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“Britain’s Next Top Model” is a cultural crash in slow-mo, says Laurie Penny

... which is precisely what makes it such shockingly good television.

The new series of Britain's Next Top Model, which airs tomorrow after months of breathless publicity, is set to be the most screechingly obnoxious cycle yet of this long-running, extraordinarily popular global pageant of beauty fascism.

The show, a high-fashion reality knockout that pits pretty young women against one another to compete for representation in a series of invasive and demeaning "challenges", is a repulsive montage of contemporary culture's hateful attitude towards young people in general, and young women in particular.

At the end of every episode, a weeping, underweight teenager is marched down the catwalk of shame and sent home to contemplate her deficiencies on the dole, after being informed that she does not "have what it takes". Public criticism of the series has focused on its supposed promotion of eating disorders, but Next Top Model is problematic for a whole host of reasons.

Last year, the UK version of the show faced press excoriation for allowing an anorexic contestant, Jade, through to the final round. Like every reiteration of the so-called "size-zero controversy" -- which has now been thoroughly incorporated into the mythology of the fashion industry -- this story simply cried out to be illustrated with ogle-worthy shots of stick-thin, half-naked teenagers. (Last week the new judge Julien Macdonald confided in Wales on Sunday that the notion of the industry giving space to models larger than a size eight is "a joke".)

Cultish obsession with the bodies of emaciated girls is only part of what makes Britain's Next Top Model so obnoxious and so fascinating.

This is not, at heart, a show about beauty, or even about fashion: it is a programme about social mobility. The reason America's Next Top Model and its 20 local variants have been so wildly successful is that they formalise the rules of late-capitalist femininity as experienced by young women in the west: life may be hard and jobs may be few, but if you are beautiful enough, if you are thin and pretty and perky and prepared to submit to any conceivable humiliation, you too might have a chance of "making it".

Cats in a sack

The show takes ordinary teenagers, for a version of "ordinary" whose baseline is remarkable slenderness and regularity of feature, plucks them out of regional obscurity and makes them fight like cats for a chance of a better future.

These girls will do almost anything for that chance. They will strip naked, they will cry and wail on camera, they will betray one another clumsily and, of course, they will scream. The orchestrated screaming is an essential part of the Next Top Model experience, though the British contestants have yet to muster the enthusiasm of the American hopefuls, who dutifully erupt into hysterical shrieks whenever anything happens on the show at all.

The fairy tale these girls are chasing was dreamt up in the neoliberal haze of the 1990s, when supermodels like Kate Moss and Naomi Campbell overtook actresses as the iconic female role models of the age, courted by rock stars and showered with money and attention merely for showing up and looking a certain way.

This sustaining mythology no longer has any basis in reality. In today's world of faceless, interchangeable, airbrushed femininity, the modelling industry is glutted with identikit beauties who earn very little and exist to be chewed up and tossed aside for younger, less traumatised models. Yet the dream persists.

Indeed, the new host of Britain’s Next Top Model is the 1990s supermodel Elle Macpherson, known in her day as "The Body". Macpherson quite literally embodies this cruel fantasy, precisely resembling a woman who has been pickled in a tank of flattery for 20 years.

The show is soaked in the language of corporate self-fashioning, with endless motivational sermons from the judges and hosts about "working it", "believing in yourself" and "being on top".

The atmosphere of naked desperation differs from that of talent contests such as The X Factor and Britain's Got Talent, which are all about showcasing the weird and wonderful. Britain's Next Top Model, by contrast, is about the art of ambitious self-effacement.

Car crash

For all the show’s platitudes about personality, individuality and the importance of "standing out", the girls who do best are always the most blankly identikit, the meek, spiritless women who excel at taking orders and "representing the brand". This quite possibly makes Next Top Model the ultimate capitalist psychodrama.

The servile posturing of Top Model hopefuls is as nothing, however, compared to the submission that's required of young women in modelling when the cameras stop rolling.

In 2007, Anand Jon Alexander, a top fashion photographer, was jailed for 59 years on several counts of rape and assault of young models in California. According to industry insiders, sexual and physical intimidation is standard practice in the world that the young contestants of Britain's Next Top Model compete to gain access to.

In 2009, the former model Sara Ziff's gonzo documentary Picture Me courageously exposed the epidemic of misogynist bullying and sexual assault in the fashion industry, with teenage girls routinely required to submit sexually to male agents, photographers and designers who hold every shred of power and who cover for each other's indiscretions if the girls wish to remain in work.

Britain’s Next Top Model is a rags-to-riches fairy tale updated for the 21st century. Like all fairy tales, it has a moral: if you're a girl, your success in life depends on your ability to brutalise your body into a stereotype of faceless corporate femininity, your capacity to compete coldly with other women for physical attention, and your willingness to submit tamely to industrial exploitation and sexual abuse.

This is what the dream of modelling means for young women today, and it is this contemporary parable about the rewards of self-discipline and submission that makes young women want to starve themselves.

The cruel, misogynist realism of Britain's Next Top Model is a cultural car crash in slow motion -- and this is precisely what makes it such shockingly good television.

The new series of "Britain's Next Top Model" begins on LIVING on Monday 5 July at 9pm.

Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

Iain Cameron
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Meet Scotland's 300-year-old snow patch, the Sphinx

Snow patch watchers expect it to melt away by the weekend. 

This weekend, Scotland's most resilient snow patch, dubbed Sphinx, is expected to melt away. The news has been met with a surprising outpouring of emotion and nationwide coverage. Even The Financial Times covered the story with the headline "The end is nigh for Britain's last snow". The story has also gone international, featuring in radio reports as far away as New Zealand.

So what is it about Sphinx that has captured the public’s imagination?  Some have suggested it could be symbolic. The Sphinx represents how we all feel, helpless and doomed to a fate determined by leaders like Donald Trump and Kim Jong Un. 

Regular contributors to the Facebook page “Snow Patches in Scotland”  have their own, more prosaic theories. One tells me that the British are “generally a bit obsessed with weather and climate”, while another says snow-patches are "more interesting than anything Trump/May/Boris or Vladimir have to say”.

Those more interested in patches of snow than the existential consequences of international relations could be dismissed as having seriously skewed priorities, but there's more to the story of Sphinx than lies on the surface. 

For a start it's thought to be 300 years old, covering a small square of the Cairngorms for centuries with just six brief interruptions. Last time the Sphinx disappeared was 11 years ago. Though it may melt away this weekend, it is expected to be back by winter. 

Iain Cameron, the man who set up the Facebook page "Snow Patches in Scotland" and someone who has recorded and measured snow patches since he was a young boy, says that Sphinx has shrunk to the size of a large dinner table and he expects it will have melted entirely by this Saturday.

It came close to disappearing in 2011 as well, he adds. In October of that year, Sphinx at around its current size and only a heavy snowstorm revived it.

"They tend to keep the same shape and form every year," Cameron tells me. "It might sound weird to say, but it’s like seeing an elderly relative or an old friend. You’re slightly disappointed if it’s not in as good a condition."

But why has Sphinx survived for so long? The patch of land that Sphinx lies above faces towards the North East, meaning it is sheltered from the elements by large natural formations called Corries and avoids the bulk of what sunlight northern Scotland has to offer. 

It also sits on a bid of soil rather than boulder-fields, unlike the snow patches on Britain's highest mountain Ben Nevis. Boulder-fields allow air through them, but the soil does not, meaning the Sphinx melts only from the top.

Cameron is hesistant to attribute the increased rate of Sphinx's melting to climate change. He says meterologists can decide the causes based on the data which he and his fellow anoraks (as he calls them) collect. 

That data shows that over the past 11 years since Sphinx last melted it has changed size each year, not following any discernable pattern. “There is no rhyme or reason because of the vagaries of the Scottish climate," says Cameron.

One thing that has changed is Sphinx's title is no longer quite so secure. There is another snow patch in near Ben Nevis vying for the position of the last in Scotland. Cameron says that it is 50:50 as to which one will go first.