This nun fell to her knees before armed soldiers in Burma and begged them not to kill protesters. They didn't listen.
This nun fell to her knees before armed soldiers in Burma and begged them not to kill protesters. They didn't listen.
Following the death of Sarah Everard, women have taken to the streets to protest rampant misogyny and harassment that has gone unchecked for too long, writes Angela Christofilou
The Love Island presenter talks boobs and breastfeeding
Former colleagues and friends pay tribute to reality star
The Duke of Edinburgh sadly passed away yesterday, aged 99
The TV personality was recently undergoing treatment for an eating disorder
Featuring BAFTA-winning and nominated movies from throughout the years
But Meghan is unable to attend for medical reasons
The ceremony will be closed to the public for health and safety reasons
The Duke of Edinburgh's funeral will take place at 3pm next Saturday in Windsor
The star and director of ‘Promising Young Woman’ tell Clarisse Loughrey how their film ‘weaponises femininity’, ask why the stuff that girls traditionally like isn’t treated seriously, and discuss how women respond differently when something happens to someone they love
The rise of Phoebe Waller-Bridge continues with news that the Fleabag creator has been cast in an iconic action franchise. Disney has announced that she will star opposite Harrison Ford in the new Indiana Jones movie, which is due to start shooting this year. It’s the first film in the series since 2008’s Indiana Jones and the Crystal Skull. In the same announcement, Disney confirmed that legendary film composer John Williams will be scoring the movie, which is being executive produced by Steven Spielberg, Kathleen Kennedy and Frank Marshall. “I’m thrilled to be starting a new adventure, collaborating with a dream team of all-time great filmmakers,” said the film’s director James Mangold. “Steven, Harrison, Kathy, Frank, and John are all artistic heroes of mine. When you add Phoebe, a dazzling actor, brilliant creative voice and the chemistry she will undoubtedly bring to our set, I can’t help but feel as lucky as Indiana Jones himself.” Waller-Bridge, who won numerous awards for writing, creating and starring in Fleabag and serving as showrunner on the first season of Killing Eve, has also contributed to another iconic film franchise. She has co-written the script to upcoming Bond movie No Time to Die, which after several delays is now due to open on 30th September. Speaking about her contributions to the movie in 2019, Waller-Bridge has she has added “little spices” to the script. “They were just looking for tweaks across a few of the characters and a few of the storylines,” she told the BBC. She also made it clear that she will ensure the film’s female characters “feel like real people”. Like what you see? How about some more R29 goodness, right here?
Women in the UK hit “peak earnings” four years earlier than men, according to new research. Whereas on average, women can expect to command their highest salary at age 40, men do so at age 44. In Women’s average salaries are higher then men’s at age 21, the research by Totaljobs found, but from this point on men’s average earnings outstrip women’s. In time, men’s “peak earnings” will be more than £8,000 higher on average. This is no surprise given that women’s career prospects are more likely to be adversely affected by childcare costs and an inability to access the flexible working arrangements that can help working parents to thrive. “An individual’s ‘peak’ is heavily influenced by a combination of factors, such as gender, region, age, education, and experience,” said Jon Wilson of Totaljobs. “Finding the balance between achieving the right salary at the right time for personal priorities can be a real challenge, and workers are often navigating salary negotiation without really knowing what is fair and what they are worth.” The research also found that women’s pay rises are, on average, nearly £500 lower than those awarded to men. Since 2017, companies with 250 employees or more have been legally required to report their gender pay gap – the difference in earnings between their male and female staff members. To help even the playing field, Totaljobs’ Jon Wilson called for “more transparency” in the workplace when it comes to discussing salary expectations, bonuses and earning potential. “This is particularly important for women, who, as our data shows, are experiencing sizeable pay gaps and peak earnings faring far below that of men,” Wilson added. “The only way out of this longstanding issue is for businesses to truly commit to measures such as equal pay audits, transparency on pay and bonuses, and the removal of any biases that can impact an individual’s chances of a successful career path and higher wages.” You can get an idea of what your “peak earnings’ might be by trying out Totaljobs’ Peak Earnings Predictor. Like what you see? How about some more R29 goodness, right here?This Is How Many Students Are In Rent DebtMoney Diary: A 25-Year-Old In New Zealand On 31kYoung Women In Big Debt
Pandemic rules means he may have to quarantine.
They spent lockdown together at Windsor Castle.
The hip hop community and fans worldwide have been reeling since news broke Friday (April 2) that DMX, born Earl Simmons, had been hospitalised because of a drug overdose. A week later, The Associated Press confirms that the rapper has passed away at 50. While many fans, peers, and media outlets had offered hopeful messages for a full recovery, there was an overwhelming display of other insensitive sentiments surrounding the rapper’s substance use. In the past week, the Twitter community commemorated the rapper’s life and work with fans recalling their favourite memories of the artist and the high points of his career, one that is to be admired. But I also saw tweets (which have since been deleted) that blamed DMX’s overdose on a lack of self-control, without having any context to support these claims. While it is easy, lazy and in poor taste to make “crackhead” jokes or poke fun at people who are very clearly navigating their relationships with substances when videos surface on social media, it does nothing to foster a climate of care for individuals, families and communities who have been impacted by this issue, especially regarding the language we use. However, this tragedy involving one of the most famous and beloved rappers of the 2000s is providing an opportunity to shift how audiences and the media engage with substance use, mental health, and the complications that arise with celebrity visibility. Throughout his tenure, the artist known as DMX has collected several public accolades: he’s had many chart topping albums like his debut It’s Dark and Hell Is Hot and the four following studio albums. His chops as a thespian were on full display in major budget films like Belly and Romeo Must Die. Additionally, he was a founding member of Ruff Ryders, a collective and label that was an integral part of propelling hip hop culture and music to the mainstream. These accomplishments crystallised the artist as a force to be reckoned with both within and outside of hip hop. Not many artists can boast that their first five albums debuted at number one and that they’ve gone platinum while balancing an acting career that garnered leading roles in blockbuster films. No matter how you look at it, DMX was a rap legend. But in the same way that his wins were public, so was his substance usage. DMX has spoken candidly about navigating his struggles. Most recently, in a November 2020 interview as a guest on Talib Kweli’s The People’s Party, he shared that at 14 years old, he was offered a blunt which he later found out was laced with crack. This incident, DMX says, is when “a monster was born” and his battle with addiction started. No matter how you look at it, DMX was a rap legend. But in the same way that his wins were public, so was his substance usage. While his interactions with substance use are both public and storied, the language that surrounds his usage, and many other people like him, tends to be callous and apathetic. “Since DMX’s situation has come to light, I think people have tread a bit more carefully in the sense that DMX is obviously a very beloved musical figure and a lot of us have deep sentiment attached to him and his music, but I don’t think the ways that they’re talking about it reflect a deeper and seeming respect for drug users in general,” Baltimore-based harm reduction worker Lex Wilson tells R29Unbothered. “The things they’re saying don’t reveal deeper respect for people who use substances, people who have chaotic relationships with substances or people who experience or have experienced addiction.” Because of their visibility, it may be easier for some people to extend grace to public figures. Social media has collapsed the space and distance between fans, celebrities and their public and private lives so there’s a level of access and surveillance (even if consensual) that we’ve not been granted in the past. Given the digital age, and the intrusion of gossip blogs, tabloids and paparazzi, we have an abundance of archived data of people navigating their substance usage. When public figures like Demi Lovato, Ben Affleck and Lindsay Lohan have been open about their use in the past, we know that their struggles aren’t exclusive to their status. We also know that fame, mental health and substance use has a long history of being documented in the media, though there seems to be a shift that tilts towards a more sympathetic lens, especially with the recent #FreeBritney movement and the Framing Britney Spears documentary. This turning point is an indication of an attempt to try to right the wrongs of past offensive views when it comes to celebrity and mental health. But what is to be said of people who exist on the fringes of pop culture’s purview and how we discuss them? Wilson provides us with insight on how to change language in our daily conversations. They share, “Addiction is a word I don’t use until other people name it for themselves, so I’ll just say ’chaotic relationship with substances.’’ It’s great that we can look at DMX and can name this as being pretty traumatic and understand how this trauma shapes his experience with substances, but we shouldn’t have to have all that information to extend grace and empathy to people who use drugs. We shouldn’t have to know about someone’s childhood trauma to be respectful to them, to extend care to them,” they say. “These are things we should be doing for drug users regardless of whether they’re prominent social figures, regardless of whether we know all the details of their complex experiences, regardless of whether or not they have been traumatised.” DMX needs grace by virtue of being a human being, by virtue of being a Black person, by virtue of being a substance user and every intersection there is…Lex Wilson Understanding the dynamic that people have between their usage or efforts to regulate it has the ability to shift our tone a great deal. We can then identify who does and does not get captured when the net of empathy is cast. Whitney Houston, even posthumously, is still the brunt of many jokes when videos of her seemingly erratic behaviour reappear on timelines, despite the numerous biopics, reports and accounts that confirm she was having a hard time changing her relationship with substances. “I think that DMX needs the extended grace by virtue of being a human being, by virtue of being a Black person, by virtue of being a substance user and every intersection there is,” Wilson says. “But I will say the amount of grace that we extend to DMX is inextricable from him being like a cis-het man. This sort of grace is not often extended to Black women, Black women who are sex workers, Black women who are fat, Black women who are disabled. There are biases that impact who we extend grace to and who we do that with more often.” Those ‘biases’ are an important addition to an already complicated conversation on the culture of addiction and the legacy of remembrance. As a Black cultural worker and archivist, I often think about the work involved in intentionally documenting culture. It’s important to me for multiple reasons: First, so much of Black history has been undocumented or mis-documented. Secondly, I have a deep desire to make our history and cultural production accessible to generations to come. In order to do so, we must contemplate the methods we employ in remembering, preserving legacies and memorialising places, things and people. With the advent of social media and the closing gap of our proximity to public figures, our conception of “celebrity” seems to be changing. In DMX’s case, he’s had a riotous history with substance usage, and unfortunately allegations of verbal and psychological domestic abuse. It’s important to acknowledge when there are polarising reactions to public figures — especially men — with a history of harmful behaviour. There will be people who want to celebrate their achievements and people who rightfully do not wish to because of the harm these men may have caused. And there shouldn’t be an expectation for those who feel the latter to join in the posthumous celebrations. In the wake of Kobe Bryant’s passing, many people took to social media to celebrate his achievements, but a lot of users called attention to his sexual assault case. While there was a desire to acknowledge his wins, many showed solidarity with survivors and the cause, standing firm in their completely valid convictions. The discomfort that comes with bringing up questions surrounding abuse or the problematic pasts of Black men does not excuse any of us from the conversation. Even when they are rap legends who provided the soundtrack to our childhoods, we should not make concessions for alleged abusers. We should contend with their pasts in a manner that acknowledges the entire scope of their history, which sometimes includes being a perpetrator of harm as well as being a survivor of it. “When you’re painting a composite picture of somebody and talking about people in all the spectrum of experiences they’ve had, it’s important to name that in many ways substance use can be a response to harm and people are often trying to navigate situations,” Wilson says about the act of remembering individuals who navigate substance control. “I like to talk about substance use through the frame of escapism because then we can better interrogate why we are so reticent to accept certain forms of escapism over others. I think a lot of people look at substance use and they’re able to name it as a coping mechanism, and then straight up say that’s bad. I am much more interested in interrogating the conditions that make people want to escape. Why do people keep trying to escape from reality? Maybe we can think about that, systems and biases that make life pretty insufferable like capitalism and white supremacy.” It is no secret that DMX has given fans a wealth of music and memories for a lifetime. Last summer, we were reminded of the energy he so often impared on stage by way of his Verzuz with Snoop. And when his rendition of “Rudolph the Rednosed Reindeer” reemerges on our timelines every year, we happily share it with friends and family alike. We have access to archived videos of his performances at festivals and concerts of the past that we can fall back on for a waft of nostalgia. As DMX transitions into ancestorship, we can and should celebrate his contributions to music and culture while acknowledging his difficult history. If you are struggling with substance abuse, please visit Talk to Frank, call 0300 123 6600, or text 82111 Like what you see? How about some more R29 goodness, right here?Hip Hop Icon DMX Dead At Age 50Ed Sheeran Opens Up About His Substance AbuseTana Mongeau Details Substance Abuse
Though he was married to a queen, he was named a prince for a reason
Included: glorious gardens and a pool house.
"Our thoughts are with the royal family at this sad time," a statement from Netflix and The Crown's production team said.
The Duke of Edinburgh "passed away peacefully" at Windsor Castle
It’s been 20 years since Tara Reid played Melody Valentine, the sweet, spacey drummer from Josie and the Pussycats, but she still talks about her as one would a beloved friend. “Out of all the characters I’ve ever played in my life, she was one of the greatest because every day I woke up and I got to play the happiest girl in the world,” Reid told Refinery29 over the phone. In 2001, Melody was mistaken for a dumb blonde. Now, Reid knows she was right to bet on her. Josie and the Pussycats, once a critical and commercial failure, has since been reborn as a cult classic. What Roger Ebert once called “dumb as the Spice Girls” is now widely recognised as a landmark cultural phenomenon for an entire generation of young women. Josie McCoy (Rachael Leigh Cook, hot off of She’s All That), Valerie Brown (Rosario Dawson), and Melanie weren’t just punk rock prom queens — they were proof that women could value friendship over love, and excel at our chosen path without having to tear each other down along the way. It’s a lesson that has steered Reid as she undergoes her own transformation. Once an underestimated talent who dominated tabloid headlines as the girl next door from American Pie and Van Wilder, she made an unexpected and unprecedented comeback as an action star in the behemoth Sharknado franchise. At 45, she is reinventing herself once more, this time as a producer. Reid is no longer waiting for the right role to come along. Instead, she’s making that material for herself. Her IMDb page is loaded with projects — 21 in various stages of production as of this interview’s publishing — but the one she’s most excited about is Masha’s Mushroom, a thriller directed by White Cross, which Reid is both producing and starring in. She plays the titular Masha, a mum whose birthday party goes very, very wrong when she and all her guests are drugged and forced to battle hallucinations in order to get out alive. There’s been a learning curve — ”Normally, I get the part, I get to set, I do my job, and I leave,” she said. “I never realised how much goes into making a movie.” But Reid isn’t a quitter. After all, the industry has forgotten about her before, and she’s always bounced back in new and unexpected ways. “I’m a survivor,” she said. “At the end of the day, when you love what you do, you’ll always come back to it.” Ahead, Reid looks back at the legacy of Josie and the Pussycats, and what’s next. Refinery29: You never auditioned for Josie and the Pussycats. How did you end up getting cast as Melody Valentine? Tara Reid: “I had a three picture deal with Universal [Pictures]. The first two movies were American Pie and American Pie 2, and the third one was Josie and the Pussycats.” What did you like about Melody? “She’s such a free spirit. She seemed naive, and some people called her dumb, but she was never. If you really watch the movie she had these psychic moments, and predictions. Her heart was so big — if a rose fell down, she’d feel like the rose was dying with her. And I was with girls I loved, and we had so much fun together. It was like a sleepaway camp. We had to learn the instruments, which was hard in the beginning. Rosario didn’t know how to play the bass; I didn’t know how to play the drums; Rachael didn’t know how to play the guitar. They made us take lessons for like three months, and finally we learned.” Do you still play? “No, because I live in a high rise, and if I played the drums here I’d probably get kicked out of the building! It’s not the most light sound. But when I’d go out before the pandemic — I can always play the bongos. I know my beat now!” SANTA MONICA, CALIFORNIA – MARCH 29: Tara Reid attends ScotWeek red carpet Launch Party celebrating Scottish Culture And Excellence at Fairmont Miramar – Hotel & Bungalows on March 29, 2021 in Santa Monica, California. (Photo by Matt Winkelmeyer/Getty Images) What’s so special about Josie and the Pussycats is that it’s the rare early aughts movie that starred three young women who weren’t playing a love interest or competing with each other for a guy. “I loved that. I don’t think movies have to be about competing for a guy or always having to have a love interest. Let’s be natural! Times have changed. We’re not in the days where you need a man, you have to get married and have kids. Women can do whatever they want. We have just as much power as they do, but it took a while to do that. Josie and the Pussycats is one of the first female empowerment movies of that time — no one knew that at the time, even we didn’t! And now 20 years later, it’s become this cult film. It was awesome to be working with these incredible actresses.” If you go back and read the original reviews, it’s pretty shocking to see how dismissive critics were of the movie, given how important it was to young women who saw it. “It was before social media. It was so ahead of its time. We were saying Puma is the new Adidas, red is the new black, all these subliminal messages. No one understood what that meant. But today, it makes perfect sense. If it came out now, it’d be a huge hit. And it is in a different way — it did terribly at the box office, but now everyone wants to have an interview with us about it, asking What happened, and What changed? “It was girls, with each other, not being mean to each other. We had the best time of our lives, and I think people see that. When people watch that film, they go, Wow, I wish I could have that.” Do you have a specific memory from filming that you cherish? “Something so silly is that we were wearing the smallest costumes, and it was freezing – we were in Vancouver. Everything was custom-made, and they were so small! We were shivering to death every time we had to go outside. And every time we would finish a scene, we would just run to the trailer and they would have three pairs of Ugg boots put together. We’d kick our heels off and put the Uggs on and sigh, Ahhhhhhhh. It was heaven. “ I was obsessed with Melody’s wardrobe. All those early aughts going out tops! “Melody’s wardrobe was amazing. Leesa Evans, our costume designer, was so cool. She asked, ‘What do you feel Melody should be like?’ We were so involved. I wanted Melody to be a total rockstar, totally cool, but that’s just her. She has no idea she’s even doing it. That was one of the best things about playing Melody. All I had to do to play her is to be happy. I didn’t even have to look for happiness, I had it with my co-stars. It was fantastic.” Did you get to keep any of the outfits? “Some of them! We usually had four or five versions of the outfits in case something happened, so I have a piece of all of them.” You’ve made this pivot to producing, and you now have so many projects in development including Masha’s Mushroom. What prompted this shift in your career? “Sitting down in my house during [quarantine], I started going back and reaching out to people I’d worked with in the past. White Cross and I have a movie coming out called Mummy Dearest and we really connected, so we decided to make this film called Masha’s Mushroom — I’m Masha obviously. And we started a company together, we became friends and started going at it. Because we were on lockdown, we got in touch with people that usually you can’t get on the phone. But everyone was at home, no one was busy. I accessed so many people and relationships. Right now, Masha’s Mushroom is one film of five. It’s like another American Pie or Sharknado — but this one’s my baby. It’s such a cool movie, when you see it you’re gonna get it. There’s nothing like it.” “Everyone was looking at my senior yearbook, and yet I was growing into a woman and changing.”Tara Reid What did you learn from the experience? “Normally, I get the part, I go to set, I do my job, and I leave. I never realised how hard it was as a producer and how much goes into that. How many years it takes to make a movie, to get the financing, to get the distribution. Being on both sides of the fence is the most incredible feeling. Even when we go to negotiate with the actors for different things — I know what they want; I know what they need, because it’s what I want and what I need. “Instead of waiting for a part, which I did for a long time, I thought: You know what, it’s time for me to create my part. The ones that I want to make, the ones that will make people notice me again and put me back in the game. And it was me that created it all. At the end of the day, everyone says, if you want something to happen, who has to do it? You. It’s very satisfying. It makes you feel good, and that’s something that’s so important right now.” Have you found that people in the industry still hold on to the image you had when you started out? “For a long time I felt like that, but not so much anymore. Imagine you look at your senior picture in your high school yearbook, and then look at yourself now. Do you look the same? That’s how I felt in the industry. Everyone was looking at my senior yearbook, and yet I was growing into a woman and changing. But until you can show them the change, they can’t see it. Like, guys, it’s 20 years later. I’m 45 years old. I can’t even do what I did back then, I’m too tired. It was never a typecasting situation. It was about me turning the page. In Hollywood, it’s hard to turn the page if you don’t show them the next page.” Speaking of typecasting, I saw you posted on Instagram about loving Bridgerton — would you ever want to take on a period role? “One of the best shows ever! I’m obsessed with period pieces. That would be a project I would love to do.” We’re now having this cultural reckoning with the tabloid coverage of young women in the early aughts, especially in the aftermath of Framing Britney Spears. Do you feel like you were unfairly portrayed? “I hated it, but time is a healer of everything. Hollywood is changing. Women are having their time to come back up — that never happened before, where we have control of ourselves. It’s the women directors who are doing incredible, it’s women actors who are taking over. It’s our time. If anyone is going to get bullied, it would be me, and it’s not me anymore.” “In Hollywood, it’s hard to turn the page if you don’t show them the next page.”Tara Reid What advice would you give to young women coming up in Hollywood today? “To be patient, to be careful, to still always be inspired. Love your craft, and if you love something else, then love something else and go that way. Because it’s not the easiest job in the world. To be a working actress constantly in Hollywood is almost impossible.” Was it difficult for you to transition into different kinds of roles as you’ve gotten older? “When you’re that young, you’re playing high school or college roles. That’s not a leading lady. A leading lady is someone like Julia Roberts. Now, I’m getting to that time. I went through the awkward stage, and now I’m getting to a time when I will become a leading lady. [I am] doing it myself with my rules, my territory, and controlling my image, my press, which I didn’t know how to do before because I was too innocent and too young. I didn’t understand it. With age, you learn a lot. “I wouldn’t even take anything back. If everything was so easy like it was when I was on the cover of Rolling Stone, I wouldn’t be here on the phone with you. At the end of the day, I’ve learned so much. I feel like my career is starting really for the first time now.” This interview was edited for length and clarity. Like what you see? How about some more R29 goodness, right here?Josie & The Pussycats Was Way Ahead Of Its TimeBeyoncé Was Almost In <em>Josie & The Pussycats</em>Tara Reid Asked For A <em>Sharknado </em>Raise