Aged 56 and in the sixth decade of her career, Shields is still very much here, all cheekbones and eyebrows.
“I just keep moving,” she says with a shrug. “I didn’t want to go away.”
Despite (or perhaps because of) modelling swimwear from the age of 15, Shields has spent a lifetime battling with her body image.
“I was always called the ‘athletic’ one. ‘She’s the athletic type. She’s a handsome woman. She’s a workhorse, a mule.’” She rolls her eyes.
Until a few years ago she wouldn’t wear a bikini.
“My kids were the ones who said, ‘Mum, you can’t wear that muumuu. You have to show your body.’ Body image has changed. These kids celebrate their shape.”
Last year she posted bikini shots of herself.
“I want my girls to explore and experience and not feel guilt and not feel shame. I look at [my daughter] as an 18-year-old and just think, ‘Wow, she is so much more in her body and she owns her sexuality.’”
“I think the liberation for me took longer than most. Being so shut off from my sexuality for so long, and the flip side, smouldering on magazine covers, it confuses the hell out of you.”
A couple of years ago, Shields began to feel that her demographic was not represented and she wanted to do something about it. “I am in a prime now, a different type of prime, and they’re not marketing to me.”
“We [post-menopausal women] control 80% of the purse strings, but the message out there is, ‘You’re done.’ And I really feel like I’m just beginning.”
Ugur Sahin and Özlem Türeci, the couple behind the BioNTech vaccine, are now back in the lab in the race to beat Omicron. They speak to @thetimes. thetimes.co.uk/article/bionte…
Thanks to a new variant, the vaccine they made — now commonly known as the Pfizer vaccine — is a lot less effective.
But the pair came back to tell us there was hope: and that another vaccine could be on the way.
“We never said, ‘OK, the mission is done and the goal is achieved’,” says Türeci. “We cannot predict how the virus will forever evolve.”
She’s not surprised that she is still employed in being the West’s major hope of ending a global pandemic.
That Abdul and his family might have no future in their homeland was a possibility that grew from distant fear to grim certainty within a matter of weeks thetimes.co.uk/article/refuge…
As he describes their year of turmoil, hope for what the future may hold and gratitude to the nation that gave them sanctuary is tinged with deep sadness and regret at what they have left behind
@willpavia spoke with Jane Rosenberg about drawing the famous defendant — and how she feels about Maxwell turning her pencil on her thetimes.co.uk/article/ghisla…
Rosenberg is the Holbein of the Maxwell trial, a court artist capturing the principal characters and sending out scenes of the unfolding drama that reach a massive audience.
You see her pictures everywhere. “I’m going viral,” she says
Maxwell’s family, recognising the power of a portrait, have hired their own courtroom artist to knock up a sympathetic picture for their website
Stratton, writes @HelenRumblelow, was meant to usher in a new era of Government - a softer, honest approach.
In the end Downing Street’s star hire turn into someone who made the PM ‘furious’
“It looks as though what is caught on camera is not a lie but an epiphany about moral compromise.”
“‘What is the answer?’ Stratton then asks by way of reply, because the question seems to be a different one: how far do you lie for your boss and to the nation?”