Select Page
Parents and non-parents alike are losing it after watching an emotional video for Michael Bublé’s song ‘Forever Now’

Parents and non-parents alike are losing it after watching an emotional video for Michael Bublé’s song ‘Forever Now’

michael buble reax_edited 1

Michael Bublé released his last album in 2018.

Dave J Hogan/Getty Images and Twitter

  • People on Twitter are getting emotional after watching a moving video for Michael Bublé‘s song “Forever Now.”
  • The video shows a time-lapse of a child’s room as they grow from a baby to a young adult preparing to enter the world, and had over three million views as of Thursday morning.
  • Parents and non-parents alike took to social media to share their reactions to the video, with some saying they were “ugly crying” and others expressing their love for their children.
  • Visit Insider’s homepage for more stories.

Parents and non-parents alike are getting emotional on social media after watching a moving video for Michael Bublé’s song “Forever Now.”

The video, which had over three million views as of Thursday morning, shows a time-lapse of a child’s bedroom as they grow older, with a crib and toys eventually being swapped out for an adult-sized bed, computer, and sports equipment as the child ages.

The end of the video shows the room being packed up and slowly emptied, as the kid prepares to go to college and head out into the world.

On Twitter, people were quick to share their reactions to the moving video, with many warning their fellow parents to have some tissues nearby if they decide to watch.

Others who didn’t have children still thought the video was poignant and beautiful.

Although the song is from Bublé’s 2018 album, and the video was uploaded in March of this year, it seems that people found it even more relevant this time of year, as kids prepare to start college and leave home for the first time.


Michael Buble

Close icon
Two crossed lines that form an ‘X’. It indicates a way to close an interaction, or dismiss a notification.

Check mark icon
A check mark. It indicates a confirmation of your intended interaction.

Read More

Young Women Are Reclaiming The Word ‘Egirl’

Young Women Are Reclaiming The Word ‘Egirl’

Ash “Aasshh.jpg” Eldridge
Ash “Aasshh.jpg” Eldridge
Image: Ash Eldridge (Instagram)

Jayden “YourPrincess” Diaz is haunted by the term “egirl.” A League of Legends streamer competing among the top two percent of players, Diaz hasn’t been able to escape it for years—every day in Twitch chat, in League of Legends games and across social media.

“I let it really hurt me,” Diaz, 20, told Kotaku of the word, which she defines as a woman who “exploits the fact that she’s a girl to get attention online.” Diaz, with curled lengths of brown hair and a polished fashion sense, says viewers have called her a glorified camgirl throughout her career as a professional gamer. “I let it control even the role I played in League,” she explained, adding, “I used to main support, but I stopped playing support because I hated being called a ‘boosted egirl,’” or a woman whose high League rank was earned by someone else.

Jayden “YourPrincess” Diaz at Riot Games’ Rumble on the Rift event at TwitchCon in 2018.
Jayden “YourPrincess” Diaz at Riot Games’ Rumble on the Rift event at TwitchCon in 2018.
Photo: REL Hunt (Riot Games)

“Egirl” is a word that has followed female Twitch streamers and cosplayers around for years. Derogatory by nature, “egirl” is wielded by naysaying Twitch trolls to undermine a woman’s legitimacy as a true gamer and nerd based on her looks or internet popularity. In 2013, right before it hit the mainstream, one Urban Dictionary user’s early classification of egirls went, “Often seeking the attention of professional gamers. . . Live sightings of eGirls can be found at gaming LANs.” As gaming culture moved onto Twitch, and streamers garnered a modicum of micro-celebrity, public-facing girl gamers like Diaz began receiving the popular put-down and have been waging war on it ever since.

Yet over the last year, egirl has taken on another meaning. If you’re not a teenager on the short-form mobile video app TikTok, you might not have noticed. I asked Diaz to run a Google image search for “TikTok egirl,” which brought up hundreds of pictures of primly made-up teen girls sticking their tongues out in high-fashion streetwear. “What the fuck?” said Diaz, laughing in disbelief. “Dude, it’s a whole fashion trend now.”

In a recent article in the fashion and lifestyle magazine Dazed, a young girl with heavy, winged eyeliner and cropped, slime-green hair stares menacingly at the camera. Around her neck is a dog collar, and her lips and cheeks are dark red smudges. “E-girls and boys’ style is the antidote to the homogenised IG [Instagram] aesthetic,” the headline reads. The article goes on to detail how Gen-Z influencers who describe themselves as “egirls” are “mixing alternative aesthetics like thick chains, chokers, monochrome stripes, and dramatic eyeliner with softer, anime-inspired qualities like little hearts drawn on under their eyes, caked-on blush, and rainbow-coloured hair.” Leveraging beyond-their-years makeup skills and mouthing the lyrics to anime openings over short TikTok dance videos, the new generation of self-proclaimed egirls runs counter to the hardcore online gaming culture Diaz has been steeped in since 2014.

“I first heard the term ‘egirl’ on Tiktok!” said TikTok user and cosplayer Hailie Harding, who describes it as a sort of “manic pixie dream girl” aesthetic. Harding was the only TikTok star Kotaku could persuade to respond to our request for comment over e-mail, although a dozen were sent. (Most preferred to chat on Instagram). “Being an egirl is creating this perfect illusion of exactly what the internet today claims it wants: an anime loving, video game playing, sexy goth girlfriend.” She adds, “As a girl, I think it’s a fun way to express yourself.”

Gaming isn’t really necessary; and although liking anime adds some egirl cred, the new cadre of egirls is more identifiable by their edgy-kawaii look rather than their hobbies. The TikTok egirl aesthetic has become so codified that, months ago, its consistency spurred a meme recreated hundreds of thousands of times across the app: “egirl factory.” In the videos, a supposedly normal-looking girl is dragged off to an “egirl factory,” where someone outfits her in the trappings of modern egirl-ism: winged eyeliner, make-up hearts, pigtails. Then, she might do a bored, hip-swinging dance or ironically stick her tongue out like an ‘80s hair metal singer:

Female Twitch streamers who have been around the block know that Harding’s sexy, game-playing girl isn’t exactly what “the internet” has always wanted. It’s this tension that spawned the derogatory connotations of “egirl” in the first place. For more misogynistic Twitch viewers, there are arbitrary parameters for how a woman who games should behave on the internet, with the bar impossibly high for “acceptable” behavior. Trolls might argue that while grinding out levels on League of Legends and wearing thigh-high socks spells “girlfriend material,” doing that and earning money on Twitch makes someone a glorified camgirl. Self-appointed crews of vigilante boob police have spent hours on Twitch looking for female streamers to report for clothing violations. (Yet at the same time, Sarina “Novaruu” Powell has been dressing “like a boy” on stream for about a week, and still says she sees “egirl” pop up in chat about five times a day.)

“The idea was that women anywhere near professional male gaming was gonna turn the whole thing to shit,” entrepreneur and former Twitch streamer Zoie Burgher told Kotaku of the origins of “egirl.” Burgher earned her viral online fame from playing Call of Duty in a bikini and twerking at the camera after earning a kill streak. “People were uncomfortable with the girls showing up so they had to come up with a derogatory term.”

Since the word “egirl” has been leveraged to condescend to women gaming online, women gaming online have been leveraging it for their own purposes. Burgher was one of the first Twitch streamers to turn the “egirl” into her own self-aware, money-making brand. Permanently banned from Twitch since 2016 for over-sexual content, Burgher now describes herself as the “head egirl in charge” of Luxe Modeling, a collective of self-described “egirls” who sell lewd photos and videos. “I love the term egirl because I think it’s just like the world slut,” said Burgher over the phone. “You’re not supposed to take a derogatory term to give yourself empowerment,” she explained, adding that that’s exactly what she’s doing. “I’m trying to make the gamer girl WalMart,” she added of Luxe Modeling.

Zoie Burgher streaming Call of Duty on YouTube.
Zoie Burgher streaming Call of Duty on YouTube.
Image: Zoie Burgher (YouTube)

Recently, the gamer corner of the internet summited peak self-aware egirl when cosplayer Belle Delphine, in an Overwatch bikini and brandishing a pink Xbox controller, began packaging her “gamer girl bathwater” for $30 a pop. Delphine seems unapologetic about earning money from her sex appeal and gaming hobby, and as Polygon’s Patricia Hernandez noted, it wouldn’t be off-base to call Delphine a troll. “What’s curious about Delphine’s side hustle here is that it seems to be a mixture of business and next-level performance art,” Hernandez wrote. “Delphine’s work is defined by her willingness to go there. The result is as strange as it is funny.” The bathwater sold out in two days.

Although the reclamation of “egirl” isn’t new, its meaning has broadened, distinct from Twitch culture. TikTok teens’ redefinition or mainstreamification of it almost mirrors the transition from “emo” to “scene.” Emo was decidedly a lifestyle, culture and an aesthetic, while its Myspace-fueled cousin, “scene,” was mostly recognized as a sugary interpretation of the emo aesthetic. The TikTok egirl might cosplay, or might exclusively shop at Urban Outfitters; she might dye her hair pink, or wear cat ears. She might be a 4chan-shitposting social outcast, or a popular girl with the most mild edge.

There is, of course, deeper connective tissue between the “egirls” of Twitch and TikTok. Living primarily in cyberspace is one of them. In the past, actively participating in online gamer culture as a woman might have fulfilled that condition. Today, when “online” has nearly subsumed “offline” for younger generations, the “e” in egirl is more a nod to the portion of one’s identity that exists purely in cyberspace. This fixation on social media isn’t new to Gen Z, but their hyper-awareness of their online personae might be. This leads to another major throughline: others’ idea that egirls are phony and just want attention.

“E-girl literally just begging for attention,” reads the TikTok profile description of one star who goes by Gothchan666. If the name wasn’t a giveaway, clearly Gothchan666 is being ironic; it doesn’t matter whether or not she’s “begging for attention” if she’s having fun on an app with her friends and followers. In a TikTok video, Gothchan666 might pull her hair into two anime-style buns, draw black dots under her eyes, which are heavily mascaraed, and lip-sync the lyrics to some cutesy song with high-pitched vocals. If she’s wearing an outfit she likes, she might post three or four TikTok videos in it, each of which are viewed tens of thousands of times. “I only call myself an egirl because other people call me an egirl,” she explained over an Instagram direct message.

Twitch streamer Natalie “ZombiUnicorn” Casanova
Twitch streamer Natalie “ZombiUnicorn” Casanova
Image: Natalie Casanova (Twitter)

Aside from the harassment Twitch streamers have been facing for years, the idea that egirls are online to be objectified has had consequences even for the newer generation. Earlier this month, 17-year-old Bianca Devins, widely referred to as an “egirl” on TikTok, was murdered by an unhinged man she met online named Brandon Andrew Clark. Devins and Clark attended a concert together New York city, and when she expressed interest in another man, police say, Clark cut her neck and posted images of her body on Discord. “Sorry fuckers, you’re gonna have to find someone else to orbit,” he said to her friends and fans. Investigators believe that her kiss with another man was the murderer’s motive.

Reclaimed or not, the word “egirl” is laden with dark connotations. As a younger generation’s influence begins to alter its meaning, though, women on Twitch might begin to see some changes, too, for better or for worse. More and more, women on Twitch who aren’t fighting it are gleefully enjoying the new toothlessness of the term. “I think the term ‘egirl’ is past being an insult now,” said Twitch streamer Natalie “ZombiUnicorn” Casanova over e-mail. Lately, she’s seeing the word “thot” more instead. “If someone tried to use [egirl] as an insult toward me I’d just laugh and be like ‘Ahh yes, egirl Zombi aka the online version of me versus IRL Zombi when I actually go outside.’”

Read More

Sundance 2019 Interview: PARADISE HILLS Director Alice Waddington Talks About Her Wonderland

Sundance 2019 Interview: PARADISE HILLS Director Alice Waddington Talks About Her Wonderland

Sundance 2019 Interview: PARADISE HILLS Director Alice Waddington Talks About Her Wonderland

As a curator for Slamdance’s Department of Anarchy, I make a point of seeking out weird and wonderful films from around the world. One of my favorites from 2016 was Alice Waddington’s Disco Inferno. Even by our high standards, the short displayed a virtuosic command of production design, costuming, and cinematography with a delightful retro vibe that recalled Hammer Horror with a dash of surrealism.

The success of Disco Inferno led to her debut feature, Paradise Hills, a project that made significant buzz at the Fantastic Market a few years ago.

Without giving away too much, the picture follows a young, rebellious, upper-class woman sent to a rehab/brainwashing facility that transforms its patients into Stepford Wives. Additionally, this plot unfolds within a lush, imaginary universe of flying cars and holograms with a dizzying array of references to haute couture and art history. 

On a visual level, the result is staggering. As a story, the reaction has been mixed among audiences. The messaging about female objectification and male gaze is delivered with the subtlety of a sledgehammer. However, the work needs to be accepted on its own terms. When I asked Alice if her film was an allegory, she gave me an unequivocal “yes.” And, perhaps, for the YA viewers for whom this film is partly intended, that is not a bad thing.

In any case, the film just premiered at Sundance 2019 and I had a chance to sit down with Alice and chat with her a bit about what looks to be a highly promising career.

This is your debut feature but it reflects a highly creative and sophisticated understanding of costuming and production design. What experiences led you to this level of proficiency? What is your professional background?  

I began as a costume designer and also interned in camera departments for several films. From the ages of 16-21, I had worked in some 12 features and short films. Even though my parents had no industry background, they have a friend from university that did.

He’s a Director of Photography by the name of Quique López. And the first film we did together went to the Berlinale! Which was bonkers. That made me realize you could make something with your pals in an intimate setting like your hometown, yet it could have international repercussions…

My other background is in photography. At 18, I was one of the youngest photographers shooting for the Spanish edition of Harper’s Bazaar. I was just trying to see where the discipline would take me. Then, an agent that I had at the time in Spain for fashion photography encouraged me to begin working with DSLR video, and I started making fashion films.

Another thing I had been developing was costume design. I participated in the design of costumes in films such as Magical Girl, which won at the San Sebastian Film Festival.

I realized that the key to creating something that people loved was to just make something that you adored; something that you were passionate about.

Calling the setting of your film “lush” would be an understatement. Could you tell us a bit about the locations used in the film? Did they inspire your story?

Our locations were mainly in Barcelona and the Canary Islands. They ranged from Brutalist palaces that housed architects, to ochre cliffs in the Mediterranean coast.

There’s also an homage in the film to the modernist architecture of Barcelona – which looks like gloriously melting Art Nouveau – and to Spanish Middle Eastern interiors.

For example, the speaker that you can see in the Residence’s Meditation Room is a gigantic reproduction of a Modernist spyhole that I photographed in a building and pinged to our female production designer, Laia Colet.

The process of selecting these locations was truly creative, because we were crafting a fantasy world from scratch. There’s only two digital locations in the film: the ballroom that opens the feature – which was shot on green screen – and the scenes that were shot in the ocean. All the others were practical sets. For instance, the room I was mentioning above was a Gran Canaria parking lot to which Colet added real grass and some panels with boschereccia or wooded gardens painted on them! Spanish resourcefulness.

How long did you scout?

Easily for four months. Also, Laia Farran’s (female head of locations) work in this film is remarkable too. I gave her a 23-page document that became hilariously well-known within the Spanish production world, because it shamelessly described every single location in the script using some three to five Spanish options for it, plus paintings, film screenshots and other images that could help the team in any way. But Farran had to turn it inside out to find spots where we actually could shoot!

Definitely, one of the unsung heroes of this film.

That document also happened to be a good base for the pre-production Pinterest board that I shared with the Production Design department, and later on even with our heads of makeup. We wanted the eyeshadow matched to the wall, matched to the gown; so everyone needed to be in sync (laughs)

Could you tell me just three films that inspired your film?

Picnic at Hanging Rock, The Princess Bride, and… the British TV Series The Prisoner!

I was a big fan of your previous short DISCO INFERNO. It was late last night, but I seem to recall the repetition of certain motifs such as the creeping vines in the rose garden. Is PARADISE HILLS part of the same universe you began in DISCO INFERNO or is it something else?


Ah, yes, I did steal from myself!! Beyond the visuals we already discussed, both films are about women who are trapped. Disco Inferno was about a woman who’s unhappy with her job and condemned to do it over and over again for all eternity.

And Paradise Hills is about women who truly want to be themselves, who they are, when their environment simply won’t allow it. In some cases, their parents. In some cases, their partners. And they want to change them into their idea of a woman that doesn’t really exist.

Did any of the visual ideas of your film come from dreams?

I am a terrible dream journaler. I tried for a while and it was utterly impossible. I’d say my ideas come from daydreams instead. I was always that kid doodling in their Spanish textbook. I also think it’s empowering to own up to my ideas in a way that is conscious as possible.


Of the group of teens at the Paradise Hills “Residence,” do you identify yourself with one of them in particular? Or all of them?

Here’s the easy answer. Directors often identify with their protagonists. And I think that a few girls will see themselves in Uma’s relationship with her mother, and in the pressure to discover their ideal persona maybe too early on in life.

I do think it’s really important to tell women that they can and should take care of themselves when plausible and possible. I adore men— they’re my partners, my friends and my family. But that does not exclude the idea of being your own hero, or your own knight in shining armor, if you will.

Does your film echo any particular experience from your youth? For instance, did you ever break curfew? Was there anything from the film that replicated an episode from your teenage years?

First of all, I wanna set the record straight: I was a terrible teen (laughs). Wait, disclaimer: I was an extremely good, bookish teen with flawless grades until I was 15. But from then on, and probably because of how nerdy I still was (am?), I would try and prove any remaining toughness by having some bad friends, running away with them while telling my parents I was studying at a childhood friend’s house…

My parents were also then trying to understand the fact that I am a Queer person. I was living under constant inner turmoil and would bind my chest, cut my eyelashes, and to top it all off, I was obsessed with getting into a band called ‘Killer Crab Louses’.

Nowadays, I just watch my best friend drink red wine with her cats at home and direct films for that same teenaged self; that really just wanted to fit in. With Uma herself fleeing her home, it’s a bittersweet moment, but not a moral tale — just a natural reaction to having one’s freedom restricted.

Is your film an allegory?

Visually, it’s one allegory after another. One could say there might be one too many! (laughs) It’s like a fairytale or a bedtime story, with a strong message of coming together as women, to rescue ourselves.

Whether you like it or not, you’ll hopefully identify with the plight for identity that Uma suffers through. She wants to find the people who will love her for who she actually is, instead of having to change as her social entourage seems to want her to.

What is your attitude toward camp and melodrama? Is that a part of this film?

Oh yes, yes, our feature really is kitschier than Liberace’s entire piano collection, and that’s utterly intentional. I wanted to take fairytale resources from films like The Princess Bride and crank them up to eleven. Our feature is meant to be a fun adventure for our younger selves, sparing the cynicism of adulthood.

For example, I’ve heard our film compared to The Handmaid’s Tale, which I love; but Paradise Hills is so much softer, and campier. It would be like comparing Transformers to The White Ribbon. Both are awesome in their own ways, but I would not personally dare put them in the same box.

I also think it’s cool how the Residence is so beautiful yet the characters feel immediately skeevy about its methods. You know how some of the nicest neighborhoods by day become the most terrifying at night?

Some of the villains in your story are maternal figures. I’m sort of curious where power and control of the female body originates in your imaginary universe. Is it the product of male desire, or is it a complex form of self-observation?

The entire story is indeed about institutional, physical and mental control of men and women through an impossible idea of perfection. This message is very much for our young folks. They’re very exposed to this brand of poison, because of the constant presence of social media in their lives.

And we just want to tell them there’s no such thing as a perfect man or woman.

Infantilization is a common way of limiting folks’ power or influence, and maternalism or paternalism from power figures only feeds into that: if we reduce our sons or daughters to people who don’t really know what they’re doing, we do render them powerless.

Read More

Lady Gaga and Ryan Seacrest’s Grammys Interview Was So Awkward

Lady Gaga and Ryan Seacrest’s Grammys Interview Was So Awkward

61st Annual GRAMMY Awards - Red Carpet

Getty ImagesNeilson Barnard

Lady Gaga, never one to let the opportunity to roast someone pass her by, just called out Ryan Seacrest on the red carpet for his, um, sometimes-questionable interview skills.

Basically, when they were chatting, Ryan made a statement at Gaga and then pointed the mic at her. But he didn’t technically ask her a question, so she was like, “You didn’t ask me a question.” It was slightly uncomfortable!

You can kind of see it in this weird YouTube video.

But they were able to make a quick joke about it toward the end of the interview, with some classic Gaga facial expressions.

Either way, people are letting him HAVE IT on Twitter.

FYI, Gaga already won an award tonight in the pre-show portion of the Grammys. Her song “Joanne” won Best Pop Solo Performance, and Gaga joked that she was so excited that she wouldn’t be able to wear makeup because she was crying so much.

Congrats, Gaga!!

Follow Emma on Instagram.

Read More

Why You Need An Asian Bridal Makeup Service in Manchester, UK

Why You Need An Asian Bridal Makeup Service in Manchester, UK

In the past few decades Asians, especially Indians and Pakistani, have been coming to the UK mainly as qualified experts in their area. And along with their culture, they brought great wedding ceremonies as well. As we know the wedding is an event that is a celebration of a formal bond (marriage) between the couple in love. And though weddings are always fun, the Asian ones are a unique thing – with a festive atmosphere that can last for a few days it is something you have to experience.

If you are planning to organize your wedding or have some Asian friends are on that path also you might want to take a look at why is the bridal makeup service so important. You already know that the bride wants to look stunning and her best once the best day of her life comes and that is the marriage day. And though makeup doesn’t have to be that complex the traditional Indian, Pakistani, Bangladeshi, Somali makeup is. The goal of it is to fit perfectly with the wedding dress and the rest of the atmosphere as well. That is why hiring an Asian bridal makeup service is quite important. Let’s go ahead and take a look how can you benefit out of it.

Img source:

Benefits Of An Asian Bridal Makeup Service

1. If you are in the area of Manchester you are lucky as the Asian bridal makeup service Manchester is one of the best throughout the UK. You will be able to get excellent treatment for a reasonable and a fair price. On the other hand, if you were hiring a regular makeup artist you would probably pay more and not get all the traditional details included. That is where this makeup service steps in.

2. The makeup artists working for this service are highly experienced and are familiar with different Asian cultures and traditional makeup styles. Whether you are looking for traditional Pakistani makeup that can be provided by the Uzma’s team or you are a Tamil that needs to follow the traditions with makeup being heavily in style with all the jewelry and the wedding dress, you are sure to get excellent

3. Getting the right bridal makeup done is crucial for later photography and video sessions as well. Asians have an extra interest in being able to resemble on the beautiful wedding ceremony a few years after and that is why this service is of utmost importance as well. And what kind of photo would it be without a stylish and traditional bride being a major point of the festive atmosphere?

Img source:

Professional Asian Wedding Photography Service

As mentioned above the photography service is really important as well and luckily there in the UK, it shouldn’t be a problem. There are professional photographers who are familiar with the atmosphere and know how to capture even the slightest details that could become a major point. From the send-off ceremony to a bridal shower and the final party taking photos and recording is something that is essential for an Asian wedding. And it is a great way to make the already festive atmosphere much better without just a few photo shots!


Both the Asian wedding bridal makeup service and the Asian wedding professional service are beneficial and almost an essential part of the few days ceremony. By hiring the team of professionals you will be sure to get the best treatment and all your requirements fulfilled without breaking your budget.

Read More