Last Sunday, at the US Open, a new disturbance in the stands once again made the crowd the protagonist of the tournament. This time it was a spectator excessively uninhibited by the effect of some substance. Witnesses pointed to excessive alcohol consumption. In the image, a security guard approaches the individual to remove him. The man in the blue shirt, gesticulating, berates tennis player Jakub Mensík. The Czech was facing the American Learner Tien in the third round. Reuters photographer Jerry Lai captures the moment when some spectators, indignant, point at the individual so that he is expelled. Since the tournament began, players have criticized the public's behavior: Sabalenka, Mensík, Osaka, Mannarino, and Boulter have complained because the commotion in the stands breaks their concentration for the game: groups of influencers recording promotions and choreographies during the matches, fans making noise to distract their favorite player's rival, smokers ignoring the venue's prohibitions, or people moving up and down among the public to get cocktails. In the background, the stench of marijuana that spreads through Flushing Meadows and that the New York breeze carries to the court.

Laura Freixas has just published Mi madre en el espejo (Tres Hermanas, 2026), a family and personal portrait. In the intimate sphere, her love for culture and a rebellion that does not accept passivity were forged: one becomes a feminist when she sees injustice and wants to change it. Her firm positions in the movement have brought her headaches, and we talk about this in this talk to get to know the writer and her yearnings.The book begins with a quote by Annie Ernaux that says: "To relive it all but without the pain, that only exists in writing". I do not believe you have taken this journey without pain, despite the writing.

If most houses are designed—and in detail—before being inhabited, this one is being designed while living and working in it. We are located in an old warehouse between party walls in Reus, an old lighting workshop that the founding architects of the Pigaa studio, Sílvia González Porqueres and Andreu Pont Aineto, bought without many resources and which they have gradually made their own. They have transformed it, but first they got to know it, occupied it, and put it to the test. And they are still not finished.

Andrews Air Force Base, Maryland, a few minutes from Washington D. C. Donald Trump and his assistant, Natalie Harp, step off Marine One, the helicopter of the President of the United States, to board Air Force Onebound for Houston. The photograph shows a scene very typical of presidential routines. These are iconic moments of power representation: the epic of the leader preparing to act, to demonstrate his strength. The photograph does not seem to have any particularity. However, the political context makes the image not innocent. Trump walks in the foreground, moving across the tarmac with his heavy gait. But Reuters photographer Kylie Cooper makes him appear blurred. Instead, she focuses on the secondary character: Natalie Harp. A former television presenter turned advisor and personal secretary. Her silhouette is perfectly defined, her confident smile is visible and the vivid green of the dress catches the observer's eye. She walks gracefully and with a firm step, in the background. On the day of the photo, August 27th, it had been only two weeks since the Washington Post had revealed that Trump, on his trip to Turkey, secretly abandoned the official plane at Ankara airport by hiding in a catering truck. He flew secretly in another aircraft while Air Force One, with journalists and part of the cabinet on board, served as a decoy in the face of a supposed dangerous situation due to threats from Iran. The press, which believed that Trump was traveling on the same aircraft, received the order to lower the blinds to prevent the light from inside from making the plane more visible during the flight.The Washington Post revealed that Natalie Harp was one of the few people chosen to accompany the president on the secret flight. Faced with a great threat, Trump prioritized his assistant over higher-ranking politicians. The opposition has taken advantage of this proximity of Harp to the president to make sexist insinuations about a possible sexual affair. On social media, images have circulated accusing her of being the trigger for an argument between Trump and Melania.Power, information and influence

The photographer has captured the moment when Natalie Harp walks under the large 'United States' sign, personifying that idea of dominance it represents. The secretary witnesses confidential conversations and meetings of the president. For some time, the press has dubbed her "the human printer" because she is the one who selects and provides Trump with emails, messages, news, and documents, always in paper format. In the image, Harp is the only one carrying a black bag that seems very full: the zipper does not quite close. She holds it tightly by the handle. The symbolic weight of the information she manages.This photograph hints at an influence that has nothing to do with official hierarchies. Despite her angelic pose and advertising-style beauty, the photographer points out the woman who holds great sway over Trump. Or perhaps a new weak point of the President of the United States.

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On the ship Winnipeg, the children were the only privileged ones. The ship set sail in August 1939 from France bound for Valparaíso (Chile) with more than 2,200 exiled republicans supported by the poet Pablo Neruda. It was a cargo ship that was only intended for a hundred passengers. The exiles slept in the belly of the ship and had to work to keep the ship running. The Winnipeg was also the playground for Lola Patau, a five-year-old girl who now, at 92 years old, tells the story of her parents, who fled the Francoist repression after the Spanish Civil War. Patau narrates the years of exile with a smile. Chile became "a home”, she says, while holding a folder full of old press clippings and yellowed photographs.

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Lately, when I try to buy a bikini, I have to face the search and capture of an increasingly difficult piece to find: one that covers my entire buttocks. While the part that covers the breasts is not problematic, when we get to the bottom part, it seems that we only have at our disposal the minimum expression of what a panty should be. Among the available options, the thong is quite present, which mysteriously disappears between buttock and buttock, given the apparent comfort of the user, and front panels so minimal that I myself wonder how it is possible to fit the entire pubic area into such a narrow strip without it protruding from either side. Suddenly, wanting a panty that generously embraces the buttocks and lower abdomen has become almost an extravagance. It is paradoxical that this occurs in parallel with the clear retreat of the topless, caused by the increase in aesthetic pressure and rising conservative values but, above all, by the threat of camera phones, capable of forever archiving your breasts on social media without your consent. But why do these fears, which have caused the liberation of women's breasts to recede, not have the same effect on the buttocks?

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There are many movies I haven't seen. To give you an idea of the magnitude of the tragedy, until the lockdown I hadn't seen Dirty dancing (what a marvel) nor Pretty woman. I have wanted to take advantage of this series of articles to efficiently fill some of my cinematic gaps. In an era of massive audiovisual supply and absolute channel atomization, I cure my FOMO retrospectively. And after seeing for the first timeBen-hur, Blade runner,E.T.,A very legal redhead,Terminator,Dancing with Wolves and Alien (and alsoThe Odyssey of Nolan, bonus track of current events), I close this series with a classic of the proportions of Smiles and tears, a fresh movie from 1965:

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There are many movies I haven't seen. To give you an idea of the magnitude of the tragedy, until confinement I hadn't seen Dirty dancing (what a marvel) nor Pretty woman. I wanted to take advantage of this series of articles to effectively fill some of my cinematic gaps. In an era of massive audiovisual supply and absolute atomization of channels, I cure my FOMO in deferment. This week I saw Alien for the first time and these are my notes:

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«Kini» is no longer just the end of bikini: has become almost a suffix. Over the past few decades, it has been combined with all sorts of words to designate new ways of dressing – or undressing – the body on the beach. From the foundational bikini to monokini, the trikini, the tankini, the microkini, the burkini, the seekini or the most recent skirtkini. But if there was a turn that few of us saw coming it was the facekini: a piece that, instead of revealing more skin, completely covers our face to enter the sea. Before, however, that the brother-in-law reflex is activated and someone says that "the fashion world has once again invented another stupidity," it is worth giving it the benefit of the doubt. Because this disconcerting piece, in addition to the face, hides a story much less frivolous than it seems and, above all, offers an opportunity to question the way we look at clothes when they come from other cultures.

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It's hot. Very hot. Too much. And I don't formulate this evidence as an experienced climatologist, but as a simple inhabitant of a world increasingly close to boiling point. Faced with this climatic exceptionality, which is already sensed as the new normal, the much-coveted air conditioning units, despite the immediate well-being they provide, contribute to heating the outside even more. Perhaps that's why, in the midst of a climate emergency, the oldest solutions are once again proving their validity. And is there anything more ancestral than a fan?Just a few years ago it seemed that this object had been relegated to a simple folkloric souvenir, adorned with inevitable kitsch Hispanism motifs. Today, on the other hand, it has regained its place as one of humanity's oldest, simplest, and most sustainable technologies. But, has this always been its function: to make wind? And, despite being an inseparable complement to the flamenco stereotype, is Spain really its place of origin?

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The French beach of Pampelonne, which during the seventies and eighties became one of the great symbols of European body liberation, is far away. Press photographs showed stretches of sand dotted with umbrellas and bodies where the "topless was not the exception, but the rule. Neither were the Costa Brava, the Costa Daurada, the Costa del Sol or Ibiza, where the spirit hippy and the impulse of the sexual revolution turned the bare breast into an expression of freedom. Slim Aarons' photographs immortalized that carefree way of inhabiting Mediterranean leisure, where the semi-naked bodies of bathers were part of the landscape naturally, without dramatization or scandal. It was not about sexualizing the body, but precisely about freeing it from the gaze that turned it into an object and lightening it from the weight of centuries of moral demonization.That landscape, however, today seems almost an archive photograph. Not only because fifty years have passed, but also because the reality it represented has been fading away. The topless, which for decades was part of the usual landscape of Mediterranean beaches, is today an increasingly exceptional practice. Data suggests that, compared to the eighties, it has decreased by two-thirds. And the paradox is that the women who continue to practice it the most are precisely those who grew up during the sexual revolution. The youngest, on the other hand, have barely even incorporated it. What has happened for what seemed like a conquest of bodily freedom to have retreated?Breasts are exactly the same as forty years ago. What has changed is the world that observes them. When a woman decided to leave them exposed, she knew who would see them, how, and for how long. Upon leaving the beach, that exposure also ended. Today, however, a woman can leave the sand, but if someone has taken a photograph of her, her image will continue to circulate indefinitely on others' screens, becoming, in the best case, content for social media and, in the worst, an advertisement for sexual content pages. The moment a photograph escapes our control, so does a part of our body.Furthermore, social networks, along with the media, have exponentially intensified the pressure on bodies, which seem to have to respond more than ever to canons of perfection to deserve to be shown. Beaches and swimming pools have ceased to be friendly spaces for body diversity. Bodies forced to coexist with the scrutinizing gaze of others and, above all, with their own, often even crueler, the result of low self-esteem eroded by a system that turns insecurity into a business.When the feminist struggles of the seventies denounced the sexualization of women's bodies, they already sensed that this battle would not be easy. Half a century later, it continues to be one of the great open fronts. There will be those who consider it inevitable to sexualize female breasts, as if it were a natural instinct against which it were useless to rebel. But history shows precisely the opposite. During the first half of the 20th century, male nipples were also the object of censorship and scandal. Only when men began to uncover their torsos normally on beaches did that moral burden gradually fade. The sexualization of the body, therefore, is not immutable, but simply the result of a cultural construction, even if we want to dress it up as natural.The paradox is that we have never lived with so many images of naked bodies and, yet, for decades these have not been so unfree. Captives of aesthetic pressure and the surveillance society, the youngest have inherited more images of the body than their mothers, but less freedom to inhabit it.

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There are many movies I haven't seen. To give you an idea of the magnitude of the tragedy, until the lockdown I hadn't seen Dirty dancing (what a marvel) or Pretty woman. I wanted to take advantage of this series of articles to effectively fill some of my cinematic gaps. In an era of massive audiovisual supply and absolute atomization of channels, I cure my FOMO with a delay. Ben-hur, Blade runner or E.T. Let's follow my summer journey to fill my cinematic gaps. I saw Legally Blonde for the first time and here are my notes (taken with a pen with a pompom):

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There are people who have the talent to make you feel expected. Jordi is one of them. It's not just a way of serving tables or learned cordiality; it's also a way of looking, listening, and always finding the right word. In his restaurant, hospitality is not a gesture: it's a way of understanding life. That's why, when you cross the door of Can Facundo, you feel like you've been there before, even if it's your first time.

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Fashion is political. When we decide to wear flat shoes instead of heels, put on ripped jeans, or tie a tie, we are making a statement about how we want to position ourselves in the world. As feminists proclaimed in the seventies, drawing heavily on countercultural thought, the personal is political. It is no wonder, then, that throughout history institutions, ideologies, and parties have tried to appropriate the symbolic power of clothing to persuade, construct identities, and, at times, also dominate.The latest episode has been starred by Pedro Sánchez's government, which a few days ago presented DMOCRACIA, a graphic campaign built with all the codes of a streetwear brand, with a slogan that leaves no room for doubt: "When you dress, you position yourself". The initiative, framed within the acts commemorating fifty years of democracy, aims to bring this political system closer to the younger generation, with an urban aesthetic and the accompaniment of a battalion of influencers. The first reaction, I confess, is to look around for the hidden camera. It's hard to decide if we are facing an institutional campaign or a parody of gigantic proportions. But, once the absurdity is accepted, it's worth asking: is it a genuinely Spanish extravagance, or does dressing political ideals have a history older than it seems?The Neoclassical painter Jacques-Louis David, known for works such as The Death of Marat or The Oath of the Horatii, played an active and committed role in the French Revolution. Convinced that, in addition to establishing a new political and social order, it was also necessary to give it a visible form, he designed various outfits to define the appearance of the new republican citizen. Through the three colors of the flag, references to Republican Rome, and inscriptions such as Liberty, Equality or French People, he aimed to create a new visual code for a society governed by revolutionary ideals.However, the project did not prosper. History has shown that, apart from regimes that impose a certain appearance – as in the People's Republic of China, where the Zhongshan suit (Mao suit) became hegemonic attire under strong pressure – fashion is not adopted by decree. People do not simply wear what a government prescribes, but what emerges from a complex network of desires, identifications, aspirations, and social dynamics. Politics can try to dress an ideology, but not decide what society will wear.

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We are immersed in Paris Haute Couture Week. The collections presented these days have left absolutely spectacular pieces, especially from Daniel Roseberry for Schiaparelli and Jonathan Anderson in his haute couture debut for Dior. But, despite the creative display that is capturing all eyes these days, there is a dress that is eclipsing them all. A very unique dress because, in reality, no one has seen it yet. And the more time passes without knowing what it looks like, the more conversations, speculations, and expectations it generates. I'm referring to the one Taylor Swift wore at her wedding to American football player Travis Kelce, held on July 3rd.Beyond the possibility that the images will be reserved for a future exclusive, this situation fits perfectly with the logic of the attention economy. In fact, a good part of the fashion world revolves around a concept that has become commonplace in the sector: hype. More than promoting a product, hype consists of building desire for it before it exists – or before it is accessible – by feeding rumors, leaks, small clues, and waiting periods that keep the conversation alive. In short, hype is the art of turning waiting into desire, because whoever controls time also controls the narrative and decides when, how, and who will have access to what everyone is waiting to see. Precisely at a time when we have become accustomed to getting almost anything immediately, it is here that marketing strategies manage to trap us. Desire, after all, usually reaches its peak intensity when we don't yet have what we want, but it dissolves with surprising speed as soon as we get it.

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They wear shorts and a t-shirt in the blaugrana colors, and pose smiling in front of the goal with several footballs. Anita Rafat appears a bit shy: she wears a kind of turban on her head and black tights and an undershirt so that neither her arms nor her legs are visible. In contrast, her sister, Fereshteh, has no complexes: she shows her hair and thighs. They are 37 and 28 years old, and fled Afghanistan in August on one of the Spanish evacuation flights. Now in Barcelona, they do what they could never do in their country: play football.

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Teyana Taylor, an American actress and singer, presented the iconic show "Saturday night live" in January dressed in an unexpected piece: a white t-shirt, completely embroidered with sequins, featuring one of the most iconic logos of the 20th century: "I❤️NY". The piece was part of Chanel's Métiers d'Art 2025/26 collection, the line with which the French house showcases its maximum artisanal virtuosity each year. This time, however, the most exquisite luxury had allied itself with one of the most kitsch objects of tourist culture: the souvenir t-shirt. The episode could have remained an anecdote if it weren't for the fact that, since then, other celebrities – especially from Generation Z – have also revived this same symbol.

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Cows are very important to Rwandan culture and symbolize wealth, prosperity, and identity, and are still used today to pay a bride price or to give as a gift. Since Paul Kagame's government implemented the program called Girinka in 2006, after seeing the extent of malnutrition and stunting among Rwandan children, milk production and consumption have doubled. The program was established with the central objective of reducing childhood malnutrition rates and increasing the household incomes of poor farmers. These goals are achieved directly through increased access to and consumption of milk, by providing a cow to families.

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