a dose of minimalism.



Zara Leather Mules, $39.99, available at Zara

Palmer // Harding Side Stripe Cotton-Blend Trousers, $345, available at MatchesFashion.com

Palmer // Harding Waterfall-Hem Poplin Shirt, $397, available at MatchesFashion.com

Ashish x Warehouse SEQUIN BANDEAU TOP, $35, available at Warehouse

This sequin trench is Ashish's hero piece, and with good reason. Sauce it up and wear a barely-there slip dress and heels for after hours, or pair with your Sunday staples – a striped tee, flared denim and cowboy boots – for an elevated weekend get-up.



Ashish x Warehouse Sequin Trench Coat, $295, available at Warehouse

MiH Marrakesh Jeans, $255, available at MatchesFashion.com

Mango Leather Pointed Ankle Boots, $89.99, available at Mango

COS Cotton Long-Sleeved Top, $17, available at COS

Zara Bucket Bag With Chain Detail, $39.99, available at Zara

Go hard or go home, we say. The pièce de résistance of the collection is this sequin catsuit, which we're wearing with a 1960s-inspired Paco Rabanne handbag and classic silver stilettos from Office. Follow the call of the disco ball!



Paco Rabanne Sparkle 1969 Sequined Shoulder Bag, $790, available at Net-A-Porter

Office Heaven Tubular Sandal Block Heels, $62, available at Office

Ashish x Warehouse Sequin Catsuit, $120, available at Warehouse

This is our ultimate NYE look. One part '00s, one part Sex and the City, this iridescent peachy bandeau dress just needs matching accessories, courtesy of Mango and Aquazzura, for a simple but effective going out-out look.



Mango Knotted Satin Bag, $49.99, available at Mango

Aquazzura Sabine 45 Velvet Mules, $600, available at MatchesFashion.com

Ashish x Warehouse Sequin Bandeau Dress, $65, available at Warehouse

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'Blackfishing': White Women Posing As Black Online Isn't Flattery, It's Forgery

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When a few Twitter users, such as @YeahBoutella, began posting screenshots on their accounts of young white women apparently attempting to pass as black online, a virtual storm erupted, resulting in others following suit. @WannasWorld and many social media users waded in, sharing images they had noticed online. In them we see a variety of white women appearing to pose as people of colour. The initial response was one of disbelief, then the scathing criticism began.

Some of the women exposed on Twitter go one step further than blackface. They wear dark makeup, false or altered hair, and use heavy filters in an attempt to appear flawlessly black, Asian or racially ambiguous.

The main problem that many people have with this trend is that offenders seem to be capitalising on the very features that black women have long been condemned for. They use dark skin, voluptuous lips, curvy bodies and lively hair to appear more attractive and gain attention, while still benefitting from the privileges of being white. Some have titled this trend "blackfishing" in an attempt to draw parallels with catfishing.

Model Emma Hallberg is one of the white women — and possibly the most notorious/famous case so far. Hallberg, an online influencer, has been scrutinised for capitalising on black aesthetic and amassing over 200,000 followers on Instagram in the process. Though she denies the accusation. "I get a deep tan naturally from the sun," the 19-year-old told BuzzFeed in an interview. But Hallberg has appeared on Instagram pages for black models, with no record of the model correcting these mistakes.

I created the account because I thought that there was really an alarming amount of white women posing as black women.

Twenty-one-year-old Odinaka created a Twitter account dedicated to collating all the reported cases, which was later suspended. "I created the account because I thought that there was really an alarming amount of white women posing as black women," she told The Cut. "It matters because it makes people in our community feel as though we’re not the best representation of our everyday selves… They’re gaining success by appearing to look like me while I work ten times as hard to get where I really want to be. It’s unfair."

Many Twitter users shared before and after shots. One Instagram user known as @Alica_ab appears considerably thicker, darker and dons large braids. Many commented on the double standard, highlighting that black women have are often criticised for being unprofessional or unkempt for their braided or 'untameable' hair. In a video shared on Facebook in August, 11-year-old Faith Fennidy, in Louisiana, is shown packing her belongings in tears after being told to leave her class because her braided hair violated school rules.

View this post on Instagram

BO WEST

A post shared by Kim Kardashian West (@kimkardashian) on

Kim Kardashian was criticised for wearing Fulani braids, a traditional black hairstyle, to the MTV Movie Awards earlier this year. Despite the fact that the mother of three says she was comforting her biracial child on her image, she captioned her Instagram photo with the hairstyle "BO WEST" referencing Bo Derek, a white actress who ran down the beach with braided hair in the movie 10(1979).

There is a fine line between flattery and forgery and many of these women, whether intentional or not, appear to have crossed it.

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A Victoria's Secret Exec Just Resigned Amid Controversy

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As consumers we are continually forced to re-examine our already contentious relationship with Victoria's Secret and its annual fashion show. Now the brand itself will begin its own reconfiguration: on Wednesday, the Financial Times announced its chief executive, Jan Singer, has stepped down from her role at L Brands Inc, Victoria's Secret's parent company. Singer leaves the company just a week after the controversial interview between Ed Razek, chief marketing officer at L Brands and Vogue magazine.

Razek largely overshadowed the show's taping (and the news of Adriana Lima's final walk) by admitting the brand was not looking to be especially diverse or inclusive. "We attempted to do a television special for plus-sizes [in 2000]," Razek told Vogue last week. "No one had any interest in it, still don’t." Further, he said, "I don’t think we can be all things to all customers. It is a specialty business; it isn’t a department store." Elsewhere in the controversial interview, Razek claimed the brand doesn't have any interest in casting transgender models in the show, either. "Shouldn’t you have transsexuals in the show? No. No, I don’t think we should. Well, why not? Because the show is a fantasy. It’s a 42-minute entertainment special. That’s what it is."

Days later, Razek walked back his comments on Twitter and in a statement said: "My remark regarding the inclusion of transgender models in the Victoria’s Secret Fashion Show came across as insensitive. I apologise. To be clear, we absolutely would cast a transgender model in our show. We've had transgender models come to castings...And like many others, they didn't make it. It was never about gender. I admire and respect their journey to embrace who they really are."

The brand has yet to make an official announcement of Singer's departure but perhaps will speak to the change in leadership on Monday, when L Brand releases its quarterly earnings.

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The John Lewis Christmas Ad Is All About Elton John & Twitter Isn't Having It

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John Lewis has long been considered the one to beat in the Christmas advert game. Its 10-year legacy of big budget, high production and overwhelmingly emotional campaigns has become as prominent a fixture of the festive season as advent calendars, tinsel and obligatory boxes of Celebrations.

As per usual, when word of this year's feature started doing the rounds, there was unabashed excitement. "Pull on my heartstrings, make me cry and remind me of the real meaning of Christmas!" the internet (ahem, I) cried, eager for a new soul-stirring tale of Great Britain's great people making friends with cute animals under the warm glow of fairy lights. But when the retailer finally released its advert for Christmas 2018 today, the internet was very underwhelmed.

This year's ad stars international superstar, Elton John. The song of choice? You guessed it – "Your Song", the same song that featured in the brand's 2010 campaign, only with Ellie Goulding's vocals instead.

The narrative is pretty straightforward and saccharine, as expected. It chronicles the singer's life and career in reverse, starting with him sat at home playing the piano in present day, rewinding through key musical moments in his earlier life, taking us all the way back to when Elton received his grandmother's piano for Christmas as a child, thus triggering his wildly successful love affair with music.

"Some gifts are more than just a gift" is this year's tagline of choice, however many felt the sentiment was overshadowed by the fact that Elton has a tour he is currently promoting and his biopic Rocket Man is also on the way. So, yes, the advert feels more like a promotion for Elton John's upcoming ventures, rather than a promotion of good tidings (or even John Lewis for that matter, which, as some Twitter users pointed out, doesn't even sell pianos at the moment).

"The John Lewis advert is basically one big plug for Elton John (whose concert tickets go on sale today too). They don't even sell pianos!" observed one Twitter user. Another complained: "Sorry John Lewis but we all wanted another cute character not Elton John's life story."

The internet has spoken and it seems to see through the convenient coincidence of Elton John taking centre stage in what many of us consider the first sign of Christmas. Sorry JL, but Twitter isn't having it. Watch the full advert below to see why:

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Why Women Are Posting Pictures Of Their Knickers On Twitter With The Hashtag #ThisIsNotConsent

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Update: Irish women are posting photos of their underwear on Twitter, in response to a court case in County Cork which has provoked a huge reaction online. During the rape case, which involved a teenage girl and a 27-year-old man, a female barrister said the type of underwear the young girl was wearing on the night should be considered as evidence that she was open to having sex and it was consensual. Since being reported in the Irish Examiner, women and men have taken to social media to condemn the words used by defence barrister Elizabeth O’Connell, and the decision of the court. Now the hashtag #ThisIsNotConsent is trending on Twitter, with over 20,000 tweets already.

Here are a few of the tweets, you can read the full story below.

This story was originally published on 8th November 2018.

Rapists cause rape. Not what a woman has had to drink, how she behaves or what she happens to be wearing, and that includes what she is wearing beneath her clothes. But just this week – in post-#MeToo 2018 – the type of underwear worn by a girl who accused a man of rape was considered relevant in an Irish courthouse.

On Wednesday, a 27-year-old man was found not guilty of raping a 17-year-old girl in County Cork, Ireland, after his defence barrister urged jurors to reflect on the underwear the girl had been wearing on the night, the Irish Examiner reported. The jury of eight men and four women reached their unanimous verdict after an hour-and-a-half of deliberation.

The issue of consent dominated the case, with the girl telling the man: "You just raped me" and the man saying: "No, we just had sex."

In her closing speech, the main senior counsel, Elizabeth O’Connell, argued that the incident had been consensual and urged the jury to consider the type of knickers the girl was wearing in their decision-making, implying that a 'lace front thong' could indicate openness to sex.

You have to look at the way she was dressed. She was wearing a thong with a lace front.

"Does the evidence out-rule the possibility that she was attracted to the defendant and was open to meeting someone and being with someone? You have to look at the way she was dressed. She was wearing a thong with a lace front."

Arguing for the prosecution, Tom Creed SC told the jury: "She is quite clear she did not consent. She said she never had sexual intercourse before."

There has been intense backlash against O’Connell's comment since the verdict was reached, with the head of Dublin's Rape Crisis Centre, Noeline Blackwell, hitting out against the use of "rape stereotypes" in rape trials, reported the Irish Examiner.

"When someone goes into court as a complainant ... they are likely to be asked that and are likely to worry about it," she said, suggesting she wasn't surprised by the language used by O’Connell. "All of these things are rape stereotypes that are used by defendants to plant a doubt in the minds of a jury taking away from the law which is that sex without consent is a crime."

Many others have been similarly venting their anger and disbelief at the barrister's comments on social media, describing them as victim-blaming and misogynistic. Some asked what type of underwear would imply a man was "open" to meeting someone, while others wondered what a woman would have to wear to ensure her claims were taken seriously.

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It Just Got A Lot Easier To Shop On Instagram

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Of Instagram's 1 billion active users, 80% follow at least one businesses (of which there are 25 million!). In short, there's a lot of shopping happening on Insta, and these days, more and more users are citing shopping as one of their top Instagram interests.

In September, Instagram expanded shopping to Stories with the introduction of product stickers — which means that when you tap on the cool blue eyeliner featured in that photo you're looking at, you're taken to the product page on the brand's site where you can easily become the proud owner of said blue eyeliner (or whatever else you find while browsing). As of today, though, Instagram is rolling out three new features to make shopping on the platform even easier and more efficient.

The first (and, IMO, the most exciting) piece of news: You can now create a saved Shopping collection, which means you can save products to easily come back to and reference. This feature functions like the Save tool we're already familiar with – you can add posts to your own curated collection that lives on the righthand panel of your profile, only now, you can do it with products in addition to cat memes. This new Shopping collection capability is especially useful for when you're shopping in Stories (since Stories disappear after 24 hours). All you have to do is tap the product tag and then tap the Save button, and voila, the item is saved so you can deliberate 'til your heart's content over whether you need it or just want it.

You can also shop in video, marking Instagram's official entrée into the window shopping space. Now, when you're watching a makeup tutorial on Milk's Instagram feed, for example, you can tap the shopping tag and see exactly which highlighter, shadow, and concealer are being featured in the video, and you can buy them right then and there. But it's not just beauty brands that will be utilising this new feature — Instagram notes that more and more apparel brands will be moving toward this immersive tool as well.

Lastly, Instagram is introducing a redesign of the Shop tab on brand and retailer profiles — which means that now there's a way to see every product a brand is selling together in one easy place, with individual prices listed as well as the posts that feature them, so you can reference what each item looks like styled or in action. So now you can buy a capsule wardrobe in approximately five minutes from the comfort of your couch, whereas before it might have taken 15. And time is money, right?

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We Tried The £1,200 Workout Mirror All Over Instagram

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Picture this: you roll up early to your favourite HIIT class only to find that the place is packed. You scurry to the back, right in the corner, as it's the only place where you can actually see yourself in the mirror. When the class starts, someone stands right in front of you, ruining your view. You want to go home, but you've already paid the £20, so you grin and bear it for the rest of the hour.

Now imagine that you never had to leave home in the first place, and could take the same class in front of your own personal mirror, away from all human beings. Nice, right? Well, that's just what Mirror, the new interactive home gym, can do — for a cool $1,495 (£1,169), plus $39 (£30) a month for a subscription to the classes.

Mirror sounds like something that Cher Horowitz would dream up if she were around in 2018 and into boutique fitness. The device is all over fitness influencers' Instagram pages, like Hannah Bronfman and Sara and Erin Foster, and is even on some New York City subway ads. To figure out how it works and whether it's worth it, I demoed the Mirror at their headquarters in Manhattan.

The Mirror looks like any nice full-length mirror you'd have at home, but it has a practically invisible built-in screen. When it's turned on, you can still see your reflection, but it feels like the trainer is projected right in front of you. Using the corresponding smartphone app, you can choose from one of the thousand on-demand classes to try, or take one of the 50 weekly classes in real time with other Mirror users. There's a wide array of workouts available, including cardio, strength, boxing, barre, Pilates, yoga, stretch, pre and postnatal, and cardio dance. The classes last between 15 and 60 minutes long, and in 2019 they'll be rolling out one-on-one personal training that utilises a built-in camera at the top of the mirror.

Most of us in society look in the mirror and find things to pick apart. But the goal is, we’ve given you time to look in the mirror and feel good about yourself, because the mirror is a tool for you to be stronger and healthier.

Besides the cool factor of having a high-tech connected mirror in your home, Mirror is meant to be a teaching tool help people learn proper exercise form, says Kailee Combs, VP of fitness at Mirror. Instead of having to look at a smartphone app or your computer screen to check your form, you can just glimpse in the mirror. "Form is a huge thing, and then second is the motivational aspect of it," Combs says. "You look at yourself in the Mirror, see yourself working hard, and it's gonna push you to be that much better, or push that much harder."

Both Combs and the creator of Mirror, Brynn Putnam, were former dancers, so they spent many years standing in front of mirrors, staring at their bodies, trying to achieve perfect technique and lines. Putnam hopes their device can help people can have a healthier relationship to the mirror. "Most of us in society look in the mirror and find things to pick apart," Putnam says. "But the goal is, we’ve given you time to look in the mirror and feel good about yourself, because the mirror is a tool for you to be stronger and healthier."

Photo: Courtesy of MIRROR.

After demoing a strength workout on the Mirror, I can see the intrigue of having a personal workout mirror. The videos are very clear, and look like a hologram. The trainer (named Katie) was engaging and easy to follow. During each exercise, there's a timer on-screen that tells you how much longer you have for each move. If you have an injury, the Mirror will suggest modifications to try in the bottom corner. The device also comes with a heart rate monitor that connects to the Mirror, so you can see how hard you're working. And you can link your Spotify account up with the app and listen to your own playlists while you work out.

I'm a big fan of workout apps, like the Nike Training Club app, and I can get the appeal of having a workout streamed right in front of your face. But there are other ways you can achieve that without spending a ton of money. For example, lots of fitness streaming services are accessible through smart TVs. Or the Nike Training Club app is now on the Apple Watch, so you can follow along without looking at your phone. If I had the Mirror at home I'd probably never go to workout classes, but then again I'd also be rich.

The Mirror is definitely fancy and interesting, but it seems to be built for a very specific type of person. One who has enough space at home to work out, hates going to the gym and exercising around people, but can afford a £1,200 mirror. As a workout streaming service, Mirror is legit, and offers workouts from top trainers in NYC. But Mirror is missing something that other connected home gym devices like Peloton, Fly Anywhere, or even Bowflex provide — equipment you can actually use.

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Is Beyoncé Buying Back Ivy Park From Topshop Or Not?

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When reports surfaced that Beyoncé planned to buy back Ivy Park from the disgraced Topshop mogul Philip Green on Thursday, fans were grateful she was making the right decision to disassociate herself from Green following the allegations of sexual harassment brought against him last month, which was revealed in Parliament. One thing though — is it actually happening?

Though several media outlets report that Beyoncé is divesting from Green and taking 100% of Ivy Park with her, the news has yet to be officially confirmed. Teen Vogue, for example, cites a tweet — from an unofficial "Beyoncé Collection" account — that reads "Beyoncé has ended her joint venture with Sir Philip Green after allegations of racial abuse and sexual harassment, buying his 50% stake in Ivy Park. Parkwood Entertainment now owns the brand in full." The tweet was published from an iPhone.

WWD attributed a similar quote, which includes a claim that Topshop Arcadia [Group] will fulfil existing orders, to Green's camp, though several other sources, like the Financial Times, The Guardian, Elle, and Reuters attribute it to Ivy Park. So, who said what? As of now, we've reached out to Ivy Park's press team, who were unable to provide comment and forwarded our request on to Beyoncé's camp. Additionally, we've reached out to Topshop to confirm or deny what is, for now, a rumour, and they have yet to return our inquiry.

This isn't the first time Ivy Park has been the subject of headlines, however – and we're not referring to its radically inclusive campaigns or its impeccable standard of athleisure goodness. In 2016, the label faced claims brought forth by British tabloid The Sun that the athletic-wear line was produced in sweatshops where workers were unprotected and underpaid. Reps for Ivy Park swiftly refuted the claims, though provided no evidence to support their opposition. At the time, Green was under investigation in related to the collapse of his BHS retail chain.

Though we hope the latest rumours are true — and we have faith that Beyoncé will do what is right for her, her business, her customers, her fans and, well, the world — we'll keep you posted if and when we hear back from anyone to confirm the news.

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What Ivanka Did This Week: Planning For Africa & Watching The Snow Fall

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Ivanka's schedule has not been made available to the public, so each week, we do our best to give you the low-down on the public events she attends, the meetings she has with lawmakers and government officials, and her social media presence.

Sunday, November 11

• The New York Times published a report detailing the complicated dynamic between Melania and Ivanka Trump. In it, it's revealed that Ivanka will soon follow in Melania's footsteps and travel to Africa, together with Sen. Lindsey Graham of South Carolina.

Monday, November 12

• Ivanka posted on Instagram about the California wildfires, saying she is "Sending love and prayers to the people, animals and wildlife affected."

Tuesday, November 13

• It turns out taxpayers spent around $14,000 on Secret Service protection for a two-day getaway Ivanka and husband Jared Kushner took to Vermont right after the deadly white nationalist rally in Charlottesville, VA.

Wednesday, November 14

• Ivanka had a meeting about "opportunity zones," created through President Trump's tax overhaul, areas with high poverty and slow growth where the government will use tax incentives to draw long-term investment.

• Ivanka celebrated the passage of the BUILD Act on foreign assistance.

Thursday, November 15

• Ivanka praised her father's support for First Step, the new criminal justice reform act.

• Ivanka posted a pic of her kids watching the first snowfall, and tweeted back at a woman who says she likes to do the same thing: "Me too! ;)"

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Small-Batch Beauty Brands That Will Help Save The Planet (& Your Skin)

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The words 'handmade beauty' likely conjure up images of chintzy craft fairs or handicraft bar soap sold at a rickety stall. But in 2018, the concept is much cooler.

The conscious consumption movement is growing, which means small-batch and handmade beauty brands are booming, and their offerings should be taken seriously. "More and more people are leaving their jobs to become small business owners," Jillian Wright, founder of the Indie Beauty Expo, told us, "and as the demand for independent and niche brands grows, many people look to the beauty industry." The best part? "Many of these beauty brands want to use their businesses to give back or provide a better future, whether it is educational or environmental," added Jillian.

Working on a small scale means these brands have much greater control of their environmental impact at every stage of the production process. "These brands think about the entire lifecycle of a product including the farming, fertilisation, harvesting, fair trade, cruelty-free extracting, production, waste, packaging, fulfilment, transport, usage, and disposal," Jillian explained.

Kate Protopapas, founder of Isla Apothecary, expanded: "Small-batch production means we can source packaging from local suppliers rather than buying huge bulk quantities from somewhere like China. This keeps our carbon footprint significantly lower, while also supporting the local economy." Beyond packaging, the ingredients themselves are green-approved too. "We choose to use no synthetics or plastics in our products, thus minimising the impact on the environment," Kate added.

While this approach certainly appeals to those concerned about their plastic waste, this new breed of small-batch brands proves that results-driven formulas needn’t be compromised. Brands that hand-make their products in small batches tend to do so out of a necessity around longevity, and more often than not, they use natural ingredients and forgo chemical preservatives. "We make our products more or less to order so that they go out fresh to consumers and retailers," Kate said. Although the shelf life is shorter, you’re getting high quality ingredients at their most potent, which means they work better.

In the increasingly overwhelming world of beauty, these brands strip it back to the basics and offer customers carefully considered INCI (ingredients) lists that feature hardworking components and no fillers. This streamlined approach makes it easier to understand what’s in your product (a dream scenario for those who suffer with skin sensitivities), and subsequently offers more bang for your buck.

Click through for seven small-batch beauty picks...

Chances are you've spotted Austin Austin on Instagram. Produced by a father-daughter duo in East Anglia, their small-batch hand, hair and body range is 100% organic, nasty-free and uses 100% recycled or recyclable packaging. With drawings by Christian Newby on the front label, showcasing artists' work is an important part of the brand’s ethos.



Austin Austin Neroli & Petitgrain Body Soap 300ml, $16, available at Austin Austin

Created by hand on a weekly basis in their London studio, Isla Apothecary takes pride in using natural, ethically sourced and, where possible, organic ingredients. Housed in reusable glass jars and bottles and sent in the post in recyclable boxes with 100% biodegradable void-filling chips, they aim to leave as little trace as possible. Their Refine & Radiate mask contains coconut milk and turmeric to hydrate and smooth rough, bumpy skin.



Isla Apothecary Refine + Radiate Beautifying Face Mask, $22, available at Isla Apothecary

When Sarah’s sister Lauren was diagnosed with leukaemia, she struggled to find non-toxic products that didn’t come with labels demanding a chemistry degree to decipher. So she decided to create her own, and following Lauren’s recovery a few years later, the brand was born. Every ingredient they use has been chosen for a specific function. For example, green clay in this cleanser (which you can apply straight over makeup) dislodges oil and grime without stripping the skin. Each ingredient is clearly stated on the front of the label, and products are hand-blended and packaged in the brand's Sussex studio.



By Sarah London Green Clay Cleansing Balm, $29.5, available at By Sarah London

Crafted in small batches at their Hackney HQ, Skin & Tonic is a big believer in the 'less is more' approach. Eschewing the use of sensitive skin-aggravators, such as harsh preservatives, synthetic fragrances and SLS, each product contains no more than seven ingredients sourced from small producers in the UK and France and women’s cooperatives in Africa and Sri Lanka. This makeup remover melts away heavy foundation and mascara in a few spritzes.



Skin & Tonic Makeup Remover, $18, available at Skin & Tonic

As a certified B Corporation, using business as a force for good is at the heart of what Beauty Kitchen does. Their packaging credentials are seriously impressive and they implement forward-thinking solutions like using other brands' unwanted packaging, choosing labels made from waste limestone rock and relinquishing the use of extra layers like outer boxes. Plus, their No Nonsense Beauty guarantee means you know what you’re getting is seriously effective. These wipes are 100% natural and compostable.



Beauty Kitchen Beauty Wipes, $5.99, available at Beauty Kitchen

AMLY Botanical was created by two friends, both natural beauty fans, when one moved to a farm in East Sussex and discovered a mineral-rich water source on the grounds. Blending this with other healing botanicals to create a face mist, their brand was born. Housed in eco-approved packaging, the range has expanded to include serums and masks, all with the same conscious ethos. The divine Sleep Face Mist gets our vote for soothing skin and senses simultaneously.



AMLY Botanicals Beauty Sleep Face Mist, $52, available at AMLY Botanicals

Palm oil is often a dirty word when it comes to sustainability but this is something The Kind Plant Company is hellbent on changing. Proving palm oil can be farmed in a sustainable way, the brand uses red palm oil sourced from a cooperative smallholder farm network in Sierra Leone and Ghana. Not only is this Rainforest Alliance certified, but the farmers are paid a Fair for Life premium, too. Back home in Kent, the brand’s founders blend this red palm oil with eight other ethically sourced ingredients (including shea butter and rosehip oil) to make their Power Balm – a wonder, do-it-all balm suitable for chapped lips, dry patches, splitting cuticles and more.



The Kind Planet Company Power Balm™, $15, available at The Kind Planet Company

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As A Trans Woman Over 50, I'm Visible – When The Media Wants Me To Be

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Okay so here's the deal, in a nutshell. I'm almost 55. I wasted a lot of my earlier years having fun (and not so much fun), I have a radical voice and somehow, some way, my career really took off at 50. Now, at 54, I have just written the lead feature in Bitch magazine's 'Pleasure' issue about sexual pleasure and my trans genitals, and earlier this year I had quite a successful book out about queer, transgressive and loving sex. This year I have written for almost every magazine I ever dreamed of writing for – save Saga magazine, which turned down my pitches as frivolous attempts to radicalise 50-plus cruises down the Danube and watercolour holidays to the Dordogne.

But – and it's a huge but – I am still structurally invisible, despite reaching career highs that I never imagined possible.

"Invisible?" I hear you exclaim. "But your words are all over the place – vagina this, vagina that..."

"Yes," I reply, " structurally invisible."

Because, chances are, if I were a man in my 50s in the arts, my late-blooming career would be celebrated, held aloft, defined as undiscovered talent, brave and genuinely exciting. The bits and pieces of my career would be held in place and glued together with, well, decent payment. I'd be paid to come and talk and occasionally be offered something that affords me some security, not just travel expenses and a sandwich from Costa. I still have to fight for every career inch. Thank god for the feminist sisterhood soul of publications such as Refinery29.

Being invisible means having to hustle – at the age of 54 – to build a career, as the patriarchal structures around us deem women, and anyone defining as femme over a certain age, to be beyond a career, beyond sex and beyond new ideas. We are seen as in decline; the hiring and firing structures don't even raise their heads to acknowledge us banging on the door. Can it really be as basic as the menopause still defining us, symbolically, as 'drying out'?

These are the best years of my life, they're exciting and vibrant, but the state pension age is climbing and I need to keep working. I'm 54 and single so that means another 13 years of sole hustling. This shit really matters. I've hustled on the street before, I can't go back there in my 50s, I need visibility to string together the elements of my quite unexpected, fabulous career. Visibility simply means having potential, and potential has been packaged as belonging only to youth, so at 54 I have career highs but no potential.

I don't want to moan about my personal invisibility; as women we are constantly accused of never being happy enough when in truth it's women who more often than not seek out solutions instead of complaining. So I need to know: If I am invisible, who is shutting their eyes to avoid seeing me? It must come down to actual people because structures don't have agency, only people do. Structures enforce but people hold up.

Often it's silent forces – unwritten ideas and notions about women over a certain age – that render us invisible, but sadly it can also be other women, our peers. Not because women want to ignore or diminish other women but because patriarchy has responded to feminism and female emancipation by pitting woman against woman in a one in, one out system. When my book, Queer Sex, came out earlier this year, some trans women and trans femmes working in and around the media ignored it completely. Not a word. I could hear a pin drop in their silence. They made me feel unseen. Their silence told me so much about the fragility of our – my – visibility; of the visibility afforded to marginalised groups. Their silence made me incredibly sad. I wanted their sisterhood, I thought they were the ones I could count on. To ignore Queer Sex took some doing, but they weren't coming from a place of spite or attack. They were coming from a place constructed from the very real knowledge that publishers, agents, newspapers and TV shows openly express that they only have room for one trans femme writer, character, actor or celebrity; one in, one out. That's how they keep us marginal: older women, women of colour, lesbians, trans women. They ration places.

It's absurd how our apparent singular visibility is raised as a way to make us invisible again and, worse, to enable an arena in which we must fight one another for the only visible space. It's a capitalist, sexist, often racist dream. We've often allowed our already marginalised communities' rather brilliant noise to be curtailed by such insidious comments as "We've done trans women content this month" – in a month of a thousand cis, white men.

We hide each other in order to get on the ladder. My getting on the ladder at 50 by writing radically about trans bodies and sex rocked the boat I'm sure, but I honestly believe we should support each other and ignore these oppressive structures. We can create our own structures, our own publications, our own publishing houses, our own TV content – look at the brilliance in the structure-creation in the work of gal-dem, for example.

We need to trust in each other and not be marginalised and bossed by the patriarchal notion that women – all women – over a certain age are in decline. We need content created and designed by us, for us; we need our own robust structures that aren't one in, one out. We need to build support and we need to know, deep down, that we can rely on each other while we fight a system that calculates our worth based on the juiciness of our ageing pussies.

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11 Photos That Show What A Modern-Day Witch Looks Like

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"I met a woman in a spiritual centre in western Massachusetts. It was summer, and there was no one there but us," American photographer Frances F. Denny recounts. "She seemed nervous about having her picture taken. We sat cross-legged across from one another in a field and, by way of introduction, she sang me a Celtic song. I remember the sun was blinding me as I watched her, and I felt my eyes stinging. She then read to me from a document outlining the various tortures condemned 'witches' were subjected to during the Spanish Inquisition. When she finished reading, she put her face very close to mine and told me, quite fiercely, that she would agree to be photographed as long as I protected her – and my other subjects – from ridicule. I told her that while my intentions were to represent my subjects with dignity, I couldn’t control what people would say about the pictures. I was honest with her. She seemed to understand, and agreed to be photographed."

Denny has had many encounters like this one, with women across the United States, while working on her photographic project Major Arcana: Witches in America – an expansive visual document of the modern face of witchcraft. The stirrings of the project began in 2013 when, having grown up just outside of Boston, she was researching her family’s history in the New England area. Looking through her family tree, she discovered two important things. The first was that her 10th great-grandfather, Samuel Sewall, was one of the central judges in the Salem witch trials. The second was that her eighth great-grandmother, Mary Bliss Parsons, was an accused 'witch' 20 years prior, in Northampton, another Massachusetts town.

"The coincidence stayed with me, and in 2015 I read the historical biographer Stacy Schiff’s book on the Salem witch trials, which mentioned Samuel Sewall and reminded me of my ancestral connection," Denny explains. "That was the spark of my interest in the historical archetype of the witch. It was only a matter of time before I began thinking about what this word 'witch' means to modern women. I began to wonder, 'Who calls herself a witch now?'"

In the years that followed, Denny traversed the country, meeting more than 70 women who identify as witches, unearthing traits of power and perseverance in all of them. Here, she tells Refinery29 the story of her odyssey, and shares some of her favourite photographs from along the way.

Shine (New York, NY)

"When I began the project, I composed a carefully worded letter that I used to explain who I am and what my intentions are for the project, and that is how I reached out to people. Once I had met and photographed around eight to 10 people, I was able to meet others very easily through referrals. As it turns out, there are a lot of witches out there! More than we realise, I think.

The women in the pictures live all across the United States. I received support from a fellowship that helped fund the travel required to photograph over 70 individuals around the country, from California to Louisiana to New Jersey to Maine. So over the course of nearly three years, I’ve travelled around to photograph women (including non-binary and trans individuals) who identify as witches/Witches."

Photographs by Frances F. Denny

Kir (Brooklyn, NY)

"The people pictured practise a wide range of witchcrafts. From Wiccan high priestesses to millennial feminists, there is really no one way to be a witch. It’s important to acknowledge that a pagan Wiccan Witch is a religious affiliation, and that there are tensions between some old-guard Wiccans and newcomers to witchcraft, who don’t necessarily see themselves as religious or pagan but perhaps identify with the witch archetype for its fierceness, outsider status, and cultivated inner power."

Photographs by Frances F. Denny

Meredith (Moretown, VT)

"Tarot, astrology, crystal work, spell crafting, and candle work have all been popular entries into witchcraft, too. Some witches are solitary practitioners; some join circles or covens. Included in the series are self-proclaimed green witches, white witches, sex witches, kitchen witches, and space witches. Many of these monikers refer to a kind of outward-facing healing modality. For example, a green witch is a herbalist, using her knowledge of plants and herbs to treat or heal others."

Photographs by Frances F. Denny

Karen (Brooklyn, NY)

"Some of the witches pictured have day jobs that have nothing to do with their magical practices – among the witches I’ve photographed, one is a surgical technician, another is a librarian, another a filmmaker. Then there are those whose work is more directly related to their witchcraft practice, like tarot card readers, and several women who own and operate apothecaries. Some of the individuals I met are prominent figures in the witchcraft community – they are authors, speakers, and a few have even founded their own branches of Wicca."

Photographs by Frances F. Denny

Dia (New York, NY)

"After spending three years thinking about witches and witchcraft, I’ve come to think of 'witch' as an identity that belongs to such a diversity of people, that there really isn’t only one way to be one. 'Witch' means something different to everyone I’ve photographed, but if I had to locate an underlying characteristic, I’d say that witchcraft is about conjuring an internal power source, whether that is used reflexively, towards the self, or projected outwards, towards others. I see witchcraft as effecting internal or external change. And in my experience, the witch is a person who is self-possessed, who is maybe a little (or a lot) anti-authoritarian, and who is interested in embracing the murkier, less conventionally acceptable sides of ourselves."

Photographs by Frances F. Denny

Wolf (Brooklyn, NY)

"I think the upswell in the popularity of witchcraft, at least in the States, is about a dissatisfaction with the status quo, perhaps specifically with the current political leadership in this country. Young women are disillusioned with patriarchal messaging and governance, and witchcraft has given them a way to cultivate energy, power and agency on their own terms. In that way, I think it is subversive. But it’s important to remember that modern witchcraft has historically always been distinctly counterculture, even 'fringe' practice. It’s only recently that it’s become more interesting to the mainstream. And there is definitely some tension about that in the community."

Photographs by Frances F. Denny

Sallie-Ann (New Orleans, LA)

The very power of the word [witch] lies in its imprecision. It is not merely a word, but an archetype, a cluster of powerful images… The price we pay for clarity of definition must not be a reduction in the force of this cluster of images. – Margot Adler, Drawing Down the Moon

"When I read this passage from Margot Adler’s 1979 book, Drawing Down the Moon, I felt like she was throwing down a gauntlet for me. I wanted to create the 'cluster of powerful images' that make up this enigmatic archetype. Furthermore, while I wanted to shed light on modern witches, I also wanted to be careful not to de-fang the witch for my viewers by 'clarifying' my subjects too much for them. There is a lot of power in retaining a little mystery. That’s one reason I didn’t include extensive captions about my subjects – I don’t want to pin them down."

Photographs by Frances F. Denny

Maureen (Brooklyn, NY)

"I encouraged my subjects to choose the location of their portrait session whenever possible, and also to wear whatever they wanted to the shoot. I am sensitive to the fact that the act of photographing someone is reductive, and places them at the mercy of the photographer’s framework, but I was clear with my subjects about my intentions, and tried to give them some agency in how they were represented."

Photographs by Frances F. Denny

Judika (Brooklyn, NY)

"Typically, I begin each session with an informal interview. I ask my subject how they define 'witch' for themselves, how long they’ve felt themselves a witch, and what kinds of practices make up their witchcraft. This is primarily a way for me to learn about them – to understand how they view themselves as witches – but it also became a way to feel them out before I pull out my camera. People are often nervous before they have their picture taken, so these conversations are a way to put my subjects more at ease.

Once we begin photographing, I give a lot of direction. Pose, gesture, expression and the light all have to come together, and it’s my role to tease that out."

Photographs by Frances F. Denny

Serpentessa (Esopus, NY)

"I spent a very memorable summer afternoon on the bank of a river in upstate New York with a snake priestess called Serpentessa. She brought two boa constrictors with her. I was nervous around the snakes at first, but after watching her interact with them for several hours, I let Serpentessa put one of them around my shoulders. It was an incredible feeling. Serpentessa works with the snakes as a healing modality – she facilitates or 'priestesses' interactions between people and her snakes. And I have to say, it totally clicked for me once I felt that snake wrap itself gently around my shoulders. It felt cool to the touch, and somehow very calming. No one was more surprised than me."

Photographs by Frances F. Denny

Leonore (Montpelier, VT)

"Another time, I went on a four-day trip to Vermont to photograph several witches based there. Leonore took me on a walk through the woods to a hidden cave. She was wearing a long black cloak, carrying her bow. I photographed her in the cave, and then we made our way out of the forest and into a meadow as the sun set. At one point, she stopped, opened her mouth, and let out this hauntingly beautiful cry – kulning, she called it, and told me it’s a Scandinavian pastoral herding call (typically used by women to call animals back from the mountains; also to communicate with one another). It was the most beautiful thing I’ve ever heard."

Photographs by Frances F. Denny

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13 Things About The My Brilliant Friend TV Adaptation All Elena Ferrante Fans Need To Know

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The long awaited adaptation of Elena Ferrante's book My Brilliant Friend is arriving on Sky Atlantic on 19th November, and all we can wistfully sigh is, "At last." After countless articles fantasising about the adaptations' dream cast, we'll see the official visual isation of the books that set off a little something called "Ferrante fever." Ferrante's quartet about two women growing up in post-war Naples ignited a rare kind of literary craze.

The series' foray into prestige TV seemed almost inevitable — but with a series this beloved, the stakes were high. Luckily, we can say the adaptation clings to the source material accurately, thanks in part to the interventions of the enigmatic author, who goes by a pen name. When you see Elena Greco and Lina Cerullo on screen, you'll recognise them immediately by their faces, as well as by the mountain of emotion that exists just a level below their expressions, occasionally peaking through.

My Brilliant Friend catches Elena and Lina at the start of their winding lives. They're bright young girls who recognise in one another an aching hunger to be more than what their traditional, rigid community in Naples has dreamt for them. The next three novels follow the repercussions of their ambition — and, most memorably, tracks their thorny, compelling, occasionally toxic friendship.

Read ahead to find out everything you need to know about the upcoming TV adaptation of My Brilliant Friend.

For the uninitiated, this is what the Neapolitan Novels are about.

Elena Ferrante's four-book series begin when Elena Greco, a woman in her 60s, receives a call that her old friend, Lina Cerullo, has suddenly disappeared. Elena doesn’t seem terribly surprised. This revelation prompts Elena to write the long story of their friendship, beginning with the events depicted in My Brilliant Friend. In that first novel, Lina and Elena meet as elementary schoolers in a post-World War II Naples community set on dimming their fire and eventually marrying them off. The next books — The Story of a New Name, Those Who Leave and Those Who Stay, and T he Story of the Lost Child — track the rest of their lives. The elderly Elena tries to parse her younger self's motivations and dreams, and does the same for Lina.

Elena Ferrante hand-picked the series’ director.

Ferrante’s Neapolitan Novels are beloved for their crisp depiction of women’s inner lives. However, the HBO adaptation was directed by a man — a man who came with the Ferrante stamp of approval. Saverio Costanzo is a Roman director most famous for his 2014 movie Hungry Hearts, which starred Adam Driver.

Costanzo’s relationship with Ferrante goes back to 2007, back when he was a young director looking to adapt her novella The Lost Daughter. Despite being dissatisfied with the past two adaptations of her novellas, Ferrante agreed that Costanzo could have rights to The Lost Daughter for six months. But Costanzo couldn’t make the script work. After six months of labouring, he renounced the rights. Ferrante was out of touch for the next nine years, while Costanzo's career grew.

Then, in 2016, Costanzo got an unexpected call saying Ferrante had put his name forward to direct the TV adaptation of her Neapolitan Novels. A few weeks later, producers called to say he got the job, one to which he had never applied. Though Costanzo spoke of his initial hesitations to the New York Times, he decided he couldn’t pass up a second chance to adapt Ferrante’s work.

Pictured: Saverio Costanzo

Maria Laura Antonelli/REX/Shutterstock

Don’t worry: Ferrante was heavily involved in the writing process.

Costanzo and Ferrante were in dialogue while he was writing the script for the series. She was a very vocal critic. Costanzo recalls her saying at certain points, "'This dialogue is ridiculous, the way she talks here is ridiculous.’” In addition to tweaking the language, she was involved with the series' structure. Ferrante insisted that Costanzo preserve the wedding banquet at the end of My Brilliant Friend. She has a screenplay credit in the series.

Eduardo Castaldo/HBO Margherita Mazzucco.

The casting process was quite an undertaking.

It took eight months and 9,000 auditions from an open casting call for the producers of My Brilliant Friend to find the four women who would portray the characters Lina and Elena in their youth and teenage years. All four are amateur actresses.

According to the New York Times, Costanzo and his casting director were looking for girls who could convey the books’ interiority, girls with ‘sad eyes’ and ‘something a bit broken.’” Costanzo used a metaphor from Ferrante as a compass throughout the casting process. “Imagine that the lines an actress reads are a river that runs calmly along the surface of the earth. Then imagine that the actresses are the earth, and that under the earth is another river, a wilder one whose current leaps in the opposite direction, whose roar is muted. Every time the actress speaks her lines, she must offer a glimpse of the river that runs beneath: the mysterious churn of her consciousness, the lawlessness of a person’s doubts or desires,” Merve Emre summarised in her New York Times profile.

Eduardo Castaldo/HBO Margherita Mazzucco.

The set is meant to reflect Naples accurately, not rosily.

My Brilliant Friend was filmed on location in Naples. Much of the show’s action takes place within a series of off-white apartment blocks, located a 45 minutes drive from the city. Though the book’s location is always unnamed, it’s supposed to be Rione Luzzatti, a neighborhood near Naples’ industrial zone. The production designer, Giancarlo Basili, moved to the rione for a week doing research, then constructed the show’s buildings. To test for accuracy, Basili brought a man who’d live in the rione in the ‘50s and ‘60s to the completed set. According to The Guardian, “he was so overcome he ended up in tears.”

“In a way, Ferrante’s book is keeping the real heart of Naples intact. I think it gives the city a lot of energy, a story like this, compared to just mobster stories, crime. There is something very ancient, very old that belongs to Naples in this series, even if the city has changed a lot over the years. Because the heart of Naples is still the same as in Elena Ferrante’s book, even nowadays,” Costanzo told The Guardian.

This is what young Elena Greco looks like.

The casting of My Brilliant Friend has been the stuff of fantasy for a while. At last, we know the answer. Elisa Del Genio (11) plays young Elena. Del Genio, who is half-Norwegian and from Naples, had accompanied her younger brother to an open audition. He was passed up for looking too Nordic, but Del Genio was cast for the leading part.

“I feel really close to Elena. We are both shy,” Del Genio told the Orlando Sentinel. “I think we are both internally much stronger than people would think if they saw us from the outside.”

Eduardo Castaldo/HBO Margherita Mazzucco.

This is what teenage Elena looks like.

It took Margherita Mazzucco a while to warm up to her character, Elena. According to Vanity Fair, Mazzucco auditioned after seeing a flyer at school. At first, she preferred Lila’s dynamic energy. Her feelings changed as the process went on. “I began to understand the character much better, and then I liked her. At first glance Elena seems shy and reserved, but in reality she has a great determination, discipline, and courage, which will allow her to get away from poverty and change her life through study,” Mazzucco told The Guardian.

Both Del Genio and Mazzucco identify with their character. And in a total Elena move, Mazzucco continued to study Latin, ancient Greek, and Italian from her high school teacher while she was filming. She filmed and then went to school to take her tests.

Eduardo Castaldo/HBO Margherita Mazzucco.

This is what young Lina looks like.

On set of My Brilliant Friend, 12-year-old Ludovica Nasti's nickname is "the boss." Typical Lina.

Eduardo Castaldo/HBO Margherita Mazzucco.

This is what teenage Lina looks like.

Of the four lead actresses, only Gaia Girace (15) had taken acting lessons prior to My Brilliant Friend. She wanted the part from the start of the nine-week audition process. “I fell in love with my character from the first scene I had to play, so I wanted to get that part at all costs,” Girace told The Guardian of Lina.

Eduardo Castaldo/HBO Margherita Mazzucco.

Expect more seasons.

My Brilliant Friend is only the first installment of this enormous undertaking. The series is set to run 32 episodes in total, amounting to 8 episodes per book.

photo: Eduardo Castaldo/HBO

Lila will wear a couture wedding dress (kind of).

For those of you who read My Brilliant Friend, it’s no spoiler that Lila gets married at some point in the book. Her wedding dress, as well as the shoes she makes in her father’s shop, are both designed by Pierpaolo Picciolo, the creative director of Valentino.

photo: Eduardo Castaldo/HBO

The show will be subtitled for everyone.

The series is filmed in the thick Neapolitan dialect. During its run, Elena and Lina learn to speak "proper" Italian.

But English-speaking viewers aren't the only people who will need subtittles. “This show is going to be subtitled in Italy, too, because we don’t understand the Neapolitan dialect,” co-executive producer Lorenzo Mieli told Reuters. “We come from Rome, so we don’t understand at least 70% of the dialogue.”

There’s another Ferrante adaptation in the works.

Remember The Lost Daughter, the novella that Costanzo wanted to adapt in 2007, but ultimately abandoned? Maggie Gyllenhaal has taken the helm. Gyllenhaal said she spent weeks writing a letter to Ferrante about her vision for the book. Ferrante responded, “'You can have the rights, but you have to direct it. I’m only giving the rights to you to direct.'” In October 2018, she announced that she would indeed be directing The Lost Daughter.

Gregory Pace/REX/Shutterstock

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The Fantastic Beasts Cast Tell Us Which Houses They'd Be Sorted Into

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The hype surrounding J.K. Rowling's wonderful Wizarding World lives on! We've finally arrived at Fantastic Beasts: The Crimes of Grindelwald, the second instalment in the latest franchise – and welcome prequel to the Harry Potter stories we all know so well – and answers to the burning questions we've had for decades are finally starting to materialise.

Who Nagini really is, Dumbledore's complicated past and the truth about Voldemort's troubled beginnings are all teased in the new film, which is a huge relief to the hardcore Potterheads among us. But when we sat down with some of the cast there was of course a lot more that we wanted to know. For example, why does Alison Sudol think we're so obsessed with this wild but incredible fiction? Did Jude Law ever take the online test to find out which Hogwarts house he'd have been sorted into? And who would Dan Fogler (who plays Jacob Kowalski, a muggle unwittingly thrust into the world of magic) and Ezra Miller (who plays Credence Barebone) want to switch characters with? You know, the really big stuff.

If you've not seen the film yet, don't worry, we're not about to ruin your day with spoilers. Instead, here's an insight into how the cast of one of this year's most anticipated stories really feel about the power of magic, the significance of the sorting hat and those important political signposts that Rowling likes to throw in for good measure.

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Fantastic Beasts: The Crimes of Grindelwald is in UK cinemas from Friday 16th November

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Misty Copeland Hopes Ballet Is "Not A Trend"

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For ballet dancers, Nutcracker season is a marathon: Most companies begin shows around Thanksgiving that run up until New Year's Eve, often with ten shows a week. Dancers start in roles as children, and climb the ranks of the different roles as they grow up. And yet, everyone still remains enchanted by The Nutcracker — even Misty Copeland, American Ballet Theatre (ABT) principal, who appears in the new Disney film adaptation of the ballet.

"I still have such a love for it, because even though I've been doing it for 25 years, it's still fresh," Copeland tells Refinery29 at a surprise screening for young dancers in New York City hosted by Under Armour. The movie, The Nutcracker And The Four Realms, is certainly a fresher take on the 1892 classic story. It features a feminist heroine, a sinister Mother Ginger, a vapid Sugar Plum Fairy, and of course a ballerina, who "just happens to be brown," Copeland says.

The experience traveling to select cities across the country and speaking to young audiences has been "incredible," Copeland says. "I understand why I'm important and mean so much to a lot of people," she says. "I have so much pride, and I take on the responsibility willingly. It’s so much bigger than me, and it's not about me, but what I represent."

Here, Copeland spoke to Refinery29 about her past ballet memories, the trend of ballet in film, and what it takes to make a woke version of The Nutcracker. Watch a video of Copeland surprising audiences below.

Conversation has been edited for clarity and length.

What's your first Nutcracker memory? Mine is definitely watching the New York City Ballet version featuring Macaulay Culkin.

"[ Nutcracker] literally was the first ballet I started learning, like right when I started dancing. So, I became Clara like eight months after I started dancing ballet. And I was on pointe, and I was dancing the role — it was crazy. The following year, I was given the role of Sugar Plum, so it all happened really quickly, and it was such a big, defining moment within my ballet training and career."

It cycles through over and over again: every 10 years, ballet is the 'new thing.' And you’re like, well it has been.

Nutcracker is rapidly approaching. How are you planning on getting through the season?

"As a principal, you’re not on stage every night like the corps de ballet, [who are] doing so many different roles, which — I've been there. New York City Ballet is known for The Nutcracker at Lincoln Center and doing a crazy amount of shows, but ABT’s never really been that. The Nutcracker has always been a touring thing for us, so we never do a large amount of shows. It’s more fun for us, whereas most people have like 65 shows. I still have such a love for it, because though I've been doing it for 25 years, it’s still fresh."

As iconic as The Nutcracker is, the ballet is not very woke. The plot is kind of screwed up and the second act borders on racist. Does it excite you to have a hand in rewriting ballet history?

"That’s like the majority of the ballets that we perform, because most of them were created in the late 1800s and early 1900s. So, [classical ballet] doesn’t necessarily reflect our society, and culture, and other cultures outside of the United States. I hadn't really thought about The Nutcracker in that way until this film came about. Even thinking about the way that Spanish and Arabian [ dances are performed] — it’s so crazy. It’s almost like Blackface.

"The thing is, that's not really a focus of the movie. It's a very female-empowerment driven [movie], as well as an extremely diverse cast. I'm just so proud to be a part in this film, and also as a Black ballerina living on. To me, that's like so powerful for kids to see."

There have been quite a few ballet moments on screen this year, with Isabella Boylston dancing in Red Sparrow and the dance element in the new movie Suspiria. Do you think it's important that dancers get mainstream attention, whether it's through a Disney tale or otherwise?

"Absolutely. I'm so proud to voice and get behind giving all of these different genres and platforms more of an education on what it is we do, and respecting all that it takes to be what we are. It cycles through over and over again: every 10 years, ballet is the 'new thing.' And you’re like, well it has been. I hope that it’s not a trend, the fact that we have the focus on the ballet world.

"I had really close friends that played Natalie Portman and Mila Kunis's double in Black Swan, and Isabella playing Jennifer Lawrence in Red Sparrow, and we're often in these situations where we’re treated like extras, and not really given the respect, and all that it takes to be healthy and prepared. Disney was so respectful of me. My manager really laid out that we have to have time dedicated to a warmup class before we start — because filming can be really spontaneous. Give us the same respect that actors get, because you're not gonna get the best product if we’re not properly prepared and rested."

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Mary Queen Of Scots, Or How We Haven't Learned Anything About Women & Power in 431 Years

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The world of Mary, Queen of Scots exists in constant juxtaposition: women vs. men, England vs. Scotland, Protestants vs. Catholics. Everyone has their place — except Elizabeth (Margot Robbie) and Mary (Saoirse Ronan).

The reigning queens of England and Scotland in the sixteenth century sit astride those strict dividing lines, never completely belonging. They’re hybrid creatures, both wielding incredible amounts of power, but desperately trying to downplay their gender, lest it be perceived as weakness. And aside from each other, they are completely and desperately alone.

It’s a sad twist of history that these two cousins and neighbouring queens, who amazingly ruled some of the most powerful nations in Europe at the same time, were forced by circumstances to be enemies. Their feud is legendary. But the powerful tragedy of director Josie Rourke’s film lies in mapping out the thwarted possibilities, the many moments in which, had things played out just a little differently, these isolated rulers could have resolved their differences and become allies, rather than foes whose survival and victory comes only at the expense of the other.

Based on the book Queen of Scots: The True Life of Mary Stuart by Dr. John Guy, the movie opens with what we know: On February 8, 1587, after nearly 20 years of captivity, Mary Stuart, Queen of Scots, was beheaded on the order of Queen Elizabeth of England. But who were these women? And what drove them to such a permanent conclusion? That’s what Mary, Queen of Scots seeks to answer.

Rather than dwelling in the violence, the action flashes back to 25 years earlier, when a newly widowed Mary returns Scotland (captured in gorgeous, mountainous shots) after a lifetime spent in France. In her absence, her land has been ruled by regents: first her mother, then her half-brother James, Earl of Moray (James McArdle), he of the on-point leather headbands and smokey eyeliner. Taking back her rightful place on the throne proves more challenging than anticipated — Scotland is a mostly Protestant nation, and Mary is a Catholic queen. To make matters even more complicated, Mary has a rightful claim to the throne of England, ruled by her cousin Elizabeth, also a Protestant.

Both are capable rulers, but their approaches differ, in part due to their personal histories. Mary was essentially born to rule. Her father, King James of Scotland, died when she was only six days old — she’s known no other life than ultimate power and the respect she is owed as a royal sovereign. Elizabeth, on the other hand, was born out of strife. Her father, King Henry VIII, split from the Catholic Church in order to marry her mother, Anne Boleyn. When she didn’t give him the son he so wanted, he had her executed when Elizabeth was 2. Until her ascension to the throne at the age of 26, Elizabeth lived under constant threat, even spending some time in the fearsome Tower of London during the reign of her older sister, Bloody Mary. (Not to be confused with Mary, Queen of Scots. I know, it’s all very confusing.)

The two queens regard each other with both fascination and scorn. House of Cards writer Beau Willimon lives for intrigue, and their rivalry is constantly fuelled by the men in their respective courts, who scoff at any mention of peaceful cohabitation. If Elizabeth doesn’t strike first, Mary will.

Ronan is phenomenal in this role: regal, but also human. Mary is a young woman confident in her power, and her ability to wield it. She hasn’t come home to be a pawn of her male relatives, and shows as much by banishing incendiary Protestant preacher John Knox (David Tennant, buried under mounds of beard and hair) during her first council meeting. But she’s also impulsive, and less politically shrewd than her rival to the south. (Knox goes on to fuel a rebellion against her, attacking her as a sexually voracious harpy, a narrative powerful women still struggle against today.)

Mary is a romantic, wary of having a husband control her, she still wants “to have it all.” So, when Henry, Lord Darnley (Jack Lowden), her Catholic Stuart cousin, comes calling from England, she’s fooled by his suave charm and enthusiasm for oral sex. In the end, her trust in the men around her, including her brother, and her would-be protector, the Earl of Bothwell (Martin Compston), is her undoing.

Robbie’s Elizabeth is more cautious. She too, would like to settle down with the man she loves, (Robert Dudley, played Joe Alwyn) but she knows that would be her downfall. Instead, she chooses her career over her personal life, remaining a virgin queen with ultimate power, rather than risking being owned and cast aside by a husband. “I choose to be a man,” she tells her chief advisor, Sir William Cecil (Guy Pearce). But it’s a bittersweet victory for a woman who’s also deeply insecure. In one heartbreaking moment, Elizabeth, face oozing with smallpox sores, runs out into the hallway shrieking, desperate for Robert’s reassurance and affection. (Robbie is fearless in this role, unrecognisable under makeup, scars and a prosthetic nose that looks suspiciously like the one Nicole Kidman wore in The Hours.)

Rourke’s theatre background (she directed Tom Hiddleston in Coriolanus) effectively roots the story in contained, quiet moments. Rather than getting swept up in the big picture, she hones in on these womens' inner lives. Some of the most powerful moments are the intimate scenes between Mary and her ladies in waiting, who dress and bathe her, whispering confessions and secrets in the dark. Likewise, Elizabeth’s relationship with her confidant, Bess of Hardwicke (Gemma Chan), is a welcome respite from the constant strain and pretence of court life. (The Crazy Rich Asians star is one of many people of colour cast in roles that would usually automatically go to white actors. Mary, Queen of Scots is a great example of a film that makes a big push for diversity without making a big deal about it.)

There’s never any question as to whom is at the centre of this story — during a one fraught sexual confrontation with Darnley, the camera remains fixed on Mary’s face, assessing her reactions, and Ronan more than delivers. In a sea of men clad in black, she and Elizabeth stand out as bright, colourful figures, always drawing the viewer’s eye to them.

Robbie and Ronan only share one scene together, during a secret meeting that historians debate ever took place. It’s the climax of the film, one last gasp at a truce that they know can’t happen. By that point, they’re both too far gone on their own paths: Mary (still a little too beautiful) is desperate and defeated; Elizabeth has morphed into the white faced, be-wigged figure that would be her trademark. (Alexandra Byrne’s costumes are gorgeous, but it’s the dramatic, clown-like makeup that really steals the show here.)

Aside from that meeting, I’m sure there will be plenty for historians to bicker over, including Mary’s tolerance of her secretary David Rizzio’s (Ismael Cruz Cordova) relationship with her husband, and her and Elizabeth’s push to be friends. But the historical accuracy of the action feels less important than the overall statement the film makes on women and power: Much has changed in the last 431 years, but not nearly enough.

Mary Queen of Scots will be released in the UK on 18 January

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Melania Trump's 12-Hour Trip To Toronto Cost Over £135k In Hotel Bills Alone, But She Isn't Paying For It

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Government records show first lady Melania Trump racked up roughly $174,000 (over £135,000) in hotel bills during her 12-hour trip to Toronto, Canada in September 2017, Quartz reports. It was the first lady's first solo trip abroad without her husband, President Donald Trump.

The purpose of the day trip was for Trump to lead the U.S. delegation to the Invictus Games, an international sporting event for wounded veterans created by Prince Harry. She did not spend the night at the hotel.

According to Quartz, it was not immediately clear how the first lady's office racked up the charges. Government records show six separate hotel bills, which costs ranged from roughly $12,000 to $49,000 for a total of about $174,000. Transportation costs for the trip came at an additional $21,000 (over £16,000). The hotel costs for Trump's advance team were significantly less, clocking at around $18,000 (over £14,000).

In a statement to Quartz, the first lady's communications director Stephanie Grisham declined to provide details of the expenses, because they fall under the purview of the U.S. State Department. She added: "What I can tell you is that when the President or First Lady travels, there are people who travel ahead on the advance team to ensure safety measures, medical care, communications, motorcade needs and logistics are all in place. Mrs. Trump travels with a much smaller contingent of staff than that of her predecessors, but the entities I mentioned above are legally required for all official travel."

Like her predecessor, Michelle Obama, Trump has so far traveled significantly less than other president spouses in the past. (During her husband's eight-year tenure, Obama made 22 foreign trips and spent 116 days outside of the U.S., compared to Laura Bush's 46 trips and 212 days for Bush and Hillary Clinton's 47 trips and 274 days.)

The first family's travel costs have come under scrutiny because of President Trump often railed in the past that the trips taken by the Obamas were a waste of taxpayer money. Melania Trump's trips in particular have been in the public's radar: Before she officially left Manhattan and moved to the White House, her military flights to and from Florida, New York, and Washington, D.C came at a price tag of $675,000 (over £ 525,000). And during her first solo tour to Africa, her team spent $95,050 (over £74,000) at a hotel in Cairo, Egypt, even though her stop there only lasted six hours. Trump also didn't spend the night at the hotel then.

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