The House of Commons was emotional as a Conservative MP made a moving tribute to Harriet Harman following attacks from Tories over Boris Johnson and partygate.
Conservatives allied to Johnson have suggested veteran Labour MP Harman, who chaired the privileges committee which found the former MP guilty of lying to parliament repeatedly, was biased because of tweets she posted about partygate before taking up the role.
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On Monday, MPs approved the committee’s report that judged the former prime minister’s outriders had launched a “co-ordinated” attack on its work.
During a debate ahead of the report being nodded through without the need for a vote, Conservative MP Laura Farris made an intervention damning her Tory colleagues.
Emotional moment in the Commons as Conservative MP Laura Farris pays tribute to Harriet Harman – and puts into context the claim by Tories such as Jacob Rees-Mogg she had a “vendetta” against Boris Johnson while chairing the privileges committee https://t.co/PCzbicL3va? pic.twitter.com/ChQCZqwcwk
Harman has long been aware of the potential issue – and asked the government for the green light to continue as chair of the committee investigating Johnson.
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Harman said she wanted to avoid the “perception” that she was biased against the former PM – and was “assured that I should continue the work” by the prime minister at the time, which was still Johnson.
During Monday’s debate, Jacob Rees-Mogg, a Johnson loyalist who was criticised for his role in the attacks on the committee, maintained it was “legitimate to question” Harman’s position.
But Farris took a different view, defending Harman and paying tribute to her career – with her parliamentary colleague close to tears as a result.
Farris said: “The member for Camberwell and Peckham (Harman’s constituency) had already announced her intention to retire from parliament at the next election.
“A parliamentary career that has spanned five decades and has been defined by her commitment to the advancement of women’s rights.
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“Fourteen weeks before she took up that appointment (as committee chair) her husband of 40 years, Jack, had died.
“Against this background, I invite members of the House to consider what is more likely – that she agreed to chair the committee as a final act of service to this House, or that she did so because she was interested in pursuing a personal vendetta against Boris Johnson.”
Farris continued: “It is completely unacceptable to allege or insinuate that members of the privileges committee are corrupt or that the inquiry was somehow rigged.”
Harman’s husband, Labour MP Jack Dromey,died suddenly in his flat in Birmingham in January last year.
The initial report by the privileges committee, which has a Conservative majority, suggested Johnson should face a 90-day Commons suspension if he had not already quit parliament ahead of its release.
Pop star and first-time actor Dua Lipa is entering the world of Barbie with a bang.
The three-time Grammy winner turned up at the premiere of the Barbie film in Los Angeles on Sunday wearing a sheer Bottega Veneta gown that appeared to be constructed out of chain mail. (NSFW images below.)
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Christopher Polk via Getty Images
Lipa wore only a thong under the floor-length dress, which was completely see-through.
She accessorized her look in a pair of silver rocket mules, also by Bottega Veneta, as well as Tiffany’s jewelry.
Jon Kopaloff via Getty Images
Lipa appeared to be channeling her character from the movie, which stars Margot Robbie and Ryan Gosling. She makes her big-screen acting debut with a small role as Mermaid Barbie.
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From the sounds of it, “Barbie” will be the first of many Hollywood projects for Lipa. In fact, she’s already booked a follow-up role in Argylle, a spy thriller starring Henry Cavill and Bryce Dallas Howard.
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That isn’t to say she’s abandoning her musical pursuits, as her latest single, Dance the Night, is featured on the Barbie soundtrack.
Speaking to Dazed last month, Lipa said she was eager to work with Barbie director Greta Gerwig, whose films “never really feel like the male gaze. They have very interesting female protagonists”.
Jon Kopaloff via Getty Images
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“The film ― and there’s a lot of diversity in the cast ― is touching exactly on the buttons that maybe it presses, and shows a different story,” she said. As for the soundtrack, she added: “Greta said that the whole film was inspired by disco. There’s a lot of very glittery and pop moments in it.”
Musk’s proposition followed a crass jab he tweeted hours earlier, “Zuck is a cuck” ― short for “cuckold”, which has become a go-to insult for the right-wing set.
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Twitter owner Elon Musk attends the Viva Technology conference in Paris on June 16.
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The embattled tech CEO has already threatened to sue Meta over Threads, which TechCrunch reports hit 100 million users by Monday morning, just five days after its launch.
Twitter currently has around 250 million active users, but data from internet services company Cloudflare seems to show traffic has been steadily declining since the start of 2023, following Musk’s purchase of the app for $44 billion last fall.
Musk’s feud with Zuckerberg took a decidedly personal turn last month after he challenged the Facebook founder to a cage match. In a surprising twist, the usually mild Zuckerberg tweeted back at Musk, writing, “Send me location.”
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Facebook CEO Mark Zuckerberg speaks at the Paley Center in New York on Oct. 25, 2019.
via Associated Press
Zuckerberg has pitched Threads as a more welcoming alternative to Twitter and its quarrelsome culture.
“The goal is to keep it friendly as it expands,” he wrote on Threads last week. “I think it’s possible and will ultimately be the key to its success. That’s one reason why Twitter never succeeded as much as I think it should have, and we want to do it differently.”
The BBC on Sunday suspended a member of staff following an allegation in The Sun newspaper that one of its star presenters paid a teenager to pose for sexually explicit photos. Neither the star, nor the youth, was identified.
The Metropolitan Police said on Monday there is “no investigation at this time” into the claims.
Later on Monday, the BBC reported on a letter from a lawyer acting for the young person claiming that The Sun’s allegations are “rubbish” and that “nothing inappropriate or unlawful has taken place between our client and the BBC personality”.
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The crisis deepened on Tuesday when the BBC’s news division reported that the male presenter had sent abusive messages to a second person, aged in their early 20s.
What are the initial allegations?
The Sun newspaper on Friday reported allegations that the male presenter allegedly gave the teenager £35,000 starting in 2020 when they were 17.
Though the age of sexual consent in the UK is 16, it’s a crime to make or possess indecent images of anyone under 18.
According to the newspaper, the family complained to the broadcaster on May 19, but the presenter was not immediately taken off air.
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The mother told the newspaper that the teenager had used the cash to fund a crack cocaine habit.
The family had not requested payment for their story, The Sun reported.
What has the BBC said?
The BBC said in a statement on Sunday that it “first became aware of a complaint in May”, but that “new allegations were put to us on Thursday of a different nature” – a day before The Sun published its story.
The broadcaster said “the BBC takes any allegations seriously and we have robust internal processes in place to proactively deal with such allegations”. It said the corporation had also been in touch with “external authorities,” but did not specify whether that was the police.
“This is a complex and fast-moving set of circumstances and the BBC is working as quickly as possible to establish the facts in order to properly inform appropriate next steps,” the BBC said.
“We can also confirm a male member of staff has been suspended.”
According to a timeline published by the broadcaster, a member of the young person’s family walked into a BBC building on May 18 to make a complaint. The family member contacted BBC Audience Services the next day.
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The BBC said it made two unsuccessful attempts – one email and one phone call – to respond to the complainant.
The Sun contacted the BBC seven weeks later on July 6 with different allegations, the broadcaster said on Tuesday, and senior management were informed for the first time.
“The events of recent days have shown how complex and challenging these kinds of cases can be and how vital it is that they are handled with the utmost diligence and care,” BBC Director General Tim Davie told reporters after the corporation published its annual report.
Davie, who said he had not personally spoken to the presenter, said the new information provided by the Sun on July 6 “clearly related to potential criminal activity”.
What has the police said?
The Metropolitan Police said on Monday the force had met BBC bosses earlier in the day and that officers were making further enquiries about the allegations.
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The Met said in a statement: “Detectives from the Met’s specialist crime command met with representatives from the BBC on the morning of Monday, July 10. The meeting took place virtually.
“They are assessing the information discussed at the meeting and further enquiries are taking place to establish whether there is evidence of a criminal offence being committed.
“There is no investigation at this time.”
On Tuesday, it asked the BBC to pause its inquiries while specialist officers decide if there is any justification for a criminal investigation.
What did the young person’s lawyer say?
The BBC reported it had received a letter from a lawyer representing the young person involved in the story.
It wrote: “For the avoidance of doubt, nothing inappropriate or unlawful has taken place between our client and the BBC personality and the allegations reported in the Sun newspaper are rubbish.”
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The BBC also reported “the young person sent a denial to the Sun on Friday evening saying there was ‘no truth to it’. However, the “inappropriate article” was still published, the lawyer said.
The Sun responded to this claim by stating: “We have reported a story about two very concerned parents who made a complaint to the BBC about the behaviour of a presenter and the welfare of their child.
“Their complaint was not acted upon by the BBC.
“We have seen evidence that supports their concerns. It’s now for the BBC to properly investigate.”
What is the second claim?
BBC News said on Tuesday it had been contacted by a second young person – unconnected to the first – who said they had been approached by the presenter on a dating app.
When the person, who never met the presenter, hinted online that they would reveal his identity, they were sent abusive, expletive-filled messages, the BBC said.
BBC News said it had verified that the messages were sent from a phone belonging to the presenter. It said it had received no response to the latest allegations from either the presenter or his lawyer.
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Late on Tuesday, The Sun claimed the presenter allegedly broke lockdown rules to meet a young stranger from a dating site.
Why has the presenter not been named?
The male presenter has not been named by the Sun or any other outlets who know their identity, with the media having to balance the public’s right to know with the legal risks.
Unless there are any criminal charges, there will be two aspects of the law weighing heavily on newsrooms – defamation and privacy.
Defamation
The law of defamation protects an individual’s reputation from the harm caused by lies. Identifying an individual and making false allegations against them that would lower them in the eyes of right-thinking members of society exposes the publisher to being sued if the claims are false.
The principle defence against defamation is that the allegation is true. But the burden of proof is on the publisher, and the bar is particularly high in sexual offence cases.
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A person under criminal investigation has a reasonable expectation of privacy until charged, the Supreme Court decided last year. As I wrote at the time, the news organisation we have to thank for turning this principle into a precedent is the specialist business service…
— Joshua Rozenberg (@JoshuaRozenberg) July 9, 2023
Two relatively recent cases have had a big impact on editorial decision-making when it comes to an individual’s right to privacy.
In 2018, Cliff Richard won a privacy case against the BBC over the broadcaster’s coverage of a police raid on his home following a false child sexual assault allegation, which has since tipped the balance in favour of privacy over a right to know.
Added to this, the Supreme Court, the UK’s highest court, ruled in 2022 that a person being investigated for a crime generally has “a reasonable expectation of privacy” until charged – turning what was an accepted principle into legal precedent.
In an email to staff on Monday, Davie said the BBC was taking the allegations “incredibly seriously”.
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He added: “By law, individuals are entitled to a reasonable expectation of privacy, which is making this situation more complex.
“I want to assure you that we are working rapidly to establish the facts.”
What are BBC presenters saying?
Amid speculation on social media about the identity of the presenter, several of the BBC’s best-known stars spoke up to say it wasn’t them, including Gary Lineker, Rylan Clark, Nicky Campbell and Jeremy Vine.
The laws of defamation apply to social media as much as they do the media, but that hasn’t stopped some people accusing presenters without any foundation.
Campbell addressed the online speculation on the radio. On BBC Radio 5 Live, he opened his programme on Monday saying: “Thoughts with the alleged victim and family.”
He added: “It was a distressing weekend, I can’t deny it, for me and others falsely named.
“Today I’m having further conversations with the police in terms of malicious communication and with lawyers in terms of defamation.”
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On his Radio 2 show, Vine did the same, saying: “I’m in that shortlist of BBC presenters who ended up being smacked around on Twitter yesterday and the day before. But what can you do? Are you going to tell me to take out 85 different lawsuits?”
On Tuesday, Vine suggested the star at the centre of the allegations reveal themself publicly.
After weekly medical check-ins at the end of pregnancy, most people won’t see a health care provider until six weeks postpartum. At that point, if it looks like healing is proceeding well, they are officially “cleared” to have sex and exercise again.
Following delivery, the focus tends to shift to the baby’s health (how much are they eating, sleeping or crying?) and away from the person who gave birth.
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Common postpartum physical complaints such as incontinence or pain in the back, pelvis or genitals are often written off as par for the course, as though pregnancy and birth are expected to do some damage to the body.
While postpartum healing is a process, and most people need some time before they feel “back to normal,” there are things that you can do to support healing and lessen pain and discomfort.
One proactive step you can take is to make an appointment with a physical therapist, who can evaluate you for common postpartum issues and recommend exercises to prevent incontinence and pain.
Postpartum physical therapy isn’t the norm in the U.S., but in other countries, such as France, it’s standard care.
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Pregnancy’s impact on the body
Cavan Images / Rebecca Tien via Getty Images
After weekly medical check-ins at the end of pregnancy, most people won’t see a health care provider until six weeks postpartum.
There are multiple ways that pregnancy can put a strain on your musculoskeletal system. The hormonal shifts of pregnancy don’t only affect your reproductive organs.
“What happens is the joints can become a little more loose and lax,” Jenni Limoges, a physical therapist in Nevada specialising in pelvic floor issues, told HuffPost. This loosening helps your pelvis expand to make room for the baby, but it can also trigger pain from a previous back or hip injury or result in new discomfort.
In addition, as your belly grows, your body has to adjust to a new centre of gravity. “It tends to pull people forward. It creates instability,” said Limoges.
Your pelvis tips forward, and the muscles in your back, pelvis and hips all shift, either lengthening or shortening. Your abdominal muscles separate to make space for the baby. Even your feet change, flattening out to support your pregnant body (many people find they go up a shoe size following pregnancy).
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Your pelvic floor muscles provide a sort of shelf inside your hip bones that supports all of the internal organs, including the uterus. There are three layers and nine different muscles that work in concert, Limoges explained.
“These muscles help us stay dry,” she said, and play a key role in sexual functioning. The way these muscles have to stretch to accommodate pregnancy and allow for delivery can cause them to become too stiff or too loose, causing pain or incontinence (urinary and/or faecal).
“I often times hear of people saying that they want to opt for a C-section because they think this protects their pelvic floor,” said Ruba Raza, a North Carolina-based physical therapist who also specialises in pelvic floor, pregnancy and postpartum issues. However, Raza told HuffPost that you can still have pelvic floor issues following a C-section.
“Regardless of the mode of delivery, it is important to see a pelvic floor physical therapist if you are having symptoms during or after pregnancy,” Raza said.
“A lot of people do not seek out our services during pregnancy because they assume that their symptoms will improve postpartum, but with most concerns, these can continue and even worsen if they are not addressed.”
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Common postpartum issues
In addition to urinary and faecal incontinence, other common postpartum complaints that can be addressed with physical therapy, Raza said, include: “Sacroiliac joint pain [the sacroiliac joints link the pelvis to the bottom of the spine], constipation, low back pain, pelvic floor pain, C-section scar sensitivity, pain with intercourse and rectal pain.”
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Many of the common postpartum complaints such as pelvic floor pain, C-section scar sensitivity and back pain can be addressed with physical therapy,
Another issue you may have heard about is diastasis recti. A line of connective tissue called the linea alba runs down the middle of your stomach and fastens together on both sides of your abdominal muscles.
During pregnancy, this tissue stretches out and often separates to accommodate your growing uterus. After delivery, it generally closes back up again over the course of eight weeks or so. If it doesn’t close back up, you may notice that you continue to have a belly pouch, as though you were still pregnant. You may also have pain or incontinence.
Because movements like traditional abdominal crunches can worsen diastasis recti, it’s important to work with a knowledgeable provider who can prescribe exercises to help your diastasis recti heal.
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What treatment looks like
Physical therapy for postpartum issues generally involves weekly visits.
“The typical model for the pelvic floor is one-on-one for an hour,” said Limoges, adding that you should feel the results as soon as a couple of weeks in.
“I definitely expect within four to six weeks you’re seeing some improvements,” she continued.
Raza said she typically sees patients once a week for six to eight weeks, but of course, this varies based on the nature and severity of the issue they’re dealing with.
“The plan is very individualised to the patient’s concerns or symptoms,” she said. There are a multitude of exercises your physical therapist may teach you and have you practice at home.
Limoges explained that the treatment for pelvic floor issues such as incontinence depends on whether the problem is that the muscles are too stiff or overstretched and lacking in tone.
With incontinence, it’s common to hear the blanket advice to do Kegel exercises (contracting the pelvic floor muscles — the ones you use to stop urination mid-stream), but these can be counterproductive if the issue is stiffness. For this reason, it’s a good idea to have an evaluation with a physical therapist before starting any exercise program to address your problem.
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While a good portion of the evaluation involves the physical therapist learning what your symptoms are, and sometimes this can even be done via a remote telehealth visit, if you’re having a pelvic floor issue, an internal pelvic exam is usually necessary at some point.
“I like to tell people, ‘I’m not the gynaecologist’s office, so I don’t use stirrups,’” said Limoges.
“I typically do a scan of tissue first, just to make sure everything looks OK. And then for the internal assessment, I insert my finger vaginally, and I’m checking each layer of muscles.” This internal exam allows the physical therapist to assess the muscle’s flexibility and to see if there is organ prolapse.
Your therapist will likely want to see how long you can hold a contraction of your pelvic muscles (a Kegel). The standard goal is ten seconds. They will also want to see how quickly you can contract the muscles and whether you have any pain.
While a physical therapist may recommend Kegel exercises if they find a lack of tone in your pelvic floor muscles, there are many other types of exercises they may prescribe.
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Each physical therapist stressed the importance of finding a way for a new parent to work these exercises into their day in a way that is feasible.
Raza and Limoges discussed using breathing exercises with postpartum pelvic floor patients. Other possibilities include stretches, squats, and what Limoges called “self-tissue mobilization,” in which you apply gentle, internal pressure to the layers of muscle.
Each physical therapist stressed the importance of finding a way for a new parent to work these exercises into their day in a way that is feasible.
“I love incorporating exercises into activities that the patient is already doing, such as adding in a pelvic floor and core contraction every time the patient completes a transitional movement or working on diaphragmatic breathing and pelvic floor relaxation while they are breastfeeding their baby,” said Raza.
Limoges also mentioned feeding/pumping as an opportunity to do Kegels or breathing exercises, as your life during those first few months tends to revolve around these moments. She recalled working with one mom caring for her newborn while homeschooling her older children. She needed exercises that she could do while standing and wearing the baby, so Limoges prescribed some wall sets and lunges she could do.
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Postpartum or not, Limoges said she limits treatment to a few daily exercises that a person can work into their routine without too much trouble and works with the patients to address their most urgent concerns within the context of their lives.
A mother of twins, Limoges recalled, was having issues with urgency to urinate. “But she was running into a problem because she couldn’t get the twins in a place that she could watch them and go to the bathroom at the same time.” She padded her bathtub so she could set them safely in it to pee without leaking or holding it too long.
While your body will never return exactly to what it was before pregnancy, Limoges believes that improvement is always possible with any of these physical issues.
“My goal is to get people to 90% at least,” Limoges said. “Can you get yourself to where you’re not hunting for the bathroom or worrying about wearing a pad everywhere you go or [not] leaving your house and those kinds of things? Absolutely.”
The reality is though that we need to talk about pronouns. So we might as well be sensible about it.
More and more young people are challenging the concept of gender binary, according to family psychotherapist Fiona Yassin. The therapist has seen “a big increase” in the number of young people pausing and assessing their identity.
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In fact, the founder and clinical director of The Wave Clinic, tells HuffPost UK around 60% of children and young people who are treated at the clinic request their pronouns are changed from the ones they were assigned at birth.
And in some cases, these children are pre-teens, which can catch parents off-guard.
“At The Wave Clinic, we’re specifically noticing that gender identity and pronouns are being debated by younger children at the ages of around 10-11,” she says.
“Questions of identity: ‘who am I?’ and ‘who do I want to be?’ are very strongly linked to the developing sense of self.”
Pronouns are words we use in everyday language to refer to ourselves or others, according to Stonewall, and they can be an important way for people to express their gender identity. Some commonly used pronouns are she/her, he/him and they/them.
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“Whilst conversations around pronouns and identity have become commonplace amongst children, tweens and teens, the topic is unfamiliar to many parents and carers and they may not necessarily feel equipped with an understanding of, or language to talk about, pronouns and gender identity,” Yassin says.
With that in mind, here’s her advice for parents and carers on how to approach a conversation with a young person who would like to change their pronouns.
1. Stay with the information you’re presented with and avoid jumping ahead
“When a young person tells a parent that they are thinking of – or would like to – change their pronouns, parents often become alarmed that there’s also going to be a change in sexuality,” says Yassin.
And although the two can (and do sometimes) go together, it’s important for parents – and indeed, everyone – to understand that gender identity and sexuality are two different things.
She describes instances where young people have started a conversation about pronouns and have then been pressed by parents on whether they’re gay.
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“This often happens because parents feel fearful about the transition their young person is wanting to make. In reality, there are many stages to transitioning and all require gentle communication,” she explains.
So, her key advice is to stay with the information you’ve been given, avoid jumping to conclusions and steer away from questioning your child about their sexuality.
2. Respond in an age appropriate way
If you have an 11-year-old talking to you about changing their pronouns, “it would be inappropriate to dive into a more extreme conversation, for example about surgical or hormonal changes,” says Yassin.
“If the conversation does evolve into this then it’s okay to explore this further. But it’s important to meet them where they are at and not get ahead,” she adds.
3. Be curious and actively listen
The charity Mermaids, which supports trans and gender diverse children and their families, says one of the key things they encourage parents or carers to do is to really listen to their child.
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This means hearing and respecting what they are saying, giving them time and space to explore these feelings and what they mean for them as individuals, and taking their young person’s lead, says a charity spokesperson.
One of the most important things parents can do is to be curious, agrees Yassin.
“Without being persecutory or pushy, use this as an opportunity to find out what they are considering around their identity and why, and what different pronouns mean to them,” she suggests.
“Exploring this with your young person can be a beautiful moment – it’s likely that you are both navigating this for the first time. As a parent, you are not there to assert judgement or to share your opinion – acknowledge that your child’s feelings, emotions, thoughts, experiences and viewpoints on the world are likely different to yours.”
4. Set time aside to have a conversation where you won’t be interrupted
If you’re not able to listen properly – for example, it’s during the morning school rush or late at night – you need to gently defer the conversation for a time when you can do so.
Yassin advises parents to “acknowledge you’ve heard your young person and set a time aside when you know you can explore this together”.
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So, you could say something like: “Thank you for sharing this with me. I really would like to hear about what you’re experiencing and find out more about your views and opinions on this. Let’s sit down together as a family when we get home and explore this together.”
5. Only invite people into the conversation who you know are open and understanding
If there’s someone in your family who you think will react badly or simply won’t be emotionally available or open to the conversation, it’s worth letting them sit this one out.
“It is better to have the conversation and explore this with your young person without someone who is tricky and has less flexible attitudes,” says the therapist.
“If you need to tell friends or family members who have staunch or more traditional views about your child’s change of pronouns, look to have these conversations without your child’s involvement. This helps to protect your young person from volatile and unhelpful reactions.”
6. Be careful about your choice of words
In the heat of the moment, and without the appropriate warning, you might say something you regret – or that comes out wrong.
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Yassin urges parents to tread carefully here, as you don’t want to use any words that could minimise their experience.
“Fluidity is everything in these conversations and defining your young person by using words such as ‘queer’, ‘bisexual’ and ‘heterosexual’, may make them feel boxed-in or marginalised,” she says.
“In addition, some parents can get stuck on the notion that ‘they/them’ pronouns do not sound right or fit snugly into the English language. Avoid using language and phrases that can feel shaming and marginalising, such as, ‘it’s not natural to use they/them’.”
Some parents might also assume their child is following a trend or is in a phase when they decide they want to change pronouns.
As Yassin says: “We hear many parents ask ‘who else in your class/school has changed their pronoun’ or ‘who amongst your friends has done this already’. This line of questioning can feel disempowering and minimising to a young person and could cause quite an angry backlash.”
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Plus, research is showing that the majority of children over the last decade or so who have changed their gender pronouns do stick with their decision.
7. Steer clear of shame-inducing language
Don’t shame your child for wanting to change their pronouns. The therapist suggests doing so could “cause harm to a generation of children who, because their parents are not accepting or retaining curiosity, shut down or hide parts of themselves”.
“Young people in the early years of identity development are experimenting and trying things out for size and it’s important that as parents, we encourage our young people to be curious and experiment,” she adds.
8. It’s okay to say you don’t know
If your child is asking questions and you don’t know the answers, it’s OK to admit that.
“Ask your young person if you can join them on their journey of discovery and learn and research together,” suggests the therapist.
“Assume that if your child comes to you with the conversation, it’s likely they have already done a lot of research online and are talking to people who are in the same position as them. Exploring this together can also help to sieve out misinformation and find trusted resources for support.”
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9. Accept that you might make mistakes
Chances are you’ll probably make some mistakes along the way, like using the wrong language or stumbling on their pronouns.
“The reality is, we are all human and despite having best-intentions, you may not get it right 100% of the time,” says Yassin.
“Mark this at the outset and talk to your young person about what will happen if you use the wrong name or pronoun. Being open and honest upfront can help to avoid the issue escalating if mistakes are made.”
Mermaid’s spokesperson says some families don’t use any pronouns for a while, to help make the switch, or they have a pronoun jar (a little bit like a swear jar) where they pay up if they make a mistake.
“Acknowledging that getting someone’s pronouns wrong was a mistake and may have caused upset to them, so apologising and correcting yourself is important too,” they add.
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10. Consult a gender positive therapist
If a child is considering changing their pronouns, you might also want to seek outside help to ensure they feel supported during this period of change. Mermaids’ helpline, for instance, provides support to parents and carers during this period.
“For some, the change can bring hefty conflict into the family and for some cultures this shift will be very difficult to accept,” says Yassin.
“Parents should happily consult a therapist, particularly a gender affirming and gender positive therapist, who can help to facilitate a conversation with the family about what’s happening and why it might be happening.
“Having professional support can help to avoid fragments and tension appearing within the family.”
Immigration minister Robert Jenrick order the painting, and another one of Tom and Jerry, be painted over because they were too welcoming for children.
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On Sophy Ridge on Sunday on Sky News this morning, Treasury minister Victoria Atkins was repeatedly asked whether she was “comfortable” with the controversial move, but refused to do so.
Pointing to a picture of the centre, Ridge said: “If you have a look at it here – Minnie and Mickey Mouse here, Tom and Jerry there, and that was painted over, the decision taken by Robert Jenrick, the immigration minister, because it was too welcoming.”
The murals at the Kent Intake Unit in Dover
HM Chief Inspector of Prisons
Atkins insisted that children who arrive in the UK on small boats are “looked after properly”, but said the government wanted to stop them making the perilous journey in the first place.
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But Ridge replied: “Just looking at this picture, I don’t believe you’re comfortable with the decision to paint over – I don’t believe it.”
The minister said: “I’m not comfortable with the idea that people would bring children across.”
The presenter hit back: “I can absolutely understand that, but that’s not the decision of the children. The decision to paint over this mural, it’s a place where kids go – they must be terrified when they go and sit on those chairs, they don’t know what’s happening and where they’re going to go.
“There was an active decision to paint over Mickey and Minnie Mouse. Are you happy with that?”
As she tried to dodge the question again, Ridge said: “Are you comfortable with this? You wouldn’t have done it, would you?”
Atkins replied: “When children come to the UK in those very frightening circumstances, we want them to be looked after well and looked after properly by local authorities.”
In a final attempt to get the minister to answer the question, Ridge said: “I think you can believe all of that and still be kind of uncomfortable about the idea that you’re part of a government that would paint over this mural.”
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The minister responded: “What I care about is how those children are looked after when they come here and I’m confident that they’re given the care and the welfare that we would expect and we would want.”
The mural was installed at the Kent Intake Unit, which mainly processes children who arrive in the UK on their own unaccompanied by an adult.
The murals feature in an HM Chief Inspector of Prisons report published in February following an inspection of the facility after its opening in November.
After the i newspaper revealed the order to paint over them, Labour’s shadow immigration minister Stephen Kinnock tweeted: “The idea that painting over murals for unaccompanied children in immigration centres will somehow stop the boats is utterly absurd. This is a sign of a chaotic government in crisis.”
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The Lib Dems tweeted: “This is the worst kind of trivial nastiness – a Mickey Mouse minister taking an axe to Mickey Mouse.”
It’s been almost 20 years since since Friends aired its fina episode, which saw longtime fans saying goodbye to Joey, Ross, Rachel, Chandler, Phoebe, and Monica once and for all.
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Courteney played the lead role, Jules, in the sitcom Cougar Town, which aired from 2009 to 2059.
Guest stars on the show included three former Friends cast members, including Lisa, who played a mean dermatologist in the show’s first series.
Jennifer also made an appearance and played Jules’ therapist Glenn in season two, while Matthew popped up in season five as a millionaire, who proposed marriage to Courteney’s character.
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Matthew helmed the NBC show Go One, which only aired one season in 2012. The sitcom followed his character Ryan, a sports radio host trying to move on following the death of his wife.
Advertisement
In episode 20, Courteney appeared as a guest star, portraying a widow named Talia, whose attention Ryan vies for.
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Matt took centre stage in the sitcom Episodes, from Friends co-creator David Crane.
While there were many guest stars over the years, an extra special moment was when Matt bumped into his former co-star David at a party in the fourth series in 2015.
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While they didn’t appear in the same episode, both David and Jennifer appeared in the Tina Fey sitcom 30 Rock.
Advertisement
David was the first Friends cast member to crop up in the US comedy, starred as superhero Greenzo, who becomes drunk with power while promoting environmental consciousness products, in 2007.
Jennifer arrived a year later, portraying Claire, a friend of Tina’s character Liz, who quickly captures the attention of Alec Baldwin’s Jack.
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In fact he loved it so much that he wrote some Friends fan fiction and he managed to get Jennifer Aniston, Courteney Cox and Lisa Kudrow to act it out with him.\n\nSUBSCRIBE to get the latest #KIMMEL: http://bit.ly/JKLSubscribe\n\nWatch the latest Mean Tweets: http://bit.ly/MeanTweets8\n\nConnect with Jimmy Kimmel Live Online:\n\nVisit the Jimmy Kimmel Live WEBSITE: http://bit.ly/JKLWebsite\nLike Jimmy Kimmel Live on FACEBOOK: http://bit.ly/JKLFacebook\nFollow Jimmy Kimmel Live on TWITTER: http://bit.ly/JKLTwitter\nFollow Jimmy Kimmel Live on INSTAGRAM: http://bit.ly/JKLInstagram\n\nAbout Jimmy Kimmel Live:\n\nJimmy Kimmel serves as host and executive producer of Emmy nominated \"Jimmy Kimmel Live,\" ABC’s late-night talk show.\n\n\"Jimmy Kimmel Live\" is well known for its huge viral video successes with 1.5 billion views on YouTube alone. 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Of course, who could forget the moment the whole cast did eventually come together on screen for the first time since Friends’ end for the 2021 reunion?
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The show had been announced in early 2020, but faced various Covid-related delays.
And while the actors didn’t reprise their most famous roles for the TV retrospective, the chemistry between them was still evidently there as they reminisced about their life-changing time on the show.
Sentimentality has never had a place in pop culture, which has always evolved at warped speed. Audiences today have a lot of options on what to watch, listen to, and read, and how to do so — too many, as some have said. Then there’s Hollywood’s constant, foolhardy task of peddling remakes of older films to fit the current social mores, in a race to be on the right side of history.
The surplus of art is so excessive that storytellers like Taika Waititi have resigned themselves to the belief that new content coming out now will be antiquated in as soon as a decade or two.
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“No one’s going to remember us,” he told The Hollywood Reporter. “What’s the name of the director of Casablanca? Arguably one of the greatest films of all time. No one knows his name. Let’s just live, make some movies. They’ll be obsolete and irrelevant in 15 or 20 years.”
That’s bleak as hell. Though, sadly, not far from the truth. (And, if you’re wondering, Michael Curtiz directed Casablanca.)
Still, this begs an important question. What is to become of the practice of re-releasing and restoring older offerings like Park Chan-wook’s 2003 thriller Oldboy, returning to cinemas this August, or 1997’s Titanic, which had its re-outing in January, so that they do stay relevant or can at least be studied and challenged?
How can re-releases thrive when some apparently feel these films no longer have significance?
Director Park Chan-wook’s 2003 thriller “Oldboy” returns to theaters next month.
Show East/Alamy
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This also comes to mind as we step into the summer season. Disney is celebrating its 100th anniversary by re-releasing eight of its classic films for two-week limited runs at cinemas from July to October.
Cities like New York host screenings of older films as fun outdoor events, and venues such as the Metrograph continue to curate and screen a robust variety of re-released and mostly restored vintage cinema.
Those coming up at the New York City cinema include director Roger Vadim’s 1968 comedy Barbarella, Sidney Lumet’s 1973 drama Serpico and Ridley Scott’s 1982 action film Blade Runner.
But with greater attention and promotions around remakes and reimaginings than ever, like this year’s The Little Mermaid, Teen Wolf: The Movie, White Men Can’t Jump and the upcoming The Color Purple, it’s a wonder how the older counterparts can sustain interest. That’s particularly concerning when re-releases get far less marketing and reach fewer audiences.
Alexander Olch, founder of the Metrograph, isn’t especially concerned about competing with popular remakes, or even the presumed fading importance of showing re-releases and newly restored older films. Arthouse cinemas like his, he said, thrive by attracting a variety of audiences interested in both older and contemporary classics as well as unique filmmaking.
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“There will never be a shortage of excitement around authenticity,” Olch told me over the phone. “So, the original of any idea is always going to be fascinating and of interest to, in our opinions, quite a large audience.”
Despite the typically more modest promotions around re-releases, 1997’s “Titanic” boasted impressive box-office numbers when it returned to theaters in January.
Paramount Pictures/Alamy
He believes that watching an original film is the gateway to appreciating subsequent material.
“The interesting thing about watching the original is that it really is the cornerstone of any exploration of that idea — whether you’re looking at other work by that same filmmaker, by those same actors or artists, or potential remakes later on in time,” he said.
That’s fair. But re-releases still have to fit inside the Hollywood business model of making money. While they can’t be expected to compete with remakes at the box office (though recent re-releases of titles like Jaws and Titanic did quite well), it’s easy to presume that remakes’ overwhelming success could overshadow the efforts of a re-release.
Olch said there are more re-releases that defy that assumption than we may think, and that could be dependent on several factors, including the film itself. For instance, director Andrzej Żuławski’s 1981 horror “Possession” was a huge hit at Metrograph, both at the cinema and on its website. Much of that is due to the built-in fan base around the title itself.
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“Part of the reason it had such excitement is that many people had seen the film and they just wanted to see it again, which is a particular kind of interest and that ended up being a huge hit,” Olch said. “That’s just a film that invites repeat viewings and has a particularly avid fan base.”
But where do re-releases fit in today’s fast-paced culture?
With greater attention and promotions around remakes like this year’s “The Little Mermaid,” it’s a wonder how their older counterparts can sustain interest.
Giles Keyte
It’s also worth pointing out that the cost to re-release a film is far less than bringing a new remake to cinemas, in part because studios don’t have to worry about hiring a cast and crew.
Script supervisor Jennifer Carriere brought this up when we jumped on a separate call about the role of re-releases in today’s remake market.
“Consider that there are not those same production dollars going into re-releasing a classic film,” she said. “So, there is a cost benefit to re-releasing something without having to set aside another tens of millions of dollars to create something new. It’s something that already exists.”
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So, when you think about it that way, continuing to re-release films is in the studios’ favour, making them a relatively lower financial risk that has the potential for a worthy return. It’s reliable. But whether reliable is good enough for some green-hungry studios remains debatable.
There’s another aspect of this: If you have a winning programming strategy, like at the Metrograph, you figure out a way to make some of these new remakes work to the advantage of a classic film re-release. For example, Olch’s team is sometimes inspired to pursue screening certain films because their forthcoming remakes could amplify excitement around the original version.
Carriere agreed that re-releases can play an important role in today’s remake culture. “It could be something that is laying the groundwork for a remake in the future, and they want to strengthen the fan base and even test the waters in terms of interest,” she explained.
But that doesn’t mean saturating the market.
“I just think it’s part of the risk,” Carriere continued. “But you do have to diversify when it comes to your content. So, you can’t have all remakes.”
And with original intellectual properties, “there is a place for re-releasing historic filmmaking pieces and getting audiences excited,” she added.
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Alexander Olch, founder of the Metrograph in New York that’s screening 1968’s “Barbarella” this month, feels the overwhelming interest in remakes “does not bear on what’s sitting in the archive.”
Hulton Archive via Getty Images
That balance and even the overwhelming number of remakes today, Olch said, “does not bear on what’s sitting in the archive.” But he also conceded it’s impossible not to consider the saturation of art and content that is current.
“Everything is so here and now that the opposite starts to become inevitably interesting,” Olch added, “which is something that is authentic that existed 10, 20, 30, 50 years ago that has a respect and a following of critics, or audiences, or filmmakers or artists.”
Something, he concluded, that even filmmakers today reference as art that has moved them.
But moviegoers’ interest in exploring older titles still seems rather niche. Audiences often lack a curiosity to explore deeper film history, even as specialty theatres curate older films around new pop culture dialogues.
These cinemas, including Metrograph and others across the nation and the world, also offer artist callbacks and film series to introduce — and reintroduce — viewers to older content. And if audiences are unable to attend in person, some offer online viewing platforms that movie lovers can explore.
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There’s also a whole other platform where older films can be found and, arguably most easily, accessed: streaming platforms.
How streaming classic films keeps film history alive.
How do we engage in a discussion around the preservation of film history as well as a growing concern over what films “hold up” today? Above, an image from this year’s remake of 1992’s “White Men Can’t Jump.”
Parrish Lewis
In the same places where hits like “Succession, Yellowjackets and The Bear are streamed, films such as 1989’s The Little Mermaid and 1985’s The Color Purple and Teen Wolf, as well as older classics including 1953’s Roman Holiday and 1963’s The Birds, can also be viewed.
“Turner Classic Movies has been a fixture in my life for as long as I can remember,” actor Ryan Reynolds tweeted. “It’s a holy corner of film history — and a living, breathing library for an entire art form.”
Filmmakers Steven Spielberg, Martin Scorsese, and Paul Thomas Anderson will also help guide programming and curation.
As passionate and necessary as that conversation has been, classics, particularly on streamers, are still largely overshadowed amid the flurry of excitement many audiences have about the most current title streaming.
That’s even true when it’s something bad, like The Idol. Many people refuse to explore the larger library on these platforms.
Even Carriere admitted to that. “Genuinely, I’m thinking about it myself, and it doesn’t even occur to me to go dig up older things,” she said. “I tend to just look at whatever is trending based on my preferences, and the streaming service itself tells me what that is.”
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With less emphasis on film literacy, it’s hard to tell whether some audiences today are even aware that certain films are remakes. Will the upcoming “The Color Purple” encourage viewers to revisit the 1985 original film (seen above) — or perhaps watch it for the first time?
Michael Ochs Archives via Getty Images
A lot of people share this habit. As Carriere mentioned, doing a little exploration on a streaming platform takes extra time out of your day and adds another task to it — a fun task, but a task nonetheless. That extra time should be worth it to explore your own interests beyond what is recommended.
Sadly, though, in today’s fast-paced culture, many social media chats underscore how everything new is cool. Even if it’s not actually cool, it’s still new.
Beyond many viewers’ general lack of curiosity, Carriere puts the onus on streamers. They don’t recommend older films to subscribers in the way they do the newer content.
Free platforms like Tubi, which is one of the best online platforms on which to watch classic movies apart from Criterion, a paid streamer exclusively dedicated to the archive, tend to do this a little better.
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But paid platforms like Max, which also has a treasure trove of older work due to its TCM partnership, rarely promote classics, even if you frequently watch those titles. And the fear is that those films might become even more buried as the platform continues to roll out changes.
“Because it’s such a competitive landscape between the streaming platforms, they probably want to push and promote those things that are most likely to keep the subscribers subscribed,” Carriere said.
Promotions around the streaming of original movies like 1985’s “Teen Wolf” pale in comparison to those for its modern reimagining “Teen Wolf: The Movie” (above).
Curtis Bonds Baker/MTV ENTERTAINMENT
But if so many subscribers are only interested in what they’re told is interesting on the platform, the algorithm is counterintuitive.
That’s where the balance can come in, though. Not everything that appears on a streamer’s homepage has to be what is current, but rather it could also show films that are new to the platform — which should include the classics. This could help establish a routine of watching older films in tandem with their newer counterparts.
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It could also build excitement around re-releases that shouldn’t have to shoulder that responsibility on their own. When the sentiment around original filmmaking is widely dismissive, it creates a challenge.
“So, while they do have these huge libraries of older content available, [unless] you explore the older content, I don’t see how they’re going to promote the older stuff, knowing that the vast majority of the audience is looking for the most recent releases above all,” Carriere said.
Streamers don’t seem confident they’re going to perform well and are not interested enough to test them out. But really, it’s difficult to gauge performance when streamers rarely share viewership numbers, good or bad.
There’s also the concern over whether an older work “holds up” to today’s cultural standards, which could dictate whether something is promoted or even available on a streaming service and certainly whether it’s brought to the big screen again.
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But that sometimes calls for discernment rather than dismissal, for the sake of film literacy in a landscape where audiences sometimes don’t even realise when a movie is a remake.
“I do think that there is a preserving film history aspect to it,” Carriere said. “We are building on a history of filmmaking, even though we don’t want to lean into celebrating regressive storytelling. But there is a place for preserving the film history and introducing classics to new audiences.”
The way we reexamine classic films deserves a discussion.
Classics like 1985’s “Teen Wolf” are still largely overshadowed amid the flurry of excitement many audiences have around the most current title streaming.
Wolfkill/Alamy
And focus groups, as Carriere suggested, could also help with determining whether a film should re-enter the cultural sphere in 2023. There’s obviously no need for something like, say, 1915’s The Birth Of A Nation to repopulate today — though, that shouldn’t have emerged in 1915 either.
“Studios have to be careful about this and make sure that they’re vetting and testing and talking to [people] to decide whether or not it’s worthwhile to release something for fear of putting something out into the world that just doesn’t need to be seen or heard anymore,” she added.
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True. Though it’s also worth distinguishing that not everything old is problematic, and not everything problematic is old. While today’s culture is quick to thoughtfully assess problematic contemporary works, it seems less interested in reexamining uncomfortable art from yesteryear with as much nuance. That doesn’t bode well for future re-releases.
But that concern could be challenged as the Writers Guild of America strike wages on, and audiences are faced with significantly fewer options in newer content — while the once-recent titles become a part of the archive just as quickly as they appeared. Will re-releases and archival titles on streamers get a viewership boost and/or stronger promotional strategies? That’s hard to predict.
Beyond that remains the issue of films being considered obsolete in a decade’s time. That sentiment means remakes are bound to happen, and whether they draw attention to the original film’s supplemental re-release or streaming availability doesn’t seem to be a priority for film studios that are shoveling out countless marketing dollars on the update.
Most of the streamers aren’t doing more to promote the archives either. So, the question of relevance persists, even when it’s something as recent as Oldboy or Titanic.
Al Pacino is masterful in 1973’s “Serpico,” screening at the Metrograph this month. “To think that a performance is outdated in only a few years’ time is kind of a depressing thought,” script supervisor Jennifer Carriere said.
Michael Ochs Archives via Getty Images
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“To think that a performance is outdated in only a few years’ time is kind of a depressing thought,” Carriere said. “It would be nice if we could find ways to celebrate properties and performances and scripts and continue to keep them relevant.”
But she ultimately thinks that is a bit idealistic. “That’s just kind of going to be tougher to do, the shorter people’s attention spans become and the more competition for attention there is,” she continued. “That’s just part of the way in which our world is evolving. Yesterday’s news is yesterday very quickly.”
Shouldn’t we be more concerned about that? It’s not just that remakes of older films are dominating the conversation around the older film itself. It’s also that the rapidly evolving cultural landscape doesn’t allow much space for the archives to thrive on most mediums.
But Olch said audiences that are interested in experiencing these original films again, or even for the first time, usually seek out the opportunity to do so. And those who aren’t, well, don’t. Not everything is going to be for everyone and at all times. But we should still find a way to acknowledge and examine them while they are available, and often at our own fingertips.
“On a metaphysical level, I think all artists — we’re all building sandcastles and one day [they] are going to be washed away,” he said. “But the fun of it is to walk down the beach and admire everyone’s sandcastles while they’re standing.”
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That sense of finiteness is where the work of re-releases becomes especially urgent, though.
“The nice thing about restorations is, in some ways,” Olch said, “it sort of holds the waves back a little longer before washing over the sandcastles.”
The music video for Lipstick Lover, one of the singles off Janelle Monáe’s newest album, The Age of Pleasure, feels vibrantly decadent. In it, the singer rises out of a pool, their areolas peering through a sheer white T-shirt that reads “Pleasure.” Booties are shaking, dildos are falling and Monáe is the curator of the queer desire that oozes on screen.
Just last week, at Essence Fest in New Orleans, Monáe brought a bit of that energy on stage by flashing a petal-covered nipple during two of their songs. ”[I’m] much happier when my t**ties are out,” they recently told Rolling Stone. Well, I’m happy for them.
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To the more conservative viewer, this behaviour is borderline pornographic. But for everyone who gets it, it’s an organic next step in the evolution of Monáe’s burgeoning self-expression as an out, queer artist.
Long before Monáe came out as pansexual in 2018 and nonbinary in 2022, baby gays like myself were drawn to the subliminal messaging of queerness in their tuxedo looks, as well as the intentionally androgynous branding of their gender.
In 2017, I was a junior in high school, just beginning to explore music genres beyond the classical and Christian pop that underscored my childhood and early teens. When I discovered Monáe’s work, it felt like a universe of language had been unlocked. They quickly became my role model as I struggled to reconcile my queerness with my religious upbringing.
“Say will your God accept me in my black and white? / Will he approve the way I’m made? / Or should I reprogram, deprogram and get down?” Monáe sings on Q.U.E.E.N., a song on their 2013 album, The Electric Lady.
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Somehow, Monáe seemed to understand how my queerness conflicted with my Christian self — I was programmed to become a god-fearing daughter who would settle down with a nice Chinese boy and rear children of my own. Like Monáe, I found my artistic expression first through singing and leading worship within the context of an insular ethnic and religious community.
Monáe grew up the child of Black American middle-class workers in Kansas City, and I was the eldest daughter of immigrants who worked as public school teachers in the Chinese American suburbs of Los Angeles. But our paths intersected, it became evident, as they expressed the tension of their identities. For years, Monáe also shielded their queerness in the armour of ambiguity. Part of that, they say, has been in direct opposition to the overt fetishisation of Black women’s bodies in the music industry.
As their career developed, Monáe bucked what was even subconsciously expected of them.They were a dark-skinned Black femme wearing androgynous clothing, for years they eluded the countless questions about their sexuality and gender. “I only date androids,” was their response to it all. You couldn’t put Monáe’s music, their body or gender squarely into any one box, which gave them a level of agency not often afforded to queer Black artists.
Like Monáe, I’ve found myself at times caught between two identities as an artist. My queerness and Asianness are inextricable from each other as I navigate the world as a nonbinary non-white person. When I perform poems for an Asian American space, I feel the need to emphasise my queerness in my poetry. In queer spaces, that are more often than not white, there’s an urgency to talk about my Asian American upbringing. Monáe has shown me that exploring these intersections can be both challenging and invigorating.
The evolution of Monáe’s gender and sexual expression ebbed on Dirty Computer, an album that saw them diving into the explorations of desire and attraction with both men and women. Monáe repatriates elements of Prince’s iconic guitar riff in Kiss for their song Make Me Feel as they fall between the arms of two people, feminine- and masculine-presenting lovers. Another song, Pynk, a fuchsia-infused music video, featured Monáe frolicking in the desert with fellow queer actor Tessa Thompson while wearing labia-shaped pants and panties that read “I grab back” — a direct clap back to Donald Trump’s infamous “locker room talk.”
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At this point, Monáe had also secured their status as a respected actor on the Oscar-nominated Hidden Figures(2016)and Oscar winner Moonlight (2016). Around that time, they also founded Wondaland Records, which allowed them directorial and creative control of their image and artistry as a musician. All of this allowed them to reclaim the portrayal of their body — as well as the political messaging of their mere existence in the industry.
In 2022, when Monáe first introduced their gender-neutral pronouns publicly, their fame somewhat protected them from conservative backlash or the confusion of a largely cisgender straight American society. But, of course, some people loiter in the distance awaiting their downfall. And, evident in they’re commitment to the spectrum of queer expression and resistance to body policing, they cannot be concerned.
“No I’m not the same… I think I done changed… I used to walk into the room head down. / I don’t walk, now I float,” Monáe proclaims on their newest album’s opening track, “Float.”
Monae does float, with transcendent confidence, on The Age of Pleasure. The influences of reggae and dance hall, and the sounds of the Caribbean are heard on this 10-song summer album, a move that inherently queers traditions of music that have at times been rooted in homophobia, sexism and misogyny.
There’s something vulnerable and dangerous in placing themselves directly into the narrative of Black queer joy. If capitalism and racism amount to the sexual objectification of Black and melanated bodies, let me do it on my own terms, Monáe’s newest work screams.
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“Whether I show skin or I don’t, I’m sexy. I just always felt like people would try their best to take my autonomy away from me,” Monáe shared recently in an interview with StyleLikeU. “It took me years to feel comfortable with my boobs,” they added in the interview. Seeing Monáe fully embracing their queerness in all its joy (and sexiness) in 2023 feels like the strongest rebuke against the fearmongering and shame that’s threatening to roll back LGBTQ+ rights across the US.
Monáe has taught me that sexuality is political and that being nonbinary can be a beautiful journey. There will continue to be hundreds of interpretations of Monáe’s work from ArchAndroid to a sexually liberated and self-described “free-ass motherfucker.” That’s part of being an artist: You release work that is absorbed into the culture and takes on a new meaning. For me, their work is about how every year can reveal new ways to love yourself.
Like Monae says on another new track Phenomenal: “I’m looking at a thousand versions of myself. And we’re all fine as fuck.”