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I've given birth after my unique baby news left men stunned – I have no regrets

I've given birth after my unique baby news left men stunned – I have no regrets

The Sun13-06-2025

A MUM has told how giving birth is a doddle when you do it without the dad.
Model Heather McCartney, 36, welcomed her second child last week after opting to use a sperm donor.
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The single parent received stick from men who branded her desperate because she wouldn't entertain a new relationship.
But Heather, who left Ayrshire for Australia, was ecstatic as she welcomed her daughter exactly a decade after she beat cancer.
She said: 'I had a planned C-section and no partner there.
"But my mum came all the way from Scotland to be with me, which made all the difference.
'Having a team of supportive women around, including the medical staff, felt really empowering and reassuring.
'I'm glad I did it that way—it felt right for me.
"As for offers to be the dad, I've had a few messages.
"But I'm just taking things as they come and enjoying this new chapter.'
Heather decided to put on make-up and give herself a glam look so she could take some special selfies after giving birth.
She received lots of compliments afterwards from folk who thought she looked incredible considering what she'd just endured.
The blonde pin-up added: 'My C-section was calm and smooth.
'So I felt pretty relaxed afterward. People mentioned I was glowing, which was really kind.
'But honestly, I was just happy everything went well.
'Feeling sexy wasn't really on my mind yet—more like taking it one day at a time.
'People will always love a MILF, so I'm happy to embrace that with a smile.'

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Summer reading: the 50 hottest books to read now
Summer reading: the 50 hottest books to read now

The Guardian

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  • The Guardian

Summer reading: the 50 hottest books to read now

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When did ‘feminist critique' of celebrities become nothing more than a snide telling-off?
When did ‘feminist critique' of celebrities become nothing more than a snide telling-off?

The Guardian

timean hour ago

  • The Guardian

When did ‘feminist critique' of celebrities become nothing more than a snide telling-off?

Sabrina Carpenter was accused of dragging women back into an unenlightened past last week, as the controversial cover for her new album was met with (apparently) feminist furore. It's ironic, then, that the past is precisely where Carpenter's most outspoken critics could do with looking. It's clear that the general consensus is lurching grimly to the right when it comes to gender, and a new generation of young, female critics should be wary of falling into step. The debate about how we look at women, and what they want, risks limply missing the point. In the past few weeks, Sydney Sweeney has been chastised for selling sexy soap, and Addison Rae scolded for dancing in her underwear on stage. It's odd that the backlash has been so immense, given the celebration of Halina Reijn's Babygirl film just a few months ago. The SheEO Nicole Kidman slurping milk out of a saucer? Hot. Sweeney's dirty bathwater? Degrading and vapid. Seemingly, Kidman's age made the former radically feminist, and by extension, permissible in the eyes of the kink police. It is relevant that these debates now take place on online platforms. At their best, these spaces could provide a rare forum for popular culture to be taken seriously. From uses of the 'sexy virgin' trope to golden-age glam fantasies of whiteness, to the transformative influence of a queer audience, there are so many interesting things to say about women such as Carpenter, Sweeney and Rae, and how we are encouraged to read them. Instead, the conversation is dictated by sexist algorithms, financially rewarding those with the most extreme views. Liberation no longer brings clicks, and so to open TikTok is to fall headfirst into a sea of diatribes so puritanical they'd bring a tear to Oliver Cromwell's eye. None of this is to say that to criticise the pop girlies is blasphemy, but vitriolic chastisement is no substitute for meaningful critique. One TikTok user, priding herself on inspiring tellings of 'Herstory', asserts: 'Sabrina knows nothing … [she is] a disgrace to every woman that has ever lived.' Oddly, accounts like this have a fetishistic preference for girlbosses centuries dead, happy to build a brand around celebrating 'first' women (authors, chemists, queens, you name it), while throwing abuse at those making headlines today. If only, the inference usually seems to be, young women such as Carpenter could be as good at feminism as Jane Austen or Anne Boleyn. In fact, the real lessons are to be learned from histories a little more recent. These critiques seem largely ignorant of the 'sex wars' of the 1970s, which saw militant feminists such as Andrea Dworkin argue that whatever the context, pornographic imagery was hateful, exploitative and male. Against her were sex-positive feminists such as Angela Carter, attempting to think generously and with complexity about desire and domination in women's lives. If anyone could be bothered to dig it out, Carter's 1978 book The Sadeian Woman might turn the argument about Carpenter on its head. There, she historicises the 'good bad girl', 'blonde, buxom' with a 'childlike charm', suggesting the impossibility of writing about power and sex without writing about capitalism too. For Carter, pornographic imagery, playing on domination and subordination, wasn't to be straightforwardly judged or disregarded, but might instead be seen as 'a critique of current relations'. For all that the sex wars were aggressively fought, they were also full of rich argument, breadth and a long-lost awareness of economic forces. One thing Dworkin did get right was pornography's grim realities when constrained to a ruthless commercial sphere. When it comes to the multibillion-pound porn industry and the world of pop, those with the real power, much like the anonymous, suited man on the cover of Carpenter's album, rarely appear in frame. It's ironic, then, that in January, no less than the record producer Pete Waterman singled out Carpenter as a small blond symbol of sexism. She was, he claimed, setting women's rights back years, adding: 'If you're asking to be respected, don't come on in a G-string.' I'm not sure Carpenter needs to beg for respect from those cooped up in the retirement home for pop producers presumably still profiting from Kylie's hotpants, but those comments serve to remind us that little has changed when it comes to raking in the cash. That latter-day Pete Watermans are still those benefiting, in this case from charged debates about violence against women, is what socialist-feminists would have been pointing out decades ago, and precisely what we should be talking about today. If images of sexual subordination make some feminists uncomfortable, we should talk about that too. Instead, we're reverting to ironically paternalistic tellings off. Of course, it should come as little surprise to find the parameters of feminine sexuality being policed under the patronising pretence of concern for women's safety. It's precisely this logic that has been weaponised against transgender women for years. The result? A feminism that packs women into smaller and smaller boxes with every convenient transgression that comes along. We might ask questions about the unhappy marriage of capitalism and kink, but suggesting that women who want to experiment consensually with images of domination should in some way take the blame for male violence is dangerous, distracting and ignorant of history. Decades of work (against, for instance, the so-called 'rough sex defence') have been spent protecting women's right to express themselves sexually without fear of harm – it isn't 'choice feminism' to try to hold that ground. 'I can't escape your history,' sings Carpenter on a 2022 track. If only those attacking her felt the same way about the feminism they invoke, they might see what's really going on here. It's not so much a return to sexy pop that is restricting women as the censorious criticisms that pop's profit-driven branding seems perfectly calculated to provoke. Jennifer Jasmine White is a writer and academic

Georgia Love and ex Lee Elliot reunite at their Hampton house auction and enjoy a trip to their local cafe - just a few months after their shock split
Georgia Love and ex Lee Elliot reunite at their Hampton house auction and enjoy a trip to their local cafe - just a few months after their shock split

Daily Mail​

timean hour ago

  • Daily Mail​

Georgia Love and ex Lee Elliot reunite at their Hampton house auction and enjoy a trip to their local cafe - just a few months after their shock split

Georgia Love and Lee Elliot may have shocked fans with their split, but they proved on Saturday there is no bad blood between them. The former couple appeared very friendly with each other over the weekend as they attended the auction of their Hampton East love nest in Victoria. And they had plenty to be happy about as the 'SOLD' sticker outside their marital home proved they managed to off-load the $1.35million property. The exes were all smiles as they then went out to a local cafe together to celebrate the sale. Georgia, 35, was rugged up for the occasion, wearing a thick jumper and grey skirt over opaque black stockings. From A-list scandals and red carpet mishaps to exclusive pictures and viral moments, subscribe to the DailyMail's new showbiz newsletter to stay in the loop. The former couple appeared very friendly with each other over the weekend as they attended the auction of their Hampton East love nest in Victoria And they had plenty to be happy about as the 'SOLD' sticker outside their marital home proved they managed to off-load the $1.35million property The former Bachelorette star, who met Lee, 44, on the 2016 season of the show, covered up her ensemble with a black puffer jacket. She added a pair of matching ankle boots and pulled her brunette tresses back from her face, at one point accessorising with dark sunnies and a nude handbag. Lee also opted for a casual all-black look on the day, as he was spotted blowing leaves out of the yard ahead of the auction. He slipped on a pair of tights beneath running shorts before adding a puffer vest over his jumper. It was revealed earlier this month Georgia and Lee were set to put their marital home in Melbourne under the hammer this weekend. The high-profile pair, who announced their split in February, listed the spacious Hampton East pad with a price range of $1.5million to $1.58million. Georgia and Lee paid an estimated $1.35million for the chic ultra-modern two-storey townhouse in 2021. Located 17km from the CBD in the upmarket Bayside area, the property boasts a thoughtful open-plan layout and an alfresco dining area with a BBQ kitchen. Highlights include a main bedroom with a private balcony, a fitted dressing room, and a dual vanity ensuite. Design features include double-glazed windows and doors, Caesarstone benchtops, Tasmanian oak flooring, hydronic heating, and reverse-cycle air conditioning. Georgia and Lee fuelled rumours they had split for some time as it had been more than four months since they were seen together. The pair spent Christmas apart with their respective families before Georgia jetted off to New York City for a holiday without Lee. They were also both spotted without their wedding bands, which led to a wave of speculation online suggesting they had ended their relationship. The pair met and fell in love on the 2016 season of The Bachelorette, which saw Georgia, a former TV news reporter, choose tradie Lee as her winning suitor. They married in 2021 at the Frogmore Creek Winery outside Hobart, followed by an outdoor reception at the Shene Distillery. The lovebirds had been due to marry in Italy the year prior, but were forced to cancel due to Covid travel restrictions. The following year, they moved into their townhouse in Hampton East.

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Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
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