Boys Noize has announced a new album called 7LLVSION. The follow-up to the German producer’s 2021 LP +/- is set to arrive on November 6. The pummelling lead single, ‘1+1+1’, features the Dutch vocalist ZEP. Check it out below.
Last year, Boys Noize teamed up with Nine Inch Nails for the album Nine Inch Noize.
A new installment in Netflix’s Monster series is streaming. This time, a woman takes centre stage.
With 12.1 million views this week, Monster: The Lizzie Borden Story is currently the most-watched show on the platform globally. It’s also the #1 show in 16 countries. Could a follow-up be on the way? Here’s what we know so far.
At the time of writing, there’s no news on a potential Monster: The Lizzie Borden Story season 2.
That said, all seasons in the Monster series have been self-contained. It’s safe to assume that the eight episodes now streaming are all we’re going to get.
As for whether the anthology will continue, the answer is most likely yes. All installments have charted on Netflix, and the creators have plenty of ideas for what’s to come. They previously mentioned names like BTK, Ted Bundy, or Green River Killer as potential subjects.
For now, we’ll have to wait and see whether the streamer gives the green light.
Monster: The Lizzie Borden Story reimagines one of America’s most notorious unsolved murder cases. In other words, it’s a dramatisation of the Borden legend, not a straightforward historical account.
The series portrays Lizzie as a frustrated woman trapped in a repressive Victorian household. Her domineering stepmother Abby and emotionally distant father Andrew leave her feeling isolated. Her world changes when Bridget arrives as the family’s maid. The two develop a romantic relationship, and Bridget introduces Lizzie to stories of murderous women. Their fascination with female rage gradually turns into something darker.
The season eventually depicts Lizzie and Bridget carrying out the murders of Abby and Andrew, before turning into a courtroom drama about whether Lizzie can escape punishment. Running alongside the Borden story is a fictionalised account of serial killer Aileen Wuornos.
While Monster: The Lizzie Borden Story season 2 is unlikely, we expect the anthology to continue by focusing on other notorious crime cases. Until then, these new episodes attempt to dig into the psychology of a figure that continues to capture viewers’ imagination all these decades later.
If you enjoyed Monster: The Lizzie Borden Story, you’ll probably like the other installments in the anthology: The Jeffrey Dahmer Story, The Erik and Lyle Menendez Story, and The Ed Gein Story.
Alternatively, catch up with everything else trending on Netflix. Like Four Hands, Two Sonatas, The Perfect Lie, Crew Girl, The Gentlemen, Death of the Pastor’s Wife, Beauty in Black, and The Early Spring.
With a career spanning over four decades, there’s no question that Liam Neeson is one of the greatest Irish actors of his time. Whether you know him from his action roles or dramatic performances, you’ve probably seen at least one of his movies in the last few years.
From Schindler’s List to The Naked Gun, Neeson’s filmography is hefty, to say the least. His net worth should be substantial by now, right? Here’s what we know about the actor’s earnings.
In 2026, Liam Neeson’s net worth is estimated to be $120 million.
The bulk of it is thanks to his extensive Hollywood career. Neeson turned to acting in the mid-1970s, joining Belfast’s Lyric Players’ Theatre before moving to Dublin’s Abbey Theatre. His first film appearance came in Pilgrim’s Progress, followed by supporting roles in Excalibur, The Bounty, and The Mission. He gradually moved on to larger Hollywood parts during the late 1980s, including Suspect and Darkman.
His breakthrough arrived with Steven Spielberg’s Schindler’s List in 1993. Neeson played Oskar Schindler, who rescued more than 1,000 Jewish people during the Holocaust. He followed it with dramatic leading roles in Nell, Rob Roy, and Michael Collins.
During the late ‘90s, Neeson pivoted toward blockbusters. He played Jean Valjean in Les Misérables before taking on Jedi Master Qui-Gon Jinn in Star Wars: Episode I – The Phantom Menace. He also appeared in Gangs of New York and romantic comedy Love Actually. In 2005, he played Ra’s al Ghul in Christopher Nolan’s Batman Begins and provided the voice of Aslan in The Chronicles of Narnia: The Lion, the Witch and the Wardrobe.
In 2008, Neeson starred in Taken, a movie that reshaped his career. He played a former CIA operative searching for his kidnapped daughter, a role that turned the 56-year-old actor into an unlikely action star and led to two sequels. He became a regular presence in action thrillers, with credits including The A-Team, The Grey, Wrath of the Titans, Non-Stop, Run All Night, The Commuter, and Cold Pursuit.
Over the last few years, that trend continued, but Neeson took on more character-driven work, too. You might have seen him in Silence, A Monster Calls, Widows, The Ballad of Buster Scruggs, Ordinary Love, Marlowe, In the Land of Saints and Sinners, Absolution, or 2025 hit The Naked Gun. Besides acting, Neeson narrated several documentaries.
Actor salaries are rarely made public. That said, it’s safe to assume that Neeson’s paychecks are impressive. He made the Forbes list of highest-paid actors in 2013 (with $32 million) and 2015 (with $19.5 million).
Reports also suggest he made more than $10 million for Taken 2. Nowadays, it’s likely that he could easily command at least $5 million for a role.
Neeson’s list of highest-grossing movies includes The Dark Knight Rises, which earned over $1 billion. However, he only had a cameo. The same list also features Star Wars: Episode I – The Phantom Menace, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, and Clash of the Titans.
This year, fans could see the actor in horror-comedy Cold Storage and action flick The Fix. Next up, he’ll appear in thriller The Mongoose and heist comedy 4 Kids Walk Into a Bank.
If you are getting started with custom shirts, mugs, or personalized gifts, learning how to use a sublimation heat press correctly is one of the most important skills to develop. The right combination of sublimation paper, heat, pressure, and time can turn an ordinary blank into a bright, professional-looking product. The process may seem complicated at first, but once you understand the basics, it becomes much easier. Whether you are choosing the best sublimation heat press, experimenting with sublimation paper for shirts, or learning about Sublimation HTV, this guide covers the essential settings and techniques you need.
A sublimation heat press machine uses controlled heat and pressure to transfer sublimation ink into polyester materials or specially coated blanks. Unlike traditional vinyl, sublimation ink becomes a gas under high heat and bonds with the material, creating a lightweight and durable design. This is why a good heat press for sublimation needs accurate temperature control and even pressure across the entire design.
For polyester shirts, a common starting point is around 374–400°F (190–204°C) for about 40 seconds, although the correct setting depends on the machine, blank, paper, and ink. Current HTVRONT guidance, for example, lists 190°C for 40 seconds for sublimation paper on suitable polyester materials.
Before pressing, prepare your material carefully. A quick pre-press can remove moisture and wrinkles, while heat-resistant tape can keep the transfer from moving during the pressing. HTVRONT currently recommends pre-pressing fabric for 3–5 seconds and testing materials before starting a final project.
Sublimation paper is specially coated to hold sublimation ink and release it during the heat-transfer process. Ordinary printer paper is not designed for this job, so using proper sublimation paper can make a noticeable difference in image quality and ink transfer. Options such as A-SUB sublimation paper and HTVRONT sublimation paper are commonly considered by crafters, but compatibility with your printer and ink should always be checked before buying large quantities.
For sublimation paper for shirts, polyester or suitable polyester-rich garments are generally the easiest materials to work with. For sublimation paper for mugs, you need a mug or ceramic blank with a suitable sublimation coating and a press designed to heat the curved surface.
What if you want to sublimate onto cotton? This is where sublimation HTV vinyl becomes useful. A compatible clear sublimation HTV can provide a surface that accepts sublimation ink and can then be applied to cotton garments. HTVRONT’s current instructions describe using clear sublimation vinyl for cotton and recommend pressing the HTV first before transferring the sublimation design onto it.
Getting the sublimation heat press settings right is essential because too little heat or time can produce faded colors, while excessive heat can create other problems. Always treat manufacturer instructions as your starting point rather than assuming one setting works for every blank.
For many polyester sublimation projects, a useful starting range is:
HTVRONT’s updated guidance lists 200°C for 40 seconds for several sublimation applications, while its A100 guide lists 190°C for 40 seconds for sublimation paper.
If you are using HTV for sublimation, do not automatically use the same settings as ordinary sublimation paper. For example, HTVRONT recommends around 160°C for 8–15 seconds for one sublimation HTV application before transferring the sublimation print.
The best approach is to make a small test before producing the final item. Check the color, edges, adhesion, and overall appearance, then adjust the settings if necessary. This simple step can save both time and expensive blanks.
A sublimation heat press becomes much easier to use once you understand how temperature, time, pressure, and materials work together. Start with quality sublimation paper, choose a compatible polyester or coated blank, and follow the recommended sublimation heat press settings for your specific equipment. If you want to work with cotton, Sublimation HTV, including compatible sublimation HTV for cotton and clear sublimation HTV, can expand your creative options. With careful testing and consistent technique, you can produce vibrant, professional-looking sublimation projects with confidence.
Singing is one of those activities that can be both creative and personal. You might sing because you’re preparing for a performance, trying to become a better musician, or simply because putting on a favourite song and singing along is one of the easiest ways to change your mood.
But if you want to develop your voice, enjoying music isn’t quite enough. Your voice is something you can train, and a few simple exercises can make a noticeable difference when you practise them consistently.
At the same time, looking after your voice isn’t only about what you do while singing. Rest, breathing, and sleep all become part of the picture, especially when singing is a regular part of your routine. Here are six exercises worth adding to your practice, followed by a few simple habits that can help you properly switch off afterwards.
Lip trills (sometimes called lip bubbles) rank among the best warm-up tools available, and developing vocal control through consistent practice of this simple technique pays off faster than most singers expect. The exercise keeps your airflow steady while your lips vibrate together, forcing your breath support and phonation to coordinate. Drop the air pressure and the trill stops, so your body learns quickly what steady support actually feels like.
To do it, press two fingers lightly to each corner of your mouth, blow air through relaxed lips, and add voice so they flutter continuously. Slide up and down through your range while keeping that vibration going. Do three to five minutes at the start of every session. The real benefit is straightforward: lip trills cut the chance of straining your cords during the first few minutes of singing, when your voice is still cold.
Humming is another gentle way to get your voice moving. It can also help you become more aware of resonance and how your voice feels while you’re singing.
Start with a comfortable “mm” sound and pay attention to the slight vibration around your lips and face. Then hum through a simple five-note scale, moving gradually higher and lower.
Keep your jaw and shoulders relaxed. If you notice yourself squeezing or pushing, lower the volume and return to a comfortable pitch.
This is particularly useful if you’re practising early in the morning, after a long day, or whenever your voice doesn’t feel ready for full-volume singing.
Vocal sirens involve smoothly sliding from a low note to a higher note and back again, similar to the sound of an ambulance siren.
Try making a gentle “ooh” or “wee” sound and slowly move through your comfortable range. Don’t worry if your voice cracks occasionally. The point isn’t to sound perfect; it’s to explore the transition between different parts of your range without forcing them.
Start softly and avoid pushing for the highest note you can reach. As your voice becomes more flexible, you can gradually explore a wider range.
Good singing isn’t only about tone. If an audience can’t understand the words, even a beautiful melody can lose some of its impact.
Tongue twisters are a surprisingly effective way to practise clear articulation. Start slowly with phrases such as “red leather, yellow leather” or “unique New York.” Focus on making every consonant clear before gradually increasing your speed.
Once you’re comfortable speaking the phrases, try adding a simple melody or singing them at different pitches.
It’s a small exercise, but it can be especially useful if you’re preparing to perform songs with fast lyrics.
Breathing is at the centre of almost everything you do as a singer. If your airflow is inconsistent, sustained notes become harder and your voice can tire more quickly.
For a simple exercise, take a comfortable breath and slowly release it on an “sss” sound. Try to keep the sound steady rather than letting all your air out at once.
You can gradually increase the length of the exercise as your control improves. Don’t turn it into a competition, though. The goal is controlled, comfortable breathing rather than seeing how long you can hold your breath.
The same awareness of slow, controlled breathing can also become useful outside singing, particularly when you’re trying to transition from a busy day into a calmer evening.
Five-note scales are a classic singing exercise for a reason: they’re simple, flexible, and easy to repeat.
Choose a comfortable starting pitch and sing an ascending five-note scale before returning to the starting note. Repeat the exercise using different vowels such as “ah,” “ay,” “ee,” “oh,” and “oo.”
As you become comfortable, gradually move the scale higher or lower while staying within a range that feels easy.
Pay attention to whether your tone changes dramatically between vowels. The goal is to develop a more consistent sound rather than simply reaching the highest note possible.
Singing practice doesn’t happen in isolation. If you’re constantly tired, stressed, or staying up late, your voice may not feel its best either. A good routine therefore needs a clear distinction between practice time and recovery time.
This is particularly relevant if you tend to sing in the evening. Instead of moving straight from an intense practice session to scrolling through your phone for another hour, give yourself a short transition period.
Slow breathing, gentle stretching, reading, listening to quiet music, or simply dimming the lights can help signal that the active part of the day is coming to an end.
Sleep can easily get pushed aside when you’re busy with work, music, social plans, or late-night creative projects. But consistently getting enough rest is important for overall wellbeing, and having a predictable evening routine can make it easier to settle down.
A few simple habits can help. Keep your bedroom cool and dark, reduce stimulating screen use before bed, avoid caffeine late in the day, and try to keep your wake time relatively consistent.
Breathing can also become part of the transition. The 4-7-8 breathing technique is one example of a structured breathing exercise that people use as part of a relaxation routine. If you try it, keep the breathing comfortable rather than forcing yourself to follow the exact timing if it feels unpleasant.
Research published in Sleep Medicine Reviews shows your body temperature must drop roughly 1 to 2 degrees Fahrenheit before sleep can kick in. Setting your thermostat between 65 and 68 degrees Fahrenheit before bed is one of the most direct ways to support that drop. A cooler room tells the brain it’s time to shift into rest mode. For many people, this one change alone trims their time to drift off considerably. The guidance on how to sleep fast in 5 minutes identifies thermal regulation as a top factor, and the data backs that up. Warm baths or showers taken 60 to 90 minutes before bed also help; they draw heat toward the skin’s surface, where it dissipates fast and pulls core temperature down. Try blackout curtains too, since a cool, dark room compounds the effect and cuts down on nighttime waking.
You can also create a small wind-down ritual after singing. Finish your practice, put away your equipment, drink some water, spend a few quiet minutes away from your phone, and then move into your normal bedtime routine.
The idea isn’t to fall asleep instantly. It’s to give your mind and body a predictable signal that the day is winding down.
It’s easy to turn a creative activity into another thing you feel you have to be good at. But singing doesn’t always need to be about improving your range, perfecting your technique, or preparing for a performance.
Sometimes you can simply sing because you enjoy it.
A few vocal exercises can help you develop your technique, while regular rest and a healthy sleep routine give you the space to keep enjoying the activity without burning yourself out. Whether you’re practising seriously or singing along to your favourite record at home, the best routine is one that fits naturally into your life.
You don’t need complicated equipment or hours of daily practice to start developing your voice. Lip trills, humming, sirens, articulation drills, breath exercises, and vowel scales cover several of the basic skills singers rely on every day.
But becoming a better singer isn’t only about what happens during those 15 or 20 minutes of practice. Giving yourself time to relax, sleep, and recover is part of maintaining a sustainable creative routine too.
Make singing something you look forward to rather than another task on your list. Practise regularly, take care of your voice, and leave enough room in your day to simply enjoy the music.
Disclaimer: This article is for informational purposes only and is not medical or professional vocal instruction. Stop any exercise that causes pain or strain, and consult a qualified vocal coach, doctor, or ENT specialist if you experience persistent hoarseness, throat pain, or loss of voice. Sleep and breathing suggestions are general wellness information and are not a substitute for professional medical advice.
An engagement ring can follow a familiar design while still feeling personal. Small changes to the diamond shape, setting, metal, or band can give a classic ring a distinctly individual character without moving too far from timeless bridal styling.
This is especially useful for couples who like established engagement ring designs but want something that reflects their own preferences. From unexpected diamond orientations to subtle setting details, there are several ways to make a ring feel more personal.
Here are four styles worth considering when exploring diamond engagement rings for women.
East-west settings offer a simple way to give a familiar diamond shape a different look. Instead of placing an elongated diamond vertically along the finger, the setting positions it horizontally.
Oval, emerald, marquise, and radiant diamonds can all work well in this orientation. The horizontal placement changes the silhouette of the ring while keeping the design relatively clean.
This makes an east-west setting a good option for someone who likes elongated diamonds but wants a less expected presentation. It can also be paired with a simple band or additional diamond detailing, depending on the desired look.
Best for: Women who appreciate classic diamond shapes but want a distinct setting.
A hidden halo adds detail beneath the center diamond rather than surrounding it from the top. From above, the ring maintains the clean appearance of a solitaire, while smaller diamonds positioned around the basket become visible from the sides.
The appeal is that it brings together two qualities: the classic look of a solitaire and additional brilliance from the hidden diamonds. It also allows the ring to have an extra design detail without making the halo the dominant feature.
For someone searching for unique engagement rings for women but still drawn to classic proportions, a hidden halo can be a practical middle ground.
Best for: Women who want a classic top view with additional diamond detail.
A three-stone ring already offers a different alternative to a single-center design, but the side diamonds can make the ring even more personal.
Instead of using three matching round diamonds, couples can combine different shapes and proportions. Oval side diamonds, pear-shaped accents, tapered baguettes, half-moons, and trapezoids can each create a different look. Some designs even use three oval diamonds for a more symmetrical arrangement.
The three diamonds also carry traditional symbolism, often representing the past, present, and future of a relationship. This gives the design meaning while leaving plenty of room for personalization.
Best for: Couples who want symbolism, greater finger coverage, and flexibility in diamond combinations.
A bezel setting takes a familiar engagement ring and gives it a distinctly streamlined appearance. Instead of individual prongs securing the diamond, a rim of metal surrounds its edge.
This creates a smooth outline around the center diamond and reduces exposed edges, making the setting appealing to women who prioritize both a contemporary appearance and everyday practicality.
A bezel can be used with round, oval, emerald, pear, and other diamond shapes. Pairing an unusual shape with a bezel setting can make the finished ring feel especially distinctive without relying on excessive detailing.
Best for: Women who prefer clean lines, a contemporary profile, and a setting designed with everyday wear in mind.
You don’t necessarily need an unusual setting to create a personalized engagement ring. Often, a few carefully chosen details are enough.
Consider:
The goal is to find combinations that feel intentional rather than simply different for the sake of being different.
Looking at engagement rings online can be a useful starting point because it allows you to compare diamond shapes, settings, metal options, and proportions before narrowing down your choices.
Once you know which elements appeal to you, focus on how they work together. An unusual diamond shape may need a setting that complements its proportions, while a detailed setting may pair better with a simpler band.
For couples exploring diamond engagement rings for women, With Clarity offers customizable designs across different diamond shapes, settings, and metals, making it easier to create a ring that reflects individual preferences.
Putting a personal spin on an engagement ring doesn’t mean moving away from classic design. East-west settings, hidden halos, three-stone combinations, and bezel settings all offer ways to introduce individuality while keeping the ring refined and wearable.
The best choice is ultimately the combination of diamond, setting, metal, and proportions that feels right for the person who will wear it.
Good content often starts with a small observation. A baker notices a common mistake people make when shaping dough. A traveler finds a quiet street worth sharing. A designer wants to show what happens between the first sketch and the finished work.
None of these ideas requires a large production team. What helps is having a simple way to record the moment and a clear reason to share it. As cameras become easier to carry and use, everyday creators have more chances to show their work as it happens.
A phone on a tripod is useful for a planned tutorial. It holds a steady frame and lets the creator think through each step. Some activities, though, are difficult to show from across the room.
First-person video can bring viewers closer to the process. A ceramic artist can show how their hands shape clay. A gardener can point out what they look for when checking a plant’s leaves. Someone restoring furniture can capture the small detail that made them choose a particular tool.
AI glasses offer one way to take photos and short videos from the wearer’s point of view without holding a camera. That can make it easier to collect clips while working. The footage still needs a good idea behind it, but the creator has another angle available when a tripod or phone would be awkward.
Before recording, decide what someone should learn or feel by the end. That question gives even a short video some structure.
A home cook could show three moments: how they prepare an ingredient, what changes as it cooks, and how they know it’s ready. A small business owner might show a product before packing, one careful packing step, and the finished parcel. The sequence gives viewers a beginning, middle, and end without requiring a script.
Specific ideas tend to work better than trying to cover everything at once. “How I protect the corners of a framed print before shipping” promises something clearer than “a day at my business.” The narrower idea also makes it easier to decide which footage belongs in the finished piece.
A behind-the-scenes clip is more useful when viewers know what to look for. A florist might show how they choose the first stems for an arrangement. A parent sharing a craft project might focus on the step children usually need help with.
A short caption or voiceover can answer the obvious questions: What are we watching? Why do you do it this way? What should someone trying it at home keep in mind?
The explanation doesn’t need to sound rehearsed. Clear, specific language often feels more helpful than a polished introduction that takes half the video to reach the point. If the scene is noisy, captions can make the important information easier to follow.
When it’s simple to capture footage, it’s also easy to collect too much. Not every clip needs to become a post. Reviewing material is where much of the creative work happens.
Choose the moments that help tell the story. Cut a long walk down to the turn where the view opens up. In a tutorial, keep the steps people need to see and shorten repetitive parts. If something important happens off-camera, explain it rather than expecting viewers to guess.
The same footage can sometimes support more than one useful piece of content. A longer demonstration might answer a common customer question, while one short clip could illustrate a single tip. Each version should make sense on its own rather than feeling like a random excerpt.
Informal content can feel personal, but it still deserves care. Check the background before publishing. A screen might reveal a customer’s details; a worktable might show information that isn’t yours to share. If another person appears in a clip, ask whether they’re comfortable being included.
Creators should also be honest about the limits of what they’ve filmed. A short demonstration can show how a product worked in one setting. It cannot prove how it will perform for everyone. Explaining that difference makes content more credible.
Wearable cameras may help creators catch moments that would otherwise pass. Phones, tripods, and dedicated cameras remain useful for planned shots. Many creators will use different tools depending on what they want to show.
The future of everyday content creation isn’t simply more footage. It’s more opportunities for people to share a skill, a genuine observation, or a perspective others haven’t seen. The tool captures the moment. The creator gives it a reason to matter.
When you add something new to your health and wellness routine, it’s normal to have concerns if you still have questions about potential problems that could arise from the product. In particular, some people worry about whether a product is comedogenic, as it may cause skin issues rather than alleviating them.
In this article, we explain what it means for a product to be comedogenic and whether castor oil is comedogenic. We also cover ways that you can reduce the potential comedogenic effects of castor oil.
Before discussing whether castor oil is comedogenic, it is important to understand what comedogenic actually means. Comedogenic means a product is likely to clog pores. This can lead to unintended side effects, such as blackheads, whiteheads, and acne breakouts.
There are many products on the market that can positively benefit the skin, but are also comedogenic. For example, cocoa butter and shea butter are excellent at hydrating the skin and protecting the skin barrier, but are also comedogenic due to their thick consistency.
Because of this, our advice is to know what it means for a product to be comedogenic, learn how to spot a comedogenic product, and be aware of the ways that you can reduce comedogenic effects, rather than avoiding comedogenic products entirely.
Comedogenic products often have a thick consistency, which can clog pores by trapping dead skin cells. Comedogenic products can often be easily identified, as there exists a 0-5 rating scale for comedogenic products. On this scale, products that are ranked as 0 will not clog pores, and products ranked at a 5 have a very high likelihood of clogging pores.
Castor oil is slightly comedogenic. This is because castor oil has a naturally thick consistency, meaning that it can clog pores. However, castor oil is only a 1 on the 0-5 comedogenic rating scale, meaning that while the chances of it clogging your pores are not nonexistent, they are still relatively low. This means that the potentially comedogenic effects of castor oil do not negate the positive benefits that this oil can bring.
Even though castor oil ranks low on the comedogenic scale, you may still be interested in finding ways to reduce the comedogenic effects that this oil can have.
Our first piece of advice is to source your castor oil from a quality seller. This way, you will be able to ensure that you know exactly what you are applying to your skin. It’s one thing to weigh up the risks of applying castor oil, but it’s another thing entirely to apply a product with unknown ingredients that could do more than just clog your pores.
For this, we recommend purchasing from Organic Castor. This is because their oils are made to a high standard, meaning that you will not have to worry about adding unknown ingredients to your skin.
Additionally, we recommend considering mixing your castor oil with a lighter carrier oil. Carrier oils work to dilute a primary oil, which in this case would be castor oil. By mixing your castor oil with a carrier oil, you’ll be able to make the oil less viscous during application, which can make it more easily absorbed and removed. Common carrier oils that are often mixed with castor oil include jojoba oil, hemp seed oil, and grapeseed oil.
Castor oil is, in fact, slightly comedogenic, as it ranks as a 1 on the 0-5 comedogenic scale. This means that it cannot be guaranteed not to clog your pores. However, in comparison to other widely used products, castor oil is relatively less comedogenic.
In addition, there are ways to reduce the comedogenic effects of castor oil. One of these is to make sure that you are purchasing your castor oil from a high-quality source. For this, we recommend Organic Castor. In addition, you can also mix the castor oil with a carrier oil in order to reduce the oil’s viscosity.
Ultimately, castor oil is a great addition to your health and wellness routine. While it may be slightly comedogenic, there are ways that you can alleviate some of the comedogenic effects of castor oil so that you can focus on all of the benefits that it can bring to you and your skin.
Most people have never knowingly met a sex worker. Almost everyone has watched one. For a trade that operates largely out of sight, the screen is the main source of public knowledge, which means an entire industry is understood through a small number of scripts written by people outside it.
Those scripts have been generous lately. The last decade of film and television has been far less squeamish about sex work than the decade before it, and far more willing to let the worker speak. What has not changed is the shape of the story. The screen still reaches for the same two plots, and neither of them has much to do with how the work is actually organised.
The first is the rescue. Pretty Woman remains the most-watched version of a sex worker’s life ever made, and it ends with the client solving the problem of the job by removing the need for it. The film is charming and it is thirty-five years old, and it is still the reference point most people reach for first.
The second is the cautionary tale, where the work is the damage and the ending is punishment. It has the advantage of looking serious. It has the disadvantage of treating a job as a diagnosis.
Better work bends these shapes without breaking them. Secret Diary of a Call Girl put a working life in London on primetime television and let its lead enjoy the money, though the premise sat in the title: the diary was a secret, and the tension came from who might find out. Anora won the Palme d’Or by being sharper and funnier than any rescue plot, and it still turns on a chance encounter with a rich client. The industry gets a leading role. The business gets cut.
Ask anyone who does this work what the job consists of and the answer is mostly administration. Screening a new client before agreeing to meet him. Confirming he is who he says he is. Taking a deposit. Setting terms for cancellation and for time. Keeping a diary that does not sit on a shared calendar. Filing tax returns for a business that most banks and payment processors would rather not serve.
None of this is dramatic, which is exactly why it never appears. A film has ninety minutes and no interest in a verification process. So the screen shows the encounter and skips everything that makes the encounter safe, and the public is left with the impression that the work has no infrastructure at all.
It has a great deal. A stranger is meeting a stranger, usually in private, usually with money involved. Every part of that problem has to be solved in advance by the person taking the booking, and the solving is the job.
Screen stories treat exposure as a twist. Someone finds the photographs, a family member sees the profile, the secret comes out in the third act and the plot turns on it.
In practice, exposure is not a twist. It is a daily operating constraint, and it is managed the way any other business risk is managed. A working name that is not the legal one. A separate phone number and email address. Photographs stripped of their metadata before they are uploaded anywhere. A website that ranks for the right searches without carrying a face.
That last part is harder than it sounds, because a service business needs to be findable and a person may need not to be. The two requirements pull in opposite directions, which is why so much of the practical guidance inside the trade is about building a personal brand that can carry a career without carrying an identity. Anonymity is not invisibility. It is a design problem, and people solve it every day with tools no film has ever bothered to show.
It would be easy to file all this under harmless licence. Films simplify. That is what films do.
The trouble is that the screen version is not competing with a better-known real version. For most of the audience, and for a good number of the people who write the rules, it is the only version. Laws get drafted about the rescue plot and the cautionary tale. Payment providers write policies about them. Platforms write moderation rules about them. Nobody drafts policy about the part of the job that involves verifying a stranger on a Tuesday afternoon, because almost nobody outside the trade knows it exists.
The people inside it know. They learn the work from each other, from forums and directories and from other workers, because there was never a public account to learn it from. That is a strange situation for an industry this old and this large to be in.
An honest depiction would struggle to get commissioned. It would open on a laptop rather than a hotel room. It would spend its first act on screening and its second on the website. The money would arrive by bank transfer, late.
It would also show something the existing stories never manage, which is a person running a business on their own terms and getting reasonably good at it. The screen keeps asking how someone ended up doing this work. The more interesting question, and the one the last thirty-five years of film has never once asked, is how they run it.
For a long time, sex workers on the British stage were scenery. They arrived as a plot device, a punchline, or a body in the second act. Rarely did they get to speak for themselves. Over the past fifteen years, that has quietly changed.
The shift did not come from one hit play. It came from a handful of productions that chose the harder route: listen first, write second. Along the way, the way these scenes are made changed too.
Start with The Girlfriend Experience. Alecky Blythe built the play from more than a hundred hours of audio, recorded inside a working parlour in Bournemouth. Four self-employed women talked about their days, their regulars, their boredom and their pride. The title refers to the service they offered, companionship rather than a quick transaction.
Blythe staged it using her recorded-delivery method. Actors wear earpieces and repeat the women’s exact words a beat after hearing them, with no script learned in advance. Nothing gets smoothed into a neat speech. Every hesitation and unfinished thought survives, which keeps the women sounding like people rather than characters. The Royal Court and Plymouth’s Drum Theatre first staged the play in 2008, and the Young Vic revived it in 2016.
What makes it land is not shock. It is accuracy. The women are funny, practical and unsentimental about the job. The play never tells you how to feel about them, which is exactly why it works. That was the lesson other makers took from it. You do not need to sensationalise the work to hold a room. You need to get it right.
A few years later, another production went further and handed over the pen. The Sex Workers’ Opera, made by the company Experimental Experience, was first performed in London in 2014. It set one firm rule: at least half of everyone involved, on stage and behind it, would be a sex worker.
Stories came in through activist forums, escort forums and webcam sites. The company worked with groups including the English Collective of Prostitutes. It argued directly against criminalisation, staging a policy debate most plays would not touch. The result was not a lecture. It was songs, monologues and arguments, some furious, some very funny, drawn from real lives across several countries. You can disagree with its politics. You cannot say it spoke over the people it was about.
Put those two productions next to the old model and the change is obvious. The murdered prostitute, the tart with a heart, the warning dressed as a character: for decades that was the range. The newer work treats sex workers as authors and experts instead.
Something else shifted at the same time, and it reshaped how intimate scenes get built. Enter the intimacy coordinator.
The job title sounds new. The craft behind it is not. Ita O’Brien, a movement director with decades in theatre, had been developing her Intimacy on Set guidelines since 2014. After the Harvey Weinstein revelations in 2017 and the #MeToo movement that followed, the industry finally listened.
An intimacy coordinator does for a sex scene what a fight director does for a sword fight. They choreograph it. Every touch is agreed beforehand. Consent gets checked, boundaries are set, and the same moment can be repeated night after night without anyone being pushed past what they agreed to. Practical tools help too, from agreed hand positions to modesty garments, so the moment stays technical rather than personal.
Some coordinators also build in de-roling afterwards, a short routine that helps actors step out of the scene and back into themselves. O’Brien’s theatre credits include The Crucible and Manor at the National Theatre, and Spring Awakening at the Almeida. Her screen work, from Normal People to I May Destroy You, made the role famous.
Almost every production named so far is a London one, which flatters the capital and misses where much of this work actually settled. The change reached the regional producing houses too, and in Manchester that means two buildings above all: the Royal Exchange, working in the round since the 1970s, and HOME, which since 2015 has put theatre, film and visual art under one roof and built its programme around new and international work.
Regional houses matter here for an unglamorous reason. They run their own rehearsal rooms, cast their own shows and set their own working practices. A change in how intimate scenes are staged therefore has to be taken up building by building, rather than announced once and adopted everywhere. Intimacy coordination spread that way: through resident companies, through drama school training, and through the freelance movement directors who work across theatre and screen and carry the practice with them from job to job.
Manchester was well placed for it. The city has an unusually large independent theatre scene for its size, a steady supply of graduates from its own drama training, and two producing houses with the budget to do things properly rather than improvise on the night.
Here is the quiet revolution in all of it. British theatre now treats intimacy as skilled work, not something to be winged on the night. It is planned, rehearsed and respected like any other technical craft in the building.
That reframing reaches well past the stage door. The city’s professional massage and bodywork trade has been making a version of the same argument for years. Read how the established sensual massage practitioners in Manchester describe their work and the vocabulary is strikingly close to the rehearsal room: boundaries agreed in advance, a clear account of what a session involves, and a stated limit on what it does not. Skill, not spectacle, is the point in both.
The research is the part audiences never see. Verbatim writers like Blythe spend months recording and transcribing before a single line is staged. Companies consult sex worker collectives rather than guessing at their lives. Intimacy coordinators run consent and choreography workshops that are steadily becoming part of how actors are trained.
Not everyone thinks the sector has cleaned up its act. Some sex worker groups point out that theatre can profit from their stories while the industry that inspired it stays criminalised and stigmatised. Many actors, meanwhile, have said the presence of a coordinator is what finally made these scenes workable, rather than something to grit through. Both things can be true at once, and the stronger productions know it. They do not pretend a play fixes anything.
The direction of travel is still clear. The murdered-prostitute plot device now looks as dated as it always was. In its place is work that casts sex workers as authors, experts and skilled professionals, not cautionary tales.
British theatre took its time getting here. It arrived by doing the unglamorous things: turning on the recorder, sharing the credit, and choreographing the difficult scenes with care. That is what taking a subject seriously actually looks like.
Quick Access
Our Culture
Helpful
© 2026 Our Culture Mag Limited. All rights reserved. Use of this site constitutes acceptance of our User Agreement (updated 1/1/2026) and Privacy Policy and Cookie Statement (updated 1/1/2026). The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Our Culture Mag Limited.
