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'\e700'; } .gelicon--google::before { content: '\e701'; } .gelicon--spotify::before { content: '\e304'; } .gelicon--pinterest::before { content: '\e305'; } .gelicon--tumblr::before { content: '\e306'; } .gelicon--stumbleupon::before { content: '\e307'; } .gelicon--linkedin::before { content: '\e308'; } .gelicon--reddit::before { content: '\e309'; } .gelicon--digg::before { content: '\e30a'; } .gelicon--instagram::before { content: '\e30b'; } .gelicon--whatsapp::before { content: '\e600'; } .mapboxgl-map { font: 12px/20px Helvetica Neue,Arial,Helvetica,sans-serif; overflow: hidden; position: relative; -webkit-tap-highlight-color: rgba(0, 0, 0, 0); } .mapboxgl-canvas { position: absolute; left: 0; top: 0; } .mapboxgl-map:-webkit-full-screen { width: 100%; height: 100%; } .mapboxgl-canary { background-color: salmon; } .mapboxgl-canvas-container.mapboxgl-interactive, .mapboxgl-ctrl-group button.mapboxgl-ctrl-compass { cursor: -webkit-grab; cursor: grab; -moz-user-select: none; -webkit-user-select: none; -ms-user-select: none; user-select: none; } .mapboxgl-canvas-container.mapboxgl-interactive.mapboxgl-track-pointer { cursor: pointer; } .mapboxgl-canvas-container.mapboxgl-interactive:active, .mapboxgl-ctrl-group button.mapboxgl-ctrl-compass:active { cursor: -webkit-grabbing; cursor: grabbing; } .mapboxgl-canvas-container.mapboxgl-touch-zoom-rotate, .mapboxgl-canvas-container.mapboxgl-touch-zoom-rotate .mapboxgl-canvas { -ms-touch-action: pan-x pan-y; touch-action: pan-x pan-y; } .mapboxgl-canvas-container.mapboxgl-touch-drag-pan, .mapboxgl-canvas-container.mapboxgl-touch-drag-pan .mapboxgl-canvas { -ms-touch-action: pinch-zoom; touch-action: pinch-zoom; } .mapboxgl-canvas-container.mapboxgl-touch-zoom-rotate.mapboxgl-touch-drag-pan, .mapboxgl-canvas-container.mapboxgl-touch-zoom-rotate.mapboxgl-touch-drag-pan .mapboxgl-canvas { -ms-touch-action: none; touch-action: none; } .mapboxgl-ctrl-bottom-left, .mapboxgl-ctrl-bottom-right, .mapboxgl-ctrl-top-left, .mapboxgl-ctrl-top-right { position: absolute; pointer-events: none; z-index: 2; } .mapboxgl-ctrl-top-left { top: 0; left: 0; } .mapboxgl-ctrl-top-right { top: 0; right: 0; } .mapboxgl-ctrl-bottom-left { bottom: 0; left: 0; } .mapboxgl-ctrl-bottom-right { right: 0; bottom: 0; } .mapboxgl-ctrl { clear: both; pointer-events: auto; -webkit-transform: translate(0); transform: translate(0); } .mapboxgl-ctrl-top-left .mapboxgl-ctrl { margin: 10px 0 0 10px; float: left; } .mapboxgl-ctrl-top-right .mapboxgl-ctrl { margin: 10px 10px 0 0; float: right; } .mapboxgl-ctrl-bottom-left .mapboxgl-ctrl { margin: 0 0 10px 10px; float: left; } .mapboxgl-ctrl-bottom-right .mapboxgl-ctrl { margin: 0 10px 10px 0; float: right; } .mapboxgl-ctrl-group { border-radius: 4px; background: #fff; } .mapboxgl-ctrl-group:not(:empty) { -webkit-box-shadow: 0 0 2px rgba(0, 0, 0, 0.1); box-shadow: 0 0 0 2px rgba(0, 0, 0, 0.1); } @media (-ms-high-contrast: active) { .mapboxgl-ctrl-group:not(:empty) { -webkit-box-shadow: 0 0 0 2px ButtonText; box-shadow: 0 0 0 2px ButtonText; } } .mapboxgl-ctrl-group button { width: 29px; height: 29px; display: block; padding: 0; outline: none; border: 0; -webkit-box-sizing: border-box; box-sizing: border-box; background-color: transparent; cursor: pointer; } .mapboxgl-ctrl-group button + button { border-top: 1px solid #ddd; } .mapboxgl-ctrl button .mapboxgl-ctrl-icon { display: block; width: 100%; height: 100%; background-repeat: no-repeat; background-position: 50%; } @media (-ms-high-contrast: active) { .mapboxgl-ctrl-icon { background-color: transparent; } .mapboxgl-ctrl-group button + button { border-top: 1px solid ButtonText; } } .mapboxgl-ctrl button::-moz-focus-inner { border: 0; padding: 0; } .mapboxgl-ctrl-group button:focus { -webkit-box-shadow: 0 0 2px 2px #0096ff; box-shadow: 0 0 2px 2px #0096ff; } .mapboxgl-ctrl button:disabled { cursor: not-allowed; } .mapboxgl-ctrl button:disabled .mapboxgl-ctrl-icon { opacity: .25; } .mapboxgl-ctrl button:not(:disabled):hover { background-color: rgba(0, 0, 0, 0.05); } .mapboxgl-ctrl-group button:focus:focus-visible { -webkit-box-shadow: 0 0 2px 2px #0096ff; box-shadow: 0 0 2px 2px #0096ff; } .mapboxgl-ctrl-group button:focus:not(:focus-visible) { -webkit-box-shadow: none; box-shadow: none; } .mapboxgl-ctrl-group button:focus:first-child { border-radius: 4px 4px 0 0; } .mapboxgl-ctrl-group button:focus:last-child { border-radius: 0 0 4px 4px; } .mapboxgl-ctrl-group button:focus:only-child { border-radius: inherit; } .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-out .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23333'%3E%3Cpath d='M10 13c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h9c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-9z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-in .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23333'%3E%3Cpath d='M14.5 8.5c-.75 0-1.5.75-1.5 1.5v3h-3c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h3v3c0 .75.75 1.5 1.5 1.5S16 19.75 16 19v-3h3c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-3v-3c0-.75-.75-1.5-1.5-1.5z'/%3E%3C/svg%3E"); } @media (-ms-high-contrast: active) { .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-out .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M10 13c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h9c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-9z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-in .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M14.5 8.5c-.75 0-1.5.75-1.5 1.5v3h-3c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h3v3c0 .75.75 1.5 1.5 1.5S16 19.75 16 19v-3h3c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-3v-3c0-.75-.75-1.5-1.5-1.5z'/%3E%3C/svg%3E"); } } @media (-ms-high-contrast: black-on-white) { .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-out .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M10 13c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h9c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-9z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-zoom-in .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M14.5 8.5c-.75 0-1.5.75-1.5 1.5v3h-3c-.75 0-1.5.75-1.5 1.5S9.25 16 10 16h3v3c0 .75.75 1.5 1.5 1.5S16 19.75 16 19v-3h3c.75 0 1.5-.75 1.5-1.5S19.75 13 19 13h-3v-3c0-.75-.75-1.5-1.5-1.5z'/%3E%3C/svg%3E"); } } .mapboxgl-ctrl button.mapboxgl-ctrl-fullscreen .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23333'%3E%3Cpath d='M24 16v5.5c0 1.75-.75 2.5-2.5 2.5H16v-1l3-1.5-4-5.5 1-1 5.5 4 1.5-3h1zM6 16l1.5 3 5.5-4 1 1-4 5.5 3 1.5v1H7.5C5.75 24 5 23.25 5 21.5V16h1zm7-11v1l-3 1.5 4 5.5-1 1-5.5-4L6 13H5V7.5C5 5.75 5.75 5 7.5 5H13zm11 2.5c0-1.75-.75-2.5-2.5-2.5H16v1l3 1.5-4 5.5 1 1 5.5-4 1.5 3h1V7.5z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-shrink .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M18.5 16c-1.75 0-2.5.75-2.5 2.5V24h1l1.5-3 5.5 4 1-1-4-5.5 3-1.5v-1h-5.5zM13 18.5c0-1.75-.75-2.5-2.5-2.5H5v1l3 1.5L4 24l1 1 5.5-4 1.5 3h1v-5.5zm3-8c0 1.75.75 2.5 2.5 2.5H24v-1l-3-1.5L25 5l-1-1-5.5 4L17 5h-1v5.5zM10.5 13c1.75 0 2.5-.75 2.5-2.5V5h-1l-1.5 3L5 4 4 5l4 5.5L5 12v1h5.5z'/%3E%3C/svg%3E"); } @media (-ms-high-contrast: active) { .mapboxgl-ctrl button.mapboxgl-ctrl-fullscreen .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M24 16v5.5c0 1.75-.75 2.5-2.5 2.5H16v-1l3-1.5-4-5.5 1-1 5.5 4 1.5-3h1zM6 16l1.5 3 5.5-4 1 1-4 5.5 3 1.5v1H7.5C5.75 24 5 23.25 5 21.5V16h1zm7-11v1l-3 1.5 4 5.5-1 1-5.5-4L6 13H5V7.5C5 5.75 5.75 5 7.5 5H13zm11 2.5c0-1.75-.75-2.5-2.5-2.5H16v1l3 1.5-4 5.5 1 1 5.5-4 1.5 3h1V7.5z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-shrink .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M18.5 16c-1.75 0-2.5.75-2.5 2.5V24h1l1.5-3 5.5 4 1-1-4-5.5 3-1.5v-1h-5.5zM13 18.5c0-1.75-.75-2.5-2.5-2.5H5v1l3 1.5L4 24l1 1 5.5-4 1.5 3h1v-5.5zm3-8c0 1.75.75 2.5 2.5 2.5H24v-1l-3-1.5L25 5l-1-1-5.5 4L17 5h-1v5.5zM10.5 13c1.75 0 2.5-.75 2.5-2.5V5h-1l-1.5 3L5 4 4 5l4 5.5L5 12v1h5.5z'/%3E%3C/svg%3E"); } } @media (-ms-high-contrast: black-on-white) { .mapboxgl-ctrl button.mapboxgl-ctrl-fullscreen .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M24 16v5.5c0 1.75-.75 2.5-2.5 2.5H16v-1l3-1.5-4-5.5 1-1 5.5 4 1.5-3h1zM6 16l1.5 3 5.5-4 1 1-4 5.5 3 1.5v1H7.5C5.75 24 5 23.25 5 21.5V16h1zm7-11v1l-3 1.5 4 5.5-1 1-5.5-4L6 13H5V7.5C5 5.75 5.75 5 7.5 5H13zm11 2.5c0-1.75-.75-2.5-2.5-2.5H16v1l3 1.5-4 5.5 1 1 5.5-4 1.5 3h1V7.5z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-shrink .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M18.5 16c-1.75 0-2.5.75-2.5 2.5V24h1l1.5-3 5.5 4 1-1-4-5.5 3-1.5v-1h-5.5zM13 18.5c0-1.75-.75-2.5-2.5-2.5H5v1l3 1.5L4 24l1 1 5.5-4 1.5 3h1v-5.5zm3-8c0 1.75.75 2.5 2.5 2.5H24v-1l-3-1.5L25 5l-1-1-5.5 4L17 5h-1v5.5zM10.5 13c1.75 0 2.5-.75 2.5-2.5V5h-1l-1.5 3L5 4 4 5l4 5.5L5 12v1h5.5z'/%3E%3C/svg%3E"); } } .mapboxgl-ctrl button.mapboxgl-ctrl-compass .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23333'%3E%3Cpath d='M10.5 14l4-8 4 8h-8z'/%3E%3Cpath d='M10.5 16l4 8 4-8h-8z' fill='%23ccc'/%3E%3C/svg%3E"); } @media (-ms-high-contrast: active) { .mapboxgl-ctrl button.mapboxgl-ctrl-compass .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M10.5 14l4-8 4 8h-8z'/%3E%3Cpath d='M10.5 16l4 8 4-8h-8z' fill='%23999'/%3E%3C/svg%3E"); } } @media (-ms-high-contrast: black-on-white) { .mapboxgl-ctrl button.mapboxgl-ctrl-compass .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 29 29' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M10.5 14l4-8 4 8h-8z'/%3E%3Cpath d='M10.5 16l4 8 4-8h-8z' fill='%23ccc'/%3E%3C/svg%3E"); } } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23333'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate:disabled .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23aaa'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3Cpath d='M14 5l1 1-9 9-1-1 9-9z' fill='red'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-active .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%2333b5e5'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-active-error .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23e58978'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-background .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%2333b5e5'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-background-error .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23e54e33'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-waiting .mapboxgl-ctrl-icon { -webkit-animation: mapboxgl-spin 2s linear infinite; animation: mapboxgl-spin 2s linear infinite; } @media (-ms-high-contrast: active) { .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23fff'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate:disabled .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23999'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3Cpath d='M14 5l1 1-9 9-1-1 9-9z' fill='red'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-active .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%2333b5e5'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-active-error .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23e58978'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-background .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%2333b5e5'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate.mapboxgl-ctrl-geolocate-background-error .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23e54e33'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3C/svg%3E"); } } @media (-ms-high-contrast: black-on-white) { .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3C/svg%3E"); } .mapboxgl-ctrl button.mapboxgl-ctrl-geolocate:disabled .mapboxgl-ctrl-icon { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='29' height='29' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill='%23666'%3E%3Cpath d='M10 4C9 4 9 5 9 5v.1A5 5 0 005.1 9H5s-1 0-1 1 1 1 1 1h.1A5 5 0 009 14.9v.1s0 1 1 1 1-1 1-1v-.1a5 5 0 003.9-3.9h.1s1 0 1-1-1-1-1-1h-.1A5 5 0 0011 5.1V5s0-1-1-1zm0 2.5a3.5 3.5 0 110 7 3.5 3.5 0 110-7z'/%3E%3Ccircle cx='10' cy='10' r='2'/%3E%3Cpath d='M14 5l1 1-9 9-1-1 9-9z' fill='red'/%3E%3C/svg%3E"); } } @-webkit-keyframes mapboxgl-spin { 0% { -webkit-transform: rotate(0deg); } to { -webkit-transform: rotate(1turn); } } @keyframes mapboxgl-spin { 0% { -webkit-transform: rotate(0deg); transform: rotate(0deg); } to { -webkit-transform: rotate(1turn); transform: rotate(1turn); } } a.mapboxgl-ctrl-logo { width: 88px; height: 23px; margin: 0 0 -4px -4px; display: block; background-repeat: no-repeat; cursor: pointer; overflow: hidden; background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='88' height='23' viewBox='0 0 88 23' xmlns='http://www.w3.org/2000/svg' xmlns:xlink='http://www.w3.org/1999/xlink' fill-rule='evenodd'%3E%3Cdefs%3E%3Cpath id='a' d='M11.5 2.25c5.105 0 9.25 4.145 9.25 9.25s-4.145 9.25-9.25 9.25-9.25-4.145-9.25-9.25 4.145-9.25 9.25-9.25zM6.997 15.983c-.051-.338-.828-5.802 2.233-8.873a4.395 4.395 0 013.13-1.28c1.27 0 2.49.51 3.39 1.42.91.9 1.42 2.12 1.42 3.39 0 1.18-.449 2.301-1.28 3.13C12.72 16.93 7 16 7 16l-.003-.017zM15.3 10.5l-2 .8-.8 2-.8-2-2-.8 2-.8.8-2 .8 2 2 .8z'/%3E%3Cpath id='b' d='M50.63 8c.13 0 .23.1.23.23V9c.7-.76 1.7-1.18 2.73-1.18 2.17 0 3.95 1.85 3.95 4.17s-1.77 4.19-3.94 4.19c-1.04 0-2.03-.43-2.74-1.18v3.77c0 .13-.1.23-.23.23h-1.4c-.13 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height='100%25' fill='%23fff'/%3E%3Cuse xlink:href='%23a'/%3E%3Cuse xlink:href='%23b'/%3E%3C/mask%3E%3Cg opacity='.3' stroke='%23000' stroke-width='3'%3E%3Ccircle mask='url(%23c)' cx='11.5' cy='11.5' r='9.25'/%3E%3Cuse xlink:href='%23b' mask='url(/web/20211028065714im_/https://www.bbc.com/%23c)'/%3E%3C/g%3E%3Cg opacity='.9' fill='%23fff'%3E%3Cuse xlink:href='%23a'/%3E%3Cuse xlink:href='%23b'/%3E%3C/g%3E%3C/svg%3E"); } a.mapboxgl-ctrl-logo.mapboxgl-compact { width: 23px; } @media (-ms-high-contrast: active) { a.mapboxgl-ctrl-logo { background-color: transparent; background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='88' height='23' viewBox='0 0 88 23' xmlns='http://www.w3.org/2000/svg' xmlns:xlink='http://www.w3.org/1999/xlink' fill-rule='evenodd'%3E%3Cdefs%3E%3Cpath id='a' d='M11.5 2.25c5.105 0 9.25 4.145 9.25 9.25s-4.145 9.25-9.25 9.25-9.25-4.145-9.25-9.25 4.145-9.25 9.25-9.25zM6.997 15.983c-.051-.338-.828-5.802 2.233-8.873a4.395 4.395 0 013.13-1.28c1.27 0 2.49.51 3.39 1.42.91.9 1.42 2.12 1.42 3.39 0 1.18-.449 2.301-1.28 3.13C12.72 16.93 7 16 7 16l-.003-.017zM15.3 10.5l-2 .8-.8 2-.8-2-2-.8 2-.8.8-2 .8 2 2 .8z'/%3E%3Cpath id='b' d='M50.63 8c.13 0 .23.1.23.23V9c.7-.76 1.7-1.18 2.73-1.18 2.17 0 3.95 1.85 3.95 4.17s-1.77 4.19-3.94 4.19c-1.04 0-2.03-.43-2.74-1.18v3.77c0 .13-.1.23-.23.23h-1.4c-.13 0-.23-.1-.23-.23V8.23c0-.12.1-.23.23-.23h1.4zm-3.86.01c.01 0 .01 0 .01-.01.13 0 .22.1.22.22v7.55c0 .12-.1.23-.23.23h-1.4c-.13 0-.23-.1-.23-.23V15c-.7.76-1.69 1.19-2.73 1.19-2.17 0-3.94-1.87-3.94-4.19 0-2.32 1.77-4.19 3.94-4.19 1.03 0 2.02.43 2.73 1.18v-.75c0-.12.1-.23.23-.23h1.4zm26.375-.19a4.24 4.24 0 00-4.16 3.29c-.13.59-.13 1.19 0 1.77a4.233 4.233 0 004.17 3.3c2.35 0 4.26-1.87 4.26-4.19 0-2.32-1.9-4.17-4.27-4.17zM60.63 5c.13 0 .23.1.23.23v3.76c.7-.76 1.7-1.18 2.73-1.18 1.88 0 3.45 1.4 3.84 3.28.13.59.13 1.2 0 1.8-.39 1.88-1.96 3.29-3.84 3.29-1.03 0-2.02-.43-2.73-1.18v.77c0 .12-.1.23-.23.23h-1.4c-.13 0-.23-.1-.23-.23V5.23c0-.12.1-.23.23-.23h1.4zm-34 11h-1.4c-.13 0-.23-.11-.23-.23V8.22c.01-.13.1-.22.23-.22h1.4c.13 0 .22.11.23.22v.68c.5-.68 1.3-1.09 2.16-1.1h.03c1.09 0 2.09.6 2.6 1.55.45-.95 1.4-1.55 2.44-1.56 1.62 0 2.93 1.25 2.9 2.78l.03 5.2c0 .13-.1.23-.23.23h-1.41c-.13 0-.23-.11-.23-.23v-4.59c0-.98-.74-1.71-1.62-1.71-.8 0-1.46.7-1.59 1.62l.01 4.68c0 .13-.11.23-.23.23h-1.41c-.13 0-.23-.11-.23-.23v-4.59c0-.98-.74-1.71-1.62-1.71-.85 0-1.54.79-1.6 1.8v4.5c0 .13-.1.23-.23.23zm53.615 0h-1.61c-.04 0-.08-.01-.12-.03-.09-.06-.13-.19-.06-.28l2.43-3.71-2.39-3.65a.213.213 0 01-.03-.12c0-.12.09-.21.21-.21h1.61c.13 0 .24.06.3.17l1.41 2.37 1.4-2.37a.34.34 0 01.3-.17h1.6c.04 0 .08.01.12.03.09.06.13.19.06.28l-2.37 3.65 2.43 3.7c0 .05.01.09.01.13 0 .12-.09.21-.21.21h-1.61c-.13 0-.24-.06-.3-.17l-1.44-2.42-1.44 2.42a.34.34 0 01-.3.17zm-7.12-1.49c-1.33 0-2.42-1.12-2.42-2.51 0-1.39 1.08-2.52 2.42-2.52 1.33 0 2.42 1.12 2.42 2.51 0 1.39-1.08 2.51-2.42 2.52zm-19.865 0c-1.32 0-2.39-1.11-2.42-2.48v-.07c.02-1.38 1.09-2.49 2.4-2.49 1.32 0 2.41 1.12 2.41 2.51 0 1.39-1.07 2.52-2.39 2.53zm-8.11-2.48c-.01 1.37-1.09 2.47-2.41 2.47s-2.42-1.12-2.42-2.51c0-1.39 1.08-2.52 2.4-2.52 1.33 0 2.39 1.11 2.41 2.48l.02.08zm18.12 2.47c-1.32 0-2.39-1.11-2.41-2.48v-.06c.02-1.38 1.09-2.48 2.41-2.48s2.42 1.12 2.42 2.51c0 1.39-1.09 2.51-2.42 2.51z'/%3E%3C/defs%3E%3Cmask id='c'%3E%3Crect width='100%25' height='100%25' fill='%23fff'/%3E%3Cuse xlink:href='%23a'/%3E%3Cuse xlink:href='%23b'/%3E%3C/mask%3E%3Cg stroke='%23000' stroke-width='3'%3E%3Ccircle mask='url(%23c)' cx='11.5' cy='11.5' r='9.25'/%3E%3Cuse xlink:href='%23b' mask='url(/web/20211028065714im_/https://www.bbc.com/%23c)'/%3E%3C/g%3E%3Cg fill='%23fff'%3E%3Cuse xlink:href='%23a'/%3E%3Cuse xlink:href='%23b'/%3E%3C/g%3E%3C/svg%3E"); } } @media (-ms-high-contrast: black-on-white) { a.mapboxgl-ctrl-logo { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='88' height='23' viewBox='0 0 88 23' xmlns='http://www.w3.org/2000/svg' xmlns:xlink='http://www.w3.org/1999/xlink' fill-rule='evenodd'%3E%3Cdefs%3E%3Cpath id='a' d='M11.5 2.25c5.105 0 9.25 4.145 9.25 9.25s-4.145 9.25-9.25 9.25-9.25-4.145-9.25-9.25 4.145-9.25 9.25-9.25zM6.997 15.983c-.051-.338-.828-5.802 2.233-8.873a4.395 4.395 0 013.13-1.28c1.27 0 2.49.51 3.39 1.42.91.9 1.42 2.12 1.42 3.39 0 1.18-.449 2.301-1.28 3.13C12.72 16.93 7 16 7 16l-.003-.017zM15.3 10.5l-2 .8-.8 2-.8-2-2-.8 2-.8.8-2 .8 2 2 .8z'/%3E%3Cpath id='b' d='M50.63 8c.13 0 .23.1.23.23V9c.7-.76 1.7-1.18 2.73-1.18 2.17 0 3.95 1.85 3.95 4.17s-1.77 4.19-3.94 4.19c-1.04 0-2.03-.43-2.74-1.18v3.77c0 .13-.1.23-.23.23h-1.4c-.13 0-.23-.1-.23-.23V8.23c0-.12.1-.23.23-.23h1.4zm-3.86.01c.01 0 .01 0 .01-.01.13 0 .22.1.22.22v7.55c0 .12-.1.23-.23.23h-1.4c-.13 0-.23-.1-.23-.23V15c-.7.76-1.69 1.19-2.73 1.19-2.17 0-3.94-1.87-3.94-4.19 0-2.32 1.77-4.19 3.94-4.19 1.03 0 2.02.43 2.73 1.18v-.75c0-.12.1-.23.23-.23h1.4zm26.375-.19a4.24 4.24 0 00-4.16 3.29c-.13.59-.13 1.19 0 1.77a4.233 4.233 0 004.17 3.3c2.35 0 4.26-1.87 4.26-4.19 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.mapboxgl-ctrl.mapboxgl-ctrl-attrib { padding: 0 5px; background-color: rgba(255, 255, 255, 0.5); margin: 0; } @media screen { .mapboxgl-ctrl-attrib.mapboxgl-compact { min-height: 20px; padding: 0; margin: 10px; position: relative; background-color: #fff; border-radius: 3px 12px 12px 3px; } .mapboxgl-ctrl-attrib.mapboxgl-compact:hover { padding: 2px 24px 2px 4px; visibility: visible; margin-top: 6px; } .mapboxgl-ctrl-bottom-left > .mapboxgl-ctrl-attrib.mapboxgl-compact:hover, .mapboxgl-ctrl-top-left > .mapboxgl-ctrl-attrib.mapboxgl-compact:hover { padding: 2px 4px 2px 24px; border-radius: 12px 3px 3px 12px; } .mapboxgl-ctrl-attrib.mapboxgl-compact .mapboxgl-ctrl-attrib-inner { display: none; } .mapboxgl-ctrl-attrib.mapboxgl-compact:hover .mapboxgl-ctrl-attrib-inner { display: block; } .mapboxgl-ctrl-attrib.mapboxgl-compact:after { content: ""; cursor: pointer; position: absolute; background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='24' height='24' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill-rule='evenodd'%3E%3Cpath d='M4 10a6 6 0 1012 0 6 6 0 10-12 0m5-3a1 1 0 102 0 1 1 0 10-2 0m0 3a1 1 0 112 0v3a1 1 0 11-2 0'/%3E%3C/svg%3E"); background-color: rgba(255, 255, 255, 0.5); width: 24px; height: 24px; -webkit-box-sizing: border-box; box-sizing: border-box; border-radius: 12px; } .mapboxgl-ctrl-bottom-right > .mapboxgl-ctrl-attrib.mapboxgl-compact:after { bottom: 0; right: 0; } .mapboxgl-ctrl-top-right > .mapboxgl-ctrl-attrib.mapboxgl-compact:after { top: 0; right: 0; } .mapboxgl-ctrl-top-left > .mapboxgl-ctrl-attrib.mapboxgl-compact:after { top: 0; left: 0; } .mapboxgl-ctrl-bottom-left > .mapboxgl-ctrl-attrib.mapboxgl-compact:after { bottom: 0; left: 0; } } @media screen and (-ms-high-contrast: active) { .mapboxgl-ctrl-attrib.mapboxgl-compact:after { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='24' height='24' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill-rule='evenodd' fill='%23fff'%3E%3Cpath d='M4 10a6 6 0 1012 0 6 6 0 10-12 0m5-3a1 1 0 102 0 1 1 0 10-2 0m0 3a1 1 0 112 0v3a1 1 0 11-2 0'/%3E%3C/svg%3E"); } } @media screen and (-ms-high-contrast: black-on-white) { .mapboxgl-ctrl-attrib.mapboxgl-compact:after { background-image: url("data:image/svg+xml;charset=utf-8,%3Csvg width='24' height='24' viewBox='0 0 20 20' xmlns='http://www.w3.org/2000/svg' fill-rule='evenodd'%3E%3Cpath d='M4 10a6 6 0 1012 0 6 6 0 10-12 0m5-3a1 1 0 102 0 1 1 0 10-2 0m0 3a1 1 0 112 0v3a1 1 0 11-2 0'/%3E%3C/svg%3E"); } } .mapboxgl-ctrl-attrib a { color: rgba(0, 0, 0, 0.75); text-decoration: none; } .mapboxgl-ctrl-attrib a:hover { color: inherit; text-decoration: underline; } .mapboxgl-ctrl-attrib .mapbox-improve-map { font-weight: 700; margin-left: 2px; } .mapboxgl-attrib-empty { display: none; } .mapboxgl-ctrl-scale { background-color: rgba(255, 255, 255, 0.75); font-size: 10px; border: 2px solid #333; border-top: #333; padding: 0 5px; color: #333; -webkit-box-sizing: border-box; box-sizing: border-box; } .mapboxgl-popup { position: absolute; top: 0; left: 0; display: -ms-flexbox; display: flex; will-change: transform; pointer-events: none; } .mapboxgl-popup-anchor-top, .mapboxgl-popup-anchor-top-left, .mapboxgl-popup-anchor-top-right { -ms-flex-direction: column; flex-direction: column; } .mapboxgl-popup-anchor-bottom, .mapboxgl-popup-anchor-bottom-left, .mapboxgl-popup-anchor-bottom-right { -ms-flex-direction: column-reverse; flex-direction: column-reverse; } .mapboxgl-popup-anchor-left { -ms-flex-direction: row; flex-direction: row; } .mapboxgl-popup-anchor-right { -ms-flex-direction: row-reverse; flex-direction: row-reverse; } .mapboxgl-popup-tip { width: 0; height: 0; border: 10px solid transparent; z-index: 1; } .mapboxgl-popup-anchor-top .mapboxgl-popup-tip { -ms-flex-item-align: center; -ms-grid-row-align: center; align-self: center; border-top: none; border-bottom-color: #fff; } .mapboxgl-popup-anchor-top-left .mapboxgl-popup-tip { -ms-flex-item-align: start; align-self: flex-start; border-top: none; border-left: none; border-bottom-color: #fff; } .mapboxgl-popup-anchor-top-right .mapboxgl-popup-tip { -ms-flex-item-align: end; align-self: flex-end; border-top: none; border-right: none; border-bottom-color: #fff; } .mapboxgl-popup-anchor-bottom .mapboxgl-popup-tip { -ms-flex-item-align: center; -ms-grid-row-align: center; align-self: center; border-bottom: none; border-top-color: #fff; } .mapboxgl-popup-anchor-bottom-left .mapboxgl-popup-tip { -ms-flex-item-align: start; align-self: flex-start; border-bottom: none; border-left: none; border-top-color: #fff; } .mapboxgl-popup-anchor-bottom-right .mapboxgl-popup-tip { -ms-flex-item-align: end; align-self: flex-end; border-bottom: none; border-right: none; border-top-color: #fff; } .mapboxgl-popup-anchor-left .mapboxgl-popup-tip { -ms-flex-item-align: center; -ms-grid-row-align: center; align-self: center; border-left: none; border-right-color: #fff; } .mapboxgl-popup-anchor-right .mapboxgl-popup-tip { -ms-flex-item-align: center; -ms-grid-row-align: center; align-self: center; border-right: none; border-left-color: #fff; } .mapboxgl-popup-close-button { position: absolute; right: 0; top: 0; border: 0; border-radius: 0 3px 0 0; cursor: pointer; background-color: transparent; } .mapboxgl-popup-close-button:hover { background-color: rgba(0, 0, 0, 0.05); } .mapboxgl-popup-content { position: relative; background: #fff; border-radius: 3px; -webkit-box-shadow: 0 1px 2px rgba(0, 0, 0, 0.1); box-shadow: 0 1px 2px rgba(0, 0, 0, 0.1); padding: 10px 10px 15px; pointer-events: auto; } .mapboxgl-popup-anchor-top-left .mapboxgl-popup-content { border-top-left-radius: 0; } .mapboxgl-popup-anchor-top-right .mapboxgl-popup-content { border-top-right-radius: 0; } .mapboxgl-popup-anchor-bottom-left .mapboxgl-popup-content { border-bottom-left-radius: 0; } .mapboxgl-popup-anchor-bottom-right .mapboxgl-popup-content { border-bottom-right-radius: 0; } .mapboxgl-popup-track-pointer { display: none; } .mapboxgl-popup-track-pointer * { pointer-events: none; -webkit-user-select: none; -moz-user-select: none; -ms-user-select: none; user-select: none; } .mapboxgl-map:hover .mapboxgl-popup-track-pointer { display: -ms-flexbox; display: flex; } .mapboxgl-map:active .mapboxgl-popup-track-pointer { display: none; } .mapboxgl-marker { position: absolute; top: 0; left: 0; will-change: transform; } .mapboxgl-user-location-dot, .mapboxgl-user-location-dot:before { background-color: #1da1f2; width: 15px; height: 15px; border-radius: 50%; } .mapboxgl-user-location-dot:before { content: ""; position: absolute; -webkit-animation: mapboxgl-user-location-dot-pulse 2s infinite; animation: mapboxgl-user-location-dot-pulse 2s infinite; } .mapboxgl-user-location-dot:after { border-radius: 50%; border: 2px solid #fff; content: ""; height: 19px; left: -2px; position: absolute; top: -2px; width: 19px; -webkit-box-sizing: border-box; box-sizing: border-box; -webkit-box-shadow: 0 0 3px rgba(0, 0, 0, 0.35); box-shadow: 0 0 3px rgba(0, 0, 0, 0.35); } @-webkit-keyframes mapboxgl-user-location-dot-pulse { 0% { -webkit-transform: scale(1); opacity: 1; } 70% { -webkit-transform: scale(3); opacity: 0; } to { -webkit-transform: scale(1); opacity: 0; } } @keyframes mapboxgl-user-location-dot-pulse { 0% { -webkit-transform: scale(1); transform: scale(1); opacity: 1; } 70% { -webkit-transform: scale(3); transform: scale(3); opacity: 0; } to { -webkit-transform: scale(1); transform: scale(1); opacity: 0; } } .mapboxgl-user-location-dot-stale { background-color: #aaa; } .mapboxgl-user-location-dot-stale:after { display: none; } .mapboxgl-user-location-accuracy-circle { background-color: rgba(29, 161, 242, 0.2); width: 1px; height: 1px; border-radius: 100%; } .mapboxgl-crosshair, .mapboxgl-crosshair .mapboxgl-interactive, .mapboxgl-crosshair .mapboxgl-interactive:active { cursor: crosshair; } .mapboxgl-boxzoom { position: absolute; top: 0; left: 0; width: 0; height: 0; background: #fff; border: 2px dotted #202020; opacity: .5; } @media print { .mapbox-improve-map { display: none; } } /* stylelint-disable property-no-unknown */ .partner-module { border-bottom: 1px solid #472479; border-top: 0; } .partner-module__link, .partner-module__link:visited { -ms-flex-align: center; align-items: center; color: #444; display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; padding: 0; text-decoration: none; } .partner-module__link:hover { background-color: #f5f5f5; } .partner-module__heading { display: inline-block; font-size: 16px; line-height: 22px; margin: 16px 0; } .partner-module__partner-name { font-weight: bold; } .partner-module__partner-logo { display: block; height: 31px; margin: 12px 0; margin-left: 17px; width: 88px; } /* stylelint-disable property-no-unknown */ .author-unit { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; font-size: 14px; letter-spacing: -0.1px; line-height: 35px; } .author-unit--small-mobile { line-height: 30px; } .author-unit .author-unit__container { color: #4a4a4a; margin: 0 auto; } .author-unit .author-unit__container--desktop { margin: 0; } .author-unit__container { -ms-flex-align: baseline; align-items: baseline; display: -ms-flexbox; display: flex; padding: 10px 0; } .author-unit__text { font-style: italic; font-weight: 600; padding-right: 10px; text-decoration: none; } .author-unit__icon { color: #6a6a6a; padding-right: 14px; position: relative; text-decoration: none; top: 1px; } .author-unit__icon:hover { color: #00bbf2; } /* stylelint-disable property-no-unknown */ .uppercase-label { color: #8f8d8d; font-size: 12px; font-style: condensed; font-weight: bold; letter-spacing: 1px; line-height: 16px; margin: 0; padding: 0; text-transform: uppercase; -webkit-transition: color 0.4s; transition: color 0.4s; } .uppercase-label--small { font-size: 11px; font-weight: 400; line-height: 14px; margin: 0; } .uppercase-label--medium { font-size: 14px; line-height: 18px; } .uppercase-label--reith-condensed { font-weight: 400; } .uppercase-label--white { color: #ebebeb; } .uppercase-label--light-grey { color: #999; } .uppercase-label--dark-grey { color: #444; } .uppercase-label--large { font-size: 16px; line-height: 18px; } .uppercase-label--true-white { color: #fff; text-shadow: 0 1px 1px #193e6d; } .uppercase-label--arial { font-family: Arial; } .label-with-line { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .label-with-line__label { margin: 0 16px 0 0; } .body-text-card-inline-video { margin: 24px 0; position: relative; } /* stylelint-disable property-no-unknown */ @-webkit-keyframes spin { 0% { -webkit-transform: rotate(0deg); transform: rotate(0deg); } 100% { -webkit-transform: rotate(360deg); transform: rotate(360deg); } } @keyframes spin { 0% { -webkit-transform: rotate(0deg); transform: rotate(0deg); } 100% { -webkit-transform: rotate(360deg); transform: rotate(360deg); } } .spinner { fill: #444; } .spinner__image { -webkit-animation: spin 1s linear infinite; animation: spin 1s linear infinite; } .spinner--worklife { fill: #8beed9; } .spinner--future { fill: #ffc857; } .spinner--culture { fill: #472479; } .spinner--travel { fill: #002856; } .spinner--earth { fill: #002856; } .spinner--white { fill: #fff; } .spinner--audio { height: 32px; width: 32px; } /* stylelint-disable property-no-unknown */ /* stylelint-disable property-no-unknown */ .inline-video { height: 100%; } .inline-video__container { position: relative; } .inline-video__border-line { padding: 0 10px; } .inline-video .play-button__inline-video { bottom: 0; left: 0; position: absolute; z-index: 1000; } .inline-video__smp { background-color: #000; padding-bottom: 56.25%; } .inline-video__smp--loaded { background-color: unset; padding-bottom: unset; } .inline-video__description { border-bottom: 1px solid rgba(106, 106, 106, 0.43); color: #737373; font-size: 16px; font-style: italic; line-height: 24px; margin: 0 10px 0 3%; padding: 20px 0 12px; } .inline-video__description--desktop { border-bottom: 1px solid rgba(106, 106, 106, 0.43); margin: 0 18px; padding: 28px 0 18px; } /* stylelint-disable property-no-unknown */ .inline-image__description { border-bottom: 1px solid rgba(106, 106, 106, 0.43); font-style: italic; margin: 0 10px; padding: 20px 0 12px; } .inline-image__description--desktop { border-bottom: 1px solid rgba(106, 106, 106, 0.43); margin: 0 18px; padding: 20px 0 18px; } .inline-image img { border-radius: 0; } /* stylelint-disable property-no-unknown */ .inline-quote { border-left: 3px solid #575757; color: #575757; font-style: italic; letter-spacing: -1.69px; line-height: 32px; margin: 0; padding-left: 22px; } .inline-quote--worklife { border-left: 3px solid #8beed9; } .inline-quote--future { border-left: 3px solid #ffc857; } .inline-quote--culture { border-left: 3px solid #472479; } .inline-quote--earth { border-left: 3px solid #002856; } .inline-quote h2 { font-weight: 300; } /* stylelint-disable property-no-unknown */ .inline-audio-player { background: none; } .inline-audio-player__smp-container { display: inline-block; width: 100%; } .inline-audio-player__smp-container > div { /* CreateSMPAudio */ display: inline-block; width: 100%; } .inline-audio-player__smp-container > div > div { height: 50px; position: relative; /* stylelint-disable-next-line selector-max-compound-selectors */ } .inline-audio-player__smp-container > div > div > div { padding: 0 !important; } .inline-audio-player__container { display: -ms-flexbox; display: flex; } .inline-audio-player__cta-holder { -ms-flex-align: center; align-items: center; background-color: #ededed; display: -ms-flexbox; display: flex; padding-right: 8px; } .inline-audio-player__cta-container { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .inline-audio-player__cta-container.initialising * { cursor: initial; pointer-events: none; -webkit-user-select: none; -moz-user-select: none; -ms-user-select: none; user-select: none; } .inline-audio-player__cta-container.initialising button { opacity: 0.6; } .inline-audio-player__text { background: none; border: 0; color: #222; cursor: pointer; font-size: 18px; height: 25px; letter-spacing: -0.1px; line-height: 25px; margin-left: 12px; outline: inherit; padding: 0; } .inline-audio-player__text--offline { cursor: default; pointer-events: none; } .inline-audio-player__disclaimer { background-color: #e6711b; color: #fff; cursor: pointer; height: 25px; left: -110px; line-height: 12px; margin-left: 0; padding: 0 7px; position: relative; top: 25px; width: 66px; } .inline-audio-player__disclaimer:hover .inline-audio-player__arrow { -webkit-transform: rotate(45deg); transform: rotate(45deg); } .inline-audio-player__inner-arrow { color: #4d4d49; font-size: 10px; } .inline-audio-player__arrow-button { background-color: transparent; border: 0; margin-left: auto; outline: none; -webkit-transition: all 0.5s ease; transition: all 0.5s ease; } .inline-audio-player__arrow-button__open { -webkit-transform: rotate(180deg); transform: rotate(180deg); } .inline-audio-player__disclaimer-copy { color: #444; display: block; font-size: 12px; letter-spacing: 0; line-height: 17px; margin-top: 16px; } .inline-audio-player__arrow { border: solid #fff; border-width: 0 2px 2px 0; display: inline-block; padding: 3px; position: relative; top: -1px; -webkit-transform: rotate(-45deg); transform: rotate(-45deg); -webkit-transition: 0.4s; transition: 0.4s; } .inline-audio-player__hidden { display: none; } .inline-audio-player .collapsible-container { background-color: #ededed; color: #444; font-size: 16px; line-height: 24px; padding: 1rem; } .inline-audio-player .collapsible-container__hide { display: none; } .inline-audio-player .previous-button__inline-audio { margin-right: 1px; } .inline-audio-player__line { margin-top: 16px; } .inline-audio-player .previous-media-button { height: 50px; margin-right: 1px; width: 50px; } .inline-audio-player .previous-button__inline-audio { margin-right: 1px; } .copyright__text { color: #737373; font-size: 16px; font-style: italic; line-height: 24px; margin-bottom: 10px; text-align: center; } @media (max-width: 767px) { .copyright__text { margin-top: 12px; } } .content-embed { width: 100%; } .infographic-embed__frame { width: 100%; } /* stylelint-disable property-no-unknown */ .article-video { height: 100%; position: relative; } .article-video img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } .article-video__overlay { display: -ms-flexbox; display: flex; height: 100%; -ms-flex-pack: center; justify-content: center; top: 0; width: 100%; } .article-video__play-button { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; left: 50%; padding: 0; position: absolute; top: 50%; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); z-index: 1500; } .article-video__label { margin-bottom: 16px; } .article-video__image { bottom: 0; height: 100%; position: absolute; top: 0; width: 100%; } .article-video__image--hide { opacity: 0; } .article-video__playercore { display: block; } .article-video__playercore--mobile { display: none; position: absolute; top: 0; width: 100%; } .article-video__playercore--show { display: block; } .article-video--bordered { border-radius: 4px; overflow: hidden; } /* stylelint-disable property-no-unknown */ .hero-video { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; height: 180px; -ms-flex-pack: center; justify-content: center; position: relative; z-index: 1; } .hero-video__video { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; height: 80%; -ms-flex-pack: center; justify-content: center; position: relative; width: 80%; z-index: 2; } .hero-video__video--desktop { left: 0; top: 65px; width: 71.5% !important; } .hero-video__video--mobile { height: 100%; width: 100%; } .hero-video__video--small-desktop { height: 70%; left: 0; top: 78px; width: 67%; } .hero-video--small-desktop, .hero-video--desktop { display: block; height: 720px; } .hero-video img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; -webkit-filter: brightness(40%); filter: brightness(40%); } @media all and (-ms-high-contrast: none), (-ms-high-contrast: active) { .hero-video img { opacity: 0.5; } } .hero-video--mobile { height: 280px; } .hero-video--medium-mobile { height: 430px; } .hero-video--tablet { height: 574px; } .hero-video--tablet .hero-video__video { margin-bottom: 10px; } .hero-video__play-button { position: absolute; z-index: 100; } .hero-video__video div div { position: inherit !important; position: unset !important; } .share-tools-popout { -ms-flex-align: center; align-items: center; background-color: #fff; border: 1px solid #979797; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; padding: 30px 0 20px; position: relative; width: 300px; } .share-tools-popout__text { color: #444; font-size: 12px; font-weight: bold; letter-spacing: 3px; margin: 0 18px 18px; text-align: center; text-transform: uppercase; } .share-tools-popout__url-container { padding: 0 18px; width: 100%; } .share-tools-popout__articleurl { border: 1px solid #979797; -webkit-box-sizing: border-box; box-sizing: border-box; color: #a39f9f; font-size: 12px; letter-spacing: -0.5px; margin-bottom: 8px; margin-top: 0; padding: 12px 10px; text-align: center; width: 262px; } .share-tools-popout__close { -ms-flex-align: center; align-items: center; background-color: unset; border: unset; cursor: pointer; display: -ms-flexbox; display: flex; position: absolute; right: 8px; top: 20px; } .share-tools-popout__close:hover .share-tools-popout__close-icon { color: #888; -webkit-transform: rotate(90deg); transform: rotate(90deg); } .share-tools-popout__close-icon { color: #000; font-size: 16px; -webkit-transition: 0.4s; transition: 0.4s; } .share-tools-popout__border-arrow { background-color: #fff; border: 1px solid #979797; border-bottom: 0; border-right: 0; height: 12px; left: 40px; position: absolute; top: -7px; -webkit-transform: rotate(45deg); transform: rotate(45deg); width: 12px; } .share-tools-popout__tools { margin-bottom: 13px; } .share-tools-popout__details { -ms-flex-item-align: normal; -ms-grid-row-align: normal; align-self: normal; color: #444; font-size: 12px; letter-spacing: 0; line-height: 16px; margin: 0; max-width: 180px; padding-left: 14px; } .share-tools-popout__copied, .share-tools-popout__copy { background-color: #000; border: unset; color: #fff; cursor: pointer; font-size: 12px; font-weight: bold; letter-spacing: 3px; margin-bottom: 18px; padding: 12px 6px; text-transform: uppercase; -webkit-transition: 0.4s; transition: 0.4s; width: 110px; } .share-tools-popout__copy:hover { background-color: #555; } .share-tools-popout__copied .gelicon--yes { color: #ff9700; margin-left: 8px; } .share-button-with-popout { position: relative; z-index: 9999; } .share-button-with-popout__popout { max-width: 330px; padding-right: 8px; position: absolute; top: 53px; width: 100%; } .share-button-with-popout__popout--desktop { width: auto; } .article-end__line--long { margin-bottom: 24px; } .article-end__share-tools { margin-bottom: 0; } .article-end--tablet .article-end__line--long { margin-bottom: 36px; } .article-end--desktop .article-end__line--long { margin-bottom: 44px; } .article-end--desktop .article-end__share-tools { display: -ms-flexbox; display: flex; margin-bottom: 50px; } .article-end--desktop .article-end__share { margin-top: 0; } .article-end__share { margin-top: 5px; } /* stylelint-disable property-no-unknown */ .article-share-tools { display: -ms-flexbox; display: flex; } .article-share-tools a, .article-share-tools button { background-color: transparent; border: 1px solid #e4e4e4; border-radius: 0; -webkit-box-sizing: border-box; box-sizing: border-box; color: #979797; display: -ms-flexbox; display: flex; height: 52px; margin-right: 2px; width: 52px; } .article-share-tools--dark a, .article-share-tools--dark button { color: #444; height: 54px; width: 54px; } .article-share-tools--dark a svg, .article-share-tools--dark button svg { stroke: #444; } .article-share-tools a:hover, .article-share-tools button:hover { background-color: #fff; } .article-share-tools .facebook-icon:hover { color: #3b5898; } .article-share-tools .email-icon:hover { color: #615f5d; } .article-share-tools .twitter-icon:hover { color: #47c7fa; } .article-share-tools .linkedin-icon:hover { color: #0077b5; } .article-share-tools .whatsapp-icon:hover { color: #25d366; } .article-share-tools .facebook-messenger { color: #0184ff; } .article-share-tools .ticked-icon { background-color: transparent; border: 1px solid #e4e4e4; border-radius: 0; -webkit-box-shadow: none; box-shadow: none; font-size: 11px; margin-right: 2px; padding: 3px; } .article-share-tools--popout > *, .article-share-tools--popout a { color: #020203; margin-bottom: 3px; -webkit-transition: 0.4s; transition: 0.4s; } .domestic-disclaimer { background-color: #333; position: relative; } .domestic-disclaimer__content { display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; margin: auto; max-width: 990px; } .domestic-disclaimer__content--desktop-small { max-width: 976px; } .domestic-disclaimer__content--desktop { max-width: 1248px; } .domestic-disclaimer__text { color: #d8d8d8; font-size: 13px; line-height: 14px; margin: auto; padding: 8px 16px; } .domestic-disclaimer__text--tablet { font-size: 14px; line-height: 19px; padding: 16px 54px 16px 16px; } .domestic-disclaimer__text--desktop { font-size: 14px; line-height: 19px; margin-left: 0; max-width: 890px; padding: 14px 16px; } .domestic-disclaimer__close-button { -ms-flex-align: center; align-items: center; background-color: unset; border: unset; cursor: pointer; display: -ms-flexbox; display: flex; padding: 0 16px 0 0; position: relative; } .domestic-disclaimer__close-button--desktop { padding: 0 16px 0 0; } .domestic-disclaimer__close-icon { color: #d8d8d8; font-size: 16px; } .domestic-disclaimer__close-icon--desktop { font-size: 22px; } /* stylelint-disable property-no-unknown */ .section-header-text__text { background-color: #fff; border-radius: 4px; -webkit-box-shadow: 0 0 20px 0 rgba(153, 153, 153, 0.5), 0 2px 5px 0 rgba(153, 153, 153, 0.5); box-shadow: 0 0 20px 0 rgba(153, 153, 153, 0.5), 0 2px 5px 0 rgba(153, 153, 153, 0.5); margin: 0 8px; opacity: 0.95; padding: 16px; position: relative; z-index: 3; } .section-header-text__text--no-margin { margin: 0; } .section-header-text__ad { display: -ms-flexbox; display: flex; -ms-flex-pack: end; justify-content: flex-end; margin: 0 8px 8px; position: relative; top: unset; } .section-header-text__ad--desktop { margin: 0 0 8px; } .section-header-text__title { display: inline-block; } .section-header-text__title--large-margin { margin: 0 40px 16px 0; } .section-header-text__title--premium { border: 1.78px solid; padding: 8px; } .section-header-text__title-content { color: #444; font-size: 22px; font-weight: bold; margin: unset; } .section-header-text__title-content--tablet { font-size: 24px; } .section-header-text__title-content--desktop { font-size: 28px; } .section-header-text__description { color: #555; font-size: 14px; line-height: 20px; margin: 0; } .section-header-text__description--large { font-size: 16px; line-height: 24px; } /* stylelint-disable property-no-unknown */ .section-header-unit { max-width: 1280px; position: relative; } .section-header-unit--tablet { height: 320px; } .section-header-unit--desktop { border-radius: 4px; height: 320px; overflow: hidden; } .section-header-unit__image { height: 320px; max-height: 320px; overflow: hidden; position: relative; } .section-header-unit__image img { left: 50%; position: relative; top: 50%; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); } .section-header-unit__image--right img { left: unset; min-width: 100%; right: 0; width: unset; } .section-header-unit__image--left img { left: unset; min-width: 100%; right: unset; width: unset; } .section-header-unit__content { position: relative; -webkit-transform: translateY(-50%); transform: translateY(-50%); } .section-header-unit__content--desktop { bottom: 0; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; -ms-flex-pack: center; justify-content: center; max-width: 420px; position: absolute; right: 32px; top: 0; -webkit-transform: none; transform: none; } .section-header-unit__content--advert { -webkit-transform: translateY(calc(-50% - 28px)); transform: translateY(calc(-50% - 28px)); /* - half the height of the advert so the text is still centered. */ } /* stylelint-disable property-no-unknown */ .label-list { display: -ms-flexbox; display: flex; -ms-flex-direction: row; flex-direction: row; position: relative; } .label-list__line { width: 100%; } .label-list__content { margin: 30px 0 0 16px; width: 100%; } .label-list__content--tablet { margin: 34px 0 0 38px; } .label-list__content--desktop { margin: 42px 0 0 32px; } .label-list__list-item { margin: 0; padding: 0; } .label-list__link { color: #444; font-size: 18px; line-height: 24px; text-decoration: none; } .label-list__link:hover { color: #adadad; } .label-list__link--large { font-size: 22px; line-height: 29px; } .label-list__link:not(:first-of-type) { margin-top: 8px; } .label-list__link--large:not(:first-of-type) { margin-top: 12px; } .label-list__list-items { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; margin-top: 36px; } .label-list__list-items--tablet { margin-top: 52px; } .label-list__list-items--desktop { margin-top: 46px; } /* stylelint-disable property-no-unknown */ .offline-reading { font-family: 'CuriousSansBold'; -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; } .offline-reading__header { font-size: 14px; line-height: 20px; margin: 0 0 16px; max-width: 220px; text-align: center; } .offline-reading__header--desktop { font-size: 18px; max-width: 460px; } .offline-reading__buttons { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; text-align: center; } .offline-reading__buttons--desktop { -ms-flex-align: center; align-items: center; -ms-flex-direction: row; flex-direction: row; } .offline-reading__top-stories { margin-bottom: 24px; } .offline-reading__top-stories--desktop { margin: 0 16px 0 0; } .offline-reading__icon { display: block; height: auto; margin-bottom: 24px; width: 120px; } /* stylelint-disable property-no-unknown */ .rectangle-image { background-size: cover; height: 74px; max-width: 100%; overflow: hidden; position: relative; width: 132px; } .rectangle-image img { height: 100%; left: 50%; position: absolute; top: 50%; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); width: auto; } .rectangle-image--small { -webkit-box-sizing: border-box; box-sizing: border-box; height: 32px; width: 56px; } .rectangle-image--large { -webkit-box-sizing: border-box; box-sizing: border-box; height: 162px; width: 288px; } .rectangle-image--medium { -webkit-box-sizing: border-box; box-sizing: border-box; height: 126px; width: 222px; } .rectangle-image--full-screen { padding-top: 56.25%; width: 100%; } .rectangle-image img { -webkit-transition: all 0.4s ease; transition: all 0.4s ease; } .rectangle-image__overlay { background-color: rgba(0, 0, 0, 0.6); bottom: 0; height: 100%; left: 0; opacity: 0; pointer-events: none; position: absolute; right: 0; top: 0; width: 100%; } .rectangle-image__overlay--culture { background-color: rgba(72, 41, 120, 0.6); } .rectangle-image:hover .rectangle-image__overlay { opacity: 1; } .rectangle-image:hover img { height: 108%; } /* stylelint-disable property-no-unknown */ .rectangle-story-item { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; height: 100%; -ms-flex-pack: justify; justify-content: space-between; margin: auto; max-width: 100%; width: 288px; } .rectangle-story-item__image-container:hover .rectangle-image__overlay { opacity: 1; } .rectangle-story-item__image-container:hover .rectangle-story-item__icon { background-color: #000; } .rectangle-story-item__image-container--culture:hover .rectangle-story-item__icon { background-color: #482978; } .rectangle-story-item__image-container:hover .rectangle-image img { height: 108%; } .rectangle-story-item__image-container { position: relative; width: 100%; } .rectangle-story-item--tablet { width: 222px; } .rectangle-story-item__container { display: -ms-flexbox; display: flex; -ms-flex: 1 1 auto; flex: 1 1 auto; -ms-flex-direction: column; flex-direction: column; -ms-flex-pack: justify; justify-content: space-between; margin-top: 3px; width: 100%; } .rectangle-story-item__label { color: #4a4a4a; display: block; font-size: 12px; font-weight: bold; letter-spacing: 3px; line-height: 16px; margin-right: auto; margin-top: 20px; padding-bottom: 3px; text-decoration: none; text-transform: uppercase; } .rectangle-story-item__label--worklife:hover, .rectangle-story-item__label--future:hover, .rectangle-story-item__label__travel:hover { background-image: none; } .rectangle-story-item__label--worklife > span:hover, .rectangle-story-item__label--future > span:hover, .rectangle-story-item__label__travel > span:hover { border-bottom: 1px solid #4a4a4a; } .rectangle-story-item__label--culture:hover { background-image: none; } .rectangle-story-item__label--culture > span:hover { border-bottom: 1px solid #482978; } .rectangle-story-item__line { display: block; margin: 16px 0; } .rectangle-story-item__author { color: #4a4a4a; display: block; font-size: 14px; font-style: italic; letter-spacing: 0.1px; line-height: 35px; text-decoration: none; } .rectangle-story-item__title { color: rgba(46, 46, 46, 0.85); display: block; font-size: 18px; letter-spacing: -0.21px; line-height: 30px; text-decoration: none; } .rectangle-story-item__icon { background-color: #000; bottom: 0; color: #fff; font-size: 14px; height: 44px; line-height: 44px; position: absolute; text-align: center; -webkit-transition: 0.4s ease; transition: 0.4s ease; width: 44px; } .rectangle-story-item__title--white, .rectangle-story-item__author--white, .rectangle-story-item__label--white { color: #fff; } .rectangle-story-item__label--white:hover { border-bottom: 0; } .rectangle-story-item__label--white > span:hover { border-bottom: 1px solid #fff; } .rectangle-article-group { display: -ms-flexbox; display: flex; -ms-flex: 1 1; flex: 1 1; -ms-flex-direction: column; flex-direction: column; -ms-flex-wrap: wrap; flex-wrap: wrap; -ms-flex-pack: center; justify-content: center; position: relative; } .rectangle-article-group--tablet, .rectangle-article-group--desktop { -ms-flex-direction: row; flex-direction: row; } .rectangle-article-group__article { display: inline-block; padding-top: 12px; } .rectangle-article-group__article--tablet { padding: 0 16px 0 0; } .rectangle-article-group__article--desktop { padding: 0 24px 0 0; } .fake-ad { -ms-flex-line-pack: center; align-content: center; -ms-flex-align: center; align-items: center; background: #f6f6f6; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; -ms-flex-pack: center; justify-content: center; padding: 8px; } .fake-ad__body { -ms-flex-align: center; align-items: center; background: #5ae9cb; color: #fff; display: -ms-flexbox; display: flex; -ms-flex: 0 0 auto; flex: 0 0 auto; font-family: Arial, sans-serif; -ms-flex-pack: center; justify-content: center; } .fake-ad__text { -ms-flex-item-align: center; -ms-grid-row-align: center; align-self: center; color: #444; font-family: Arial, sans-serif; font-size: 12px; font-weight: bold; line-height: 1.5; text-align: right; text-transform: uppercase; } .fake-ad--mpu .fake-ad__body { height: 320px; width: 320px; } .fake-ad--mpu .fake-ad__text { width: 320px; } .fake-ad--mobile-leaderboard .fake-ad__body { height: 50px; width: 300px; } .fake-ad--mobile-leaderboard .fake-ad__text { width: 300px; } .fake-ad--leaderboard .fake-ad__body { height: 90px; width: 728px; } .fake-ad--leaderboard .fake-ad__text { width: 728px; } .body-text-card-inline-image { margin: 24px 0; position: relative; } /* stylelint-disable property-no-unknown */ .body-text-card { color: #444; display: block; font-size: 16px; line-height: 1.5; } .body-text-card__image, .body-text-card__video { margin: 24px 0; } .body-text-card__text { display: block; } .body-text-card__advert { margin: 20px 0; } .body-text-card__text div a { cursor: pointer; font-weight: bold; text-decoration: none; } .body-text-card__text a:hover { text-decoration: underline; } .body-text-card__text > div > p { margin: 0 20px 16px; } .body-text-card__text > div > p:last-child { margin-bottom: 0; padding-bottom: 0; } .body-text-card__drop-capped { float: left; margin: 0 8px 0 20px; padding-top: 6px; } .body-text-card__text--drop-capped p:first-of-type::first-letter { color: transparent; font-size: 0; } .body-text-card__text--flush-text > div > p { margin-left: 0; margin-right: 0; } .body-text-card__text--future div a:visited { color: #666; } .body-text-card__text--future div a { color: #002856; -webkit-text-decoration-color: #002856; text-decoration-color: #002856; } .body-text-card__text--travel div a { color: #589e50; -webkit-text-decoration-color: #589e50; text-decoration-color: #589e50; } .body-text-card__text--worklife div a { color: #0052a1; -webkit-text-decoration-color: #0052a1; text-decoration-color: #0052a1; } .body-text-card__text--earth div a { color: #0fbb56; -webkit-text-decoration-color: #0fbb56; text-decoration-color: #0fbb56; } .body-text-card__text--culture div a { color: #472479; -webkit-text-decoration-color: #472479; text-decoration-color: #472479; } /* stylelint-disable property-no-unknown */ .branding { -webkit-box-sizing: content-box !important; box-sizing: content-box !important; display: inline-block; height: 24px; padding: 12px 16px; width: 100%; } .branding__icon { display: inline-block; height: 24px; width: 100%; } .branding__icon g { fill: #fff; } .branding--medium { padding: 16px; } .branding--large { padding: 16px 24px; } .branding--worklife { background-color: #0052a1; } .branding--future { background-color: #002856; } .branding--culture { background-color: #472479; } .branding--earth { background-color: #0fbb56; } .branding--travel { background-color: #589e50; } .branding--travel svg, .branding--earth svg, .branding--culture svg, .branding--future svg, .branding--worklife svg { height: 24px; } .branding--small, .branding--small svg { height: 17px; } .branding__icon--medium, .branding--medium, .branding--medium svg { height: 22px; } .branding__icon--large, .branding--large, .branding--large svg { height: 24px; } .branding__icon--largest, .branding--largest, .branding--largest svg { height: 32px; } .branding__icon--small, .branding--travel .branding__icon--small svg, .branding--earth .branding__icon--small svg, .branding--culture .branding__icon--small svg, .branding--future .branding__icon--small svg, .branding--worklife .branding__icon--small svg { height: 17px; } /* stylelint-disable property-no-unknown */ .swimlane-inner { background-position: center; background-repeat: no-repeat; background-size: auto 100%; display: block; padding: 24px 16px; } .swimlane-inner--small { padding: 24px 8px; } .swimlane-inner--tablet { padding: 28px 16px 42px; } .swimlane-inner--small-desktop { padding: 30px 16px 42px; } .swimlane-inner--desktop { padding: 38px 16px 42px; } .swimlane { overflow: hidden; position: relative; z-index: 0; } .swimlane__black { background-color: #0e0e0e; } .swimlane__background-image { height: 500px; position: absolute; right: 0; top: 0; width: 915px; z-index: -1; } .swimlane__background-image--mobile { height: 181px; width: 320px; } .swimlane__background-image--tablet { height: 421px; width: 752px; } .swimlane__background-image--desktop { height: 500px; width: 915px; } .swimlane__background-image--atb { background-color: rgba(51, 51, 51, 0.8); background-size: cover; height: 100%; width: 100%; } .swimlane__item { margin: 0 0 25px; width: 100%; } .swimlane__item--desktop { margin: 0; } .swimlane__item--tablet { margin: 0 16px 25px 0; width: calc((100% - 48px) / 3); } .swimlane__item--tablet:nth-of-type(3n + 3) { margin-right: 0; } .swimlane__item--two-columns { margin-right: 0 !important; max-width: 572px; width: 50%; } .swimlane__item--four-columns { -webkit-box-sizing: border-box; box-sizing: border-box; margin-bottom: 25px; margin-right: 16px; width: calc((100% - 48px) / 4); } .swimlane__item--four-columns:nth-of-type(4n + 4) { margin-right: 0; } .swimlane__items { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; margin-top: 24px; text-align: left; } .swimlane__items--desktop { -ms-flex-direction: row; flex-direction: row; -ms-flex-wrap: wrap; flex-wrap: wrap; -ms-flex-pack: center; justify-content: center; margin-top: 42px; } .swimlane__items--small-desktop { -ms-flex-direction: row; flex-direction: row; -ms-flex-wrap: wrap; flex-wrap: wrap; margin-top: 30px; } .swimlane__items--tablet { -ms-flex-direction: row; flex-direction: row; -ms-flex-wrap: wrap; flex-wrap: wrap; -ms-flex-pack: justify; justify-content: space-between; margin-top: 30px; } .swimlane__items--no-title { margin-top: 0; } .swimlane__content { margin: auto; max-width: 942px; text-align: center; } .swimlane__content--desktop { max-width: 1216px; } .swimlane__title { color: #fff; font-size: 14px; font-weight: bold; letter-spacing: 2.92px; line-height: 19px; text-transform: uppercase; } .swimlane__title--black { color: #010101; font-weight: 400; } .see-more-button-container-alt { color: #0e0e0e; } .follow-us-on { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; position: relative; } .follow-us-on__text { color: #fff; font-size: 16px; font-style: condensed; line-height: 20px; margin: 0 0 20px; padding: 0; text-transform: uppercase; } .follow-us-on__links { display: -ms-flexbox; display: flex; -ms-flex-direction: row; flex-direction: row; } .follow-us-on__link:first-child { margin-right: 16px; } /* stylelint-disable property-no-unknown */ .nav-bar { background-color: #fff; } .nav-bar__hidden-menu { display: none; } .nav-bar__visible-menu { display: block; } .nav-bar__no-scroll { max-height: 100vh; overflow: hidden; } /* stylelint-disable property-no-unknown */ .dot-with-label { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .dot-with-label__text { padding-left: 8px; } .dot-with-label__text a { text-decoration: none; } .dot-with-label__text:hover h2 { color: #adadad; } .sponsor-section { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; height: 100%; max-width: 530px; } .sponsor-section--menu { padding: 20px 0 16px 24px; } .sponsor-section__container { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; height: 100%; } .sponsor-section__container--desktop { -ms-flex-align: center; align-items: center; -ms-flex-direction: row; flex-direction: row; -ms-flex-pack: justify; justify-content: space-between; } .sponsor-section__sponsor { color: #fff; padding-right: 16px; } .sponsor-section__sponsor-name { font-family: 'CuriousSansBold'; color: #4e4e4e; font-size: 26px; margin: 0; white-space: nowrap; } .sponsor-section__sponsor-name--mobile { padding-bottom: 16px; } .sponsor-section__sponsor-name--desktop { font-size: 22px; } .sponsor-section__sponsor-name--menu { color: #fff; } .sponsor-section__sponsor-name--menu-desktop { font-size: 32px; } .sponsor-section__summary { color: #ebebeb; font-size: 16px; line-height: 24px; padding-top: 16px; } .sponsor-section__advert { display: inline-block; } .icon-with-label { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .icon-with-label__icon { padding-right: 10px; } .full-width-image-article { width: 100%; } .full-width-image-article__container { min-height: 325px; overflow: hidden; position: relative; } .full-width-image-article__container--desktop { min-height: 400px; } .full-width-image-article__image { height: 100%; overflow: hidden; position: absolute; width: 100%; } .full-width-image-article__image img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } .full-width-image-article__text { -ms-flex-align: center; align-items: center; color: #fff; left: 50%; max-width: 488px; padding: 0 20px; position: absolute; text-align: center; top: 50%; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); width: 100%; } .full-width-image-article__text a { color: #fff; text-decoration: none; } .full-width-image-article__text .full-width-image-article-text__label { display: inline-block; font-size: 14.4px; font-weight: bold; letter-spacing: 3.6px; line-height: 19px; margin-bottom: 11px; text-transform: uppercase; } .full-width-image-article__text .full-width-image-article-text__header { font-size: 24px; letter-spacing: -0.25px; line-height: 42px; margin: 0; padding: 0; } .full-width-image-article__text .full-width-image-article-text__header--desktop { font-size: 33.6px; } .full-width-image-article__text .full-width-image-article-text__author { font-size: 16.6px; font-style: italic; letter-spacing: -0.13px; line-height: 42px; margin-bottom: 0; margin-top: 28px; } .full-width-image-article__text .full-width-image-article-text__author--desktop { margin-top: 32px; } .full-width-image-article__background { background-image: radial-gradient(50% 49%, rgba(5, 36, 53, 0.37) 50%, rgba(0, 0, 0, 0) 83%); height: 100%; pointer-events: none; position: absolute; top: 0; width: 100%; } .full-width-image-article__link { color: #fff; text-decoration: none; } .more-articles { background-position: center; background-repeat: no-repeat; background-size: cover; -o-object-fit: cover; object-fit: cover; overflow: hidden; position: relative; -webkit-transition: background-image 0.4s; transition: background-image 0.4s; } .more-articles__heading { display: inline-block; margin: auto; max-width: 1272px; padding: 20px 0 0 16px; position: relative; z-index: 5; } .more-articles__stories { margin: 10px 16px 42px; max-width: 1232px; padding: 8px; position: relative; z-index: 4; } .more-articles__stories--small { padding: 0; } .more-articles__stories--tablet { margin: 24px 16px 72px; max-width: 1216px; } .more-articles__stories--desktop { margin: 56px 48px 92px; max-width: 1152px; } .more-articles__story-container:not(:first-of-type) { padding-top: 16px; } .more-articles__line { opacity: 0.3; padding-top: 16px; z-index: 5; } .more-articles__image-overlay { background-color: rgba(25, 62, 109, 0.3); bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; -o-object-fit: cover; object-fit: cover; pointer-events: none; position: absolute; right: -100%; top: -100%; width: 100%; z-index: 1; } .more-articles__image { opacity: 0; -webkit-transition: 0.6s; transition: 0.6s; } .more-articles__image img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } .more-articles__image--right img { left: unset; min-width: 100%; right: 0; width: unset; } .more-articles__image--left img { left: unset; min-width: 100%; right: unset; width: unset; } .more-articles__image--visible { opacity: 1; } .more-articles__story--two-columns, .more-articles__story--three-columns { padding-right: 16px; width: 310px; } .more-articles__story-container:nth-child(even) .more-articles__story--two-columns { padding-right: 0; } .more-articles__story-container:nth-child(3n + 3) .more-articles__story--three-columns { padding-right: 0; } .more-articles__stories--two-columns, .more-articles__stories--three-columns { -ms-flex-align: end; align-items: flex-end; display: -ms-flexbox; display: flex; -ms-flex-wrap: wrap; flex-wrap: wrap; padding: 16px; } .more-articles__stories--two-columns .more-articles-item__link, .more-articles__stories--three-columns .more-articles-item__link { pointer-events: all; } .more-articles__story-container--two-columns { display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; width: 50%; } .more-articles__story-container--two-columns:nth-child(2) { padding-top: 0; } .more-articles__story-container--three-columns { display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; width: 33%; } .more-articles__story-container--three-columns:nth-child(-n + 3) { padding-top: 0; } .more-articles__heading--small { padding: 20px 0 0 8px; } .more-articles__heading--desktop { max-width: 1264px; padding: 38px 0 0 16px; } .more-articles__heading--tablet { max-width: 1264px; padding: 24px 0 0 16px; } /* stylelint-disable property-no-unknown */ .more-articles-item { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; position: relative; z-index: 5; } .more-articles-item__link { text-decoration: none; } .more-articles-item__container { display: -ms-flexbox; display: flex; width: 100%; } .more-articles-item__label { display: -ms-flexbox; display: flex; -ms-flex-wrap: wrap; flex-wrap: wrap; margin-top: 8px; } .more-articles-item__type { margin-right: 16px; position: relative; } .more-articles-item__icon { color: #fff; font-size: 12px; margin-right: 8px; } .more-articles-item__text { color: #fff; font-size: 20px; font-weight: bold; line-height: 24px; padding: 0; position: relative; text-shadow: 0 1px 2px rgba(25, 62, 109, 0.7); -webkit-transition: color 0.4s; transition: color 0.4s; } .more-articles-item__text--medium { font-size: 22px; line-height: 28px; } .more-articles-item__text--large { color: #ebebeb; font-size: 30px; line-height: 37px; } .more-articles-item__container--column { -ms-flex-direction: column; flex-direction: column; } .more-articles-item__image-container { position: relative; } .more-articles-item--two-columns { margin-right: 16px; } .more-articles-item__label--desktop { margin-top: 16px; } .more-articles-item__label--tablet { margin-top: 16px; } .more-articles-item__link:hover .more-articles-item__text { color: #adadad; } .most-popular { background-color: #f9f9f9; } .most-popular__inner { margin: 0 auto; max-width: 894px; padding: 45px 24px 21px; } .most-popular__inner--desktop { padding: 47px 0 86px; } .most-popular__header { color: #010101; font-size: 14px; letter-spacing: 2.92px; line-height: 19px; margin: 0; text-align: center; text-transform: uppercase; } .most-popular__items { display: block; } .most-popular__items--desktop { display: -ms-flexbox; display: flex; -ms-flex-wrap: wrap; flex-wrap: wrap; margin-top: 57px; } .most-popular-item { box-sizing: border-box; padding-top: 33px; } .most-popular-item:last-of-type { margin-bottom: 42px; } .most-popular-item--desktop { padding: 0 20px; width: calc(33.333%); } .most-popular-item--desktop:nth-child(3n + 2) { -ms-flex-order: 2; order: 2; padding: 38px 20px; } .most-popular-item--desktop:nth-child(3n + 3) { -ms-flex-order: 3; order: 3; } .most-popular-item--desktop:nth-child(n+4) { border-left: 1px solid #dadada; } .most-popular-item--desktop:last-of-type { margin-bottom: 0; } .most-popular-item a { text-decoration: none; } .most-popular-item__content { -ms-flex-align: end; align-items: flex-end; display: -ms-flexbox; display: flex; margin-top: 5px; } .most-popular-item__number { color: #cbcbcb; font-size: 40px; font-style: italic; font-weight: bold; line-height: 32px; margin: 0 20px 0 0; width: 25px; } .most-popular-item__label { color: #4a4a4a; font-size: 12px; font-weight: bold; letter-spacing: 3px; margin: 0 0 0 45px; text-transform: uppercase; } .most-popular-item__title { color: #2e2e2ecc; font-size: 14px; letter-spacing: -0.17px; line-height: 22px; margin-bottom: 0; margin-top: 0; } .most-popular-item__title--desktop { font-size: 16px; } .StickyElementContent { -webkit-transition: -webkit-transform 0.5s; transition: -webkit-transform 0.5s; transition: transform 0.5s; transition: transform 0.5s, -webkit-transform 0.5s; } .StickyElementContent--is-undocked { left: 0; position: fixed; top: 0; width: 100%; } .StickyElementContent--is-hidden { -webkit-transform: translateY(-100%); transform: translateY(-100%); } /* stylelint-disable property-no-unknown */ .error-page-header { position: relative; } .error-page-header__headers { margin-bottom: 16px; position: relative; z-index: 1; } .error-page-header__headers--tablet-plus { margin-bottom: 32px; } .error-page-header__description { color: #444; font-size: 16px; line-height: 20px; } .error-page-header__play-icon { margin-right: 16px; } .error-page-header__play-icon button { color: #adadad; } .error-page-header__dot-label { display: -ms-flexbox; display: flex; } /* stylelint-disable property-no-unknown */ .styled-list { list-style: none; margin: 0; padding: 0; } .styled-list__item { display: -ms-flexbox; display: flex; -ms-flex-direction: row; flex-direction: row; } .styled-list__item:not(:first-of-type) { padding-top: 8px; } .styled-list__item a { font-weight: bold; text-decoration: none; } .styled-list__item--worklife a { color: #8beed9; } .styled-list__item--future a { color: #ffc857; } .styled-list__item--culture a { color: #472479; } .styled-list__item--earth a { color: #002856; } .styled-list__item--travel a { color: #002856; } .styled-list__text { color: #444; font-size: 16px; line-height: 24px; padding-left: 20px; } .styled-list__dot { display: -ms-flexbox; display: flex; margin-top: 8px; } /* stylelint-disable property-no-unknown */ .image-gallery-item { margin: 26px 0; } .image-gallery-item img { height: 100%; -o-object-fit: cover; object-fit: cover; width: 100%; } .image-gallery-item__image--landscape { margin: 20px 0 20px -3%; width: 106%; } @media (max-width: 1000px) and (min-width: 767px) { .image-gallery-item__image--landscape { margin: 20px 0 20px -16%; width: 116%; } } @media (max-width: 1180px) and (min-width: 1024px) { .image-gallery-item__image--landscape { margin: 20px 0 20px -8%; width: 108%; } } @media (max-width: 1365px) and (min-width: 1280px) { .image-gallery-item__image--landscape { margin: 20px 0 20px -42%; width: 142%; } } @media (min-width: 1366px) { .image-gallery-item__image--landscape { margin: 20px 0 20px -55%; width: 155%; } } .image-gallery-item__image--portrait { margin: 20px 0; width: 100%; } @media (max-width: 599px) { .image-gallery-item__image--portrait { margin-left: -3%; width: 106%; } } .image-gallery-item__image--portrait, .image-gallery-item__image--portrait img { max-height: 507px; min-height: 463px; } @media (max-width: 1279px) and (min-width: 768px) { .image-gallery-item__image--portrait, .image-gallery-item__image--portrait img { min-height: 818px; } } .error-page { position: relative; } .error-page__container { margin-bottom: 16px; } .error-page__container--tablet-plus { margin-bottom: 32px; } .error-page__title { margin-bottom: 12px; } .error-page__title--desktop { margin-bottom: 24px; } /* stylelint-disable property-no-unknown */ .article-labels { font-size: 12px; line-height: 16px; text-transform: uppercase; } .article-labels a { color: #fff; letter-spacing: 1px; text-decoration: none; } .article-labels__text:first-child { font-weight: bold; } /* stylelint-disable property-no-unknown */ .rectangle-story-group { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; margin: auto; position: relative; } .rectangle-story-group__articles { display: -ms-flexbox; display: flex; -ms-flex: 1 1; flex: 1 1; -ms-flex-wrap: wrap; flex-wrap: wrap; -ms-flex-pack: center; justify-content: center; position: relative; } .rectangle-story-group__articles--small-tablet { -ms-flex-pack: unset; justify-content: unset; } .rectangle-story-group__articles--full-screen { display: block; } .rectangle-story-group__article { display: inline-block; padding-left: 18px; padding-top: 16px; } .rectangle-story-group__article--tablet { padding-left: 20px; padding-top: 22px; } .rectangle-story-group__article--desktop { padding-left: 22px; padding-top: 24px; } .rectangle-story-group__article--desktop:first-of-type { padding-left: 8px; } .rectangle-story-group__article--small-tablet { -webkit-box-sizing: border-box; box-sizing: border-box; width: 50%; } .rectangle-story-group__article--full-screen { display: block; padding: 16px; } .rectangle-story-group__article--full-screen:first-of-type { padding-top: 0; } .rectangle-story-group__article--small-desktop { padding-left: 10px; } .rectangle-story-group__article--small-desktop:last-of-type { padding-right: 8px; } .rectangle-story-group__articles-container { margin: auto; max-width: 950px; overflow: hidden; width: 100%; } .rectangle-story-group__advert-mpu { display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; margin-left: auto; margin-right: auto; padding: 16px 16px 24px; } .rectangle-story-group__advert-mpu--desktop { border-left: 1px solid #dadada; display: block; padding: 0 0 0 16px; padding-top: 0; } .rectangle-story-group__advert-mpu--small-desktop { display: block; padding: 0 0 0 8px; } .rectangle-story-group__hero--desktop { display: -ms-flexbox; display: flex; } .rectangle-story-group__article-hero--tablet { display: -ms-flexbox; display: flex; } .article-title-card-rectangle { width: 100%; } .article-title-card-rectangle__image:hover .article-title-card-rectangle__overlay { opacity: 1; } .article-title-card-rectangle__overlay { background-color: rgba(0, 0, 0, 0.6); bottom: 0; height: 100%; left: 0; opacity: 0; pointer-events: none; position: absolute; right: 0; top: 0; -webkit-transition: -webkit-transform 0.5s ease; transition: -webkit-transform 0.5s ease; transition: transform 0.5s ease; transition: transform 0.5s ease, -webkit-transform 0.5s ease; width: 100%; will-change: transform; } .article-title-card-rectangle__overlay--culture { background-color: rgba(72, 41, 120, 0.6); } .article-title-card-rectangle__image { margin-right: 40px; max-height: 390px; max-width: 620px; overflow: hidden; position: relative; width: auto; } .article-title-card-rectangle__image img { display: block; min-height: 194px; min-width: 344px; width: 100%; } .article-title-card-rectangle__image--tablet, .article-title-card-rectangle__image--desktop { margin-right: 0; width: 100%; } .article-title-card-rectangle__image--tablet img, .article-title-card-rectangle__image--desktop img { width: 110%; } .article-title-card-rectangle__image--preview-article { margin-right: 0; } .article-title-card-rectangle__image--index { margin-right: 0; max-width: 100%; } .article-title-card-rectangle__container { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; position: relative; } .article-title-card-rectangle__container--tablet, .article-title-card-rectangle__container--desktop { -ms-flex-align: center; align-items: center; -ms-flex-direction: row; flex-direction: row; } .article-title-card-rectangle__container--preview-article { margin-right: 8px; } .article-title-card-rectangle__container--index { -ms-flex-align: initial; align-items: initial; -ms-flex-direction: column; flex-direction: column; } .article-title-card-rectangle__text-box { background-color: #fff; margin-left: 40px; padding: 16px 22px 0; position: relative; top: -22px; } .article-title-card-rectangle__text-box__label { color: #4a4a4a; font-size: 12px; font-weight: bold; letter-spacing: 3px; line-height: 20px; margin: 0; text-transform: uppercase; width: -webkit-fit-content; width: -moz-fit-content; width: fit-content; } .article-title-card-rectangle__text-box__label--worklife:hover, .article-title-card-rectangle__text-box__label--future:hover { border-bottom: 1px solid #4a4a4a; } .article-title-card-rectangle__text-box__label--culture:hover { border-bottom: 1px solid #482978; } .article-title-card-rectangle__text-box__label--index { color: #000; font-size: 20px; font-weight: 300; letter-spacing: -0.53px; line-height: 30px; } .article-title-card-rectangle__text-box__label--index--tablet { font-size: 28px; letter-spacing: -0.74px; line-height: 44px; } .article-title-card-rectangle__text-box__label--index--desktop { font-size: 32px; letter-spacing: -0.84px; line-height: 44px; } .article-title-card-rectangle__text-box__header { color: #2e2e2e; font-size: 18px; letter-spacing: -0.21px; line-height: 30px; margin-bottom: 30px; margin-top: 12px; } .article-title-card-rectangle__text-box__header--desktop { font-size: 28px; } .article-title-card-rectangle__text-box__header--tablet { font-size: 26px; } .article-title-card-rectangle__text-box__header--index { color: #3d3d3d; font-family: Helvetica; font-size: 16px; letter-spacing: -0.12px; line-height: 31px; margin-top: 4px; } .article-title-card-rectangle__text-box__author { color: #4a4a4a; font-size: 14px; font-style: italic; letter-spacing: -0.1px; line-height: 35px; margin: 8px 0 0; } .article-title-card-rectangle__text-box__author--tablet { margin: 14px 0 0; } .article-title-card-rectangle__text-box--tablet, .article-title-card-rectangle__text-box--desktop { left: -40px; margin: 0; padding: 40px; top: 0; -webkit-transform: none; transform: none; } .article-title-card-rectangle__text-box--desktop { display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; -ms-flex-pack: center; justify-content: center; } .article-title-card-rectangle__text-box--tablet { padding: 35px 22px 22px; } .article-title-card-rectangle__text-box--index { left: 0; margin-right: 40px; } .article-title-card-rectangle__text-box--index--tablet { margin-left: 50px; margin-right: 50px; padding: 30px 36px 0; top: -80px; } .article-title-card-rectangle__text-box--index--desktop { margin-left: 50px; max-width: 560px; top: -88px; width: 100%; } .article-title-card-rectangle__link { color: #000; text-decoration: none; } .article-title-card-rectangle__text-container { display: block; max-width: 252px; } .article-title-card-rectangle__text-container--tablet, .article-title-card-rectangle__text-container--desktop { max-width: 320px; } .article-title-card-rectangle__preview-container { color: #4d4d4d; text-decoration: none; } .article-title-card-rectangle__preview-text { display: block; font-size: 16px; line-height: 24px; margin-top: 27px; max-width: 396px; } .article-title-card-rectangle__read-more { display: inline-block; font-size: 15px; letter-spacing: 4px; margin: 25px 16px 0 0; text-transform: uppercase; } .article-title-card-rectangle__arrow { color: #bababa; display: inline-block; -webkit-transform: rotate(-90deg); transform: rotate(-90deg); } .article-headline { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; padding: 43px 0; } .article-headline .article-labels { text-align: center; } .article-headline__line--short { margin-bottom: 40px; } .article-headline--largeTablet .article-headline__text { font-size: 32px; text-align: center; } .article-headline--tablet { padding: 31px 0; } .article-headline--tablet .article-headline__collection { margin-bottom: 24px; } .article-headline--tablet .article-headline__text { font-size: 32px; letter-spacing: -0.84px; margin: 0 15px 23px; text-align: center; } .article-headline--mobile { padding: 20px 0; } .article-headline--mobile .article-headline__text { font-size: 24px; letter-spacing: -0.63px; margin: 0 15px 15px; text-align: center; } .article-headline--mobile .article-headline__collection { margin-bottom: 15px; } .article-headline__collection { margin-bottom: 40px; } .article-headline__collection a { color: #242424; } .article-headline__text { font-size: 45px; letter-spacing: -1.26px; line-height: 30px; margin-bottom: 44px; } /* stylelint-disable property-no-unknown */ .loading-spinner { margin: 0 auto; text-align: center; } .loading-spinner__message { color: #002756; display: block; font-size: 1.2rem; font-weight: bold; margin: 12px 0; text-align: center; text-transform: uppercase; } .loading-spinner__image { display: block; margin: 0 auto; width: 48px; } @media only screen and (min-width: 1600px) { .hero-image { height: 900px; position: relative; } .hero-image img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } } @media only screen and (max-width: 1600px) { .hero-image { height: 0; overflow: hidden; padding-top: 56.25%; position: relative; } .hero-image img { height: 100%; left: 0; position: absolute; top: 0; width: 100%; } } /* stylelint-disable property-no-unknown */ .article-hero { height: 672px; margin: 0; overflow: hidden; position: relative; width: 100%; } .article-hero--small-mobile { height: 373px; } .article-hero--mobile { height: 486px; } .article-hero--small-tablet { height: 433px; } .article-hero--tablet { height: 433px; } .article-hero--tablet .article-hero__content { padding: 60px 15px 0; } .article-hero__content { margin: auto; max-width: 1004px; pointer-events: none; position: relative; z-index: 1; } .article-hero--desktop { height: 573px; } .article-hero--desktop .article-hero__content { padding: 50px 30px 0; } .article-hero--large-desktop .article-hero__content { max-width: 1276px; } .article-hero--small-tablet .article-hero__content, .article-hero--mobile .article-hero__content, .article-hero--small-mobile .article-hero__content { padding: 60px 10px 0; } .article-hero--small-tablet .article-hero__content-title, .article-hero--mobile .article-hero__content-title, .article-hero--small-mobile .article-hero__content-title { font-size: 24px; line-height: 30px; max-width: 220px; } .article-hero--small-tablet .article-hero__content-line, .article-hero--mobile .article-hero__content-line, .article-hero--small-mobile .article-hero__content-line { margin-bottom: 16px; margin-top: 16px; } .article-hero--small-tablet .article-hero__content-labels, .article-hero--mobile .article-hero__content-labels, .article-hero--small-mobile .article-hero__content-labels { margin-bottom: 15px; } .article-hero--small-tablet .article-hero__content-cta, .article-hero--mobile .article-hero__content-cta, .article-hero--small-mobile .article-hero__content-cta { line-height: 22px; } .article-hero--small-tablet .article-hero__content-cta a, .article-hero--mobile .article-hero__content-cta a, .article-hero--small-mobile .article-hero__content-cta a { letter-spacing: 3px; } .article-hero__ambient-hidden { display: none; } .article-hero__background-ambient { bottom: 0; left: 0; position: absolute; right: 0; top: 0; z-index: -1; } .article-hero__background::after { background-image: linear-gradient(-63deg, rgba(0, 0, 0, 0) 0%, rgba(0, 0, 0, 0.06) 24%, rgba(0, 0, 0, 0.2) 51%, rgba(0, 0, 0, 0.32) 67%, rgba(0, 0, 0, 0.51) 100%); content: ''; height: 100%; left: 0; pointer-events: none; position: absolute; top: 0; width: 100%; } .article-hero__background img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } .article-hero__background--parallax img { -webkit-transform: scale(1.1); transform: scale(1.1); } .article-hero a { color: #fff; letter-spacing: 3px; text-decoration: none; } .article-hero__content-cta { clear: both; font-size: 16px; font-weight: 400; letter-spacing: 4px; line-height: 20px; max-width: 170px; pointer-events: all; text-shadow: 0 2px 4px rgba(0, 0, 0, 0.5); text-transform: uppercase; } .article-hero__content-cta a { display: -ms-flexbox; display: flex; letter-spacing: 4px; } .article-hero__content-labels { font-size: 12px; letter-spacing: 1px; line-height: 16px; margin-bottom: 20px; pointer-events: all; } .article-hero__content-line { background-color: #fff; border: 0; display: block; float: left; height: 1px; margin-bottom: 18px; margin-right: 300px; margin-top: 25px; width: 120px; } .article-hero__content-right-arrow { position: relative; } .article-hero__content-right-arrow::before { background: #fff; content: ''; height: 2px; left: 5px; margin-top: -1px; opacity: 0.4; position: absolute; top: 50%; -webkit-transition: all 0.3s ease; transition: all 0.3s ease; width: 20px; } .article-hero__content-right-arrow::after { border-right: 2px solid #fff; border-top: 2px solid #fff; content: ''; display: inline-block; height: 10px; left: 16px; margin-top: 5px; opacity: 0.4; position: absolute; -webkit-transform: rotate(45deg); transform: rotate(45deg); width: 10px; } .article-hero__content-right-arrow--small::before { opacity: 1; } .article-hero__content-right-arrow--small::after { margin-top: 6px; opacity: 1; } .article-hero__content-right-arrow img { height: 11px; margin-left: 10px; width: 19px; } .article-hero__content-title { color: #fff; font-size: 50px; line-height: 54px; margin-top: 0; max-width: 450px; pointer-events: all; text-shadow: 0 1px 2px rgba(51, 51, 51, 0.7); } .article-hero__content-title a { letter-spacing: -1.32px; } .article-hero__title-text { display: inline; } .article-hero__content-title > a:hover > div, .article-hero__content-subtitle > a:hover { background-image: -webkit-gradient(linear, left top, right top, color-stop(100%, currentColor), color-stop(0%, transparent)); background-image: linear-gradient(to right, currentColor 100%, transparent 0%); background-position: 0 1.15em; background-repeat: repeat-x; background-size: 100% 2px; } .article-hero__content-subtitle { clear: both; color: #fff; font-size: 23px; font-weight: 500; line-height: 32px; margin-bottom: 16px; margin-top: 0; max-width: 440px; pointer-events: all; text-shadow: 0 1px 2px rgba(51, 51, 51, 0.5); } .article-hero__content-subtitle a { letter-spacing: -1px; } .article-hero__content-title--small { font-size: 30px; line-height: 35px; } .article-hero__content-title--tablet { clear: both; font-size: 32px; letter-spacing: -0.84px; line-height: 42px; max-width: 264px; } .article-hero__content-title--small a { letter-spacing: -0.63px; } .article-hero__down-arrow { background-color: transparent; border: 0; bottom: 0; color: #fff; cursor: pointer; display: inline-block; left: calc(50% - 29px); margin: 0; margin-bottom: 15px; padding: 0; position: absolute; -webkit-transform: scale(0.5); transform: scale(0.5); } .see-more-button-container { color: #fff; } /* stylelint-disable */ @media screen and (min-width: 1000px) { .similar-articles-story { max-width: 900px; } } @media screen and (min-width: 601px) and (max-width: 999px) { .similar-articles-story { max-width: 600px; } } @media screen and (max-width: 600px) { .similar-articles-story { max-width: 300px; } } .related-articles { position: relative; } .related-articles__header { text-align: center; background-color: #000; color: #fff; font-size: 14px; font-weight: normal; letter-spacing: 3px; margin: 0 0 20px; padding: 8px; text-transform: uppercase; } .related-articles__header--bright { margin: 20px 0 1.15ex; font-size: 13px; background-color: #d8d8d8; color: rgba(0, 0, 0, 0.7); letter-spacing: 2px; line-height: 3; } .related-articles__list { list-style: none; padding: 0 0 1.5ex 0; margin: 0; display: -ms-flexbox; display: flex; -ms-flex-flow: row wrap; flex-flow: row wrap; /* .with-numbers */ } .related-articles__list li { -ms-flex-preferred-size: 100%; flex-basis: 100%; display: -ms-flexbox; display: flex; -ms-flex-flow: row nowrap; flex-flow: row nowrap; -ms-flex-pack: start; justify-content: flex-start; -ms-flex-align: stretch; align-items: stretch; -ms-flex-line-pack: stretch; align-content: stretch; } .related-articles__list li > div { -ms-flex: 1 1; flex: 1 1; } .related-articles__list.with-numbers { counter-reset: related-numbers; list-style-image: url(data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7); margin: 0 35px; } .related-articles__list.with-numbers li::before { counter-increment: related-numbers; content: counter(related-numbers); font-weight: bold; font-size: 40px; -ms-flex-item-align: end; align-self: flex-end; line-height: 1.85; font-style: italic; letter-spacing: 0; color: rgba(0, 0, 0, 0.18); -ms-flex: 0.1 0.1; flex: 0.1 0.1; -ms-flex-preferred-size: 1ex; flex-basis: 1ex; padding-right: 1ex; text-align: center; display: block; } .related-articles__list.with-numbers li { margin-bottom: 10px; } .related-articles--wide-layout { background-color: initial; margin-top: 20px; } ul.related-articles__list:not(.list-wide) li { max-width: 100%; } ul.related-articles__list:not(.list-wide).with-borders li:not(:last-of-type) { border-bottom: 1px solid rgba(0, 0, 0, 0.1); } ul.related-articles__list.list-wide li { max-width: 49.8%; } ul.related-articles__list.list-wide.with-borders li { border-bottom: 1px solid rgba(0, 0, 0, 0.1); } .related-article { -ms-flex-align: stretch; align-items: stretch; display: -ms-flexbox; display: flex; -ms-flex-flow: row nowrap; flex-flow: row nowrap; -webkit-box-sizing: border-box; box-sizing: border-box; font-size: 16px; min-height: 90px; } .related-article__image { width: calc(90px + 0.5ex); -ms-flex: 0.3 0.3; flex: 0.3 0.3; min-width: 90px; max-width: calc(90px + 0.5ex); margin: 0; display: block; line-height: 0; -ms-flex-order: -1; order: -1; } .related-article__image img { width: 100%; border: 0; margin: 0 12px 0 0; } .related-article__text { display: -ms-flexbox; display: flex; -ms-flex-flow: column nowrap; flex-flow: column nowrap; width: 100%; -ms-flex-pack: start; justify-content: flex-start; -ms-flex-line-pack: start; align-content: flex-start; position: relative; padding: 12px 6px 12px 0; line-height: 1.5; } .related-article__text a { width: 100%; padding-left: 12px; display: -ms-flexbox; display: flex; text-decoration: none; } .related-article__text a + a { margin-top: 1ex; } .related-article__text br { display: none; } .related-article__title { color: rgba(46, 46, 46, 0.85); letter-spacing: -0.01em; -ms-flex: 1 1; flex: 1 1; } .related-article__title:hover { color: #2e2e2e; } .related-article__collection { display: block; color: #4a4a4a; font-size: 12px; font-weight: bold; letter-spacing: 2.5px; line-height: 1.2; text-decoration: none; text-transform: uppercase; } .related-article__collection span { display: none; } .related-articles__list.square-images .related-article { margin: 0.75ex 0; } .related-articles__list.square-images .related-article:hover { background-color: #f9f9f9; } .related-articles__list.square-images.list-wide .related-article { margin: 1.25ex 1.75ex; } .related-articles__list.round-images a:hover { color: #000; } .related-articles__list.round-images .related-article { margin: 1.25ex 1.75ex; } .related-articles__list.round-images .related-article__title { padding-left: 10px; } .related-articles__list.round-images .related-article__image { width: calc(90px + 15px); max-width: calc(90px + 15px); margin: 0; } .related-articles__list.round-images .related-article__image img { border-radius: 50%; } .related-articles__list.round-images.list-wide .related-article { margin: 1.75ex 1.75ex; } .vertical-story-card-item { cursor: pointer; font-family: 'ReithSans'; height: 456px; margin: 20px 10px; position: relative; width: 297px; } @media only screen and (max-width: 1007px) { .vertical-story-card-item { width: 276px; } } @media only screen and (max-width: 600px) { .vertical-story-card-item { width: 276px; } } .vertical-story-card-item img { width: 100%; } .vertical-story-card-item__content-box { background-color: #fff; bottom: 0; -webkit-box-shadow: 0 0 5px #d8d8d8; box-shadow: 0 0 5px #d8d8d8; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; height: 111px; -ms-flex-pack: center; justify-content: center; position: absolute; right: 0; width: 275px; } @media only screen and (max-width: 1007px) { .vertical-story-card-item__content-box { width: 261px; } } .vertical-story-card-item__content-box h1 { color: #4a4a4a; font-size: 0.75rem; font-weight: bold; letter-spacing: 3px; margin: 0; padding: 0 10px; text-transform: uppercase; } .vertical-story-card-item__content-box h2 { color: #3d3d3d; font-size: 1.3125rem; font-weight: lighter; letter-spacing: -0.06px; line-height: 42px; margin: 0; padding: 0 10px; } /* stylelint-disable property-no-unknown */ .see-more-button { border-bottom: 1px solid #979797; text-align: center; } .see-more-button__inner { background-color: transparent; border: 0; color: #6c6c6c; cursor: pointer; font-size: 14px; letter-spacing: 2.92px; line-height: 19px; margin-bottom: 13px; position: relative; text-transform: uppercase; -webkit-transition: linear 0.6s; transition: linear 0.6s; } .see-more-button__inner-arrow { color: #6c6c6c; font-size: 10px; position: absolute; right: 9px; top: 2px; -webkit-transition: linear 0.3s; transition: linear 0.3s; } .see-more-button__inner-text { margin-right: 24px; } .see-more-button__inner:hover { color: #4a4a4a; } .see-more-button__inner:hover .see-more-button__inner-arrow { color: #4a4a4a; -webkit-transform: rotate(90deg); transform: rotate(90deg); } .vertical-story-group { font-family: 'ReithSans'; position: relative; } .vertical-story-group img { -o-object-fit: cover; object-fit: cover; width: 100%; } .vertical-story-group__image-container { height: 370px; position: relative; width: 100%; } .vertical-story-group__image-container img { height: 100%; } .vertical-story-group__image-mask { background: -webkit-gradient(linear, left top, right top, from(rgba(0, 0, 0, 0.6)), to(rgba(0, 0, 0, 0))); background: linear-gradient(to right, rgba(0, 0, 0, 0.6), rgba(0, 0, 0, 0)); bottom: 0; left: 0; position: absolute; right: 0; top: 0; } .vertical-story-group__heading-container { color: #fff; left: 50%; position: absolute; text-align: center; top: 80px; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); } @media only screen and (max-width: 599px) { .vertical-story-group__heading-container { top: 120px; } } .vertical-story-group__heading-container button { background-color: rgba(0, 0, 0, 0.8); border: 0; color: #fff; cursor: pointer; display: inline-block; font-size: 0.875rem; letter-spacing: 0.183rem; outline: none; padding: 15px 32px; text-align: center; text-decoration: none; } .vertical-story-group__heading-container h1 { font-size: 0.9rem; font-weight: bold; letter-spacing: 3.6px; margin-bottom: 20px; } .vertical-story-group__heading-container h2 { font-size: 2.1rem; font-weight: lighter; letter-spacing: -0.25px; line-height: 42px; } .vertical-story-group__heading-container-landscape { display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; left: 0; margin-left: auto; margin-right: auto; position: absolute; right: 0; top: 65px; width: 70%; } @media only screen and (max-width: 599px) { .vertical-story-group__heading-container-landscape { -ms-flex-align: center; align-items: center; -ms-flex-direction: column; flex-direction: column; } } .vertical-story-group__heading-container-landscape h1 { color: #fff; font-size: 2.25rem; font-weight: lighter; letter-spacing: 0.95px; margin: 0; } .vertical-story-group__heading-container-landscape button { background-color: rgba(0, 0, 0, 0.8); border: 0; color: #fff; cursor: pointer; display: inline-block; font-size: 0.875rem; height: 60px; letter-spacing: 0.183rem; outline: none; padding: 15px 32px; text-align: center; text-decoration: none; width: 260px; } @media only screen and (max-width: 599px) { .vertical-story-group__heading-container-landscape button { margin-top: 50px; } } .vertical-story-group__container { display: -ms-grid; display: grid; grid-auto-rows: minmax(auto, auto); grid-template-columns: repeat(auto-fit, minmax(290px, 310px)); height: 100%; -ms-flex-pack: center; justify-content: center; justify-items: center; margin-top: -210px; width: 100%; } @media only screen and (max-width: 599px) { .vertical-story-group__container { margin-top: -120px; } } /* stylelint-disable property-no-unknown */ .mapContainer .mapTitle { background: transparent; color: #fff; display: block; font-family: 'curiousSans-Bold', Arial, sans-serif; font-size: 0.9rem; font-weight: bold; letter-spacing: 3.6px; line-height: 1.1875em; margin-top: 2%; min-width: 25%; padding: 2%; padding-bottom: 0.375em; padding-left: 8px; padding-right: 16px; padding-top: 0.375em; position: relative; text-align: center; z-index: 100; } @media only screen and (max-width: 600px) { .mapContainer .mapTitle { font-size: 2.4em; } } .mapContainer .styled-line { margin-left: auto; margin-right: auto; } .mapContainer button { background-color: rgba(255, 255, 255, 0.9); border: 0; -webkit-box-sizing: border-box; box-sizing: border-box; cursor: pointer; display: block; height: 60px; outline: none; padding: 2px; width: 60px; } .mapContainer button .gelicon { color: #589e50; font-size: 2.5em; vertical-align: middle; } .mapContainer button:hover { background-color: #f2f2f2; } @media only screen and (max-width: 600px) { .mapContainer button { height: 50px; width: 50px; } .mapContainer button .gelicon { font-size: 2em; } } .mapContainer .navigationPanel { -ms-flex-align: end; align-items: flex-end; bottom: 0; display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; left: 50%; max-width: 1200px; padding: 10px; position: absolute; -webkit-transform: translate(-50%, 0); transform: translate(-50%, 0); width: 100%; } .mapContainer .zoomControls { background-color: #fff; } .mapContainer .mapboxgl-popup-content { border-radius: 0; -webkit-box-shadow: 0 3px 0 0 rgba(0, 0, 0, 0.1) !important; box-shadow: 0 3px 0 0 rgba(0, 0, 0, 0.1) !important; cursor: default; font-family: 'curiousSans-Bold', Arial, sans-serif; max-width: 300px; padding: 0 !important; text-align: left; } .mapContainer .mapboxgl-popup-content img { width: 300px; } @media only screen and (max-width: 600px) { .mapContainer .mapboxgl-popup-content { max-width: 190px; } .mapContainer .mapboxgl-popup-content img { width: 190px; } } .mapContainer .mapboxgl-ctrl-logo { display: none !important; } .mapContainer .map-marker svg { -webkit-transition: all 0.1s ease-out; transition: all 0.1s ease-out; } @media only screen and (max-width: 600px) { .mapContainer .map-marker svg { height: 52px; -webkit-transform: scale(0.75); transform: scale(0.75); } } .mapContainer .map-marker-active svg { -webkit-transform: scale(1.3); transform: scale(1.3); } @media only screen and (max-width: 600px) { .mapContainer .map-marker-active svg { height: 52px; -webkit-transform: scale(1); transform: scale(1); } } .mapContainer__articleInfo { padding: 0 18px; } .mapContainer__articleInfo .article-vertical a { color: #4a4a4a; display: block; font-size: 12px; font-weight: bold; letter-spacing: 3px; line-height: 16px; margin-right: auto; margin-top: 20px; text-decoration: none; text-transform: uppercase; } .mapContainer__articleInfo .article-title { font-size: 18px; letter-spacing: -0.21px; line-height: 30px; margin: 0.725em 0; } .mapContainer__articleInfo .article-title a { color: rgba(46, 46, 46, 0.85); text-decoration: none; } @media only screen and (max-width: 600px) { .mapContainer__articleInfo .article-title { font-size: 1.7em; } } .mapContainer__articleInfo .article-author { color: #4a4a4a; display: block; font-size: 14px; font-style: italic; letter-spacing: 0.1px; line-height: 35px; margin: 1.45em 0; text-decoration: none; } .location-header { font-size: 14px; letter-spacing: 2.92px; line-height: 19px; text-transform: uppercase; } .temperature-switcher { background: transparent; border: 0; cursor: pointer; font-size: 14px; font-style: italic; font-weight: 300; white-space: nowrap; } .temperature-switcher:active { color: currentColor; } .temperature-switcher__active { font-weight: bold; } .temperature-switcher span { margin: 0 0.2ex; } .day { --w-day-font-size: 14px; --w-day-temp-font-size: 20px; --w-day-temp-font-size-big: 32px; --w-day-temp-font-weight: 600; --w-day-name-font-weight: 500; -ms-flex-align: center; align-items: center; color: #959595; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; font-size: var(--w-day-font-size); } .day--desktop { --w-day-temp-font-size: 24px; --w-day-temp-font-weight: normal; --w-day-name-font-weight: 600; } .day:first-of-type { color: #4b4b4b; } .day__name { font-weight: var(--w-day-name-font-weight); line-height: 1; margin-bottom: 0.75em; text-transform: uppercase; } .day__symbol-header { display: block; height: 80px; margin: 7px 0 5px; width: 98px; } .day__symbol { display: block; height: 40px; margin: 7px 0 5px; width: 50px; } .day--desktop .day__symbol { height: 60px; margin-top: 15px; width: 70px; } .day__temp { font-size: var(--w-day-temp-font-size); font-weight: var(--w-day-temp-font-weight); line-height: 1.2; margin-top: 0.75em; text-transform: lowercase; } .day__temp--header { color: #4b4b4b; font-size: 32px; font-weight: bold; } .day--mobile:first-of-type { display: -ms-flexbox; display: flex; -ms-flex-flow: row wrap; flex-flow: row wrap; -ms-flex-pack: center; justify-content: center; margin-bottom: 3em; } .day--mobile:first-of-type .day__symbol { height: 60px; margin-right: 10px; overflow: visible; width: 80px; } .day--mobile:first-of-type .day__temp { font-size: var(--w-day-temp-font-size-big); font-weight: bold; margin-top: 0; } .day--mobile:first-of-type .day__location { font-size: 120%; font-weight: 500; margin: 1em 0; } .day--mobile:first-of-type .day__name { color: #959595; } .day--mobile:first-of-type .day__location, .day--mobile:first-of-type .day__name { text-align: center; width: 100%; } .weather { --w-height: 50px; --w-wrapper-margin: 24px; --w-days-flexbasis: 33%; margin-bottom: 2rem; } .weather--desktop { --w-height: 80px; --w-wrapper-margin: 50px; --w-days-flexbasis: initial; margin-bottom: 1rem; } .weather:not(.weather--desktop) .weather__days { -ms-flex-flow: row wrap; flex-flow: row wrap; } .weather:not(.weather--desktop) .day:first-of-type { -ms-flex-preferred-size: 100%; flex-basis: 100%; width: auto; } .weather__separator { border-right: 1px solid #dcdcdc; display: block; height: var(--w-height); } .weather__days { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-preferred-size: var(--w-days-flexbasis); flex-basis: var(--w-days-flexbasis); -ms-flex-pack: space-evenly; justify-content: space-evenly; margin-top: 2.5rem; } .weather__days--desktop { margin-top: 4rem; } .weather__header { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-flow: column; flex-flow: column; -ms-flex-pack: center; justify-content: center; margin-bottom: var(--w-wrapper-margin); } .weather__header button { margin-top: 1.5rem; } .weather__header--desktop { /* position the temperature switcher on desktop */ position: relative; } .weather__header--desktop button { margin: 0; position: absolute; right: 0; } /* stylelint-disable property-no-unknown */ .beta-btn { background-color: #e6711b; color: #fff; cursor: pointer; height: 25px; line-height: 12px; padding: 0 7px; width: 66px; } .beta-btn:hover .beta-btn__arrow { cursor: pointer; -webkit-transform: rotate(45deg); transform: rotate(45deg); } .beta-btn:hover .beta-btn__arrow--expanded { -webkit-transform: rotate(-35deg); transform: rotate(-35deg); } .beta-btn__copy { color: #444; display: block; font-size: 12px; letter-spacing: 0; line-height: 17px; margin: 16px auto; max-width: 50%; } .beta-btn__arrow { border: solid #fff; border-width: 0 2px 2px 0; display: inline-block; padding: 3px; position: relative; top: -1px; -webkit-transform: rotate(-45deg); transform: rotate(-45deg); -webkit-transition: 0.4s; transition: 0.4s; } .beta-btn__arrow--expanded { -webkit-transform: rotate(45deg); transform: rotate(45deg); } .image-card { position: relative; } .image-card img { -o-object-fit: cover; object-fit: cover; width: 100%; } .image-card__heading-container { color: #fff; left: 50%; position: absolute; text-align: center; top: 80px; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); } .image-card__heading-container button { background-color: rgba(0, 0, 0, 0.8); border: 0; color: #fff; cursor: pointer; display: inline-block; font-size: 0.875rem; letter-spacing: 0.183rem; outline: none; padding: 15px 32px; text-align: center; text-decoration: none; } .image-card__heading-container h1 { font-size: 0.9rem; font-weight: bold; letter-spacing: 3.6px; margin-top: 0; } .image-card__heading-container h2 { font-size: 2.1rem; font-weight: lighter; letter-spacing: -0.25px; line-height: 42px; margin-top: 0; } .image-card__heading-container-landscape { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; left: 50%; position: absolute; text-align: center; top: 50%; -webkit-transform: translate(-50%, -50%); transform: translate(-50%, -50%); width: 90%; } .image-card__heading-container-landscape__mobile { -ms-flex-align: center; align-items: center; -ms-flex-direction: column; flex-direction: column; } .image-card__heading-container-landscape h1 { color: #fff; font-size: 2.25rem; font-weight: lighter; letter-spacing: 0.95px; margin-top: 0; } .image-card__heading-container-landscape button { background-color: rgba(0, 0, 0, 0.8); border: 0; color: #fff; cursor: pointer; display: inline-block; font-size: 0.875rem; height: 60px; letter-spacing: 0.183rem; outline: none; padding: 15px 32px; text-align: center; text-decoration: none; width: 260px; } .destination-header { width: 100%; } .destination-header__container { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; min-height: 380px; overflow: hidden; padding: 0 16px; position: relative; } .destination-header__image { height: 100%; overflow: hidden; position: absolute; width: 100%; } .destination-header__image img { bottom: -100%; display: block; height: 100%; left: -100%; margin: auto; min-height: 100%; min-width: 100%; object-fit: cover; position: absolute; right: -100%; top: -100%; width: 100%; } .destination-header__text { color: #fff; font-size: 28px; letter-spacing: -0.95px; line-height: 37.4px; max-width: 488px; padding: 0 20px; position: relative; text-align: center; text-transform: uppercase; width: 100%; } .destination-header__text a { color: #fff; font-weight: 300; text-decoration: none; } .destination-header__text--desktop { font-size: 36px; } .destination-header__text-container { border-bottom: solid 1px #fff; display: inline-block; line-height: 1.3; padding-bottom: 17px; } .destination-header__text-container--desktop { padding-bottom: 0.75ex; } .destination-header__link-page, .destination-header__advert { color: #fff; font-size: 12px; letter-spacing: 0.5px; margin-top: 20px; position: relative; text-align: center; } .destination-header__link-page span, .destination-header__advert span { display: block; width: 100%; } .destination-header__link-page--desktop, .destination-header__advert--desktop { margin-top: 40px; } .destination-header__link-page { left: 14px; margin: 0; position: absolute; text-transform: uppercase; top: 20px; } .destination-header__link-page--desktop { left: 25px; top: 36px; } .destination-header__background { background-image: radial-gradient(50% 49%, rgba(5, 36, 53, 0.37) 50%, rgba(0, 0, 0, 0) 83%); height: 100%; pointer-events: none; position: absolute; top: 0; width: 100%; } .destination-header a { color: #fff; text-decoration: none; } .filter { display: inline-block; max-width: 160px; position: relative; } .filter__button { background-color: #000; border: 0; color: #fff; font-size: 16px; padding: 16px; width: 160px; } .filter__content { background-color: #000; display: none; position: absolute; width: 160px; z-index: 1; } .filter:focus .filter__content, .filter:hover .filter__content { display: block; } .filter__content--open { display: block; } .filter__content button { background-color: #000; border: 0; color: #fff; cursor: pointer; display: block; font-style: italic; padding: 12px 16px; text-decoration: none; width: 100%; } .filter__content button:hover { background-color: #494848; } .callout-box-card { background-color: #eaeaea; color: #4a4a4a; margin-left: auto; margin-right: auto; text-align: left; } .callout-box-card img { height: 100%; width: 100%; } .callout-box-card__container { padding: 0.2rem 1.5rem; } .callout-box-card__container h3 { font-size: 12px; font-weight: bold; letter-spacing: 3px; line-height: 16px; margin: 1rem 0; text-transform: uppercase; } .callout-box-card__container h4 { font-size: 28px; font-weight: lighter; letter-spacing: -0.21px; line-height: 35px; } .callout-box-card__container .body { font-size: 16px; font-weight: lighter; letter-spacing: -0.12px; line-height: 31px; } .callout-box-card__container .body a { color: #4a4a4a; font-weight: bold; text-decoration: none; } /* stylelint-disable property-no-unknown */ .see-more-button { border-bottom: 1px solid #979797; text-align: center; } .see-more-button-inner { background-color: transparent; border: 0; color: #6c6c6c; cursor: pointer; font-size: 14px; letter-spacing: 2.92px; line-height: 19px; margin-bottom: 13px; position: relative; text-transform: uppercase; } .see-more-button-inner--light { color: #b4b4b4; } .see-more-button-inner__arrow { color: #6c6c6c; font-size: 10px; position: absolute; right: 9px; top: 2px; } .see-more-button-inner__arrow--light { color: #b4b4b4; } .see-more-button-inner__text { margin-right: 24px; } /* stylelint-disable property-no-unknown */ .load-more-button { -webkit-box-sizing: border-box; box-sizing: border-box; } .load-more-button__refresh.gelicon--refresh { margin-right: 16px; -webkit-transform: rotate(90deg); transform: rotate(90deg); } .load-more-button__downarrow { color: #adadad; font-size: 22px; -webkit-transition: 0.6s; transition: 0.6s; } .load-more-button__loading .load-more-button__refresh.gelicon--refresh { -webkit-animation: spin 2s linear infinite; animation: spin 2s linear infinite; } .load-more-button__downarrow:first-of-type { padding-right: 16px; } .load-more-button__downarrow:not(:first-of-type) { padding-left: 16px; } @-webkit-keyframes spin { 0% { -webkit-transform: rotate(90deg); transform: rotate(90deg); } 100% { -webkit-transform: rotate(-270deg); transform: rotate(-270deg); } } @keyframes spin { 0% { -webkit-transform: rotate(90deg); transform: rotate(90deg); } 100% { -webkit-transform: rotate(-270deg); transform: rotate(-270deg); } } /* stylelint-disable property-no-unknown */ .basic-button { -ms-flex-align: center; align-items: center; background-color: #fff; border: 1px solid #adadad; border-radius: 4px; -webkit-box-shadow: inset 0 0 0 0 #fff, 0 2px 0 0 rgba(0, 0, 0, 0.08); box-shadow: inset 0 0 0 0 #fff, 0 2px 0 0 rgba(0, 0, 0, 0.08); color: #193e6d; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 20px; height: 54px; -ms-flex-pack: center; justify-content: center; min-width: 222px; text-align: center; -webkit-transition: 0.6s; transition: 0.6s; } .basic-button--worklife { color: #0052a1; } .basic-button--future { color: #002856; } .basic-button--culture { color: #472479; } .basic-button--earth { color: #0fbb56; } .basic-button--travel { color: #589e50; } .basic-button__text { color: #444; font-family: 'BBC Reith Sans Cd'; font-size: 18px; line-height: 24px; -webkit-transition: 0.6s; transition: 0.6s; } .basic-button__text--white { color: #fff; } .basic-button__text--curious { font-family: 'CuriousSansBold'; } .basic-button__text--worklife { color: #0052a1; } .basic-button__text--future { color: #002856; } .basic-button__text--culture { color: #472479; } .basic-button__text--earth { color: #0fbb56; } .basic-button__text--travel { color: #589e50; } .basic-button::before { padding-right: 16px; } .basic-button:hover { background-color: #dedede; } .basic-button--background-light-blue:hover { background-color: #dfe8ff; } .basic-button--background-worklife { background-color: #0052a1; } .basic-button--background-future { background-color: #002856; } .basic-button--background-culture { background-color: #472479; } .basic-button--background-earth { background-color: #0fbb56; } .basic-button--background-travel { background-color: #589e50; } .basic-button--background-worklife:hover { background-color: #4494e4; } .basic-button--background-future:hover { background-color: #ffc857; } .basic-button--background-culture:hover { background-color: #472479; } .basic-button--background-earth:hover { background-color: #002856; } .basic-button--background-travel:hover { background-color: #002856; } .basic-button__text--bold { font-weight: bold; } /* stylelint-disable property-no-unknown */ .read-more-button { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-direction: column; flex-direction: column; font-weight: bold; position: relative; width: 224px; } /* stylelint-disable property-no-unknown */ .AdFrame { display: -ms-inline-flexbox; display: inline-flex; } .AdFrame--default { background-color: #f6f6f6; } .AdFrame--dark-grey { background-color: rgba(26, 26, 26, 0.8); } .AdFrame--centre-aligned { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; } /* stylelint-disable property-no-unknown */ .text-with-styled-background { height: inherit; position: relative; width: 100%; } .text-with-styled-background--collection { display: inline-block; width: unset; } .text-with-styled-background--center-align { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .text-with-styled-background__text { font-family: 'CuriousSansBold'; color: #444; display: block; font-size: 20px; line-height: 24px; padding: 0 0 0 10px; position: relative; } .text-with-styled-background__text--large { font-size: 26px; line-height: 30px; padding: 0 0 0 24px; } .text-with-styled-background__text--medium { font-size: 22px; line-height: 28px; } .text-with-styled-background__text--remove-padding { padding: 0; width: 100%; } .text-with-styled-background__text--largest { font-size: 38px; line-height: 47px; } .text-with-styled-background__text--worklife { color: #0052a1; } .text-with-styled-background__text--future { color: #002856; } .text-with-styled-background__text--culture { color: #472479; } .text-with-styled-background__text--earth { color: #0fbb56; } .text-with-styled-background__text--travel { color: #589e50; } .text-with-styled-background__text--blue { color: #0052a1; } .text-with-styled-background__text--collection { font-size: 28px; line-height: 34px; padding: 0; } .text-with-styled-background__text--collection--medium { font-size: 32px; line-height: 38px; } .text-with-styled-background__text--collection--large { font-size: 38px; line-height: 47px; } .text-with-styled-background__line-container { bottom: 0; margin-left: 13px; position: absolute; width: calc(100% - 26px); } .text-with-styled-background__line { background-color: rgba(25, 62, 109, 0.05); height: 26px; max-width: 240px; position: relative; } .text-with-styled-background__line--large { bottom: -10px; height: 42px; max-width: 340px; } .text-with-styled-background__line--narrow { height: 26px; max-width: 100%; } .text-with-styled-background__line--medium { bottom: -10px; height: 36px; max-width: 340px; } .text-with-styled-background__line--largest { max-width: 100%; } .text-with-styled-background__line-container--collection { width: calc(100% + 26px); } .text-with-styled-background__line-container--no-margin { margin: 0; } .text-with-styled-background__line--collection { height: 26px; } /* stylelint-disable property-no-unknown */ .previous-media-button { -ms-flex-align: center; align-items: center; background-color: #000; border: 0; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 16px; height: 50px; -ms-flex-pack: center; justify-content: center; outline: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; } .previous-media-button__icon--white svg { fill: #fff; } .previous-media-button span { height: 18px; width: 16px; } /* stylelint-disable property-no-unknown */ .simple-header { color: #444; font-size: 18px; font-weight: bold; line-height: 24px; margin: 0; } .simple-header--large { font-size: 28px; line-height: 34px; } .simple-header--simple { font-size: 18px; line-height: 22px; } .simple-header--small { font-size: 18px; letter-spacing: -0.5px; line-height: 28px; } .simple-header--smallest { font-family: Helvetica; font-size: 14px; line-height: 24px; } .simple-header--medium { font-size: 24px; line-height: 28px; } .simple-header--regular { font-size: 22px; line-height: 28px; } .simple-header--condensed-bold { font-stretch: condensed; } .simple-header--condensed-bold.simple-header--large { line-height: 37px; } .simple-header--condensed-bold.simple-header--regular { line-height: 28px; } .simple-header--white { color: #fff; } /* stylelint-disable property-no-unknown */ .play-button__inline-audio, .play-button__inline-video { -ms-flex-align: center; align-items: center; background-color: #000; border: 0; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 16px; height: 49px; -ms-flex-pack: center; justify-content: center; outline: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 49px; } .play-button__inline-audio .gelicon--play, .play-button__inline-video .gelicon--play { color: #ececec; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; } .play-button__inline-audio--worklife .gelicon--play, .play-button__inline-video--worklife .gelicon--play { color: #8beed9; } .play-button__inline-audio--travel .gelicon--play, .play-button__inline-video--travel .gelicon--play { color: #002856; } .play-button__inline-audio--future .gelicon--play, .play-button__inline-video--future .gelicon--play { color: #ffc857; } .play-button__inline-audio--culture .gelicon--play, .play-button__inline-video--culture .gelicon--play { color: #472479; } .play-button__inline-audio--earth .gelicon--play, .play-button__inline-video--earth .gelicon--play { color: #002856; } .play-button__inline-video:hover { background-color: #ececec; } .play-button__inline-video:hover .gelicon--play { color: #000; } .play-button__inline-audio { color: #fff; font-size: 22px; height: 50px; padding: 0; width: 50px; } .play-button { -ms-flex-align: center; align-items: center; background-color: rgba(0, 0, 0, 0.2); border: 2px solid #5ae9cb; border-radius: 50%; -webkit-box-shadow: 0 2px 4px 0 rgba(0, 0, 0, 0.2); box-shadow: 0 2px 4px 0 rgba(0, 0, 0, 0.2); color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 22px; height: 80px; -ms-flex-pack: center; justify-content: center; outline: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 80px; } .play-button:hover { color: #5ae9cb; } .play-button--white { border: 4px solid #fff; } .play-button--white:hover { color: #fff; } .play-button--white .gelicon--play { color: inherit; } .play-button--worklife { border: 2px solid #8beed9; } .play-button--worklife:hover { color: #8beed9; } .play-button--travel { border: 2px solid #002856; } .play-button--travel:hover { color: #002856; } .play-button--future { border: 2px solid #ffc857; } .play-button--future:hover { color: #ffc857; } .play-button--culture { border: 2px solid #472479; } .play-button--culture:hover { color: #472479; } .play-button--earth { border: 2px solid #002856; } .play-button--earth:hover { color: #002856; } .play-button--desktop { font-size: 30px; height: 76px; width: 76px; } .play-button--background-hover:hover { background-color: rgba(0, 0, 0, 0.6); } /* stylelint-disable property-no-unknown */ .error-button { -ms-flex-align: center; align-items: center; background-color: #000; border: 0; display: -ms-flexbox; display: flex; font-size: 22px; height: 50px; -ms-flex-pack: center; justify-content: center; outline: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; } .error-button .gelicon--alert { color: #ececec; } /* stylelint-disable property-no-unknown */ .simple-p-tag { color: #444; font-size: 18px; font-weight: bold; line-height: 24px; margin: 0; } .simple-p-tag--large { font-size: 28px; line-height: 34px; } .simple-p-tag--medium { font-size: 27px; letter-spacing: -1.69px; line-height: 32px; } .simple-p-tag--quote { color: #575757; } .simple-header--serif-light-italic { font-style: italic; line-height: inherit; } /* stylelint-disable property-no-unknown */ .text-summary__text { font-size: 16px; line-height: 24px; margin: 0; text-align: left; } .text-summary__text--blue { color: #193e6d; } .text-summary__text--black { color: #000; } .text-summary__text--grey { color: #6a6a6a; } .text-summary__text--dark-grey { color: #444; } .text-summary__text--left { text-align: left; } .text-summary__text--right { text-align: right; } .screen-reader-only { border: 0; clip: rect(1px, 1px, 1px, 1px); -webkit-clip-path: inset(50%); clip-path: inset(50%); height: 1px; margin: -1px; overflow: hidden; padding: 0; position: absolute !important; width: 1px; word-wrap: normal !important; } .inline-html { display: block; } /* stylelint-disable property-no-unknown */ .drop-capped { -ms-flex-align: center; align-items: center; border: 2px solid #444; color: #444; display: -ms-flexbox; display: flex; float: left; font-size: 58px; font-weight: bold; height: 84px; -ms-flex-pack: center; justify-content: center; margin: 8px 10px 4px 0; text-transform: uppercase; width: 84px; } .drop-capped--worklife { border-color: #8beed9; } .drop-capped--future { border-color: #ffc857; } .drop-capped--culture { border-color: #444; } .drop-capped--earth { border-color: #002856; } .drop-capped--travel { border-color: #002856; } .drop-capped--desktop { margin-right: 24px; } /* stylelint-disable property-no-unknown */ .close-nav { -ms-flex-align: center; align-items: center; background-color: unset; border: unset; cursor: pointer; display: -ms-flexbox; display: flex; position: relative; -webkit-transition: 0.4s; transition: 0.4s; } .close-nav__icon { color: #fff; display: -ms-flexbox; display: flex; font-size: 20px; -webkit-transition: 0.4s; transition: 0.4s; } .close-nav:hover .close-nav__icon { color: #cecece; -webkit-transform: rotate(90deg); transform: rotate(90deg); } .close-nav__label { display: inline-block; margin-right: 12px; } /* stylelint-disable property-no-unknown */ .nav-label { color: #4e4e4e; font-size: 16px; line-height: 22px; margin: auto; max-width: 1280px; -webkit-transition: 0.4s; transition: 0.4s; } .nav-label:hover { color: #8e8e8e; } .nav-label--menu { color: #ebebeb; } .nav-label--menu:hover { color: #cecece; } .nav-label--white { color: #fff; } .nav-label--curiousSans { font-family: 'CuriousSansBold'; } /* stylelint-disable property-no-unknown */ .nav-links__link { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; height: 100%; -ms-flex-pack: center; justify-content: center; padding-right: 24px; position: relative; text-decoration: none; white-space: nowrap; } .nav-links__link--active p { border-bottom: 2px solid #002856; font-weight: bold; } .nav-links__link--active--menu p { border-bottom: unset; } .nav-links__link--active--worklife p { border-bottom: 2px solid #0052a1; } .nav-links__link--active--culture p { border-bottom: 2px solid #472479; } .nav-links__link--active--earth p { border-bottom: 2px solid #0fbb56; } .nav-links__link--active--travel p { border-bottom: 2px solid #589e50; } .nav-links__icon { background-color: #0052a1; bottom: 10px; height: 2px; position: absolute; width: 80px; } .nav-links__link--menu { display: block; padding-right: unset; } .nav-links__icon--menu { display: none; } .nav-links__icon--menu-tablet { width: 60px; } .nav-links__icon--worklife { background-color: #0052a1; } .nav-links__icon--future { background-color: #002856; } .nav-links__icon--culture { background-color: #472479; } .nav-links__icon--earth { background-color: #0fbb56; } .nav-links__icon--travel { background-color: #589e50; } .nav-links__link--menu p { font-size: 26px; padding: 0 0 32px 24px; } .nav-links__link--menu-desktop p { font-size: 32px; line-height: 42px; padding: 0 0 44px 100px; } /* stylelint-disable property-no-unknown */ .burger-nav { background: transparent; border: 0; color: #0052a1; cursor: pointer; font-size: 20px; outline: none; padding: 0; } .burger-nav--worklife { color: #0052a1; } .burger-nav--future { color: #002856; } .burger-nav--culture { color: #472479; } .burger-nav--earth { color: #0fbb56; } .burger-nav--travel { color: #589e50; } .burger-nav--medium { font-size: 16px; } .burger-nav--small { font-size: 12px; } /* stylelint-disable property-no-unknown */ .nav-menu { background-color: #0052a1; display: block; height: 100%; left: 0; min-height: 100vh; opacity: 0.98; overflow: auto; position: fixed; top: 0; width: 100vw; } .nav-menu--worklife { background-color: #0052a1; } .nav-menu--future { background-color: #002856; } .nav-menu--culture { background-color: #472479; } .nav-menu--earth { background-color: #0fbb56; } .nav-menu--travel { background-color: #589e50; } .nav-menu__close-nav { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-pack: justify; justify-content: space-between; margin: auto; max-width: 1280px; padding: 16px 8px 60px; } .nav-menu__close-nav--desktop { padding: 20px 16px 70px; } .nav-menu__sponsored { background-color: rgba(34, 34, 34, 0.5); height: 100%; margin-bottom: 32px; } .nav-menu__sponsored--desktop { margin-bottom: 44px; } .nav-menu__sponsored-container { padding: 20px 16px 16px 24px; } .nav-menu__sponsored--desktop-container { margin: auto; max-width: 1264px; padding: 20px 16px 20px 100px; } .nav-menu__follow-us { padding: 52px 0 34px; } /* stylelint-disable property-no-unknown */ .ad-slot { display: inline-block; } .ad-slot__container { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .ad-slot__label { max-width: 120px; min-width: 112px; padding-right: 8px; text-align: right; } .ad-slot--leaderboard { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; -ms-flex-pack: center; justify-content: center; } .ad-slot__label--mpu, .ad-slot__label--leaderboard { margin-bottom: 8px; max-width: unset; padding-right: unset; text-align: right; } .ad-slot__container--mpu, .ad-slot__container--leaderboard { display: inline-block; -ms-flex-wrap: unset; flex-wrap: unset; } .ad-slot__fake--sponsor { background-color: #5ae9cb; height: 31px; min-width: 88px; } .ad-slot__fake--mpu { background-color: #5ae9cb; height: 250px; min-width: 300px; } .ad-slot__fake--mpu-large { background-color: #5ae9cb; height: 600px; min-width: 300px; } .ad-slot__fake--leaderboard-large { background-color: #5ae9cb; height: 90px; min-width: 728px; } .ad-slot__fake--leaderboard-medium { background-color: #5ae9cb; height: 50px; min-width: 320px; } .ad-slot__fake--leaderboard-small { background-color: #5ae9cb; height: 50px; min-width: 300px; } .ad-slot__label--dark { color: #dcdcdc; } .ad-slot--dark { background-color: #f6f6f6; padding: 8px; } .ad-slot--black { background-color: rgba(26, 26, 26, 0.8); padding: 8px; } .open-nav { -ms-flex-align: center; align-items: center; background-color: unset; border: unset; cursor: pointer; display: -ms-flexbox; display: flex; -ms-flex-pack: end; justify-content: flex-end; padding: 0; position: relative; -webkit-transition: 0.4s; transition: 0.4s; } .open-nav__icon { display: -ms-flexbox; display: flex; } .open-nav__label { display: inline-block; margin-right: 12px; } .play-icon { background: transparent; border: 0; color: #fff; font-size: 12px; outline: none; padding: 0; } .play-icon--red { color: #f00; } .play-icon--grey { color: #999; } .play-icon--medium { font-size: 16px; } .play-icon--large { font-size: 20px; } .camera-icon { background: transparent; border: 0; color: #fff; font-size: 12px; outline: none; padding: 0; } .camera-icon--red { color: #f00; } .camera-icon--grey { color: #999; } .camera-icon--medium { font-size: 16px; } .camera-icon--large { font-size: 20px; } /* stylelint-disable property-no-unknown */ .nav-build-bar { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; height: auto; margin: auto; max-width: 1280px; width: 100%; } .nav-build-bar--mobile { height: auto; -ms-flex-pack: justify; justify-content: space-between; } .nav-build-bar--mobile .nav-build-bar__title-content { white-space: pre-wrap; } .nav-build-bar--tablet { height: 58px; } .nav-build-bar--desktop { height: 60px; } .nav-build-bar__links { display: -ms-flexbox; display: flex; -ms-flex-wrap: wrap; flex-wrap: wrap; height: 100%; -ms-flex-pack: end; justify-content: flex-end; margin-left: auto; overflow: hidden; } .nav-build-bar__sponsored-brand { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; margin-left: 8px; text-decoration: none; white-space: nowrap; } .nav-build-bar__sponsored-brand--no-brand { margin-left: 0; } .nav-build-bar__branding { display: -ms-flexbox; display: flex; padding: 0 8px 0 0; } .nav-build-bar__branding--tablet { padding: 0 30px 0 0; } .nav-build-bar__branding--desktop { padding: 0 80px 0 0; } .nav-build-bar__title-content { border: 1.78px solid; color: #444; font-size: 22px; font-weight: bold; margin: unset; padding: 8px; width: -webkit-fit-content; width: -moz-fit-content; width: fit-content; } .nav-build-bar__title-content--tablet { font-size: 24px; white-space: nowrap; } .nav-build-bar__title-content--desktop { font-size: 28px; } .nav-build-bar__open-nav { display: -ms-flexbox; display: flex; height: 48px; } .nav-build-bar__open-nav-button { display: -ms-flexbox; display: flex; padding-left: 8px; } .nav-build-bar__sponsored { background-color: #f6f6f6; border: 1px solid #d3d3d3; height: 48px; padding: 0 16px; } .nav-build-bar__open-nav--desktop { padding-right: 16px; } .nav-build-bar__open-nav--mobile { -ms-flex-pack: end; justify-content: flex-end; max-width: 100px; width: 100%; } .info-icon { background: transparent; border: 0; color: #fff; font-size: 12px; outline: none; padding: 0; } .info-icon--red { color: #f00; } .info-icon--grey { color: #999; } .info-icon--medium { font-size: 16px; } .info-icon--large { font-size: 20px; } /* stylelint-disable property-no-unknown */ .styled-dot { background-color: #5ae9cb; border-radius: 50%; -webkit-box-shadow: 0 1px 2px 0 rgba(25, 62, 109, 0.5); box-shadow: 0 1px 2px 0 rgba(25, 62, 109, 0.5); cursor: pointer; display: inline-block; height: 6px; width: 6px; } .styled-dot--no-cursor { cursor: unset; } .styled-dot--medium { -webkit-box-shadow: unset; box-shadow: unset; height: 10px; width: 10px; } .styled-dot--dark-blue { background-color: #193e6d; } .styled-dot--purple { background-color: #362e67; -webkit-box-shadow: unset; box-shadow: unset; } .styled-dot--black { background-color: #000; -webkit-box-shadow: unset; box-shadow: unset; } .styled-dot--grey-green { background-color: #008e9b; -webkit-box-shadow: unset; box-shadow: unset; } .styled-dot--dark-green { background-color: #589e50; -webkit-box-shadow: unset; box-shadow: unset; } .styled-dot--worklife { background-color: #8beed9; } .styled-dot--future { background-color: #ffc857; } .styled-dot--culture { background-color: #472479; } .styled-dot--earth { background-color: #002856; } .styled-dot--travel { background-color: #002856; } .styled-dot--worklife-prime { background-color: #0052a1; } .styled-dot--future-prime { background-color: #002856; } .styled-dot--culture-prime { background-color: #472479; } .styled-dot--earth-prime { background-color: #0fbb56; } .styled-dot--travel-prime { background-color: #589e50; } .styled-dot--large { -webkit-box-shadow: 0 1px 1px 0 rgba(25, 62, 109, 0.5); box-shadow: 0 1px 1px 0 rgba(25, 62, 109, 0.5); height: 16px; width: 16px; } .styled-dot--small { -webkit-box-shadow: unset; box-shadow: unset; height: 8px; width: 8px; } .styled-dot--grey { background-color: rgba(0, 0, 0, 0.2); } /* stylelint-disable property-no-unknown */ .email-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 11px; height: 50px; -ms-flex-pack: center; justify-content: center; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .email-icon:hover { background-color: #000; } .email-icon--red:hover { background-color: #f00; } /* stylelint-disable property-no-unknown */ .facebook-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 15px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .facebook-icon:hover { background-color: #3b5998; } .facebook-icon--blue { background-color: transparent; border: 1px solid #3b5998; color: #3b5998; } .facebook-icon--blue:hover { background-color: #3b5998; color: #fff; } .facebook-icon--white { background-color: transparent; border: 1px solid #fff; color: #fff; } .facebook-icon--white:hover { background-color: #fff; color: #3b5998; } .facebook-icon--small { font-size: 20px; height: 38px; width: 38px; } /* stylelint-disable property-no-unknown */ .hero-header { -ms-flex-align: center; align-items: center; display: -ms-flexbox; display: flex; } .hero-header__header { font-family: 'CuriousSansBold'; color: #fff; font-size: 38px; line-height: 40px; margin: 0; text-shadow: 0 1px 2px rgba(25, 62, 109, 0.7); } .hero-header__header--large { font-size: 44px; line-height: 48px; } .hero-header__header--medium { font-size: 38px; line-height: 47px; } .hero-header__header--small { font-size: 28px; line-height: 34px; } .hero-header__header--black { color: #000; text-shadow: unset; } .hero-header__header--grey { color: #adadad; text-shadow: unset; } .ticked-icon { -ms-flex-align: center; align-items: center; background-color: #13de99; border-radius: 50%; -webkit-box-shadow: 0 2px 4px 0 rgba(0, 0, 0, 0.2); box-shadow: 0 2px 4px 0 rgba(0, 0, 0, 0.2); display: -ms-flexbox; display: flex; height: 50px; -ms-flex-pack: center; justify-content: center; width: 50px; z-index: 55; } .ticked-icon--small { font-size: 12px; height: 38px; width: 38px; } /* stylelint-disable property-no-unknown */ .google-plus-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 26px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .google-plus-icon:hover { background-color: #d34836; } .google-plus-icon--red:hover { background-color: #f00; } /* stylelint-disable property-no-unknown */ .reddit-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 26px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .reddit-icon:hover { background-color: #ff4500; } .reddit-icon__hide { display: none; } .reddit-icon--red:hover { background-color: #f00; } /* stylelint-disable property-no-unknown */ .linkedin-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 13px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .linkedin-icon:hover { background-color: #0077b5; } .linkedin-icon--red:hover { background-color: #f00; } .share-button { -ms-flex-align: center; align-items: center; background-color: #fff; border: 1px solid #e4e4e4; color: #444; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 12px; font-weight: bold; -ms-flex-pack: center; justify-content: center; letter-spacing: 3px; padding: 18px 16px; text-transform: uppercase; -webkit-transition: 0.6s; transition: 0.6s; width: 110px; z-index: 55; } .share-button .gelicon--share { margin-right: 10px; -webkit-transition: 0.3s ease-in; transition: 0.3s ease-in; } .share-button:hover .gelicon--share, .share-button .gelicon--share-sharing { -webkit-transform: rotate(-180deg); transform: rotate(-180deg); } /* stylelint-disable property-no-unknown */ .whatsapp-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 13px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .whatsapp-icon:hover { background-color: #25d366; } .whatsapp-icon--red:hover { background-color: #f00; } /* stylelint-disable property-no-unknown */ .twitter-icon { -ms-flex-align: center; align-items: center; background-color: #193e6d; border-radius: 50%; color: #fff; cursor: pointer; display: -ms-flexbox; display: flex; font-size: 13px; height: 50px; -ms-flex-pack: center; justify-content: center; text-decoration: none; -webkit-transition-duration: 0.6s; transition-duration: 0.6s; width: 50px; z-index: 55; } .twitter-icon:hover { background-color: #1da1f2; } .twitter-icon--light-blue { background-color: transparent; border: 1px solid #1da1f2; color: #1da1f2; } .twitter-icon--light-blue:hover { background-color: #1da1f2; color: #fff; } .twitter-icon--white { background-color: transparent; border: 1px solid #fff; color: #fff; } .twitter-icon--white:hover { background-color: #fff; color: #1da1f2; } .twitter-icon--small { font-size: 18px; height: 38px; width: 38px; }/* stylelint-disable */ html, body { margin: 0; padding: 0; } #root *, #root *::before, #root *::after { box-sizing: border-box; } #root article, #root aside, #root figure, #root footer, #root header, #root nav, #root section { display: block; } body { background: #fff; } .app__body { display: flex; flex-direction: column; min-height: 100vh; overflow: visible; position: relative; } .app__domestic-disclaimer { bottom: 0; position: fixed; width: 100%; z-index: 5000; } .main { display: flex; flex: 1 0 auto; flex-direction: column; } .navigation { background-color: #fff; display: none; margin: auto; max-width: 1248px; padding: 4px 16px 0; position: relative; z-index: 1000; } @media (min-width: 1008px) and (max-width: 1279px) { .navigation { max-width: 976px; } } @media (min-width: 600px) { .navigation { padding: 0 16px 1px; } } @media (min-width: 600px) and (max-width: 1007px) { .navigation { max-width: 990px; } } @media (min-width: 300px) and (max-width: 399px) { .navigation { padding: 4px 8px; } } .navigation--display { display: block; } .navigation-sticky--undocked { background-color: #fff; width: 100%; z-index: 10000; } .StickyElement { position: relative; z-index: 1501; } .loader { display: none; height: 100%; left: -99999px; opacity: 0; position: absolute; top: 0; transition: 0.2s opacity; width: 100%; z-index: 1000; } .loader--is-active { background: white; display: block; left: 0; opacity: 1; } .loader__body { display: none; left: 50%; position: fixed; top: 50%; transform: translateX(-50%) translateY(-50%); } .loader__body--show-loader { display: block; } .no-js .loader { display: none; } .vertical-index { display: flex; flex: 1 0 auto; flex-direction: column; } .vertical-index__collection-swimlane { min-height: 400px; } .vertical-index .article-hero__content { margin-top: 106px; padding-left: 25px; } .vertical-index__full-width-ad { background-color: #f1f1f1; padding: 25px; } .vertical-index__latest-articles { margin-top: 35px; } .vertical-index__latest-articles--mobile { margin-top: 28px; } .vertical-index__storyworks-section { margin: auto; max-width: 1248px; padding: 16px 0 0; } @media (min-width: 1008px) { .vertical-index__storyworks-section { padding: 16px 16px 0; } } @media (min-width: 600px) and (max-width: 1007px) { .vertical-index__storyworks-section { margin: auto; max-width: 990px; padding: 8px 16px 0; } } @media (min-width: 1008px) and (max-width: 1279px) { .vertical-index__storyworks-section { max-width: 976px; } } .vertical-index__storyworks-section > div > div.bbccom_visible > div { background: #f1f1f1; display: inline-block; padding: 8px !important; } .vertical-index__full-width-ad .bbccom_standard_slot, .vertical-index__hero-article-leaderboard .bbccom_standard_slot { background-color: transparent !important; } .latest-articles__container { margin-bottom: 24px; } .latest-articles__container--tablet { margin-bottom: 26px; } .latest-articles__container--desktop { margin-bottom: 32px; } .latest-articles__articles { margin: auto; } .latest-articles__articles--mobile-rectangle { margin: auto; } .latest-articles__articles--tablet-rectangle { margin: auto 8px; } .latest-articles__editor { color: #020202; font-stretch: normal; font-size: 14px; font-style: normal; font-weight: normal; text-align: center; text-transform: uppercase; letter-spacing: 2.92px; margin: 0 0 22px; } .latest-articles__editor--tablet { margin-bottom: 32px; } .latest-articles__editor--desktop { margin-bottom: 36px; } .latest-articles__rectangle .adslot--mpu > div { padding: 0 8px 8px !important; } .latest-articles__rectangle 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id="article-hero-img-js"/></picture></div></div></div><div class="vertical-index__latest-articles vertical-index__latest-articles--mobile"><div class="latest-articles__container latest-articles__rectangle latest-articles__container--tablet"><p class="latest-articles__editor b-reith-sans-font latest-articles__editor--tablet">Editor's Picks</p><div class="latest-articles__articles latest-articles__articles--tablet latest-articles__articles--tablet-rectangle latest-articles__articles--mobile-rectangle"><div class="rectangle-story-group"><div class="rectangle-story-group__articles-container"><div><div data-bbc-container="latest-stories" data-bbc-title="Television's reckoning with the past" data-bbc-metadata="{"APP":"latest-stories","CHD":"card::1"}" data-bbc-result="https://www.bbc.com/culture/article/20211022-historical-drama-and-tvs-reckoning-with-the-past" data-bbc-client-routed="true" class="rectangle-story-group__article-hero rectangle-story-group__article-hero--tablet"><div 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type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09zqyyk.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09zqyyk.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p09zqyyk.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p09zqyyk.jpg" type="image/jpeg"/><img draggable="false" title="(Credit: Alamy)" src="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09zqyyk.jpg" alt="(Credit: Alamy)" id=""/></picture><span class="article-title-card-rectangle__overlay article-title-card-rectangle__overlay--culture"></span></a></div><div class="article-title-card-rectangle__text-box"><a class="article-title-card-rectangle__link article-title-card-rectangle__text-container" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/tags/the-100-greatest-tv-series-of-the-21st-century"><span class="article-title-card-rectangle__text-box__label article-title-card-rectangle__text-box__label--culture">The 100 greatest TV series of the 21st Century </span></a><a class="article-title-card-rectangle__link article-title-card-rectangle__text-container" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/article/20211022-historical-drama-and-tvs-reckoning-with-the-past"><h2 class="article-title-card-rectangle__text-box__header b-font-weight-300 b-reith-sans-font b-font-weight-300">Television's reckoning with the past</h2></a><span class="rectangle-story-item__line"><div class="styled-line styled-line--light-grey styled-line--height--small"></div></span><p class="article-title-card-rectangle__text-box__author b-font-family-serif b-reith-sans-font">By Caryn James</p></div></div></div></div></div><div class="rectangle-story-group__articles rectangle-story-group__articles--full-screen"><div class="rectangle-story-group__article rectangle-story-group__article--tablet rectangle-story-group__article--full-screen"><div data-bbc-container="latest-stories" data-bbc-title="Exploring the truth about our planet" data-bbc-metadata="{"APP":"latest-stories","CHD":"card::2"}" data-bbc-result="https://www.bbc.com/culture/article/20211020-the-art-exploring-the-truth-about-how-climate-change-began" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/article/20211020-the-art-exploring-the-truth-about-how-climate-change-began"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1600x900/p09z7x5y.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1600x900/p09z7x5y.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1280x720/p09z7x5y.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1280x720/p09z7x5y.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09z7x5y.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09z7x5y.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p09z7x5y.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p09z7x5y.jpg" type="image/jpeg"/><img draggable="false" title="(Credit: Louis Henderson/ Courtesy of the artist)" src="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09z7x5y.jpg" alt="(Credit: Louis Henderson/ Courtesy of the artist)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/columns/art"><span>Art</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/article/20211020-the-art-exploring-the-truth-about-how-climate-change-began"><span>Exploring the truth about our planet</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Precious Adesina</span></div></div></div><div class="rectangle-story-group__article rectangle-story-group__article--tablet rectangle-story-group__article--full-screen"><div data-bbc-container="latest-stories" data-bbc-title="Three stars for Eternals" data-bbc-metadata="{"APP":"latest-stories","CHD":"card::3"}" data-bbc-result="https://www.bbc.com/culture/article/20211024-three-stars-for-chlo-zhaos-disappointing-eternals" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/article/20211024-three-stars-for-chlo-zhaos-disappointing-eternals"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1600x900/p0b012xm.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1600x900/p0b012xm.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1280x720/p0b012xm.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1280x720/p0b012xm.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p0b012xm.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p0b012xm.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p0b012xm.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p0b012xm.jpg" type="image/jpeg"/><img draggable="false" title="Eternals (Credit: Marvel Studios)" src="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p0b012xm.jpg" alt="Eternals (Credit: Marvel Studios)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/article/20211024-three-stars-for-chlo-zhaos-disappointing-eternals"><span>Three stars for Eternals</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Nicholas Barber</span></div></div></div><div class="rectangle-story-group__article rectangle-story-group__article--tablet rectangle-story-group__article--full-screen"><div data-bbc-container="latest-stories" data-bbc-title="Why this show is the future of TV" data-bbc-metadata="{"APP":"latest-stories","CHD":"card::4"}" data-bbc-result="https://www.bbc.com/culture/article/20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/article/20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1600x900/p09ytf10.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1600x900/p09ytf10.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1280x720/p09ytf10.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1280x720/p09ytf10.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09ytf10.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09ytf10.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p09ytf10.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p09ytf10.jpg" type="image/jpeg"/><img draggable="false" title="(Credit: Alamy)" src="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09ytf10.jpg" alt="(Credit: Alamy)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/tags/the-100-greatest-tv-series-of-the-21st-century"><span>The 100 greatest TV series of the 21st Century </span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/article/20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv"><span>Why this show is the future of TV</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Leila Latif</span></div></div></div></div></div></div></div></div></div><div class="vertical-index__full-width-image-article"><div data-bbc-container="full-width-image-article" data-bbc-title="A Gen-Z spin on a centuries-old fashion" data-bbc-metadata="{"APP":"full-width-image-article","CHD":"card::1"}" data-bbc-result="https://www.bbc.com/culture/article/20210818-how-the-sari-is-being-reinvented-for-the-21st-century" data-bbc-client-routed="true" class="full-width-image-article"><div class="full-width-image-article__container"><div class="full-width-image-article__image"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1600x900/p09shzzw.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1600x900/p09shzzw.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1280x720/p09shzzw.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1280x720/p09shzzw.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09shzzw.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09shzzw.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p09shzzw.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p09shzzw.jpg" type="image/jpeg"/><img draggable="false" title="(Credit: Urban Drape)" src="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09shzzw.jpg" alt="(Credit: Urban Drape)" id=""/></picture><div class="full-width-image-article__background"></div></div><div class="full-width-image-article__text"><a class="full-width-image-article__link" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/style"><span class="full-width-image-article-text__label b-reith-sans-font">Style</span></a><a class="full-width-image-article__link" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/article/20210818-how-the-sari-is-being-reinvented-for-the-21st-century"><h2 class="full-width-image-article-text__header b-reith-sans-font b-font-weight-300">A Gen-Z spin on a centuries-old fashion</h2></a><p class="full-width-image-article-text__author b-font-family-serif b-font-weight-300">By Zinara Rathnayake</p></div></div></div></div><div class="vertical-index__latest-articles vertical-index__latest-articles--mobile"><div class="latest-articles__container latest-articles__rectangle latest-articles__container--tablet"><p class="latest-articles__editor b-reith-sans-font latest-articles__editor--tablet">Hot Topics</p><div class="latest-articles__articles latest-articles__articles--tablet latest-articles__articles--tablet-rectangle latest-articles__articles--mobile-rectangle"><div class="rectangle-story-group"><div class="rectangle-story-group__articles-container"><div><div data-bbc-container="latest-stories" data-bbc-title="100 best TV shows of the 21st Century" data-bbc-metadata="{"APP":"latest-stories","CHD":"card::1"}" data-bbc-result="https://www.bbc.com/culture/article/20211015-the-100-greatest-tv-series-of-the-21st-century" data-bbc-client-routed="true" class="rectangle-story-group__article-hero rectangle-story-group__article-hero--tablet"><div class="article-title-card-rectangle b-reith-sans-font"><div class="article-title-card-rectangle__container"><div class="article-title-card-rectangle__image"><a class="article-title-card-rectangle__link" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/article/20211015-the-100-greatest-tv-series-of-the-21st-century"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1600x900/p09ytk31.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1600x900/p09ytk31.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1280x720/p09ytk31.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1280x720/p09ytk31.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09ytk31.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09ytk31.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p09ytk31.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p09ytk31.jpg" type="image/jpeg"/><img draggable="false" title="(Credit: Efe Suárez)" src="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09ytk31.jpg" alt="(Credit: Efe Suárez)" id=""/></picture><span class="article-title-card-rectangle__overlay article-title-card-rectangle__overlay--culture"></span></a></div><div class="article-title-card-rectangle__text-box"><a class="article-title-card-rectangle__link article-title-card-rectangle__text-container" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/tags/television"><span class="article-title-card-rectangle__text-box__label article-title-card-rectangle__text-box__label--culture">Television</span></a><a class="article-title-card-rectangle__link article-title-card-rectangle__text-container" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/article/20211015-the-100-greatest-tv-series-of-the-21st-century"><h2 class="article-title-card-rectangle__text-box__header b-font-weight-300 b-reith-sans-font b-font-weight-300">100 best TV shows of the 21st Century</h2></a><span class="rectangle-story-item__line"><div class="styled-line styled-line--light-grey styled-line--height--small"></div></span><p class="article-title-card-rectangle__text-box__author b-font-family-serif b-reith-sans-font">By BBC Culture</p></div></div></div></div></div><div class="rectangle-story-group__articles rectangle-story-group__articles--full-screen"><div class="rectangle-story-group__article rectangle-story-group__article--tablet rectangle-story-group__article--full-screen"><div data-bbc-container="latest-stories" data-bbc-title="Cinema's most misunderstood filmmaker" data-bbc-metadata="{"APP":"latest-stories","CHD":"card::2"}" data-bbc-result="https://www.bbc.com/culture/article/20211015-cinemas-most-misunderstood-filmmaker" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/article/20211015-cinemas-most-misunderstood-filmmaker"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1600x900/p09yt87k.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1600x900/p09yt87k.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1280x720/p09yt87k.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1280x720/p09yt87k.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09yt87k.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09yt87k.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p09yt87k.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p09yt87k.jpg" type="image/jpeg"/><img draggable="false" title="French Dispatch" src="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09yt87k.jpg" alt="French Dispatch" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/columns/film"><span>Film</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/article/20211015-cinemas-most-misunderstood-filmmaker"><span>Cinema's most misunderstood filmmaker</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Mark Allison</span></div></div></div><div class="rectangle-story-group__article rectangle-story-group__article--tablet rectangle-story-group__article--full-screen"><div data-bbc-container="latest-stories" data-bbc-title="The greatest TV show of the century" data-bbc-metadata="{"APP":"latest-stories","CHD":"card::3"}" data-bbc-result="https://www.bbc.com/culture/article/20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/article/20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1600x900/p09yt98x.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1600x900/p09yt98x.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1280x720/p09yt98x.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1280x720/p09yt98x.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09yt98x.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09yt98x.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p09yt98x.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p09yt98x.jpg" type="image/jpeg"/><img draggable="false" title="Michael K Williams in The Wire" src="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09yt98x.jpg" alt="Michael K Williams in The Wire" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/tags/television"><span>Television</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/article/20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century"><span>The greatest TV show of the century</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Eric Deggans</span></div></div></div><div class="rectangle-story-group__article rectangle-story-group__article--tablet rectangle-story-group__article--full-screen"><div data-bbc-container="latest-stories" data-bbc-title="Exposing the evil in the ordinary" data-bbc-metadata="{"APP":"latest-stories","CHD":"card::4"}" data-bbc-result="https://www.bbc.com/culture/article/20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary" data-bbc-client-routed="true" class="rectangle-story-item b-reith-sans-font rectangle-story-item--tablet"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/article/20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary"><div class="rectangle-story-item__image-container rectangle-story-item__image-container--culture"><div class="rectangle-image rectangle-image--medium" style="background-image:url(https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/960x540/p082b33v.png)"><picture><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1600x900/p09ysvbw.webp" type="image/webp"/><source media="(min-width:1200px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1600x900/p09ysvbw.jpg" type="image/jpeg"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1280x720/p09ysvbw.webp" type="image/webp"/><source media="(min-width:880px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/1280x720/p09ysvbw.jpg" type="image/jpeg"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09ysvbw.webp" type="image/webp"/><source media="(min-width:576px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09ysvbw.jpg" type="image/jpeg"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p09ysvbw.webp" type="image/webp"/><source media="(min-width:224px)" srcset="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/624x351/p09ysvbw.jpg" type="image/jpeg"/><img draggable="false" title="Die Baba (1985) by Marlene Dumas (Credit: Marlene Dumas/Photo: Peter Cox, Eindhoven)" src="https://web.archive.org/web/20211028065714im_/https://ychef.files.bbci.co.uk/976x549/p09ysvbw.jpg" alt="Die Baba (1985) by Marlene Dumas (Credit: Marlene Dumas/Photo: Peter Cox, Eindhoven)" id=""/></picture><span class="rectangle-image__overlay rectangle-image__overlay--culture"></span></div></div></a><a class="rectangle-story-item__label b-reith-sans-font rectangle-story-item__label--tablet rectangle-story-item__label--culture" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/columns/art"><span>Art</span></a><div class="rectangle-story-item__container"><a class="rectangle-story-item__title" target="" rel="" id="" href="/web/20211028065714/https://www.bbc.com/culture/article/20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary"><span>Exposing the evil in the ordinary</span></a></div><div><span class="rectangle-story-item__line"><div class="styled-line styled-line--culture styled-line--height--small"></div></span><span class="rectangle-story-item__author b-font-family-serif">By Deborah Nicholls-Lee</span></div></div></div></div></div></div></div></div></div><div class="vertical-index__collection-swimlane"></div><div class="around-the-bbc-swimlane"><div class="swimlane"><div class="swimlane-inner swimlane-inner--small"><div class="swimlane__content"><span class="swimlane__title b-reith-sans-font">Around the BBC</span><div class="swimlane__items"></div></div></div><div class="swimlane__background-image swimlane__background-image--atb" style="background-image:linear-gradient(180deg, rgba(0,0,0,0.50) 0%, rgba(0,0,0,0.50) 100%), 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Later described by Empire magazine as \"a masterpiece of extreme cinema, crammed full of images that push back the boundaries of what's possible – and allowable – on screen\", it would be duly chopped into shreds by censors in the UK and further afield, and banned outright in several countries around the world.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211011-denis-villeneuve-the-sci-fi-director-of-the-21st-century\"\u003EThe sci-fi director of the 21st Century\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20201124-yukio-mishima-the-strange-tale-of-japans-infamous-novelist\"\u003EJapan's most infamous novelist\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210722-tokyo-olympiad-the-greatest-film-about-sport-ever-made\"\u003EIs Tokyo Olympiad the greatest sport film ever made?\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EIchi the Killer was directed by the now-infamous Takashi Miike – whose 1999 film Audition had already built him a reputation in the UK (after arriving on VHS via distribution label Tartan Video). It told the story of two deranged killers caught in a twisted cat-and-mouse chase across Tokyo's red-light district of Kabukicho; the \"Ichi\" of the title was a mentally disturbed man, manipulated to kill by a master hypnotist. Kakihara was the deranged yakuza enforcer hot on his trail, determined to use whatever torture methods necessary to track down the man responsible for killing his gang's boss.\u003C\u002Fp\u003E\n\u003Cp\u003EIchi the Killer typified the output of an intense faction of the East Asian cinema boom of the late-1990s and early-'00s. The film's distinct Japanese identity stoked its cult popularity in the West, and along with the whole \"Asia Extreme\" genre of the time, created a new era of shocking cinema that foreshadowed the emergence of ultra-violent films in the mainstream today. Twenty years after debuting in the UK, it returns to the big screen this month as the final feature in the BFI's six-film \"J-horror Weekender\" – part of its wider \u003Ca href=\"https:\u002F\u002Fwww.bfi.org.uk\u002Fjapan-2021\"\u003EJapan 2021 film season\u003C\u002Fa\u003E.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211026-how-ichi-the-killer-brought-ultra-violence-to-the-mainstream-0"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Nakata's J-horror classic Ring became an international sensation, with critics hailing a new golden era of Japanese cinema","id":"culture\u002Farticle\u002F20211026-how-ichi-the-killer-brought-ultra-violence-to-the-mainstream-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBack in the late 1990s, Hollywood genre cinema had been growing stale. While Hong Kong's \"gun fu\" directors like John Woo had been drafted in to help invigorate action films such as Hard Target (1993), Face\u002FOff (1997) and Mission Impossible: II (2000), classic horror franchises were resorting to more absurd methods to retain audiences. In Jason X (2001), Friday the 13th's Jason was sent into space in the year 2455 to smash up sexy astronauts, while the initially subversive slasher satire Scream (1996) had become a worn franchise in itself, while spawning countless teen splatter copycats. That an independent film like \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20151030-was-the-blair-witch-project-the-last-great-horror-film\"\u003EThe Blair Witch Project\u003C\u002Fa\u003E (1999) could gross nearly $250m worldwide on a budget of just $300,000 was a sign that the studios were losing their grip on the genre films market, allowing for independent and international works to make inroads just as films like \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20170117-why-reservoir-dogs-is-really-an-anti-violence-film\"\u003EReservoir Dogs\u003C\u002Fa\u003E and \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20140514-how-pulp-fiction-shook-up-film\"\u003EPulp Fiction\u003C\u002Fa\u003E had done earlier in the '90s.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211026-how-ichi-the-killer-brought-ultra-violence-to-the-mainstream-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b0c8x5"],"imageAlignment":"centre","imageAltText":"Still from ichi the Killer","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211026-how-ichi-the-killer-brought-ultra-violence-to-the-mainstream-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe same decade was significant for Japanese cinema. In 1997, a trio of Japanese films by Shohei Imamura, Naomi Kawase, and Takeshi Kitano won major awards at the \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Ftags\u002Fcannes-film-festival\"\u003ECannes\u003C\u002Fa\u003E and \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Ftags\u002Fvenice-film-festival\"\u003EVenice Film Festivals\u003C\u002Fa\u003E – including the Palme d'Or and the Golden Lion – putting a significant international focus on Japan's national cinema for the first time in a generation. Only a year later, Nakata's J-horror classic Ring (also referred to as Ringu) became an international sensation, with critics hailing a new golden era of Japanese cinema. Similar films such as Dark Water\u003Cem\u003E, \u003C\u002Fem\u003ETakashi Shimizu's Ju-On: The Grudge and Kiyoshi Kurosawa's Pulse flooded the UK via new, Asia-focused distribution labels thereafter. The legacy of these J-horror works was crystallised in the early 2000s when Hollywood remakes The Ring (Gore Verbinski, 2002) and The Grudge (Takashi Shimizu, 2004), returned box office figures of $249.4m and $187.2m, respectively.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211026-how-ichi-the-killer-brought-ultra-violence-to-the-mainstream-4"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Ultra-violent and provocative, Ichi the Killer lays out its super-charged film language in just a few delirious moments","id":"culture\u002Farticle\u002F20211026-how-ichi-the-killer-brought-ultra-violence-to-the-mainstream-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBut there was a faction beneath the umbrella of J-horror – a term that perhaps better describes the influx of evocative Japanese films in the West during that period rather than a uniform style or genre \u003Cem\u003E– \u003C\u002Fem\u003Ethat arguably left an even greater impact than these more traditional horror films, like Ring and Dark Water. Whereas these titles favoured subtle psychological tension, drawing upon Noh and Kabuki theatre and Japanese folk mythologies for their visuals and themes, films like the aforementioned Audition, Kinji Fukasaku's Battle Royale (2000) and Sion Sono's Suicide Circle (2001) did away with long-haired ghosts and subtle psychological tension, instead emphasising ultra-violent set-pieces and taboo subject matter such as torture, child murder and mass suicide. \"They were something we'd never seen before,\" Adam Torel, managing director of the UK's leading Japanese film distribution label, Third Window Films, tells BBC Culture. However he asserts that one film in particular led the field with the boundaries it dared to push.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003E'Garish and perverse'\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EUltra-violent and provocative, Ichi the Killer lays out its super-charged film language in just a few delirious moments. Chaotic, jerking camera motions and a hyper-kinetic editing style transform Tokyo's Shinjuku district into a neon blur as the film opens, as the bustling drums and industrial guitar sounds of Karera Musication (a side project of avant-garde noise-rock band Boredoms) provide a disorientating soundtrack. Soon after, the fate of the missing yakuza boss Anjo is confirmed to the audience with a cut to a room covered in CGI blood and cow intestines – and the film's intense visual identity is made plain.\u003C\u002Fp\u003E\n\u003Cp\u003E\"It comes straight from V-Cinema,\" Chika Kinoshita, a professor of Film Studies at Kyoto University, tells BBC Culture, of the low-budget film's frenetic filmmaking style. She refers to the thriving \u003Ca href=\"https:\u002F\u002Flwlies.com\u002Farticles\u002Fjapanese-v-cinema-takashi-miike-shinjuku-triad-society\u002F\"\u003Estraight-to-video market that emerged in Japan in the late 1980s\u003C\u002Fa\u003E, just as the economic bubble burst; a new arena that opened up avenues for young directors like Miike, Nakata and Kurosawa to prove their worth. Having established themselves in a field that emphasised cheap thrills good for eye-catching VHS box covers, these filmmakers would graduate to the big screen at almost exactly the same time that Japan had landed its historic triple-win at the world's leading film festivals.\u003C\u002Fp\u003E\n\u003Cp\u003EWhile Miike shared the benefits of these industry changes with many of the emerging J-horror directors, Ichi the Killer drew its aesthetic influences from elsewhere. Traditionally, \"J-horror is much more muted and atmospheric,\" Kinoshita explains, and indeed, the parallels between films like Ring and Ju-on: The Grudge with classic Japanese horror texts such as Kuroneko (Kaneto Shindo, 1968) and Kwaidan (Masaki Kobayashi, 1965) are evident. Ichi the Killer instead had a closer affinity with the brutal and energetic gangster thrillers of the 1970s, such as Fukasaku's Battles Without Honour or Humanity series, says Kinoshita. These films were marked by violent acts filmed on handheld cameras, set in the chaotic black markets of post-war Hiroshima in what was an economic crisis that, in many ways, anticipated that of the '90s. Indeed, Fukasaku's cult classic Battle Royale – an ultra-violent Lord of the Flies about a class of children instructed to fight to the death – cemented his own position as a central part of the \"Asia Extreme\" revolution. Miike would acknowledge his debt to the master explicitly a year after Ichi the Killer's release, when he remade Fukasaku's 1975 gangster classic Graveyard of Honour.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211026-how-ichi-the-killer-brought-ultra-violence-to-the-mainstream-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b0cy46"],"imageAlignment":"centre","imageAltText":"Battle Royale","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211026-how-ichi-the-killer-brought-ultra-violence-to-the-mainstream-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBut Ichi the Killer manifested Fukasaku's intense '70s style into something much more perverse, its garish sensory stimuli maintained throughout the film's numerous torturous interrogations, instigated by the sado-masochist Kakihara. Torel points to the film's distinctly Japanese source material – a popular and widely-consumed manga series by Hideo Yamamoto, which ran for 10 volumes between February 1998 and April 2001 – as a major influence on the film.\u003C\u002Fp\u003E\n\u003Cp\u003E\"Manga is a big pop culture element that you don't get in Western society,\" says Torel. \"And Japanese manga is a lot more extreme than Western manga, without a doubt.\" In his 1997 book The Encyclopedia of Japanese Pop Culture, the Japan Times film critic Mark Schilling declared: \"sex and violence sells, so rack after rack of manga in the neighbourhood convenience stores depict rapes, beatings and killings in graphic detail.\" Kinoshita agrees that such media has long been widespread in Japan’s pop culture – it, too, emerging partly from the same period as Fukasaku's violent yakuza thrillers. \"From the late '60s or '70s, manga gained a solid adult readership… and the content can be very sexual and\u002For violent,\" she says. \"I read that Miike was a fan of Yamamoto's original manga, and that he had an envy of him doing such graphic things at ease.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ECensorship debate\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EJapan's greater acceptance of violent content compared to other high-profile filmmaking nations meant that Ichi the Killer was banned outright in territories including Malaysia, Norway and Germany. Sixteen minutes and 59 seconds of the film were cut to ensure its release in Hong Kong. In the UK, 3 minutes and 21 seconds of scenes pertaining to mutilation, savagery and \"sexual pleasure from violence\" were censored by the BBFC to ensure a home media release. This is, after all, a film that features interrogation via boiling tempura oil and the graphic self-removal of a tongue. \"Nobody in the West could have made things like that at the time,\" says Torel, who points to the \"video nasty\" hysteria of the '80s, which led to the banning from distribution of countless European exploitation films via the 1984 Video Recordings Act. But Japan's attitude towards screen violence has traditionally been much more liberal.\u003C\u002Fp\u003E\n\u003Cp\u003E\"Officially, Japan has no censorship,\" says Kinoshita. \"Our constitution [which is designed to 'protect freedom of speech, press and all other forms of expression'] doesn't allow it.\" And while the country does have a film rating system, introduced in 1949 and modelled on America's Hays Code, it is an independent body rather than a government entity. Obscenity can become a criminal offence, says Kinoshita (she points to Nagisa Oshima, whose production materials for the erotic 1976 film In the Realm of the Senses landed the director a major lawsuit in Japan) – but crucially this regulation tends to target sexual rather than violent content. Indeed, in the BFI's 2020 Japanese Cinema Book, Rachael Hutchinson writes that violent physical imagery alone has not historically led to calls for censorship unless the ideology that accompanies it is deemed harmful. Kinoshita agrees: \"There is almost no limit to the violence [allowed] on screen in Japan… [and] no law that punishes on-screen violence in the same way as the obscenity law.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211026-how-ichi-the-killer-brought-ultra-violence-to-the-mainstream-8"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Miike makes very interesting distinctions as to how to show the violence and how to make the audience feel that violence – Chika Kinoshita","id":"culture\u002Farticle\u002F20211026-how-ichi-the-killer-brought-ultra-violence-to-the-mainstream-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESome of the more notorious cuts the film received overseas remain controversial to this day – and any discussion of the film cannot avoid confrontation of the debate over whether the film glorifies or denounces the acts on screen. In one infamous scene (to this day unavailable on any UK home media release due to censorship by the BBFC), a sex worker is mutilated before being beaten to death. And while Kinoshita feels that the director is astute in his intentions (neither act is explicitly seen, forcing the viewer to fill in the gaps), she acknowledges that the portrayal of such extreme, gendered violence has become more and more of a sensitive issue over the years.\u003C\u002Fp\u003E\n\u003Cp\u003E\"[The film] is a pure crystallisation of misogyny, in many ways… [and] I understand how some women cannot stand it,\" she says, conceding how it has become difficult to discuss the film as a part of her work. \"But at the same time, I really liked teaching this film because everything's on the table and everything's upfront. It's designed to provoke, but Miike's totally in control of the effect. He makes very interesting distinctions as to how to show the violence and how to make the audience feel that violence. And the film is very self-conscious of being unreal, and being a fiction.\" \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211026-how-ichi-the-killer-brought-ultra-violence-to-the-mainstream-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b0cf82"],"imageAlignment":"centre","imageAltText":"Ichi the Killer","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211026-how-ichi-the-killer-brought-ultra-violence-to-the-mainstream-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAnd a liberal dose of black comedy – derived from jarring tonal shifts and the absurdity of the actions taking place on screen – can sometimes be lost on first-time viewers. The cheesy and colourful CGI observed when Ichi vertically slices a man in half using a blade concealed in his shoe is often cited as an example of the film's surreal and cartoonish quality, while a dazzling colour scheme and Michiko Kitamura's emphatic wardrobe design – which combines tartan suits, studded leather boots, sequinned shirts and pink trenchcoats – rival the zany torture set-pieces in terms of their flamboyance. \"It's taking those taboo subjects and viewing it with a different eye, in more of a fun way,\" says Torel of the film's sordid but fantastical nature. \u003Cspan\u003E\u003C\u002Fspan\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ENevertheless, the notoriety and censorship of Ichi the Killer were key to the film's cult success overseas. \u003Ca href=\"https:\u002F\u002Fwww.hollywoodreporter.com\u002Fmovies\u002Fmovie-news\u002Ffilmart-flashback-2001-takashi-miike-brought-ultra-violence-mainstream-ichi-killer-1095392\u002F\"\u003ESick bags were handed out at film festival premieres\u003C\u002Fa\u003E around the world (including Toronto, Rotterdam and Sitges) as a gimmick to capitalise on the film's violent reputation. Critical reviews only fanned the flames of its infamy further, with The Guardian's Peter Bradshaw publishing a \u003Ca href=\"https:\u002F\u002Fwww.theguardian.com\u002Fculture\u002F2003\u002Fmay\u002F30\u002Fartsfeatures1\"\u003Etwo-star review\u003C\u002Fa\u003E in 2003 describing \"truly nauseating scenes of murder and torture\", while the Evening Standard called it \"blindingly violent\".\u003C\u002Fp\u003E\n\u003Cp\u003E\"Any title that gets censored gets a notoriety because it makes people want to find out more,\" says Torel. The film's popularity, incidentally, was such that it demanded single, double and triple disc releases in the UK – but fascination with the forbidden footage created a demand for overseas imports, as well. \"Fans would buy multiple copies of the film,\" Torel says, with the hope that various foreign editions would include those scenes deemed unacceptable by UK censors.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EChanging tides\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe Asia Extreme boom continued until the mid-to-late-'00s, and its reinforcement of the Western appetite for violent movies led to Hollywood's rash of so-called \"\u003Ca href=\"https:\u002F\u002Fnymag.com\u002Fmovies\u002Ffeatures\u002F15622\u002F\"\u003Etorture porn\u003C\u002Fa\u003E\" cinema: films like Saw (2004) and Hostel (2005), emulated the same ultra-violent tendencies as Ichi the Killer and others. The latter film even cast Miike in a cameo as \"The Japanese Sadist\". Quentin Tarantino's 2003 Asian cinema love affair Kill Bill similarly recognised Ichi the Killer through the inclusion of at least four of its crew members in the cast. Most notably, actor Jun Kunimura (also of Audition) played Boss Tanaka, the obstinate yakuza leader who loses his head to Lucy Liu's O-Ren Ishii, while Ichi the Killer screenwriter Sakichi Sato played Charlie Brown, the panicked servant caught up in the subsequent battle at the House of Blue Leaves. Even Christopher Nolan's The Dark Knight (2008) shares an affinity with Miike's manga adaptation, with Heath Ledger's mouth make-up, flamboyant attire and dyed hair as the Joker visually resembling that of Kakihara.\u003C\u002Fp\u003E\n\u003Cp\u003EMiike's sole US production, meanwhile, was completed in 2006. He directed the final episode of the first season of Showtime's Masters of Horror anthology series, which featured works by such noted masters as Tobe Hooper (The Texas Chainsaw Massacre), John Carpenter (Halloween) and Dario Argento (Suspiria). Miike's episode Imprint – which recycles the themes of torture and sadism in a period setting – holds the dubious honour of being the only episode of the series banned from exhibition by the network, due to its graphic and disturbing content.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211026-how-ichi-the-killer-brought-ultra-violence-to-the-mainstream-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p0b0cb4k"],"imageAlignment":"centre","imageAltText":"Kill Bill","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211026-how-ichi-the-killer-brought-ultra-violence-to-the-mainstream-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EEven after 20 years, Ichi the Killer's legacy remains tangible, says Torel. \"Studios like A24 [Hereditary; Uncut Gems] are making these very popular entertainment and genre films that are more extreme than they used to be, and they're getting a lot more popular.\" He also points to XYZ Films – the production company behind contemporary cult films such as Gareth Evans' The Raid, S Craig Zahler's Brawl in Cell Block 66, and Nicolas Cage vehicle Mandy – citing the brand's origins with the film criticism site Twitch (now Screen Anarchy), where Asia Extreme had been a dominant focus. Indeed, the same production company has just brought Miike's close friend and fellow Asia Extreme director Sion Sono to Hollywood for the first time – he directed Nicolas Cage in this year's samurai-western Prisoners of the Ghostland.\u003C\u002Fp\u003E\n\u003Cp\u003EBut few films draw a clearer line between Ichi the Killer and today's cinema than \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210715-titane-the-most-shocking-film-of-2021\"\u003ETitane\u003C\u002Fa\u003E – the French body horror from Julia Ducournau, which took home the top prize at Cannes in July. Like Ichi the Killer, Titane is a brutal tale about a visibly scarred psychopath with a penchant for BDSM, who inflicts sexualised violence upon women, and dispatches men using a hairpin (a visual doppelgänger for Kakihara's weapon of choice: a metal skewer). A crucial difference is that the dispenser of violence in Titane is a woman.\u003C\u002Fp\u003E\n\u003Cp\u003EOf course, there are other factors that have contributed to the changing tide in Western cinema. While the increasing prominence of Asia Extreme cinema fans in Hollywood and other key film industries is evident, the past two decades have also seen uncensored materials such as hardcore pornography and real-world violence become widely accessible via the internet – a realm much less easy for institutions such as the BBFC to maintain control over. It seems fitting, then, that Ichi the Killer arrived on DVD in the UK at almost the exact halfway point between the passing of the Video Recordings Act in 1984 and the present day – in retrospect, it warned of even more extreme filmmaking futures still to come.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIchi the Killer plays at BFI Southbank on 31 October as part of the BFI's Japan 2021 season \u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003EBBC Culture Film and TV Club\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cem\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cem\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211026-how-ichi-the-killer-brought-ultra-violence-to-the-mainstream-14"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-10-27T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"How Ichi the Killer brought ultra-violence to the mainstream","headlineShort":"The most shocking film ever made?","image":["p0b0cb1v"],"imageAlignment":"centre","imageAltText":"","isSyndicated":false,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Fcult-films"],"summaryLong":"Takashi Miike's notorious 2001 film was banned in several countries for its graphic, ultra-violent scenes, while some consider it a cult classic, writes James Balmont.","summaryShort":"Why Japan's most notorious film was banned","tag":null,"textToSpeech":false,"creationDateTime":"2021-10-26T23:00:55.998496Z","entity":"article","guid":"247e2dc8-9a8d-4c33-ac4a-6ac59aec1630","id":"culture\u002Farticle\u002F20211026-how-ichi-the-killer-brought-ultra-violence-to-the-mainstream","modifiedDateTime":"2021-10-26T23:00:55.998496Z","project":"culture","slug":"20211026-how-ichi-the-killer-brought-ultra-violence-to-the-mainstream","cacheLastUpdated":1635404077727},"culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past","_id":"6177371a45ceed39334343a0","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fcaryn-james"],"bodyIntro":"Far from being a comforting vision of the past, the best period drama reclaims history for now. That's because these clear-eyed series are rooted in the real world, argues Caryn James.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EPeriod pieces are often thought of as soothing escapes to a simpler past. Not so in the 21st Century. Discussing Small Axe, his politically-charged, revisionist series about West Indians in Britain from the 1960s through to the '80s, \u003Ca href=\"https:\u002F\u002Fwww.bfi.org.uk\u002Fsight-and-sound\u002Finterviews\u002Fsteve-mcqueen-small-axe-black-britain-david-olusoga\"\u003ESteve McQueen told the BFI\u003C\u002Fa\u003E, \"That's what art can do: rewrite history in the way it should be written... That's what you do with your TV programmes.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ERead more about BBC Culture's 100 greatest TV series of the 21st Century:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-the-100-greatest-tv-series-of-the-21st-century\"\u003EThe 100 greatest TV series of the 20th Century\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211014-twenty-five-tv-series-that-define-the-21st-century\"\u003ETwenty-five TV series that define the 21st Century\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-the-tv-shows-that-have-shaped-us\"\u003EHow the way we watch TV has changed\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century\"\u003EWhat makes The Wire such a great number one\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv\"\u003EWhy May I Destroy You is the future of TV\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EMcQueen's assertion could be a mantra for the best, most ambitious television dramas today. From the quietly subversive \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20201105-the-new-series-of-the-crown-is-a-glorious-spectacle\"\u003EThe Crown\u003C\u002Fa\u003E and Downton Abbey to the jolting, radical \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20201005-small-axe-the-most-exhilarating-director-working-today\"\u003ESmall Axe\u003C\u002Fa\u003E, \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210504-the-underground-railroad-review-a-remarkable-american-epic\"\u003EThe Underground Railroad\u003C\u002Fa\u003E and Pose – all on BBC Culture's poll of the \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-the-100-greatest-tv-series-of-the-21st-century\"\u003E100 greatest series of the 21st Century\u003C\u002Fa\u003E – television is correcting history's distortions in matters of race, gender, class and power. The gay footman Thomas in Downton and the runaway slave Cora in The Underground Railroad are presented to us as avatars of change. And now is an especially rich moment for series to reclaim the past. Previously muted voices from black, gay and transgender creators are offering new, more authentic ways of seeing their histories. Their series are clear-eyed period pieces for the present.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09zr028"],"imageAlignment":"centre","imageAltText":"Underground Railroad","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBarry Jenkins' The Underground Railroad and McQueen's Small Axe make the point that racism, whether in the antebellum American South or the UK's recent past, has been and remains deeply embedded in the fabric of society. It's notable that the series' creators are also two of today's finest filmmakers, taking full advantage of what  television has to offer: the time to delve into thorny social issues from multiple angles, and the ability to reach a large global audience through drama that engages us with the personal lives and loves of characters over years.\u003C\u002Fp\u003E\n\u003Cp\u003EIn the dazzling, imaginative Underground Railroad (number 59 in the poll), based on Colson Whitehead's novel, the metaphorical route leading escaped slaves to freedom becomes a physical railroad line. Artistic licence becomes a way to access harsh truths.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Because we've been afraid to re-experience some of these traumas… we've inadvertently almost avoided some of this history – Barry Jenkins","id":"culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe first instalment of the series is the most graphic, showing an enslaved person punished by being burned alive. Jenkins carefully modulates the violence he depicts, and includes scenes of lyrical beauty. But he also uses the power of the screen to immerse his audience in the characters' worst experiences. It is not enough to acknowledge the horrors of slavery in an abstract way. Cora (Thuso Mbedu), escapes from the plantation, only to find herself in an apparently better world that cannot last, as a slave hunter pursues her into hiding and eventually out of a town in which lynched bodies of black people hang on trees lining the road.\u003C\u002Fp\u003E\n\u003Cp\u003EThrough Cora and the other enslaved characters, Jenkins creates a tragedy that exists on both an immediate, intensely personal level and on a grand, historical scale. Nothing in flat, school-room stories of slavery can compete with this harrowing vision on screen. And the 2021 series arrives at a time when \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fnews\u002Fworld-us-canada-57908808\"\u003Esome school boards in the US\u003C\u002Fa\u003E are resistant to teaching the history of racism at all.\u003C\u002Fp\u003E\n\u003Cp\u003EJenkins' acknowledged purpose is to reclaim the truth of the past as a way of moving forward. In an \u003Ca href=\"https:\u002F\u002Fwww.buzzfeednews.com\u002Farticle\u002Fsagalmohammed\u002Fbarry-jenkins-on-avoiding-the-exploitation-of-black-trauma\"\u003Einterview with Buzzfeed\u003C\u002Fa\u003E, he pointedly tied his series to the Trump years and the distortions that history has passed down. While he was working on the series, he said, \"There was this president who kept talking about 'Make America Great Again'... I realised that there was this vacuum that kept travelling that needed to be filled. Because America hasn't always been great.\" He added, \"Because we've been afraid to re-experience some of these traumas, because we've been afraid of triggering people to re-experience that trauma, we've inadvertently almost avoided some of this history.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09zqzhs"],"imageAlignment":"centre","imageAltText":"Small Axe","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWith a more directly realistic style, McQueen's searing Small Axe (number 51 in the poll) achieves the same goal, reconceiving a past that echoes through to the present. Four of the five independent instalments in the series are fact-based stories that reposition people from recent decades in a new, heroic light. It is remarkable, and deliberate, that those stories resonate so powerfully with the Black Lives Matter movement and calls for police reform today.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EA rush of authenticity\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EIn Mangrove, one of those heroes is Frank Crichlow (Shaun Parkes) whose restaurant in London was repeatedly the subject of police harassment in the late 1960s and early '70s, leading to street protests, police violence against the activists, and charges against the protest leaders, who became known as The Mangrove Nine. In Red, White and Blue, John Boyega plays the real-life Leroy Logan, who joined London's Metropolitan Police in 1983, defying the racist atmosphere to try to change it from within. Together, the five stories tell us that the racism on screen is not due to an occasional rogue action or racist cop, but evidence of a deeply accepted social bias. \u003C\u002Fp\u003E\n\u003Cp\u003E\"These films should have been made 35 years ago, 25 years ago, but they weren't,\" McQueen said in the BFI interview. \"There's no way anyone would have given me, or anybody else... money at that time to make a film about the Mangrove Nine. You were not welcome.\"  \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past-6"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"These creators have cracked the door a bit wider in the television industry, and expanded the audience's perspective in a major way","id":"culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhile racism went mostly unexplored on TV for many decades, there were rare exceptions. The 1977 miniseries Roots earned one of the biggest television audiences ever, and brought the brutality of slavery into more than 100 million homes. But it \u003Ca href=\"https:\u002F\u002Fwww.motherjones.com\u002Fmedia\u002F2016\u002F06\u002Foriginal-roots-hollywood-race-problem\u002F\"\u003Edidn't expand opportunities\u003C\u002Fa\u003E for black actors, writers or directors. And except for the writer, Alex Haley, whose book Roots was based on, behind the scenes, the major creators were white.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09zr0hy"],"imageAlignment":"centre","imageAltText":"Pose","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EMcQueen and Jenkins, black artists reclaiming black history, and the gay and trans creators of Pose (number 62), about the LBGTQ+ world in the late 20th Century, are advocating for change while also representing at least some movement toward that change themselves. Although a handful of voices from disenfranchised groups aren't enough, these creators have cracked the door a bit wider in the television industry, and expanded the audience's perspective in a major way.\u003C\u002Fp\u003E\n\u003Cp\u003ESteven Canals brought his original idea for Pose to Ryan Murphy. Those two gay co-creators (along with Brad Falchuk) were joined by the trans producers Janet Mock and Our Lady J, and a cast of gay and trans actors, bringing a bold rush of LGBTQ+ authenticity to the television landscape. As the title suggests, Pose began with a focus on the world of drag balls in New York City. Over its three seasons, spanning 1987-1996, it increasingly focused on the Aids crisis and gay rights. Its main and most beloved characters, the ballroom host and father figure Pray Tell (Billy Porter) and the trans, maternal Blanca (Mj Rodriguez) both contracted HIV. In the final season, Pray and Blanca call out government neglect of black people in an experimental Aids drug trial, a racial crisis within a health crisis. Like Small Axe, Pose uses recent decades to create resonance with inequalities that remain today.\u003C\u002Fp\u003E\n\u003Cp\u003EReshaping history doesn't always mean being a flame-thrower. Some of the most elegantly escapist series of the 21st Century question the power structures that support the characters and the sumptuous settings we love. The Crown (number 16 in the BBC Culture poll) is an interpretation of real events that takes a humanising approach to the monarchy. From the series' start, when we see Princess Elizabeth (Claire Foy) as a young woman in 1947, Peter Morgan's series speculates about what happened behind the public image, and with enormous sympathy takes us into her private life. We see all the personal insecurities and tensions of any family, magnified by an enormous weight of responsibility to the country.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09zr161"],"imageAlignment":"centre","imageAltText":"The Crown","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThat sense of duty is shown as even stronger in the middle-aged Queen (Olivia Colman) in seasons three and four. But so is the portrayal of how emotionally damaged her children may be, particularly Charles (Josh O'Connor). By the time the series arrives in the 1980s, and the family is seen choosing Diana (Emma Corrin) to be Charles's wife, presented as a cold-blooded decision all around, the mood of the country we see on screen has shifted. The monarchy's hold on power is still firm, but not in the unquestioned way it was when Elizabeth inherited the crown in 1952. Her role and her authority are increasingly challenged by striking miners, politicians like Margaret Thatcher (Gillian Anderson), and a less deferential press.\u003C\u002Fp\u003E\n\u003Cp\u003EThe ultrasharp Mad Men (number two in the poll), set in the very different and more overtly vicious world of US advertising, charts a similar, realistic cultural shift, far from a comforting vision of the past. As the timeline moves from 1960 to 1971, each season focuses more on the sexism its women characters endure, from Peggy's (Elisabeth Moss) need to hide her pregnancy to the way Joan (Christina Hendricks) is used as a sex object by the men around her, until she finally asserts some power and business acumen of her own. Don Draper (Jon Hamm) is ever the handsome charmer, but the world around him is leaving his type behind.\u003C\u002Fp\u003E\n\u003Cp\u003EEven the sublime Downton Abbey (number 36), known as the ultimate in blissful escapism, is more rooted in the real world than it gets credit for. Its characters know that the old, hierarchical class order is shifting under their feet. The order itself threatens them in the very first episode, when the heir to Downton, who is also Mary Crawley's (Michelle Dockery) fiancé, dies in the Titanic. Of course a woman cannot inherit their beloved Downton. Lucky for them she falls in love with the new heir, Matthew (Dan Stevens).\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09zr0xj"],"imageAlignment":"centre","imageAltText":"Downton Abbey","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBut sympathising with the Crawleys and their downstairs staff isn't the same as believing in inherited wealth and power. Spurred by the reality of World War One, the story deals with the gradually shifting mores of a new world. Thomas (Rob James-Collier) still hides his homosexuality, which was then illegal, and in one episode is hauled in by the police. Perhaps fancifully, the open-minded Crawleys not only don't dismiss him; eventually they make him the new butler. More realistically, in the 1920s cousin Rose (Lily James) falls in love with a black jazz musician, though that relationship is doomed by the prejudices they face.\u003C\u002Fp\u003E\n\u003Cp\u003EThese themes of sexuality and race are not sops to an enlightened 21st-Century audience, but signals that the world is changing. The characters are less aware of how significant those changes will be than we are. As 21st-Century viewers, these enticing, truth-telling period dramas are telling us more and more about who we are – and how we got to the reality of today.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ERead more about BBC Culture's 100 greatest TV series of the 21st Century:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-the-tv-shows-that-have-shaped-us\"\u003E\u003Cstrong\u003EHow the way we watch TV has changed\u003C\u002Fstrong\u003E\u003Cbr \u002F\u003E \u003C\u002Fa\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century\"\u003E\u003Cstrong\u003EWhat makes The Wire such a great number one \u003C\u002Fstrong\u003E\u003Cstrong\u003E\u003Cbr \u002F\u003E \u003C\u002Fstrong\u003E\u003C\u002Fa\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211014-twenty-five-tv-series-that-define-the-21st-century\"\u003E\u003Cstrong\u003ETwenty-five series that define the 21st Century  \u003C\u002Fstrong\u003E\u003Cbr \u002F\u003E \u003C\u002Fa\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EHow many of these series have you seen? Let us know using the hashtag\u003C\u002Fem\u003E\u003Cstrong\u003E #TVOfTheCentury \u003C\u002Fstrong\u003E\u003Cem\u003Eon our\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003EBBC Culture Film and TV Club\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past-14"}],"collection":null,"disableAdverts":false,"displayDate":"2021-10-26T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Historical drama and TV's reckoning with the past","headlineShort":"Television's reckoning with the past","image":["p09zqyyk"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":["p09zqyyk"],"relatedStories":null,"relatedTag":["tag\u002Fthe-100-greatest-tv-series-of-the-21st-century"],"summaryLong":"Far from being a comforting vision of the past, the best period drama reclaims history for now. That's because these clear-eyed series are rooted in the real world, argues Caryn James.","summaryShort":"Far from comforting nostalgia, the best period drama reclaims history for now","tag":["tag\u002Fthe-100-greatest-tv-series-of-the-21st-century"],"textToSpeech":false,"creationDateTime":"2021-10-25T23:00:35.051172Z","entity":"article","guid":"7b9b045e-87b9-4b48-bf82-870d032bfb13","id":"culture\u002Farticle\u002F20211022-historical-drama-and-tvs-reckoning-with-the-past","modifiedDateTime":"2021-10-26T09:16:39.843382Z","project":"culture","slug":"20211022-historical-drama-and-tvs-reckoning-with-the-past","cacheLastUpdated":1635404077728},"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began","_id":"6175e59a45ceed39324b9021","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fprecious-adesina"],"bodyIntro":"A new art exhibition offers a fuller, more rounded view of humanity's impact on the Earth – by tracing its link with colonialism. Precious Adesina talks to the artists.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIt has been more than three decades since climate change became front-page news. In 1988, The New York Times ran an article titled \"Global Warming Has Begun, Expert Tells Senate\". Ever since, discussions on the crisis have predominantly focused on how the state of the world has been affected by humans since the Industrial Revolution in the West – and with good reason. The Earth's temperature has increased by 0.07C every decade since the late 19th Century, a rise that has been linked to the mass burning of fossil fuels. Yet a new exhibition of work by various artists suggests that we must look further back in time and analyse the issue from a non-Western perspective in order to get a fuller picture of the current emergency.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210915-butterflies-the-ultimate-icon-of-our-fragility\"\u003EWhy we need powerful symbols\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200528-the-climate-change-clues-hidden-in-art-history\"\u003EClimate change clues hidden in art\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210601-how-the-dutch-are-facing-up-to-their-colonial-past\"\u003EFacing up to a horrifying history\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe group show \u003Ca href=\"https:\u002F\u002Fwww.somersethouse.org.uk\u002Fwhats-on\u002Fwe-are-history\"\u003EWe Are History\u003C\u002Fa\u003E: Race, Colonialism and Climate Change opened to coincide with \u003Ca href=\"https:\u002F\u002Fwww.somersethouse.org.uk\u002Fwhats-on\u002F1-54-contemporary-african-art-fair\"\u003E1-54 Contemporary African Art Fair\u003C\u002Fa\u003E at London's Somerset House. Through the lens of 11 artists who have a personal relationship with the Caribbean, South America and Africa, the exhibition looks not only at the roots of global warming, but also at how it impacts the developing world. By looking back, the link between the world's environmental issues, colonialism and slavery is highlighted. Also explored is how these problems still have a disproportionately negative impact on certain countries. A \u003Ca href=\"https:\u002F\u002Fwww.pnas.org\u002Fcontent\u002F117\u002F15\u002F8254\"\u003Estudy\u003C\u002Fa\u003E released in 2020, published by two archaeologists, revealed how colonisation forced residents in Caribbean communities to move away from traditional and resilient ways of building homes to more modern but less suitable ways. These habitats have proved to be more difficult to maintain, with the materials needed for upkeep not locally available, and the buildings easily overwhelmed by hurricanes, putting people at greater risk during natural disasters. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09z7vbd"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAmong the exhibits is Barbadian-Scottish artist Alberta Whittle's film from the forest to the concrete (to the forest), 2019, which directly explores this topic, documenting the effects of Hurricane Dorian in the Bahamas. The 10-minute-long film is stamped with the date 09.09.19, nine days after the disaster. \"Africa produces 4% of the world's greenhouse gases, the whole continent, but yet it is so at the front line,\" Whittle \u003Ca href=\"https:\u002F\u002Fwww.theskinny.co.uk\u002Fart\u002Finterviews\u002Falberta-whittle-dca-interview\"\u003Etold culture magazine The Skinny\u003C\u002Fa\u003E. The artist wants people in the UK to see the disparity between their own comfort and the relative lack of comfort of their non-Western counterparts. She intertwines a number of performances with footage of destruction. \"[There was] a terrible hurricane that moved through the Bahamas last week,\" she said at the time of its premiere. \"But what I see in the weather in the news in the UK, is 'Oh isn't this wonderful, we are about to go through a period of sunshine'.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"It's important to continually analyse and attempt to understand the effects of the afterlife of transatlantic slavery – Louis Henderson","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhat this exhibition asks is: who we are really talking about when we question how our collective actions are having an effect on the environment? According to the curator of the exhibition, Ekow Eshun, if we don't allow the people in emerging countries to speak for themselves, we force them out of the conversation and into one that isn't consistent with the facts. \"Otherwise we end up repeating the same narrative that we’ve repeated for a long time that somehow people in the developing world are supporting characters in the drama, rather than communities that are directly affected [by climate change],\" Eshun tells BBC Culture. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09z829q"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESimilarly, British filmmaker Louis Henderson focuses on how the West is primarily responsible for the disruptions to the natural world that humans have caused in his almost 30-minute long video The Sea is History, 2016. Henderson adapts the poem of the same name by Caribbean poet Derek Walcott. In his poem, Walcott discusses the effects of colonisation on a community's culture, and claims that the history of these places is hidden in the sea. The footage in Henderson's piece features mesmerising shots of Lake Enriquillo, a lake in the Dominican Republic that often floods due to rises in sea temperature.\u003C\u002Fp\u003E\n\u003Cp\u003EThrough this, the artist explores how the exploitation of the island for its natural resources, the genocide of the indigenous population and the importation of enslaved people have contributed to the global emergency. \"I am interested in identifying Columbus's 1492 arrival on the island of Ayiti\u002FKiskeya (nowadays known as Haiti and the Dominican Republic) as a potential starting point for the climate crisis the world is facing today,\" Henderson tells BBC Culture. \"I believe it's important to continually analyse and attempt to understand the effects of the afterlife of transatlantic slavery, both on a local and a global scale, and how it impacted the Earth's geology and its ecosystems.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EHidden history\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EMuch like Whittle and Henderson, the collaborative duo Jennifer Allora and Guillermo Calzadilla explore how outsiders have impacted the Caribbean, but they take a different approach. Their screen-printing method for the series Contracts uses layers of black ink to taint the beautiful scenery they depict. \"What seem to be conventional pictures of a beautiful destination are disrupted by a layer of a single colour ink, shrouding the idyll partly or completely,\" say the duo. \"We live and work in Puerto Rico, a Caribbean island that, since the colonial period, has been systematically exploited for its natural resources… As climate change makes weather events more severe, from droughts to hurricanes, the already vulnerable island is put in an even more heightened state of precariousness.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09z7s6b"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EContract (AOC L), 2014\u003Cem\u003E,\u003C\u002Fem\u003E shown at the exhibition, is a piece that is part of the larger series. In it, the pair catalogue sites in Vieques, Puerto Rico, where palm trees were used as markers by the US military to highlight where hazard waste was disposed. The areas are now managed by the US Department of Interior, Fish and Wildlife Service as conservation zones, according to the artists. \"This paradoxical designation denies the underlying environmental and health risks of the dumps –  so toxic that in 2005 they were placed on the US Environmental Protection Agency's Superfund National Priorities List,\" they say.\u003C\u002Fp\u003E\n\u003Cp\u003EColombian artist Carolina Caycedo says that the only way to truly move forward is to listen to the people who are explicitly affected by these changes to the ecosystem. \"We urgently need to look at what communities that are actually on the frontlines are proposing on a grassroot level, since they are the people who are directly impacted by the climate crisis,\" she tells BBC Culture. Her research-based art project, Be Dammed, investigates the environmental and social consequences of dams throughout Latin America. \"By [looking at] different case studies in the Americas, I've had a chance to collaborate with some of these communities to highlight alternatives to these large infrastructures,\" she says.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09z7wnc"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhile none of these artists offer a hyper-specific call to action, collectively they show how climate change has affected the countries they belong to, or associate themselves with, and the importance of putting global issues into perspective. As Eshun puts it: \"I think it's important that those voices and those perspectives are heard and not simply as victims but heard as people who have agency and autonomy, and in this respect they're heard through the voice of artists.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Fwww.somersethouse.org.uk\u002Fwhats-on\u002Fwe-are-history\"\u003EWe Are History: Race, Colonialism and Climate Change\u003C\u002Fa\u003E is at Somerset House, London, until 6 February 2022.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Fwww.blackhistorymonth.org.uk\u002F\"\u003EBlack History Month\u003C\u002Fa\u003E takes place throughout October in the UK.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began-10"}],"collection":["culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2021-10-25T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The art exploring the truth about how climate change began","headlineShort":"Exploring the truth about our planet","image":["p09z7x5y"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":["p09z7x5y"],"relatedStories":null,"relatedTag":["tag\u002Fculture-and-climate-change"],"summaryLong":"A new art exhibition offers a fuller, more rounded view of humanity's impact on the Earth – by tracing its link with colonialism. Precious Adesina talks to the artists.","summaryShort":"A new art exhibition offers a fuller view of humanity's impact on the Earth","tag":["tag\u002Fculture-and-climate-change"],"textToSpeech":false,"creationDateTime":"2021-10-24T23:00:35.041423Z","entity":"article","guid":"386fe971-70ea-4959-9250-30e88b485e6e","id":"culture\u002Farticle\u002F20211020-the-art-exploring-the-truth-about-how-climate-change-began","modifiedDateTime":"2021-10-25T09:24:34.045106Z","project":"culture","slug":"20211020-the-art-exploring-the-truth-about-how-climate-change-began","cacheLastUpdated":1635404077728},"culture\u002Farticle\u002F20211024-three-stars-for-chlo-zhaos-disappointing-eternals":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211024-three-stars-for-chlo-zhaos-disappointing-eternals","_id":"61759f3045ceed45a2465dca","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fnicholas-barber"],"bodyIntro":"Oscar-winning Chloé Zhao directs the latest Marvel superhero movie, which is watchable but ultimately unmemorable. It could be the most disappointing MCU film yet, writes Nicholas Barber.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThis is a first: a Marvel superhero blockbuster directed by someone who has just won an Oscar for making a naturalistic drama about economic hardship among the over-60s. To be more specific, Eternals is directed by Chloé Zhao, the brilliant writer-director of \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200914-nomadland-review-overflowing-with-humanity-and-tenderness\"\u003ENomadland\u003C\u002Fa\u003E. I doubt you'd guess who had made her new film if you didn't know beforehand, but faint echoes of her spine-tingling previous work can be found. There is her fondness for magnificent, rugged landscapes and rock formations, for one thing. For another, Eternals is more serious in tone and more deliberate in its pacing than the average Marvel movie, with less of the usual banter and no cameo appearances by other superheroes. But, if you're looking for the humanity and originality of Zhao's other films, you won't find much of it here. \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-        \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210930-twelve-films-to-watch-this-october\"\u003ETwelve films to watch this October\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-        \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210902-the-power-of-the-dog-a-five-star-brooding-melodrama\"\u003EFive stars for The Power of the Dog\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-        \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210903-diana-biopic-spencer-wobbles-between-the-bold-and-the-bad\"\u003EThree stars for Pablo Larraín's Spencer\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe opening scenes suggest that we're in for something far more mind-blowing than what we get. Some captions, a Pink Floyd song, and some 2001-ish imagery introduce the Eternals, 10 super-powered aliens from Olympia. They were sent to our galaxy in a triangular slab of a spaceship by the Celestials, a race of giants who have been around since the dawn of time. But then the film comes down to Earth in more ways than one. The Eternals' job on our planet is to kill off yet more aliens: the Deviants, which look like crocodiles made out of rope by the people who did the puppet for War Horse. Ever since 5000BC, then, the Eternals have been sneaking around Earth, and many of our myths and legends were inspired by their exploits. \u003C\u002Fp\u003E\n\u003Cp\u003EThe one who is given the most to do is Sersi (Gemma Chan), a soft-hearted scientist who can turn solid objects to dust. The leader is Ajak (Salma Hayek), who can heal any wound. Ikaris (Richard Madden) can fly and shoot lasers (or something) from his eyes: one good joke is that somebody understandably gets him mixed up with Superman. Thena (Angelina Jolie) is a gloomy warrior whose fits of homicidal madness don't add anything to the narrative. And Kingo (Kumail Nanjiani) shoots lasers (or something) from his fingers: one of the best-known facts about the film is that Nanjiani committed to an intensive, transformative body-building regime in preparation, but as there isn't a single shirtless shot to show off his bulked-up physique, that can't help but feel like a waste of time and effort.\u003C\u002Fp\u003E\n\u003Cp\u003EMoving on, there is the sullen Druig (Barry Keoghan), who declares that he is going to use his mind-control powers to stop humans from going to war with each other – but then admits that he never got around to it. There is Sprite (Lia McHugh) who can project holograms, and who is stuck forever in the body of a child, much like Kirsten Dunst's character in Interview with the Vampire. There is Phastos (Brian Tyree Henry), an expert mechanic, and the first openly gay superhero in the Marvel Cinematic Universe. There is Makkari (Lauren Ridloff) who is deaf, and who can run at Sonic the Hedgehog-rivalling speeds. And there is Gilgamesh (Don Lee) who ... errr... well, he can punch things really hard.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211024-three-stars-for-chlo-zhaos-disappointing-eternals-0"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Hiring a writer-director who specialises in muted, documentary-like dramas for an action spectacular about interstellar demigods may not have been the wisest choice","id":"culture\u002Farticle\u002F20211024-three-stars-for-chlo-zhaos-disappointing-eternals-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EStill with me? Suffice it to say that the Eternals score highly in terms of gender, ethnic and sexual diversity, but lowly in terms of being memorable. They're a sketchily drawn and fundamentally drab bunch, so it can be tricky to remember which one is friendly with which. By rights, their super-soap opera should have had its own 20-part series on Disney+. In a film, the plot is so over-populated that one Eternal even announces, shortly before the climactic battle, that he doesn't want to be involved, and walks out, leaving us to wonder why exactly we've spent the last hour hanging out with him.\u003C\u002Fp\u003E\n\u003Cp\u003EIt's possible that some more magnetic actors might have helped, but for the first time, Marvel's sharp eye for casting has gone awry. As soon as Robert Downey Jr was seen as Iron Man and Chris Hemsworth as \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20171019-film-review-thor-ragnarok-is-marvels-best-yet\"\u003EThor\u003C\u002Fa\u003E, it became almost impossible to picture anyone else in the roles. The so-so cast of the Eternals doesn't present that challenge. Madden may look suitably godlike when he poses in a desert and squints at the horizon, but he – like several other key cast members – lacks the acting chops and the charisma to convince you that he is a real person, let alone a real superhuman alien. The most sympathetic character is Sersi's cheerfully nerdy human boyfriend Dane, played by Kit Harington, but he is absent for most of the film, so the promising topic of \"what do you do when you discover your girlfriend is immortal\" is dropped after a couple of sweetly romantic scenes.\u003C\u002Fp\u003E\n\u003Cp\u003EThe Deviants have even less personality than the Eternals. With no distinguishing features, and no agenda beyond an urge to bite people’s heads off, they’re the most generic of slavering digital baddies, so whenever there's an action sequence, it's impossible to tell them apart, or to keep track of how many of them there are. The story, anyway, is that the Eternals believed that they had wiped out the Deviants about 500 years ago, so they disbanded and went their separate ways. But now the monsters are popping back up again. First, they slink out of a canal in London – which is shot in a strikingly moody and un-touristy way – and then they turn up wherever the Eternals happen to be. Ikaris, Sersi and Sprite decide to get the band back together. They do their travelling, by the way, in Kingo's private jet – he's spent the past century pretending to be successive generations of a Bollywood dynasty – so it's odd that their bestial, mindless opponents manage to globe-trot at the same pace. God knows – or rather, Arishem knows – how the Deviants can get from the UK to Australia so quickly, but it seems that this is just one of the many aspects of the film that haven't been thought through.\u003C\u002Fp\u003E\n\u003Cp\u003EThere are a few clever parts, mind you. The various reunions are interspersed with richly detailed flashbacks set in Mesopotamia and Babylon and other ancient beauty spots, and there are some surprising twists and turns as the Eternals argue over the purpose of their mission on Earth. But ultimately it seems that hiring a writer-director who specialises in muted, documentary-like dramas for an action spectacular about gaudily-costumed interstellar demigods may not have been the wisest choice.\u003C\u002Fp\u003E\n\u003Cp\u003EEternals is adapted from a series of far-out 1970s comics by the great Jack Kirby, and traces remain of his visionary design, but Zhao and her three co-writers have weighed it down with lots of rudimentary dialogue, a daft plan – \"If we can assemble device X and attach it to device Y then we can defeat enemy Z\" – and a standard CGI-heavy showdown to round things off. The results aren't terrible. They're definitely watchable. But considering that this sci-fi saga is directed by Zhao, and that its story spans the creation of the Universe and the fate of the planet, it would have been reasonable to expect it to prompt slack-jawed wonder rather than the grudging appreciation of an efficient, workmanlike job. Eternals may not be the worst of Marvel's movies, but it's undoubtedly the most disappointing.\u003C\u002Fp\u003E\n\u003Cp\u003E★★★☆☆\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211024-three-stars-for-chlo-zhaos-disappointing-eternals-2"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-10-24T19:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Three stars for Chloé Zhao's 'disappointing' Eternals","headlineShort":"Three stars for Eternals","image":["p0b012xm"],"imageAlignment":"centre","imageAltText":"","isSyndicated":false,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Ffilm-history"],"summaryLong":"Chloé Zhao directs the latest Marvel superhero movie, which is watchable but ultimately unmemorable. It could be the most disappointing MCU film yet, writes Nicholas Barber.","summaryShort":"The most disappointing Marvel movie yet","tag":["tag\u002Ffilm-reviews"],"textToSpeech":false,"creationDateTime":"2021-10-24T18:00:08.598653Z","entity":"article","guid":"083f9f9f-cb90-4f69-bc7f-34a093e7f63b","id":"culture\u002Farticle\u002F20211024-three-stars-for-chlo-zhaos-disappointing-eternals","modifiedDateTime":"2021-10-24T18:09:13.95507Z","project":"culture","slug":"20211024-three-stars-for-chlo-zhaos-disappointing-eternals","cacheLastUpdated":1635404077729},"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv","_id":"616ff61b45ceed0e0e1f0559","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fleila-latif"],"bodyIntro":"In BBC Culture's poll of the greatest series of the 21st Century, Michaela Coel's blistering drama was the most recent top 10 entry. Leila Latif considers its revolutionary power.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn the penultimate episode of the BBC\u002FHBO drama series I May Destroy You, a character turns to Michaela Coel's Arabella and for a moment seems to break the fourth wall to ask \"I thought you were writing about consent?\" Arabella, who is writer Coel's fictional on-screen alter-ego, shrugs, \"So did I\". The evident point being that Coel's masterwork, which she famously wrote 191 drafts of, is so much more than a story about consent: it's a radical, funny, devastating show about race, art, trauma and rebirth.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EWarning: this article contains references to and discussion of sexual assault\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp dir=\"ltr\"\u003E\u003Cstrong\u003EThe 100 greatest TV series of the 21st Century:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp dir=\"ltr\"\u003E–  \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-the-100-greatest-tv-series-of-the-21st-century\"\u003EThe 100 greatest TV series of the 21st Century\u003Cbr \u002F\u003E\u003C\u002Fa\u003E–\u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211014-the-greatest-tv-series-of-the-21st-century-who-voted\"\u003E  Who voted? \u003Cbr \u002F\u003E\u003C\u002Fa\u003E–  \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-the-tv-shows-that-have-shaped-us\"\u003EHow the way we watch TV has changed\u003Cbr \u002F\u003E\u003C\u002Fa\u003E–  \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century\"\u003EWhat makes The Wire such a great number one  \u003Cbr \u002F\u003E\u003C\u002Fa\u003E–  \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211014-twenty-five-tv-series-that-define-the-21st-century\"\u003ETwenty-five series that define the 21st Century   \u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EAfter making two series of her broader, semi-autobiographical comedy Chewing Gum for Channel 4, and making a name for herself in acting roles in the likes of Black Mirror, Been So Long and Black Earth Rising, Coel made the extraordinarily brave decision to create a new show centred around the aftermath of a rape, loosely based on an assault that happened to her.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ytdhb"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIt was an incident that she had first publicly spoken about when she was invited to give \u003Ca href=\"https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=odusP8gmqsg\"\u003Ethe James MacTaggart Lecture\u003C\u002Fa\u003E at the 2018 Edinburgh International Television Festival – the first black woman to do so. During her lecture she laid bare the difficulties she'd had as a black woman in the industry, having been consistently undervalued and undermined by colleagues while making Chewing Gum, before telling the audience about her assault. \"I was working overnight in the [production] company’s offices,\" she explained. \"I had an episode due at 7am I took a break and had a drink with a good friend who was nearby. I emerged into consciousness typing season two, many hours later. I was lucky. I had a flashback. It turned out I'd been sexually assaulted by strangers.\" At its core, I May Destroy You is about Coel trying to process this violence, to tease out what is forever lost through such an assault, and what can be restored, while also taking on the specificities of sexuality, gender and British blackness.\u003C\u002Fp\u003E\n\u003Cp\u003EAt number six in \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-the-100-greatest-tv-series-of-the-21st-century\"\u003EBBC Culture's poll of the 100 greatest TV series of the 21st Century\u003C\u002Fa\u003E, I May Destroy You is the most recent entry in the top 10 (having premiered in June 2020) and arguably both the most radical and of the 21st Century, in that no version of this show could have existed in the century, or even the decade, prior. Coel pushed boundaries in her depictions of race, gender and sex and did so with a disregard to narrative and filmmaking conventions. I May Destroy You suggests for all the great television we've had so far this millennium, how much opportunity there still is for it to evolve and develop as an art form.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"It was only when Michaela Coel approached the BBC that she was given what she wanted and deserved, including full creative control","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EKey to I May Destroy You's brilliance is the absolute creative control Coel had over the show. She was originally offered \u003Ca href=\"https:\u002F\u002Fwww.vulture.com\u002Farticle\u002Fmichaela-coel-i-may-destroy-you.html\"\u003E$1 million (£729,500)\u003C\u002Fa\u003E from Netflix for the show but after her experiences on Chewing Gum she turned down their offer when, even after lengthy negotiations, they refused to allow her to retain any percentage of the copyright. It was only when she approached the BBC that she was given what she wanted and deserved, including full creative control, something that co-producer HBO would also agree to when they signed on.\u003C\u002Fp\u003E\n\u003Cp\u003EOriginally titled January 22nd, the show begins on that day, with Arabella coming to the end of an Italian sojourn, heading for the airport while trying to get to her drug dealing lover Biagio (Marouane Zotti) to commit to a future for their relationship before she leaves. Arabella has been sent to Italy to complete writing her book, a follow up to her successful debut memoir Chronicles of a Fed-Up Millennial, which made her a minor celebrity with a sizeable internet presence. Having had a largely unproductive spell in Italy on the publishers' dime, she returns to London with little to show for it, and with a morning meeting with her book agents looming, she installs herself in their offices overnight to finish her draft off. But rather than spend her remaining few hours before her deadline typing, she then decides to go and blow off some steam with friends at a bar – where she is drugged, raped and blacks out until she finds herself sitting back in her agent's office with blood trickling down her forehead.\u003C\u002Fp\u003E\n\u003Cp\u003EIt is then for Arabella to piece together what happened to her, the manner in which she was assaulted and the behaviour of her friends which made her more vulnerable, all while contending with the impact that this incident has not just on her, but her work. Coel's Arabella is a fully realised complicated woman, fiercely intelligent, funny and self-destructive. Over the course of the series, which follows her for around a year, we watch her grow and implode, over and over again. She takes brave stands, publicly calling out a fellow writer Zain (Karan Gill) for assaulting her in a separate incident, but, such is her vulnerability also, she cannot resist returning to Italy to try to reconcile with Biagio by breaking into his flat, even after he accuses her of being responsible for her own rape.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ytdw4"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThat leads to one of the show's most striking moments: Arabella finds out the police investigation into her rape is closed, is rejected by a gun-wielding Biagio and, alone and isolated, cries on an Italian beach, looking out at the sea with a piece of paper in her hand, having tried to channel a little bit of this pain into her art. She stares out at the horizon and wordlessly marches into the sea. Coel \u003Ca href=\"https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=GWNb6uGc748\"\u003Etold GQ\u003C\u002Fa\u003E in 2020 that \"this is the moment where she gathers up this kind of darkness she needs to overcome her trauma. I'm constantly exploring the idea of going under, under the bed, under the sea, under under under… Watching it you don't know what she’s going to do, does she want to drown? But it's also a form of baptism, it's what religious ceremonies do, not to die but to be reborn.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EThe apex of TV’s reckoning with sexual violence\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Ca href=\"https:\u002F\u002Fwww.google.com\u002Fsearch?q=i+may+destroy+you+review+bbc+culture&sxsrf=AOaemvJveo08Ov8Xgb2B0Uevdgg-uyOzqA%3A1634574996100&source=hp&ei=lKJtYfjjA4yJlwTIm4PgCQ&iflsig=ALs-wAMAAAAAYW2wpHgPIbRpZg-M7lqMrAs2ALUEQQ2p&ved=0ahUKEwj4_f6vstTzAhWMxIUKHcjNAJwQ4dUDCAk&uact=5&oq=i+may+destroy+you+review+bbc+culture&gs_lcp=Cgdnd3Mtd2l6EAM6BAgjECc6BQgAEJECOgQIABBDOgcIABCxAxBDOgsIABCABBCxAxCDAToFCAAQgAQ6CAgAEIAEELEDOggILhCRAhCTAjoHCC4QsQMQQzoECC4QQzoFCC4QgAQ6CggAEIAEELEDEAo6CggAEIAEEIcCEBQ6BggAEBYQHjoICCEQFhAdEB46BQghEKABOgcIIRAKEKABUDZY_y9ghjFoA3AAeAKAAf0FiAGZIZIBCjI5LjYuMS42LTGYAQCgAQE&sclient=gws-wiz\"\u003EI May Destroy You's \u003C\u002Fa\u003Edepiction of sexual assault is as important as it is unflinching. Indeed, it stands at the apex of some deeply-felt explorations of sexual violence and abuse on the small screen in recent years, in shows like Unbelievable, Sex Education, Orange Is The New Black and The Morning Show. In these, the victim's experience has been centred and power imbalances, coercion and gender dynamics are given their full weight. That stands in contrast to the way in which many shows have used rape as a gratuitous plot device in the past: think of the brutalisation of Sansa Stark in season five of \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20190408-is-game-of-thrones-the-last-great-blockbuster-tv-show\"\u003EGame Of Thrones\u003C\u002Fa\u003E, or The Sopranos, where Dr Melfi's graphic assault, and its effect on her is afforded a single episode, and used largely to shock the audience before signalling her moral goodness.\u003C\u002Fp\u003E\n\u003Cp\u003EWhat's more, while I May Destroy You isn't a show just \"about consent\", its depiction of the nuances of consent is unparalleled. Arabella's initial rape, by a stranger who drugs her, is the most clean-cut non-consensual act, but the series delves into greyer areas. She's further violated when Zain \"stealths\" her (as the practice \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fnews\u002Fnewsbeat-57618003\"\u003Eof non-consensually removing a condom during sex\u003C\u002Fa\u003E has become known) while her friend Kwame (Paapa Essiedu) is pinned down and forcibly humped by a man he has just had consensual sex with, before he in turn has sex with a woman without revealing that he is a gay man. Perhaps most subtle of all is what happens to Terry (Weruche Opia), who has a threesome with two men who she believes to be strangers but later realises they were friends manipulating her into group sex. In almost all these cases the characters are, at first, unsure how to feel or classify what has happened to them.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv-6"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"We don't tend to write or portray realistic rape and its aftermath a lot because it's almost too difficult to watch. But we need these realistic depictions against the litany of insidious ones – Jamie Klingler","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EFor Jamie Klingler, co-founder of Reclaim These Streets, a UK activist group which seeks to end violence against women, that complexity is one of the show's most powerful elements. \"We learn very young that rape victims aren't believed and so then we tend to not believe ourselves or our judgment of what happens. We have internalized misogyny that casts [ourselves] as an unreliable narrator,\" she tells BBC Culture. \"So many of us have questioned whether or not our experience qualifies as sexual assault, regardless of how assaulted we feel. We put things into the prism of 'would they be prosecutable' rather than whether our bodies were violated.\"\u003C\u002Fp\u003E\n\u003Cp\u003EPerhaps most revolutionary of all is the fact that what we see play out on screen is so personal to Coel: in a world where women are expected to feel shame around their sexual assaults, it is courageous that Coel refused to stay silent about what happened to her. \"What Michaela Coel has done is incredibly brave,\" agrees Klingler. We don't tend to write or portray realistic rape and its aftermath a lot [in the same] way that we don't write or portray realistic grief because it's almost too difficult to watch. But we need these realistic depictions against the litany of insidious ones.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EStrength in specificity\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EAnother exhilarating aspect of I May Destroy You is the sheer distinctiveness of Michaela Coel's voice: she is part of a wave of millennial small-screen \"auteurs\" who have flourished in the last decade, including Girls' Lena Dunham, Atlanta's Donald Glover, Insecure's Issa Rae and Fleabag's Phoebe Waller-Bridge. This new generation of television creators seem to have dug into the specificity of their lived experiences and portrayed them with focused self-reflection, not needing to contort themselves to make them more likeable or broadly understood.\u003C\u002Fp\u003E\n\u003Chr align=\"left\" size=\"1\" width=\"33%\" \u002F\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv-8"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The thing that stood out to me were just how intrinsically black-British the show was… It was specific. Intentionally specific. And all the richer for it – Camilla Blackett","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn I May Destroy You, Coel's voice centred her lived black-Britishness on screen and refused to simplify it or treat blackness as an Afro-Caribbean monolith. For black-British screenwriter Camilla Blackett, who started on teen drama Skins in the UK and has worked in Hollywood for the past decade and is currently, like Coel before her, creating a show for HBO, I May Destroy You’s specificity was one of its greatest strengths. \"There's so much to be said and [that] has already been said about the show and Michaela's ownership of her story, but for me the thing that stood out to me was just how intrinsically black-British the show was,\" she tells BBC Culture. Unlike with so many black-British stars like Idris Elba, Daniel Kaluuya, John Boyega or Thandiwe Newton who have become global names, Coel's success was not tied to perfecting an American accent. \"It was not pre-chewed to be easily digested for a black-American audience,\" Blackett continues. \"It was our slang, our vernacular, our lived racial experience in what it is to live in this densely-populated multicultural postage stamp of land. It was specific. Intentionally specific. And all the richer for it.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ytfpd"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOver 12 episodes the show also explores dysfunctional relationships with social media, recovery, friendship, homophobia, creativity, false allyship, toxic positivity, childhood trauma, Euro-centric beauty standards and the commodification of black pain. But where that would leave most television shows hopelessly overstuffed, I May Destroy You has such subtlety with its themes that the resulting show feels languid, almost restrained, never needing to oversell any of its ideas. As Coel herself \u003Ca href=\"https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=GWNb6uGc748\"\u003Etold GQ\u003C\u002Fa\u003E: \"Throughout the show generally I'm never trying to tell the audience how to feel, what to think or who to judge. I'm just presenting a story. I'm presenting movement. I'm presenting people doing things and if I were trying to get you to think a certain way I think that would have been a forfeit to the kind of show I tried to create.\"\u003C\u002Fp\u003E\n\u003Cp\u003ESince I May Destroy You premiered last year, the response to it has been rhapsodic: the show was measured by review aggregator site Metacritic to be \u003Ca href=\"https:\u002F\u002Fwww.metacritic.com\u002Ffeature\u002Ftv-critics-pick-10-best-tv-shows-of-2020\"\u003Ethe most critically-acclaimed television programme of 2020\u003C\u002Fa\u003E, ahead of Better Call Saul, Normal People and The Queen's Gambit, while Coel has graced magazine covers, becoming the first black female filmmaker to make the front \u003Ca href=\"https:\u002F\u002Fwww.bfi.org.uk\u002Fsight-and-sound\u002Fmagazine\u002Fseptember-2020-issue\"\u003Eof esteemed British film magazine Sight & Sound\u003C\u002Fa\u003E. The awards have also come thick and fast, with the show picking up Emmys, Independent Spirit Awards, Baftas and an NAACP Award, among others. Upon receiving her Bafta for leading actress, Coel dedicated the award to the show's \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fnews\u002Fnewsbeat-53350245\"\u003Eintimacy coordinator Ita O'Brien\u003C\u002Fa\u003E saying, \"Thank you for your existence in our industry, for making the space safe, for creating physical, emotional and professional boundaries so that we can make work about exploitation, loss of respect, about abuse of power without being exploited or abused in the process.\"It was a moment that reminded us not only of Coel's eloquence and graciousness as an artist but also that, in re-enacting her sexual assault, she had made herself vulnerable while ensuring she was valued, protected and nurtured.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EThe perfect ending \u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EFollowing her win, Coel also \u003Ca href=\"https:\u002F\u002Fwww.radiotimes.com\u002Ftv\u002Fdrama\u002Fmichaela-coel-i-may-destroy-you-season-2-newsupdate\u002F\"\u003Econfirmed\u003C\u002Fa\u003E there would definitely not be a second season. No matter how much the audience wanted it, their time with Arabella, Kwame and Terry had come to an end. This is another element of the show in keeping with prevailing currents: where many of the big shows of TV's post-millennium \"golden age\" sprawled out into five, six, seven or eight series, we are seeing an increasing number of prestige dramas and comedies deciding that small is perfectly formed and opting for a one or two season run instead. Think of the strength of this year's limited series category at the Emmys, where I May Destroy You competed with \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210114-wandavision-marvels-most-intriguing-show-in-years\"\u003EWandaVision\u003C\u002Fa\u003E, \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210504-the-underground-railroad-review-a-remarkable-american-epic\"\u003EThe Underground Railroad\u003C\u002Fa\u003E, \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210401-mare-of-easttown-review-a-superb-and-starry-cop-thriller\"\u003EMare of Easttown\u003C\u002Fa\u003E and The Queen's Gambit.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv-12"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"What does closure look like? It’s not that it ends. For me, I look at the last four years and I feel this overwhelming sense of euphoria and pain – Michaela Coel","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe final, perfect, episode of I May Destroy You sees Arabella return to the scene of her assault and confront the man who raped her. Coel presents three alternative versions of the confrontation. The first is a revenge fantasy: Arabella, Terry and their old school acquaintance Theo lure her attacker to a bathroom where they drug him, beat him to a bloody pulp and deposit him under her bed. There's an empty catharsis in the violence that seems to satisfy no one. The second centres the rapist's perspective – and as he prepares to rape Arabella in the bathroom stall, she, purposely too high on cocaine to be knocked unconscious, reveals her lucidity. His shock turns to anger which in turn leads to a tearful apology. Arabella extends him sympathy as he confesses his past abuses and the failure of therapy to fix him. The police eventually drag him away and to a certain extent Arabella has her answers, an explanation of why this all happened to her, but that doesn't undo any of the damage he's done.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv-14"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ytdqm"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EFinally, we are presented the most fantastical alternative. In a dreamlike sequence Arabella is in the now sunlit nightclub, where she buys her rapist a gin and tonic. They kiss and go back to Arabella's flat, and stare intently at each other with naked tenderness before having sex, with her penetrating him. The next morning, she asks him to go and he walks out, still naked, while the bloodied version of him from the earlier alternative ending also crawls out from under the bed and follows.\u003C\u002Fp\u003E\n\u003Cp\u003EIt is clear none of these scenarios have actually happened: these are the alternatives Arabella is considering for her new book, now titled January 22nd and based on what happened to her. But as she imagines how her story could end, she dismisses each one. In an interview with \u003Ca href=\"https:\u002F\u002Fwww.vulture.com\u002Farticle\u002Fmichaela-coel-i-may-destroy-you.html\"\u003ENew York Magazine\u003C\u002Fa\u003E, Coel pondered: \"What does closure look like? It's not that it \u003Cem\u003Eends\u003C\u002Fem\u003E. For me, I look at the last four years and I feel this overwhelming sense of euphoria and pain\". Instead of tying a neat narrative ribbon around the assault, in the episode's coda we see the book is finally completed, and as Arabella is about to read the foreword at an event in a bookshop, she is momentarily transported back to that Italian beach before the episode cuts to black. Because what I May Destroy You does in its entirety is serve as its own ending. There's no closure to be had in a single moment, no confrontation or pithy monologue that would make sense of what happened to Arabella or Coel – but instead both of them channelled their pain, their empathy and their anger into art that is radical, raw, and magnificent.\u003C\u002Fp\u003E\n\u003Cp\u003EWhile so many of the entries in BBC Culture's 100 greatest TV series of the 21st Century poll have elevated TV as an art form, I May Destroy You is perhaps the show that, most of all, speaks to its future. Coel ripped up the rule book and played with form, structure and pace; gave voice to underrepresented people, themes and consequences; and came up with a series unlike any that had preceded it, showing what she, and other artists, are able to do when supported in creating singular personal visions. Looking ahead to the TV series of the next decade, let's only hope similarly fearless creativity can be allowed to prosper.\u003C\u002Fp\u003E\n\u003Cp dir=\"ltr\"\u003E\u003Cstrong\u003EThe 100 greatest TV series of the 21st Century:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp dir=\"ltr\"\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-the-100-greatest-tv-series-of-the-21st-century\"\u003EThe 100 greatest TV series of the 21st Century\u003Cbr \u002F\u003E\u003C\u002Fa\u003E–\u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211014-the-greatest-tv-series-of-the-21st-century-who-voted\"\u003E Who voted? \u003Cbr \u002F\u003E\u003C\u002Fa\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-the-tv-shows-that-have-shaped-us\"\u003EHow the way we watch TV has changed\u003Cbr \u002F\u003E\u003C\u002Fa\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century\"\u003EWhat makes The Wire such a great a number one  \u003Cbr \u002F\u003E\u003C\u002Fa\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211014-twenty-five-tv-series-that-define-the-21st-century\"\u003ETwenty-five series that define the 21st Century   \u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003E\u003Cem\u003EHow many of these series have you seen? Let us know using the hashtag\u003Cstrong\u003E #TVOfTheCentury \u003C\u002Fstrong\u003Eon our \u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cem\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cem\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fem\u003E\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fem\u003E\u003Cem\u003E\u003Cbr \u002F\u003E\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E. \u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv-16"}],"collection":null,"disableAdverts":false,"displayDate":"2021-10-19T07:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"I May Destroy You and how it represents the future of TV","headlineShort":"Why this show is the future of TV","image":["p09ytf10"],"imageAlignment":"centre","imageAltText":"","isSyndicated":false,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":null,"summaryLong":"In BBC Culture's poll of the greatest series of the 21st Century, Michaela Coel's blistering drama was the most recent top 10 entry. Leila Latif considers its revolutionary power.","summaryShort":"How Michaela Coel's I May Destroy ripped up the TV drama rulebook","tag":["tag\u002Fthe-100-greatest-tv-series-of-the-21st-century","tag\u002Ftelevision"],"textToSpeech":false,"creationDateTime":"2021-10-19T06:00:24.849672Z","entity":"article","guid":"ed5c3b60-bb65-48a9-bb0f-23bf2e130dfe","id":"culture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv","modifiedDateTime":"2021-10-19T06:00:24.849672Z","project":"culture","slug":"20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv","cacheLastUpdated":1635404077729},"culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century","_id":"616ff5dc45ceed74ce58ac48","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fzinara-rathnayake"],"bodyIntro":"The sari, a traditionally modest and 'feminine' garment, is being re-interpreted and re-energised by a new wave of fashion fans. Zinara Rathnayake meets some of them, and finds out why.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOne of the oldest forms of clothing, the sari, has been integral to the lives of many south Asians for centuries. The garment has long been seen as the embodiment of traditional, conventional and 'feminine' beauty. But recently, younger people are subverting this  stereotype, reclaiming the sari in a more contemporary way. \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210315-the-story-of-indias-iconic-freedom-fabric\"\u003EThe ultimate Indian fashion statement?\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20180112-the-indian-designer-draping-women-in-steel\"\u003EThe designer draping women in steel\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200928-how-jewellery-got-personal\"\u003EHow jewellery got personal\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe word sari (or saree) comes from the Sanskrit word \u003Cem\u003Esati\u003C\u002Fem\u003E, which means a strip of cloth. It has a varying length of four to nine yards (3.6m – 8.2m); most saris are six yards (5.5m) long. The history of the garment goes back to the Indus Valley civilisation of around 3200 BC to 2000 BC, where people wore a long piece of fabric. The garment has evolved over time, especially during  the 19th and early 20th centuries, when the country was under British colonial rule. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09shzww"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhile there are many different ways to drape saris, in their book, \u003Ca href=\"https:\u002F\u002Fwww.bloomsbury.com\u002Fuk\u002Fthe-sari-9781847883148\u002F\"\u003EThe Sari\u003C\u002Fa\u003E by Mukulika Banerjee and Daniel Miller, the authors look at the history of the \u003Cem\u003Enivi\u003C\u002Fem\u003E style, the most popular sari style today. While women at home wore saris without a blouse or slip, Jnanadanandini Devi, a Bengali social reformer during the British colonial time, thought it would be unsuitable in public. Looking for something modest, she took inspiration from her Parsi hosts in Mumbai in 1864, who wore the sari with a petticoat or slip and a blouse. This gave birth to the \u003Cem\u003Enivi \u003C\u002Fem\u003Estyle; one end of the sari tucked into the top of the slip, wrapped and pleated around the waist, and the flowing, embellished end (named \u003Cem\u003Epallu\u003C\u002Fem\u003E) thrown over the left shoulder. In the early years of the 20th Century, this \u003Cem\u003Enivi\u003C\u002Fem\u003E style of the sari appeared in images of women in India's nationalist movement, which helped develop it a mass appeal. \u003C\u002Fp\u003E\n\u003Cp\u003EIn Ancient Textile Series, a book series about craft and fabric, author Aarti Kawlra writes in her essay, \u003Ca href=\"https:\u002F\u002Fwww.researchgate.net\u002Fpublication\u002F333124610_Sari_and_the_Narrative_of_Nation_in_20th-Century_India\"\u003ESari and the Narrative of Nation in 20th-Century India\u003C\u002Fa\u003E, that during these nationalist movements, the sari emerged as a symbol of \"Indianness\", the emblem of south Asian culture and feminine beauty. \"So central was the sari to the nationalist narrative that, from the early part of the 20th Century, it was employed to create the persona of a 'proper' Indian woman within the frame of increasingly gendered societal norms,\" writes Kawlra.\u003C\u002Fp\u003E\n\u003Cp\u003EFrom there, the sari became the dress of \"cultured\" south Asian women. The idea that a sari-wearing woman is more modest, delicate and respectful became widespread. Speaking to BBC Culture, Mukulika Banerjee, social anthropologist and co-author of The Sari says that there is certainly a correlation between wearing a sari and \"feminine\" beauty. Women would transition to wearing a sari after their marriage, and the garment was a symbol of their femininity. \"A sari is seen to be transformative in self-presentation in a way that a suit is for a man,\" she says.\u003C\u002Fp\u003E\n\u003Cp\u003EFor many married women, the sari became essential attire rather than a fashion choice. They had a sari to wear at home, there was a sari for market and temple, and more lavish saris for occasions like weddings. Over the years, however, many married women have adapted tunic tops and skirts for easier movement. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09shzxg"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBanerjee says that the idea of the sari as \"restricting movement\" is debunked by the millions of working women who are construction workers and farmers. \"For them, it's the most economical option,\" says Banerjee. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century-4"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Narratives around saris embedded in religion, marital status, colour and body shape exist till this day, and this is what we are trying to combat – Aiza Hussain","id":"culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EHowever, Jaseena Backer, of the Facebook group \u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F1167294569984941\u002F?ref=share\"\u003ESaree in Style\u003C\u002Fa\u003E, says that many urban women have a strong belief that saris could be restrictive and cumbersome to wear. \"I love saris but I wouldn't wear them while I use public transport. I feel that it wouldn't be so comfortable to move around [in a sari],\" she says. \"In cities and towns, the average middle-aged woman thinks that sari limits their movement and freedom to do anything while wearing it.\" The sari continues to be labelled as the modest attire for married south Asian women who represent the conventional standards of \"feminine\" beauty: thin, delicate and reserved. \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EChallenging tradition\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EDespite these nuances, in recent years, designers, artists and influencers have been challenging the traditional feminine ideals attached to the garment. With innovative styles introduced by young south Asian women, the sari is making a comeback as everyday clothing. Designers and stylists are moving away from conventional sari draping; they wrap it around jeans instead of the petticoat, and wear it over a t-shirt instead of the tailored blouse.\u003C\u002Fp\u003E\n\u003Cp\u003EIndian brands like \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fthesareesneakers\u002F?hl=en\"\u003EThe Saree Sneakers\u003C\u002Fa\u003E popularise the idea of pairing sneakers with saris, while in Sri Lanka, designer brand \u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Furbandrapeofficial\u002F\"\u003EUrban Drape\u003C\u002Fa\u003E specialises in saris with crop tops. Banerjee says that these recent innovations, especially with blouses, make the sari more popular and every day. \"It takes the pressure off matching fabrics, tailoring, and ironing. This hassle was one of the main reasons women gave up saris. But changing its accessories makes it easier to adopt it and wear it on a daily basis.\"\u003C\u002Fp\u003E\n\u003Cp\u003EAiza Hussain, 24, owner of the Pakistani brand \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fthesaarigirl\u002F?hl=en\"\u003EThe Saari Girl\u003C\u002Fa\u003E, is one of those younger people embracing the sari. During the dictatorship of Zia ul Haque (1978-1988), saris were banned in most spaces in Pakistan. Some celebrities stood out in resistance to these campaigns, such as the singer Iqbal Bano, who sang Faiz Ahmed Faiz's famous Urdu poem Hum Dekhenge at Alhamra Arts Council in 1985 clad in a black sari. Hussain tells BBC Culture: \"Narratives around saris embedded in religion, marital status, colour and body shape exist till this day, and this is what we are trying to combat. We want to normalise saris. After all, these six yards of loose cloth can be for anyone and everyone.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09shzwc"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn Pakistan, Hussain is seeing change. While her mother's generation only wore saris for formal events like weddings, she says many young women now are purchasing them for daily wear. \"Eminent Pakistani brands who never offered saris before are now selling saris. When that happens, you know there is a growing market for them.\"\u003C\u002Fp\u003E\n\u003Cp\u003ESari designer Adila Murtaza of \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Fshahkaarbyadila\u002F?hl=en\"\u003EShahkaar by Adila \u003C\u002Fa\u003Eagrees. While she says saris were mostly limited to married women in the past, it was also an heirloom garment. \"If your grandmother or mother never wore one, you were far less likely to wear a sari,\" she tells BBC Culture. \"But now, young women have so much more fun with saris. They wear them casually and style them in innovative ways – with belts, blazers, pants and sneakers. For people who don't know how to tie a sari, there are ready-to-wear stitched options.\"\u003C\u002Fp\u003E\n\u003Cp\u003EMurtaza notices that some sari purists scoff at these non-traditional ways, but she loves seeing people having fun with a piece of fabric and expressing their authentic self. \"Earlier, there was the belief that saris were only for thinner women, but now, we are embracing the size inclusivity of the garment. For plus-size Pakistani fashion bloggers, sari is a fashion statement now,\" she says.\u003C\u002Fp\u003E\n\u003Cp\u003ESocial media platforms like TikTok and Instagram have helped promote to these designers' work, and to popularise the idea that women can do anything while wearing a sari. When dancer Eshna Kutty, 24, posted her \u003Ca href=\"https:\u002F\u002Fwww.instagram.com\u002Ftv\u002FCFfDwCVJHgy\u002F?hl=en\"\u003E#sareeflow video\u003C\u002Fa\u003E, spinning a hula hoop to the Bollywood song, Genda Phool, it went viral; the video received more than two million views. Kutty draped her mother's sari over jeans and a sports bra while wearing sneakers. \"That was my personality shining through it,\" she says with a laugh. \"See, hooping is such a Western art form. I wanted to popularise it among the masses of India, and what's a better way to do it than wearing a sari?\" \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century-8"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"I wanted to express myself, be happy and comfortable while wearing a sari – Eshna Kutty","id":"culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe idea that the sari could be restrictive to wear, she says, is a \"mental block\". For many people, Kutty's videos are a powerful reminder of the flexibility of the garment, and she wanted to show that a woman can still be authentic as herself while wearing a sari. \"When you drape a sari, you are pressurised to wear makeup, heavy jewellery and be a delicate lady. I wanted to express myself, be happy and comfortable while wearing a sari,\" she says. \u003C\u002Fp\u003E\n\u003Cp\u003EKutty believes that the sari is making a striking comeback among young girls. After her #sareeflow videos, thousands of women joined the Instagram trend. Some of them, like Kutty, twirled a hula hoop clad in a sari, while others backflipped or simply styled a sari in their own way. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09shzxr"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"Gen Z didn't grow up seeing their mothers wearing saris every day. For their mothers, sari was occasion wear. So young people find the sari as something trendy as opposed to boring, traditional attire,\" Kutty adds. \"Yoga is ours, but we only found it cool when the West did yoga. I think it's great that we found our tradition cool with the sari. The only way to keep the sari on-trend is to be innovative with it.\" \u003C\u002Fp\u003E\n\u003Cp\u003EThe garment's comeback expands beyond south Asia, with the sari becoming the representation of south Asian culture in the Western fashion industry. Co-founder Sofi Kassam of the Canadian label The \u003Ca href=\"https:\u002F\u002Fwww.thesareeroom.com\u002Fpages\u002Fabout-us-1\"\u003ESaree Room\u003C\u002Fa\u003E says that she and her partner decided to start the brand in 2015 because of how difficult it was for her to shop for south Asian clothes. \"Our families are south Asian, and when I decided to go for a wedding, it was increasingly difficult to find a sari that fits a young woman's taste.\" \u003C\u002Fp\u003E\n\u003Cp\u003EThe Saree Room receives most of its orders from women between the ages 18-34, and a growing number of customers – about 18% – are from outside the south Asian community. Kassam notices that young south Asian people in North America are reviving vintage vibes with printed saris, a best-seller at her brand. As a young girl, Kassam recalls walking into her grandmother's closet and dressing up in her old floral saris. \"I love the simplicity of wearing a printed sari. They are truly a timeless piece we can pass on to future generations,\" says Kassam.\u003C\u002Fp\u003E\n\u003Cp\u003E\"It's finally nice to see so much representation, and have the younger generation be proud of their heritage. Social media has given south Asian women a great platform to express their culture like never before,\" she adds. \u003C\u002Fp\u003E\n\u003Cp\u003ENorth American Gen-Z fashion influencer Milan Mathew – whose family comes from Kerala in south India – turns to social media to represent her Malayali culture. Mathew says that there is a lack of South Asian, and especially Malayali, representation in the Western fashion industry, and with her more than 800,000 followers on TikTok, her sari videos, she says, play a part in establishing the Malayali rendition. In one of her \"\u003Ca href=\"https:\u002F\u002Fwww.tiktok.com\u002F@milan.mathew\u002Fvideo\u002F6940050571852320006?lang=en&is_copy_url=1&is_from_webapp=v1\"\u003EHow I Drape My Saree\u003C\u002Fa\u003E\" videos, with more than 8 million likes, Mathew wraps her sari over leggings instead of the traditional petticoat. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09shzzh"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"I wanted to show what a sari is to my followers from outside the community. My south Asian following loves it because they can relate to my videos, and it's their culture represented by a Malayali woman, a woman who looks like them,\" says Mathew, who receives questions from curious young south Asian women looking for fashion advice. \"I feel like I am the 'big sister' to so many young girls who want to embrace their culture in today's world, be it styling a lehenga or wearing a sari over your jeans.\" \u003C\u002Fp\u003E\n\u003Cp\u003EA garment that champions inclusivity, cultural representation and expression of self, it's no wonder that the sari is growing in popularity as everyday wear. It seems young people across the world are changing the narrative and reclaiming the heritage garment, with creators, designers and artists reshaping established beliefs about what a sari is and who wears it.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century-14"}],"collection":["culture\u002Fpremium-collection\u002Fstyle"],"disableAdverts":false,"displayDate":"2021-08-31T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"How Gen Z is putting a fresh spin on a centuries-old fashion","headlineShort":"A Gen-Z spin on a centuries-old fashion","image":["p09shzzw"],"imageAlignment":"centre","imageAltText":"Model in sari\u002F Urban Drape","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":["p09shzzw"],"relatedStories":null,"relatedTag":["tag\u002Ffashion"],"summaryLong":"The sari, a traditionally modest and 'feminine' garment, is being interpreted and re-energised by a new wave of fashion fans. Zinara Rathnayake meets some of them, and finds out why.","summaryShort":"The women reclaiming and re-energising a traditional, 'feminine' garment","tag":["tag\u002Ffashion"],"textToSpeech":false,"creationDateTime":"2021-08-30T23:00:12.601099Z","entity":"article","guid":"ca527809-9c61-4aa8-bfd8-f3b111c9b164","id":"culture\u002Farticle\u002F20210818-how-the-sari-is-being-reinvented-for-the-21st-century","modifiedDateTime":"2021-09-01T13:21:19.37743Z","project":"culture","slug":"20210818-how-the-sari-is-being-reinvented-for-the-21st-century","cacheLastUpdated":1635404077730},"culture\u002Farticle\u002F20211015-the-100-greatest-tv-series-of-the-21st-century":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211015-the-100-greatest-tv-series-of-the-21st-century","_id":"616ff5d945ceed7d5e2e3745","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fbbc-culture"],"bodyIntro":"BBC Culture polled 206 TV experts from 43 countries in order to find the greatest TV of the 21st Century – here’s the top 100","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp dir=\"ltr\"\u003EIn recent years, BBC Culture has conducted an annual poll of film critics, experts and industry figures from around the world to decide on the greatest films in a particular category: you may have come across our \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20191125-the-100-greatest-films-directed-by-women-poll\"\u003E100 greatest films directed by women\u003C\u002Fa\u003E list in 2019 and our \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20181029-the-100-greatest-foreign-language-films\"\u003E100 greatest non-English language films\u003C\u002Fa\u003E in 2018, among others. However, this year, it felt about time that we turned our attention to another art form: television. That's in part because TV has played such a crucial role in many of our lives over the past 18 months, when we have relied on it for information, entertainment, solace and inspiration in equal measure.\u003Cstrong\u003E\u003Cbr \u002F\u003E\u003Cstrong\u003E\u003Cstrong\u003E\u003Cbr \u002F\u003E\u003C\u002Fstrong\u003E\u003C\u002Fstrong\u003ERead more about BBC Culture's 100 greatest TV series of the 21st Century:\u003C\u002Fstrong\u003E\u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211014-the-greatest-tv-series-of-the-21st-century-who-voted\"\u003E\u003Cbr \u002F\u003E\u003C\u002Fa\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-the-tv-shows-that-have-shaped-us\"\u003EHow the way we watch TV has changed\u003Cbr \u002F\u003E\u003C\u002Fa\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century\"\u003EWhat makes The Wire such a great number one  \u003Cbr \u002F\u003E\u003C\u002Fa\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211014-twenty-five-tv-series-that-define-the-21st-century\"\u003ETwenty-five series that define the 21st Century   \u003Cbr \u002F\u003E\u003C\u002Fa\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv\"\u003EWhy I May Destroy You is the future of TV\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EBut also it felt like the right time to survey the television landscape because arguably it has been the defining art form of the past 21 years: where once, rightly or wrongly, it was largely patronised as cinema's younger, more rough-and-ready sibling, today its artistic credibility is unassailable, while the advent of streaming platforms has also given shows the ability to reach unprecedented global audiences all at once. And so, in order to mark TV's ascendancy, we have decided to ask the question: what are the greatest TV series of the 21st Century?\u003C\u002Fp\u003E\n\u003Cp\u003EWhile in no way definitive, the answers we have collated are fascinating – and, we hope, will inspire TV lovers everywhere to both seek out titles they haven't seen before, and further reflect on and discuss ones they have. In total, 460 different series were voted for by 206 TV experts – critics, journalists, academics and industry figures – who came from 43 countries, from Albania to Uruguay. Of these voters, 100 were women, 104 were men, and two were non-binary. Each voter listed their 10 favourite TV series of the 21st Century, which we scored and ranked to produce the top 100 listed below.\u003C\u002Fp\u003E\n\u003Cp\u003EThe result is a list that stands as a true testament to the power, versatility and innovation of the medium over the last two decades, from smalltown saga Gilmore Girls and caustic meta-comedy Curb Your Enthusiasm, which both kicked off in the immediate shadow of the new millennium in October 2000, to the most recent entry, Barry Jenkins' transcendent adaptation of alt-history epic The Underground Railroad, which premiered in May 2021. At the same time, while the list is wide-ranging by some metrics, there are also ways in which it reflects significant biases. Ninety-two series feature English as their primary language, with Danish, Swedish, French, Spanish and German among the other languages featured. Meanwhile 79 shows in the top 100 were created by men, and just 11 by women, with 10 by a combination of men and women. Both these statistics speak to systemic industry inequities: however with non-English language series increasingly amassing huge international audiences, and a more diverse range of voices, in terms of race, gender and sexual orientation being given creative control, the TV landscape could shift once again in crucial and inspiring ways in the future – and it will certainly be interesting to see what the results of a similar poll might be in five, 10 or 20 years' time.\u003C\u002Fp\u003E\n\u003Cp\u003ETo accompany the results of the poll below, you can also read a series of features reflecting on the century of TV so far. These include \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-the-tv-shows-that-have-shaped-us\"\u003Ean essay exploring how our relationship with TV has fundamentally changed\u003C\u002Fa\u003E; a piece on \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century\"\u003Ewhy the poll winner, contemporary American epic The Wire, is such an enduringly powerful and insightful work\u003C\u002Fa\u003E; an article looking at \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv\"\u003Ewhy the most recent entry in the top 10, I May Destroy You, represents the future of TV\u003C\u002Fa\u003E; and an article picking out \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211014-twenty-five-tv-series-that-define-the-21st-century\"\u003E25 other shows from the top 100 that we feel really define the 21st Century\u003C\u002Fa\u003E. And that’s not all: in coming weeks, we will publish further pieces reflecting on particular aspects of the post-millennial TV landscape, from the revolutionising of the period drama, to the future of the cop show, to modern comedy’s exploration of pain and trauma. \u003Cbr \u002F\u003E\u003Cbr \u002F\u003EAs ever, this list is designed not as an end in itself but merely as a starting point for discovery, discussion and debate. Tell us what you think – and what you think is missing – using the hashtag #TVOfTheCentury on BBC Culture's social channels. We hope you are as inspired and exhilarated by reading the results as we are – as collectively, they not only offer a celebration of TV itself, but a view of the modern era like few others: \u003C\u002Fp\u003E\n\u003Cp dir=\"ltr\"\u003E1          The Wire (2002-2008)\u003Cbr \u002F\u003E2          Mad Men (2007-2015)\u003Cbr \u002F\u003E3          Breaking Bad (2008-2013)\u003Cbr \u002F\u003E4          Fleabag (2016-2019)\u003Cbr \u002F\u003E5          Game of Thrones (2011-2019)\u003Cbr \u002F\u003E6          I May Destroy You (2020)\u003Cbr \u002F\u003E7          The Leftovers (2014-2017)\u003Cbr \u002F\u003E8          The Americans (2013-2018)\u003Cbr \u002F\u003E9          The Office (UK) (2001-2003)\u003Cbr \u002F\u003E10        Succession (2018-)\u003Cbr \u002F\u003E11        BoJack Horseman (2014-2020)\u003Cbr \u002F\u003E12        Six Feet Under (2001-2005)\u003Cbr \u002F\u003E13        Twin Peaks: The Return (2017)\u003Cbr \u002F\u003E14        Atlanta (2016-)\u003Cbr \u002F\u003E15        Chernobyl (2019)\u003Cbr \u002F\u003E16        The Crown (2016-)\u003Cbr \u002F\u003E17        30 Rock (2006-2013)\u003Cbr \u002F\u003E18        Deadwood (2004-2006)\u003Cbr \u002F\u003E19        Lost (2004-2010)\u003Cbr \u002F\u003E20        The Thick of It (2005-2012)\u003Cbr \u002F\u003E21        Curb Your Enthusiasm (2000-)\u003Cbr \u002F\u003E22        Black Mirror (2011-)\u003Cbr \u002F\u003E23        Better Call Saul (2015-2022)\u003Cbr \u002F\u003E24        Veep (2012-2019)\u003Cbr \u002F\u003E25        Sherlock (2010-2017)\u003Cbr \u002F\u003E26        Watchmen (2019)\u003Cbr \u002F\u003E27        Line of Duty (2012-2021)\u003Cbr \u002F\u003E28        Friday Night Lights (2006-2011)\u003Cbr \u002F\u003E29        Parks and Recreation (2009-2015)\u003Cbr \u002F\u003E30        Girls (2012-2017)\u003Cbr \u002F\u003E31        True Detective (2014-2019)\u003Cbr \u002F\u003E32        Arrested Development (2003-2019)\u003Cbr \u002F\u003E33        The Good Wife (2009-2016)\u003Cbr \u002F\u003E34        The Bridge (2011-2018)\u003Cbr \u002F\u003E35        Fargo (2014-)\u003Cbr \u002F\u003E36=      Downton Abbey (2010-2015)\u003Cbr \u002F\u003E36=      Band of Brothers (2001)\u003Cbr \u002F\u003E38        The Handmaid's Tale (2017-)\u003Cbr \u002F\u003E39        The Office (US) (2005-2013)\u003Cbr \u002F\u003E40        Borgen (2010-2022)\u003Cbr \u002F\u003E41        Schitt's Creek (2015-2020)\u003Cbr \u002F\u003E42        Peep Show (2003-2015)\u003Cbr \u002F\u003E43        Money Heist (2017-2021)\u003Cbr \u002F\u003E44        Community (2009-2015)\u003Cbr \u002F\u003E45        The Good Fight (2017-)\u003Cbr \u002F\u003E46        Homeland (2011-2020)\u003Cbr \u002F\u003E47        Grey's Anatomy (2005-)\u003Cbr \u002F\u003E48        Inside No 9 (2014-)\u003Cbr \u002F\u003E49        The Bureau (2015-)\u003Cbr \u002F\u003E50        Halt and Catch Fire (2014-2017)\u003Cbr \u002F\u003E51        Small Axe (2020)\u003Cbr \u002F\u003E52        This is England 86, 88 and 90 (2010-2015)\u003Cbr \u002F\u003E53        Call My Agent! (2015-2020)\u003Cbr \u002F\u003E54        Happy Valley (2014-)\u003Cbr \u002F\u003E55        The Shield (2002-2008)\u003Cbr \u002F\u003E56        The Big Bang Theory (2007-2019)\u003Cbr \u002F\u003E57        The Young Pope (2016)\u003Cbr \u002F\u003E58        Dark (2017-2020)\u003Cbr \u002F\u003E59        The Underground Railroad (2021)\u003Cbr \u002F\u003E60        House of Cards (2013-2018)\u003Cbr \u002F\u003E61        Avatar: The Last Airbender (2005-2008)\u003Cbr \u002F\u003E62=      The Good Place (2016-2020)\u003Cbr \u002F\u003E62=      Pose (2018-2021)\u003Cbr \u002F\u003E64        Detectorists (2014-2017)\u003Cbr \u002F\u003E65        Orange is the New Black (2013-2019)\u003Cbr \u002F\u003E66        Mare of Easttown (2021)\u003Cbr \u002F\u003E67        RuPaul's Drag Race (2009-)\u003Cbr \u002F\u003E68        Stranger Things (2016-)\u003Cbr \u002F\u003E69        24 (2001-2010)\u003Cbr \u002F\u003E70        Battlestar Galactica (2004-2009)\u003Cbr \u002F\u003E71        Enlightened (2011-2013)  \u003Cbr \u002F\u003E72        Gilmore Girls (2000-2007)\u003Cbr \u002F\u003E73        Planet Earth (2006)\u003Cbr \u002F\u003E74        Utopia (2013-2014)\u003Cbr \u002F\u003E75        Babylon Berlin (2017-)\u003Cbr \u002F\u003E76        Rick and Morty (2013-)\u003Cbr \u002F\u003E77        American Crime Story (2016-)\u003Cbr \u002F\u003E78        The Killing (Denmark) (2007-2012)\u003Cbr \u002F\u003E79        Mindhunter (2017-2019)\u003Cbr \u002F\u003E80        House (2004-2012)\u003Cbr \u002F\u003E81        OJ: Made in America (2016)\u003Cbr \u002F\u003E82        Big Little Lies (2017-2019)\u003Cbr \u002F\u003E83        Insecure (2016-2021)\u003Cbr \u002F\u003E84=      Normal People (2020)\u003Cbr \u002F\u003E84=      Narcos (2015-2017)\u003Cbr \u002F\u003E86        How I Met Your Mother (2005-2014)\u003Cbr \u002F\u003E87        The Comeback (2005-2014)\u003Cbr \u002F\u003E88        The OA (2016-2019)\u003Cbr \u002F\u003E89        Dexter (2006-2013)\u003Cbr \u002F\u003E90        It's Always Sunny in Philadelphia (2005-)\u003Cbr \u002F\u003E91        Westworld (2016-)\u003Cbr \u002F\u003E92        Show Me a Hero (2015)\u003Cbr \u002F\u003E93        Treme (2010-2013)\u003Cbr \u002F\u003E94        Louie (2010-2015)\u003Cbr \u002F\u003E95        Luther (2010-2019)\u003Cbr \u002F\u003E96        Catastrophe (2015-2019)\u003Cbr \u002F\u003E97        Hannibal (2013-2015)\u003Cbr \u002F\u003E98        Crazy Ex-Girlfriend (2015-2019)\u003Cbr \u002F\u003E99        Steven Universe (2013-2020)\u003Cbr \u002F\u003E100      The Queen's Gambit (2020)\u003Cbr \u002F\u003E\u003Cbr \u002F\u003E\u003Cstrong\u003ERead more about BBC Culture's 100 greatest TV series of the 21st Century:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp dir=\"ltr\"\u003E–\u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211014-the-greatest-tv-series-of-the-21st-century-who-voted\"\u003E Who voted? \u003Cbr \u002F\u003E\u003C\u002Fa\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-the-tv-shows-that-have-shaped-us\"\u003EHow the way we watch TV has changed\u003Cbr \u002F\u003E\u003C\u002Fa\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century\"\u003EWhat makes The Wire such a great number one  \u003Cbr \u002F\u003E\u003C\u002Fa\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211014-twenty-five-tv-series-that-define-the-21st-century\"\u003ETwenty-five series that define the 21st Century   \u003Cbr \u002F\u003E\u003C\u002Fa\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv\"\u003EWhy I May Destroy You is the future of TV\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EHow many of these series have you seen? Let us know using the hashtag\u003Cstrong\u003E #TVOfTheCentury \u003C\u002Fstrong\u003Eon our \u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cem\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cem\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cem\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cem\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211015-the-100-greatest-tv-series-of-the-21st-century-0"}],"collection":null,"disableAdverts":false,"displayDate":"2021-10-19T00:51:31Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The 100 greatest TV series of the 21st Century","headlineShort":"100 best TV shows of the 21st Century","image":["p09ytk31"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Ftelevision"],"summaryLong":"BBC Culture polled 206 TV experts from 43 countries in order to find the greatest TV of the 21st Century – here’s the top 100","summaryShort":"The results of BBC Culture's international experts poll","tag":["tag\u002Fthe-100-greatest-tv-series-of-the-21st-century","tag\u002Ftelevision"],"textToSpeech":false,"creationDateTime":"2021-10-19T06:00:35.795309Z","entity":"article","guid":"5fcadb1f-5d73-4930-8b6d-b80cc4408b1f","id":"culture\u002Farticle\u002F20211015-the-100-greatest-tv-series-of-the-21st-century","modifiedDateTime":"2021-10-27T09:13:45.178618Z","project":"culture","slug":"20211015-the-100-greatest-tv-series-of-the-21st-century","cacheLastUpdated":1635404077730},"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker","_id":"61709f7f45ceed6e4b35da72","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fmark-allison"],"bodyIntro":"Is there anything more to Wes Anderson's films than twee whimsicality and aloof performances? Much more, argues Mark Allison: they tell us the truth about being human.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"The paths of glory lead but to the grave.\" So reads the headstone above the burial place of Eloise Fischer, mother of Jason Schwartzman's Max Fischer, in Wes Anderson's 1998 film Rushmore. An extract from Thomas Gray's 1751 poem Elegy Written in a Country Churchyard, it might seem a more fitting epitaph for the tomb of a great military hero than this unremarkable grave. But Anderson's films don't exist within our dull reality –  his worlds are fairy tales, and like all good fairy tales, they begin with death.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210916-amlie-the-most-stylish-film-ever-made\"\u003EAmélie – the most stylish film ever?\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210924-the-english-patient-is-it-time-to-revive-the-epic-romance\"\u003EIs it time to revive the epic romance?\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-          \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20201123-accidentally-wes-anderson-when-real-life-meets-film-fantasy\"\u003EWhen real life meets fantasy\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EEverything Anderson dreams up is ultimately about life's first inevitability, and the craterous absence it leaves in the lives of the bereaved – even if they might not be prepared to admit it. Max's traumatic loss of his mother, for example, is mentioned just twice in Rushmore's script, and both times briefly. But her presence, or lack thereof, defines all that Max does – particularly his strange, Oedipal obsession with the widowed Mrs Cross (Olivia Williams). Rushmore is a film about lonely, damaged people seeking human connection, and this spectre of unresolved grief haunts the Texan director's output. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yt8zw"],"imageAlignment":"centre","imageAltText":"Royal Tenenbaums","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EDespite this thematic absorption, death is unlikely to be the first thing that comes to mind when considering Anderson's oeuvre. His distinctively affected visual style has been subject to both criticism and parody. A 2013 \u003Ca href=\"https:\u002F\u002Fwww.youtube.com\u002Fwatch?v=gfDIAZCwHQE\"\u003ESaturday Night Live sketch\u003C\u002Fa\u003E imagined an Andersonian horror film called The Midnight Coterie of Sinister Intruders; brimming with twee pretensions, dad-rock needle-drops and oddly detached performances. But this preoccupation with the offbeat surface of Anderson's work underestimates his deep understanding of the human condition and the gentle empathy which pervades his filmmaking.\u003C\u002Fp\u003E\n\u003Cp\u003EFrom his debut feature Bottle Rocket (1996), the director's reliance on understatement has lent his work a unique profundity. When Luke Wilson's awkwardly inept crook Anthony Adams candidly remarks, \"I'm usually so exhausted now at the end of the days that I don't have time to think about blown opportunities or wasted time,\" he betrays an immense and existential sadness that cuts disarmingly to the heart of his lot in life.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Anderson's protagonists bury their trauma beneath a facade of caricature, and their journeys are defined by how they deal with their grief","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThis peculiar aloofness is a distinctive trait in Anderson's characters, but it is only a varnish on deeply rooted experiences of tragedy and emotional trauma. Ben Stiller's Chas Tenenbaum in The Royal Tenenbaums (2001) appears to be a cartoonish figure with his hypochondriac mania and bright red tracksuit, but at his core he is a man disturbed by the death of his wife and the weight of his continuing responsibility towards their children. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yt924"],"imageAlignment":"centre","imageAltText":"Life Aquatic","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ELikewise, Bill Murray's title character in The Life Aquatic with Steve Zissou (2004) is a transparently absurd personality from the moment he first dons his crimson beanie and holstered Glock, but the brutal death of his best friend, for which he vows revenge, is no less ghastly as a result. Anderson's protagonists bury their trauma beneath a facade of caricature, and their journeys are defined by how they deal with their grief. \u003C\u002Fp\u003E\n\u003Cp\u003ELoss continues to hang over Anderson's latest film, \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210712-the-french-dispatch-four-stars-for-wes-andersons-latest\"\u003EThe French Dispatch\u003C\u002Fa\u003E (2021), which is perhaps his most nakedly sentimental work. Opening with the death of a long-serving magazine editor, the film is structured as an episodic obituary for a man, a publication, and an entire industry facing gradual extinction. The name of the fictional French city in which the film is set, Ennui-sur-Blasé, unsubtly signposts this atmosphere of melancholic nostalgia. The colourful characters we've come to expect from Anderson are still present, but their eccentricities contribute to a tableau of mid-century journalism as an exciting and noble arena, since lost to time.\u003C\u002Fp\u003E\n\u003Cp\u003EDeath had an even more explicit presence in an earlier version of the film. The writer and filmmaker Matt Zoller Seitz tells BBC Culture, \"The prologue to The French Dispatch originally ended with Owen Wilson in a graveyard having a picnic near the grave of a young woman, presumably his wife\". It seems there is so much mourning in Anderson's worlds that he can afford to cut some of it for pacing.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EHuman connection\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWhile Anderson is deft in walking the line between farce and tragedy, he occasionally suspends his broadly comedic sensibility for moments of unadulterated horror. When Richie Tenenbaum attempts suicide, the frankness with which it is depicted is sudden and distressing. Equally, the death of Steve Zissou's son Ned, or the fatal accident during the river crossing in The Darjeeling Limited (2007), deliver an unexpectedly brutal gut punch. These moments of catastrophe enforce a sense of real and terrifying consequence into Anderson's fantastical worlds.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yt8v6"],"imageAlignment":"centre","imageAltText":"Grand Budapest Hotel","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"Death is the biggest thing that we can't control. We can't even know what lies beyond it,\" Seitz tells BBC Culture. \"Accepting this constitutes a harsh lesson for Wes Anderson protagonists, who are often obsessed with controlling everything.\"\u003C\u002Fp\u003E\n\u003Cp\u003EAnderson is not shy in crediting his influences, from filmmakers Michael Powell and Emeric Pressburger to the writer Stefan Zweig, but the director's own experiences also provide a major source of inspiration. His films are littered with autobiographical details; Rushmore, for example, was filmed in the director's own alma mater, St John's School in Houston, Texas, while the family conflict at the heart of The Royal Tenenbaums was inspired by his own parents' divorce. \u003C\u002Fp\u003E\n\u003Cp\u003EThe most sobering moment in The Grand Budapest Hotel (2014) comes as Zero Moustafa reveals to M Gustave that his entire family was killed in an earlier war. Speaking to Seitz for his 2015 book on The Grand Budapest Hotel, Anderson elaborates that Zero's harrowing story was inspired by his partner, Juman Malouf, and the experiences of her family in Lebanon. \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-8"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Ultimately the movie didn't mean anything to me until the characters started to become connected to things that I had been through – Wes Anderson","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EPerhaps it's because there's so much of Anderson in his own work that it never feels crass when he mixes sensitive themes with absurdist humour. As producer James L Brooks writes in his introduction to Anderson and Owen Wilson's Rushmore screenplay, \"They have pulled off the hardest trick in all of contemporary American film: they have won the freedom to use movies as a form of self-expression.\"\u003C\u002Fp\u003E\n\u003Cp\u003EDuring the director's commentary on the Criterion edition of The Royal Tenenbaums, Anderson explains the dual impulses of visual invention and emotional authenticity that motivate him. \"This is a movie where there's a lot of artifice… and it's fun for me to work on those things,\" he says, \"but ultimately the movie didn't mean anything to me until the characters started to become connected to things that I had been through.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yt96z"],"imageAlignment":"centre","imageAltText":"The Darjeeling Limited","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESo powerful is Anderson's empathy for his characters and their emotional distress that there is rarely room for outright villains in his stories – the farmers in Fantastic Mr Fox (2009) and the fascist ZigZag movement in Grand Budapest being exceptions. As director Martin Scorsese \u003Ca href=\"https:\u002F\u002Fwww.esquire.com\u002Fnews-politics\u002Fa1608\u002Fwes-anderson-0300\u002F\"\u003Ereflected for Esquire in March 2000\u003C\u002Fa\u003E, \"[Bottle Rocket] was a movie without a trace of cynicism, that obviously grew out of its director's affection for his characters in particular and for people in general. A rarity.\"\u003C\u002Fp\u003E\n\u003Cp\u003EA common thread across Anderson's work is the healing power of simple human connection. When Chas Tenenbaum confides to his father, Gene Hackman's Royal, \"I've had a rough year, Dad\", the response is simply, \"I know you have, Chassie''. Both understand all that he's going through, and simply vocalising it is the first step in a deeper reconciliation.\u003C\u002Fp\u003E\n\u003Cp\u003ESimilarly, when Steve Zissou finally faces the Jaguar Shark that killed his best friend, having lost his own son in pursuit of revenge, all he can say is, \"I wonder if it remembers me?\" It's a phrase loaded with the meaning of a thousand monologues. How many of us have wasted time in search of things we didn't really want, and neglected what we do in the process? \u003C\u002Fp\u003E\n\u003Cp\u003EFor the Whitman brothers in The Darjeeling Limited, their journey to India may not have brought the intended spiritual enlightenment or reconciliation with their estranged mother, but they nevertheless find their love and respect for one another renewed. In the film's closing moments, as they toss aside the hideously printed leather luggage they inherited from their father, they cleanse themselves of the emotional baggage that had pushed them apart.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yt8f4"],"imageAlignment":"centre","imageAltText":"The French Dispatch","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ENot all of Anderson's characters are able to come to terms with their grief so cleanly. The scale of Zero's loss in The Grand Budapest Hotel is such that he is unable to recover. Concluding his life story to Jude Law's author, he glosses over the execution of M Gustave and tragically premature death of his wife and child. As the playwright Anne Washburn writes in her introduction to Seitz's book, \"In the character of Zero Mustafa, we see a man who has adapted to his losses but has never rebuilt his life, choosing instead to enshrine his past; he is a testament, rather than a true survivor\".\u003C\u002Fp\u003E\n\u003Cp\u003EBeing a survivor comes with its own responsibilities to continue the memory of those who have passed, a burden that Anderson is keen to bear. The end credits of The French Dispatch duly feature a dedication to a number of 20th-Century writers and journalists, all of whom have long since filed their final dispatch. The lasting impression is the same sentiment of fading glory and inevitable decay that decorated Elouise Fischer's grave in Rushmore, and has since reached across Wes Anderson's career.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove film and TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F440074069852291\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture Film and TV Club\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for cinephiles all over the world.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker-14"}],"collection":["culture\u002Fcolumn\u002Ffilm"],"disableAdverts":false,"displayDate":"2021-10-21T00:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Cinema's most misunderstood filmmaker","headlineShort":"Cinema's most misunderstood filmmaker","image":["p09yt8j0"],"imageAlignment":"centre","imageAltText":"French Dispatch","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"French Dispatch","promoImage":["p09yt87k"],"relatedStories":null,"relatedTag":["tag\u002Ffilm-history"],"summaryLong":"Is there anything more to Wes Anderson's films than twee whimsicality and aloof performances? Much more, argues Mark Allison: they tell us the truth about being human.","summaryShort":"Is there anything more to Wes Anderson's films than twee whimsicality?","tag":["tag\u002Ffilm-history"],"textToSpeech":false,"creationDateTime":"2021-10-20T23:00:08.432932Z","entity":"article","guid":"7f9d8d4e-5b7d-4f8f-ad8b-8d421721c8b8","id":"culture\u002Farticle\u002F20211015-cinemas-most-misunderstood-filmmaker","modifiedDateTime":"2021-10-21T14:14:25.657248Z","project":"culture","slug":"20211015-cinemas-most-misunderstood-filmmaker","cacheLastUpdated":1635404077731},"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century","_id":"616ff5d145ceed756137dbec","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Feric-deggans"],"bodyIntro":"David Simon and Ed Burns' Baltimore epic came top in BBC Culture's critics' poll to find the greatest shows of the century. Eric Deggans explains why.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOne of the most significant scenes in The Wire is its first. Detective Jimmy McNulty, played by British actor Dominic West, is sitting on a stoop in a rundown part of Baltimore, quizzing a young black man about a local kid who has been murdered.\u003C\u002Fp\u003E\n\u003Cp\u003EThe pair are looking over at the body of the boy, whose nickname was Snot Boogie. He had a history of playing in a neighbourhood dice game until there was lots of money on the ground, grabbing it and trying to run. Normally, the young man tells McNulty, other players would just catch him and \"beat his ass\". But somebody – we don't see who – finally had enough this time and shot him.\u003C\u002Fp\u003E\n\u003Cp\u003E\"If Snot Boogie always stole the money, why'd you let him play?\" McNulty asks. \"Got to,\" the kid replies. This [is] America, man.\" He drops the line as if it answers everything. And it does.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ERead more about the 100 greatest TV series of the 21st Century:\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-the-100-greatest-tv-series-of-the-21st-century\"\u003EThe 100 greatest TV series of the 21st Century\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-the-tv-shows-that-have-shaped-us\"\u003EHow the way we watch TV has changed\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-       \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv\"\u003EWhy I May Destroy You is the future of TV\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EAppearing on HBO from 2002 to 2008, The Wire stands out as such an original and outstanding series because it is almost an anti-cop show. Where conventional US police dramas focused on courageous individuals fighting a sometimes-dysfunctional system, much of The Wire is about those systems and just how badly their corruption, inertia and injustice are failing the American people.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century-0"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Nearly half of all critics put the show in their top 10 and almost a quarter of those polled ranked it in first place, citing its depiction of power, race, class and American life","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESmall wonder, then, that \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211014-the-greatest-tv-series-of-the-21st-century-who-voted\"\u003Ethe 206 international critics\u003C\u002Fa\u003E who voted in BBC Culture's poll selected The Wire as \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-the-100-greatest-tv-series-of-the-21st-century\"\u003Ethe greatest TV series of the 21st Century\u003C\u002Fa\u003E so far. It was a clear winner; nearly half of all critics put the show in their top 10 and almost a quarter of those polled ranked it in first place, citing its depiction of power, race, class and American life.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yt96q"],"imageAlignment":"centre","imageAltText":"Dominic West in The Wire","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"I'm glad the show has a shelf life,\" says creator David Simon, of the win. \"We weren't interested in whether characters were good or bad. The writers had in their heads the idea, 'If a society is going to have a law enforcement arm, what's the job of that institution? What are the police doing?' If you write a show like that, it will have a shelf life for as long as those systems are in play.\"\u003C\u002Fp\u003E\n\u003Cp\u003EBack when it first aired, an honour like this didn't seem likely. Though critics loved The Wire, it wasn't the biggest hit with viewers, earning mostly average ratings. (Simon says they got killed in viewer numbers for season three, in part, because of the debuts of Sunday Night Football and Desperate Housewives). It was barely recognised by the TV industry's most prestigious ceremony, the Primetime Emmy Awards; nominated for writing awards in two different years, winning neither. But its impact on TV – featuring the kind of antiheroes, explicit action, authentic storylines and complex plotting that would become standard practice in the world of streaming television – has proven immeasurable in the years since it concluded.    \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003E'Two Americas'\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003ESnot Boogie's story could be The Wire's mission statement. Viewers were getting a heads up that they were entering a very specific world with its own rules, patterns of speech, expectations and dangers. However strange it might have seemed to an audience weaned on Miami Vice and Hill Street Blues, though, it was also a very American operation, reflecting how the country deals with people it would rather not consider.\u003C\u002Fp\u003E\n\u003Cp\u003EBut this show ensured you did consider them very deeply. It perched in the courtyard of housing projects while the corner boys conducted their drug business. It showed the ingenuity of addicts trying to earn a buck by ripping copper plumbing from houses under construction. It documented the disappearance of well-paid labour jobs for America's working class. It showed all the different ways experienced Baltimore cops can use the f-word while mulling over evidence in a crime scene.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century-4"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The series' sprawling storylines explored how systems chug along, often serving the interests of the powerful while chewing up average people unlucky enough to get caught in their wake","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe Wire revealed that systems operated everywhere. Even impoverished neighbourhoods in Baltimore have a bureaucracy and a code of conduct – they are run like company towns by the industry that dominates the local economy: the drug trade. Over the course of its five seasons, The Wire would take on some of these dysfunctional structures: in law enforcement, politics, education, labour unions, the media and even drug gangs. In each case, the series' sprawling storylines explored how those systems chug along, often serving the interests of the powerful while chewing up average people unlucky enough to get caught in their wake. Along the way, systemic racism, inept bureaucracy and the indifference of leaders who are supposed to care wind up strangling America's urban centres.\u003C\u002Fp\u003E\n\u003Cp\u003EIt makes sense that this story about systems would come from two types of people who know them well: an ex-cop and an ex-journalist. David Simon loosely based The Wire on the experiences of his writing partner, Ed Burns, a former Baltimore police detective and schoolteacher. Simon was a former reporter who had covered the police for The Baltimore Sun newspaper, written two books about his experience and seen one turned into the NBC series Homicide: Life on the Street, while he worked with Burns to develop the other into the HBO miniseries The Corner.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yt91x"],"imageAlignment":"centre","imageAltText":"Wendell Pierce and Michael K Williams in The Wire","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhen I spoke to Simon about The Wire for the Columbia Journalism Review in 2018, he told me stories and characters from the show feel authentic because he was writing about actual situations and people he knew from his days at The Baltimore Sun. He said The Wire was about two Americas – one connected to the promise of American success and advancement, and another completely disconnected from it. \"I used to say all the time: 'Look, there are, let's say, 479 dramas about one America. For a brief, five-season period, we did a drama about the other America that got left behind.'\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EBreakthrough performances\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe Wire was particularly adept at depicting the failure of the US government's decades-long strategy to crack down on the illegal drug trade, known as \"the War on Drugs\". As Detective McNulty manipulates the police department into going after a particularly efficient and ruthless crew of drug dealers in West Baltimore – eventually using the listening devices that give the show its name – we see how the drug business is the only employment left for men of a certain age in that neighbourhood. Policing in The Wire becomes more about racking up arrest statistics that please supervisors and politicians, rather than actually solving crimes. And a war on drugs quickly becomes a war on the poor. Especially black people.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century-8"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"By focusing its lens on the types of characters mainstream television rarely showcased, The Wire also gave us a vision of black people with the kind of depth US TV scarcely offered","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThis idea is epitomised by a scene from the third season featuring one of my favourite characters, police major Howard \"Bunny\" Colvin, played by Robert Wisdom. Colvin is an experienced cop dismayed by how the focus on arrests and seizures of illegal drugs is creating a generation of police officers who have forgotten how to solve crimes. Colvin explains this to young sergeant Ellis Carver (Seth Gilliam), noting that Carver has no sources in the neighbourhoods he's working in to tell him what's really happening there. Instead, Carver and his compatriots act like an invading army, rolling into the area, arresting a bunch of young men, and rolling out again.\u003C\u002Fp\u003E\n\u003Cp\u003E\"You call something a war, and pretty soon, everybody going to be acting like warriors,\" Colvin tells Carver. \"And when you're at war, you need a fuckin' enemy. And pretty soon, damn near everybody on every corner is your fuckin' enemy. And the neighbourhood you're supposed to be policing, that's just occupied territory.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yt8wx"],"imageAlignment":"centre","imageAltText":"Robert Wisdom in The Wire","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThese days, it's accepted that 50 years of punitive policing hasn't stopped America's illegal drug trade; back in the mid-2000s, it was a much thornier concept for a TV cop show to tackle. Still, The Wire always resisted what \u003Ca href=\"https:\u002F\u002Fwww.npr.org\u002F2021\u002F06\u002F18\u002F1004476457\u002Fwar-on-drugs-the-wire-miami-vice-orange-is-the-new-black-dragnet-law-and-order\"\u003ESimon called\u003C\u002Fa\u003E the \"Thin Blue Line\" narrative, where intrepid cops are depicted as the last line of defence against lawless drug dealers and addicts.\u003C\u002Fp\u003E\n\u003Cp\u003EBy focusing its lens on the types of characters mainstream television rarely showcased, The Wire also gave us a vision of black people with the kind of depth US TV scarcely offered. The list was amazing, especially for that time: Andre Royo's insightful addict\u002Fpolice informant Reginald \"Bubbles\" Cousins; Wood Harris's family-orientated, ruthless gangster Avon Barksdale; Idris Elba as Barksdale's lieutenant Stringer Bell, who dreamed of using business school tactics to build a legal empire; Sonja Sohn as gay police detective Kima Greggs; Wendell Pierce as McNulty's irascible partner William \"Bunk\" Moreland; Felicia Pearson as a hitwoman character with her own name, Felicia \"Snoop\" Pearson and many more.\u003C\u002Fp\u003E\n\u003Cp\u003EBringing life to those characters required serious actors. And one of The Wire's most important legacies is the way it exposed TV audiences to performers who would later become household names. That roster starts with Elba, who played one of the series' most iconic characters and has since built a career ranging from Marvel movies and The Suicide Squad film to TV's Luther. West has had similar success, from films like 300 to the BBC's Les Misérables, and will play Prince Charles in the upcoming season of Netflix’s The Crown. Other big names to come from The Wire include: Michael B Jordan (Black Panther), Seth Gilliam (The Walking Dead), Aidan Gillen (Game of Thrones), Amy Ryan (Gone Baby Gone), Wendell Pierce (Jack Ryan), Lance Reddick and Jamie Hector (Bosch), Glynn Turman (Fargo), and Reg E Cathey (Fantastic Four).\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yt8dn"],"imageAlignment":"centre","imageAltText":"Idris Elba in The Wire","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESimon credits the show's casting directors, Alexa Fogel and Pat Moran, with finding amazing actors who weren't in a lot of high-profile projects. But he has another reason for why some of the show's performers weren't as well-known back then.\u003C\u002Fp\u003E\n\u003Cp\u003E\"A lot of those names are African-American,\" he says. \"And at the time The Wire came out, African-American actors were among the most under-utilised actors in Hollywood. Network TV was very unforgiving to shows that had a significant number of black characters. They thought white people wouldn't watch. But HBO was not afraid of it.\"\u003C\u002Fp\u003E\n\u003Cp\u003EThe actor who most embodied The Wire's success in finding remarkable performers to play singular roles is the late \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20180412-how-the-wire-became-the-greatest-tv-show-ever-made\"\u003EMichael K Williams\u003C\u002Fa\u003E. Williams gave life to another iconic character: Omar Little, the fearsome stick-up man who robbed drug dealers. Omar was also openly gay, redefining and challenging ideas of black masculinity as a character who was undeniably cool, stuck to his own moral code and loved other men. Williams would continue to push such boundaries in his future roles, earning an Emmy nomination playing a closeted gay man in HBO's 1950s-set horror-fantasy drama \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20200806-lovecraft-country-is-ambitious-and-unwieldy\"\u003ELovecraft Country\u003C\u002Fa\u003E before his death in September. But The Wire was his breakthrough – a golden opportunity for a young black man with a prominent facial scar who had previously appeared as a dancer in music videos.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century-14"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yt8tl"],"imageAlignment":"centre","imageAltText":"Michael K Williams in The Wire","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ETo be sure, The Wire had its flaws. Its storylines could be tough to follow and the plots could be slow-moving. Its second season, focused on labour unions and the ports, and its final season, centred on the media, are often cited as weaker installments. It's also a pretty male-orientated series, though several female characters became standout figures.\u003C\u002Fp\u003E\n\u003Cp\u003EUltimately though, The Wire has earned its place as the greatest show of the 21st Century because there is no modern TV series that has better captured all the various ills hobbling the American experiment today, from ineffective politicians to toxic policing, vanishing labour markets, poverty-stricken neighbourhoods and systemic racism.\u003C\u002Fp\u003E\n\u003Cp\u003EIt presented a vision of a community so hamstrung by issues, it's unable to fully recognise its problems, much less address them. Which sounds an awful lot like America today.  \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EEric Deggans is NPR's TV Critic.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003E\u003Cem\u003ERead more about the 100 greatest TV series of the 21st Century:\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-the-100-greatest-tv-series-of-the-21st-century\"\u003EThe 100 greatest TV series of the 21st Century\u003C\u002Fa\u003E\u003Cbr \u002F\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211014-the-greatest-tv-series-of-the-21st-century-who-voted\"\u003EWho voted?\u003C\u002Fa\u003E\u003Cbr \u002F\u003E– \u003Ca href=\"How%20the%20way%20we%20watch%20TV%20has%20changed\"\u003EHow the way we watch TV has changed\u003C\u002Fa\u003E\u003Cbr \u002F\u003E– \u003Ca href=\"Twenty-five%20series%20that%20define%20the%2021st%20Century%20%20%20\"\u003ETwenty-five series that define the 21st Century\u003C\u002Fa\u003E\u003Cbr \u002F\u003E– \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20211015-i-may-destroy-you-and-how-it-represents-the-future-of-tv\"\u003EWhy I May Destroy You is the future of TV\u003C\u002Fa\u003E\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003E \u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003ELove TV? Join \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fgroups\u002F663180317470319\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003EBBC Culture’s TV fans\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E on Facebook, a community for television fanatics all over the world. \u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E. \u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century-16"}],"collection":null,"disableAdverts":false,"displayDate":"2021-10-19T07:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Why The Wire is the greatest TV series of the 21st Century","headlineShort":"The greatest TV show of the century","image":["p09yt98x"],"imageAlignment":"centre","imageAltText":"Michael K Williams in The Wire","isSyndicated":false,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Ftelevision"],"summaryLong":"David Simon and Ed Burns' Baltimore epic came top in BBC Culture's critics' poll to find the greatest shows of the century. Eric Deggans explains why.","summaryShort":"Why The Wire topped BBC Culture's critics' poll","tag":["tag\u002Fthe-100-greatest-tv-series-of-the-21st-century","tag\u002Ftelevision"],"textToSpeech":false,"creationDateTime":"2021-10-19T06:00:08.579251Z","entity":"article","guid":"51c6411a-30df-4cd9-b1ec-13b278e5be9b","id":"culture\u002Farticle\u002F20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century","modifiedDateTime":"2021-10-22T09:03:11.582367Z","project":"culture","slug":"20211015-why-the-wire-is-the-greatest-tv-series-of-the-21st-century","cacheLastUpdated":1635404077731},"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary","_id":"616ff62445ceed1e66296c0a","ambientVideo":"","articleType":"story","assetVideo":null,"author":["culture\u002Fauthor\u002Fdeborah-nicholls-lee"],"bodyIntro":"The painter Marlene Dumas has transformed the way we see the world, writes Deborah Nicholls-Lee, as two new exhibitions of her work open.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EA child smeared in paint lingers sheepishly in the foreground of a stark white canvas. The aftermath of an unsupervised art session is a recognisable image of family life, but in \u003Ca href=\"https:\u002F\u002Fwww.moma.org\u002Fmedia\u002FW1siZiIsIjI0MTQ1OCJdLFsicCIsImNvbnZlcnQiLCItcXVhbGl0eSA5MCAtcmVzaXplIDIwMDB4MTQ0MFx1MDAzZSJdXQ.jpg?sha=63197000ee638f78\"\u003EThe Painter\u003C\u002Fa\u003E (1994) by Marlene Dumas, the girl's sinister stare and blood-coloured hands disrupt the trope, taking us somewhere darker.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ysr13"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EPerhaps the painter in the title is in fact Dumas, engaged in \u003Ca href=\"https:\u002F\u002Fwww.marlenedumas.nl\u002Falice-doesnt-live-here-anymore\u002F\"\u003Ewhat she calls\u003C\u002Fa\u003E \"the power struggle between the artist and subjects\", and her daughter – the painting's focus – merely an accessory to broader questions of innocence and identity. \"Art is not a mirror,\" \u003Ca href=\"https:\u002F\u002Fwww.marlenedumas.nl\u002Funsatisfied-desire-and-the-untrustworthy-language-art\u002F\"\u003EDumas has said\u003C\u002Fa\u003E, writing that \u003Ca href=\"https:\u002F\u002Fwww.marlenedumas.nl\u002Funsatisfied-desire-and-the-untrustworthy-language-art\u002F\"\u003E\"a good work of art is essentially elusive\"\u003C\u002Fa\u003E. In a ground-breaking departure from the conventions of portrait painting, feelings, rather than fixed representations, dominate.\u003C\u002Fp\u003E\n\u003Cp class=\"Body\"\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210819-where-is-the-worlds-most-expensive-painting\"\u003EThe mystery of the 'lost Leonardo'\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210817-is-disneyland-an-art-masterpiece-or-corporate-monstrosity\"\u003EWhy Disneyland is an art masterpiece\u003C\u002Fa\u003E\u003Cbr \u002F\u003E - \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20210810-roaring-twenties-are-we-entering-a-new-age-of-hedonism\"\u003EWill there be a new 'Roaring 20s'?\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EA decade earlier, with self-portrait \u003Ca href=\"https:\u002F\u002Fwww.moma.org\u002Fd\u002Fassets\u002FW1siZiIsIjIwMTgvMTAvMzEvN3lwMHBwZWpqcF8yNDk4MC5qcGciXSxbInAiLCJjb252ZXJ0IiwiLXF1YWxpdHkgOTAgLXJlc2l6ZSAyMDAweDIwMDBcdTAwM2UiXV0\u002F24980.jpg?sha=b5642a3ec1d45db0\"\u003EEvil is Banal\u003C\u002Fa\u003E, Dumas interrogated her own duplicity as a white girl brought up in South Africa under apartheid. In this portrait, a black-stained hand and face, within an otherwise peaceful pose, explores the symbolism of the light-dark dichotomy, and suggests a malign complicity contained in the outwardly ordinary. Later, the scarred face in \u003Ca href=\"https:\u002F\u002Fwww.christies.com\u002Fimg\u002FLotImages\u002F2011\u002FNYR\u002F2011_NYR_02440_0030_000(marlene_dumas_the_white_disease053003).jpg?mode=max\"\u003EThe White Disease\u003C\u002Fa\u003E (1985) would provide an even bleaker evocation of the moral decay of the apartheid regime and its disfiguring of her homeland.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ysr89"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ELeaving South Africa behind and moving to Amsterdam in 1976 afforded Dumas tremendous artistic freedom. She could wander the city in relative safety, see masterpieces close up, and there was easy access to pop culture and media − the basis, no doubt, for the collages that formed part of her early work.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-4"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"I deal with second-hand images and first-hand experiences – Marlene Dumas","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EReturning to portraiture, she shunned formal sittings, instead conjuring diverse, often transgressive, subjects – from \u003Ca href=\"https:\u002F\u002Fassets.phillips.com\u002Fimage\u002Fupload\u002Ft_Website_LotDetailMainImage\u002Fv1\u002Fauctions\u002FNY010316\u002F19_001.jpg\"\u003Esex workers\u003C\u002Fa\u003E to \u003Ca href=\"https:\u002F\u002Fwww.fondationbeyeler.ch\u002Fen\u002Fbeyeler-collection\u002Fwork?tx_wmdbbasefbey_pi5%5Bartwork%5D=144&cHash=2609682a4acc1db750188abb8577722c\"\u003Epop icons\u003C\u002Fa\u003E and \u003Ca href=\"https:\u002F\u002Fwww.tate.org.uk\u002Fart\u002Fartworks\u002Fdumas-oscar-wilde-t15179\"\u003Eplaywrights\u003C\u002Fa\u003E − from the myriad newspaper cuttings, books and Polaroids that cluttered her Amsterdam studio − images \u003Ca href=\"https:\u002F\u002Fwww.marlenedumas.nl\u002Fdutch-art\u002F\"\u003Ethat she says\u003C\u002Fa\u003E \"are familiar to almost everyone, everywhere\". This detachment from the original subject, \u003Ca href=\"https:\u002F\u002Fwww.marlenedumas.nl\u002Falice-doesnt-live-here-anymore\u002F\"\u003Edescribed by Dumas as\u003C\u002Fa\u003E \"the transformative magic of portraiture\", created space for artistic interpretation, while drawing out the commonality of the human condition. \"I deal with second-hand images and first-hand experiences,\" \u003Ca href=\"https:\u002F\u002Fwww.marlenedumas.nl\u002Fdutch-art\u002F\"\u003Eshe writes\u003C\u002Fa\u003E.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09ysrjt"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ETexturally, Dumas has always worked unhindered by expectation – producing dynamic, confident brushstrokes in unpredictable colours, and displaying a vigorous freedom of expression that differentiates her from most of her predecessors. Being painted by Dumas is no vanity project. Her works provoke compassion and aversion in equal measure, and prioritise a thickly meshed meta-text over an immediate likeness. Babies feature in morbid blue-green oils – alien arrivals with baffling dimensions, while the ephemeral beauty of a \u003Ca href=\"http:\u002F\u002Fwww.artnet.com\u002FWebServices\u002Fimages\u002Fll01001lldS09GFgMUECfDrCWvaHBOcNZbE\u002Fmarlene-dumas-copy-of-a-model-(naomi-campbell).jpg\"\u003Etop model\u003C\u002Fa\u003E dissolves and warps as water bleeds into the ink.\u003C\u002Fp\u003E\n\u003Cp\u003EDumas's recent work includes a series of 15 paintings, exhibited at the \u003Ca href=\"https:\u002F\u002Fwww.musee-orsay.fr\u002Ffr\u002Fexpositions\u002Fmarlene-dumas\"\u003EMusée d'Orsay\u003C\u002Fa\u003E from 12 October 2021, to mark the bicentenary of the radical 19th-Century French poet Charles Baudelaire, who shared her fascination with the interplay of beauty and evil, eroticism and disgust. The works illustrate prose poems from Baudelaire's posthumous The Paris Spleen (1869), and demonstrate Dumas's extraordinary range, from her perceptive \u003Ca href=\"https:\u002F\u002Ffiles.ocula.com\u002Fanzax\u002Fa3\u002Fa3c15d42-0ab8-4d55-b87c-37e93fb967b8_1200_1586.jpg\"\u003Eportrait\u003C\u002Fa\u003E of the brooding poet's genius, to the abstract melancholy of \u003Ca href=\"https:\u002F\u002Ffiles.ocula.com\u002Fanzax\u002Fb6\u002Fb6b14b42-e247-4dd1-bc32-2821362312ba_454_650.jpg\"\u003EThe Old Woman's Despair\u003C\u002Fa\u003E.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yssp9"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EDonatien Grau, advisor for contemporary programmes at the Musée d'Orsay, worked with Dumas on the exhibition. \"As opposed to other artists, there is no one way in which she paints,\" he tells BBC Culture. \"She's consistently redefining, reinventing, trying things. What's really striking with the Paris Spleen, is it's really an encyclopaedia of her ways of painting, rooted in an engagement with Baudelaire.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-10"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"She is a master, in the classical sense: she makes masterpieces – Donatien Grau","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWith the exhibition, Dumas – now 68 – becomes the first living artist to present her work in the museum's celebrated Impressionists Gallery, where three of her pieces will be hung in dialogue with paintings from the museum's collection, including Vincent van Gogh's Starry Night.\u003C\u002Fp\u003E\n\u003Cp\u003EThis unprecedented honour is a mark of the esteem in which Dumas is held and the pivotal role she plays in art history. \"It's really extremely rare to see paintings that have such extraordinary charisma,\" says Grau. \"She is a master, in the classical sense: she makes masterpieces.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\"There aren't many artists who can match historical paintings,\" Grau adds, pointing out \"the density of time\" abundant in Dumas's multi-layered work. \"That is an extraordinary challenge to certain preconceived ideas, according to which, it wasn't permissible – or even possible – for women to tackle history,\" he says. \"Every painting she makes is a contradiction to that preconceived idea.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yssxj"],"imageAlignment":"centre","imageOrientation":"square","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EDumas's overtly political or historical pieces are partly governed by a desire to make visible the under-represented. As such, her broad oeuvre includes all that touches her. Paintings relating to \u003Ca href=\"https:\u002F\u002Fwww.moma.org\u002Fcollection\u002Fworks\u002F137427\"\u003EPalestinian-Israeli relations\u003C\u002Fa\u003E and \u003Ca href=\"https:\u002F\u002Fwww.tate.org.uk\u002Fart\u002Fartists\u002Fmarlene-dumas-2407\u002Fmarlene-dumas-great-men\"\u003Egay rights\u003C\u002Fa\u003E show how Dumas does not shy away from battlegrounds that are not strictly her own, while \u003Ca href=\"https:\u002F\u002Fmcachicago.org\u002Fcollection\u002Fitems\u002Fmarlene-dumas\u002F3776-The-Trophy\"\u003EThe Trophy\u003C\u002Fa\u003E and \u003Ca href=\"https:\u002F\u002Fwww.artsy.net\u002Fartwork\u002Fmarlene-dumas-the-widow-1\"\u003EThe Widow\u003C\u002Fa\u003E, painted in 2013, both set in her home continent of Africa, speak universal truths about female oppression.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-14"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The question again imposes itself: what does cruelty look like, and is it in all of us?","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\"Marlene has such unbelievable empathy and sensitivity,\" says Grau. \"And that is apparent when you meet her, and that is apparent when you look at her work.\" Like Baudelaire, whose \u003Ca href=\"https:\u002F\u002Fwww.csus.edu\u002Findiv\u002Fo\u002Fobriene\u002Fart109\u002Freadings\u002F11%20baudelaire%20photography.htm\"\u003Eessay on photography\u003C\u002Fa\u003E advocates for art based on imagination rather than empty reproductions, Dumas seeks our emotional engagement, taking us somewhere beyond prosaic materiality – \u003Ca href=\"https:\u002F\u002Focula.com\u002Fart-galleries\u002Fzeno-x-gallery\u002Fartworks\u002Fmarlene-dumas\u002Frat\u002F\"\u003Ea rat\u003C\u002Fa\u003E, \u003Ca href=\"https:\u002F\u002Fwww.christies.com\u002Fen\u002Flot\u002Flot-5533877\"\u003Ea stripper\u003C\u002Fa\u003E, \u003Ca href=\"http:\u002F\u002Fwww.mariannefaithfull.org.uk\u002Ftag\u002Fmarlene-dumas\u002F\"\u003Ea celebrity\u003C\u002Fa\u003E – and showing us something new.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-16"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yst03"],"imageAlignment":"centre","imageOrientation":"square","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-17"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn \u003Ca href=\"http:\u002F\u002Fwww.zeno-x.com\u002Fexhibitions\u002Fexhibitions\u002F2008_MD_STORAGE\u002F2008_MD_storage_works\u002Fslides\u002FMD2008_21.html\"\u003ESad Romy\u003C\u002Fa\u003E (2008), for example, the tragic life of actress Romy Schneider is evoked by the lachrymose grey paint, while Dumas's unexpectedly benign portrayal of terrorist leader \u003Ca href=\"https:\u002F\u002Fwww.stedelijk.nl\u002Fen\u002Fcollection\u002F94333-marlene-dumas-osama\"\u003EOsama bin Laden\u003C\u002Fa\u003E (2010) suggests an uncomfortable shared humanity. Here, as with her 1985 masterpiece \u003Ca href=\"https:\u002F\u002Fwww.christies.com\u002Fen\u002Flot\u002Flot-4806414\"\u003EDie Baba\u003C\u002Fa\u003E − a ghoulish-green baby with a quizzical eyebrow, unflinching stare and disturbing resemblance to Hitler – the question again imposes itself: what does cruelty look like, and is it in all of us?\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EIn the frame\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EDumas is probably the first woman artist of the post-war generation to have made portraiture and figure painting the focus of her work, says Theodora Vischer, senior curator at the Beyeler Foundation in Basel, where the exhibition \u003Ca href=\"https:\u002F\u002Fwww.fondationbeyeler.ch\u002Fen\u002Fexhibitions\u002Fclose-up\"\u003EClose Up\u003C\u002Fa\u003E recently opened, showcasing nine pieces by Dumas, alongside key works by eight other pioneering women portrait artists, including Frida Kahlo and Cindy Sherman.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-18"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yst42"],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-19"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EOn show is \u003Ca href=\"https:\u002F\u002Fnews.artnet.com\u002Fapp\u002Fnews-upload\u002F2019\u002F05\u002FDUMMA0887_V1-850x1024.jpg\"\u003ETeeth\u003C\u002Fa\u003E (2018), an example of the intimate and confronting close-ups favoured by the artist, and typical of her fast and free − but highly controlled – style. \"It's a pure, energetic painting composed of colour and gesture that merge somehow to form a face… that seems almost to hurl itself at the viewer,\" Vischer tells BBC Culture.\u003C\u002Fp\u003E\n\u003Cp\u003EThe painting is based on a photograph of opera singer Maria Callas, but this is less important than what the piece says about human existence. \"Her portraits no longer seek to capture a person in his or her unique, independent individuality,\" explains Vischer. \"They show people closely connected with the events and the world that's around them. A face, a portrait by Dumas, contains a variety of experiences, a plurality of knowledge and truth, but all have a real, lived origin, and at the same time are of a timeless nature.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\"As an artistic personality, Marlene Dumas is certainly a role model for many artists,\" Vischer says. Speaking to The Independent in 2015, US-born British artist \u003Ca href=\"http:\u002F\u002Fwww.artnet.com\u002Fartists\u002Fchantal-joffe\u002F\"\u003EChantal Joffe\u003C\u002Fa\u003E (born in 1969), for example, \u003Ca href=\"https:\u002F\u002Fwww.independent.co.uk\u002Farts-entertainment\u002Fart\u002Ffeatures\u002Fhow-female-artists-are-fighting-back-10363424.html\"\u003Edescribed her as\u003C\u002Fa\u003E \"the greatest living painter\". For Joffe and her contemporaries, Dumas had blown open the canon of portrait painting, paving the way for new forms of expression. \"Even though I always painted figures, she gave me a freedom,\" Joffe says.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-20"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"She belongs to that great generation of artists who are women and who have completely shaped the way of art history – Grau","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-21"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAnd if the value of work is also what buyers will pay for it, then Dumas has also helped trailblaze for women. In 2005, \u003Ca href=\"http:\u002F\u002Fwww.artnet.com\u002Fartists\u002Fmarlene-dumas\u002Fthe-teacher-subaaa-WjHlkb3SmhFmhCVqmQLhqA2\" target=\"_blank\"\u003EThe Teacher\u003C\u002Fa\u003E became \u003Ca href=\"https:\u002F\u002Fnews.artnet.com\u002Fart-world\u002Fmost-expensive-female-artists-817277\"\u003Ethe most expensive work created by a living female artist\u003C\u002Fa\u003E when it sold for £1.8m at Christie's. Three years later Dumas broke her own record when \u003Ca href=\"https:\u002F\u002Fwww.sothebys.com\u002Fen\u002Fauctions\u002Fecatalogue\u002F2008\u002Fcontemporary-art-evening-auction-l08022\u002Flot.12.html\" target=\"_blank\"\u003EThe Visitor\u003C\u002Fa\u003E fetched £3.1m at Sotheby's.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-22"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":["p09yst87"],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-23"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EDumas, for her part, admires among others Edvard Munch, Francis Bacon, and the US portraitist Alice Neel (1900-1984), who also features in Close Up at the Beyeler Foundation. Neel's expressed desire \"to catch life as it goes by, hot off the griddle\", and to paint \"people\" – body and soul – rather than models, made a mark on her, and she acknowledges in hindsight The Painter's debt to Neels's \u003Ca href=\"https:\u002F\u002Fwhitney.org\u002Fcollection\u002Fworks\u002F2887\"\u003EAndy Warhol\u003C\u002Fa\u003E (1970).\u003C\u002Fp\u003E\n\u003Cp\u003EAs the Musée d'Orsay exhibition prepares to open, Grau cannot emphasise enough Dumas's influence on \"every young painter\". \"She belongs to that great generation of artists who are women and who have completely shaped the way of art history,\" he says.\u003C\u002Fp\u003E\n\u003Cp\u003ESensuous but cerebral, cruel but tender – Dumas's work has overturned the aesthetic of portraiture, stripping back the veneer to reveal something loathsome and visceral but also sublime.\u003C\u002Fp\u003E\n\u003Cp\u003E\"There is no beauty if it doesn't show some of the terribleness of life,\" Dumas writes. \"Art is there to remind us that all laws about what is beautiful and valuable were made by humans and can be changed by them.\"\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Ca href=\"https:\u002F\u002Fwww.fondationbeyeler.ch\u002Fen\u002Fexhibitions\u002Fclose-up\"\u003E\u003Cem\u003EClose Up\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E is running at the Beyeler Foundation, Basel until 2 January 2022.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EMarlene Dumas, The Paris Spleen and Marlene Dumas, Conversations are showing at the \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.musee-orsay.fr\u002Ffr\u002Fexpositions\u002Fmarlene-dumas\"\u003E\u003Cem\u003EMus\u003C\u002Fem\u003E\u003Cem\u003Eé\u003C\u002Fem\u003E\u003Cem\u003Ee d'Orsay\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E, Paris until 30 January 2022.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003E\u003Cem\u003EFacebook\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003E\u003Cem\u003ETwitter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003E\u003Cem\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary-24"}],"collection":["culture\u002Fcolumn\u002Fart"],"disableAdverts":false,"displayDate":"2021-10-18T08:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Marlene Dumas: The art exposing the evil in the ordinary","headlineShort":"Exposing the evil in the ordinary","image":["p09ysvbw"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[{"Content":{"Description":"Apple News Publish: Select to publish, remove to unpublish. (Do not just delete or unpublish the story)","Name":"publish-applenews-system-1"},"Metadata":{"CreationDateTime":"2016-02-05T14:32:31.186819Z","Entity":"option","Guid":"13f4bc85-ae27-4a34-9397-0e6ad3619619","Id":"option\u002Fpublish-applenews-system-1","ModifiedDateTime":"2021-08-25T12:48:44.837297Z","Project":"","Slug":"publish-applenews-system-1"},"Urn":"urn:pubpipe:wwverticals:option:option\u002Fpublish-applenews-system-1","_id":"616ff6c945ceed68c8293c02"}],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":null,"relatedStories":null,"relatedTag":["tag\u002Fvisual-pioneers"],"summaryLong":"The painter Marlene Dumas has transformed the way we see the world, writes Deborah Nicholls-Lee, as two new exhibitions of her work open.","summaryShort":"How the painter Marlene Dumas has transformed the way we see the world","tag":["tag\u002Fvisual-pioneers"],"textToSpeech":false,"creationDateTime":"2021-10-17T23:30:35.040199Z","entity":"article","guid":"a5bd96ac-7919-40ec-afb3-fdfb5115013b","id":"culture\u002Farticle\u002F20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary","modifiedDateTime":"2021-10-20T12:40:52.456644Z","project":"culture","slug":"20211015-marlene-dumas-the-art-exposing-the-evil-in-the-ordinary","cacheLastUpdated":1635404077731},"culture\u002Farticle\u002F20171013-inside-the-most-lovely-and-quirky-homes-of-havana":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20171013-inside-the-most-lovely-and-quirky-homes-of-havana","_id":"616ff60245ceed7eaa158f8a","ambientVideo":"","articleType":"gallery","assetVideo":null,"author":["culture\u002Fauthor\u002Flindsay-baker"],"bodyIntro":"With an emphasis on mid-Century influences, along with Cuban ingenuity and flair, a new book Havana Living Today, by Hermes Mallea, explores the city’s most beautiful homes.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[]},"cardType":"ImageGallery","iFrameType":"","imageGallery":["p05jvsvn"],"id":"culture\u002Farticle\u002F20171013-inside-the-most-lovely-and-quirky-homes-of-havana-0"}],"collection":["culture\u002Fpremium-collection\u002Fdesigned"],"disableAdverts":false,"displayDate":"2017-10-30T10:00:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"","headlineLong":"Inside the most distinctive homes of Havana","headlineShort":"Havana’s most beautiful homes","image":["p05g77jy"],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":null,"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":["p05g77jy"],"relatedStories":null,"relatedTag":null,"summaryLong":"With an emphasis on mid-Century influences, along with Cuban ingenuity and flair, a new book Havana Living Today, by Hermes Mallea, explores the city’s most beautiful homes.","summaryShort":"A surprising look inside some of Cuba’s most distinctive dwellings","tag":null,"textToSpeech":false,"creationDateTime":"2017-10-30T10:09:07.938678Z","entity":"article","guid":"5cfc186c-d104-476f-80b7-c83d1de21ce9","id":"culture\u002Farticle\u002F20171013-inside-the-most-lovely-and-quirky-homes-of-havana","modifiedDateTime":"2021-09-01T11:42:41.762557Z","project":"culture","slug":"20171013-inside-the-most-lovely-and-quirky-homes-of-havana","cacheLastUpdated":1635404077732},"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here","_id":"616ff5d045ceed79824a1654","ambientVideo":"","articleType":"story","assetVideo":null,"author":[],"bodyIntro":"It’s a material that’s strong, beautiful, unique – and millions of years old. Clare Dowdy explores the unstoppable rise of stone in design and architecture.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EA material as old as the hills is back in fashion. Designers and architects are rediscovering the delights of stone, whether it’s as a table-top feature or an entire building structure. Other materials – steel and concrete for construction, plastic for products – may be cheaper and faster to work with, but stone has some impressive sustainability credentials. Its carbon footprint is relatively small – and it lasts forever.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EMore like this:\u003C\u002Fp\u003E\n\u003Cp\u003E-        \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fculture\u002Farticle\u002F20200512-what-you-didnt-know-about-colour\"\u003EWhat you didn’t know about colour\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-        \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fculture\u002Farticle\u002F20200420-the-cutesy-fabric-that-was-banned\"\u003EThe floral fabric that was banned\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-        \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fculture\u002Farticle\u002F20200505-the-joy-and-pain-of-flat-packed-furniture\"\u003EIs the future flat-packed?\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe 2017 London apartment block 15 Clerkenwell Close proves this first point. With its stone structure and limestone façade, its embodied carbon was reduced by 90%, compared to comparable buildings with steel or concrete frames.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EThe building features in \u003Ca href=\"https:\u002F\u002Fwww.buildingcentre.co.uk\u002Fwhats_on\u002Fexhibitions\u002Fthe-new-stone-age-2020-02-27\"\u003EThe New Stone Age\u003C\u002Fa\u003E, an exhibition (currently closed) of contemporary stone architecture at London’s Building Centre. The show is curated by the creators of 15 Clerkenwell Close: architect Amin Taha of Group Work, engineer Steve Webb of Webb Yates and stone mason Pierre Bidaud.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EStone was still popular as a building material until the turn of the 20th Century. But after World War Two, Taha tells BBC Designed, “it was seen as something of the past. Modernism was about concrete, steel and glass.”\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EStone has been used for cladding since then, but “we’re trying to show the technological possibilities of the structural use of stone,” says Webb. Projects featured alongside 15 Clerkenwell Close include an office building in Santiago de Compostela, Spain, by Ensamble Studio, and Studiolada’s tourist office in the French town of Plainfaing.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EStone’s architectural image is being bolstered by new software technology, innovations in manufacturing and a greater understanding of quarrying.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EThese developments can also help stone make a splash inside buildings. The upshot is a basement swimming pool of back-lit golden onyx, and a shiny pink public lift. These have both been realised by Dutch stone company Solid Nature – the former in the Netherlands, the latter at the Fondazione Prada in Venice using a dyed block of onyx.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here-4"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"People increasingly want the authentic beauty and inconsistencies of natural stone – David Mahyari","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAlongside its sustainable qualities, it’s the material’s one-off nature that really appeals to the design world. “People increasingly want the authentic beauty and inconsistencies of natural stone,” says Solid Nature’s David Mahyari, “imitation ceramic tiles include realistic veins but have a repeat pattern like wallpapers, so you can tell quickly that they’re fake.”\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ECurator Guta Moura Guedes in Portugal echoes this. “Each piece, even if you produce thousands of the same model, is always unique. This provides an added value to objects and projects in general.”\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EIts age is also a factor. “Stone is a material that is millions of years old. Can you imagine this? I am completely convinced that this dimension also changes the way we relate to a stone object, establishing a different kind of connection with it and making it, somehow, more precious.”\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003ELondon-based stone carver Simon Smith backs this up: “If the stone ‘takes a polish’, it's like opening the door of the stone and seeing deep into it, and millions of years back in time.”\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThrough the organisation Experimentadesign, Guedes challenged seven designers to experiment with Portuguese stone. Hence Jasper Morrison’s bowl, whose elevated and recessed base creates a space and belies its weight; a plate in two types of stone by Michael Anastassiades; Fernando and Humberto Campana’s rings, described as a dialogue between the coldness and hardness of the Branco Vigária and Ruivina Escuro marble, and the warmth and flexibility of Brazilian coconut fibre; and Ronan and Erwan Bouroullec’s water feature in pale pink marble.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003ESolid as a rock\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EMore and more designers are exploring the potential of stone. Norwegian Runa Klock uses the stone Larvikite for Core, a small table lamp. And Parisian Martin Massé’s Orsetto range of curved sculptural tables is carved from solid Navona travertine from Italy. “I draw a lot of inspiration from ancient Roman architecture, which used stone a lot,” says Massé, who is also keen to help preserve the historical know-how of French stonemasons.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EEven some traditional stone carvers are rethinking their material’s capabilities. Smith is the carver behind the new statue in Portland stone of Sir Hans Sloane, the founder of the British Museum, which stands in Chelsea Physic Garden. He’s now turned his efforts to domestic, decorative creations that could go above the mantelpiece in place of an oil painting.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003ENot every designer using stone is a purist. London-based New Zealander Phil Cuttance works in Jesmonite – ground-up stone mixed with an acrylic resin. “If Jesmonite didn’t exist, I wouldn’t work in stone,” he says, because “if you make a wrong move it’s ruined. Stone is beautiful, ancient, and precious.” Instead, he makes “smaller things for more people”, such as his series of herringbone-patterned vases and pleated mirror frames.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EOnce out of the mould, Cuttance etches it. “When people look at my objects, they assume they’re made by a computer router or 3D printer because of the complex geometry and sharp lines. When they get up close, they see they’re hand-crafted, and have come out of very low-fi process.” He’s now following up these pieces with a range of lighting.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","pullQuote":"Stone is likely to play a bigger role both inside and outside the house","pullQuoteImageAlignment":"centre","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhile designers and architects keep pushing the boundaries by combining new technologies with manual techniques, stone is likely to play a bigger role both inside and outside the house. And the results will be even more unexpected. Like designer Klock’s Rocks, created to be “admired in your evening cocktail”, she says. Made of geometrically carved soapstone, which is non-porous, odourless and tasteless, each Rock keeps its temperature for a long time. After a spell in the freezer the Rock can chill a drink, without diluting it like an ice cube.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EWhile stone may be heading back into the limelight, its ubiquity and durability mean it had never really gone away. Danish architect Jørn Utzon is best known for his futuristic Sydney Opera House, which was built of pre-cast concrete. But in 1972 he followed that up with his own house on Mallorca. Called Can Lis, it has Marés sandstone for its outer walls and columns, and Santanyi sandstone on the floor, interior walls and kitchen worktops.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here-14"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EMeanwhile back at London’s Building Centre, the exhibition “shows that there’s a movement of different people doing different things”, says co-curator Webb, “and international interest is growing”.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List, a handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here-16"}],"collection":[],"disableAdverts":false,"displayDate":"2020-05-20T09:30:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Design’s new stone age is here","headlineShort":"Design’s new stone age is here","image":[],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":[],"relatedStories":null,"relatedTag":[],"summaryLong":"It’s a material that’s strong, beautiful, unique – and millions of years old. Clare Dowdy explores the unstoppable rise of stone in design and architecture.","summaryShort":"The material that’s strong, beautiful – and millions of years old","tag":[],"textToSpeech":false,"creationDateTime":"2020-05-20T08:45:12.345459Z","entity":"article","guid":"6d9c83f5-c1fa-45ad-9198-534bb864e9ce","id":"culture\u002Farticle\u002F20200515-designs-new-stone-age-is-here","modifiedDateTime":"2021-09-01T12:56:56.716085Z","project":"culture","slug":"20200515-designs-new-stone-age-is-here","cacheLastUpdated":1635404077732},"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design","_id":"616ff5a745ceed665b694937","ambientVideo":"","articleType":"story","assetVideo":null,"author":[],"bodyIntro":"The national temperament of Norway is shy, and the design aesthetic is playful and unique. Clare Dowdy explores why this overlooked country has a Scandi style all of its own.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EMinimal, functional, good-looking and democratic – Scandinavian design is a major force in furniture and interiors, and has been for decades. This corner of northern Europe is awash with mid-century design legends like Arne Jacobsen, Verner Panton, Alvar Aalto and Bruno Mathsson.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EBut this catch-all term hasn’t been living up to its name. The big guns of Scandinavian design are the Danes, (like Jacobsen and Panton), the Finns (Aalto), and to a lesser extent the Swedes (Mathsson). What about their next-door neighbours?\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EMore like this:\u003C\u002Fp\u003E\n\u003Cp\u003E-        \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fculture\u002Farticle\u002F20200512-what-you-didnt-know-about-colour\"\u003EWhat you didn’t know about colour\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-        \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fculture\u002Farticle\u002F20200414-are-these-the-ultimate-fantasy-homes\"\u003EAre these the ultimate fantasy homes?\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E-        \u003Ca href=\"https:\u002F\u002Fwww.bbc.co.uk\u002Fculture\u002Farticle\u002F20200515-designs-new-stone-age-is-here\"\u003EDesign’s new stone age is here\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EAs far as populations go, Norway isn’t the region’s minnow – with a population of 5.4m, it’s about the same size as Finland and Denmark, and all three are around half the size of 10m-strong Sweden. Despite that, Norwegian design has been punching below its weight. To call this wealthy nation the poor relation seems a bit of a stretch – but when it comes to design, it has a ring of truth. Among its neighbours, the Norwegian national stereotype is of an uneducated country bumpkin in a knitted sweater, with a fish close at hand. Yet this outdated cliché and its lowly position in the Scandi design pecking order has given Norwegian creativity its own flavour, and a potential edge.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe locals put their relatively low profile down to a mix of factors, ranging from the highs and lows of oil and poverty, to national temperament. Norway was heavily bombed in World War Two, its furniture factories destroyed. A cottage industry on the rural, elongated west coast took their place. Here, between fjords and mountains, farmers who had always made furniture for themselves and had access to forestry, started businesses. One such entrepreneur was Lars Karl Hjelle, and the third-generation brand LK Hjelle still manufactures in the village of Sykkylven.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E“It wasn’t about craftsmanship at that time,” says Morten Hippe, of young Norwegian furniture brand Eikund, “but about producing simple design that could be delivered quickly”.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EAs the nation recovered in the 1950s, those basic home furnishings were in need of an upgrade. A talented cohort of design graduates fresh out of college led the charge. They had been trained up by Arne Korsmo, the head of furniture and interiors at the Norwegian National Academy of Craft and Art Industry. A hugely influential architect in the international style, Korsmo was known for his villa designs, some of which – like the 1930s Villa Stenersen – are regarded as masterpieces of Norwegian functionalism.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EHe and his wife Grete Prytz Kittelsen, an equally talented tableware designer, travelled to the US to meet modernist pioneers including Frank Lloyd-Wright, Ludwig Mies van der Rohe and Charles and Ray Eames. “They were an amazing couple, networking with high-profile people in both architecture and design,” says Benedicte Sunde, curator of the annual contemporary design exhibition Norwegian Presence.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EBack at home, Korsmo’s experiences meant his graduates “were on a par with their neighbours”, says Dr Widar Halén, director of design and decorative arts at Oslo’s National Museum of Art, Architecture and Design. Many, like Fredrik A Kayser, Torbjørn Afdal and Torbjørn Bekken, produced stylish pieces for those west-coast workshops. They and their peers were on a roll, taking part in touring exhibitions of Scandinavian design and winning international awards.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EBusiness was booming, until Norway discovered oil in the 1960s. The nation’s gain was design’s loss. “Skilled people left the industry and we now had money to import furniture. We lost a lot of production here,” says Hippe.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design-4"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"We don’t want to brag or stand out, we’re a shy country – Morten Hippe","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESunde elaborates: “When oil struck, the government’s focus and money went into the North Sea, and the focus on design for export disappeared. Small manufacturers couldn’t keep up.” Just as the Norwegian government was taking its eye off the design ball, its neighbours – who could only dream of Norway’s natural resources – were supporting their furniture makers with state funding, and heavily promoting designers abroad.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EHowever, Hippe is not convinced that such an approach would have worked for Norwegians, anyway. He believes that the idea of self-promotion wouldn’t have sat well with them. “We don’t want to brag or stand out, we’re a shy country,” he says. Historically, Norwegians have had a reputation for being reserved and distant – hardly suitable traits for trumpeting one’s talents.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003ESo while Norway’s best mid-century furniture fell out of production, its rivals were keeping the flag flying by relentlessly reissuing. From Finn Juhl’s Model 45 Easy Chair, and Hans Wegner’s Wishbone Chair, to Aalto’s Stool, Model No. 60, and Jacobsen’s Egg Chair and Swan Chair, these pieces were elevated to icons of Scandi design.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EToday, contemporary creatives – even in Norway – are hard pushed to name many Norwegian designers from those halcyon days. London-based Danish designer Nina Tolstrup is blunt about it: “Norway was invisible on the design scene from 1900 to 1990.” Only one mid-century master springs to mind for her: Hans Brattrud, designer of the Skandia chair.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EA free rein\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EBut the fact that these designs were largely lost or forgotten plays into the hands of the current generation. In those countries where the 1950s have never gone away, “contemporary designers have felt it as a burden – they can’t produce new ideas because reproduction is so dominant,” says Dr Halén. “It hampers them.”\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAs a Dane, Tolstrup feels this: “The new designers in Norway over the last generation have had the benefit of not having a heavy design history, which for Danish designers for many years was a burden, as it was very difficult to rise above the strong historic design legacy.”\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EHaving less conspicuous roots has given the Norwegians more of a free rein. “The design scene in Norway has really been blooming over the last ten years,” Norwegian designer Hallgeir Homstvedt tells BBC Designed. He cites Lars Tornøe’s Dots, a series of large, turned-wood coat hooks. “Millions of Dots have been sold, and they have sparked a whole new product category of sculptural coat hooks,” says Homstvedt.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EThis freedom has translated into a certain quirkiness. “Many [Norwegian designers] are recognised as having a warm playfulness in the products they design,” says Elizabeth Hurlen, export manager of LK Hjelle, which produces the witty Boy poufs by pioneering design studio, Norway Says.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EHjelle is one of a handful of homegrown brands, and produces work by some of the country’s most established living designers, including Homstvedt, Andreas Engesvik, and Anderssen & Voll, as well as Norway Says. In contrast, its neighbours can boast of many more world-recognised brands like Hay in Denmark, Hem in Sweden, and Finnish brand Muuto.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design-12"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"They don’t go for the beauty that people expect, so it makes us think of beauty in a different way – Benedicte Sunde","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThis quirkiness and ruggedness has manifested itself at this year’s Norwegian Presence show, where much experimentation with raw materials is evident, such as stone off-cuts and scrap aluminium. Ali Gallefoss has cast aluminium in pieces of stone, while Vilde Hagelund and Nils Stensrud have produced pieces in birchwood. Sunde describes this approach as a reaction against glamour. “This gives them a raw aesthetic which has its own beauty,” she says, “It doesn’t look luscious or elegant, something that high-end people would buy. It’s more new-wave and avant-garde. They don’t go for the beauty that people expect, so it makes us think of beauty in a different way.”\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EThe work of Norwegian Presence’s 11 designers sits alongside seven local manufacturers including Fjørdfjesta and Vestre. But with few homegrown brands to design for, much design talent has been exported. “Norway has mainly been incubating designers, who go on to work for international brands,” says Homstvedt. As well as Tornøe’s work for Muuto, he cites Engesvik’s Bollo chair for Fogia, Counterbalance lamp by Daniel Rybakken for Luce Plan, Tibu by Anderssen & Voll for Magis, and Half & Half, which he designed with Jonah Takagi for Roll & Hill.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design-14"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"portrait","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EMeanwhile, it’s catch-up time for those ‘lost’ designers. For Norwegian brands like Fjordfiesta, Eikund and Hjelle, reissuing their country’s mid-century creations is a calling. “Now, our mission is not to just sell fish and pump up oil; we need to know our heritage,” says Hippe at Eikund.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EDr Halén believes that the next step is to comfortably accommodate retro nostalgia, alongside the need for fresh talent. “We want good new designers to flourish, but we also want to buy icons. Balance is needed.”\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003EPerhaps in Norway, contemporary design can thrive while classics can revive – it’s an interesting two-pronged approach that could help the country take its rightful place at the Scandi-designed table.\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Cem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List, a handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design-16"}],"collection":[],"disableAdverts":false,"displayDate":"2020-05-27T09:30:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"The quirky charm of Norwegian design","headlineShort":"The quirky charm of Norwegian design","image":[],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":[],"relatedStories":null,"relatedTag":[],"summaryLong":"The national temperament of Norway is shy, and the design aesthetic is playful and unique. Clare Dowdy explores why this overlooked country has a Scandi style all of its own.","summaryShort":"Why shy, reserved Norway has a Scandi style all of its own","tag":[],"textToSpeech":false,"creationDateTime":"2020-05-27T08:48:28.342467Z","entity":"article","guid":"65545bd9-7d9a-43c4-b71c-3b74ab23cdcc","id":"culture\u002Farticle\u002F20200526-the-quirky-charm-of-norwegian-design","modifiedDateTime":"2021-09-01T12:57:41.032076Z","project":"culture","slug":"20200526-the-quirky-charm-of-norwegian-design","cacheLastUpdated":1635404077732},"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century","_id":"616ff5a145ceed62370153ea","ambientVideo":"","articleType":"story","assetVideo":null,"author":[],"bodyIntro":"From a Modernist desert retreat to a camouflaged turf lodge, a new book, Houses: Extraordinary Living, explores the diversity of some of the world’s most awe-inspiring abodes.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003E\u003Cem\u003E\u003Cstrong\u003EThis article was originally published in 2019\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EHome should be a sacred space: the place where you feel secure, and can unwind at the end of a long day – it’s also where we entertain friends, and increasingly, a place to work or study. New methods and materials introduced since the early 20th Century have offered architects and daring clients around the world new ways to let creative imaginations run wild in how – and where – people are able to live.\u003C\u002Fp\u003E\n\u003Cp\u003EA new book, \u003Ca href=\"https:\u002F\u002Fwww.phaidon.com\u002Fstore\u002Farchitecture\u002Fhouses-extraordinary-living-9780714878096\u002F\"\u003EHouses: Extraordinary Living\u003C\u002Fa\u003E, charts our shift in taste, style, and thinking about domestic living through a cross-section of innovative residences that fully embrace their environment – from a hidden house in a Swedish forest to a California desert retreat. Levitating glass boxes, experimental prototypes, radically open-plan layouts, and residences that relate to their surroundings – with the right architect, no project is impossible.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EGraham House, Canada\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EProminent Canadian architect Arthur Erickson designed this west coast Modernist house on an incredibly steep site in West Vancouver, alongside long-time collaborator Geoffrey Massey. Building on the difficult, rugged cliff face was completed in 1963 with a design of hovering horizontal beams and glass which enclosed the major living areas, as a multi-storey structure descending the slope in four levels, from the carport to the rocky bluff over the Pacific.\u003C\u002Fp\u003E\u003Cp\u003EEach area opened onto a roof terrace over the floor below, to achieve maximum access to the stunning views. The late Erickson wrote that: “The Graham house launched my reputation as the architect you went to when you had an impossible site.” Despite its prestige, sadly the Graham house was demolished in 2007.\u003C\u002Fp\u003E\u003Cp\u003E\u003Cstrong\u003EDesert House, United States\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EArchitect Jim Jennings and writer Therese Bissell took their time building their elegant desert retreat. After purchasing the land in 1999, a decade passed before the couple spent time in their Palm Springs refuge: “When you’re your own client, you can be as demanding as you like,” Jennings \u003Ca href=\"https:\u002F\u002Fwww.architecturaldigest.com\u002Fstory\u002Fjim-jennings-article-092009\" target=\"_blank\"\u003Etold Architectural Digest.\u003C\u002Fa\u003E “And you know how difficult everything will be, especially when it appears simple.”\u003C\u002Fp\u003E\u003Cp\u003ERather than opening to the outdoors, the space subverts Desert Modernism’s tradition of the post-and-beam glass box by enclosing the living area in a 2.4m concrete wall of horizontal blocks, supporting a steel roof and two courtyards. From inside, views of the surroundings – palm trees, the San Jacinto Mountains, and molten blue sky – are framed by the floating flat roof, with overhangs providing much-needed shade.\u003C\u002Fp\u003E\u003Cp\u003E\u003Cstrong\u003EEdgeland House, United States\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EArchitects Bercy Chen Studio adopted a modern interpretation of the Native American pit house as a model for Edgeland House, digging 2m into the ground in an attempt to restore the land of a former brownfield site which had been scarred by industry in Austin, Texas.\u003C\u002Fp\u003E\u003Cp\u003ECompleted in 2012, the turf roof and sunken excavation provides both privacy from the street side and insulative properties to keep the building warm in winter and cool in summer. The lack of any connecting hallway between the living and sleeping quarters is intentional – encouraging its owners to spend more time outside.\u003C\u002Fp\u003E\u003Cp\u003E\u003Cstrong\u003EHouse in Itsuura, Japan\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThis single-storey angled house in Japan’s Ibaraki Prefecture is perched on two organically formed pillars, which allow the rest of the structure to be embedded in the hill. The interiors are timber-clad with wood from the local area, and the facade features external angled slats that regulate temperature, let in light and provide privacy.\u003C\u002Fp\u003E\u003Cp\u003ELiving spaces are in the longer wing of the structure, while the shorter wing has spaces for sleeping. Architects Life Style Koubou planted 60 trees to help regenerate the area, and over time it’s hoped the dwelling will become more connected to its natural surroundings as the wood takes on a weathered appearance.\u003C\u002Fp\u003E\u003Cp\u003E\u003Cstrong\u003EBakkaflöt 1, Iceland\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EShortly after graduating from École des Beaux-Arts in Paris 1960, Högna Sigurðardóttir became the first woman to design a building in a professional capacity in Iceland. A few years later, she would design arguably one of the country’s greatest buildings in the form of a simple modern turf hut for a family in a suburban street south of Reykjavík.\u003C\u002Fp\u003E\u003Cp\u003EIn 1963, Sigurðardóttir \u003Ca href=\"http:\u002F\u002Fwww.islanders.is\u002Fragnheidur\u002F\" target=\"_blank\"\u003Etold the family of six\u003C\u002Fa\u003E “I am going to make you a nest”, and in incorporating three mounds to protect the low house from the harsh Icelandic elements, she kept her promise. The house is made of exposed concrete using Brutalist techniques, as is much of the furniture – such as the sofa and the bathtub – creating a connection between inside and out.\u003C\u002Fp\u003E\u003Cp\u003E\u003Cstrong\u003EThe House on the Cliff, Spain\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ERippling over the contours of a steep hillside slope in Granada is a largely-buried dwelling which architects Pablo Gil and Jaime Bartolomé called “a contemporary Gaudíesque cave” after Anton Gaudì, known as the greatest exponent of Catalan Modernism. Completed in 2015, the two-storey residence uses the natural cooling of the earth to maintain a constant temperature of 19.5C.\u003C\u002Fp\u003E\u003Cp\u003ECovered with a curved double shell of reinforced concrete upon a metal frame, its rolling zinc-tiled, handcrafted roof resembles a dragon’s scaly skin, with its pool and cantilevering terrace framing views over the Mediterranean sea. The architects stated: “The metallic roof produces a calculated aesthetic ambiguity between the natural and the artificial, between the skin of a dragon set in the ground, when seen from below, and the waves of the sea, when seen from above.”\u003C\u002Fp\u003E\u003Cp\u003E\u003Cstrong\u003EDragspel House, Sweden\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EDragspel means accordion in Swedish, referencing the folds of red cedarwood shingles on this extension to an original cabin from the late 19th Century, located on the shore of the lake Övre Gla. The organic shape of the house blends naturally into the Glaskogen nature-reserve setting, and is designed to have a minimal visual impact, with the windows hidden within the skin of the structure.\u003C\u002Fp\u003E\u003Cp\u003EIn due time, the wood of the cabin skin will have a grey appearance, blending into the rough, rocky forest landscape. Another neat trick: during the summer, the front part of the cabin can be extended to cantilever over a stream, with the windows opening wide to listen to the murmur of the water, and can then be retracted in the winter or on rainy days – adjusting itself to its environment depending on the season or number of guests.\u003C\u002Fp\u003E\u003Cp\u003E\u003Cstrong\u003ETill House, Chile\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-14"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ECut into a deep shelf on a Chilean coastal landscape in Navidad, this small weekend shelter built for a couple on a coastline of cliffs is surrounded on three sides by the roaring Pacific Ocean. Invisible from the road, its open-plan terrace is perfect for lounging with panoramic views, while the rest of the space is for sleeping and eating.\u003C\u002Fp\u003E\u003Cp\u003EIndividual rooms are sectioned off with shelving units to provide privacy, and the entire roof is a massive open deck which is reached by the cliffside walkway. If that wasn’t enough for relaxation, there is also a wooden jacuzzi called a cuba, where the water is warmed with a fire.\u003C\u002Fp\u003E\u003Cp\u003E\u003Cstrong\u003EKirsch Residence, United States\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-16"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-17"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn the suburb of Oak Park, Illinois, you would think Frank Lloyd Wright’s home and studio would be the highlight – that is, until you drive by this massive bunker built in 1982 by Errol J Kirsch which resembles the kind of structure more commonly seen in science-fiction movies.\u003C\u002Fp\u003E\u003Cp\u003EEnclosed in concrete, the Kirsch residence’s unusual geometric form gives a sense of security – but that’s not all: the sharply pitched roofs, ziggurat form and slit windows were designed for energy efficiency by inhibiting temperature changes and windows that maximise solar gain.\u003C\u002Fp\u003E\u003Cp\u003E\u003Cstrong\u003EMalator house, Wales\u003C\u002Fp\u003E\u003Cp\u003E\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-18"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-19"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EConverted from old military barracks by Future Systems husband-and-wife architects Jan Kaplický and Amanda Levete, the Malator House – or the ‘Tellytubby house’, as locals have dubbed it – is a two-bedroom holiday retreat sunk into an artificial hill overlooking the Pembrokeshire coastline.\u003C\u002Fp\u003E\u003Cp\u003EBuilt in 1998 in the Earth-house style, its plywood roof is camouflaged with grass, making it practically invisible. The inside space is divided by multicoloured service pods containing the bathroom and kitchen, and the living room with a large sofa and fireplace. The only clue that there is habitation inside the hill is an elliptical window, like an eye looking out to sea.\u003C\u002Fp\u003E\u003Cp\u003E\u003Cem\u003EHouses: Extraordinary Living is published by \u003Ca href=\"https:\u002F\u002Fwww.phaidon.com\u002Fstore\u002Farchitecture\u002Fhouses-extraordinary-living-9780714878096\u002F\" target=\"_blank\"\u003EPhaidon\u003C\u002Fa\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Cstrong\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003EFacebook\u003C\u002Fa\u003E\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Cstrong\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003ETwitter\u003C\u002Fa\u003E\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003Cem\u003E.\u003Cbr \u002F\u003EAnd if you liked this story, sign up for the \u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003Eweekly bbc.com features newsletter\u003C\u002Fa\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Capital and Travel, delivered to your inbox every Friday.\u003C\u002Fp\u003E\u003Cp\u003E\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century-20"}],"collection":[],"disableAdverts":false,"displayDate":"2020-06-12T10:30:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"","headlineLong":"10 dream homes from the past century","headlineShort":"10 dream homes from the past century","image":[],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":[],"relatedStories":[],"relatedTag":[],"summaryLong":"From a Modernist desert retreat to a camouflaged turf lodge, a new book, Houses: Extraordinary Living, explores the diversity of some of the world’s most awe-inspiring abodes.","summaryShort":"A selection of remarkable residences of the modern era","tag":[],"textToSpeech":false,"creationDateTime":"2019-05-22T09:16:22.945862Z","entity":"article","guid":"651934b4-af35-4f16-812c-50ae8b9e7e2f","id":"culture\u002Farticle\u002F20190521-10-dream-homes-from-the-past-century","modifiedDateTime":"2021-09-01T12:26:08.736771Z","project":"culture","slug":"20190521-10-dream-homes-from-the-past-century","cacheLastUpdated":1635404077733},"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches","_id":"616ff62345ceed1f61758b44","ambientVideo":"","articleType":"story","assetVideo":null,"author":[],"bodyIntro":"Built under difficult conditions, the extraordinary Modernist edifices are an outstanding contribution to 20th-Century architecture, writes Clare Dowdy.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn towns and villages across Poland, 3,000 churches were built between 1945 and 1989. Bizarrely, this boom happened despite the fact that religion went against the ideology of the ruling Communist party. Neither legal nor prohibited, these churches – many of them eye-popping edifices that look as if they’ve arrived from outer space – were a godsend for architects.\u003C\u002Fp\u003E\u003Cp\u003EMore like this:\u003C\u002Fp\u003E\u003Cp\u003E-        \u003Ca href=\"http:\u002F\u002Fwww.bbc.co.uk\u002Fculture\u002Fstory\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest\"\u003EA home ‘where body and soul can rest’\u003C\u002Fa\u003E\u003C\u002Fp\u003E\u003Cp\u003E-        \u003Ca href=\"http:\u002F\u002Fwww.bbc.co.uk\u002Fculture\u002Fstory\u002F20200218-the-glamorous-homes-that-reflect-their-owners\"\u003EThe homes that reflect their owners\u003C\u002Fa\u003E\u003C\u002Fp\u003E\u003Cp\u003E-        \u003Ca href=\"http:\u002F\u002Fwww.bbc.co.uk\u002Fculture\u002Fstory\u002F20200117-the-art-of-elegant-compact-living\"\u003EThe art of compact living\u003C\u002Fa\u003E\u003C\u002Fp\u003E\u003Cp\u003EUnder Polish Communism, there was no free-market economy. “It was impossible to set up an architectural practice,” explains Izabela Cichońska, co-author of the \u003Ca href=\"https:\u002F\u002Fdom-publishers.com\u002Fproducts\u002Fday-vii-architecture\"\u003Ebook Day-VII Architecture\u003C\u002Fa\u003E, that catalogues these churches.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ESo architects – who spent their days in state design offices creating housing, schools, industrial facilities and cultural centres – worked on churches in their spare time. “It was a great opportunity for an architect to design, away from office structures,” she adds. “They could experiment with forms and take responsibility for their own designs, they could learn how to execute their own ideas and they had a chance to create their own working method.” In the long term, this would stand them in good stead.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"They are the most distinctive Polish contribution to the architectural heritage of the 20th Century – Kuba Snopek","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EDay-VII Architecture’s co-author Kuba Snopek backs this up: “For the most part, these buildings were created by a young generation of architects… who saw designing churches as a way to realise their creative ambitions. This kind of architecture thus needed an entirely new language of expression and postmodernism, which was infiltrating from the West.”\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EHe and Cichońska spent a year and a half collecting data on these structures, many of which are unknown outside of their parish. This is the first time they have been treated as an architectural phenomenon. Despite or perhaps because of their quasi-clandestine nature, these buildings are “the most distinctive Polish contribution to the architectural heritage of the 20th Century,” says Snopek. “Through our project, we were trying to inflict a notion of pride, as many of these churches are the best pieces of architecture in their area.”\u003C\u002Fp\u003E\u003Cp\u003EMost of them are in marked contrast to their concrete, Modernist, prefabricated neighbours: the vast housing estates that they served. Architect Wojciech Jarząbek – one of Poland’s leading representatives of postmodernism – compares the two experiences. “We had already had several years full of passionate work on a housing project for 23,000 inhabitants,” he says, “but this ended with strong frustration after seeing the very bad quality of execution, and not seeing on site any of the architectural details we had designed.” He wanted his Church of Our Lady, Queen of Peace in Wroclaw “to stand in contrast… to the surrounding architecture”.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EEven when the housing and the neighbouring house of God had the same architect, the style was different. This was the case for Henryk Buszko and Aleksander Franta, who designed the Church of the Holy Cross and Our Lady Healer of the Sick in Katowice, which was surrounded by their own housing estate. “This example shows that 1980s Poland actually had two parallel architectures,” says Snopek, “one sponsored and controlled by the state, and the other by the Catholic Church.”\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBut if communism didn’t allow religion, how did these churches get the go-ahead? It was down to a mixture of strong faith and pragmatic politics. “All the PZPR (Communist Party) first secretaries in towns such as Glogów were deeply religious and became party secretaries just for the sake of having a career,” explains architect Jerzy Gurawski in Day-VII Architecture. He designed three churches including Glogów’s Church of the Blessed Virgin Mary, Queen of Poland. These functionaries needed somewhere to be married and to have their children baptised.\u003C\u002Fp\u003E\u003Cp\u003E\u003Cstrong\u003EA new wave\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\u003Cp\u003EMeanwhile, according to the authors, the biggest wave of church construction was triggered by a political event: the general walkouts organised by the influential labour union Solidarity in 1980. “In the aftermath of the strikes, the government made concessions to the Catholic Church,” explain the authors. “To alleviate the revolutionary mood… they began to issue previously unavailable building permits,” for churches.\u003C\u002Fp\u003E\u003Cp\u003EDespite the visual feast that the best of these churches represents, their construction is perhaps even more extraordinary than their design. State-controlled building equipment was not available, and nor was there access to building materials. Both had to be borrowed, scavenged or invented, Heath-Robinson-style.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAs for labour, “those who opposed the regime rallied around the Church, and were inspired to support the construction of new places of worship,” relates architect Maciej Hawrylak in the book. Here, Solidarity indirectly helped again, winning free Saturdays (reducing the working week from six to five days), which allowed labourers spare time to work on their local church.\u003C\u002Fp\u003E\u003Cp\u003EThe hand-built methods using stone and brick were in sharp contrast to the concrete, prefabricated Modernism elsewhere on Polish building sites. “Given the lack of access to machinery, industry and modern-day materials, this move was both ideological and pragmatic,” according to the authors.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe results could be striking, such as the Church of Our Lady Queen of Peace in Wrocław by Jarząbek, Jan Matkowski and Wacław Hryniewicz, “a post-modernism form complemented by amazing stone and brick work”, says Snopek.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-14"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"From dawn till dusk, we carried concrete in buckets until we managed to finish the frames – Stanislaw Niemczyk","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ETo rally volunteers, priests used the church pulpit on a weekly basis. Architect Marian Tunikowski recounts the unorthodox story of how his Church of Our Lady Queen of Poland in Świdnica got built. “Around 100 to 150 people arrived at the construction site, not knowing what they would do that day. Most of them had no practical experience in construction work.” As it was impossible to get hold of a crane, “this church emerged from a forest of timber scaffolding – just like in the Middle Ages,” he adds.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-16"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-17"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EStanisław Niemczyk – architect of five churches, including Church of the Holy Spirit in Tychy – had a similar experience when industrial cement mixers were unavailable. In the past, each household in Poland had a concrete mixer fashioned out of a bicycle wheel and a barrel, and these were put to use. “From dawn till dusk, we carried concrete in buckets until we managed to finish the frames,” he says in the book.\u003C\u002Fp\u003E\u003Cp\u003EAs well as being generally better paid than government work, church design could act as a springboard into a professional career in the 1990s, after the collapse of communism in 1989. “The vast majority of architectural offices (along with developers and small construction companies) who dominated the market in the 1990s had their roots in church construction,” says Snopek.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-18"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-19"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThis was the case for Tunikowski, who set up his own practice. Likewise, Jarząbek, who went on to design the Solpol department store in Wrocław, seen as an icon of Polish postmodern architecture. “But the number one (project) in my portfolio is our church,” Jarząbek says.\u003C\u002Fp\u003E\u003Cp\u003EGiven the nature of the construction, building work often went on for years, and the last project wasn’t completed until 2004. They remain a snapshot in time, because no church has been built since this frenzied period. As Snopek puts it: “The country is saturated.”\u003C\u002Fp\u003E\u003Cp\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Fdom-publishers.com\u002Fproducts\u002Fday-vii-architecture\"\u003EDay-VII Architecture\u003C\u002Fa\u003E: A Catalogue of Polish Churches post 1945 is published by DOM\u003C\u002Fem\u003E\u003C\u002Fp\u003E\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List, a handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches-20"}],"collection":[],"disableAdverts":false,"displayDate":"2020-04-08T09:30:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"","headlineLong":"The eye-popping churches of Communist Poland","headlineShort":"Poland's extraordinary churches","image":[],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":[],"relatedStories":[],"relatedTag":[],"summaryLong":"Built under difficult conditions, the extraordinary Modernist edifices are an outstanding contribution to 20th-Century architecture, writes Clare Dowdy.","summaryShort":"The unexpected story behind these eye-popping Modernist edifices","tag":[],"textToSpeech":false,"creationDateTime":"2020-04-08T08:51:32.69113Z","entity":"article","guid":"53f54e01-22ab-49f3-98d8-bc39d3f55b18","id":"culture\u002Farticle\u002F20200407-the-surprising-story-of-polands-extraordinary-churches","modifiedDateTime":"2021-09-01T12:54:24.812521Z","project":"culture","slug":"20200407-the-surprising-story-of-polands-extraordinary-churches","cacheLastUpdated":1635404077733},"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers","_id":"616ff5d045ceed6ee26eb093","ambientVideo":"","articleType":"story","assetVideo":null,"author":[],"bodyIntro":"What do these intriguing interiors tell us about their creative occupants? Andrea Marechal Watson finds some answers in a new book, Life Meets Art.","businessUnit":"public service","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIf our homes reflect our characters, then the home of an artist is likely to be particularly intriguing. A new book, \u003Ca href=\"https:\u002F\u002Fwww.phaidon.com\u002Fstore\u002Fdesign\u002Flife-meets-art-9781838661311\u002F\"\u003ELife Meets Art\u003C\u002Fa\u003E: Inside the Homes of the World’s Most Creative People, opens the doors to a collection of interiors that have all at some point belonged to famous artists, sculptors, musicians or writers.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EMore like this:\u003C\u002Fstrong\u003E\u003Cbr \u002F\u003E \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20201208-cottagecore-and-the-rise-of-the-modern-rural-fantasy\"\u003E- How rural bliss became a modern fantasy\u003C\u002Fa\u003E\u003Cbr \u002F\u003E \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20201113-why-gen-z-and-millennials-go-wild-for-vintage-clothes\"\u003E- Why buying vintage is 'the new luxury'\u003C\u002Fa\u003E\u003Cbr \u002F\u003E \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20201127-how-dressing-up-can-make-us-happy\"\u003E- How dressing up can make us happy\u003C\u002Fa\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EWorking his way around the world, author Sam Lubell chose 250 of the most photogenic and memorable residences he found. Some are now museums containing works by the artists who lived and often worked in them; others can best be described as shrines.   \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"infographic","imageAlignment":"centre","imageOrientation":"landscape","pullQuoteImageAlignment":"centre","videoImageAlign":"centre","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhat do all these homes say about their owners? Well, for one thing they do not support the common image of the 'starving artist in their garret'. The book, with very few exceptions, is packed with sumptuous, elegant and richly decorated and furnished homes.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-2"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The furnishings and personal effects of an artist can tell their story – Lucy Porten","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ELubell admits: \"If I did not like a place, I generally rejected it\". But it would be a mistake to think that, given the subject matter, this book is a compendium of good taste or a bible for decorators. Even though many rooms have been heavily curated, there's still usually a sense of personality about them; an aura of the occupant, whether in the old pianos, bookcases and writing desks, or in the collected antiques and personal items. \"The furnishings and personal effects of an artist can tell their story,\" says National Trust curator Lucy Porten.\u003C\u002Fp\u003E\n\u003Cp\u003EIn the case of the family villa built by the Secessionist architect Otto Wagner, the personal effects of its last owner certainly tell a story. The villa, considered Vienna's greatest Art Nouveau space, is today filled with incongruous artworks by Ernst Fuchs, a founder of the school of Fantastic Realism.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-5"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe story goes that as a penniless boy, Fuchs knew the house, and promised that he would one day buy it for his mother. By 1970, the then-abandoned villa was due for demolition, and Fuchs was able to fulfil his dream. He restored the villa in a hybrid of styles, and filled it with his fantastical art works. It is now called the Ernst Fuchs Museum.\u003C\u002Fp\u003E\n\u003Cp\u003ETempting as it is to assume that musicians and writers and other non-visual artists are generally unaware of their surroundings because their heads are full of higher things, it is not possible to make sweeping generalisations about the way artists live.\u003C\u002Fp\u003E\n\u003Cp\u003EThe homes of Puccini and Tchaikovsky were both well-ordered sanctuaries full of gorgeous antiques where they could compose in peace, whereas jazz legend Louis Armstrong wanted only to live in a vibrant neighbourhood. Despite the huge wealth he amassed, Armstrong chose to remain in a working-class, racially mixed area in Queens, New York.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-6"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-7"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAnother generalisation that falls apart when you explore the pages of Life Meets Art is that the homes of painters will somehow reflect the style of their paintings. Take a look at the habitat of Peter Paul Rubens, whose oils are a byword for voluptuous women and sometimes distressing scenes. Yet his home in Antwerp, Belgium, for which he drew the plans, is restrained.\u003C\u002Fp\u003E\n\u003Cp\u003EWhile the house is much altered, basic elements like the portico and pavilion – based on Italian Renaissance proportions – remain exactly as Rubens designed them. Why an artist so devoted to perfect proportions in spaces should have produced so many chaotic and disordered paintings is a mystery.\u003C\u002Fp\u003E\n\u003Cp\u003EThe home of sculptor Gustav Vigeland again displays a taste that seems diametrically opposed to what Lubell calls the \"zestfully physical\" works the Norwegian created, and which are now displayed at Vigeland Park in Oslo. Vigeland's home and studio is located in an austere red-brick building, designed by architect Lorentz Ree, which was built by the city elders in return for the pledge of his art collection.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-8"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-9"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EPerhaps having a home of his own was the incentive, but never having pursued interior design beforehand, Vigeland did an about-face and created a series of graceful pastel drawings of every last item of furniture, from pillows to candlesticks and lamps.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cstrong\u003EColourful souls\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\n\u003Cp\u003EThe German playwright and poet Friedrich von Schiller died just three years after finally buying his own home. In 1802, at the age of 42, Schiller – a colossus of the Enlightenment and a startlingly modern writer – had moved with his family to a mustard yellow house in Weimar, close to his good friend and collaborator Goethe. It is a fine two-storey town house of a surprisingly high standard for a writer of the period.\u003C\u002Fp\u003E\n\u003Cp\u003E\"These days I finally realised an old wish to own my own house,\" he wrote to his publisher. \"Because I have now given up all thoughts about moving away from Weimar and think that I will live and die here.\" It was prophetic. Exhausted by his tireless work and illness, sadly Schiller died here just three years later.  \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-10"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-11"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn the introduction to Life Meets Art we learn that Coco Chanel once said that an interior is \"a natural projection of the soul\". A good example is Villa Santo Sospir in Saint-Jean-Cap-Ferrat near Nice, where Jean Cocteau lived. It belonged to his patron Françine Weisweiller, who in 1950 invited Cocteau to stay for a week's holiday. Little did she know he would stay for 11 years, covering every surface with designs mostly inspired by subjects of the Greek pantheon.\u003C\u002Fp\u003E\n\u003Cp\u003EHe used a limited palette and called the sketches \"tattoos\", and so the house, now a national monument, became known as the Tattooed Villa. \"We have tried to vanquish the spirit of destruction that has dominated our era,\" Cocteau said. \"We have decorated surfaces that men dream of destroying.\"\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-12"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-13"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAnother house that dramatically projects the colourful soul of its aristocratic owner is that of Lord Leighton, the Victorian artist and sculptor renowned for his painting \u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Fculture\u002Farticle\u002F20161115-the-erotic-masterpiece-we-nearly-lost\"\u003EFlaming June\u003C\u002Fa\u003E, a vision of a Pre-Raphaelite muse swathed in orange silk and fainting from the summer heat.   \u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-14"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"The studio is the crucible, it's where the alchemical process all begins – Louisa Buck","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-15"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003ELeighton House in Holland Park, London, began life as a simple brick structure with a double-height ceiling on a plot that Leighton had purchased. A secret doorway once allowed models to come inside without being seen by prudish Victorian neighbours. Numerous additions – inspired by Leighton’s travels – were later made to the building. The most memorable is the 'Arab hall', modelled after a 12th-Century palace in Sicily, with a peculiar mixture of Moorish tiles and fretwork, gilt friezes and classical columns.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-16"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-17"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn order to solve the problem of winter smog, Leighton added a large 'winter studio' to the house that looked like a greenhouse on legs. His last addition was the 'silk room' filled with paintings and sculptures, several of them works by artists from a battalion known as the Artists' Rifles – a voluntary force, founded in 1859, of painters, musicians, actors and architects – that Leighton commanded in its early years. Leighton was elevated to baron in 1896 but died of a heart attack at his Kensington home a day later, becoming the shortest-lived hereditary peerage in British history.\u003C\u002Fp\u003E\n\u003Cp\u003EPreserved artists' studios are always magnets for visitors, and while Leighton House is atypical, Life Meets Art is crammed with other examples. Among the most famous is the East Hampton barn where Jackson Pollock created his famous drip paintings, traces of which are still to be seen on the floor. \"People are always fascinated by where art comes from. It's a mystery even to the artist often,\" Louisa Buck, contemporary art correspondent for the Art Newspaper, tells BBC Culture. \"The studio is the crucible; it's where the alchemical process all begins.\"\u003C\u002Fp\u003E\n\u003Cp\u003EMany of the interiors in Life Meets Art are of their time, but others feel surprisingly modern for their era. One striking example is the house of Danish furniture designer and architect Finn Juhl, which could have jumped straight from the pages of a current interiors magazine. The open-plan residence with its cool colours, classic Modernist chairs and hand-crafted everything anticipates today's interiors to perfection.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-18"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-19"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EMeanwhile, the 'Organic House' of contemporary Mexican architect and designer Javier Senosiain near Mexico City may anticipate the future of architecture and design. The hobbit-like building is entirely inspired by curvilinear natural forms, such as mushrooms and seashells.\u003C\u002Fp\u003E\n\u003Cp\u003EWith an exterior covered in grass, flowers and shrubs, it boasts one of the world's first fully green roofs. The interior resembles the inside of a cave network. \"The straight line is pretty much absent from nature: everything... shifts in spirals,\" says Senosiain in the book.\u003C\u002Fp\u003E\n\u003Cp\u003EIn the home of the ceramicist Kawai Kanjirō in Kyoto, Japan we find a shrine to his craft. Kanjirō was one of the founders of the Mingei, a Japanese folk-art movement that has parallels with the Arts and Crafts movement.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-20"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-21"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWorking with his architect brother, Kanjirō's home is a cross between a rural farmhouse and modern urban home, and it clearly reflects his passion for blending modern techniques with traditional crafts. Within the walls are immaculately ordered and arranged examples of everything that Kanjirō and the Mingei movement admired in the work of humble, ordinary people, from simple organic forms to earthy colours.  It is an aesthetic that captures the spirit of today's young designers to perfection. And like all artists' homes, it gives an intriguing insight into the occupant's temperament and preoccupations.\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Fwww.phaidon.com\u002Fagenda\u002Fdesign\u002Farticles\u002F2020\u002Fnovember\u002F25\u002Flife-meets-art-is-the-gift-to-rekindle-their-creativity\u002F\"\u003ELife Meets Art: Inside the Homes of the World's Most Creative People\u003C\u002Fa\u003E by Sam Lubell is published by Phaidon.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Cstrong\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003EFacebook\u003C\u002Fa\u003E\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Cstrong\u003E\u003Cem\u003E\u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003ETwitter\u003C\u002Fa\u003E\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\n\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Cstrong\u003E\u003Cem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fa\u003E\u003C\u002Fem\u003E\u003C\u002Fstrong\u003E\u003Cem\u003E, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers-22"}],"collection":[],"disableAdverts":false,"displayDate":"2020-12-16T00:30:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"infographic","headlineLong":"Inside the homes of remarkable artists and writers","headlineShort":"Inside the homes of remarkable artists","image":[],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":[],"relatedStories":[],"relatedTag":[],"summaryLong":"What do these intriguing interiors tell us about their creative occupants? Andrea Marechal Watson finds some answers in a new book, Life Meets Art.","summaryShort":"What do these intriguing interiors tell us about their creative occupants?","tag":[],"textToSpeech":false,"creationDateTime":"2020-12-16T00:30:48.576224Z","entity":"article","guid":"61e1b81f-90e2-4cfc-95d0-09971f314d2f","id":"culture\u002Farticle\u002F20201215-inside-the-homes-of-remarkable-artists-and-writers","modifiedDateTime":"2021-09-01T13:09:20.343901Z","project":"culture","slug":"20201215-inside-the-homes-of-remarkable-artists-and-writers","cacheLastUpdated":1635404077733},"culture\u002Farticle\u002F20191217-dubai-design-week-a-traditional-craft-given-a-new-spin":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20191217-dubai-design-week-a-traditional-craft-given-a-new-spin","_id":"616ff5cb45ceed75594cd036","ambientVideo":"","articleType":"video","assetVideo":[],"author":[],"bodyIntro":"The Saudi architect Shahad Alazzaz and local palm-weaving artesans have created a playful pavilion for the Dubai event. In this video, she explains how the project came about.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhile \u003Ca href=\"https:\u002F\u002Fwww.dubaidesignweek.ae\u002F\"\u003EDubai Design Week\u003C\u002Fa\u003E looks to the future, with Gulf countries embracing the 21st-Century pace of change, the event also celebrates traditional skills. It showcased several designers finding new ways of incorporating time-honoured crafts into their work.\u003C\u002Fp\u003E\u003Cp\u003EAt this year’s event the palm tree – a national symbol – was given a makeover. Woven fronds from the tree have been used to create an entire pavilion.\u003C\u002Fp\u003E\u003Cp\u003EThe Riyadh-based architect Shahad Alazzaz has joined forces with Ithra, the Eastern Province’s Centre for World Culture, to rework traditional palm-weaving into a modern, accessible design.\u003C\u002Fp\u003E\u003Cp\u003EThe traditional craft of palm-frond weaving was being left behind,  overtaken by rapid modernisation. But Alazzaz is keen to create a new profile for the industry, and her initial step was to take weaving outside its usual domestic milieu. The pavilion aims to showcase both the creativity of the artisans and the flexibility of the material itself.\u003C\u002Fp\u003E\u003Cp\u003EClick play on the video above to learn more\u003C\u002Fp\u003E\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List, a handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20191217-dubai-design-week-a-traditional-craft-given-a-new-spin-0"}],"collection":[],"disableAdverts":false,"displayDate":"2019-12-17T12:33:10.953Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"","headlineLong":"Dubai Design Week: a traditional craft given a new spin","headlineShort":"A traditional craft given a new spin","image":[],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":[],"relatedStories":[],"relatedTag":[],"summaryLong":"The Saudi architect Shahad Alazzaz and local palm-weaving artesans have created a playful pavilion for the Dubai event. In this video, she explains how the project came about.","summaryShort":"A Saudi architect at Dubai Design Week has put palm-weaving in the spotlight","tag":[],"textToSpeech":false,"creationDateTime":"2019-12-17T12:40:00.371513Z","entity":"article","guid":"3fd1525e-d39d-4d33-851b-be8825d5643f","id":"culture\u002Farticle\u002F20191217-dubai-design-week-a-traditional-craft-given-a-new-spin","modifiedDateTime":"2021-09-01T12:46:26.524703Z","project":"culture","slug":"20191217-dubai-design-week-a-traditional-craft-given-a-new-spin","cacheLastUpdated":1635404077733},"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest","_id":"616ff5d545ceed7a4f06b3f8","ambientVideo":"","articleType":"story","assetVideo":null,"author":[],"bodyIntro":"Forgotten for many decades, the architect Eileen Gray was a visionary whose designs engaged with the senses and offered wellbeing. Lindsay Baker looks back at her life and work.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EEileen Gray was a fabulously glamorous figure, at the epicentre of the Parisian beau monde of the Roaring ’20s. She was elegantly dressed by the haute-couture designers of the era, Poiret and Lanvin, and she met many of the starry figures of the times, from Pablo Picasso to Frida Kahlo and James Joyce. Born into a well-to-do Irish family, she was an adventurous, independent soul, who at the age of 20 enrolled at the bohemian Slade School of Art in London. From there she moved to Paris, and proceeded to live in France for the rest of her life, dividing her time between Paris and the Côte d’Azur. She had relationships with notable, creative people – both women and men – and was the first woman in Paris to attain a driving licence; later she took flying lessons too.\u003C\u002Fp\u003E\u003Cp\u003EMore like this:\u003C\u002Fp\u003E\u003Cp\u003E-        \u003Ca href=\"http:\u002F\u002Fwww.bbc.com\u002Fculture\u002Fstory\u002F20200218-the-glamorous-homes-that-reflect-their-owners\"\u003EThe homes that reflect their owners\u003C\u002Fa\u003E\u003C\u002Fp\u003E\u003Cp\u003E-        \u003Ca href=\"http:\u002F\u002Fwww.bbc.com\u002Fculture\u002Fstory\u002F20191021-charlotte-perriand-the-radical-unsung-heroine-of-design\"\u003EThe radical, unsung heroine of design\u003C\u002Fa\u003E\u003C\u002Fp\u003E\u003Cp\u003E-        \u003Ca href=\"http:\u002F\u002Fwww.bbc.com\u002Fculture\u002Fstory\u002F20171103-case-study-houses-the-creation-of-the-modern-dream-home\"\u003ECase study houses: California dreaming\u003C\u002Fa\u003E\u003C\u002Fp\u003E\u003Cp\u003EHowever the most extraordinary thing about Gray was her talent. She was a visionary, pioneering designer, and uniquely successful in what was then the wholly male-dominated world of architecture and design. Originally a purveyor of Art Deco style, by the mid 1920s she became an architect, and a keen advocate of Modernism.  Her achievements were completely – scandalously – overlooked for decades. She was rediscovered in the 1970s, and since then her work has been widely acclaimed. It is hugely sought after – in 2009, her Dragons armchair was sold at auction in Paris for $28.3m, a record for 20th-Century decorative art.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-0"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-1"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EShe was recently the subject of a retrospective at \u003Ca href=\"file:\u002F\u002F\u002FVolumes\u002FMedia-10\u002FBBCWorld\u002FBBCCom\u002FCulture\u002FDesigned\u002FEileen%20Gray\u002Fard.edu\u002Fgallery\u002Fexhibitions\u002F99\u002Feileen-gray\"\u003ENew York’s Bard Graduate Center\u003C\u002Fa\u003E in collaboration with the Pompidou Centre, Paris. While the centre is surrently closed, \u003Ca href=\"https:\u002F\u002Fexhibitions.bgc.bard.edu\u002Feileengray\u002F\"\u003Ea virtual tour of the exhibition\u003C\u002Fa\u003E, and more, can be viewed online. The exhibition’s curator Cloé Pitiot is clear about Gray’s significance. “In terms of art history,” she tells BBC Designed, “Eileen Gray is the one and only designer of her time to have such a varied practice in the creation of furniture and objects… Her very vision of design, beyond the pieces she actually created, was innovative.”\u003C\u002Fp\u003E\u003Cp\u003EWhen she moved to Paris, Gray become the first western practitioner of Japanese lacquer, having studied the challenging craft under Japanese master Seizo Sugawara. By the 1920s she was creating original and distinctive lacquered screens and architectural panelling, as well as deluxe Parisian Art Deco furniture. It was highly unusual at the time for a woman designer to be operating on her own, and in 1910, she set up a workshop for furniture-making and weaving of rugs and carpets. By 1919 she was being commissioned to design home interiors, including the apartments of the Maharajah of Indore, and society hostess Juliette Levy, in Rue de Lota. “Her style is thoroughly modern,” said Harper’s Bazaar magazine.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-2"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-3"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EThe furniture in the Rue de Lota apartment included some of the designs that remain her best-known, including the Bibendum Chair – a take on the famous Michelin Man mascot, with tyre-like shapes on a chromed steel frame – and the Pirogue day bed, gondola-shaped, with a patinated bronze lacquer finish. As Pitiot puts it: “Her furniture, whether in lacquer, parchment, burnt pine, metal tube or cork, has always appeared to be avant-garde. The great designers of her time, such as Jean Dunand or Armand-Albert Rateau, worked strictly in their chosen fields to become experts, while Eileen Gray constantly stepped out of her comfort zone to innovate, experiment, and develop new shapes, lines, and functions for her designs.”\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-4"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-5"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Gray always maintained an interest in the feel and effect of materials, and her furniture engaged directly with the senses","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-6"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAround this time, Gray was in a “discreet relationship” with the nightclub singer Marisa Damia, according to the biography \u003Ca href=\"https:\u002F\u002Firishacademicpress.ie\u002Fproduct\u002Feileen-gray-her-work-and-her-world\u002F\"\u003EEileen Gray: Her Work and Her World\u003C\u002Fa\u003E by Jennifer Goff, who is also curator of the Gray collection at the National Museum of Ireland. Gray had by then opened a shop, named Jean Desert, on the city’s most fashionable street, Faubourg Saint-Honoré. The boutique offered a range of her work, from furniture and rugs, to paintings and graphics, and became a meeting place for the artistic beau monde – the Rothschilds, Nancy Cunard, Elsa Schiaparelli and writers including James Joyce and Ezra Pound all gathered there. The Chicago Tribune described the shop as “an adventure, an experience with the unheard of, a sojourn into the never-before-seen”.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-7"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-8"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn the mid-to-late 1920s, Gray became a keen advocate of pared-back Modernism, and became interested in architecture, learning technical drawing. She began work on several projects with her mentor, the Romanian architect Jean Badovici, who became her lover. And next came her most extraordinary achievement, the first of several architectural projects, the villa, named E-1027, in Roquebrune Cap-Martin in the south of France. It is a stunning creation, a white cuboid, perched high on a cliff overlooking the sea. It was formulated on the principles of new architecture that had been set out by Le Corbusier – open-plan, the house is raised on pillars and has horizontal windows, an open façade and a roof accessible by stairs. The villa E-1027 is described by Goff in her book as “a masterpiece of 20th-Century architecture”. When it was finished, Gray presented it to Badovici as a gift.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-9"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-10"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EIn her book, Goff argues that the villa was Gray’s own creation, rather than a collaboration. “Significantly,” she writes, “all the extant plans are solely in Gray’s hand.” And the villa at Roquebrune Cap-Martin is a remarkable achievement as much on the inside as the outside – unlike many Modernists of the era, Gray saw both as equally important. She wrote at the time: “The interior plan should not be the incidental result of the façade; it should lead to a complete harmonious, and logical life.”\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-11"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"Eileen Gray’s architecture breathes, and offers the inhabitant an open space where both body and soul can rest – Cloé Pitiot  ","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-12"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhen Gray designed her own Modernist house, she put into practice her expressed belief that a designer should be guided by “human needs” and that “the art of the engineer” was not enough. “A house is not a machine” is the most frequently quoted remark by Gray, a comment that was in direct opposition to Le Corbusier’s famous phrase in his 1927 manifesto: “A house is a machine for living in”. So what did Gray mean by her remark? As Pitiot puts it: “Architecture for her is a form of journey, an accompaniment for the body and mind of its inhabitant. Through her architectural proposals, she sought to achieve a form of symbiosis between the landscape, space, furniture, body, and soul. Her architecture, in this sense, is elastic, and we see this in elements of her designs. For example, window screens she designed specifically for E-1027 open and close using a system of sliding shutters so they could be adjusted throughout the day depending on sunlight. In this way, Eileen Gray’s architecture breathes and offers the inhabitant an open space where both body and soul can rest.”\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-13"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-14"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBadovici himself wrote in 1924 in l’Architecture Vivante, that Gray’s designs revealed “an atmosphere of boundless plasticity, where different perspectives meld, where each object is subsumed into a mysterious, living unity. Space itself is for Eileen Gray just another material that can be transformed and molded depending on the needs of the décor; she allows herself an infinite number of possibilities.”\u003C\u002Fp\u003E\u003Cp\u003E\u003Cstrong\u003EHuman needs\u003C\u002Fstrong\u003E\u003C\u002Fp\u003E\u003Cp\u003EGray was clearly boundary-breaking and adventurous, and her life story certainly suggests a glamorous figure, at the centre of Parisian social life. Yet for all the stunning outfits and famous acquaintances, Gray was much more than a fashionable flapper or social butterfly. There was a bravery, resilience and complexity about her – and, interestingly, in her book Goff describes her as a “shy” person. Certainly her life was not always easy. During World War Two, Gray was interned as a foreign national, her houses were looted, and many of her drawings and models were destroyed by bombing. Nazi soldiers used the walls of the E-1027 villa for target practice.\u003C\u002Fp\u003E\u003Cp\u003ESo how did Gray’s life experiences and personality feed into her work?  “She had a very independent, free, and elastic personality,” says Pitiot. “Gray faced many difficult periods throughout her life… She persisted, however, and each time went on to create with ever-greater freedom. Gray was open-minded and sincere. She was passionate about other cultures and other ways of life, and this conscientiousness, curiosity, and humanity is evident in all her projects, from the socially-driven designs like the Camping Tent, which was an economical and demountable home, to her proposals for workers’ housing.”\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-15"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-16"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EGray was a designer who defied convention and easy categorisation, but always maintained an interest in the feel and effect of materials, and her furniture engaged directly with the senses, in a way that set her apart. As Pitiot says: “She was not afraid to be herself and to embrace and realise her ideas… She creates peaceful spaces that conform to the needs of the people using them, with designs for fixed and mobile furniture that glides, slides, pivots, and serves many purposes simultaneously. In her interiors, this furniture becomes another sort of living being that responds and adapts to serve both the physical and spiritual needs of its user.”\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-17"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-18"},{"bodyHtml":{"assets":[]},"cardType":"PullQuote","iFrameType":"","pullQuote":"‘Human needs’ to Gray signify both material and spiritual needs – Cloé Pitiot","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-19"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EAnd the designer’s equal focus on a building’s interior was central to her thinking. She wrote: “The interior plan should not be the incidental result of the façade; it should lead to a complete harmonious, and logical life.” Her ‘camping’ style furniture was functional and lightweight, her elegant armchairs geometric but luxuriously comfortable.\u003C\u002Fp\u003E\u003Cp\u003E“’Human needs’ to Gray signify both material and spiritual needs,” says Pitiot. “She was one of the few designers during the period to design with the physical and material needs of the user in mind, while also reflecting on psychological needs. For Gray, each object is a considered design that responds to a unique need and, beyond its function, serves to promote the well-being of its human user.”\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-20"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-21"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBy 1930 Gray more or less stopped creating work, and was almost completely forgotten. As head of furniture, textiles and fashion at London’s \u003Ca href=\"http:\u002F\u002Fwww.vam.ac.uk\u002Fcontent\u002Farticles\u002Fe\u002Feileen-gray\u002F\"\u003EV&A\u003C\u002Fa\u003E Museum, Christopher Wilk, puts it: “She really was a figure who was lost to history and to the design community until relatively recently. Now, that’s clearly because she was a woman. She said that she was a no-one as far as the French architectural world was concerned. And the story of Eileen Gray is really the story of retrieval. You look at her work, and you think, how could a woman of this talent ever have been forgotten? How come decades went by when essentially nobody knew about her?”\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-22"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-23"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EGray lived quietly in the seaside town of Menton, high in the mountains, in her small two-bedroomed house with a large terrace and panoramic view, and disappeared from the public consciousness. Until, that is, the late 1960s, when an essay appeared about her work in the Italian design magazine Domus. At an auction in Paris in 1972 Yves Saint Laurent acquired one of her pieces, and an exhibition in London soon followed, then one in Dublin. At the Dublin event, the 95-year-old Gray was given an honorary fellowship by the Royal Institute of the Architects of Ireland. She died in Paris in 1976 at the age of 98, and though she is buried at Père Lachaise cemetery, because her family omitted to pay the licence fee, her grave is not identifiable.\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-24"},{"bodyHtml":{"assets":[]},"cardType":"Image","iFrameType":"","image":[],"imageAlignment":"centre","imageOrientation":"landscape","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-25"},{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EBut Gray’s vision is very much still alive. The British architect and furniture designer Amanda Levete is among Gray’s many fans, and \u003Ca href=\"http:\u002F\u002Fwww.vam.ac.uk\u002Fcontent\u002Farticles\u002Fe\u002Feileen-gray\u002F\"\u003Ehas said\u003C\u002Fa\u003E. “The [Transat] chair is very expressive of a direct relationship between architecture and design. In a sense it’s like architecture in miniature.” The E1027 villa, says Levete, was “an opportunity to create a total environment,” and the Transat chair “was named after the deck chair you would find on a transatlantic cruise liner. The very form of the chair is suggestive of a kind of sensualism and a relaxation, and a kind of lying back and observing or reading. This house she designed was like a beached liner that was slung across the rocks, and the form of the chair makes you think of a languid afternoon in the Mediterranean looking out to sea.”\u003C\u002Fp\u003E\u003Cp\u003E\u003Cem\u003EFor more information about Eileen Gray, visit the Bard Graduate Center's \u003Ca href=\"https:\u002F\u002Fexhibitions.bgc.bard.edu\u002Feileengray\u002F\"\u003Emicrosite\u003C\u002Fa\u003E dedicated to the exhibition, featuring a virtual tour of the exhibition, a digital flipbook of Gray's portfolio, and more.\u003C\u002Fem\u003E\u003Cem\u003E\u003Cbr \u002F\u003E\u003C\u002Fem\u003E\u003C\u002Fp\u003E\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on\u003C\u002Fem\u003E \u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\u003Cp\u003E\u003Cem\u003EAnd if you liked this story, \u003C\u002Fem\u003E\u003Ca href=\"http:\u002F\u002Fpages.emails.bbc.com\u002Fsubscribe\u002F\"\u003E\u003Cstrong\u003Esign up for the weekly bbc.com features newsletter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E, called The Essential List, a handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest-26"}],"collection":[],"disableAdverts":false,"displayDate":"2020-04-01T09:30:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"","headlineLong":"A home ‘where body and soul can rest’","headlineShort":"A home ‘where body and soul can rest’","image":[],"imageAlignment":"centre","imageAltText":"","isSyndicated":true,"latitude":"","longitude":"","mpsVideo":"","option":[],"partner":null,"primaryVertical":"culture","promoAlignment":"centre","promoAltText":"","promoImage":[],"relatedStories":[],"relatedTag":[],"summaryLong":"Forgotten for many decades, the architect Eileen Gray was a visionary whose designs engaged with the senses and offered wellbeing. Lindsay Baker looks back at her life and work.","summaryShort":"How overlooked designer Eileen Gray put relaxation and ‘spiritual needs’ first","tag":[],"textToSpeech":false,"creationDateTime":"2020-04-01T08:59:24.49166Z","entity":"article","guid":"4fd8a491-80f1-4c3b-a2bb-ea60ace2b0b8","id":"culture\u002Farticle\u002F20200331-designer-eileen-grays-home-where-body-and-soul-can-rest","modifiedDateTime":"2021-09-01T12:53:54.363682Z","project":"culture","slug":"20200331-designer-eileen-grays-home-where-body-and-soul-can-rest","cacheLastUpdated":1635404077733},"culture\u002Farticle\u002F20191219-interview-designing-for-the-future":{"urn":"urn:pubpipe:wwverticals:article:culture\u002Farticle\u002F20191219-interview-designing-for-the-future","_id":"616ff5d745ceed7a4e4d2407","ambientVideo":"","articleType":"video","assetVideo":[],"author":[],"bodyIntro":"Patrik Schumacher, the principal of Zaha Hadid Architects, talks about his predecessor’s legacy and the ideas behind the firm’s work.","businessUnit":"worldwide","cards":[{"bodyHtml":{"assets":[],"html":"\u003Cp\u003EWhen the architect Zaha Hadid died suddenly in 2016, it was a “moment of shock and uncertainty,” says Patrik Schumacher, who, along with his colleagues at her firm, had the “responsibility of re-creating this firm and continuing this firm. It was a moment which was quite unnerving but we came together.”\u003C\u002Fp\u003E\u003Cp\u003ENow the principal of Zaha Hadid Architects, Schumacher explains how the firm set about completing the works started by Hadid, including Beijing airport and the 45-storey Leeza Soho skyscraper, also in Beijing, which has the tallest atrium in the world twisting through its centre.\u003C\u002Fp\u003E\u003Cp\u003EThe firm has also taken on several new commissions, and is researching how it can evolve to meet the challenges of environmental change in the future. There are “architectural solutions” says Schumacher, including what he calls “adaptive” and “passive” systems, that can help us look at the future differently.\u003C\u002Fp\u003E\u003Cp\u003E\u003Cem\u003EWatch the video with Patrik Schumacher above. It is part of Designing the World, a new series that explores how design can help find solutions to the world’s problems. Look out for more interviews on \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Freel\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003EBBC Reel\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E and \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.bbc.com\u002Ffuture\u002F?referer=https%3A%2F%2Fwww.google.com%2F\"\u003E\u003Cem\u003E\u003Cstrong\u003EBBC Future\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\u003Cp\u003E\u003Cem\u003EAll interviews took place at Dezeen Day 2019 at the BFI, London.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\u003Cp\u003E\u003Ca href=\"https:\u002F\u002Fwww.dezeen.com\u002F\"\u003E\u003Cem\u003E\u003Cstrong\u003EHead to Dezeen\u003C\u002Fstrong\u003E\u003C\u002Fem\u003E\u003C\u002Fa\u003E\u003Cem\u003E for more architecture and design news and features.\u003C\u002Fem\u003E\u003C\u002Fp\u003E\u003Cp\u003E\u003Cem\u003EIf you would like to comment on this story or anything else you have seen on BBC Culture, head over to our \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Fwww.facebook.com\u002Fpages\u002FBBC-Culture\u002F237388053065908\"\u003E\u003Cstrong\u003EFacebook\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E page or message us on \u003C\u002Fem\u003E\u003Ca href=\"https:\u002F\u002Ftwitter.com\u002Fbbc_culture\"\u003E\u003Cstrong\u003ETwitter\u003C\u002Fstrong\u003E\u003C\u002Fa\u003E\u003Cem\u003E.\u003C\u002Fem\u003E\u003C\u002Fp\u003E"},"cardType":"Body","iFrameType":"","id":"culture\u002Farticle\u002F20191219-interview-designing-for-the-future-0"}],"collection":[],"disableAdverts":false,"displayDate":"2019-12-27T09:30:00Z","embeddedCustomHtml":"","embeddedInfographicUrl":"","embeddedType":"","headlineLong":"Interview: Designing for the 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