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Zooey Deschanel and the twee revival | Culture

Actress Zooey Deschanel’s new podcast Welcome to Our Show sees her dissect her own hit show New Girl (2011-2018), joined by cast members Hannah Simone and Lamorne Morris (who played Cece and Winston respectively). The team has released six episodes so far, including a discussion of the show’s pilot episode, the first wedding and a new version of the drinking game “True American” invented for the sitcom.

Coincidentally or not, Deschanel’s reappearance coincides with a return to the twee style that she continues to embody, and which peaked in popularity when the series aired. The style is characterized by brightly colored babydoll dresses, decorative bows, polka dot or animal prints, ballet flats and prominent bangs.

This image was also associated with a certain kind of attitude: eccentric, clumsy, wide-eyed and smiling, the girl who always wants to get along with everyone – basically the personality of Jess, the protagonist of New Girl, who is played by Deschanel. A middle school teacher with horn-rimmed glasses, Jess moves into a shared apartment with three guys after discovering her boyfriend’s infidelity. Of course, her arrival is a bomb of girlishness in this slightly sweaty manhole. But she is so adorable despite her awkwardness that the four end up living together for eight years.

The show garnered numerous Golden Globe, Emmy and People’s Choice Award nominations, and Deschanel won a TV Guide Award and a Critics’ Choice Television Award, while Hannah Simone won a Teen Choice Award. Although the passage of time has not been kind to the first few episodes, the comedy improves in strides as the show progresses – no doubt thanks to the arrival of Kay Cannon to the writers’ room, who was responsible for multiple episodes of 30 Rock.

Zooey Deschanel has remained tied to the twee aesthetic, partly because it appears to be her actual style in real life.
Zooey Deschanel has remained tied to the twee aesthetic, partly because it appears to be her actual style in real life.Steve Granitz (WireImage)

According to Guardian cultural critic Shaad D’Souza, the show became funnier as each character was pushed into caricature: “Jess becomes a delusional smart-ass; Nick starts acting like a curmudgeonly old man in the body of a 30-something; Schmidt, a persnickety, image-obsessed sociopath; and Winston, a moderately dim-witted prankster.” Even the show’s theme song, composed by Deschanel herself, was stripped back to a brief instrumental version.

Deschanel has remained tied to her character’s personality and aesthetic, partly because it appears to be her actual style in real life. A decade on, she still sports the same look and quirky yet forthright attitude, choices that don’t seem to have helped her professional career. The so-called Manic Pixie Dream Girl stock character fell out of favor when cultural critics pointed out its inherent misogyny: she’s a cute, ditzy girl who is just there to fulfill a man’s fantasy. Film critic Nathan Rabin described the archetype as “existing solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures.” People trace Manic Pixie Dream Girl’s origins to Jean-Pierre Jeunet’s 2001 film Amélie, and its apotheosis to Summer, the protagonist of (500) Days of Summer, a role also played by Deschanel.

When New Girl ended, the media began to speculate about the reasons for Deschanel’s extended disappearance: was she broke? Tired of acting? Focused on raising the two children she had with her ex-husband, producer Jacob Pechenik? Her current relationship with Jonathan Scott, one of the twins who presents the home improvement show Property Brothers, has once again captured the attention of the press, and it seems her comeback goes beyond her personal life.

 Zooey Deschanel and Justin Long in an episode of ‘New Girl.’
Zooey Deschanel and Justin Long in an episode of ‘New Girl.’20th Century Fox Licensing/Merch

The boom in companion podcasts began with obsessive fans of shows including Buffy the Vampire Slayer, but the actors themselves didn’t take long to cash in on these extended looks back at the peak of their acting careers. In 2016, The West Wing Weekly, hosted by Joshua Malina (Will Bailey in the show), began airing. There’s also Welcome to the OC, Bitches! with Rachel Bilson and Melinda Clarke (Summer Roberts and Julie Cooper, respectively) and the recently launched XOXO, which focuses on the original Gossip Girl series and is hosted by Jessica Szohr (Vanessa Abrams).

Will Pearson, chief operating officer of the iHeart Radio Podcast Network – which hosts Welcome to Our Show – says the success of these companion podcasts is driven by the pandemic-induced need for listeners to find “comfort, escapism and a reason to smile whenever possible.” During lockdown and the months of uncertainty that followed, the company decided to play on feelings of nostalgia: “People were looking back at better times, looking for comfort and something to latch onto.”

In September 2021, Deschanel’s band She & Him released three Christmas songs on an EP titled Holiday, and it has just been announced the actress will feature in the live-action adaptation of the children’s story Harold and the Purple Crayon. But unlike actors such as Matthew McConaughey and Sarah Jessica Parker, who turned their careers around to free themselves from typecasting, Deschanel continues to cash in on her twee repertoire.

Zooey Deschanel in 2003, in a look that epitomizes the twee style.
Zooey Deschanel in 2003, in a look that epitomizes the twee style.Donna Ward (Getty Images)

Users of TikTok, the internet’s cultural melting pot, have rescued her style, which did not even disappear that long ago. In fact, many may not even have had time to cleanse their closets of the look before they were forced to reconsider throwing out their twee pieces. Deschanel has since made a video thanking the social network for showing her what twee actually means.

As with all things nostalgic, if there’s one good thing about the cyclical nature of fashion, it’s the new social context that demands a reinterpretation of what is offered from the past. Zooey Deschanel’s podcast could serve to deconstruct her own public persona and show us there is little else to recover from Manic Pixie Dream Girl.

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How Emergence of AI-Generated Virtual Twins Is Revolutionizing The Fashion Modeling

Emergence of AI-Generated Virtual Twins

The Voice Of EU | In the ever-evolving landscape of fashion modeling, a groundbreaking innovation has emerged: the creation of virtual twins through the power of artificial intelligence (AI). This technological advancement has already made waves in the industry, exemplified by the case of Alexsandrah, a renowned model who has seamlessly integrated her AI counterpart into her professional endeavors. The implications of this development are far-reaching, reshaping not only the creative landscape but also the economic and ethical dimensions of the fashion world.

Alexsandrah, known professionally by her first name, stands as a pioneer in this new era of modeling. She proudly shares that her digital twin mirrors her appearance “even down to the baby hairs,” blurring the lines between reality and simulation. This symbiotic relationship between the human model and her AI counterpart signifies a transformative shift propelled by AI technology.

Advocates of AI-generated modeling argue that its increasing prevalence promotes diversity and inclusivity within the fashion industry. By showcasing a wider range of body types and underrepresented demographics, AI models empower consumers to make more informed purchasing decisions, ultimately reducing fashion waste stemming from product returns. Moreover, the cost-effectiveness of digital modeling presents economic opportunities for both companies and individuals seeking to leverage this innovative technology.

However, amidst the promise of progress, critics voice concerns regarding the potential ramifications of AI modeling. The displacement of human models, makeup artists, and photographers looms large, raising questions about job security and ethical implications. Furthermore, there is apprehension that unsuspecting consumers may be deceived into mistaking AI models for real individuals, undermining transparency and authenticity in the industry.

London-based model Alexsandrah has a twin, but not in the way you’d expect

London-based model Alexsandrah has a twin, but not in the way you’d expect

Sara Ziff, a former fashion model and founder of the Model Alliance, underscores the pressing need to address these concerns. She highlights the risk of distorting racial representation and marginalizing models of color through the uncritical adoption of AI technology. Indeed, data indicates that women, especially those from underrepresented groups, are disproportionately affected by the advent of AI in modeling, further exacerbating existing disparities in the industry.

The case of iconic denim brand Levi Strauss & Co. illustrates the nuanced stance that companies are taking towards AI-generated models. While initial experiments with AI models aimed to diversify representation, backlash prompted a reevaluation of their approach. Levi reaffirmed its commitment to live photo shoots and human models, signaling a cautious approach to AI integration in its operations.

Despite varying responses from industry players, the demand for AI-generated models continues to grow. Companies like, founded by Michael Musandu, are at the forefront of this technological revolution. Musandu emphasizes the complementary nature of AI models, envisioning them as supplements rather than replacements for traditional photo shoots. He underscores the potential of AI to enhance the shopping experience, reduce product returns, and create new job opportunities within the industry.

The journey towards ethical AI implementation in fashion modeling is fraught with challenges, as highlighted by the experiences of models like Yve Edmond. Concerns regarding consent, compensation, and labor rights underscore the need for robust regulatory frameworks. The Model Alliance advocates for legislative measures to safeguard the rights of fashion workers, including provisions for informed consent and fair compensation in the realm of AI modeling.

Amidst the complexities and controversies surrounding AI-generated modeling, individuals like Alexsandrah navigate this new frontier with a sense of optimism tempered by vigilance. By fostering transparency, ethical use, and equitable compensation, AI has the potential to expand opportunities for models of color and revolutionize the fashion industry. As stakeholders grapple with the ethical and economic implications of this technology, the journey towards a more inclusive and sustainable future for fashion modeling continues.

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Top 10 most profitable places in Britain for holiday rentals

The most profitable locations in Britain for holiday rentals has been revealed – and the majority are not located anywhere near a beach.

Staycation favourite Cornwall is top of the rankings, with an average price per night of £84 for a room and £117 for a whole house.

A total of 476,910 bookings were made via popular holiday rental companies in the area last summer, according to analysis of Office for National Statistics data by the money website Wealth of Geeks.

The figures suggest that holiday lets in Cornwall took bookings worth £40million between the beginning of July and the end of September last year.

However, most of the top 10 are located in inner London, the research showed.

The most profitable locations for buy-to-let have been revealed, with staycation favourite Cornwall at the top of the rankings

The list of top ten places also includes several areas in London, including Westminster in second place.

The average price of renting a holiday let in Westminster is £133 a night for a room and £435 for a house.

With 304,790 holiday let bookings, it produces a revenue for the area in the heart of London’s west end of £34,441,270 for the summer period last year.

The calculations were based on bookings on Airbnb, and the Expedia Group, with data taken from the Office for National Statistics.

The rental prices, meanwhile, were taken from Airbnb across 388 British towns, and the total revenue was calculated by multiplying the number of nights with the nightly cost of a room on Airbnb.

The revenue did not take into account any costs of running a holiday let, such as repairs and maintenance, nor did it factor in property prices.

All of the remaining locations in the top ten were in London except for one on the south coast.

This was Brighton and Hove, where average rental prices per night were £100 for a room.

In total, the data suggested that the British holiday rental market made £739,211,390, during the summer of 2023.

Michael Dinich, of Wealth of Geeks, said: ‘Holiday rentals play a vital role in the UK’s tourism industry by supporting local economies, providing accommodation to enhance visitor experience, and promoting tourism in diverse regions across the country.

‘Tourism also helps to promote awareness of lesser-known areas, helping to distribute tourist spending more evenly across the country.

‘While some destinations may experience seasonal fluctuations in tourism often in the summer months, holiday rentals attract visit year-round, helping to sustain economies and businesses during off-peak seasons.’

Chancellor Jeremy Hunt announced in this year's Budget that the tax relief available for furnished holiday lets would be scrapped

Chancellor Jeremy Hunt announced in this year’s Budget that the tax relief available for furnished holiday lets would be scrapped

The findings show that those looking to invest in the holiday lets market need to do their sums carefully before taking the plunge and committing to a particular area.

North London estate agent Jeremy Leaf, explained: ‘This data shows that it’s not just the prospect of beaches and more reliable weather which drives profitability.

‘It’s not just traditionally popular holiday destinations which produce the best returns so it’s vital that would-be landlords do their research carefully before investing.

‘The ability to make money depends on supply and demand, not just the attributes of an area.

‘At what level a landlord can rent their property for, after taking into account all expenses, is key and explains why areas such as Westminster and Camden are proving profitable, where they may lack the charm of a traditional UK holiday destination such as Cornwall.’

The British holiday rental market made £739,211,390, during the summer of 2023, according to the latest data

The British holiday rental market made £739,211,390, during the summer of 2023, according to the latest data

Tax crackdown

The data on the most profitable holiday lets follows a crackdown on the sector by the Chancellor.

Jeremy Hunt announced in this year’s Budget that the tax relief available for furnished holiday lets would be scrapped to help improve the availability of long-term rentals.

The move is due to come into force at the beginning of April next year and is widely seen as a way of bringing the tax regime of shorter-term lets more in line with longer term rentals.

Experts operating in the sector insisted that holiday rentals remained in demand ahead of the changes.

Graham Donoghue, of Sykes Holiday Cottages, said: ‘Staycations have been growing in popularity over the past decade and right now demand for our UK holiday cottages is higher than ever, with the average annual income of a holiday let owner up as a result.

‘Hotspot locations like Yorkshire, Cumbria, and Cornwall continue to see considerable demand and bookings across the UK for our holiday cottages have been up 11 per cent during the current Easter school holidays.

‘The demand we’re witnessing is particularly good news for our holiday let owners who have faced their own set of challenges recently. Despite changes, which we are carefully guiding our owners through, it’s clear that holiday letting remains a profitable and rewarding long-term business model.’

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‘Monkey Man’: Dev Patel makes directorial debut with a delicious stab at action cinema

Dev Patel makes directorial debut with a delicious stab at action cinema

Dev Patel has always had an intelligent glint in his eye. From his big screen debut in Slumdog Millionaire to his role as a journalist in Aaron Sorkin’s series The Newsroom, the British actor usually brings a sense of peace, calm and intelligence to his performances. Perhaps that is why it is no surprise that, at 32, he has made his directorial debut with a film in favor of social outcasts, which he also produces, co-writes and stars in. The surprise is its genre: Monkey Man is a fierce action and martial arts film, revolving around hand-to-hand combat, dismemberment and knife fights.

Patel returns to India, the land of his ancestors, for his story of revenge that is strengthened by the creative arsenal applied to its sequences — and not only those of combat. While there was a serious lack of design in Danny Boyle’s Slumdog Millionaire, one of the worst choices for Oscar for Best Film in Oscar history, Monkey Man has at its heart a physical and moral entanglement, involving a sadistic police chief, a luxury brothel that serves as home to both fornication and power, and a ragged young man who seeks to atone for the death of his mother through the most savage forms of violence.

Monkey Man is also set in a slum overrun by gambling and fights, with Patel earning a few rupees as an underground bare fist fighter wearing a crude monkey mask. With its colors and the camera’s handling of Bombay’s chaos, the movie has echoes of Brazil’s City of God.

Image from the movie 'Monkey Man.'
Image from the movie ‘Monkey Man.’Universal Pictures

A comparison can also easily be made with the John Wick saga, which has revolutionized commercial action and martial arts cinema in the past 10 years. Patel even mentions John Wick in one on-screen exchange. Yet, despite the similarities, the staging and editing of their spectacular fight sequences set them apart. In the four installments of the John Wick movies starring Keanu Reeves, the choreography regarding the confrontations is developed through a paradoxically harmonious staging of continuity, with general shots extended in time. The dynamics of their contenders and their movements are visualized with hardly any editing, almost like a classic fifties musical but instead of dances, there is physical destruction.

The action in Monkey Man, on the other hand, is not one of continuity, but of rupture. The cuts are incessant and move at an unrestrained pace; the shots come in quick succession, with barely a second or two between them. Patel’s handling of cinematic language is brutal. For a novice director, he displays a dazzling energy, cadence and expressiveness. This is demonstrated by three of the only four fights in the ring, each one based on a dynamic sense of space and narrative. The first is defined by the close-up shot, with the camera directed at the waist of the opponents or even lower — giving the viewers a sense of overwhelming closeness. The second offers a very different vision of the fight, which is both more poetic and exquisite. And the third uses surprise as the main exponent, and is raw and concise.

With rough textures, contrasting colors and ochre photography, reflecting the social mud in which most of the characters are stuck, Monkey Man only slips off kilter in the second half, when the Hindu demigod, Hanuman, assumes the tragic halo that envelops the protagonist. Although it gives him authenticity with respect to his lineage, the visualization is tinged with a somewhat tiresome messianic muddle of lyrical ambition.

Monkey Man

Director: Dev Patel.

Cast: Dev Patel, Sharlto Copley, Pitobash, Sobhita Dhuliwala.

Genre: Action. United States, 2024.

Duration: 121 minutes

Release date: April 12.

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