Category: The Conversation – UK

Source: The Conversation – UK – By Andrew Burlinson, Lecturer in Economics, University of Sheffield

UK chancellor Rachel Reeves has made some significant reforms in her latest budget. Notably, she has committed to easing living cost pressures with widespread energy bill support, higher taxes for the most expensive homes, and axing the two-child cap on certain benefits.

In a speech to Labour MPs a couple of days before the announcement, she made clear that her tax and spend decisions were a package and not a “pick-and-mix” from which backbenchers could choose the measures they liked. While Reeves will no doubt face further opposition, it may be that many of the things she has announced largely align with what Labour backbenchers had been hoping to hear.

Here’s what our panel of experts made of her plans.

Help with energy bills in a bid to tame inflation

Andrew Burlinson, Lecturer in Economics, University of Sheffield

Typical household energy bills (at £1,725 per year) remain more than £450 higher than pre-crisis levels. Reeves is therefore pledging to “grip the cost of living” with a package of short- and long-term solutions.

Instead of axing the 5% VAT paid on energy bills, as had been widely trailed, Reeves has removed certain social and environmental levies from electricity bills, which she says will save households up to £150. These levies funded government policies supporting vulnerable people and low-carbon technology adoption, which will now be paid for through general taxation.

This is a welcome progressive shift. Sharing these costs across all households disproportionately hurt people on lower incomes who paid the same percentage in levies as wealthier customers. What’s more, while these levies represent a relatively small chunk of people’s bills (about 16%) compared to wholesale costs, removing them will help bring down energy-related inflation.

The chancellor is also rightly extending the warm homes discount scheme, which takes an additional £150 off some people’s electricity bills and which will now reach six million households. Yet the temporary discount does not reverse a decade of low, even substandard, government-backed energy-efficiency schemes.

However, the warm homes plan, which aims to improve energy efficiency in homes, will now receive an extra £1.5 billion to tackle fuel poverty. Done properly, investment in energy efficiency and low-carbon technologies can cut bills, improve people’s health and reduce emissions – a “win-win-win”.

A ‘mansion tax’ for the most expensive properties

Alper Kara, Professor of Banking and Finance, Brunel University of London

The government announced a new council tax surcharge on the most expensive properties in England and Wales from April 2028. The “mansion tax” will be levied annually, costing £2,500 for properties worth more than £2 million and £7,500 for those worth over £5 million.

Around 145,000 homes will be affected, mostly in London and south-east England. The value of those properties will probably go down a little.

But more broadly, the measure – which it is claimed will raise £400 million by 2031 – risks adding further complexity to the council tax system without resolving long-standing weaknesses such as its out-dated and unfair valuations.

And while the mansion tax targets wealthier homeowners, the actual revenue earned may end up being lower than planned due to things like “price bunching”, where buyers and sellers keep valuations just below the bands, distorting the market. There might also be a decline in high-value property sales which would reduce stamp duty revenue for the Treasury.

A further measure with implications for housing is the 2% rise in tax on property income, which will cut landlords’ profits and may persuade some to leave the market. This in turn could easily reduce the supply of rental homes available, potentially increasing rents where demand is high. It may also limit investment in maintenance and improvements, leading to a decline in the quality of rental accommodation.

An end to the two-child benefit cap but more anti-poverty measures needed

Ruth Patrick, Professor in Social and Public Policy, University of Glasgow

Scrapping the two-child limit is an incredibly welcome reform that starts the urgent work needed to drive down what remain high levels of child poverty. Four-and-a-half million children in the UK faced poverty in 2022-23, and too many will still face hardship without further investment and reform from this government.

At this year’s Labour conference, Prime Minister Keir Starmer ambitiously pledged that he wanted his government to end child poverty. To realise this, he will need to usher in change on a much greater scale than has been announced.

The two-child limit was an ill-designed and arguably cruel policy which assigned children to poverty simply (and only) because of the number of siblings they had. The charity Child Poverty Action Group estimates that 109 children each day are born into households affected by the cap, purely because they have two or more elder siblings.

Removing the two-child limit restores the historic link between need and entitlement to support, which the policy had eroded. But the same problem remains for the wider benefit cap, which limits the amount of social security people can receive and currently leaves many subsisting far below the poverty line.

Any day now we will see the publication of a UK-wide child poverty strategy – the first in almost a decade. My hope is that this builds on the chancellor’s announcements, and points to a future where all children can be protected from poverty.

Andrew Burlinson previously received funding from UKERC (UKRI) and relevant funding from EPSRC.

Ruth Patrick is a member of the Labour Party.

Alper Kara does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. What the budget could mean for you – experts react to the chancellor’s announcement – https://theconversation.com/what-the-budget-could-mean-for-you-experts-react-to-the-chancellors-announcement-270699

Source: The Conversation – UK – By Chantal Gautier, Senior Lecturer in Psychology and Sex and Relationship Therapist, University of Westminster

If you’re looking for a film that’s daring and emotionally layered, then Harry Lighton’s debut feature Pillion absolutely hits the mark. The film follows Colin (Harry Melling), a shy suburban guy stuck in routine and Ray (Alexander Skarsgård), a magnetic unreadable biker whose presence exudes both aloofness and intrigue.

What starts as a rough transactional alleyway hook-up, quickly shifts into a 24/7 BDSM (best understood when read in three pairs: bondage and discipline, domination and submission, sadism and masochism) dynamic built on power, ritual and control.

Within the broader framework of BDSM, Pillion situates Colin and Ray’s dynamic inside the concept of consensual total power exchange: a structured voluntarily arrangement in which a submissive (or “slave”) offers continuous obedience and service to a dominant (or “master”) extending beyond “scenes” and into daily life.

At its core Pillion explores power, eroticism, masculinity and identity. Lighton doesn’t shy away from the erotic elements. In fact, Lighton uses them as a springboard for deeper questions of self-definition. As we witness moments of submission and humiliation rituals (shot with a mix of tension and tenderness), we follow Colin’s emotional journey. From confusion to curiosity and eventually, a sense of charged enjoyment he didn’t expect, Colin finds himself surrendering in ways he never imagined.

One of the film’s most memorable sequences places submissives lined up face-down with bare backsides on picnic tables in the middle of a forest. Colin’s despair is unmistakable. It’s in these moments the film’s title snaps into sharp focus, clarifying who leads, who submits, and who rides pillion (the “bottom” in queer discourse).

Lighton solidifies dominant-submissive slave devotion with an unexpected sense of groundedness. The involvement of real-life members of the Gay Bikers Motorcycle Club amplifies the scene’s credibility, giving it a charged, lived-in authenticity.

Beneath the leather mask

But what symbolic or emotional function does control serve for Ray (if there is one, it might simply be this is what Ray is into – what we call their erotic template).

The film offers two compelling possibilities. First, the symbolic elements of BDSM (collars, rituals and rules) create a relationship framework that reaffirms the dominant-submissive bond of unity. For Ray, this connection doesn’t stem from emotional openness but from the stability he maintains through structure and control.

BDSM becomes a space where instructing Colin allows Ray to assert his identity through a style of masculinity that values control. Ray has deliberately curbed his emotional expression. At his core, he is someone who does not allow himself to need. So, for Ray, the dominant-submissive slave dynamic, becomes a mechanism for keeping vulnerability at bay.

Second, research on attachment styles suggest dominance within BDSM can offer the kind of predictability and structure that people with avoidant attachment styles often experience as safe. People like Ray who are uneasy with emotional closeness or unpredictability, may find reassurance in the clearly defined expectations of these dynamics. With emotional disclosure minimised and expectations clarified, the dominant role creates conditions that shield Ray from the forms of vulnerability he finds threatening.

The film’s exploration of masculinity deepens, revealing how societal and cultural norms shape what is considered “manly”. Ray embodies commonly held masculine ideals, including stoicism, self-control, confidence and a sculpted physique. Colin’s more submissive, compliant energy challenges these expectations, revealing masculinity as culturally shaped rather than fixed.

Awakening of self

In his “slave” role, Colin embodies both conventional and unconventional masculinity. His surrender emerges as strength – endurance, discipline, sexual stamina. Because submissive roles demand patience, obedience and the resilience to meet discomfort (consensually), they cultivate qualities that expand, rather than diminish, the boundaries of masculinity, providing a more fluid and expansive understanding of masculine identity.

For Colin, the dominant-submissive slave journey becomes a path of self-discovery, allowing him to recognise what he wants, what he excels at – his “aptitude for devotion” – and ultimately who he is. His evolving masculine identity takes shape as he embraces the newly uncovered self, not with shame, but with authenticity.

The film makes clear that BDSM dynamics, despite popular assumptions, are not bound by gender. And while Pillion concentrates on a gay male relationship, the emotional terrain it explores – power, vulnerability and identity – resonate across genders.

Eventually, in pursuit of greater happiness Colin begins to question the arrangement, perhaps prompted by those rare fleeting moments when Ray lets his guard down. Summoning newfound courage, he asks for a “day off” from their daily dominant-submissive dynamic. After a chaotic and rebellious detour, Ray agrees to the new terms. But a question lingers at the film’s emotional core: can Ray allow himself to experience emotional closeness beyond his role as “master”?

Pillion is an emotionally intelligent multi-layered film, rich with moments of humour, wonder and rawness. Boldly provocative it immerses viewers in a world of BDSM, while challenging conventional assumptions about desire, relationships and identity. Lighton delivers a film anchored by exceptional performances from both its main cast and its supporting ensemble, crafting a story that sticks with you long after the credits rolls.

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Chantal Gautier does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Pillion: what a sex therapy expert thinks of this domination-themed queer rom-com – https://theconversation.com/pillion-what-a-sex-therapy-expert-thinks-of-this-domination-themed-queer-rom-com-270224

Source: The Conversation – UK – By Laura O’Flanagan, PhD Candidate, School of English, Dublin City University

The sequel to the hugely successful Wicked brings the story of Elphaba Thropp (Cynthia Erivo), also known as the Wicked Witch of the West, to its conclusion.

An alternative perspective on The Wizard of Oz (1939), Wicked began life in 1995 as a novel and in 2003 became a successful musical, before being adapted into a two-part film. This second film completes Elphaba’s story and firmly establishes her as one of modern cinema’s most compelling ecological heroines.

In the closing moments of the first film, Elphaba’s transformation to “wicked witch” is complete. She has refused to allow the Wizard (Jeff Goldblum) and his sidekick Madame Morrible (Michelle Yeoh) to control her magic, and so she is immediately cast out of Emerald City society and labelled as an enemy of the people. Elphaba’s magical powers are out of the regime’s control, and she instantly becomes a figure of fear and derision.

But to the audience Elphaba is a heroic, transgressive figure who resists pressure to conform. Her independence and individuality are celebrated through soaring musical numbers. Defying Gravity is about standing up for those who cannot and fighting back against injustice when no one else will. Elphaba is a heroine on the right side of history, while the cruel autocratic Wizard and Madame Morrible are cast as the film’s villains.

In Wicked: For Good Elphaba’s link with nature remains central throughout the story, expressed through her green colouring and her affinity with animals. She is portrayed as wild and uncontrollable in comparison to the rigid order of the Emerald City. The visual contrasts between Elphaba’s world and the Wizard’s regime are striking.

The Emerald City is garish, with unnatural colours, neatly manicured landscapes and steampunk-style technology, compared to the natural rugged cliffs scattered with wildflowers and open ocean surrounding Elphaba as she flies high above them on her broom.

Opposing the Wizard’s anti-animal policies places Elphaba in direct conflict with a regime that silences its most vulnerable. From this stance, she emerges as an ecofeminist figure of resistance.

A term first coined in 1974 by Francoise D’Eaubonne in her book Feminism or Death, ecofeminism argues that the oppression of women and the exploitation of nature spring from the same systems of power and domination.

Marginalised and feared for the raw power of her magic, Elphaba embodies the ecofeminist cause against the dual oppression of women and the natural world. In defending the animals of Oz and resisting forces seeking to control her, Elphaba is an icon of ecofeminist resistance.

Care as a form of resistance

This reading is further supported by the work of American philosopher and historian Carolyn Merchant, who argues that modern political power structures rely on viewing nature as mechanistic and controllable. The Wizard’s desire to silence and control the animals illustrates this worldview, turning living beings into manageable pieces of his ordered Oz.

Elphaba, by contrast, embraces a holistic, relational understanding of nature which is rooted in respect rather than control. By placing Elphaba in opposition to the Wizard, Wicked: For Good casts her as an ecological and political disruptor, reclaiming agency for herself and for the natural world she strives to protect.

The film presents relationships between women as catalysts for resistance and change. Ecofeminism places great importance on relationships and care, and Elphaba’s bond with “good witch” Glinda (Ariana Grande) aligns strongly with this emphasis. Although their relationship is briefly complicated by a love triangle, the film never positions them as rivals.

Instead, it foregrounds their evolving connection as a source of strength and moral clarity. Their friendship is defined by mutual care, which contrasts starkly with the Wizard’s desire for domination.

By the end of Wicked: For Good, Elphaba becomes more than the misunderstood witch of Oz. She is an ecological heroine who reminds the audience that care can be a powerful form of resistance. She invites us to look again at how a figure can come to be feared, and how easily power can shape the stories we inherit.

Her strength grows from compassion and from the courage to live truthfully. Far from wicked, Elphaba is a heroine and a role model for the ages, with a deep and intuitive understanding of the transformative power of care and friendship.

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This article features references to books that have been included for editorial reasons, and may contain links to bookshop.org – f you click on one of the links and go on to buy something, The Conversation UK may earn a commission.

Laura O’Flanagan does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Elphaba the ecofeminist: Wicked For Good casts its heroine as an icon of resistance – https://theconversation.com/elphaba-the-ecofeminist-wicked-for-good-casts-its-heroine-as-an-icon-of-resistance-270474

Source: The Conversation – UK – By Edward White, PhD Candidate in Psychology, Kingston University

For the final season of Stranger Things, millions of fans will take one last plunge into the Upside Down to watch an epic showdown against Vecna as he threatens the town of Hawkins – and the entire world. But what sparks our collective fascination with this dark, horror-filled universe?

The answer lies in psychological and philosophical principles that shed light on why we’re drawn not only to entertainment but also to information. Understanding why millions willingly immerse themselves in the terrifying world of the Upside Down reveals deep truths about human nature and our relationship with fear.

From ghost stories to true crime documentaries, our obsession with the macabre stems from a bias towards negativity: the tendency to react more strongly to negative information than to positive or neutral content.

This negativity bias evolved as an alert system – our fight-or-flight response to threats. Today, since we no longer face sabre-toothed tigers, this alertness has transformed into a thrill-seeking drive to pursue frightening content for its intense arousal.

This explains why viewers are simultaneously scared and captivated by scenes like the traumatic flashbacks of Eleven (Millie Bobby Brown) or the Demogorgon’s savage attacks. Our brains are wired to respond to danger, even in make-believe scenarios.

Research into horror psychology shows that sensation-seekers actively chase negative stimuli to boost their sense of excitement. Cross-cultural studies on curiosity about morbid topics, meanwhile, reveal that this attraction appears across diverse human cultures and is rooted in stable psychological mechanisms rather than culture specific ones.

Stranger Things masterfully taps into all four dimensions of our morbid curiosity: exploring villains (like Vecna and Dr Brenner), witnessing violence (from the Upside Down creatures), experiencing body horror (through the Mind Flayer’s infections) and confronting paranormal threats (those haunting Hawkins). This comprehensive engagement explains the show’s massive global appeal.

Neuroimaging research employing brain-scanning tools like functional magnetic resonance imaging or fMRI, which tracks blood flow and neural activity in real time, indicates that watching disturbing content activates the brain’s reward system.

This neurological response explains why Stranger Things feels simultaneously terrifying and deeply satisfying – our reward systems are reinforcing the psychological benefits of confronting fear through fictional proxies, allowing us to practice emotional resilience and threat assessment without real-world consequences.

The hauntological framework

One popular aspect of Stranger Things is its setting: 1980s America. This choice adds a deeper psychological resonance to what French philosopher Jacques Derriera coined “hauntology”.

Hauntology suggests that we are all “haunted” by two ghosts. The first is a return to the social past, that idea that things were better before. The second ghost represents a yearning for a future that promises redemption and a belief that meaningful change remains possible. These two ghosts create a condition that sits between presence and absence, where lingering traces of unresolved pasts continue to haunt and shape the present.

The 1980s setting of Stranger Things serves as a deliberate return to a romanticised era, where unresolved social, economic and cultural issues from the past “haunt” the present.

The town of Hawkins, where the show is set, is presented as an idealised town of traditional values and economic stability. But underneath this facade, the series systematically dismantles the myth of 1980s American innocence by revealing the psychological trauma embedded withing the perfect suburban life.

For instance, the Upside Down (a dark and decaying alternate dimension that mirrors our own) functions as a psychological manifestation of what psychologist Carl Jung termed the “shadow” – those repressed aspects of individual and collective consciousness that society refuses to acknowledge.

Hawkins Laboratory, operating in secret beneath the town’s surface, represents the dark underbelly of American scientific progress during the cold war era, where children become subjects in the pursuit of science. Eleven’s systematic abuse at the hands of Dr Brenner (Matthew Modine) exposes how institutional authority can perpetrate intergenerational trauma while maintaining facades of benevolent care.

Ultimately, Stranger Things is so addictive because it taps into multiple psychological layers at once. The show’s clever use of our natural negativity bias and curiosity about the morbid keeps viewers hooked emotionally from the start, while its hauntological framework adds deeper resonance by encouraging us to face the hidden traumas beneath our favourite cultural stories.

This blend – where our brain’s reward signals meet genuine reflection – helps explain why so many of us keep returning to Hawkins’ mysterious world. It becomes almost a shared form of therapy, letting us work through fears about betrayal by institutions, childhood wounds, and social breakdowns through supernatural stories that feel safe.

In this way, Stranger Things shows that our love for fictional horror has a real purpose: it allows us to rehearse resilience while also critiquing the very systems that create our everyday anxieties. The series’ enduring popularity suggests that viewers instinctively grasp this dual function, seeking not just entertainment but also meaning in a world where the boundary between monsters and societal horrors has become surprisingly blurry.

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Edward White is affiliated with Kingston University.

– ref. Stranger Things has kept our attention through clever use of ‘hauntology’ – a psychologist explains – https://theconversation.com/stranger-things-has-kept-our-attention-through-clever-use-of-hauntology-a-psychologist-explains-269641

Source: The Conversation – UK – By Glenn Fosbraey, Associate Dean of Humanities and Social Sciences, University of Winchester

A lot can happen in three decades. Since 1995, we’ve seen nine different UK prime ministers, the birth and death of the Minidisc, iPod and DVD. Manchester City sank to the third tier of English football then rose to become champions of Europe. One thing that hasn’t wavered, though, is the popularity of The Beatles.

On November 21, The Beatles’ Anthology 4 was released to an eager worldwide audience, 30 years after the first instalment in the series, Anthology 1, and 56 years after the band split.

Released in November 1995, Anthology 1 was initially met with bemusement by reviewers. Some dismissed its contents as “scrappy old demo tapes, TV recordings, and studio outtakes” which were “of scant interest to anyone but obsessives”. Perhaps there were simply a lot more “obsessives” than critics thought – the public bought the album in droves. Anthology 1 topped charts all over the world with the highest first week of sales ever recorded.

Anthologies 2 and 3 followed in March 1996 and October 1966, respectively. Although they didn’t quite reach the commercial heights of Anthology 1, they still sold in their millions. Their releases also coincided with the peak of Britpop, which came not so much to bury the Fab Four’s legacy as to raise it to new heights with figureheads Noel and Liam Gallagher of Oasis regularly espousing their idolatry for the band.

The Anthology trilogy may not have been the first outtakes and demos albums (that honour goes to The Who and their 1974 Odds and Sods collection), but they did break new ground in showing how a retrospective of band’s career can move beyond a compilation of previously released tracks.

The Anthologies told the story of The Beatles, tracking their development from amateur cover-artists to bona fide musical pioneers. It showed listeners how their favourite songs were constructed, morphing from, in the case of Strawberry Fields Forever, a home recording, through a series of experimental studio versions, to the finished product.

Most importantly, though, the albums offered intimate access to private spaces. It felt as if we were in Studio 2 with the band, listening to them chatting, playing around, trying things out, then, finally, creating some of the greatest songs ever committed to tape.

Anthology 4

As with all the previous instalments, Anthology 4 shows how the personalities of John Lennon, Paul McCartney, George Harrison and Ringo Starr were so key to their appeal. Their famous sense of humour and joie de vivre can be heard throughout. On Baby You’re A Rich Man (Takes 11 and 12), following Lennon’s request for bottles of Coke from roadie Mal Evans, McCartney jokingly asks for some cannabis resin before wryly remarking “that’s recorded evidence for the high court tomorrow”.

Harrison laughs at his inability to “do a Smokey [Robinson]” on While My Guitar Gently Weeps (Third Version – Take 27); and Lennon seems to be having the time of his life singing All You Need is Love (Rehearsal for BBC Broadcast). Their humility shines through, too.

On Julia (Two Rehearsals), for example, we hear Lennon speaking with producer George Martin about his struggles with playing and singing it. Here’s the most celebrated artists of all time unsure whether he’s good enough. The recording took place only a matter of months after the release of Sgt. Pepper’s Lonely Hearts Club Band, an album considered to have changed not only music, but pop culture at large. And when Starr bashfully asks whether anyone “has heard the Octopus one” before giving Octopus’s Garden (Rehearsal) an airing, we genuinely feel his anxiety.

Another extraordinary element of this collection (and the previous three) is the Beatles’ shift from just seeming like a group of lads larking about to a group of musicians creating masterpieces, then back again. It happens so quickly and so naturally that it’s almost disorientating.

More than any of the other Anthologies, the significance of Martin’s contribution is printed in bold, then underlined, twice, in red ink. If anyone ever deserved the accolade of “fifth Beatle” it was he, with his skills as an arranger and composer gloriously evident on I am The Walrus (Take 19 – Strings, Brass, Clarinet Overdub), Strawberry Fields Forever (Take 26), and Something (Take 39 – Strings Only Instrumental).

Sadly, it looks like the well of treasures may have finally run dry. The collection includes several tracks Beatles devotees will have already hoovered up via Abbey Road Super Deluxe, The Beatles (White Album) 50th Anniversary Edition, and Let It Be Super Deluxe. But, when it comes to The Beatles, enough is never enough. As well as the album, there is also an extended version of the 1990s docuseries Anthology airing on Disney+ on November 26th, and a 25th Anniversary edition of the book (also titled Anthology).

Anthology 4 already has something in common with its mid-90s ancestors courtesy of some less-than-charitable press, but whether it will mirror their success remains to be seen. What is for sure, though, is that The Beatles’ commercial juggernaut, well into its seventh decade now, shows no signs of slowing down.

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Glenn Fosbraey does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Anthology 4 shows there’s still more to discover about The Beatles – https://theconversation.com/anthology-4-shows-theres-still-more-to-discover-about-the-beatles-270486

Source: The Conversation – UK – By Chantal Gautier, Senior Lecturer in Psychology and Sex and Relationship Therapist, University of Westminster

If you’re looking for a film that’s daring and emotionally layered, then Harry Lighton’s debut feature Pillion absolutely hits the mark. The film follows Colin (Harry Melling), a shy suburban guy stuck in routine and Ray (Alexander Skarsgård), a magnetic unreadable biker whose presence exudes both aloofness and intrigue.

What starts as a rough transactional alleyway hook-up, quickly shifts into a 24/7 BDSM (best understood when read in three pairs: bondage and discipline, domination and submission, sadism and masochism) dynamic built on power, ritual and control.

Within the broader framework of BDSM, Pillion situates Colin and Ray’s dynamic inside the concept of consensual total power exchange: a structured voluntarily arrangement in which a submissive (or “slave”) offers continuous obedience and service to a dominant (or “master”) extending beyond “scenes” and into daily life.

At its core Pillion explores power, eroticism, masculinity and identity. Lighton doesn’t shy away from the erotic elements. In fact, Lighton uses them as a springboard for deeper questions of self-definition. As we witness moments of submission and humiliation rituals (shot with a mix of tension and tenderness), we follow Colin’s emotional journey. From confusion to curiosity and eventually, a sense of charged enjoyment he didn’t expect, Colin finds himself surrendering in ways he never imagined.

One of the film’s most memorable sequences places submissives lined up face-down with bare backsides on picnic tables in the middle of a forest. Colin’s despair is unmistakable. It’s in these moments the film’s title snaps into sharp focus, clarifying who leads, who submits, and who rides pillion (the “bottom” in queer discourse).

Lighton solidifies dominant-submissive slave devotion with an unexpected sense of groundedness. The involvement of real-life members of the Gay Bikers Motorcycle Club amplifies the scene’s credibility, giving it a charged, lived-in authenticity.

Beneath the leather mask

But what symbolic or emotional function does control serve for Ray (if there is one, it might simply be this is what Ray is into – what we call their erotic template).

The film offers two compelling possibilities. First, the symbolic elements of BDSM (collars, rituals and rules) create a relationship framework that reaffirms the dominant-submissive bond of unity. For Ray, this connection doesn’t stem from emotional openness but from the stability he maintains through structure and control.

BDSM becomes a space where instructing Colin allows Ray to assert his identity through a style of masculinity that values control. Ray has deliberately curbed his emotional expression. At his core, he is someone who does not allow himself to need. So, for Ray, the dominant-submissive slave dynamic, becomes a mechanism for keeping vulnerability at bay.

Second, research on attachment styles suggest dominance within BDSM can offer the kind of predictability and structure that people with avoidant attachment styles often experience as safe. People like Ray who are uneasy with emotional closeness or unpredictability, may find reassurance in the clearly defined expectations of these dynamics. With emotional disclosure minimised and expectations clarified, the dominant role creates conditions that shield Ray from the forms of vulnerability he finds threatening.

The film’s exploration of masculinity deepens, revealing how societal and cultural norms shape what is considered “manly”. Ray embodies commonly held masculine ideals, including stoicism, self-control, confidence and a sculpted physique. Colin’s more submissive, compliant energy challenges these expectations, revealing masculinity as culturally shaped rather than fixed.

Awakening of self

In his “slave” role, Colin embodies both conventional and unconventional masculinity. His surrender emerges as strength – endurance, discipline, sexual stamina. Because submissive roles demand patience, obedience and the resilience to meet discomfort (consensually), they cultivate qualities that expand, rather than diminish, the boundaries of masculinity, providing a more fluid and expansive understanding of masculine identity.

For Colin, the dominant-submissive slave journey becomes a path of self-discovery, allowing him to recognise what he wants, what he excels at – his “aptitude for devotion” – and ultimately who he is. His evolving masculine identity takes shape as he embraces the newly uncovered self, not with shame, but with authenticity.

The film makes clear that BDSM dynamics, despite popular assumptions, are not bound by gender. And while Pillion concentrates on a gay male relationship, the emotional terrain it explores – power, vulnerability and identity – resonate across genders.

Eventually, in pursuit of greater happiness Colin begins to question the arrangement, perhaps prompted by those rare fleeting moments when Ray lets his guard down. Summoning newfound courage, he asks for a “day off” from their daily dominant-submissive dynamic. After a chaotic and rebellious detour, Ray agrees to the new terms. But a question lingers at the film’s emotional core: can Ray allow himself to experience emotional closeness beyond his role as “master”?

Pillion is an emotionally intelligent multi-layered film, rich with moments of humour, wonder and rawness. Boldly provocative it immerses viewers in a world of BDSM, while challenging conventional assumptions about desire, relationships and identity. Lighton delivers a film anchored by exceptional performances from both its main cast and its supporting ensemble, crafting a story that sticks with you long after the credits rolls.

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Looking for something good? Cut through the noise with a carefully curated selection of the latest releases, live events and exhibitions, straight to your inbox every fortnight, on Fridays. Sign up here.

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Chantal Gautier does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Pillion: what a sex therapist expert thinks of this domination-themed queer rom-com – https://theconversation.com/pillion-what-a-sex-therapist-expert-thinks-of-this-domination-themed-queer-rom-com-270224

Source: The Conversation – UK – By Naomi Braithwaite, Associate Professor in Fashion and Material Culture, Nottingham Trent University

When Hollywood actress Sydney Sweeney attended Variety’s Power of Women event on October 30 in Los Angeles, she may have delivered an empowering and inspirational speech, but it was her dazzling, see-through dress that really stole the show.

The floor-length silver design was a collaborative creation by Christian Cowan and Elias Matso. It was made from crystal mesh and structured around a steel-bone corset. The sheerness of the fabric meant her nipples were visible – a detail that stirred a frenzy of media attention across the globe.

Many people have marvelled at the dress, with an X user calling it an “absolute showstopper”. Sweeney’s bold choice to go braless sparked debates on social media around image and empowerment. But there has also been a backlash, criticising her for wearing such a revealing dress at an event that celebrates female advocacy and achievements.

Since 2012, the Free the Nipple movement has campaigned for gender equality for women by highlighting that while men can go topless in public, in many countries women could be arrested for indecent exposure.

Over the years the movement has gained momentum with the intention of showing that it is not just about nudity, but – importantly – about how women present their bodies and are perceived by others.

Critiques of Sweeney’s dress, however, demonstrate that the visible nipple still causes controversy. At the Brit Awards in March 2025, musician Charli XCX’s sheer outfit and visible nipples led to hundreds of complaints to Ofcom. A recent 2025 survey by YouGov, meanwhile, found that only 25% of women thought it was “completely” or “somewhat” acceptable for celebrities to wear garments that displayed their nipples (compared to 45% of men).

In her 1975 seminal work Visual Pleasure and the Narrative Cinema, feminist film theorist Laura Mulvey unpacks the notion of the male gaze, where women are often presented in film as objects of male desire.

The continued disapproval of the visible nipple may suggest, she argues, that it is still considered as a sign of sexual objectification through the male gaze, rather than a personal choice that represents women’s confidence, empowerment and body positivity.

The nipple in fashion history

Fashion’s fascination with exposed breasts has a long and compelling history. During French queen Marie Antionette’s (1755-1793) reign, modest dress was confined to those of the lower classes. At the Court of Versailles, the décolleté (plunging neckline) was the height of fashion for women, and a mark of social standing.

Marie Antoinette, a great advocate of style, was known to have a penchant for revealing fashion, and she was not alone. Émilie du Châtelet (1706-1749), a philosopher, mathematician and Voltaire’s mistress, was known for plunging necklines and exposed nipples which she would rouge to accentuate their appearance. Pauline Bonaparte, Napoleon’s sister, often did the same.

The fashion for breasts at the French Court could perhaps be traced as far back as the mistress of Charles VII (1403-1461), Agnès Sorel, who would purportedly leave her bodice unlaced and her breasts exposed.

Fast forward to the 20th century and countless celebrities from Marilyn Monroe to Jane Birkin have worn sheer clothing that displayed their breasts and nipples. Monroe famously wore a sheer dress when she sang Happy Birthday to US President John F. Kennedy in 1962. The dress from an original sketch by US designer Bob Mackie was so tight that Monroe was reportedly sewn into it, and chose to wear nothing underneath.

There are few better showcases for the fashion of the 2000s than Sex and the City (1998-2004). Set in New York City, it followed the lives of four women as they negotiated work, life, friendship and love, all while wearing the most fabulous clothes. Across episodes the series had a profound impact on fashion, launching designers and creating trends.

In an episode aired in 2001, one of the female protagonists, Samantha Jones (played by Kim Cattrall), wore a pair of fake stick-on nipples under a blue vest top, for a date. Proclaiming them all the rage to her friends with the line, “nipples are huge right now”, she found herself a man, and quickly removed them and flung them across the room when he wasn’t looking.

For Jones, visible nipples were clearly an example of sexualisation as empowerment. Perhaps this moment was a precursor to Kim Kardashian’s lingerie label SKIMS releasing a nipple bra. In stark contrast, other Sex and the City cast members have revealed that they were afraid to show their real nipples on the show in case they were shunned by the film world.

From shock, to disapproval and on occasion admiration, debates about the appropriateness of visible nipples for women drone on. I for one respect celebrities like Sweeney for making a stand against societal expectations over the presentation of women’s bodies.

Freedom of self-expression is after all a manifestation of empowerment and bodily confidence. Long live the freed nipple.

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Naomi Braithwaite does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. A brief history of the exposed nipple in fashion – from Marie Antoinette to Sydney Sweeney – https://theconversation.com/a-brief-history-of-the-exposed-nipple-in-fashion-from-marie-antoinette-to-sydney-sweeney-269444

Source: The Conversation – UK – By Jonathan Growcott, PhD student in Environmental Intelligence, University of Exeter

The roar of an African lion is one of the most iconic sounds of the animal kingdom. However, my new research suggests it should actually be separated into two distinct vocalisations: the full-throated roar, and an “intermediary roar” with a flatter, less varied sound. Making this distinction could have important implications for lions’ conservation.

The total population of wild lions in Africa is estimated to be between 22,000 and 25,000, but this number is half what it was 25 years ago. The main drivers of this decline are habitat loss and fragmentation, reduction in prey, and conflict with local people. According to the International Union for Conservation of Nature red list, lions are now vulnerable to extinction.

My colleagues and I investigated roaring in lions to get better at distinguishing between their different vocalisations. But our findings may make it easier to monitor lions’ numbers, which in turn would make it easier to protect them.

You might think you know a lion’s roar from the clip used by MGM at the start of all its films – but that isn’t quite right. It’s actually a tiger’s roar dubbed on top of this famous piece of cinema. Compared with a lion, a tiger’s roar is often raspier and higher-pitched.

In fact, male and female lions produce what scientists call a “roaring bout”. Each begins with a series of soft moans, followed by a subsection of intermediary and full-throated roars, which finally subside into a repetition of grunts.

There is no set length of time a roaring bout will last (though most are between 30 and 45 seconds), and the number of vocalisations within each subsection does not keep to a strict formula.

The roaring bout is important behaviour. Not only does it signal to other lions in their pride where they are, but to unfriendly lions, bouts can be used to advertise territorial boundaries.

The loudest, most complex component of a lion’s roaring bout is the full-throated roar, which is an individually identifiable sound. Each lion’s full-throated roar is as specific to the individual as the pattern of spots are to a leopard (and as my 2024 paper found, their roar too).

Population density estimates are a key metric for identifying priority areas for conservation. If individual lions can be identified by their full-throated roars, then researchers could use this to count them.

However, picking out the full-throated roars from other vocalisations within a roaring bout is tricky. Even for those with expert ears, it is a subjective process which is prone to human bias.

The reason becomes clearer when you look at a spectrogram of a lion’s roaring bout – a visual representation of its sounds using an x-axis of time (seconds) and y-axis of frequency (hertz). The full-throated roar at the start of the mid-section of the bout rarely looks or sounds the same as the roar that occurs right before the grunts kick in. Which made me wonder: should these different roars be classified the same?

My colleagues and I leaned on AI to help us analyse our roar recordings. Perhaps this could help solve the issue of subjectivity, we thought, and classify lion vocalisations automatically, creating a tool so that other researchers always know which roar is right for counting lions.

We used supervised machine learning to classify the vocalisations which occur in a lion’s roaring bout into three call types: full-throated roars, grunts, and our newly identified intermediary roar.

From the spectrogram, we could see that the full-throated roar is loud, complex and arcs in pitch. The intermediary roar was a flatter sound with less variation – and it always followed the full-throated roars. Grunts were shorter and even more compact.

Using simple acoustic parameters – the duration of each vocalisation and its maximum frequency – we could then identify each call type with an accuracy of 95.4%. As the full-throated roars are unique to each individual lion, we wanted to test whether our AI analysis of full-throated roars was better at distinguishing between different lions than human hearing.

We found we could identify individual lions at an accuracy of 94.3% – an improvement of 2.2% over when human-selected full-throated roars were used. Using this technique for identifying full-throated roars could hopefully lead to more accurate population density estimates of lions.

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Read more:
Lions are still being farmed in South Africa for hunters and tourism – they shouldn’t be

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It is exciting to discover the language of lions is more complex than previously thought. However, it is unclear what the communicative differences of the two roar types may be.

Scientists have long believed that lion roars may convey information relating to pride size, age and identity – but without Dr Doolittle to translate the meaning of moans, grunts and roars, this is still guesswork.

Therefore, it may take some time before “lion” appears as an option on Duolingo. For now, we should just celebrate the fact that AI can help us to discover more about wild phenomena as iconic as a lion’s roar.

Jonathan Growcott was funded via a doctoral training grant awarded as part of the UKRI AI Centre for Doctoral Training in Environmental Intelligence (UKRI grant number EP/S022074/1).

– ref. Lions have two types of roar – new research – https://theconversation.com/lions-have-two-types-of-roar-new-research-270314

Source: The Conversation – UK – By Daniel Mills, Professor of Veterinary Behavioural Medicine, University of Lincoln

Humans have probably shared their homes with dogs ever since they first settled. So it could be argued that there is no such thing as “human society” without including animals as part of it. Our long shared history with dogs has even be described as a form of co-evolution.

And a new study my colleagues at Cambridge and I published shows golden retrievers and humans seem to share a genetic basis for at least some behaviour.

Dogs show many adaptations that might help them live and co-operate with people. Ancient humans may even have been selected dogs’ ancestors for an ability to eat a more human diet than wolves. At a psychological level there are many adaptations that aid communication between the two species, like an ability to follow human gestures such as pointing, that exceeds that of our closest relatives, chimpanzees.

Dogs also appear to be exceptionally skilled at responding appropriately to human emotion. But it is not all one sided. Humans seem to show an intuitive understanding of the nature of dogs’ vocalisations.

Nowadays, our relationship includes sharing the hustle and bustle that is so often a feature of modern living. So it is not surprising that there is an exceptionally high prevalence of stress-related problems arising in dogs, especially in countries like the US.

This has led researchers to question to what extent we might share mental health problems too. Recently there have been several claims about the potential for an autism-like syndrome in dogs. In March 2025, a similar genetic marker was identified for some of the social problems related to autism.

Our study has taken this genetic search to another level. My team and I analysed the genetic code and behaviour of 1,300 golden retrievers, looking for genes associated with their behavioural traits. “Equivalent” genes in humans, inherited from the same evolutionary ancestor, were then identified.

They also identified the genes’ associations with a range of human intelligence, mental health and emotional processes. I specialise in studying and managing companion animal emotions at the University of Lincoln, and so I worked with the team to explore the psychobiological basis to these traits.

We identified 12 genes where there seemed to be a connection between dogs and humans that related to similar psychological functioning. Some of these were closely aligned in terms of the emotional responses they produced, for example responses related to non-social anxiety. However, in other cases the link was perhaps less obvious.

But we formed hypotheses that may explain the association. When we did this, we found logical reasons to support the similarities we saw in the genetic associations in humans and golden retrievers.

For example, the canine gene ADD2 was associated with fear of strangers, but in humans was related to depression. A key characteristic of depression in people is social withdrawal, so we suspect there may be a common genetic link, which manifests in dogs (who are generally hypersocial) as stranger anxiety.

Other potential associations were with human conditions that involved complex cognitive processes, like self reflection, which are not thought to occur in dogs. However, as we looked more deeply into the range of human associations we could identify potential reasons for even some of these associations.

For example, trainability in dogs tended to be linked to genes in humans that are connected to not only intelligence but also sensitivity about being wrong. As far as we know, dogs cannot project themselves and their circumstances in the abstract ways people can, but they can certainly vary in their sensitivity to unpleasant experiences. so this might form the basis of the common genetic root between the two species.

The results provide a great basis for future studies in comparative and evolutionary psychiatry. As, Eleanor Raffan, a vet and assistant professor of physiology who led the Cambridge side of this research, said: “The findings are really striking – they provide strong evidence that humans and golden retrievers have shared genetic roots for their behaviour. The genes we identified frequently influence emotional states and behaviour in both species.”

There are, of course, differences in the ways that humans and dogs experience their
emotions. A lot of human emotion is tied up in complex thought processes. However, that does not undermine the importance of related conditions that might reflect mental health or suffering.

Enoch Alex, the first author of the report and a PhD candidate in the department of physiology, development, and neuroscience, summed this up: “These results show that genetics govern behaviour, making some dogs predisposed to finding the world stressful. If their life experiences compound this, they might act in ways we interpret as bad behaviour, when really they’re distressed”.

Although it might be tempting to sometimes dismiss academic work on dogs as somewhat frivolous, in this new work, there are hints at an important new role for dogs in our shared society: as natural models of mental health issues.

Daniel Mills does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

– ref. Golden retriever and human behaviour may be linked by the same genes – new research – https://theconversation.com/golden-retriever-and-human-behaviour-may-be-linked-by-the-same-genes-new-research-270402

Source: The Conversation – UK – By Susan Ann Samuel, PhD Candidate, School of Politics and International Studies, University of Leeds

At the UN climate conference Cop30 in Belém, Brazil, I asked some young climate activists and negotiators about their hopes, expectations and demands. Despite their positivity and the push for action from climate movements, Indigenous people and civil society, a lack of consensus on key issues was palpable.

Following overnight negotiations on November 21-22, the Brazilian presidency unveiled an outcome decision referred to as the “global mutirão” (collective efforts). But experts agree that the outlined climate action is insufficient.

I attended this years’ Cop as an advisor to the international Youth Negotiators Academy — a programme offering training to negotiators under the age of 35. My experience at Belém informs my PhD research into how social movements are influencing climate conferences. Here are some of the expectations of the young people I met at Cop30.

Brazilian student Ana Bertazzo Lemos, 23, attended Cop30 calling for obligations to cut fossil fuel emissions and the integration of ecological action into everyday life. But the final Cop30 text had no mention of fossil fuels.

Without a roadmap to transition away from fossil fuels, the Brazilian presidency said it will move forward outside the UN process. Accordingly, the first International Conference for the Phase-out of Fossil Fuels will be held in Colombia in April 2026.

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Read more:
Youth activists are now real agents of change at global climate summits

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Equality for Indigenous people

Matthaeus Menezes Assef, 29, from Guarujá, Brazil, is the student representative of the UN Framework Convention on Climate Change (UNFCCC) taskforce at the University of Leeds. I talked to Menezes and Guarany Osório, a Brazilian professor of sustainability, about their common goals.

Menezes is concerned for Brazil’s domestic political vision. He says Brazil needs to deal with deforestation and oil extraction in the Amazon, while evolving as a climate leader. He was happy that Cop30 brought 3,000 Indigenous people to Belém, with many receiving blue badges for direct access to negotiations. However, a roadmap to deforestation did not materialise at Cop30.

Protection for Amazonia

Jhulielson Conceição, 22, and Nathália Vasques, 24, were volunteers at Cop30, providing essential information and guidance to delegates. “Without us they’ll be lost,” Vasques told me. She sees Cop30’s location as crucial because Belém is on the frontline of climate change.

Vasques hoped that first-hand experience for delegates would translate into stronger commitments and greater protection for Amazonia, but this hasn’t happened yet. Both Conceição and Vasques wanted to see more recognition for youth voices at future Cops — but this shouldn’t just be tokenistic. Young people require decision-making power.

Stronger climate law

Emily Zinkula, 25, a law student from Stanford University, focused on whether legal mechanisms can create accountability for climate action. She tracks whether negotiations incorporate the recent advisory opinions on climate obligations, particularly by the International Court of Justice. An advisory opinion is a legal interpretation that’s not legally binding, provided by a high-level court or tribunal in response to a specific question of law.

Zinkula spoke at a side event alongside Jojo Mehta, co-founder of the campaign organisation Stop Ecocide International. Zinkula argued that the advisory opinion can help civil societies gain momentum around recognising ecocide (large-scale destruction of nature by human actions) as an international crime.

Having researched climate laws, I share her vision for accountability and justice – but the negotiations don’t yet reflect that.

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Read more:
How young people have taken climate justice to the world’s international courts

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A healthy just transition

Nova Tebbe, 28, a postdoctoral researcher from the Global Climate and Health Alliance and UNFCCC constituency member, called for the introduction of “indicators for adaptation” – the rules, metrics and standards needed for adaptation projects.

Tebbe demanded adaptation finance from developed to developing countries as per the Paris climate agreement. She emphasised that human health should be central to climate negotiations, and hoped for a just transition mechanism that moves from policy to implementation.

Tebbe also wanted the second global stocktake (a five-yearly assessment of the world’s progress toward the goals of the Paris agreement, due in 2028) to be more inclusive, with civil society input. She told me how the Belém conference’s positive atmosphere and push for quick decisions seemed unusual compared with other climate summits she had attended.

However, the final outcomes of Cop30 did not offer reassurance on most of her hopes. A new just transition mechanism was adopted, but without any map, money or manual.

This mechanism is a strategy to guarantee that the global shift towards a green economy is equitable and safeguards the rights of all people. There were discussions about doubling adaptation finance by 2025 and tripling it by 2035 – but whether the adaptation indicators include priorities for health is yet to be seen.

Young climate activists can’t deny that climate negotiations are complex, driven by political agendas and national interests. But my time in Belém has reinforced something essential: young people can play an instrumental role in and around the negotiations. Unfortunately, those demands don’t always translate into actual outcomes.

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Susan Ann Samuel is a PhD candidate at the University of Leeds – School of Politics and International Studies (awaiting defence). She collaborates with the Youth Negotiators Academy and her presence at the UNFCCC COP30 in Belém, Brazil was as an advisor to YNA. Her PhD is funded by Prof. Viktoria Spaiser’s UKRI FLF Grant MR/V021141/1. She currently works as the Research Assistant to Dr. Shashi Tharoor – Member of Parliament, Thiruvananthapuram and Chairman of Committee of External Affairs, India.

– ref. The demands of young people went unfulfilled by the UN climate summit – mostly – https://theconversation.com/the-demands-of-young-people-went-unfulfilled-by-the-un-climate-summit-mostly-269527