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Suddenly, we’re craving McDonalds. Katy Perry embodied the camp theme in 2019 when she wore a Moschino-designed hamburger outfit to the Met Gala. There’s tons of burger costumes on the Internet, but to make it feel superstar-worthy, you simply cannot forget the matching hamburger sneakers and a glitzy headdress. The more glitter, the better. 

Dolls Kill burger sneakers

MaryJane Claverol turban

Kim Kardashian’s Spooky Balenciaga

When Kim Kardashian showed up to this year’s Met Gala covered head-to-toe in black fabric, the memes wrote themselves. Her avant-garde Balenciaga look is the perfect thing to re-create this Halloween: Simply swaddle yourself in black fabric and then put on a sharp-toe heel. Boom, you’re done! You don’t even have to think about makeup, but don’t forget the high ponytail. 

Yandy mystery gala guest costume

Balenciaga Knife boots

Rihanna’s High-fashion Pope

It’s safe to say Rihanna won the 2018 Met Gala. Dressed in a custom design by John Galliano, Rihanna embodied the “Heavenly Bodies” theme with a high-fashion pope look—mitre included. For Halloween, channel the Bad Gal herself with a cross-printed dress and hat, then add a dramatic cape and a glitzy heel to make it feel more red carpet-worthy. 

Dolls Kill Heavenly Body costume

Schutz crystal suede pumps

Zendaya’s Pretty Princess Dress

Everyone’s dreamed of being a princess at one point in their life (or is that just me?) and now you can be too by channelling Zendaya at the 2019 Met Gala. You can channel that magical energy of her Tommy Hilfiger gown by opting for a classic blue Cinderella dress. Then, add a pumpkin carriage clutch and a satin headband. Bibbidi-Bobbidi-Boo!

Classic Cinderella costume

Matashi pumpkin carriage ornament

Oliver Bonas headband


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11 Best Punching Bags for a Full Body Workout that Kicks Aways Stress

Final Verdict

From first-timers to experienced boxers purchasing a home bag, the FITVEN Freestanding Punching Bagis a solid choice. This freestanding punching bag offers stability without having to drill a mount into the ceiling or wall. Standing nearly six feet tall, this bag features a heavy-weighted base with 12 suction cups that keep it in place during workouts. This synthetic leather bag comes with a matching pair of boxing gloves so you’re ready to work out within minutes.

For experienced athletes, we recommend splurging on the Outslayer 100-Pound Heavy Bag. This brand is the gold standard of punching bags offering a 10-year warranty. This punching bag features a heavy-duty vinyl exterior with a proprietary fabric filling that eliminates hollow spots. It comes with four-layer "No Tear" straps which are much quieter than chains. While this heavy bag comes pre-filled with 100 pounds of filling, it has a 300-pound capacity to add weight as you progress in your training.

Meet the Expert

  • Billy Blanks is the creator of Tae Bo and a world-renowned fitness icon.
  • Gideon Akande is a two-time Chicago Golden Gloves champion and NASM-certified personal trainer.

What to Look For in a Punching Bag

Hanging vs. Freestanding

You can decide whether to hang a bag from the ceiling or wall by answering two main questions: Are you comfortable locating and drilling into a joist or stud to support the bag? And do you want to have a large punching bag as a semi-permanent feature of your room? While punching bags can be emptied and refilled if they need to be moved, it is not a small job to do it regularly. If the room doubles as a family room or bedroom, a freestanding punching bag rack would allow more flexibility to move a heavy bag out of the way, especially if family or friends also use the room.


The rule of thumb is that hanging bags should be about half your body weight when filled. As your training progresses, the load can certainly increase. A bag that's too light won't provide enough stability and may swing uncontrollably. A bag that's too heavy can cause injury, especially in those who have not yet developed the proper striking technique. 

When choosing a freestanding bag, heavier is also better as lighter bags can be easily knocked over or moved when hit. This style of punching bag is typically attached to a weighted base you fill with sand or water. "I prefer using water, so when I move my bag to a different spot or position, it is easy to refill," Blanks said. Sand provides more weight for those who require more stability. While it ultimately comes down to how you plan to use a freestanding bag, it's always best to go as heavy as your budget allows. If you find your bag has too much movement, this might indicate you need to step back and focus on your technique. 

Fill Material

The choice of filling is personal, depending on your boxing skill level and a comfort factor. If you fill your bag with soft cloth or foam, the bag will be less likely to harm your hands or joints but will produce more swing with harder punches. Bags filled with sand or sawdust are very hard and recommended only for expert boxers, although they too need hand protection under their gloves to avoid injuries. 

It's also quite common to use a combination of cloth or foam and sand or sawdust, thereby providing a more stable bag while still offering sufficient firmness for a more experienced puncher. Water is also common for those needing portability for their bags as it's easy to empty and refill. Gideon Akande, two-time Chicago Golden Gloves champion and NASM-CPT, says using a water-filled punching bag gives each punch the sensation of a true combat impact. "If you're a competitor, you want to simulate all aspects of what your competition may be," he said.

Surface Material 

There are several choices for surface material, ranging from canvas to leather to synthetic. Canvas and leather are considered more old-school and appeal to those who like a certain "feel" while landing a punch. Canvas, while inexpensive, is not as durable and can be hard on the hands due to the abrasive nature of the fabric. It also tends to get dirty faster. There's no question that leather punching bags are of the highest quality. They provide durability, professional-grade performance, and comfort. On the flip side, a classic leather punching bag comes with a higher price tag. Synthetic bags are generally lighter and are an affordable alternative to leather. Additionally, synthetic materials like nylon and vinyl are better suited for humid conditions as they're more resistant to mold and mildew. 


  • Punching bags can either be hung from the ceiling, wall, or a freestanding heavy bag stand. The first thing to remember is that punching bags are extremely heavy; commercial bags can weigh between 100-200 pounds, while home bags typically start around 70 pounds for adults.

    When hanging a punching bag, the critical factors are to attach it to a ceiling joist and to locate the bag near the center of the room so you can move around it while working out. If you mount it to the wall, it must be attached to a wall stud. Otherwise, your bag will end up on the floor, and your ceiling or wall will end up with a big hole. 

    Masonry walls—brick or concrete—are also ideal for supporting a wall mount. Freestanding heavy bag stands are simpler and don’t require any special carpentry skills, but they generally tend to be less stable. Some models, like the Everlast Single-Station Heavy Bag Stand, feature pegs to add your own weight plates for increased stability. If you’re not comfortable locating a joist or stud yourself, it would be well worth it to phone a friend or hire a handy person. 

  • There are a variety of materials that are used to fill punching bags. Each material contributes to the bag’s overall feel and experience, including stiffness, level of feedback, weight, and how much movement or swing you’ll get with each punch or kick. Which filling is right for you depends on several factors, including your skill level, how you intend to use the bag, as well as whether you’ll want the flexibility to move the bag to different locations. Popular choices include water, sand, sawdust, foam, air, old clothes, and even a combination of materials. The fill material can change as your skill level evolves.  

  • It may look like punching a punching bag is nothing more than brute strength and speed to a novice. However, like all sports, there is a significant amount of technique associated with properly punching a punching bag. Blanks emphasizes the importance of understanding the position of your hands when throwing a punch. "Hit with the first two knuckles," he said. Akande adds, "When throwing a punch, it should be a total body effort, not just the arms. You want to punch through the target. You don't want to push the bag; you want to snap your punch by driving with force and returning quickly to your guard or start position."

    Many novices underestimate the wear and tear that hands take from a punching bag workout. Blanks suggests, "Make sure you have your hands wrapped in a basic boxing wrap. For the additional cushion, feel free to use boxing gloves, too." 

Why Trust Byrdie

Byrdie contributor Emily Stone is a health and fitness writer with experience working for lifestyle and fitness publications and activewear brands. As a fitness enthusiast and fellow shopper, she's passionate about finding reliable fitness equipment that prioritizes comfort and function for people of all shapes, sizes, and abilities.

These Fitness Trackers Will Help You Level Up Your Workout Routine

Unboxing ! Melanin Mannequin From Amazon

Bezos Reaches for a Star

For Context

In a thoroughly modern blurring of reality and fiction, William Shatner will soar to space with Blue Origin. Do you care?

On the morning of Oct. 12, William Shatner, best known for his role as the Star Trek franchise’s original Captain Kirk, will take a seat atop the New Shepard suborbital launch vehicle, built by Blue Origin, Amazon founder Jeff Bezos’ space concern.

From a West Texas launchpad, he will ascend approximately 63 miles, before the passenger capsule will separate from the rocket and both will return home.

Mr. Shatner’s itinerary includes four minutes floating in microgravity. “Yes, it’s true; I’m going to be a ‘rocket man!’” Mr. Shatner wrote on Twitter on Monday. “I’ve heard about space for a long time now,” he quipped in a statement released by Blue Origin. “I’m taking the opportunity to see it for myself. What a miracle.”

Weather permitting, the man behind one of the most recognizable space-faring characters in science fiction history will become the oldest person ever to float there. In doing so, he’ll be making a cameo in a different sort of media franchise, one which, despite its rich premise and lavish funding, is still trying to decide on its tone, stakes and overall narrative direction. The billionaire space race is happening, whether we choose to pay attention or not. Of course, the billionaires would prefer that we did.

Your feelings about the billionaire space race aren’t likely to stray far from your gut feeling about those three words in that particular order.

At one end: These are some of the greatest entrepreneurs of their generations meeting an even greater challenge, directing their considerable wealth and talents to the advancement of the human race. At the other: Some of Earth’s most prolific pillagers are burning ill-gotten gains as fuel to fulfill their boyhood fantasies while the planet collapses beneath them.

The vast majority of regular people may not have strong feelings about the billionaires going to space, judging what’s happening as perhaps cool, strange, fascinating, either broadly hopeful or unnecessary, but, most of all, as currently somewhat peripheral to their lives. A July poll conducted by the public relations professor Joseph Cabosky, with The Harris Group, found, in Mr. Cabosky’s summary, that “people were supportive of space travel and the technological developments that come from it. Yet, respondents also viewed these events as ego trips generally limited to rich people.”

The association of space with famous billionaires also flattens out differences between the new space ventures and the people who run them. SpaceX is a mature business, the largest launch provider and commercial satellite operator in the world, a major NASA contractor which can also claim dozens of major aerospace breakthroughs as its own, and a significant source of its founder’s wealth. Blue Origin, whose founder trades places with SpaceX’s as the richest person in the world, is ambitious but clearly playing catch-up, while Richard Branson, who founded Virgin Galactic in 2004, and whose fortune is comparatively minuscule, has focused on suborbital space tourism and seems, well, happy to be included.

The original space race was different. A direct extension of an arms and propaganda race between two competing superpowers — each representing one of the century’s defining ideologies, under the specter of annihilation — the space race of the 1950s and 60s was inseparable from the most salient stories of its time.

Its firsts were clear and unconditional, like summited peaks: first satellite in orbit; first animal; first human; the moon. If you’re old enough to have been able to form memories in 1957, there’s a good chance you remember looking for Sputnik as it crossed the night sky. An estimated 94 percent of TV-owning Americans and hundreds of millions of people around the globe tuned in to watch Neil Armstrong set foot on the moon in 1969.

The billionaire space race has been able to tap into the nostalgia and yearning for space age ideals of exploration and daring, but has done so under the auspices of, basically, a set of competing marketing campaigns fighting to drown each other out.

Elon Musk, the rare sort of billionaire who has multiple fandoms, has proved an able promoter for SpaceX, and some of its launches have made for tense international viewing events and memorable spectacles. (Somewhere out there, you may remember, a Tesla with a mannequin is orbiting the sun.)

In September, the company sent a civilian crew into orbit, asserting SpaceX’s status as the clear current leader in both technological and public relations terms. (The civilians were selected in collaboration with a military contractor and payments processing billionaire through a hybrid sweepstakes/children’s hospital fund-raiser/Shark-Tank-style process that was filmed for a Netflix docu-series.)

Mr. Branson and Mr. Bezos have made the billionaire space race more literal and personal, and often speak in dreamier language. Mr. Branson launched first, in July, and Mr. Bezos followed days later. Speaking “to all the kids down there” from the edge of space, Mr. Branson said, “if we can do this, just imagine what you can do.”

Mr. Bezos, after landing, said simply, “Best day ever!”

In front of assembled press, he made an attempt to convey a sense of collectivity, or at least humility. “I want to thank every Amazon employee and every Amazon customer because you guys paid for all this,” he said. He was clearly moved, and his performance was earnest, but it also resulted in a backlash that, from perhaps any other perspective in the world, would have been easy to anticipate. “Amazon workers don’t need Bezos to thank them. They need him to stop union busting — and pay them what they deserve,” wrote the former secretary of labor Robert Reich on Twitter.

In all of these excursions, there has been an overt or implicit message: That the billionaire space is about opening up spaceflight — or, sometimes, “tourism” — to wider groups of people. You can reserve tickets to space already, and a few people have now been able to use them.

The techno-optimism of that idea — that some of today’s toys for the wealthy will one day be taken for granted by millions — is not without precedent. But it’s also recognizably a product pitch as well as an insistent attempt to assure the public that things aren’t just what they look like today, which is the ultrarich selling flights to space to the slightly less rich. Appeals that the private space industry of the United States is the country’s best hedge against growing space programs in other countries double, even for those who find them persuasive, as sour reminders of general national institutional decline.

In these early stages, the billionaires’ pitches about their roles in space are still constantly adjusting, never quite aligning even when they overlap. Sometimes they’re running companies developing lines of business. Sometimes they’re enjoying some jocular teasing with a few of their peers. Their messaging pulls in history and tropes, science and fiction, nostalgia and wild speculation. Space is a refuge, a frontier, or an untapped market; Earth must be saved, or escaped, or writ large across the cosmos.

In a conference last year, Mr. Musk summarized one of his longtime pitches: “If there’s something terrible that happens on Earth, either made by humans or natural, we want to have, like, life insurance for life as a whole. Then, there’s the kind of excitement and adventure.”

After returning to the surface of the planet in July, Mr. Bezos said in an interview that it was his hope to “move all heavy industry and all polluting industry off of Earth and operate it in space.” Eventually, he has argued, “we could have a trillion humans in the solar system and it still wouldn’t be crowded” — a vision that would include, he suggested, “a thousand Einsteins and a thousand Mozarts.”

One could imagine a head of state speaking in such terms — and with the presumption of being able to speak for the public — as many have, albeit steadily less persuasively since John F. Kennedy talked about doing things because they are hard. (President Obama: “Getting to Mars will require continued cooperation between government and private innovators.” President Trump: “I am updating my budget to include an additional $1.6 billion so that we can return to Space in a BIG WAY!”)

But Mr. Musk, Mr. Branson and Mr. Bezos are first and foremost understood as businesspeople, and they are, in fact, running businesses. The stories of their companies are told in speeches and interviews, sure, but also through marketing and PR, in presentations to investors, appeals to regulators, in responses to complaints and concerns raised by employees, in multiplying and crisscrossing lawsuits, and, occasionally, on Twitter, where planetary banalities intrude constantly.

Mr. Bezos’ articulated dreams of infinite growth in space are brought back to Earth, fairly or not, by the resemblance they bear to the ambitions he has described and achieved here, and what they have meant for the rest of us in practice. When Blue Origin subtweets Mr. Branson by noting, just ahead Mr. Branson’s successful flight, that, actually, “space begins 100 km up at the internationally recognized Kármán line,” and that none of their astronauts will “have an asterisk next to their name” — or when Mr. Musk says Mr. Bezos should “put more of his energy into getting to orbit than lawsuits,” in reference to a squabble over a NASA contract for a lunar lander — it’s hard not to be reminded how much they’ve thrived and profited within the Earthly morass from which they claim they will one day free us.

The story of the new space race will change with its progress, adjusting as it encounters or breaks through new limits. Indeed, these firms are charting humankind’s path back into space, and even insightful critics have tended and will continue to underestimate their straightforward capabilities. But stories do matter. NASA’s slide from the public consciousness can be blamed on all sorts of things, but its beginning coincides with its loss of a clearly communicable goal, around the time the U.S. made its last U-turn at the moon, in 1972. (It’s also worth emphasizing that the original space race owes its ability to inspire a sense of shared ownership and risk not just to a spirit of collective inquiry and exploration, but to rank nationalism and the terror of war. Conquering space: possibly fraught!)

This is not lost on the new space barons, who grew up and now do business in the shadow of our official and unofficial space mythologies. Blue Origin, for its part, is emphasizing continuity and stewardship, naming its ships after NASA astronauts and giving one of its first tickets to space to the 82-year-old Wally Funk, whose efforts to get to become one of the first women to go to space had been thwarted by the agency. (And who had purchased and not yet been able to redeem a $200,000 ticket with Mr. Branson’s Virgin in 2010.)

Still, for now, the story of the billionaire space race looks an awful lot like just that — billionaires racing each other to space. Perhaps the most pervasive suspicion about the new space barons is that, whatever else they’re up to, and wherever this goes, this whole exercise is, at its core, between them: It’s about their childhood dreams, their egos, their legacies, their comparative fortunes. Our understanding of the future they describe depends, like our lives on Earth, on what little we can understand about the motivations of a few people.

This is also, of course, the realm of phallus-shaped rocket jokes and Dr. Evil memes and why not? It’s low-orbiting fruit. I will enjoy watching Captain Kirk, a character written well before I was born and with whom I grew up, touch the edge of space, appreciating the gentle ironies of the U.S.S. Enterprise’s hard-charging captain getting same-day-shipped a few thousand yards into space by the Amazon guy. I suspect plenty of people who haven’t been paying attention to what that Amazon guy has been up to in space will get a kick out of this, too.

Mr. Bezos has talked about his Star Trek fandom (and of going to space) for longer than he’s been a public figure. (“The whole idea is to preserve the Earth,” he said, in a speech as high school valedictorian, leaving it as “a huge national park.”) He purchased and installed an eight foot filming model of the USS Enterprisein the Blue Origin office lobby, and appeared as an alien Starfleet official in 2016’s “Star Trek Beyond.”

Blue Origin told The New York Times that Mr. Shatner would be flying “as our guest” — meaning he didn’t pay for his ticket. Maybe Mr. Bezos wants to help humanity to boldly go where no man has before, together. Maybe he just thinks this is all so, so cool. In the billionaire space race, it’s none of our business. It’s theirs.


Head amazon mannequin

Hereditary (film)

2018 horror film directed by Ari Aster

Hereditary is a 2018 American supernatural horror film written and directed by Ari Aster, in his feature film directorial debut. It stars Toni Collette, Alex Wolff, Milly Shapiro, and Gabriel Byrne as a family haunted by a mysterious presence after the death of their secretive grandmother.

Hereditary premiered on January 21, 2018, in the Midnight section at the 2018 Sundance Film Festival,[4] and was theatrically released in the United States on June 8, 2018.[5] The film received acclaim from critics, and it made over $80 million on a $10 million budget to become A24's highest-grossing film worldwide.[6]


Annie Graham lives in Utah with her husband Steve, their 16-year-old son Peter, and their 13-year-old daughter Charlie. At the funeral of her secretive mother, Ellen Leigh, Annie delivers a eulogy explaining their fraught relationship. Later, at a support group for the bereaved, Annie reveals Ellen was not allowed near Peter when he was born, but was a significant figure in raising Charlie.

To attend a party, Peter lies that he is going to a school event, and Annie forces Charlie to go with him. At the party, Peter leaves Charlie unattended, and Charlie (who has a nut allergy), eats chocolate cake containing walnuts and falls into anaphylactic shock. As Peter drives Charlie to the hospital, Charlie leans out of the window for air, and when Peter swerves to avoid a dead deer, she is decapitated by a telephone pole. In shock, Peter drives home and leaves Charlie's body in the car, where it is discovered by Annie the following morning. Following the funeral, Peter becomes reclusive and wracked with guilt, Annie resents Peter for the incident, and Steve tries to mediate between them.

Annie befriends support group member Joan. Joan teaches Annie to perform a séance to communicate with Charlie, and later that night, Annie convinces her family to attempt the séance. Objects begin to move and break, and Peter is petrified when Annie begins speaking in Charlie's frightened voice until Steve douses her with water. As Peter begins to be plagued by supernatural forces, Annie suspects Charlie's spirit has become malevolent. When she sees Charlie's sketchbook drawing images that appear to threaten Peter, she throws the book into the fireplace, but her clothes start to burn along with the book. She retrieves it and heads to Joan's apartment for advice, but Joan is gone.

Annie goes through her mother's old belongings and finds a photo album linking Joan to Ellen, who is shown to be the leader of a cult. Annie also discovers a book with information about a demon-king named Paimon. The book states that Paimon wishes to inhabit the body of a male host; in return for doing so, the person who summoned Paimon will be given riches and rewards. Ellen had been attempting to conjure Paimon in one of her male family members all along, but was eventually forced to conjure Paimon through Charlie when the other attempts failed, and Charlie's death and the séance have opened up the gateways for Peter's possession.

Peter is gripped by an unseen force in class and slams his head on his desk, breaking his nose. After Steve arrives home with an unconscious Peter, Annie hysterically informs Steve of her discoveries and implores Steve to burn the now gasoline-soaked sketchbook to end Peter's haunting. When a disbelieving Steve accuses Annie of being unwell, Annie seizes the book and throws it into the fireplace herself, but as it burns, Steve erupts into flames instead of Annie. As Annie looks on in horror, a shimmering light enters her body and she becomes possessed by Paimon.

Peter awakens to find his father's charred corpse before a possessed Annie chases him into the attic, where she beheads herself with piano wire as Peter jumps out of the attic window to escape. Annie's headless corpse and Paimon's light leave the attic; the light enters Peter's battered body as Annie's corpse levitates into Charlie's treehouse. Peter, now displaying Charlie's mannerisms, follows his mother's body into the treehouse. There, he finds Joan, other coven members, the headless corpses of his mother and grandmother bowing to him, and Charlie's crowned, severed head resting atop a mannequin. Joan removes the crown and places it upon Peter, whom she addresses as Charlie, swears an oath to him as Paimon, and declares that he is now free to rule over them.


  • Toni Collette as Annie Graham, a miniatures artist.
  • Gabriel Byrne as Steve Graham, a psychiatrist and Annie’s husband.
  • Alex Wolff as Peter Graham, Annie and Steve's 16-year-old son.
  • Milly Shapiro as Charlie Graham, Annie and Steve's 13-year-old daughter.
  • Ann Dowd as Joan, a support group member who befriends Annie.
  • Mallory Bechtel as Bridget, Peter's schoolmate and love interest.

Ari Aster has an uncredited voice cameo as Annie's boss, who calls to offer support after the tragedy she has been experiencing.

Kathleen Chalfant makes an uncredited appearance as Ellen Taper Leigh, Annie's mother. Aster refers to her as "the sweetest person in the world".[7]



Writer-director Ari Aster embarked on a career in the film industry while a student at the American Film Institute; he scripted and directed two provocative short films, The Strange Thing About the Johnsons and Munchausen, bringing him under the scope of A24.[8][9] Aster originally pitched Hereditary as a family tragedy, careful not to call it a horror film outright.[10] A fan of domestic dramas, Aster incorporated themes of the genre into his script, envisioning a film rooted in family dynamics, trauma, and grief; Carrie and The Cook, the Thief, His Wife and Her Lover were works Aster specified as influences on Hereditary.[11] He interpreted the film as two halves which are "completely inextricable from each other": "It begins as a family tragedy and then continues down that path, but gradually curdles into a full-bore nightmare."[12]

The script reflects a real-life incident from 2004 in Marietta, Georgia, in which John Kemper Hutcherson accidentally decapitated his childhood friend and passenger, Frankie Brohm, on a telephone pole, after the latter had leaned his head from the vehicle to relieve the symptoms of his inebriation. Hutcherson then drove home with Brohm's headless corpse in the car and fell asleep, until a passerby, walking with his toddler, noticed Brohm's body still in the truck the next morning and notified authorities.[13]


Toni Collette was one of the first actresses Aster sought for the role of Annie Graham, a miniaturist and the matriarch of the Graham family.[14] Though Collette was reluctant to work on a horror film, the script's grounded approach to the genre convinced her to commit to the project: "He [Aster] just really understood the dynamics in the family, has such an understanding of what it is to be human, what it is to experience loss".[9]

Gabriel Byrne agreed to play the family's patriarch Steve; Alex Wolff, who previously collaborated with Byrne in the HBO program In Treatment was cast as the Grahams' son Peter.[14] Cast in her cinema debut, 14-year-old Broadway theatre actress Milly Shapiro, winner of a Tony Honor for her performance in Matilda the Musical, earned the role of the daughter Charlie.[15] After watching Shapiro's audition, Aster was immediately relieved "'cause I knew the chances were slim that I would find somebody who would be right", having left Charlie's personality more ambiguous than other characters in the script.[12]Ann Dowd portrays grieving mother Joan, who convinces Annie of her ability to contact the dead.[14]


The film began shooting in February 2017 in Utah. The exteriors of the Graham family house and the tree house were shot in Summit County, Utah, and the cemetery scene was filmed at Larkin Sunset Gardens in Sandy, Utah. The school scenes were shot at West High School and Utah State Fairpark, but all other interiors (including both versions of the treehouse) were built from scratch on a sound stage. Since each of the rooms was built on a stage, walls could be removed to shoot scenes at a much greater distance than a practical location would allow, creating the dollhouse aesthetic of the film.[16]

Aster said that during filming, "Alex Wolff told me not to say the name of William Shakespeare's Scottish play out loud because of some superstitious theater legend. I smugly announced the name, and then one of our lights burst during the shooting of the following scene."[17]


Aster and Collette standing onstage
Aster and Collette at Sundance UK, 2018

Hereditary premiered at the Sundance Film Festival on January 21, 2018.[18][19] The trailer for the film was released on January 30, 2018.[20] On Anzac Day in 2018, the trailer for Hereditary played before the PG-rated family film Peter Rabbit in a cinema in Innaloo, Western Australia. According to a report in The Sydney Morning Herald, the Hereditary preview was accidentally shown to family audiences and created a small panic in the theater. The theater was apparently full of families including "at least 40 children".[21][22][23]

The film was released in the United States by A24 on June 8, 2018. It was released in the United Kingdom by Entertainment Film Distributors on June 15, 2018.[19]


Box office[edit]

Hereditary grossed $44.1 million in the United States and Canada, and $36.2 million in other countries, for a total worldwide gross of $80.2 million, against a production budget of $10 million.[3]

In the United States and Canada, Hereditary was released alongside Ocean's 8 and Hotel Artemis, and was originally projected to gross $5–9 million in its opening weekend, similar to the debuts of previous A24 horror films The Witch ($8.8 million in 2016) and It Comes at Night ($6 million in 2017). It was also the widest-ever release for an A24 film with 2,964 theaters, besting the 2,553 of It Comes at Night.[24][25] After making $5.2 million on its first day, including $1.3 million from Thursday night previews, weekend estimates were increased to $12 million. It went on to debut to $13.6 million, finishing fourth at the box office, behind Ocean's 8, Solo: A Star Wars Story and Deadpool 2, and marking the best-ever opening for an A24 title.[2] In its second weekend the film dropped just 49.5% to $6.9 million (compared to the 60–70% fall many horror films see in their sophomore frame), finishing sixth.[26] By July 29, 2018 the film had grossed $80 million worldwide, passing Lady Bird ($78.5 million) to become A24's highest-grossing film worldwide.[27]

Critical response[edit]

On Rotten Tomatoes, the film holds an approval rating of 89% based on 368 reviews, and an average rating of 8.28/10. The website's critical consensus reads, "Hereditary uses its classic setup as the framework for a harrowing, uncommonly unsettling horror film whose cold touch lingers long beyond the closing credits."[28] On Metacritic, the film has a weighted average score of 87 out of 100, based on 49 critics, indicating "universal acclaim".[29]

Writing for Rolling Stone, Peter Travers gave the film 3.5 out of 4 stars and called it the scariest movie of 2018, saying "it's Collette, giving the performance of her career, who takes us inside Annie's breakdown in flesh and spirit and shatters what's left of our nerves. Her tour de force bristles with provocations that for sure will keep you up nights. But first, you'll scream your bloody head off."[30] For The A.V. Club, A.A. Dowd gave the film an A−, stating that, "In its seriousness and hair-raising craftsmanship, Hereditary belongs to a proud genre lineage, a legacy that stretches back to the towering touchstones of American horror, unholy prestige-zeitgeist classics like The Exorcist and Rosemary's Baby. Remarkably, it's a first feature, the auspicious debut of writer-director Ari Aster, whose acclaimed, disturbing short films were all leading, like a tunnel into the underworld, to this bleak vision."[31]Common Sense Media gave the film four out of five stars and advised that it was suitable for viewers aged 17 or older.[32]

Audience reception[edit]

Audiences polled by CinemaScore gave the film an average grade of "D+" on an A+ to F scale.[2] Some publications noted the critics-to-audience discrepancy, comparing it to Drive, The Witch and It Comes at Night, all of which were critically acclaimed but failed to impress mainstream moviegoers.[33][34]



  1. ^"Hereditary (2018) | BFI". BFI. Retrieved September 19, 2018.
  2. ^ abcD'Alessandro, Anthony (June 10, 2018). "'Ocean's 8' Steals Franchise Record With $41.5M Opening – Early Sunday Update". Deadline Hollywood. Penske Business Media. Retrieved June 10, 2018.
  3. ^ ab"Hereditary (2018)". Box Office Mojo. Amazon. Retrieved August 25, 2018.
  4. ^Means, Sean P. (December 19, 2017). "A horror thriller filmed in Utah is among the additions to 2018 Sundance Film Festival lineup". The Salt Lake Tribune. Retrieved January 25, 2018.
  5. ^Guardian staff (January 30, 2018). "Hereditary trailer: will this be the year's scariest movie?". The Guardian. Guardian News and Media. Retrieved January 30, 2018.
  6. ^Giles, Jeff (June 7, 2018). "Ocean's 8: Satisfying but Slight". Rotten Tomatoes. Fandango Media. Retrieved June 8, 2018.
  7. ^Wloszczyna, Susan (June 7, 2018). "Writer/Director Ari Aster on his Terrifying Debut Hereditary". MPAA. Retrieved February 18, 2019.
  8. ^Chen, Nick (June 12, 2018). "How Ari Aster made the best horror movie of 2018". Dazed. Retrieved December 21, 2018.
  9. ^ abBishop, Bryan (June 7, 2018). "HOW HEREDITARY DIRECTOR ARI ASTER BECAME AN UNLIKELY HORROR HERO". The Verge. Retrieved December 21, 2018.
  10. ^"Director Ari Aster Says 'Hereditary' Is A Family Drama At Its Core". Retrieved August 13, 2019.
  11. ^Newby, Richard (September 6, 2018). "How Director Ari Aster Turned 'Hereditary' Into a Harrowing Cinematic Experience". The Hollywood Reporter. Retrieved December 23, 2018.
  12. ^ abStefansky, Emma (June 8, 2018). "That Horrific Hereditary Scene Is Director Ari Aster's Favorite". Vanity Fair. Retrieved December 23, 2018.
  13. ^"5 Years for Driver in Ga. Decapitation". Los Angeles Times. May 26, 2005.
  14. ^ abcFear, David (June 12, 2018). "Hereditary': Inside the Making of a Modern Horror Classic". Rolling Stone. Retrieved December 23, 2018.
  15. ^Ryan, Patrick (June 12, 2018). "Milly Shapiro wants to freak you out as that creepy kid in 'Hereditary'". USA Today. Retrieved December 23, 2018.
  16. ^Aster, Ari; Hammond, Caleb (June 6, 2018). "How They Did It: Building Hereditary's Haunted Houses From Scratch Was First-Time Helmer Ari Aster's Living Nightmare". MovieMaker. Retrieved June 15, 2018.
  17. ^"Ari Aster comments on Shakespeare's Scottish Play curse". June 15, 2018.
  18. ^"Hereditary". Sundance Film Festival. The Sundance Institute. Retrieved July 31, 2018.
  19. ^ abStolworthy, Jacob (March 20, 2018). "Hereditary: Horror film branded 'scariest in years' gets UK release date". The Independent. Retrieved April 12, 2018.
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External links[edit]

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Amazon team wins—and donates—$10,000 for designing new face mask

In July 2020, the COVID-19 pandemic was causing people to frantically search for personal protective equipment. They needed to work, go to the grocery store, and do other essential activities while minimizing their risk of exposure to the virus. Adam Siegel, a principal engineer at Amazon, was one of those people.

With a passion for thinking big, Siegel decided to research the effectiveness of his own face mask. He discovered that many people wearing a non-N95 mask weren’t protected from inhaling the aerosol water droplets that contain and transmit the COVID-19 virus.

“You really want to be wearing an N95 mask if you want the best protection from the virus and from air pollution. But for many people, these masks pinch, are stuffy, or just don’t fit comfortably,” said Siegel. “I thought that if we could make an N95 mask that is custom fit to the face like a glove, is easy to breathe through, and comes in a style that makes it look more like an item of apparel versus a medical device, people would really like it.”

Siegel set out to innovate and worked on developing a new mask, at first as a side project. After a few weeks, he realized he was on to something. He enlisted the help of several other Amazon employees with expertise in industrial design, robotics, manufacturing, and workplace health and safety.

Due to safety protocols and Amazon’s worldwide workforce, Siegel and his team mostly collaborated virtually. Team members also navigated different time zones, with some working overseas in Barcelona, Taipei, Shenzhen, and London, and in the U.S. in Austin, Minneapolis, Boston, Seattle, and northern California.

Sean Maylone, a designer of more than five years at Amazon, joined the project in the early stages to assist Siegel with prototyping the mask. Based on his previous work, Maylone was experienced in being able to tell what a product would look like in 3D.

“My wife and I were taking COVID-19 very seriously and valued protection over comfort, so I always wore a N95 mask if I was indoors,” said Maylone. “The survey feedback we commissioned showed that people’s top priority for a mask was protection, so this encouraged me to keep iterating to get the design just right, knowing that others felt the same way I did.”

Not all masks fit every face the same, so the team used a computer database of 2,400 images of faces to understand the subtle differences. The team considered various characteristics, including people’s gender, age, and ethnicity. Using this data, the team created six different mask sizes—which contrasted with the general “one size fits all” approach of many masks on the market.

As a final step, the team tested their new designs by manufacturing more than 100 prototype face masks and sending them to people around the U.S. and collected critical customer feedback.

As a result, the team created the Amazon PerfectFit Mask, which is designed for anyone—including medical professionals—seeking all-day protection from viruses and air pollution. The mask fits just as comfortably as a conventional cloth-based mask, but it is designed to reduce the inhalation of aerosol water droplets that may contain viruses and other microscale pathogens by 10 times or more.

Tushar Mahale, a senior manager for 3D printing at Amazon, was brought in to assist with development of the mask prototype.

“At the time I was pulled in, I had many family members in India who had contracted COVID-19, so this was personal for me,” said Mahale. “I wanted a mask that would protect the person wearing it, and not just others, so I was passionate about developing a protective, comfortable mask.”

The Amazon PerfectFit Mask leverages several key technologies to achieve improved performance, comfort, and breathability. Several features set the mask apart from others, including its use of N95-grade meltblown polypropylene to filter out 95% of airborne particles; its availability in six different sizes, enabling better fit to a wide variety of face shapes; soft and cooling fabrics with either an adjustable head strap or ear loops to achieve a gentle pressure against the face; and the use of a patent-pending folded-paper design to improve airflow and breathability.

Moreover, the researchers found that it was possible to inkjet colorful patterns and images directly on the surface of the mask, making it possible to build a mask that looks more like an item of clothing compared to current N95 masks.

Eliot Kim, a principal industrial designer on Amazon’s Echo Frames team, also offered his experience to the team.

“We were trying to solve a very urgent problem and move fast while doing it,” said Kim. “One of our concepts was inspired by origami paper folding, which is essentially the concept of taking a large volume and shrinking it down through paper folds. We realized this could be very ideal for our design so that people had more surface area, making breathing easier.”

In April 2021, the Amazon PerfectFit Mask team decided to enter the Department of Health and Human Services Mask Innovation Challenge. Out of 1,448 submissions, the Amazon PerfectFit Mask was awarded as one of only 10 Phase 1 winners with a prize of $10,000. Siegel and his team donated the prize money to the University of Washington Medical Center for COVID-19 research.

“The Amazon PerfectFit Mask project has been 100% a team effort, and all of us were excited and honored that the mask was selected as a winner,” said Siegel. “But this is just the first step—we are still improving our design and exploring options to start producing this mask at-scale for our employees and customers. In the end, the most important thing is getting the product out into the world. If we can make a more comfortable, self-protecting face mask, that’s a benefit to us all.”


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