Yes, Anna Wintour could be brutal. But like me she'll surely feel a deep sense of loss to walk away from the cashmere nest that is the editor's chair at Vogue: ALEXANDRA SHULMAN
Is Anna leaving Vogue? Or is it Vogue leaving Anna? Is this finally the end of the power of fashion magazines? Who will take over from her?
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The Sun
27 minutes ago
- The Sun
Jessie J gives health update after breast cancer surgery and reveals why she's stopped taking pain medication
JESSIE J has given fans a health update after her breast cancer surgery, revealing why she's stopped taking pain medication. Singer Jessie, 37, took to her Instagram Story today, sharing how she's feeling 11 days after the operation. 7 She wrote: 'For those asking for a health update. I am 11 days post surgery. I'm good. Missing being an active Mum / human the most. "But it's been nice to slow down and Sky is having a blast with Nanny and Grandad.' She admitted the process hasn't been pain-free, adding, 'It's still uncomfortable / a little painful but I can handle that. I'm doing my exercises and taking all the healthy things. I have been trying to eat super clean. In a surprising move, the Price Tag hitmaker revealed she's stopped taking all painkillers. Jessie - who became a mum last year to son Sky with basketball player Chanan Colman - continued: 'I have stopped all pain meds. Just not my thing. Also like to feel how it feels so I don't overdo it. I have now done a [poo emoji]." "Still have my drain. Anyone else who has had this, did you feel like you are walking around one of those dog / duck toys?' 'I carry mine on the floor when I'm home so the gravity can help the drain. Hoping it's out by the end of the week. Despite the obvious challenges of recovery, Jessie said she's trying to stay in a grateful mindset, saying: 'I am feeling positive and grateful.' She also had a message for anyone who might bump into her out and about. Jessie said: 'If you do see me out, sitting in a park or coming out of a doctor's appointment or eating or walking or anything, and I seem a little out of it. I am. It's not personal. 'I don't have what I usually have to give energy wise, understandably. I will get there. It's a slow road. For now I am taking it easy. Enjoying the slow vibes and staying positive. Lots of love.' Last week, Jessie revealed she doesn't yet know if she's cancer free after her mastectomy. The musician had the operation earlier this week in a bid to beat her breast cancer, and some fans misinterpreted a post that stated: "Cancer has all gone." Jessie said her words had been "misunderstood" and that her statement was a "positive affirmation". She wrote: "I posted a list of pros and cons of having breast cancer surgery. The first pro I put was... the cancer has all gone'. 7 "This was a positive affirmation NOT a fact. I don't have my results yet. I added the [fingers crossed emoji] in thinking people would understand and clearly a lot didn't. "A weird situation," she continued. "My fault for not being clearer. But for now I do not have my results after surgery which was only 6 nights ago. I pray it will be true soon but the journey of cancer isn't that simple unfortunately." Jessie is now taking a break from social media as she continues her recovery. "Tapping off socials for a week," she said. "Healthy and needed reset. To focus on my recovery and saying stuff that gets twisted of misread. "My head and boob hurts. Lol, Bye. Always loveeeee." After her operation, Jessie admitted she was struggling not being able to pick up her two-year-old son, Sky. She then outlined the 'pros' of the procedure, writing: "Cancer is all gone. "My nipple is where it used to be, I can watch Love Island with no guilt. "I am getting to rest and talk to friends more than ever. "My mum lives with us. Sky just being Sky. Chanan making me feel safe and the messages are 10/10. "Connecting with other people who are going through a similar time and being able to support each other." The list was then followed by a "cons" equivalent. "Not being the mum I'm used to being and picking Sky up," she typed. "The fear of not knowing if the cancer is all gone - the mental with this is... "The pain and discomfort is ok and expected but a d******d when I'm trying to sleep." Jessie explained how the only painkillers she was allowed to take were paracetamol and ibuprofen due to having low blood pressure. She did try and clear up her post at the time, warning she hadn't meant for the statement to be read as "fact" and that she is still awaiting her results. The BRIT winner added: "I'm getting a lot of messages. Saying so happy all the cancer has gone. To be clear I added the [fingers crossed] emoji as it's a hope not a fact. "I only had my surgery 4 days ago. I was just saying the pros of surgery and this situation and being positive. But I will get my results soon. "And hopefully I can post that as a fact. But for now I don't know. But I will stay positive and talk what l want into the universe." Earlier this month, Jessie revealed she had been diagnosed with breast cancer. Incredibly, she went ahead and performed at this year's Capital Summertime Ball in London on June 15. Jessie held back tears as she told the crowd at Wembley Stadium that she was taking a break to "beat breast cancer". 7 7 7
The Guardian
27 minutes ago
- The Guardian
Flashlight by Susan Choi review – big, bold and surprising
The millennium is back – not just in fast fashion or TikTok remixes, but in the mood of American fiction. Think peak Chabon and Eugenides; the intellectual gymnastics of Helen DeWitt; the last profane and puckish gasp of Tom Robbins. That brief window – before 9/11, smartphones and the chokehold of autofiction – when the novel felt as playful as it did expansive: bold and baggy as wide-legged jeans. Joyce Carol Oates channelling Marilyn Monroe. Jonathan Franzen snubbing Oprah. You can feel that early-00s energy jostling through a new crop of American novels: Lucas Schaefer's The Slip, Kaveh Akbar's Martyr! and Maggie Shipstead's Great Circle are top-shelf examples. They're big in all kinds of wonderful, infuriating ways: antic, overstuffed and richly peopled. While it's less hyperactive than some of its book-fellows, Susan Choi's Flashlight still has the wide-legged feel of turn-of-the-century fiction: domestically sprawling, geopolitically bold. Stretching from a strawberry farm in Indiana to the North Korean border, Choi's sixth novel reckons with the lies that undo families and underpin empires. Flashlight first appeared in the New Yorker as a short story – a standoff in a psychiatrist's office. The novel opens here too. It is the late 1970s: 10-year-old Louisa has been dragged in for a consultation, and she's not playing nice. She waits out the clock, evading, deflecting; a tight little knot of fury. 'This room is full of tricks to get children to talk, but you're too smart for them,' the doctor flatters her. 'I'm too smart for compliments,' Louisa snaps back. Louisa's father has drowned, and her mother has turned into a strange new invalid. What the girl feels defies grief or sympathy. This isn't mourning, it's mutiny; and it will take more than some avuncular desk jockey to tame her. While the doctor is distracted, she steals an emergency flashlight from his office and smuggles it home – a low-stakes theft with high-voltage meaning. The night Louisa's father disappeared into the water, he was holding a flashlight. Portentous torches will appear throughout these pages (it's not the subtlest of metaphors for a novel about absence and secrecy). There's one at a seance, its battery case loosened to summon some otherworldly flickering. Another at an archaeological dig in Paris. This is a story told in brief illuminations, like a child spinning a torch in a dark bedroom. Slices of light; slices of life. We begin with a flashback to Louisa's parents, meeting them before they meet each other. Her father, Serk, an ethnic Korean raised in Japan, is a child of postwar limbo. Caught between two nations, and claimed by neither, he trades his borderland life for a blank American slate – or so he thinks (America has other ideas). Louisa's father will be known by many names over the course of his life – Hiroshi, Seok, the Crab – but none of them will quite belong to him. Louisa will know him as Serk, an anglicised version of his Korean name. Louisa's mother, Anne, is an obstinate, spiky creature, allergic to expectation. Pregnant at 19, she gives birth to a child she's not permitted to keep, and her adult life shapes itself around her son's absence, like a house built around a locked room. Louisa will inherit her mother's bone-deep stubbornness – twin contrarians. They make an implacable, inscrutable pair, Serk and Anne; secret-keepers to the core, lonely apart and lonelier together ('Anne the odd white woman who had married the foreigner; Serk the odd foreigner who had married a white woman'). When Serk drowns, he leaves behind a silence so complete it swallows the past whole. And so Louisa is left with two absent parents: one right in front of her; the other near mythic. 'The sum of things she knew about her father could fit inside the sum of things she'll never know about him an infinite number of times,' Choi writes. 'The things she knows are as meagre as a pair of backgammon dice rattling in their cup.' Flashlight is a study of absence – absence of narrative, of inheritance, of place, of affection. Who are you, it asks, when there's no story to inherit, no history to claim? How might that void be filled, or inhabited or weaponised? It's a year for canon building, and as the best-of-the-century (so far) lists are tallied, Choi's previous novel, 2019's Trust Exercise, remains firmly on mine. It begins as a high-school drama, libidinous and gossipy, but midway through, Choi triggers a controlled implosion. From the wreckage, another story emerges: one about power, authorship and blame. Truth isn't fixed, Choi shows us here – it's framed. I love this novel's confident chaos, its metafictional brio. Flashlight delivers a comparable jolt – a truth-rattling rupture. We feel it building with a cruel inevitability, and when it arrives, it shifts the novel's moral (and political) terrain. To spoil the reveal would be churlish. The question is whether the novel can withstand the shock. It can – just. Choi is one of contemporary literature's great demolition artists, and her emotional foundations hold. She can build as well as she detonates. Choi gives her cast the room they need to live; to be more than vessels for political wrangling. The opening of Flashlight isn't the only set piece that could stand alone – and tall – as a short story. Sign up to Inside Saturday The only way to get a look behind the scenes of the Saturday magazine. Sign up to get the inside story from our top writers as well as all the must-read articles and columns, delivered to your inbox every weekend. after newsletter promotion Like the best of those early-00s novels, Flashlight is all kinds of big: capacious of intent and scope and language and swagger. Choi confronts a chapter of North Korean history that American fiction has barely touched. But there is something missing. That Y2K brand of irony – glib, evasive, laddish – is gone. Good riddance to it. It's hard to be flippant when you know which way the arc of the universe really bends. Flashlight by Susan Choi is published by Jonathan Cape (£20). To support the Guardian order your copy at Delivery charges may apply.
Daily Mail
an hour ago
- Daily Mail
Former Full House star is UNRECOGNIZABLE as he reflects on child fame during rare sit-down with costars
A former Full House child star looked unrecognizable as he reflected on his time in the show during a rare sit-down with his former costars. Blake McIver Ewing, now 40, was only seven years old when he began starring as Michelle Tanner's best friend Derek S. Boyd in the beloved show Full House. He is best known for the episode in which he adorably performed Yankee Doodle Boy with Mary Kate Olsen and Ashley Olsen 's character during a school talent show. Now, more than two decades after he was cast in the popular sitcom, he made an appearance on Jodie Sweeten and Andrea Barber's Full House-themed podcast How Rude, Tanneritos. Blake certainly looked very different from the little boy who captured millions of hearts on the show. He's all grown up now, and fans couldn't believe how much he had changed over the years. During the interview, Blake opened up about what it was like to be thrust into the spotlight at such a young age. He noted that while he doesn't look at child stardom as a 'negative thing,' he feels like he is in a 'constant process of recovery' from his early years in the spotlight even now, so many years later. 'I feel like we're all in recovery always. It's an annoying process,' he said. 'People ask me about it all the time, and I'm like, "No. It's not a negative thing. It's just like there's a constant process of recovery." 'But it's so funny because you become a teenager, you become an adolescent, and it doesn't matter. 'There is still a life learning curve. And it's really more about that. It's like we recover in our own way.' Jodie, now 43, who played middle Tanner daughter Stephanie in Full House, said she experienced something similar. She pointed out that all teens go through a phase of 'figuring out who they are' but being in the spotlight makes it even harder. 'There's a whole extra layer of getting through that thing of being known as something [as] a child. Most people don't have to shake off a career at 13 and be like, 'Who am I now?'' she said. During the interview, Blake opened up about what it was like to be thrust into the spotlight at such a young age After Full House, Blake went on to star in The Little Rascals, Tom and Huck, and NBC sitcom Minor Adjustments. In recent years he switched his focus to music Blake responded, 'It is an identity crisis of a sort. And I always try to explain to people... you have your mid-career crisis at 18.' After Full House, Blake went on to star in The Little Rascals, Tom and Huck, and NBC sitcom Minor Adjustments. He also famously voiced Eugene Horowitz on Hey Arnold! and briefly reprised his role as Derek in Fuller House. In recent years he switched his focus to music, releasing his debut album The Time Manipulator in 2014. In addition, he spent time working as a go-go dancer and was a host for AfterBuzz TV over the years. Blake also revealed during his appearance on the podcast that fans still bring up his role in Full House, adding that people sometimes request the Yankee Doodle Boy song at his concerts. 'It is an honor, and I'm glad that it still brings people joy,' he concluded.
