'Bridgerton' star Regé-Jean Page is reportedly smitten with writer and part-time footballer Emily Brown.
'Bridgerton' star Regé-Jean Page is reportedly smitten with writer and part-time footballer Emily Brown.
Travellers from 33 ‘red list’ countries will be taken straight to a hotel for 11 nights. The cost will be £1,750 for an individual traveller
"There has been kindness extended in certain areas where it didn't have to be"
The Queen's granddaughter welcomed a baby boy on Tuesday.
The dancer, best known for being Sia Furler’s muse, is now the lead in the pop singer’s controversial directorial debut, playing a girl with autism. She talks to Ann Lee about stardom, sisterhood and Shia LeBeouf
If you’ve been single for any portion of the past year, you’ve probably tried a virtual date ahead of the inevitable park walk. Dating virtually has its pros and cons, but according to new research, it could be saving you up to £3,200 a year. This figure calculated by Ocean Finance is based on a single person going on 13 dates a year – which a 2019 study found to be an average number. It’s also based on a real-life date costing a pretty hefty £300. This includes £50 for a new outfit, £140 for theatre tickets, £60 for a restaurant meal, £35 for drinks and £15 for a taxi home. By contrast, the research estimates that a virtual date might set you back £50. This includes £25 for a new top – because your date will only see half of you on Zoom – £6 to watch Hamilton on Disney+, £10 on a supermarket dine-in deal, and the rest on pre-mixed supermarket cocktails. These figures definitely seem like a lot – after all, there’s no reason why a virtual date can’t just be enjoying coffee or a glass of wine over Zoom. And most of us would have to be pretty smitten to spend £300 on an IRL date. But even so, they do highlight the potential savings – both in terms of money and our equally precious attention – of dating virtually . Sarah Neate of Ocean Finance also pointed out that dating virtually has other benefits. “For one, the lockdown has heightened many singletons’ desires to create a genuine connection and pushed people to act more seriously when looking for love in lockdown,” she said. “In our study, we found that 42% of singletons like the fact it’s easier to end a virtual date if it’s not going well.” She added: “So, whilst the mere thought of meeting a date for the first time via video chat may seem scary, it’s worth reminding yourself of the positives. Plus, once upon a time finding a partner via a dating app seemed like a weird concept, but that stigma is far from over. It’s now the norm.” Like what you see? How about some more R29 goodness, right here?A Photographer Captures Her Dating App MatchesI Dated Virtually All Year. Here's What I LearnedTips On Going On A Date In Quarantine
"The planets are circling, they are beginning to get into alignment"
It's not looking 100% hopeful.
The actor dubbed ‘McDreamy’ by Grey’s Anatomy fans talks to Olivia Petter about his dark new role in Sky’s high-finance thriller Devils, being altruistic, and whether he ever feels objectified – as he sidesteps the Grey’s pay-gap issue
Royal fans can't believe how similar they look.
From Regency London to the Rockefeller Plaza
I swear I heard several million Black people scream through my computer monitor when Disney+ announced that it will finally stream Rodgers and Hammerstein’s Cinderella starting 12th February. It may have another official title, but the Brandy-starring remake of the classic fairytale has always been Black Cinderella to me. Releasing the movie just ahead of Valentine’s Day feels like a lovely little corporate love letter to all the people who first encountered this Cinderella with Black people as the lead characters. Maybe Disney just wanted to profit off some old intellectual property or fulfill a regular demand from Black Twitter in which Black folks ask for cultural touchstones to be made available on streaming platforms pretty much since the advent of many of these platforms. For example, after years of being tweeted at, Netflix added seven highly-demanded 90s Black sitcoms, including Moesha, Girlfriends, and Sister Sister. Black Cinderella holds a special place in my heart for all the obvious reasons. It features a Black princess, a Black fairy godmother, a Filipino prince, Whoopi Goldberg! Victor Garber! — but there are less obvious ones too: The stepsisters’ outfits are hilarious. The songs are so memorable that I catch myself singing “Falling in love with love is falling for make-believe” when a celebrity couple I like breaks up. Plus, it was the first work I’d seen Jason Alexander in, and it has added that much more joy to watching him in Seinfeld. Aside from the magic we saw on screen, Black Cinderella was so impactful, and still is, because of its place in the cultural landscape when it aired and the team that worked behind the scenes. Black Cinderella proved that studios could bank on Black-led and diverse casts to tell stories of every variety. A major film being introduced on television by Disney CEO Michael Eisner to an audience of 60 million was a big deal in the ‘90s and for that film to have a cast as diverse as Cinderella’s was seemingly miraculous. Black television shows like the Fresh Prince of Bel-Air and Family Matters had been popular, but a multi-camera sitcom is much cheaper to make than a blockbuster movie. And that’s where the production hit some roadblocks before it even began. As late executive producer Craig Zadan told the Philadelphia Inquirer in 1997, “The reaction from everybody was wildly enthusiastic, but no one wanted to make the investment.” After Zadan and production partner Neil Meron’s 1993 success with staging Gypsy starring Bette Midler for CBS, they heard from Whitney Houston’s rep that she was interested in working with them. The duo wanted Whitney Houston to play Cinderella and she agreed, but as the film made its way through development — first at CBS and then at ABC — Houston changed her mind. “Yes, I was supposed to be Cinderella. But after you get married and have a baby, it’s like, I’m not feeling quite like Cinderella,” Houston told JET in 1997. Instead, she took on two roles: Cinderella’s fairy godmother and executive producer (and Brandy’s mentor —the two singers struck up a beautiful friendship on set). Along with Houston came Debra Martin Chase — the first Black woman to get a major television deal at any studio — and musical theatre writer Robert L. Freeman. With Houston’s star power, Martin Chase’s rolodex, Freeman’s authorial skills, and Zadan and Meron’s televised musical theatre background, Disney basically said, you do you. When I spoke with Zadan and Meron in 2017, they didn’t recall any pushback from the network on their casting choices. However, the budget remained a challenge. That is, Disney basically said, you do you, but at The House Of Mouse, we make money, not spend money. She may have been busy touring and recording, but Houston’s commitment to production never wavered; she accepted an un-divalike fee for her acting role. The producers then begged favours from their friends in the cast and on the production. “It all started with Whitney. [When] Whitney accepted a certain salary, the other cast members knew [what] she was getting paid,” Zadan said. ”They said ‘OK, I can’t ask for more than Whitney Houston so they took the same amount. And we luckily got that astonishing cast for very little money.” In the end, ABC could handily have afforded to spend more. At the time, the network had commissioned a handful of original films — like Toothless starring Kirsty Alley — to air as part of the same Friday movie night block known as The Wonderful World of Disney. Black Cinderella ended up as ABC’s highest-rated film in fourteen years, according to Meron. If Black sitcoms proved that there were returning audiences for Black storytelling, then Black Cinderella proved that studios could bank on Black-led and diverse casts to tell stories of every variety. Black Cinderella’s legacy radiates beyond its first appearance twenty-four years ago. You could argue that Shonda Rhimes’ multi-racial casting in Grey’s Anatomy’s 2005 primetime debut owes a great deal to the early portion of Rhimes’ career spent as an assistant Debra Martin Chase’s production company. It’s also easy to draw a straight line between Black Cinderella’s diverse cast and Rhimes’ latest success, Bridgerton, which stars Black people in Regency-era England and is being hailed for its inclusive casting. And still, Black Cinderella‘s depiction of multi-racial families and relationships remains a rarity. Films like Mississippi Masala, The Lovebirds, and Namaste Wahala (out on Valentine’s Day) are among the few films depiction Black romantic leads with non-white partners. Along with Brandy’s perfect braids, I have spent years and tears trying to achieve the vision of strength and care laid out by Black Cinderella. Black Cinderella also laid the groundwork for the return of the live musical event on television. When we spoke, Zadan and Meron had just completed the NBC live airing of The Wiz! That, too, was an iconic story retconned with Black characters as a celebration of Black music. In our conversation, Zadon and Meron noted an irony that there had been little controversy surrounding a Black Cinderella in 1997 but there was a small racist ruckus over a Black Annie, played by Quvenzhané Wallis, in 2014. In 2009, Disney introduced the first official Black Disney Princess via The Princess and The Frog’s Tiana. And as far as family-friendly Black representation today, the Kenya Barris Industrial Complex continues to churn out hit after hit: Black-ish, Grown-ish, Mixed-ish, and Black AF, but none of these quite hit the same as Black Cinderella. The day Disney+ announced that Black Cinderella was coming back reminded me of a day in 2015 when I took my baby cousin to see Cinderella starring Lily James. Frankly, I was shocked to see a white Cinderella —I forgot this princess could be white! — but my cousin didn’t care. (If anything, she thought Cinderella needed to steal a horse and get out of town, which is the correct opinion.) I cared a lot then and I care a great deal now. When parts of the feminist movement started pushing back against the girl-as-princess trope, I felt foolish in my sense that not all girls had been imbued with the belief that we were actually princesses. Like Brandy’s Black Cinderella sitting in my own little corner, in my own little chair (while, ahem, sitting up in my room), I liked to pretend to be one. In the real world, I was meant to be Strong and Sassy. Frankly, I cried a lot from ages three until this sentence so I am mostly Soft and Easily Provoked. Princesshood was a convenient shorthand to both being powerful and allowing for your own fragility, and as a Black girl, I found few role models that exemplified this in the Western world. Brandy’s Black Cinderella walked that fine line perfectly: she wanted to be cared for but not at the expense of her internal strength. Along with Brandy’s perfect braids, I have spent years and tears trying to achieve the vision of strength and care laid out by Black Cinderella. What the production team behind Black Cinderella achieved was not just giving us this perfect picture, but opening the doors to a whole gallery of film and television. They brought to bear years of experience and a commitment to telling stories differently that has left an indelible mark on the culture we now consume. Hey, thanks to Black Cinderella, impossible things are happening every day. Like what you see? How about some more R29 goodness, right here?Whitney Houston Was A Real Life Fairy Godmother9 Movies Everyone Will Be Streaming This WeekendThe Best "Cinderella" (Ever) Is Coming To Disney+
And those who have tried her method say they've already noticed a difference.
‘Even those who have not previously experienced mental ill health may find the experience taxing,’ a review of the Australian system reported
Why a balaclava might be your new winter-wardrobe mainstay
Finding stylish mobility aids amid a sea of dull, colourless options which match the aesthetic of a hospital ward is the bane of many fashion-forward disabled people’s wardrobes. In the UK the spending power of disabled people tops £249 billion per year yet affordable and elegant mobility aids that consider aesthetics are a rarity. For the 1 billion of us who live in disabled bodies, it can be a fierce challenge to embrace our disabilities without shame, which is intensified by the stares, comments and uncomfortable questions that plague us while using mobility aids in public. Despite becoming disabled as a 14-year-old, it took nearly a decade for me to finally embrace my identity; the struggle to use a cane without embarrassment was even more difficult. I often submitted to internalised ableism and prioritised looking non-disabled over managing my pain levels to avoid the inquisitive rudeness of strangers. Although the representation of disabled people has soared over the last few years, many of us still struggle to embrace ourselves in a society that remains stubbornly ableist in the face of countless advocates and campaigners highlighting inequalities. “When you are disabled, you are instantly different in the eyes of many, and society, so you stand out,” Şirin Atçeken, psychologist, therapist (MFT) and EMDR specialist at WeCure told Refinery29. “For many, this can lead to feelings of discomfort, low self-esteem and anxiety.” “I’ve felt lost at times, not being able to trust my body to support me or function in a predictable way, causing me to live quite an isolated lifestyle,” says multiple sclerosis advocate and podcaster Roxanne Chanel Murray, who uses a walking stick and a walking bike. “For a whole year after being diagnosed I never went outside.” “You’re meant to start finding yourself at 15,” explains content designer and freelance writer Chloe Tear, who uses a walking stick and a wheelchair and has mild cerebral palsy, chronic pain and is blind. “I was struggling with mobility, losing independence and didn’t want to be seen with an aid.” Disability can sneak up on you, come crashing into your life or it can be with you from birth but, either way, it transforms the way you live your life and can eat away at your sense of identity. “I was worried about losing my identity and the disability started to consume me, everything was medicinal and, when I was in the hospital, I was introduced only as a tetraplegic, not as Heidi,” explains personal stylist Heidi Herkes. The explosion of the self-love movement has taught many of us how to direct love inwards but this can be a lot harder for disabled people who are frequently objectified and dehumanised because of the exact identity they are trying to embrace. “Someone surrounded by love will learn to embrace disability quickly,” Şirin says, “whereas someone who doesn’t have this support may become resentful, developing negative feelings towards themselves.” For the disabled people who need them, mobility aids are an essential tool for thriving but they also moonlight as a symbol of empowerment. The interlocking of mobility and personal style can help carve out a route to self-acceptance, regardless of how supportive the people around us are. Investing in a beautiful cane with intricate flower designs was transformative for me in accepting the chronic pain and hypermobile joints that impede my mobility. Now I never feel shame for getting my cane out in public, even when people stare at the apparent oddity of a young, visibly disabled person. Harley Primrose found that matching their alternative style with an array of canes has given them a new confidence. “It definitely took some time to work up the courage to not just fold my stick away every time I got a rude stare,” they say. “But I’ve just stopped caring and I have the confidence to dress, look and act how I want to. If people are going to stare, I may as well give them something to look at!” “When your walking stick complements your outfit, it’s like it’s meant to be there,” agrees Chloe. “It no longer looks medical or misplaced in the hand of a 22-year-old – it’s exactly where it needs to be.” We all know the impact that a fantastic outfit can have on our self-esteem but this feeling is elevated to a whole new level when combining style and function. “It’s about making the [disabled person] feel like themselves again,” Heidi explains. Switching a beige cane for a colourful one or accessorising your wheelchair spokes may seem inconsequential to a non-disabled person but the impact of turning medicalised mobility aids into a fashion statement is not to be trivialised. “Right from childhood, accessorising makes us feel empowered and allows us to take claim of our personality,” Şirin says. “Accessorising disability aids can be incredibly powerful and means disabled people stand out and embrace what makes them different on their own terms. It can also promote conversations, allowing them to talk openly and honestly about their disability.” “It helped me not to see it as a burden or something that has taken so much of my personality away from me,” agrees Roxanne. “The standard NHS-style aids made me feel invisible but I feel seen when I style my mobility aids.” Too often disabled people, and their rights, fade into the background. Accessorising our way into the forefront of people’s minds empowers us to embrace disability and push non-disabled folk to change their attitudes, acknowledge us and consider our needs. Although the accessorising of mobility aids is not an instant fix for ableist attitudes, Chloe, like Harley and me, has found that it can make a significant difference. “Over time I’ve learned that it’s not a bad thing to be intertwined with an aid; if anything, it enables me to do more, challenge attitudes and become empowered,” she explains. “It’s allowed me to be more open about my disability and my needs.” The broadening conversation around disability is playing a key role in untangling ableism, which is translating to real change on a personal and societal level. But gaps remain in the accessible fashion industry. Victoria Jenkins is a disability designer and advocate who lives with a complex combination of gastrointestinal issues and uses a walking stick. She creates accessible work attire with her company Unhidden Clothing, which was inspired by a fellow patient whose clothing was not accessible and who had to strip naked every time a doctor checked her stoma. “Unless you have disabled people in the room that you are consulting with and listening to, as well as paying for their time, it won’t work,” she explains. “You can’t design for a disabled person if you are not disabled because you do not know what they need.” Gradually, disabilities and the accompanying mobility aids are springing out of the shadows of shame and becoming an opportunity for disabled people to interlace their fashion and disabled identities in one stylish look. “It’s not just something I have to endure, it’s not just memories of pain and doctors’ offices. It’s stylish and cool – it’s my signature style now,” explains Harley. “I don’t have to try and hide it or be ashamed of it, or have it be stigmatised; it’s normalised and something that people can compliment me on, too.” Like what you see? How about some more R29 goodness, right here?Models With Disabilities Are Gaining RecognitionPeople With Disabilities Deserve Great StyleI’m Disabled & I Refuse To Be Your Inspiration
Valentine’s Day may be here but this is no time for romance, says Ceri Radford. For a bracing dose of perspective, you could do worse than ‘Medieval Legends of Love & Lust’, a new anthology of myths and folktales
The Prince of Wales has encouraged families to get outside in their week off and suggested daily activities.
On the eve of the most romantic day in the calendar, we take a look at eight places around the world where love is always in the air. The Empire State Building, NYC This distinctive, 102-storey Art Deco building has punctuated the Manhattan skyline for 90 years and featured in romantic films from An Affair to Remember to King Kong. Avoid the crowds by heading to the observation decks, located on the 86th and 102nd floors, either early or late to take in a view extending beyond the Financial District to the Statue of Liberty. In the summer months, a saxophonist ups the romance, playing from 9pm, Thursday–Saturday. The Trevi Fountain, Rome Spoken, Rome is the first syllable of romance – and, despite the crowds, it’s a city easy to fall in love with. The travertine confection of the Trevi Fountain, startlingly white above its blue waters, is best visited soon after sunrise if you want relative solitude. Stand with your back to the water and simultaneously toss coins over your shoulders to guarantee your return. Romance lacking? Toss two coins and you’ll not only return, but find love into the bargain.
Some contraceptive pills could be soon sold in chemists without a prescription, the government has said. It is asking women to share their views on whether two progestogen-only pills containing desogestrel – Lovima 75 microgram tablets and Hana 75 microgram tablets – should be available to buy over the counter. This is the first time that the government has proposed making the contraceptive pill available without a prescription. If the two pills in question are “reclassified” in this way, women would have greater choice on how to access them. They could buy them over-the-counter from chemists, or continue to be prescribed them by a doctor. The Medicines and Healthcare products Regulatory Agency (MHRA) has launched a public consultation on whether the two pills should be reclassified. You can have your say by completing the consultation forms – one for each pill – here and here. You have until 5th March to share your views. Dr Sarah Branch of the MHRA said: “Every response received will help us gain a better picture of whether people think the contraceptive pill with desogestrel should be available over the counter. “We hope to hear from as many people and women’s groups as possible,” she added. The move to make the pill more freely available has been welcomed by the British Pregnancy Advisory Service (BPAS), which tweeted: “Whether it is the contraceptive pill or early abortion medication, reproductive healthcare should be placed in women’s hands wherever possible, with no clinically unnecessary barriers or restrictions.” However, the service’s chief executive Clare Murphy pointed out that the price point of the over-the-counter pills will be “key”. “Emergency contraception in many pharmacies is still hugely over-priced,” she added. “Let’s not make the same mistake with this pill too.” Like what you see? How about some more R29 goodness, right here?5 Women On How Taking The Pill Changed Their SkinWeird Outcomes Of Going Off The PillWill I Ever Know Why I React So Badly To The Pill?
She’s hiked for thousands of miles across 160 countries and seven continents, but one thing guaranteed to overexcite Kate Humble is walking in the footsteps of dinosaurs. On a recent filming trip to England’s east coast, the TV presenter gleefully admits to indulging in a childhood fantasy. “Someone only has to say the word ‘dinosaur’, and I immediately revert to being 10 years old,” she laughs. “There’s something so incredible about seeing a fossil; it’s a direct and very visceral connection with a past so long ago.” From prehistoric giants and primitive tribes to covert smugglers and marauding pirates, our coastline is awash with tales of colourful characters who’d look more at home in a fictional read than a history book. But as part of Channel 5’s new six-part series Kate Humble’s Coastal Britain, the TV presenter hopes to give those stories a “three-dimensional” quality, while appreciating the beauty of well-trodden paths in a refreshing new light. Revealing hidden spots and jogging memories of forgotten stretches, she reinvigorates interest in an island we thought we knew well. “It’s always good to be reminded of how unfamiliar we are with places on our doorstep,” says the travel veteran, who has made a proud, personal discovery of her very own during filming: “A place in East Devon called Humble Point, which clearly belongs to me!” Following trails across Exmoor, York, Dorset and Suffolk, Humble hikes through ancient woodlands and along vertiginous clifftops, often emerging at viewpoints that, in her own words, are “almost too exotic to be England”.