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Flu shots play an important role in protecting against bird flu. But not for the reason you might think

<a href="https://theconversation.com/profiles/allen-cheng-94997">Allen Cheng</a>, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a> A current strain of highly pathogenic avian influenza, commonly known as bird flu, has become a global problem. The virus has affected <a href="https://www.cdc.gov/bird-flu/situation-summary/data-map-commercial.html">many millions</a> of birds, some other <a href="https://www.cdc.gov/bird-flu/situation-summary/mammals.html">animal species</a>, and a <a href="https://cdn.who.int/media/docs/default-source/influenza/avian-and-other-zoonotic-influenza/joint-fao-oie-who-preliminary-risk-assessment-associated-with-avian-influenza-a(h5n1)-virus.pdf?sfvrsn=faa6e47e_28&download=true">small number of people</a>. Last week, the Australian government <a href="https://www.sbs.com.au/news/article/australians-issued-new-health-risks-travel-warning-for-europe-asia-and-the-americas/gmh1hk9py">issued a warning</a> to residents travelling to Europe, North America, South America and Asia about the risk of bird flu. The alert, published on the <a href="https://www.smartraveller.gov.au/news-and-updates/highly-pathogenic-avian-influenza-outbreak">Smartraveller website</a>, included advice to ensure your flu vaccine is up to date. If you are about to go travelling, this generally means if you’ve had a flu jab this year, although if it has been 3–6 months since your vaccine you should discuss this with your doctor. But the seasonal flu vaccine we get each year doesn’t actually prevent bird flu in humans. So why is it being recommended in this context? <h2>Some bird flu background</h2> Smartraveller notes <a href="https://www.smartraveller.gov.au/news-and-updates/highly-pathogenic-avian-influenza-outbreak">several strains</a> of bird flu are currently circulating. The most concerning strain, called the <a href="https://www.nature.com/articles/s41467-023-38415-7">2.3.4.4b clade</a>, emerged a few years ago from a type of influenza A (H5, or A/H5) that has been circulating for several decades. Clade 2.3.4.4b primarily affects birds, including wild birds and poultry. It has had <a href="https://theconversation.com/uk-poultry-can-roam-free-outside-again-but-bird-flu-risk-hasnt-gone-away-203361">devastating effects</a> on bird populations, as well as farmers and others involved in the poultry industry. In recent years, clade 2.3.4.4b has adapted to <a href="https://www.nature.com/articles/s44298-024-00039-z">infect some mammals</a>. Unfortunately it seems to cause severe disease in <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC11083745/">certain animals</a>. Some marine mammals have been hit particularly hard, with mass mortality events <a href="https://www.theguardian.com/environment/2023/dec/08/mass-deaths-elephant-seals-penguins-bird-flu-antarctic-ecological-disaster-aoe">reported</a> in elephant seals and sea lions. In the United States, bird flu has also spread <a href="https://www.cdc.gov/bird-flu/situation-summary/mammals.html">among dairy cows</a>. Compared to the huge number of animal cases, there have been a relatively small number of <a href="https://www.who.int/publications/m/item/joint-fao-who-woah-preliminary-assessment-of-recent-influenza-a(h5n1)-viruses">humans infected with bird flu</a>. Since 2003, <a href="https://www.who.int/publications/m/item/cumulative-number-of-confirmed-human-cases-for-avian-influenza-a(h5n1)-reported-to-who--2003-2023--3-october-2023">878 cases</a> of A/H5N1 influenza have been reported in humans, with a small proportion of these reported since 2020 when <a href="https://www.outbreak.gov.au/emerging-risks/high-pathogenicity-avian-influenza">clade 2.3.4.4b first emerged</a>. The reported cases have been people who have had close contact with infected animals. It does not appear to spread from person to person. As such, the <a href="https://www.ecdc.europa.eu/en/infectious-disease-topics/z-disease-list/avian-influenza/threats-and-outbreaks/risk-assessment-h5">risk to travellers is low</a>. There are some situations where the risk may be greater, such as for people visiting live markets, or those who are travelling specifically to work with wildlife or animals in food production. <a href="https://www.who.int/publications/m/item/joint-fao-who-woah-preliminary-assessment-of-recent-influenza-a(h5n1)-viruses">Infections in humans</a> with H5 influenza can vary significantly in severity, from mild conjunctivitis up to fatal pneumonia. H5 influenza strains appear to be <a href="https://asm.org/articles/2024/june/what-you-should-know-about-avian-influenza-a-h5n1">sensitive to antivirals</a> (oseltamivir, also known as Tamiflu) and they are generally <a href="https://www.cdc.gov/bird-flu/hcp/novel-av-treatment-guidance/">recommended</a> as treatment for human infection, but it’s <a href="https://www.thelancet.com/journals/lancet/article/PIIS0140-6736(24)01307-2/fulltext">not clear</a> whether they reduce the risk of death in those with severe disease. To date, one case of A/H5 influenza (not 2.3.4.4b) has been <a href="https://www.abc.net.au/news/2024-05-22/bird-flu-avian-influenza-human-detection/103879886">reported in Australia</a>, in a child who had recently returned from overseas. While <a href="https://www.fao.org/animal-health/situation-updates/global-aiv-with-zoonotic-potential/en">clade 2.3.4.4b has been detected</a> in all continents <a href="https://www.outbreak.gov.au/emerging-risks/high-pathogenicity-avian-influenza">except Australia</a>, other avian influenza strains (A/H7) <a href="https://www.outbreak.gov.au/current-outbreaks/avian-influenza">have been reported here</a> earlier this year. <h2>Seasonal flu vaccines are not effective against bird flu</h2> Seasonal influenza refers to the flu strains that circulate each year. Since the COVID pandemic, three different strains have circulated in various proportions – influenza A H1N1 (descended from the <a href="https://www.nature.com/articles/nature08182">2009 swine flu strain</a>), influenza A H3N2 (which has <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6149781/">circulated since 1968</a>) and an influenza B strain. Interestingly, a second influenza B strain (the Yamagata lineage) <a href="https://www.nejm.org/doi/full/10.1056/NEJMp2314801">appears to have vanished</a> during the COVID pandemic. Seasonal influenza vaccines contain up-to-date variants of these types (A/H1N1, A/H3N2 and B) that are recommended by the World Health Organization each year. They are <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5912669/">moderately effective</a>, reducing the risk of hospitalisation by about 40–60%. Influenza vaccines are quite specific in the protection that they provide. For seasonal vaccines, even the very small changes that occur in the virus from year to year are enough to allow them to “escape” vaccine-induced immunity. Therefore seasonal flu vaccines <a href="https://www.cdc.gov.au/topics/avian-influenza-bird-flu">do not provide any protection</a> against A/H5 influenza. <h2>Preventing a hybrid bird-human strain</h2> The rationale for recommending travellers have a flu shot in the context of the current bird flu outbreak is that seasonal flu vaccines may help reduce the risk of simultaneous infection with both A/H5 and a seasonal influenza strain. When this occurs, there is potential for a “recombination” of the genetic code from both viral strains. This could have the transmissibility of a seasonal human virus with the severity of an avian influenza virus. The 2009 swine flu strain <a href="https://www.nejm.org/doi/full/10.1056/NEJMra0904322">arose from the recombination</a> of several strains over years to become more transmissible in humans. Obviously a more effective vaccine would include a H5 strain, to generate immune responses specific to the H5 flu strain. Vaccine manufacturers have <a href="https://www.ema.europa.eu/en/medicines/human/EPAR/celldemic">developed H5 vaccines</a> over the years, but to date <a href="https://thl.fi/en/-/avian-influenza-vaccinations-begin-vaccine-to-be-offered-to-persons-at-increased-risk-of-infection">only Finland</a> has deployed a H5 vaccine in a small group of people who work closely with potentially infected animals. Currently the <a href="https://www.ecdc.europa.eu/en/infectious-disease-topics/z-disease-list/avian-influenza/threats-and-outbreaks/risk-assessment-h5">level of risk</a> posed by H5 to humans is not thought to be sufficient to require a specific vaccine program, as the potential benefits are small compared to the costs and the potential risks associated with any new vaccine program. <h2>The value of a flu shot for travellers</h2> Seasonal flu vaccines protect against influenza infection, and may also reduce the risk of simultaneous infection with human and bird flu strains. Bird flu aside, for most travellers who haven’t received a flu shot this year, reducing the risk of illness disrupting travel plans should be enough of a reason to get one. For those who have already received a flu shot this season, similar to COVID jabs, protection after vaccination appears to <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC8499703/">wane over time</a>. So if you’re travelling to the northern hemisphere during the winter months, and it’s been more than 3–6 months since you received a flu vaccine, your doctor may recommend you have another. Bird flu is only a small risk to most travellers, but people may want to take sensible precautions, such as avoiding close contact with birds at markets.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/237859/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/allen-cheng-94997">Allen Cheng</a>, Professor of Infectious Diseases, <a href="https://theconversation.com/institutions/monash-university-1065">Monash University</a> Image credits: Shutterstock This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/flu-shots-play-an-important-role-in-protecting-against-bird-flu-but-not-for-the-reason-you-might-think-237859">original article</a>.

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Is Paris 2024 really achieving its goals for gender equality?

<div class="theconversation-article-body"><a href="https://theconversation.com/profiles/rachael-jefferson-297850">Rachael Jefferson</a>, <a href="https://theconversation.com/institutions/charles-sturt-university-849">Charles Sturt University</a> The <a href="https://olympics.com/en/paris-2024">Paris Olympics</a> has proudly proclaimed to be the first games in 128 years to offer gender equality. This has been achieved by the <a href="https://olympics.com/ioc/news/genderequalolympics-paris-2024-making-history-on-the-field-of-play">International Olympic Committee (IOC)</a> providing an equal number of quota places for female and male athletes, while also increasing the number of women in coaching, broadcasting and sport governance roles. However, gender equality in sport is not just about the numbers – it involves dismantling systemic patriarchy piece by piece. <figure><iframe src="https://www.youtube.com/embed/uaCIpFiN6us?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe><figcaption>The Paris games will feature the highest proportion of women in the history of the Olympics.</figcaption></figure> <h2>Female athlete participation</h2> The ratio of female-to-male athlete parity is significant in the Paris Olympics, given <a href="https://www.theguardian.com/commentisfree/2021/jul/28/the-guardian-view-on-women-and-the-olympics-the-athletes-caught-up-now-the-ioc-must">women were banned from the first games in 1896</a> and only permitted to compete in small numbers in “female-appropriate” events four years later. There was a steady increase in female participation as the games became more popular through the 20th century. However, it was not until 1979 that the right of women to participate in sport was formally included in the first international convention (United Nations) on <a href="https://www.ohchr.org/Documents/ProfessionalInterest/cedaw.pdf">the elimination of all forms of discrimination</a> against women. It took another 33 years for women to be allowed to <a href="https://library.olympics.com/default/zoom-femme-et-sport.aspx?_lg=en-GB">compete in all events</a> on the Olympic program in 2012. At the Paris Olympics, <a href="https://www.statista.com/statistics/1090616/olympics-share-athletes-by-gender-since-1896/">50% of competing athletes are women</a>, and the Australian team has its <a href="https://www.health.gov.au/ministers/the-hon-anika-wells-mp/media/australia-supports-unesco-push-for-gender-equality-in-sport?language=en">highest ever proportion of women (55%)</a>. <h2>Women’s visibility</h2> The IOC has been working hard at shaking off its patriarchal reputation for the past three decades or so. Two major milestones were the establishment of the <a href="https://olympics.com/ioc/gender-equality/gender-equality-through-time">Women and Sport Working Group</a> in 1995, and the <a href="https://www.europarl.europa.eu/RegData/etudes/BRIE/2019/635560/EPRS_BRI(2019)635560_EN.pdf">amending of the Olympic Charter</a> a year later to include advancing women in sport as an Olympic principle. Despite this progress, women’s Olympic events have often been <a href="https://revista-apunts.com/en/media-representation-of-women-athletes-at-the-olympic-games-a-systematic-review/">sidelined by the media</a>, enabling male athletes to enjoy greater publicity (and associated sponsorship) than their female counterparts. The long-established scheduling of events <a href="https://www.jou.ufl.edu/insights/gender-based-sports-coverage-a-quarter-century-of-prime-time-summer-olympics/">offers male athletes peak viewing times</a> across the globe, thereby consigning many women to the margins. In Paris, this <a href="https://olympics.com/ioc/news/genderequalolympics-paris-2024-making-history-on-the-field-of-play">gender discrimination</a> has been disrupted to better the balance. Combat and strength sports are now based on weight categories, permitting the women’s and men’s events to alternate instead of having men’s events available in the popular evening slot. The women’s marathon – only introduced to the Olympics in 1984 – will <a href="https://worldathletics.org/news/news/key-information-athletics-paris-2024-olympic-games">also conclude the athletics program</a> instead of the men’s for the first time. <h2>Media representation</h2> Amplifying women’s voices and stories from the games has been a key objective for the Paris Olympics. The IOC has been instrumental in this endeavour via its <a href="https://olympics.com/ioc/gender-equality/portrayal-guidelines">2024 Portrayal Guidelines:</a> gender-equal, fair and inclusive representation in sport. These guidelines have led to a large increase in the number of female staff in broadcast roles and production teams in Paris. And <a href="https://olympics.com/ioc/news/olympic-broadcasting-more-women-in-key-broadcast-roles-at-paris-2024">female-targeted training camps</a> in 2023 provided by the Olympic Broadcasting Services (OBS) have been a timely institutional transformation. Improved media representation of female athletes is also a priority, focusing on how they are visually captured and presented in all forms of media and communication. This helps to reframe persistent patriarchal narratives about how sportswomen must <a href="https://theconversation.com/uniform-discontent-how-women-athletes-are-taking-control-of-their-sporting-outfits-164946">maintain their femininity</a> to be worthy recipients of the <a href="https://vc.bridgew.edu/cgi/viewcontent.cgi?article=1269&context=grad_rev">male gaze</a>. Regrettably, this is still a work in progress for some commentators such as <a href="https://www.skynews.com.au/business/media/you-know-what-women-are-like-eurosport-commentator-bob-ballard-sacked-for-sexist-remark-after-australias-freestyle-relay-win/news-story/739bc7a0efaf9d7007250ab0c4313f15">Bob Bollard, whose recent sexist “makeup” remark</a> went viral when he was reporting on the gold medal win for the Australian women’s 4x100m freestyle relay team. After the Bollard incident, Yiannis Exarchos, the <a href="https://www.scmp.com/yp/discover/news/sports/article/3272286/paris-olympics-camera-operators-told-avoid-filming-women-sexist-way">OBS chief, swiftly reminded</a> mostly male camera operators to refrain from any sexist filming of female athletes. He said the problem was mainly down to “unconscious bias”, with camera operators and TV editors tending to show more close-up shots of women than men. <h2>Leadership and infrastructure</h2> Female under-representation in the IOC is well documented. There were <a href="https://www.europarl.europa.eu/RegData/etudes/BRIE/2019/635560/EPRS_BRI(2019)635560_EN.pdf">no women in the IOC from 1896 to 1981</a> before Flor Isava Fonseca (Venezuela) and Pirjo Häggman (Finland) were co-opted as the <a href="https://stillmed.olympics.com/media/Documents/Olympic-Movement/Factsheets/Women-in-the-Olympic-Movement.pdf">first two female IOC members in 1981</a>. In the IOC’s most recent election in July, the number of <a href="https://olympics.com/ioc/news/ioc-session-in-paris-elects-two-new-vice-presidents-and-eight-ioc-members">female members rose to 42.3%</a> – more than a 100% increase in the past decade. Following a long overdue <a href="https://unwomen.org.au/paris-2024-olympics-a-new-era-for-women-in-sport/">IOC rule change in 2020</a>, the traditional male flag bearer in the Olympics Opening Ceremony was accompanied by a female. Gender issues arise with elite sport coaches too – <a href="https://olympics.com/ioc/female-coaches">only 13% of coaches</a> at the 2020 Tokyo Olympics were women. In Paris, it is estimated <a href="https://www.telegraph.co.uk/olympics/2024/07/27/female-coaches-misogyny-olympics-paris-2024-equality-wish/#:%7E:text=At%20the%20Tokyo%20Olympics%20in,10%20coaches%20will%20be%20female.">one in ten coaches are female</a>. Outrage about <a href="https://abcnews.go.com/GMA/Culture/nikes-olympic-track-womens-uniforms-criticized-athletes-sexism/story?id=109267006">sexist Nike uniforms</a> and the <a href="https://theconversation.com/the-olympics-and-fifa-are-trying-to-better-support-mum-aletes-what-are-australian-sports-doing-233218">lack of facilities for “mum-aletes”</a> until the 2024 games both highlight the incessant institutional hurdles elite sportswomen encounter. <h2>A new era for female athletes</h2> The Paris games are a springboard for much needed systemic change in the minutiae of Olympic policies and practices. Female athletes are no longer victims of vast patriarchal conspiracies to lock them out of this male-dominated arena. They’ve gained ground and are kicking sexism to the touchline with relish. We all need to welcome in this new era.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/235665/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/rachael-jefferson-297850">Rachael Jefferson</a>, Lecturer in Human Movement Studies (Health and PE) and Creative Arts, <a href="https://theconversation.com/institutions/charles-sturt-university-849">Charles Sturt University</a> This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/is-paris-2024-really-achieving-its-goals-for-gender-equality-235665">original article</a>. </div>

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"Misleading": IOC condemns "abuse" hurled at Olympic boxer

The International Olympic Committee (IOC) has released a statement to condemn the "abuse" and "discrimination" that has targeted Algerian boxer Imane Khelif after her controversial match in Paris. The match, which was abandoned after just 46 seconds when her Italian opponent Angela Carini tapped out, caused quite the stir when Carini said she had "never been hit that hard in my life". Following the controversial match, Khelif's history came to light with many pointing out how she was permitted to fight at the Olympics despite being disqualified from the women’s boxing world championships last year for failing gender eligibility tests. Khelif, who was born female and has always identified as such, has been hit with a wave of transphobic abuse from high profile figures including J.K Rowling and Elon Musk after the revelations came to light. The 25-year-old athlete, who has been boxing since she was a child and has always competed in women’s categories, was tested by the International Boxing Association (IBA) with IBA president Umar Kremlev saying DNA tests had “proved they had XY chromosomes and were thus excluded”. For males, XY is the combination of chromosomes while XX is the combination in females. As Khelif has always identified as female, there are a number of medical conditions that can cause a woman to also have XY chromosomes. The IOC has since spoken out in defence of Khelif, denouncing the “abuse” levelled at the Khelif as “discrimination”, while confirming she had followed the eligibility criteria to compete at the Games. “Every person has the right to practise sport without discrimination,” the <a href="https://olympics.com/ioc/news/joint-paris-2024-boxing-unit-ioc-statement" target="_blank" rel="noopener">statement</a> released on Friday said. “We have seen in reports misleading information about two female athletes competing at the Olympic Games Paris 2024." The second athlete in question is referring to fellow boxer, Chinese Taipei’s Lin Yu-ting, who underwent the same testing from the IBA and returned the same XY chromosome results as Khelif. “The two athletes have been competing in international boxing competitions for many years in the women’s category, including the Olympic Games Tokyo 2020, International Boxing Association (IBA) World Championships and IBA-sanctioned tournaments." “The IOC is saddened by the abuse that the two athletes are currently receiving.” The statement went on to call out the IBA's DNA testing, reading, "The current aggression against these two athletes is based entirely on this arbitrary decision, which was taken without any proper procedure – especially considering that these athletes had been competing in top-level competition for many years." "Such an approach is contrary to good governance." Image credits: Facebook/YAHYA ARHAB/EPA-EFE/Shutterstock Editorial

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To tackle gendered violence, we also need to look at drugs, trauma and mental health

<a href="https://theconversation.com/profiles/siobhan-odean-1356613">Siobhan O'Dean</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a>; <a href="https://theconversation.com/profiles/lucinda-grummitt-1531503">Lucinda Grummitt</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a>, and <a href="https://theconversation.com/profiles/steph-kershaw-1466426">Steph Kershaw</a>, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> After several highly publicised alleged murders of women in Australia, the Albanese government this week pledged <a href="https://ministers.pmc.gov.au/gallagher/2024/helping-women-leave-violent-partner-payment">more than A$925 million</a> over five years to address men’s violence towards women. This includes up to $5,000 to support those escaping violent relationships. However, to reduce and prevent gender-based and intimate partner violence we also need to address the root causes and contributors. These include alcohol and other drugs, trauma and mental health issues. <h2>Why is this crucial?</h2> The World Health Organization estimates <a href="https://iris.who.int/bitstream/handle/10665/341604/WHO-SRH-21.6-eng.pdf?sequence=1">30% of women</a> globally have experienced intimate partner violence, gender-based violence or both. In Australia, <a href="https://www.abs.gov.au/statistics/people/crime-and-justice/partner-violence/latest-release#key-statistics">27% of women</a> have experienced intimate partner violence by a co-habiting partner; <a href="https://pubmed.ncbi.nlm.nih.gov/37004184/">almost 40%</a> of Australian children are exposed to domestic violence. By gender-based violence we mean violence or intentionally harmful behaviour directed at someone due to their gender. But intimate partner violence specifically refers to violence and abuse occurring between current (or former) romantic partners. Domestic violence can extend beyond intimate partners, to include other family members. These statistics highlight the urgent need to address not just the aftermath of such violence, but also its roots, including the experiences and behaviours of perpetrators. <h2>What’s the link with mental health, trauma and drugs?</h2> The relationships between mental illness, drug use, traumatic experiences and violence are complex. When we look specifically at the link between mental illness and violence, most people with mental illness will not become violent. But there <a href="https://theconversation.com/bondi-attacker-had-mental-health-issues-but-most-people-with-mental-illness-arent-violent-227868">is evidence</a> people with serious mental illness can be more likely to become violent. The use of alcohol and other drugs also <a href="https://theconversation.com/alcohol-and-drug-use-exacerbate-family-violence-and-can-be-dealt-with-69986">increases the risk</a> of domestic violence, including intimate partner violence. About <a href="https://www.aihw.gov.au/family-domestic-and-sexual-violence/understanding-fdsv/factors-associated-with-fdsv">one in three</a> intimate partner violence incidents involve alcohol. These are more likely to result in physical injury and hospitalisation. The risk of perpetrating violence is even higher for people with mental ill health who are also <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1525086/">using alcohol or other drugs</a>. It’s also important to consider traumatic experiences. Most people who experience trauma do not commit violent acts, but there are <a href="https://www.thelancet.com/journals/lanpub/article/PIIS2468-2667(23)00075-0/fulltext">high rates</a> of trauma among people who become violent. For example, experiences of childhood trauma (such as witnessing physical abuse) <a href="https://www.sciencedirect.com/science/article/pii/S1359178915000828?via%3Dihub">can increase the risk</a> of perpetrating domestic violence as an adult. Early traumatic experiences can affect the brain and body’s <a href="https://bmcmedicine.biomedcentral.com/articles/10.1186/s12916-017-0895-4">stress response</a>, leading to heightened fear and perception of threat, and difficulty regulating emotions. This can result in aggressive responses when faced with conflict or stress. This response to stress increases the risk of <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC9675346/">alcohol and drug problems</a>, developing <a href="https://pubmed.ncbi.nlm.nih.gov/30798897/">PTSD</a> (post-traumatic stress disorder), and <a href="https://psycnet.apa.org/record/2015-17349-001">increases the risk</a> of perpetrating intimate partner violence. <h2>How can we address these overlapping issues?</h2> We can reduce intimate partner violence by addressing these overlapping issues and tackling the root causes and contributors. The early intervention and treatment of <a href="https://doi.org/10.1186/s12905-019-0728-z">mental illness</a>, <a href="https://doi.org/10.1177/1541204020939645">trauma</a> (including PTSD), and <a href="https://doi.org/10.1016/j.avb.2015.06.001">alcohol and other drug use</a>, could help reduce violence. So extra investment for these are needed. We also need more investment to <a href="https://www.sciencedirect.com/science/article/pii/S2212657023000508">prevent mental health issues</a>, and preventing alcohol and drug use disorders from developing in the first place. <a href="https://www.sciencedirect.com/science/article/pii/S074937972200023X?via%3Dihub">Preventing trauma</a> from occuring and supporting those exposed is crucial to end what can often become a vicious cycle of intergenerational trauma and violence. <a href="https://journals.sagepub.com/doi/10.1177/070674371105600505">Safe and supportive</a> environments and relationships can protect children against mental health problems or further violence as they grow up and engage in their own intimate relationships. We also need to acknowledge the widespread <a href="https://store.samhsa.gov/product/practical-guide-implementing-trauma-informed-approach/pep23-06-05-005">impact of trauma</a> and its effects on mental health, drug use and violence. This needs to be integrated into policies and practices to reduce re-traumatising individuals. <h2>How about programs for perpetrators?</h2> Most existing standard intervention programs for perpetrators <a href="https://journals.sagepub.com/doi/10.1177/1524838018791268">do not consider</a> the links between trauma, mental health and perpetrating intimate partner violence. Such programs tend to have <a href="https://psycnet.apa.org/doi/10.1037/a0012718">little</a> or <a href="https://doi.org/10.1016/j.cpr.2021.101974">mixed effects</a> on the behaviour of perpetrators. But we could improve these programs with a <a href="http://rcfv.archive.royalcommission.vic.gov.au/MediaLibraries/RCFamilyViolence/Reports/RCFV_Full_Report_Interactive.pdf">coordinated approach</a> including treating mental illness, drug use and trauma at the same time. Such “<a href="https://www.sciencedirect.com/science/article/pii/S014976341930449X?via%3Dihub">multicomponent</a>” programs show promise in meaningfully reducing violent behaviour. However, we need more rigorous and large-scale evaluations of how well they work. <h2>What needs to happen next?</h2> Supporting victim-survivors and improving interventions for perpetrators are both needed. However, intervening once violence has occurred is arguably too late. We need to direct our efforts towards broader, holistic approaches to prevent and reduce intimate partner violence, including addressing the underlying contributors to violence we’ve outlined. We also need to look more widely at preventing intimate partner violence and gendered violence. We need developmentally appropriate <a href="https://theconversation.com/4-things-our-schools-should-do-now-to-help-prevent-gender-based-violence-228993">education and skills-based programs</a> for adolescents to prevent the emergence of unhealthy relationship patterns before they become established. We also need to address the <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7278040/">social determinants of health</a> that contribute to violence. This includes improving access to affordable housing, employment opportunities and accessible health-care support and treatment options. All these will be critical if we are to break the cycle of intimate partner violence and improve outcomes for victim-survivors. <hr /> The National Sexual Assault, Family and Domestic Violence Counselling Line – 1800 RESPECT (1800 737 732) – is available 24 hours a day, seven days a week for any Australian who has experienced, or is at risk of, family and domestic violence and/or sexual assault. If this article has raised issues for you, or if you’re concerned about someone you know, call Lifeline on 13 11 14. In an emergency, call 000.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/229182/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/siobhan-odean-1356613">Siobhan O'Dean</a>, Postdoctoral Research Associate, The Matilda Centre for Research in Mental Health and Substance Use, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a>; <a href="https://theconversation.com/profiles/lucinda-grummitt-1531503">Lucinda Grummitt</a>, Postdoctoral Research Fellow, The Matilda Centre for Research in Mental Health and Substance Use, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a>, and <a href="https://theconversation.com/profiles/steph-kershaw-1466426">Steph Kershaw</a>, Research Fellow, The Matilda Centre for Research in Mental Health and Substance Use, <a href="https://theconversation.com/institutions/university-of-sydney-841">University of Sydney</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/to-tackle-gendered-violence-we-also-need-to-look-at-drugs-trauma-and-mental-health-229182">original article</a>.

Caring

Horrifying moment plane crashes in gender reveal stunt

A gender reveal party in Mexico has ended in tragedy after the stunt plane crashed killing the pilot. The video, filmed by a party guest, showed an expecting couple smiling as they waited for the plane to ascend and perform the reveal. The pair stood in front of a sign that read: "Oh baby!" as the small plane approached them releasing pink smoke, signalling to the couple that they are having a girl. Tragedy struck when the pilot pulled the Piper PA-25-235 Pawnee aircraft upwards and the left wing suddenly gave way, sending aircraft into a tailspin, ultimately leading to the fatal crash. The Sun reported that the attendees seemed oblivious to the crash as they continued to celebrate the gender reveal. <blockquote class="twitter-tweet"> Pilot killed after his Piper PA-25 left wing failed at a gender reveal party in the town of San Pedro, Mexico. <a href="https://t.co/6JILK7fsGm">pic.twitter.com/6JILK7fsGm</a> — Breaking Aviation News & Videos (@aviationbrk) <a href="https://twitter.com/aviationbrk/status/1698255432630796349?ref_src=twsrc%5Etfw">September 3, 2023</a></blockquote> Later on, graphic photos of the horrendous aftermath emerged showing the 32-year-old pilot, Luis Angel N., lying in the wreckage of the plane before he was rushed to hospital where he unfortunately passed away, according to local media reports. A few other photos of the wreckage has also been posted on X, formerly known as Twitter, with a few people rushing to get the pilot out. Footage of the gender reveal party has since gone viral, with viewers sharing their condolences to the pilot, while others slammed the "extreme gender reveals". "The way the camera panned back to the couple with not the slightest care in the world for the pilot is sad," one commented. “Why do they have to do such extreme gender reveals lately? Why can’t they just settle for something simple?” added another. “It looks like he over stressed the aircraft. I wonder if he was above safe manoeuvring speed? I hate to see it," wrote a third. A fourth person commented: “Whats the point of this at the first place? I see so many accidents and incidents doing gender reveals.” Images: Twitter

Family & Pets

How biological differences between men and women alter immune responses – and affect women’s health

<a href="https://theconversation.com/profiles/helen-mcgettrick-1451122">Helen McGettrick</a>, <a href="https://theconversation.com/institutions/university-of-birmingham-1138">University of Birmingham</a> and <a href="https://theconversation.com/profiles/asif-iqbal-1451123">Asif Iqbal</a>, <a href="https://theconversation.com/institutions/university-of-birmingham-1138">University of Birmingham</a> Most people will have heard the term “man flu”, which refers to men’s perceived tendency to exaggerate the severity of a cold or a similar minor ailment. What most people may not know is that, generally speaking, women mount stronger <a href="https://pubmed.ncbi.nlm.nih.gov/36121220/">immune responses</a> to infections than men. Men are <a href="https://journals.plos.org/plospathogens/article?id=10.1371/journal.ppat.1005374">more susceptible</a> to infections from, for example, HIV, hepatitis B, and Plasmodium falciparum (the parasite responsible for malaria). They can also have more severe symptoms, with evidence showing they’re more likely to be <a href="https://journals.plos.org/plospathogens/article?id=10.1371/journal.ppat.1005374">admitted to hospital</a> when infected with hepatitis B, tuberculosis, and Campylobacter jejuni (a bacteria that causes gastroenteritis), among others. While this may be positive for women in some respects, it also means women are at <a href="https://www.nature.com/articles/nri2815">greater risk</a> of developing chronic diseases driven by the immune system, known as immune-mediated inflammatory diseases. Here we will explore how biological factors influence immune differences between the sexes and how this affects women’s health. While we acknowledge that both sex and gender may affect immune responses, this article will focus on biological sex rather than gender. <h2>Battle of the sexes</h2> There are differences <a href="https://www.nature.com/articles/nri.2016.90">between the sexes</a> at every stage of the immune response, from the number of immune cells, to their degree of activation (how ready they are to respond to a challenge), and beyond. However, the story is more complicated than that. Our immune system evolves throughout our lives, learning from past experiences, but also responding to the physiological challenges of getting older. As a result, <a href="https://www.nature.com/articles/nri.2016.90">sex differences</a> in the immune system can be seen from birth through puberty into adulthood and <a href="https://academic.oup.com/jleukbio/advance-article/doi/10.1093/jleuko/qiad053/7190870">old age</a>. Why do these differences occur? The first part of answering this question involves the X chromosome. Females have two X chromosomes, while males have one X and one Y chromosome. The <a href="https://pubmed.ncbi.nlm.nih.gov/20651746/">X chromosome</a> contains the largest number of immune-related genes. The X chromosome also has <a href="https://link.springer.com/article/10.1007/s00018-020-03526-7">around 118 genes</a> from a gene family that are able to stop the expression of other genes, or change how proteins are made, including those required for immunity. These gene-protein regulators are known as microRNA, and there are only <a href="https://pubmed.ncbi.nlm.nih.gov/24808907/">two microRNA genes</a> on the Y chromosome. The X chromosome has <a href="https://www.genome.gov/about-genomics/fact-sheets/X-Chromosome-facts">more genes overall</a> (around 900) than the Y chromosome (around 55), so female cells have evolved to switch off one of their X chromosomes. This is not like turning off a light switch, but more like using a dimmer. Around <a href="https://bmcgenomics.biomedcentral.com/articles/10.1186/s12864-019-5507-6">15-25% of genes</a> on the silenced X chromosome are expressed at any given moment in any given cell. This means female cells can often express more immune-related genes and gene-protein regulators than males. This generally means a faster clearance of pathogens in females than males. Second, men and women have <a href="https://www.frontiersin.org/articles/10.3389/fimmu.2020.604000/full">varying levels</a> of different sex hormones. Progesterone and testosterone are broadly considered to limit immune responses. While both hormones are produced by males and females, progesterone is found at higher concentrations in non-menopausal women than men, and testosterone is much higher in men than women. The role of <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC6533072/">oestrogen</a>, one of the main female sex hormones, is more complicated. Although generally oestrogen <a href="https://www.sciencedirect.com/science/article/abs/pii/S000887491500026X?via%3Dihub">enhances immune responses</a>, its levels vary during the menstrual cycle, are high in pregnancy and low after menopause. Due in part to these genetic and hormonal factors, pregnancy and the years following are associated with heightened immune responses to external challenges such as infection. This has been regarded as an <a href="https://www.nature.com/articles/nri.2016.90">evolutionary feature</a>, protecting women and their unborn children during pregnancy and enhancing the mother’s survival throughout the child-rearing years, ultimately ensuring the survival of the population. We also see this pattern in <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2628977/">other species</a> including insects, lizards, birds and mammals. <h2>What does this all mean?</h2> With women’s heightened immune responses to infections comes an increased risk of certain diseases and prolonged immune responses after infections. An <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3328995/">estimated 75-80%</a> of all immune-mediated inflammatory diseases <a href="https://pubmed.ncbi.nlm.nih.gov/32542149/">occur in females</a>. Diseases more common in women include multiple sclerosis, <a href="https://www.nature.com/articles/nri2815">rheumatoid arthritis</a>, lupus, Sjogren’s syndrome, and <a href="https://www.nature.com/articles/nri.2016.90">thyroid disorders</a> such as Graves disease. In these diseases, the immune system is continuously fighting against what it sees as a foreign agent. However, often this perceived threat is not a foreign agent, but cells or tissues from the host. This leads to tissue damage, pain and immobility. Women are also prone to chronic inflammation following infection. For example, after infections with <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5818468/">Epstein Barr virus</a> or <a href="https://www.liebertpub.com/doi/10.1089/jwh.2008.1193">Lyme disease</a>, they may go on to develop <a href="https://www.nhs.uk/conditions/chronic-fatigue-syndrome-cfs/">chronic fatigue syndrome</a>, another condition that affects more women than men. This is one possible explanation for the heightened risk among <a href="https://www.frontiersin.org/articles/10.3389/fresc.2023.1122673/full">pre-menopausal women</a> of developing long COVID following infection with SARS-CoV-2, the virus that causes COVID. Research has also revealed the presence of auto-antibodies (antibodies that attack the host) in patients with long COVID, suggesting it might be an <a href="https://www.sciencedirect.com/science/article/pii/S1568997221000550">autoimmune disease</a>. As women are more susceptible to autoimmune conditions, this could potentially explain the sex bias seen. However, the exact causes of long COVID, and the reason women may be at greater risk, are yet to be defined. This paints a bleak picture, but it’s not all bad news. Women typically mount <a href="https://pubmed.ncbi.nlm.nih.gov/24966191/">better vaccine responses</a> to several common infections (for example, influenza, measles, mumps, rubella, hepatitis A and B), producing higher antibody levels than men. One study showed that women vaccinated with half a dose of flu vaccine produced the same amount of antibodies compared to men vaccinated with <a href="https://jamanetwork.com/journals/jamainternalmedicine/fullarticle/773453">a full dose</a>. However, these responses <a href="https://www.nature.com/articles/nri.2016.90">decline as women age</a>, and particularly <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3954964/">after menopause</a>. All of this shows it’s vital to consider sex when designing studies examining the immune system and treating patients with immune-related diseases.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/208802/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/helen-mcgettrick-1451122">Helen McGettrick</a>, Reader in Inflammation and Vascular Biology, <a href="https://theconversation.com/institutions/university-of-birmingham-1138">University of Birmingham</a> and <a href="https://theconversation.com/profiles/asif-iqbal-1451123">Asif Iqbal</a>, Associate Professor in Inflammation Biology, <a href="https://theconversation.com/institutions/university-of-birmingham-1138">University of Birmingham</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/how-biological-differences-between-men-and-women-alter-immune-responses-and-affect-womens-health-208802">original article</a>.

Body

Sickness or health: Healthy life split along gender, education lines

Australians are living and working longer than ever, but the number of healthy years they’re enjoying with this added longevity isn’t shared equally between the sexes, or by those who finished school before Year 12. <div class="copy"> A paper recently <a href="https://doi.org/10.1016/S2468-2667(23)00129-9" target="_blank" rel="noreferrer noopener" data-type="URL" data-id="https://doi.org/10.1016/S2468-2667(23)00129-9">published</a> in The Lancet Public Health from the Ageing Futures Institute at the University of New South Wales shows an increase in longevity in Australia. Other data in the publication reveal detail about “healthy years”. Men, and those with higher levels of education, worked about 2 years longer in good health. For women and those with lower education, the years of healthy life expectancy have gone backwards. The report, led by statistician Dr Kim Kiely who is now based at The University of Wollongong, compared representative cohorts of people aged 50-100 who participated in the Household Income and Labour Dynamics in Australia survey (HILDA). Those cohorts were measured over decade long periods – the first from 2001-2010 and the second from 2011-2020. Men added an extra 11 months of healthy life between the cohorts, while women lost a month. Similarly those of any gender who had completed year 12 added about 10 months to their healthy life expectancy, while the same amount of time was lost by those who hadn’t. “Everyone’s increasing their working life expectancy, so the years they’re expected to be working,” Kiely says. “What is different is how long they’re expected to be living in good health: women and people with low education didn’t have an improvement in healthy life expectancy. “Everyone’s also living longer than ever before, but for women, those extra years seem to be years of poor health. People with lower education – they end up going backwards, they’re losing years of healthy life.” Australia’s working life trends are similar to those in Europe and the UK, though this research suggests the Australian labour force works longer in poor health than their antipodean counterparts. Kiely says the findings are important considerations for policymakers pondering questions of retirement and pension ages: the demands of some labour may not be evenly spread when it comes to considering health implications. “We have a pension age that has been rising steadily over the past couple of decades – it’s not rising anymore – but there is a strong expectation for people to be working longer,” Kiely says. “And if that is the case, then we need opportunities for work for mature age, older adults, and those work opportunities have to be suitable for their capacity to work. “We do need to address things like age and gender discrimination in the workforce. And we need to think about how we support people who are unable to work before they reach the pension age.” Kiely is extending his research into how the nature of work in Australia influences these high-level findings. He hopes this can explain why gender and education influence healthy working years. Further drilling down into other subgroups is important, say Dr Marty Lynch and Dr Ross Wilkie from Keele University, UK. They investigated healthy working life expectancy as part of Britain’s Independent State Pension Age Review last year. They too found Briton were working longer, but not at a rate that keeps pace with the national pension age. In a Lancet editorial accompanying the Australian research, they point out that the HILDA data evaluation only shows changes in average ages on gender and education lines. “The extent of HWLE [Healthy Working Life Expectancy] inequalities between subpopulations with multiple specific characteristics are likely to be even wider and will also indicate targets and interventions to increase the number of years that people can be healthy and in work,” they say. The impact of socioeconomic status on life expectancy and disease burden was recently highlighted in a large-scale review of Australia’s 30-year health data. <a href="https://cosmosmagazine.com/people/society/australias-life-expectancy-is-up-but-healthy-years-are-a-different-story/">It found</a> while Australians have added 6 years to their life expectancy since 1990, those with lower socioeconomic backgrounds had a higher risk of death-causing disease. Image credits: Getty Images <a href="https://cosmosmagazine.com/people/society/sickness-or-health-healthy-life-split-along-gender-education-lines/">This article</a> was originally published on <a href="https://cosmosmagazine.com">Cosmos Magazine</a> and was written by <a href="null">Cosmos</a>. </div>

Retirement Life

How 1920s high society fashion pushed gender boundaries through ‘freaking’ parties

<a href="https://theconversation.com/profiles/dominic-janes-347508">Dominic Janes</a>, <a href="https://theconversation.com/institutions/keele-university-1012">Keele University</a> The 1920s brought about a rise in androgynous fashion among a high society set that broke boundaries and caused controversy. This drew on a subculture that had existed for decades, perhaps centuries, but after the first world war gender-bending fashions became front page news. It was a time of upheaval. Established regimes were toppling across Europe. In Britain, women over 30 had finally been given the vote and there was widespread concern about the new hedonism of their younger “flapper” sisters. There was also a new market for novels, such as Radcylffe Hall’s <a href="https://www.pbs.org/wgbh/roadshow/stories/articles/2019/4/1/radclyffe-hall-well-of-loneliness-legacy#:%7E:text=On%20November%2016%2C%201928%2C%20Biron,its%20immediate%20removal%20from%20circulation.">banned book</a> <a href="https://www.bbc.com/culture/article/20221121-the-well-of-loneliness-the-most-corrosive-book-ever">The Well of Loneliness</a> (1928) that focused on, rather than merely hinted at, queer lives. Daring male university students <a href="https://doi.org/10.1093/tcbh/hwab036">started wearing makeup</a>. One of these was <a href="https://www.vam.ac.uk/articles/cecil-beaton-an-introduction">Cecil Beaton</a>, the future celebrity photographer, who <a href="https://www.digitaltransgenderarchive.net/files/ht24wj66t">delighted in cross-dressing</a> both on stage and off. Beaton became part of a set of high society socialites who were known as the “<a href="https://www.npg.org.uk/whatson/cecil-beaton-bright-young-things/exhibition">bright young things</a>”. They were often socially privileged, many of them were queer and their antics were <a href="https://djtaylorwriter.co.uk/page10.htm">widely followed in the media</a> with a mixture of horror and fascination. The “things” took partying seriously and paid great attention to their outfits. They dressed to transgress. In 1920, high society magazine <a href="https://www.bloomsbury.com/uk/freak-to-chic-9781350172609/">The Sketch reported</a> that what it termed “freak parties” were suddenly in vogue with the younger set. Before the war, <a href="https://www.bloomsbury.com/uk/freak-to-chic-9781350172609/">articles had appeared</a> condemning unusual styles as “freak fashions”, but suddenly “<a href="https://www.bloomsbury.com/uk/freak-to-chic-9781350248083/">freaking</a>” was all the rage. Until this point, menswear had been heavily circumscribed. Black was the default colour for formal occasions and tweed for informal settings. But suddenly there was a circle who were keen to try out new looks, no matter how bizarre – or queer-looking – the results. <h2>Queer parties, queer fashions</h2> These styles were often worn as fancy dress, but they borrowed looks from marginalised queer communities such as feminine-styled queer men, some of whom made a living by selling sexual services. One such man was Quentin Crisp, whose memoir <a href="https://www.penguinrandomhouse.com/books/324730/the-naked-civil-servant-by-quentin-crisp/">The Naked Civil Servant</a> (1968) was dramatised as a <a href="http://www.crisperanto.org/news/NCSusa2007.html">pioneering TV drama</a>. Another source of inspiration was the <a href="https://press.uchicago.edu/ucp/books/book/chicago/S/bo3682948.html">freak show</a>. These displays, horrifying from a 21st century point of view, were a popular element of circuses at the time. They featured such stock characters as the muscled giant and the bearded lady, some of whom <a href="https://www.thehumanmarvels.com/annie-jones-the-esau-woman/">became celebrities</a> in their own right. Masquerade and fancy dress parties had long been a feature of urban social life, but the bright young things innovated in that they impressed less through the expense of their outfits and more through their queer implications. Many such parties were themed, such as a Greek-themed freak party that was hailed as the greatest “Dionysia” of 1929 (Dionysus being the Greek god of sex and pleasure). Androgynous and cross dressing looks were common and men such as Beaton designed their own frocks. In July 1927, <a href="https://www.routledge.com/Her-Husband-was-a-Woman-Womens-Gender-Crossing-in-Modern-British-Popular/Oram/p/book/9780415400077">one magazine declared</a> that an event attended by Beaton’s friend Stephen Tennant dressed as the Queen of Sheba and bisexual actress Tallulah Bankhead dressed as a male tennis star was: “one of the queerest of all the ‘freak’ parties ever given in London”. <h2>The party’s over</h2> The Wall Street crash of 1929 led to a rapid shift in public mood. Economic recession led people to favour sobriety over flamboyance. Money for the parties ran out and media attention faltered. Gender-bending style vanished from the fashionable arena, although it persisted on inner cities streets. Quentin Crisp’s mode of <a href="https://bodleianshop.co.uk/products/british-dandies">queer dandyism</a> was daring for its time, but it only became extraordinary by virtue of his unwillingness to modernise. Seemingly he, and pretty much he alone, continued to wear the queer looks of the interwar period into the television age. He duly <a href="http://www.crisperanto.org/news/AnEnglishmanInNYmovie.html">became a transatlantic celebrity</a> late in life when he became the inspiration for Sting’s song <a href="https://www.sting.com/discography/album/189/Singles">Englishman in New York</a> in 1987. Cecil Beaton, meanwhile, became a leading photographer for Vogue magazine and was commissioned to take official <a href="https://www.rct.uk/cecil-beaton-1904-80">coronation portraits of Elizabeth II</a>. He also designed the fantastic dresses worn by Audrey Hepburn in the film <a href="https://www.tatler.com/article/in-cecil-beatons-show-stopping-designs-for-my-fair-lady-lies-a-story-of-tantrums-and-top-hats">My Fair Lady</a> (1964), inspired by the gowns he and his compatriots had dreamed up for themselves some 40 years earlier.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/205893/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/dominic-janes-347508">Dominic Janes</a>, Professor of Modern History, <a href="https://theconversation.com/institutions/keele-university-1012">Keele University</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/how-1920s-high-society-fashion-pushed-gender-boundaries-through-freaking-parties-205893">original article</a>.

Beauty & Style

Harrison Ford is back as an 80-year-old Indiana Jones – and a 40-something Indy. The highs (and lows) of returning to iconic roles

<a href="https://theconversation.com/profiles/ben-mccann-398197">Ben McCann</a>, <a href="https://theconversation.com/institutions/university-of-adelaide-1119">University of Adelaide</a> Saddle up, don the fedora and crack that whip: Harrison Ford is back as the intrepid archaeologist in Indiana Jones and the Dial of Destiny. The film premiered at Cannes, where Ford was <a href="https://www.hollywoodreporter.com/movies/movie-news/harrison-ford-honorary-palme-dor-cannes-1235495463/">awarded</a> an Honorary Palme d’Or in recognition of his life’s work. Reviews for the fifth film in the franchise <a href="https://www.hollywoodreporter.com/movies/movie-news/indiana-jones-5-review-roundup-1235495961/">have been mixed</a>, and it is the first Indy film not to be directed by Steven Spielberg (this time, it’s James Mangold, best known for his motor-racing drama Ford v Ferrari). But this is “event” cinema that combines nostalgia, old-school special effects and John Williams’ <a href="https://theconversation.com/from-jaws-to-star-wars-to-harry-potter-john-williams-90-today-is-our-greatest-living-composer-176245">iconic score</a>. So, Ford is back, aged 80. What draws actors back after all this time? <figure><iframe src="https://www.youtube.com/embed/eQfMbSe7F2g?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> <h2>Role returns</h2> Ford first played Indy in 1981 and last played him in 2008. That is a full 15 years since the most recent film in the series, and 42 years since his first outing in Raiders of the Lost Ark. Ford has form in returning to celebrated characters. One of the great pleasures of watching The Force Awakens back in 2015 was seeing Ford play Han Solo again for the <a href="https://www.dailymotion.com/video/x3j2j09">first time in over 30 years</a>. <figure><iframe src="https://www.youtube.com/embed/0xQSIdSRlAk?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Actors return to roles for numerous reasons: <ul> <li>financial (Ford was reportedly paid <a href="https://okmagazine.com/exclusives/harrison-ford-paid-indiana-jones-5-plagued-with-problems/">US$25 million</a> for Dial of Destiny)</li> <li>protection of their brand, image and star persona (Michael Keaton <a href="https://www.fortressofsolitude.co.za/the-flash-movies-biggest-hero-how-michael-keaton-saved-the-film/">returning to play Batman</a> after three decades and three other actors who have embodied the role)</li> <li>professional (Tom Cruise admitted over the 36 years between Top Gun films he wanted to make sure the sequel <a href="https://screenrant.com/top-gun-maverick-tom-cruise-return-how-explained/">could live up to the original</a>)</li> <li>personal (once-huge stars are working less and less, and only feel the need to return to a built-in fan base every few years – Bill Murray in the 2021 Ghostbusters sequel springs to mind).</li> </ul> It’s not always a successful endeavour. Arnold Schwarzenegger and Sylvester Stallone – two of the biggest action stars of the 1980s off the back of iconic roles as The Terminator, Rocky Balboa and John Rambo – have repeatedly returned to those roles, and critics have been <a href="https://screenrant.com/terminator-dark-fate-undermined-john-connor-storyline-franchise-bad/">particularly harsh</a>. It did not work for Sigourney Weaver in <a href="https://www.rogerebert.com/reviews/alien-resurrection-1997">Alien: Resurrection</a> in 1997, 18 years after her first time as Ripley; nor for Keanu Reeves in <a href="https://www.theguardian.com/film/2021/dec/21/the-matrix-resurrections-review-keanu-reeves">The Matrix Resurrections</a> in 2021, 23 years after the original. And still, I’m intrigued to see what Michael Mann could do with his long-rumoured sequel to Heat, his definitive 1995 crime film. Ever since Mann published his novel Heat 2 last year – a kind of origin story for Heat’s key protagonists – fans have been hoping a de-aged Al Pacino (now aged 83) <a href="https://deadline.com/2023/04/michael-mann-heat-2-warner-bros-adam-driver-young-neil-mccauley-1235316777/">might return</a> as LA cop Vincent Hanna. <h2>Undoing time</h2> “Digital de-ageing” first entered the Hollywood mainstream in 2019 with The Irishman and Captain Marvel. <a href="https://www.indiewire.com/features/craft/de-aging-actors-history-benjamin-button-dial-of-destiny-harrison-ford-1234863938/">Via this process</a>, older actors (Robert De Niro, Al Pacino and Samuel L. Jackson have all been subject to the technology) move back and forwards in time without younger actors having to play them. <figure><iframe src="https://www.youtube.com/embed/OF-lElIlZM0?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Films still tend to cast two actors to play older and younger versions of the same character, a choice that dates back at least to 1974’s The Godfather Part II, in which a young Robert de Niro plays Vito Corleone, portrayed by the much older Marlon Brando in the first film. In 1989, Indiana Jones and the Last Crusade features a delightful opening scene where River Phoenix plays the young version of Indiana Jones, before Ford takes over for the rest of the film. <figure><iframe src="https://www.youtube.com/embed/AwH6-Yh7_SM?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> Actors used to just play characters of their own age when reprising earlier roles. Paul Newman finally won a Best Actor Oscar for his role as “Fast Eddie” Felson in The Color of Money (1986), a quarter of a century after first playing him in The Hustler. The sequel plays on Newman’s age, and his role as a mentor to an upcoming Tom Cruise, and bathes viewers in nostalgia and memories of <a href="https://faroutmagazine.co.uk/paul-newman-schooled-tom-cruise-the-color-of-money/">a younger Newman</a>. <figure><iframe src="https://www.youtube.com/embed/k7gmrKAFshE?wmode=transparent&start=0" width="440" height="260" frameborder="0" allowfullscreen="allowfullscreen"></iframe></figure> But actors no longer have to exclusively play their age. The first part of Dial of Destiny is an extended flashback, set in 1944, in which Ford has been digitally de-aged to appear in his 40s. This process used an AI system that scanned used and unused reels of footage of Ford from <a href="https://www.cbr.com/harrison-ford-de-aging-indiana-jones-dial-of-destiny/">the first three Indy films</a> to match his present-day performance. Here, it is as if we are getting two Fords for the price of one: the “younger”, fitter Indy and the older, more world-weary version. It makes for a powerfully emotional connection on screen. Yet there are some <a href="https://variety.com/2023/film/awards/indiana-jones-5-harrison-ford-de-aging-not-working-1235618698/">pitfalls to de-ageing</a>. Some viewers complain that the whole process is distracting and that the hyper-real visual look of de-aged scenes resembles a video game. Even so, de-ageing in Hollywood cinema is here to stay. Tom Hanks’s <a href="https://variety.com/2023/film/news/tom-hanks-robin-wright-digitally-deaged-robert-zemeckis-movie-1235507766/">next film</a> is using AI-based generative technology to digitally de-age him. Given its reduced cost, speed and reduced human input, AI-driven innovation might have <a href="https://filmstories.co.uk/news/new-ai-driven-de-ageing-tools-to-be-used-in-tom-hanks-project/">industry-changing ramifications</a>. <h2>The star of Ford</h2> Harrison Ford remains a bona fide “movie star” in an industry profoundly buffeted by COVID, the rise of streaming platforms, the demise of the monoculture, and the changing nature of who constitutes a star. In the midst of all this industry uncertainty, it seems there is no longer a statute of limitations on actors returning to much-loved characters. The next big ethical issue for the film industry as it further embraces AI is whether to <a href="https://collider.com/james-dean-digital-cgi-performance-in-new-movie/">resurrect deceased actors</a> and cast them in new movies. Still, I’m looking forward to seeing more actors de-aged as the technology improves and audiences acclimatise to watching older actors “playing” younger versions of themselves. We are only at the start of Hollywood’s next big adventure.<img style="border: none !important; box-shadow: none !important; margin: 0 !important; max-height: 1px !important; max-width: 1px !important; min-height: 1px !important; min-width: 1px !important; opacity: 0 !important; outline: none !important; padding: 0 !important;" src="https://counter.theconversation.com/content/202357/count.gif?distributor=republish-lightbox-basic" alt="The Conversation" width="1" height="1" /> <a href="https://theconversation.com/profiles/ben-mccann-398197">Ben McCann</a>, Associate Professor of French Studies, <a href="https://theconversation.com/institutions/university-of-adelaide-1119">University of Adelaide</a> Image credits: Getty Images This article is republished from <a href="https://theconversation.com">The Conversation</a> under a Creative Commons license. Read the <a href="https://theconversation.com/harrison-ford-is-back-as-an-80-year-old-indiana-jones-and-a-40-something-indy-the-highs-and-lows-of-returning-to-iconic-roles-202357">original article</a>.

Movies

6 movie stars who turned down Oscar-winning roles

The Academy Awards is unarguably the most prestigious and sought after award in the movie industry. Actors must carefully select the scripts that will advance their careers and highlight their acting skills. Although the movie stars below have had successful careers in Hollywood, here are the times the roles they walked away from ended up receiving the prestigious golden statuette. 1. Julia Roberts Julia Roberts was offered the role of Viola de Lesseps in Shakespeare in Love which took Best Picture in the Academy Awards in 1998. People reported that Julia was one contract away from starring in the film when she found out that Daniel Day-Lewis turned down the role. Julia wanted Daniel to play the role of Bard of Avon so when he turned down the role, she decided to pull out. Gwyneth Paltrow was then given the role and ended up winning an Oscar for Best Actress for the film. 2. Harrison Ford Harrison Ford has made a great name for himself in Hollywood. He won an Oscar for his role in The Fugitive and has played two of the greatest action heroes of all time, Hans Solo and Indiana Jones. Harrison could have had one more Oscar on his shelf had he not turned down the offer to act in Syriana. Harrison was offered the role of CIA Agent Robert Barnes but declined the role as he “didn’t feel strongly enough about the truth of the material.” George Clooney ended up with the role and won Best Supporting Actor in 2006. After watching the film, Harrison changed his mind on the film as the issues he had with the material were rectified. 3. Gregory Peck Gregory Peck had been nominated for an Oscar four times before he took home Best Actor in 1963 for his portrayal of Atticus Finch in To Kill a Mockingbird. Gregory might have taken home an Oscar sooner had he not passed on the offer to star in High Noon. Gregory passed on the role as he had just starred in a western The Gunfighter and wanted to avoid typecasting. The role was then offered to Gary Cooper who won the Oscar for Best Actor for his performance. Gregory later said, "I don't think I would have been as good as Gary Cooper but I still think it would have been a good film with me in it." 4. Gwyneth Paltrow In 2016, The Danish Girl received three nominations and one win at the Academy Awards. The film, however, had been stuck in the development stages for years as actors and directors continually abandoned the project. The role of Gerda Wegner, Lili’s wife, moved from Charlize Theron to Gwyneth Paltrow. Gwyneth was ready to star in the film when a last-minute shooting location changed the actress’ mind. As she didn’t want to spend too much time away from her kids, Gwyneth decided to walk away from the role. Tom Hooper, Eddie Redmayne and Alicia Vikander came on board with the project years later. Alicia played Gerda and won an Oscar for Best Supporting Actress. 5. Anne Hathaway In 2013, Jennifer Lawrence won her first Oscar for Best Actress for playing Tiffany Maxwell in Silver Linings Playbook. Even though Jennifer was outstanding in the film, she wasn’t the first pick for the role. Film executive Harvey Weinstein admitted that Anne Hathaway was slated for the lead female role and Bradley Cooper’s role was meant for Mark Wahlberg. Both actors were ready to star in the film until Anne had some “creative differences” with director David O. Russell. The differences couldn’t be resolved so Anne left the project and Mark Wahlberg followed her. Anne Hathaway did end up winning an Oscar that year for Best Supporting Actress in Les Miserables. 6. Paul Bettany The portrayal of George Vi in The King’s Speech was not originally intended for Colin Firth. Screenwriter David Seidler believed Paul Bettany was perfect for the role and Paul was offered the part but declined as he didn’t want to be separated from his family for a long period of time. Paul had been working for five months so decided to go home to his family instead of working on a new film in Buckingham Palace. Reflecting on his decision to walk away from the role Paul said, “I regret not working with such amazing, amazing actors and directors and writers. But no, I have to do the right by my family every time.” Colin Firth was chosen for the role and in 2011, he won Best Actor in this film. Images: Getty

Movies

"I fell for it!": Boys in blue crash gender reveal party

One Sydney couple have taken their friends and family by surprise with their high-stakes gender reveal, where the father-to-be was apparently put under arrest by two police officers. Mina Ibrahim revealed their elaborate prank with a video posted to his TikTok account. Mina’s video begins with footage of the moment of his ‘arrest’, before it cuts to the TikToker at a later date, explaining that “that’s me being arrested at my baby’s gender reveal.” He goes on to share the full video, and a promise that the ending will answer any questions his viewers may have. In the clip, the parents-to-be can be seen talking to two uniformed NSW ‘police officers’, guests all around them, with Mina asking for onlookers to get their phones out. He then pushes one of the officers, telling them to leave, and both grab him before attempting to handcuff him, while his pregnant partner attempts to intervene. As family members rush to assist, one of the officers calls for everyone to calm down, then delivers news that takes them all by surprise - and delight - by telling them, “it’s a baby girl.” “So it was the cops who announced to everyone that I was having a baby girl,” present-day Mina informed his audience, before noting that there was a fake balloon inside to throw their guests off the surprise scent. <div class="mol-embed" style="margin: 0px 0px 8px; padding: 0px; min-height: 1px; letter-spacing: -0.16px; text-align: center; font-family: graphik, Arial, sans-serif; font-size: 16px; background-color: #ffffff;"> <blockquote id="v34606683345148116" class="tiktok-embed" style="margin: 18px auto; padding: 0px; min-height: 1px; letter-spacing: -0.01em; position: relative; width: 605px; box-sizing: border-box; line-height: 1.15; overflow: hidden; text-size-adjust: 100%; font-family: proxima-regular, PingFangSC, sans-serif; max-width: 605px; min-width: 325px;" cite="https://www.tiktok.com/@mina.ibs/video/7232964823296773383" data-video-id="7232964823296773383" data-embed-from="oembed"><iframe style="letter-spacing: -0.01em; border-width: initial; border-style: none; width: 605px; height: 735px; display: block; visibility: unset; max-height: 735px;" src="https://www.tiktok.com/embed/v2/7232964823296773383?lang=en-GB&referrer=https%3A%2F%2Fwww.dailymail.co.uk%2Fnews%2Farticle-12082153%2FGender-reveal-party-prank-sees-cops-arrest-father-be.html&embedFrom=oembed" name="__tt_embed__v34606683345148116" sandbox="allow-popups allow-popups-to-escape-sandbox allow-scripts allow-top-navigation allow-same-origin"></iframe></blockquote> </div> The prank attracted thousands of views online, with many flocking to his comments section to share their congratulations with the parents-to-be. Others, while thrilled for them and their happy news, were open about their concern, having fallen for the trick right along with the couple’s loved ones. “I fell for it and I was worried for your wife!!!,” one confessed. “I was freaking out hahahah you got me”. “I was worried too haha … you scared me,” another said. “Omygosh! I was ready to sue them coppas with you!” came one response, “but congratsss! What a way to reveal!” One other simply wanted to know if the entire situation was even allowed, believing that impersonating the police may not be. And another had simply been suspicious from the very start, noting “Broooo the whole time I was like … something ain’t right! He’s not carrying his gun”. Images: TikTok

Family & Pets

Erin Doherty’s new role sure to be approved by Princess Anne

Erin Doherty might just get the tick of approval from Princess Anne as she holds the reins in the forthcoming series A Thousand Blows. Doherty, 30, who played the role of horse-mad Princess Anne in The Crown, will star in the new drama which tells the story of the Forty Elephants, an all-woman crime syndicate specialising in shoplifting from department stores. Much like her role as Princess Anne, images from the upcoming series have seen the actress in a Victorian outfit driving a horse-drawn carriage on set in London. The period drama will also star actor Stephen Graham and it’s created by Stephen Knight who was responsible for the hit gangster drama Peaky Blinders. The presence of horses is sure to please King Charle’s sister as she is a known horse-lover. Prince Phillip once joked, “If it doesn’t fart or eat hay, she isn’t interested.” The series will also be heavy on boxing but will explore the social climate of London during the post-industrial revolution era. It is still under production and is set to be released on Disney+ with 12 episodes. Image credit: Instagram

Ever feel like your life is a performance? Everyone does – and this 1959 book explains roles, scripts and hiding backstage

Shakespeare’s adage — “All the world’s a stage” — suggests human beings are conditioned to perform, and to possess an acute social awareness of how they appear in front of others. It resonates in the age of social media, where we’re all performing ourselves on our screens and watching each other’s performances play out. Increasingly, those screen performances are how we meet people, and how we form relationships: from online dating, to remote work, to staying in touch with family. While the idea of performance as central to social life has been around for centuries, <a href="https://www.oxfordbibliographies.com/display/document/obo-9780199756384/obo-9780199756384-0228.xml">Erving Goffman</a> was the first to attempt a comprehensive account of society and everyday life using theatre as an analogy. His influential 1959 book <a href="https://www.penguin.com.au/books/the-presentation-of-self-in-everyday-life-9780241547991">The Presentation of Self in Everyday Life</a> is something of a “bible” for scholars interested in questions of how we operate in everyday life. It became a surprise US bestseller on publication, crossing over to a general readership. Goffman wrote about how we perform different versions of ourselves in different social environments, while keeping our “backstage” essential selves private. He called his idea <a href="https://www.taylorfrancis.com/chapters/edit/10.4324/9781003160861-3/dramaturgy-charles-edgley?context=ubx&refId=6e9b71d0-973c-4ebe-b90b-41a372d12623">dramaturgy</a>. Playwright Alan Bennett <a href="https://www.lrb.co.uk/the-paper/v03/n19/alan-bennett/cold-sweat">wrote admiringly</a> of him, “Individuals knew they behaved in this way, but Goffman knew everybody behaved like this and so did I.” <h2>Goffman as influencer (and suspected spy)</h2> In a <a href="https://www.isa-sociology.org/en/about-isa/history-of-isa/books-of-the-xx-century">poll of professional sociologists</a>, Goffman’s book ranked in the top ten publications of the 20th century. It influenced playwrights such as <a href="https://journals.sagepub.com/doi/abs/10.1177/019027250907200402">Tom Stoppard</a> and, of course, Bennett, who <a href="https://www.routledge.com/Alan-Bennett-A-Critical-Introduction/OMealy/p/book/9780815335405">was interested in</a> depicting and analysing the role-playing of everyday life that Goffman identified. Goffman was <a href="https://onlinelibrary.wiley.com/doi/abs/10.1002/9781444396621.ch24">born in Mannville</a>, Alberta in 1922 to Ukrainian Jewish parents who migrated to Canada. The sister of the man who would become famous for his theatre analogies was an actor, <a href="https://www.imdb.com/name/nm0062844/">Frances Bay</a>: late in life, she would play quirky, recognisable roles such as the “marble rye” lady on <a href="https://theconversation.com/science-of-seinfeld-131606">Seinfeld</a> and a recurring part on <a href="https://theconversation.com/ill-see-you-again-in-25-years-the-return-to-twin-peaks-32624">Twin Peaks</a> (as Mrs Tremond/Chalfant). The path to Goffman’s book was an unusual one. It didn’t come from directly studying the theatre, or even from asking questions about theatregoers. While completing postgraduate studies at the the University of Chicago, Goffman was given the opportunity to conduct fieldwork in the Shetland Islands, an isolated part of northern Scotland, for his <a href="https://www.mediastudies.press/pub/ns-ccic/release/4">PhD dissertation</a>. Goffman pretended to be there to <a href="https://onlinelibrary.wiley.com/doi/10.1002/9780470999912.ch3">study agricultural techniques</a>. But his actual reason was to examine the everyday life of the Shetland Islanders. As he observed the everyday practices and rituals of the remote island community, he had to negotiate suspicions he may <a href="https://www.amazon.com/Goffman-Social-Organization-Sociological-Routledge/dp/0415112044">have been a spy</a>. In Goffman’s published book, the ethnography of the Shetland Islands takes a back seat to his dramaturgical theory. <h2>More than a popular how-to manual</h2> <a href="https://www.penguin.com.au/books/the-presentation-of-self-in-everyday-life-9780241547991">The Presentation of Self in Everyday Life</a> quickly became <a href="https://www.amazon.com.au/Sociological-Bent-InsideMetro-Culture/dp/0170120015">a national bestseller</a>. It was picked up by general readers “as a guide to social manners and on how to be clever and calculating in social intercourse without being obvious”. This fascinating and complex academic work could indeed be read as a “how-to” manual on how to impress others and mitigate negative impressions. But Goffman <a href="https://www.routledge.com/Erving-Goffman/Smith/p/book/9780415355919">didn’t mean</a> “performance” literally. Reading the book as a guide to middle-class etiquette misses some of its nuances. One is the sophisticated understanding of how reality and contrivance relate to each other. A good performance is one that appears “unselfconscious”; a “contrived” performance is one where the fact the social actor is performing a role is “painstakingly evident”. In everyday language, we tend to describe the latter as trying too hard. But Goffman is making a more general point, about the way we all perform ourselves, all the time – whether the effort is visible or not. If “All the world is not, of course, a stage”, then “the crucial ways in which it isn’t are not easy to specify”. <h2>Playing roles and being in character</h2> Today, we regularly use theatrical terms like “role”, “script”, “props”, “audience” and being “in and out of character” to describe how people behave in their everyday social life. But Goffman is the one who introduced these concepts, which have become part of our shared language. Together, they highlight how social life depends on what Goffman terms a shared definition of particular situations. Whether we are performing our work roles, having dinner with someone for whom we have romantic affections, or dealing with strangers in a public setting, we need to produce and maintain the appropriate definition of that reality. These activities are “performances”, according to Goffman, because they involve mutual awareness or attentiveness to the information others emit. This mutual awareness, or attention to others, means humans are constantly performing for audiences in their everyday lives. <h2>Being in and out of character</h2> It matters who the audience is – and what type of audience we have for our performances. When thinking about how people adapt their behaviour for others, Goffman differentiates between “front regions” and “back regions”. Front regions are where we must present what is often referred to as the “best version of ourselves”. In an open-plan office, a worker needs to look busy if their supervisor is about. So, in the front region, they need to look engaged, industrious and generally perform the role of being a worker. In an open-plan office, a worker needs to be constantly “in character”, as Goffman puts it. Back regions are where a social actor can “let their guard down”. In the context of a workplace, the back regions might refer to the bathroom, the lunchroom or anywhere else where the worker can relax their performance and potentially resort to “out of character” behaviour. If the worker takes a diversionary break to gossip with a colleague when their supervisor is no longer in earshot, they could be said to be engaging in back region conduct. Front and back regions are not defined by physical locations. A back region is any situation in which the individual can relax and drop their performance. (Of course, this means regions overlap with physical locations to some extent – people are more likely to be able to relax when they’re in more private settings.) Thus, <a href="https://www.nytimes.com/2022/09/08/opinion/open-plan-office-awful.html">open-plan offices</a> are often unpopular because workers feel they are constantly under surveillance. Conversely, the work-from-home arrangements that have become more common since the era of COVID lockdowns are popular because they allow people to relax their work personae. Renowned writer Jenny Diski <a href="https://www.lrb.co.uk/the-paper/v26/n05/jenny-diski/think-of-mrs-darling">reflected</a> in 2004, "reading Goffman now is alarmingly claustrophobic. He presents a world where there is nowhere to run; a perpetual dinner party of status seeking, jockeying for position and saving face. Any idea of an authentic self becomes a nonsense. You may or may not believe in what you are performing; either type of performance is believed in or it is not." <h2>21st-century Goffman</h2> Dramaturgy has survived the onset of our new media environment, where the presentation of the self has migrated to platforms as diverse as <a href="https://theconversation.com/instagram-and-facebook-are-stalking-you-on-websites-accessed-through-their-apps-what-can-you-do-about-it-188645">Facebook</a> and <a href="https://theconversation.com/its-corn-how-the-online-viral-corn-kid-is-on-a-well-worn-path-to-fame-in-the-child-influencer-industry-189974">TikTok</a>. In some ways, it’s more relevant than ever. Goffman’s approach has been applied to <a href="https://global.oup.com/academic/product/no-sense-of-place-9780195042313?cc=au&lang=en&">electronic media</a>, radio and <a href="https://www.google.com.au/books/edition/The_Media_and_Modernity/asB7QgAACAAJ?hl=en">television</a> <a href="https://www.taylorfrancis.com/chapters/edit/10.4324/9781003160861-19/reception-goffman-work-media-studies-peter-lunt">studies</a>, <a href="https://mitpress.mit.edu/9780262515047/new-tech-new-ties/">mobile phones</a> – and, more recently, <a href="https://journals.sagepub.com/doi/10.1177/13548565211036797">social media</a> and even <a href="https://journals.sagepub.com/doi/full/10.1177/0263276419829541">AI studies</a>. The “successful staging” (as Goffman terms it) of our social roles has only become more complex. This is perfectly illustrated by “BBC Dad” Robert Kelly, whose 2017 <a href="https://junkee.com/bbc-dad-pictures-kids-now-marion-james/324165">live television interview</a> from his home study was interrupted when his children wandered into the room. This was before COVID lockdowns, when our home and work lives (and personae) increasingly merged. “Everyone understands that now,” <a href="https://junkee.com/bbc-dad-pictures-kids-now-marion-james/324165">wrote Reena Gupta</a> in 2022. “You or someone in your family or circle of friends has been BBC Dad.” Maintaining and maximising performances still matters. And so does Goffman. This article originally appeared on <a href="https://theconversation.com/ever-feel-like-your-life-is-a-performance-everyone-does-and-this-1959-book-explains-roles-scripts-and-hiding-backstage-195939" target="_blank" rel="noopener">The Conversation</a>. Images: Getty

Books

Palace confirms Prince George's role at Coronation

As King Charles' highly-anticipated Coronation ceremony draws closer, the Palace has confirmed a very special role for Prince George. Just one month before the historic event is set to take place at Westminster Abbey, Buckingham Palace has shared that the King's eldest grandson will have a key role at the coronation, acting as one of the four page boys attending to the King throughout the ceremony. In total eight pages will be involved, four assigned to the King and four to the Queen Consort. Joining Prince George, who will be nine at the time of the coronation, assisting the King as pages will be Lord Oliver Cholmondeley, Nicholas Barclay and Ralph Tollemache. Camilla will have her grandsons, Gus and Louis Lopes, 13, and Freddy Parker Bowles, 13, helping her and along with her great-nephew, Arthur Elliot. The news of Prince George's involvement comes as the Palace has released the official coronation portrait, which was taken last month inside the Blue Drawing Room at Buckingham Palace by Hugo Burnand. In addition to the official portraits, the Palace shared an image of the elaborately illustrated invitation that will be sent out later this month to 2,000 guests who have secured a much-coveted place at the Coronation. As stated on the invitation, it has been revealed that "Consort" will be dropped from Camilla's official title, as she will be referred to as "Queen Camilla" after the Coronation. The invitation reads, "The Coronation of Their Majesties King Charles III and Queen Camilla." When asked about the title, a senior royal aide confirmed, "It made sense to refer to her Majesty as The Queen Consort in the early months of His Majesty’s reign, to distinguish from Her Majesty Queen Elizabeth II." "Queen Camilla is the appropriate title to set against King Charles on the invitation. The Coronation is an appropriate time to start using 'Queen Camilla' in an official capacity." Image credits: Buckingham Palace / Getty Images

Family & Pets

5 books for kids and teens that positively portray trans and gender-diverse lives

<a href="https://www.stonewall.org.uk/about-us/blog/trans-day-visibility-global-perspective">International Transgender Day of Visibility</a> is an opportunity to celebrate trans and gender-diverse people – and to raise awareness of the ongoing discrimination they experience. Trans and gender-diverse people <a href="https://www.ncbi.nlm.nih.gov/pmc/articles/PMC7826417/">experience</a> higher levels of depression, anxiety, self-harm and suicidal behaviours than the general population. Recent events in <a href="https://www.theguardian.com/australia-news/2023/mar/25/whats-behind-the-terrifying-backlash-against-australias-queer-community">Australia</a>, <a href="https://time.com/6250646/united-kingdom-scotland-transgender-bill/">the United Kingdom</a> and <a href="https://www.vice.com/en/article/5d378d/anti-trans-bills-2023">the US</a> remind us of the need to promote acceptance of trans and gender-diverse young people, and to support their mental health and wellbeing. Community, school and family <a href="https://link.springer.com/article/10.1007/s40894-019-00118-w">are vital</a> tools for this. So are books that positively represent trans and gender-diverse experiences, themes and issues. Such books can expand young people’s awareness, understanding and acceptance of gender differences from an early age. They also validate the lived experience of trans and gender-diverse youth. The five books below all positively portray trans and gender-diverse lives in age-appropriate ways. <h2>1. My Shadow is Purple by Scott Stuart (ages 4-9)</h2> This picture book, <a href="https://larrikinhouse.com.au/products/my-shadow-is-purple">My Shadow Is Purple</a>, considers gender diversity through the use of colour. The story focuses on a boy whose shadow is purple: presumably a blend of masculine blue and feminine pink. Early in the story, the boy celebrates his gender hybridity, enjoying a range of both traditionally masculine and feminine activities. Stuart also explores the way society regulates and limits gender expression, and how this can have negative effects on individuals. That said, the picture book is positive and offers a promising message to readers. Through both resistance and collective support, we can acknowledge and celebrate the spectrum of colours our shadows might take. <h2>2. Too Bright to See by Kyle Lukoff (ages 10-12)</h2> In his <a href="http://www.kylelukoff.com/my-books/tbts">award-winning</a> junior novel, <a href="https://www.penguin.com.au/books/too-bright-to-see-9780593111178">Too Bright to See</a>, Kyle Lukoff uses the ghost story to explore <a href="https://www.nhs.uk/conditions/gender-dysphoria/">gender dysphoria</a> and grief. Trans boy Bug, aged 11, lives in a house with relatively benign spirits. However, during the summer before school starts, Bug’s uncle dies and a new ghost takes up residence in the house. It is not only the grief of his uncle’s death that Bug must learn to live with. His best friend, Moira, is eager to give him a feminine makeover and the new ghostly resident seems intent on sending him a message. Bug’s investigation of the ghost and his journey of self-discovery and self-acceptance is sensitive and nuanced, allowing readers to learn about transgender issues (and grief) alongside Bug. <h2>3. Euphoria Kids by Alison Evans (ages 12+)</h2> <a href="https://www.echopublishing.com.au/books/euphoria-kids">Euphoria Kids</a> is an urban fantasy young adult novel that centres on three trans and gender-diverse teenagers: Iris, who grew from a seed; Babs, the daughter of a local witch; and the boy, named so because his current name does not fit him. The world Evans creates is one of strange magic, free from the trauma and gender dysphoria often associated with representations of transgenderism <a href="https://theconversation.com/friday-essay-transgenderism-in-film-and-literature-71809">in literature and film</a>. The characters’ quest to break a curse enables them to demonstrate their resilience, develop their confidence and experience euphoria. Evans explains (in the author note) their decision to create a positive narrative for trans youth, "I want people to know about gender euphoria. I want them to learn about it before gender dysphoria. I want young trans kids that will read this book to be proud of who they are, and imagine wonderful magic lives for themselves." <h2>4. Meet Cute Diary by Emery Lee (ages 14+)</h2> <a href="https://www.harpercollins.com.au/9780063038837/meet-cute-diary/">Meet Cute Diary</a>, a heartfelt young adult romantic comedy, explores gender identity and sexuality – and recognises self-discovery entails continuous questioning, rather than a linear progression. Noah Ramirez, a Japanese, white, Afro-Caribbean 16-year-old trans boy, loves the idea of falling in love. He writes fictional trans love stories for his blog, “Meet Cute Diary”. Noah is confronted in real life by Drew, a white cisgender boy who Noah has featured on his blog. After Noah explains his actions, Drew agrees to pretend to date him, in order to validate his stories. Their pretending quickly becomes real. Things become complicated, though, when Noah finds himself attracted to his nonbinary and asexual coworker, Devin. The narrative explores the changing nature of relationships and love. Lee creates interesting characters and complex relationships that respect gender fluidity and recognise the blurry boundary between the platonic and romantic. <h2>5. Felix Ever After by Kacen Callender (ages 14+)</h2> Felix, the 17-year-old protagonist of <a href="https://www.harpercollins.com/products/felix-ever-after-kacen-callender?variant=32280909578274">Felix Ever After</a>, is Black, queer and trans. The marginalisation and transphobia he experiences are exacerbated when pre-transition images of him are prominently displayed at his school. Felix’s search for revenge sees him open up more about himself to others. And he forms new relationships, including with his friend, Ezra Patel. Similar to Lee’s depiction of self-discovery in Meet Cute Diary, Callender suggests that learning about yourself and your identity is an ongoing process. Felix continues to make new discoveries about himself, including the realisation that he is not a boy but a <a href="https://queerintheworld.com/what-does-demiboy-mean/">demiboy</a>. Callender’s writing is engaging, and the cast of diverse characters that populate the narrative reflects the variation in our communities. This tender trans young adult romance sensitively explores the complexity of friendship, forgiveness and self-discovery. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/5-books-for-kids-and-teens-that-positively-portray-trans-and-gender-diverse-lives-202832" target="_blank" rel="noopener">The Conversation</a>.

Books

Jamie Lee Curtis looks back on some of her most iconic roles

Whether you know her from her Halloween ‘scream queen’ roots or her comedic prowess in the body swap Freaky Friday, Jamie Lee Curtis is an actress who needs no introduction. The star - who had been credited in an astounding 80 projects before her first ever Academy Awards nomination in 2023 for her role in Everything Everywhere All at Once - has seen and done it all. Beginning her career at the age of 19, Curtis has spent the years since adding success after success to her resume, and proving her doubters wrong at almost every turn. And in a candid interview with Yahoo Entertainment, the actress opened up about some of the most memorable roles that have steered her journey in Hollywood. <ul> <li>Laurie Strode, Halloween (1978)</li> </ul> Curtis made her film debut on the set of John Carpenter’s cult classic Halloween, and though the film (and its entire franchise) is considered to be one of the most influential horror films of all time, the then-19-year-old Curtis found nothing to be scared of while filming. The reason? Nick Castle, who played the film’s main antagonist Michael Myers, was too much of a delight to instill real terror in Curtis. “Here's the problem,” she explained. “He's played by Nick Castle, who was one of John's best friends. He had two little kids, his wife was around, and he's this funny guy. And he's also a very talented director and he's a musician. So I cannot lie to you and tell you I was so frightened." <ul> <li>Tess Coleman, Freaky Friday (2003)</li> </ul> Curtis was actually a last minute replacement for Annette Bening in the 2003 body swap comedy Freaky Friday, but that certainly didn’t put a damper on her experience. The actress became fast friends with Lindsay Lohan while playing the mother-daughter duo, and the pair have remained in contact ever since. In a fun friendship anecdote, Curtis shared how she has a test in place to find out whether or not it is Lohan texting her, or some sneaky stranger. "There's a song called 'Like I Love You' by Justin Timberlake. Lindsay and I were doing a scene in a car, and there was a lot of time in between takes, and there's a rap in the middle of that song by Clipse. She and I were trying to learn the words, and we were, like, sitting there with a pad,” she said. “We were writing them down,” Curtis continued. “And then we would do the scene, and then we'd play the song and try to lip-sync the few words that we knew. I'm telling you, we laughed. And that is my secret code with her. 'What was the song we were lip-syncing to in the car?'” She then confessed that while she may have given away their secret code, she wasn’t worried - the two have a second one, just in case. <ul> <li>Helen, True Lies (1994)</li> </ul> Although Curtis has said that the 1994 James Cameron blockbuster tops the list of her favourite filming experiences, featuring everything from a striptease to an intense helicopter stunt scene, she almost didn’t star at all, with co-star Arnold Schwarzenegger hesitant about signing her on to play his wife in the action packed project. When explaining why, Curtis noted that Arnold knew her “as Tony’s daughter”. Her father, Tony Curtis, had starred in the only film Schwarzenegger had directed, the 1992 Christmas in Connecticut. "He only knew me as Tony's daughter,” she said. “He loved Tony Curtis, so I'm sure Arnold just looked at me like it'd be like kissing your niece or something ... I guarantee, in fact, he did not want me to be in that movie. I think he just thought it would be weird. We knew each other a little bit socially. I just don't think he thought of me as his leading lady, I think he thought of me as Tony's little girl. And it was Jim who said, 'no, I've written this for her. She's the one to do this with you’.” Schwarzenegger, of course, eventually came around on the idea. And the rest, as they say, is history. Images: Getty

Movies

Outrage at couple’s explosive gender reveal

Love them or hate them, gender reveals seem primed to stay. While some couples prefer to keep their unborn baby’s gender a surprise for loved ones, others are keen to share the news with the world. And in the age of the internet, many parents-to-be are committed to having the biggest event yet. One couple has gone viral on TikTok for their reveal, but it hasn’t been the positive affair they’d hoped for, with many slamming them for putting lives in danger with their stunt. In the clip, the excited pair are standing at sunset with their two daughters in front of a massive sign that lights up to read “oh baby”. Pink and blue balloons surround them all, while Bruno Mars’ ‘Locked Out of Heaven’ plays over the video. Mere seconds in, the sign erupts with fireworks, pink smoke, and confetti. The couple seem thrilled to have learned they’re expecting another girl, jumping around and cheering with their two young children. <div class="embed" style="box-sizing: inherit; margin: 0px; padding: 0px; border: 0px; font-size: 16px; vertical-align: baseline; outline: none !important;"><iframe class="embedly-embed" style="box-sizing: inherit; margin: 0px; padding: 0px; border-width: 0px; border-style: initial; vertical-align: baseline; width: 620px; max-width: 100%; outline: none !important;" title="tiktok embed" src="https://cdn.embedly.com/widgets/media.html?src=https%3A%2F%2Fwww.tiktok.com%2Fembed%2Fv2%2F7173812850702454022&display_name=tiktok&url=https%3A%2F%2Fwww.tiktok.com%2F%40blancarore33%2Fvideo%2F7173812850702454022&image=https%3A%2F%2Fp16-sign-va.tiktokcdn.com%2Fobj%2Ftos-maliva-p-0068%2Fedbf7bee036c450da31af699ae689a51_1670283471%3Fx-expires%3D1676019600%26x-signature%3DSjekZvCX9KbuH3KAM5P3ipVDuWs%253D&key=59e3ae3acaa649a5a98672932445e203&type=text%2Fhtml&schema=tiktok" width="340" height="700" frameborder="0" scrolling="no" allowfullscreen="allowfullscreen"></iframe></div> Despite their elation, viewers did not share in their cause for celebration, instead noting the blatant danger of their outrageous display. “This could have gone wrong on so many levels,” commented one viewer. “Could have gone so wrong and regret forever,” agreed another. “Forest fire core,” wrote one, referencing the more recent internet trend of adopting specific style aesthetics and declaring them ‘something-core’. “Right underneath the very nonflammable eucalyptus trees,” someone else noted. However, despite the very real risk, some simply enjoyed the spectacle. And in what was a cause for concern for many, a large number of viewers declared their desire to have a reveal just like it. “If it takes all my life earnings to make my gender reveal like this,” one said, “then I will spend it in an instant.” “This just motivated me to work harder in life cus this needs to be me,” came one response, among a sea of related comments about the cost of such an event. Concerns over the couple’s stunt stem from a series of unfortunate results over the years, most notably from a similar incident in 2020, when a gender reveal in California was responsible for a bushfire that claimed 10,000 acres of land. In 2018, another couple’s reveal was the spark behind a 47,000-acre bushfire. The bad news cycle surrounding such these events has even led to the woman credited with inventing the concept - blogger Jenna Karvunidis - to apologise for it. Images: TikTok

Family & Pets

Jacinda Ardern’s resignation: gender and the toll of strong, compassionate leadership

“Uneasy is the head that wears the crown”, wrote Shakespeare, way back in the 1500s. It’s not a new idea that top-level leadership jobs are intensely <a href="https://www.sciencedirect.com/science/article/pii/S1048984316300923">stressful</a> and pose a heavy toll. Extended periods of stress are known to put people at <a href="https://www.annualreviews.org/doi/abs/10.1146/annurev.psych.52.1.397">risk of burnout</a>. Yet probably few of us can ever grasp just how unrelentingly demanding and difficult leading a country actually is. Especially in times of crisis and with our modern media and online environment, every statement and every move a leader makes is subject to extensive scrutiny and commentary. Increasingly, a troubling feature of the commentary about New Zealand Prime Minister Jacinda Ardern has been its abusive, violent, sexist and misogynistic tenor. While she has not focused on this as a reason for her decision to <a href="https://theconversation.com/arderns-resignation-as-new-zealand-prime-minister-is-a-game-changer-for-the-2023-election-198149">resign yesterday</a>, being targeted in this way, and knowing <a href="https://www.newshub.co.nz/home/entertainment/2022/03/where-is-clarke-gayford-jacinda-ardern-laughs-off-conspiracy-theories-reveals-the-answer.html">her partner</a> and even <a href="https://www.rnz.co.nz/news/political/482761/the-hatred-and-vitriol-jacinda-ardern-endured-would-affect-anybody">her child</a> were also targeted, must surely have made an already difficult job so much more challenging. <h2>Crises, kindness and courageous decisions</h2> Crises have long been understood as the most intensive tests of a <a href="https://www.sciencedirect.com/science/article/pii/S1048984322000649">leader’s skill and character</a>. They involve making weighty decisions, at times about matters that quite literally have life and death implications. Decisions have to be made at speed, but often with insufficient information to confidently predict the consequences of the choices made. Ardern’s premiership has thrown crisis after crisis her way. And time and time again, she has displayed a strength of character and <a href="https://www.taylorfrancis.com/chapters/edit/10.4324/9781003099109-10/leading-crisis-adaptive-leadership-jacinda-ardern-deidre-le-fevre">considerable leadership skills</a> in responding to them. Her handling of the Christchurch terror attacks won <a href="https://www.washingtonpost.com/world/2019/03/18/new-zealands-prime-minister-wins-worldwide-praise-her-response-mosque-shootings/">global admiration</a> for her composure, compassion and decisive resolve to ensure such heinous acts could not be repeated here. Her response to the <a href="https://www.nzherald.co.nz/nz/white-island-eruption-how-good-is-ardern-world-praises-pm-for-disaster-response/4S5BZ6NCOWXN4R63HDIEV4KXVM/">Whakaari White Island eruption</a> garnered similar praise, showing yet again her intuitive grasp that a leader offering support to those caught up in such a distressing event actually makes a difference. That Ardern has sought to combine compassion and kindness with the courage to make tough decisions is a key feature of <a href="https://www.emerald.com/insight/content/doi/10.1108/978-1-80262-157-020221003/full/html">her style</a>. <h2>Unrealistic expectations of a leader</h2> Throughout the pandemic, Arden has repeatedly proved her willingness to make courageous decisions. Combined with her prowess at <a href="https://journals.sagepub.com/doi/full/10.1177/1742715020929151">mobilising the public’s understanding</a> and support for the government’s COVID response, this was critical to the success of the elimination strategy. Many <a href="https://www.sciencemediacentre.co.nz/2022/03/21/two-years-since-nz-first-locked-down-expert-reaction/">lives and livelihoods have been saved</a> due to her leadership. When Delta and then Omicron emerged, Ardern <a href="https://theconversation.com/why-jacinda-arderns-clumsy-leadership-response-to-delta-could-still-be-the-right-approach-169926">sought to continually adapt</a> the government’s policies to a changing context. While tenacity and resilience may number among her many strengths, dogmatism is not one of her weaknesses. Of course not all decisions <a href="https://www.stuff.co.nz/national/health/coronavirus/300763211/ombudsmans-criticism-of-miq-virtual-lobby-doesnt-go-far-enough">proved to be optimal</a> – expecting them to be so would be wildly unrealistic. Some of her decisions have sparked a <a href="https://thespinoff.co.nz/summer-2022/04-01-2023/the-day-the-grounds-of-parliament-burned-2">strong negative response</a>. But it’s <a href="https://www.amazon.com/Thinking-Differently-About-Leadership-Critical/dp/1784716782">foolish to expect perfection from leaders</a>, and the job unavoidably means making tough calls not everyone will agree with. <h2>Rise in sexist and mysogynistic abuse</h2> No leader is omnipotent, especially in a democracy and in a globally interconnected world. The latest crisis Ardern has been grappling with – the cost of living – is in large measure <a href="https://edition.cnn.com/2022/09/21/economy/central-banks-inflation-global/index.html">driven by global forces</a> far beyond the control of any New Zealand prime minister. New Zealand’s situation is <a href="https://www.stuff.co.nz/business/129353834/think-inflation-is-biting-spare-a-thought-for-turkey">better than many other countries</a>, but unfortunately for Ardern this holds little sway for some people. The reality, then, is that her growing unpopularity has in part been rooted in people having unrealistic expectations of what leaders can and can’t actually do, and needing someone to blame. But there’s also no getting away from the fact that far too much of the criticism directed at her has been coloured by sexist and misogynistic attitudes. There’s a continuum in how this is expressed. It starts with one C word – <a href="https://www.stuff.co.nz/national/politics/opinion/122658284/shes-not-a-doll-so-dont-call-the-prime-minister-cindy">Cindy</a> – which is a sexist attempt to belittle her authority and status as an adult woman who is the elected leader of our country. It ends with the other C word. Research by the <a href="https://thedisinfoproject.org/2022/11/29/dangerous-speech-misogyny-and-democracy/">Disinformation Project</a> shows its usage is enmeshed within a wider discourse that denigrates other aspects of her identity as a woman and extends to <a href="https://twitter.com/justinsight/status/1616144565433663488">fantasising about her rape and death</a>. This kind of behaviour is simply inexcusable. It should be to New Zealand’s eternal shame that Ardern has been subjected to this. It cannot be justified by arguing her policies have been controversial and she “deserves” this abuse: that line of reasoning simply replicates the defence long used by rapists and domestic abusers. Ardern is New Zealand’s third woman prime minister. The <a href="https://www.ceeol.com/search/article-detail?id=277628">glass ceiling</a> for that role is well and truly broken. We now also have <a href="https://www.rnz.co.nz/news/political/477290/women-will-have-equal-share-of-seats-in-parliament-with-soraya-peke-mason-s-swearing-in">equal representation of women</a> within parliament. But the sexist and misogynistic nature of so much of the criticism and abuse directed at Ardern also shows we are a very long way from having equal treatment of women in leadership. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/jacinda-arderns-resignation-gender-and-the-toll-of-strong-compassionate-leadership-198152" target="_blank" rel="noopener">The Conversation</a>.

Retirement Life

King Charles takes on a new role on his 74th birthday

King Charles has taken on a new role just one day before his 74th birthday. The Palace announced that His Majesty has officially taken the role of The Ranger of Windsor Great Park, a post previously held by his late father, Prince Philip. The Duke of Edinburgh was the longest-serving Ranger of Windsor Great Park, holding the role from 1952 until his passing in 2021. Sharing a new official portrait of the King on the Royal Family's Instagram, the caption explains that The Ranger of The Great Park "offers oversight and guidance to the Deputy Ranger and his team in the day-to-day stewardship of one of the country’s oldest estates." <blockquote class="instagram-media" style="background: #FFF; border: 0; border-radius: 3px; box-shadow: 0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: calc(100% - 2px);" data-instgrm-permalink="https://www.instagram.com/p/Ck8HT4_slDL/?utm_source=ig_embed&utm_campaign=loading" data-instgrm-version="14"> <div style="padding: 16px;"> <div style="display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 100px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 60px;"> </div> </div> </div> <div style="padding: 19% 0;"> </div> <div style="display: block; height: 50px; margin: 0 auto 12px; width: 50px;"> </div> <div style="padding-top: 8px;"> <div style="color: #3897f0; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: 550; line-height: 18px;">View this post on Instagram</div> </div> <div style="padding: 12.5% 0;"> </div> <div style="display: flex; flex-direction: row; margin-bottom: 14px; align-items: center;"> <div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(0px) translateY(7px);"> </div> <div style="background-color: #f4f4f4; height: 12.5px; transform: rotate(-45deg) translateX(3px) translateY(1px); width: 12.5px; flex-grow: 0; margin-right: 14px; margin-left: 2px;"> </div> <div style="background-color: #f4f4f4; border-radius: 50%; height: 12.5px; width: 12.5px; transform: translateX(9px) translateY(-18px);"> </div> </div> <div style="margin-left: 8px;"> <div style="background-color: #f4f4f4; border-radius: 50%; flex-grow: 0; height: 20px; width: 20px;"> </div> <div style="width: 0; height: 0; border-top: 2px solid transparent; border-left: 6px solid #f4f4f4; border-bottom: 2px solid transparent; transform: translateX(16px) translateY(-4px) rotate(30deg);"> </div> </div> <div style="margin-left: auto;"> <div style="width: 0px; border-top: 8px solid #F4F4F4; border-right: 8px solid transparent; transform: translateY(16px);"> </div> <div style="background-color: #f4f4f4; flex-grow: 0; height: 12px; width: 16px; transform: translateY(-4px);"> </div> <div style="width: 0; height: 0; border-top: 8px solid #F4F4F4; border-left: 8px solid transparent; transform: translateY(-4px) translateX(8px);"> </div> </div> </div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center; margin-bottom: 24px;"> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; margin-bottom: 6px; width: 224px;"> </div> <div style="background-color: #f4f4f4; border-radius: 4px; flex-grow: 0; height: 14px; width: 144px;"> </div> </div> <p style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;"><a style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none;" href="https://www.instagram.com/p/Ck8HT4_slDL/?utm_source=ig_embed&utm_campaign=loading" target="_blank" rel="noopener">A post shared by The Royal Family (@theroyalfamily)</a> </div> </blockquote> The appointment of the new role coincides with the King's 74th birthday, which falls on November 14th. Having spent Sunday leading the nation and the royal family at the annual Remembrance Sunday service at the Cenotaph, King Charles celebrated his birthday privately, with no official engagements announced. This is Charles’ first birthday since becoming Britain’s new monarch after the death of his mother, Queen Elizabeth II, in September. Image credits: Getty Images

Family & Pets

Gender pension gap: why women save less - and why that’s changing dramatically

One issue <a href="https://www.scottishwidows.co.uk/knowledge-centre/gender-pension-gap/">that has</a> attracted <a href="https://prospect.org.uk/article/what-is-the-gender-pension-gap/#:%7E:text=The%20gender%20pension%20gap%20is,gap%20that%20year%20(17.3%25).">growing attention</a> in <a href="https://www.aviva.co.uk/aviva-edit/your-money-articles/women-know-gender-pension-gap/">recent years</a> is the “gender pension gap” – the fact that on average, women have lower private pension wealth and lower income in retirement than men. But before rushing to conclusions about how to “fix” this, it is crucial to understand what lies behind any pension differences between men and women. There are three main potential drivers behind this phenomenon: <ol> <li> Different labour market experiences: the “<a href="https://www.ifs.org.uk/publications/10358">gender pay gap</a>”, and the fact that <a href="https://ec.europa.eu/eurostat/statistics-explained/index.php?title=Duration_of_working_life_-_statistics#:%7E:text=In%202019%2C%20the%20estimated%20expected,aged%2015%20years%20and%20more">men have</a> longer paid working lives than women; </li> <li> Different investment strategies: when it comes to <a href="https://www.gov.uk/pension-types">defined contribution pensions</a>, <a href="https://s-h-w.com/news-articles">men choose</a> to invest in portfolios with a higher expected rate of return. </li> <li> Different saving rates: as <a href="https://www.ifs.org.uk/publications/15425">we investigate</a> below, men and women may also differ in how likely they are to be offered a pension in their job, or tend to work for employers that contribute more or less to a pension, or tend to make different contributions themselves. </li> </ol> Importantly, the role of these potential drivers will have changed over time for various reasons. Mothers <a href="https://www.ons.gov.uk/employmentandlabourmarket/peopleinwork/employmentandemployeetypes/articles/familiesandthelabourmarketengland/2019#:%7E:text=In%20April%20to%20June%202019%2C%20three%20in%20four%20mothers%20with,mothers%20in%20employment%20in%202000.">have increasingly participated</a> in the labour market over the years, for example. Final salary pensions have been reformed to career average schemes, which in particular reduced the generosity for long stayers and those with stronger pay growth, <a href="https://www.pensionspolicyinstitute.org.uk/sponsor-research/research-reports/2013/17-05-2013-the-implications-of-the-coalition-governments-public-service-pension-reforms/">affecting men</a> more than women. Also, <a href="https://www.pensionsadvisoryservice.org.uk/about-pensions/pensions-basics/automatic-enrolment">automatic enrolment</a> has been introduced for workplace pensions, which affected everyone’s participation in them. Gaps in pension income today may therefore reflect labour markets and pension arrangements from many years ago, and the gap in pension income for current working-age individuals may be quite different when they reach retirement. In an ongoing programme of work at the Institute for Fiscal Studies, funded by the <a href="https://www.nuffieldfoundation.org/">Nuffield Foundation</a>, we are examining in detail differences in pension saving rates between men and women that will contribute to a future “gender pension gap” for today’s working age individuals. <h2>Making sense of the gap</h2> In a <a href="https://www.ifs.org.uk/publications/15421">first publication</a>, we have documented differences in average pension saving between male and female employees before the introduction of <a href="https://www.pensionsadvisoryservice.org.uk/about-pensions/pensions-basics/automatic-enrolment">automatic enrolment</a> in 2012. We found that on average across all employees (whether saving in a pension or not), women of all ages actually contributed more as a proportion of their earnings each year than men. However, this was driven by the fact that women were more likely to work in the public sector, where contribution rates are typically higher. Examining average pension saving among men and women within each sector reveals a different pattern. The average saving rates of male and female employees were similar until around age 35 but then diverged, with average contributions continuing to increase with age for men but not changing for women. The graphs below unpick what was driving this pattern among private-sector employees in Great Britain (though the pattern was broadly similar for public-sector employees). It was caused by the extent to which men and women participated in a pension. The proportion of men and women saving anything in a private pension was similar until around age 30 but then diverged, with men increasingly likely to be saving in a pension as they get older, while women’s pension participation plateaued. On the other hand, average contribution rates for those saving in a pension were actually slightly higher as a share of earnings among women than men. Pension participation in overall savings <img src="https://oversixtydev.blob.core.windows.net/media/2022/10/graph-1.jpg" alt="" width="1280" height="720" /> Average contribution rates in pension savings <img src="https://oversixtydev.blob.core.windows.net/media/2022/10/graph-2.jpg" alt="" width="1280" height="720" /> What might have been driving differences in pension participation? The timing of the divergence in people’s lives mirrored the evolution of the gender gaps <a href="https://www.ons.gov.uk/employmentandlabourmarket/peopleinwork/earningsandworkinghours/bulletins/genderpaygapintheuk/2020">in pay</a>, <a href="https://www.ifs.org.uk/publications/13673">commuting</a> and <a href="https://www.ifs.org.uk/publications/14032">firm productivity</a>, and suggested that the arrival of children and related employment decisions was an important factor. So in our ongoing programme of research we are examining whether the gap in pension participation is associated with the arrival of children, and the extent to which female employees received a different pension offer from their employer, or made different saving decisions when presented with the same offer as male employees. <h2>Effect of automatic enrolment</h2> The introduction of automatic enrolment into workplace pensions has substantially changed pension-saving behaviour – in particular, substantially increasing pension participation among employees targeted by the policy. The graph below shows the proportion of male and female employees of different ages who were saving in a private workplace pension in 2012 and 2019 in Great Britain. The pattern in 2012 is represented by the two sets of dashed lines, with men again in blue and women in purple. It is similar to that estimated in the first graph in this article. But the pattern in 2019 is totally different. Rather than participation diverging at a particular age, women are now slightly less likely to be in a pension at all ages than men (but the level of participation among both is considerably higher). Automatic enrolment will therefore have fundamentally changed the nature of the gender gap in pension-saving rates going forwards. Pension participation 2019 vs 2012 <img src="https://oversixtydev.blob.core.windows.net/media/2022/10/graph-3.jpg" alt="" width="1280" height="720" /> This highlights the importance of examining gender differences in saving rates, rather than just accrued pension wealth or pension income. Focusing on the latter risks developing policies to fix a perceived problem that has already changed. Image credits: Getty Images This article originally appeared on <a href="https://theconversation.com/gender-pension-gap-why-women-save-less-and-why-thats-changing-dramatically-160648" target="_blank" rel="noopener">The Conversation</a>.

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Gender pension gap: why women save less - and why that’s changing dramatically