OpenAI, the firm behind the wildly popular generative artificial intelligence app ChatGPT, will now be able to dig into the massive content database of iconic fashion magazine Vogue and other publications of its parent company Condé Nast. This will power its AI models in enhancing news discovery and delivery, OpenAI said in a release on Tuesday (Aug 21).

The partnership, whose financial details were not disclosed, will enable OpenAI to display content from Condé Nast's other brands like The New Yorker, Condé Nast Traveler, GQ, Architectural Digest, Vanity Fair, Wired, Bon Appétit, too within ChatGPT and SearchGPT prototype.

WATCH:&nbsp;ChatGPT and AI: Students using chatbox to cheat in exams?

<div class="ui-state-default" contenteditable="false">
<div class="twitter-block" draggable="false">
<div class="videoWrapper trancodeVideo"><iframe allowfullscreen="" autoplay="1" class="includeVideo" frameborder="0" height="350" src="https://www.wionews.com/videos/chatgpt-and-ai-students-using-chatbox-to-cheat-in-exams-624411/embed" style="width:100%;max-width:560px;" width="560"></iframe></div>
</div>
<a class="close-mark close-div" href="#" id="jqclosemark">×</a></div>

SearchGPT prototype, introduced earlier this year, is OpenAI's foray into the online search domain, offering a key challenge to Google. SearchGPT aims to give fast and timely answers with clear and relevant sources.

Also read:&nbsp;<a href="https://www.wionews.com/world/openai-cuts-off-china-from-chatgpt-and-ai-services-739306">OpenAI cuts off China from ChatGPT and AI services</a>

The New Yorker is a long-form magazine focused mainly on the American city whose name it takes, while Condé Nast Traveler is one of the leading magazines in the travel segment. GQ, or Gentleman's Quarterly, is among the oldest and most influential magazines in men's fashion and style. Vanity Fair is a lifestyle magazine, while Architectural Digest focuses on home and office design and interiors. Wired is a premier tech publication, while Bon Appétit is focused on food.

SearchGPT "offers direct links to news stories, enabling users to easily explore more in-depth content directly from the source. We plan to integrate the best of these features directly into ChatGPT in the future," OpenAI said on its website.

Also read:&nbsp;<a href="https://www.wionews.com/technology/grok-or-gross-elon-musks-new-ai-photo-tool-generates-deepfakes-of-taylor-swift-kamala-harris-750343">Grok or Gross? Elon Musk's new AI photo tool generates deepfakes of Taylor Swift, Kamala Harris</a>

“We’re committed to working with Condé Nast and other news publishers to ensure that as AI plays a larger role in news discovery and delivery, it maintains accuracy, integrity, and respect for quality reporting,” it quoted Brad Lightcap, the COO of OpenAI, as saying.

Earlier, OpenAI had entered into similar partnerships with the Associated Press news agency, Axel Springer-which owns a bunch of print and online outlets- The Atlantic magazine, Dotdash Meredith, Financial Times, LeMonde, NewsCorp, Prisa Media, TIME, and Vox Media.

Roger Lynch, CEO of Condé Nast, said in a memo to staff that it will be a multi-year partnership to expand the reach of Condé Nast’s content.

"Generative AI is rapidly changing ways audiences are discovering information. It’s crucial that we meet audiences where they are and embrace new technologies while also ensuring proper attribution and compensation for the use of our intellectual property. This is exactly what we have found with OpenAI," Lynch said.&nbsp;

<h2>A great opportunity for legacy media companies?</h2>

The decades-old content banks of legacy media groups have suddenly become attractive for generative AI companies, who need it to feed their AI models. This is very different from the situation when tech giants like Google and Facebook used such content for linking, indexing and aggregation purposes, without sufficient compensation for the original content publishing companies. The AI-fuelled search could change all that.

In his statement, Lynch noted how news and digital media have faced steep challenges as Big Tech companies "eroded publishers’ ability to monetise content, most recently with traditional search."

"Our partnership with OpenAI begins to make up for some of that revenue, allowing us to continue to protect and invest in our journalism and creative endeavours," he said.

"It is just the beginning and we will continue what we started in Washington earlier this year - the fight for fair deals and partnerships across the industry until all entities developing and deploying artificial intelligence take seriously, as OpenAI has, the rights of publishers," he added.

(With inputs from agencies)

OpenAI, the firm behind the wildly popular generative artificial intelligence app ChatGPT, will now be able to dig into the massive content database of iconic fashion magazine Vogue and other publications of its parent company Condé Nast.

OpenAI, the firm behind the wildly popular generative artificial intelligence app ChatGPT, will now be able to dig into the massive content database of iconic fashion magazine Vogue and other publications of its parent company Condé Nast. This will power its AI models in enhancing news discovery and delivery, OpenAI said in a release on Tuesday (Aug 21). The partnership, whose financial details were not disclosed, will enable OpenAI to display content from Condé Nast's other brands like The New Yorker, Condé Nast Traveler, GQ, Architectural Digest, Vanity Fair, Wired, Bon Appétit, too within ChatGPT and SearchGPT prototype. WATCH: ChatGPT and AI: Students using chatbox to cheat in exams? × SearchGPT prototype, introduced earlier this year, is OpenAI's foray into the online search domain, offering a key challenge to Google. SearchGPT aims to give fast and timely answers with clear and relevant sources. Also read: OpenAI cuts off China from ChatGPT and AI services The New Yorker is a long-form magazine focused mainly on the American city whose name it takes, while Condé Nast Traveler is one of the leading magazines in the travel segment. GQ, or Gentleman's Quarterly, is among the oldest and most influential magazines in men's fashion and style. Vanity Fair is a lifestyle magazine, while Architectural Digest focuses on home and office design and interiors. Wired is a premier tech publication, while Bon Appétit is focused on food. SearchGPT "offers direct links to news stories, enabling users to easily explore more in-depth content directly from the source. We plan to integrate the best of these features directly into ChatGPT in the future," OpenAI said on its website. Also read: Grok or Gross? Elon Musk's new AI photo tool generates deepfakes of Taylor Swift, Kamala Harris “We’re committed to working with Condé Nast and other news publishers to ensure that as AI plays a larger role in news discovery and delivery, it maintains accuracy, integrity, and respect for quality reporting,” it quoted Brad Lightcap, the COO of OpenAI, as saying. Earlier, OpenAI had entered into similar partnerships with the Associated Press news agency, Axel Springer-which owns a bunch of print and online outlets- The Atlantic magazine, Dotdash Meredith, Financial Times, LeMonde, NewsCorp, Prisa Media, TIME, and Vox Media. Roger Lynch, CEO of Condé Nast, said in a memo to staff that it will be a multi-year partnership to expand the reach of Condé Nast’s content. "Generative AI is rapidly changing ways audiences are discovering information. It’s crucial that we meet audiences where they are and embrace new technologies while also ensuring proper attribution and compensation for the use of our intellectual property. This is exactly what we have found with OpenAI," Lynch said. A great opportunity for legacy media companies? The decades-old content banks of legacy media groups have suddenly become attractive for generative AI companies, who need it to feed their AI models. This is very different from the situation when tech giants like Google and Facebook used such content for linking, indexing and aggregation purposes, without sufficient compensation for the original content publishing companies. The AI-fuelled search could change all that. In his statement, Lynch noted how news and digital media have faced steep challenges as Big Tech companies "eroded publishers’ ability to monetise content, most recently with traditional search." "Our partnership with OpenAI begins to make up for some of that revenue, allowing us to continue to protect and invest in our journalism and creative endeavours," he said. "It is just the beginning and we will continue what we started in Washington earlier this year - the fight for fair deals and partnerships across the industry until all entities developing and deploying artificial intelligence take seriously, as OpenAI has, the rights of publishers," he added. (With inputs from agencies)

ChatGPT and Vogue publisher Condé Nast join hands for SearchGPT partnership. What does it mean?

If you’ve slept, perchance you have dreamed about an ex and woken up wondering, “What was that&nbsp;all about?”

The good news for chronic analysers: An intense dream about a person you cared about months or even decades ago doesn’t mean you’re secretly pining for them. Deirdre Barrett, a dream researcher at Harvard University and author of “Pandemic Dreams” and “The Committee of Sleep,” who has a doctorate in clinical psychology, said a number of factors can spark a dream about an ex-partner.

“Triggers can include an anniversary of a death or a breakup or a divorce decree,” she said. “But dreams can also be a reaction to how we feel about our present relationships.”

Instead of looking at dreams about exes as a sign of still being hung up on them or as a signal to look them up on social media, Barrett said to think of them as a chance to examine your current emotions and how you’re coping with them.

“The whole idea that we process deaths or breakups in an ‘all or nothing’ way is deceptive,” Barrett said. “Life is a continuous ‘getting over it.’ These things never fully disappear.”

Here, Barrett and another expert parse the takeaways from three such dreams. To protect the privacy of both parties, we are using first names only for the dreamers and not naming their exes.

An ex-spouse reappears

Andrew, 47, had been divorced for three years when he had a dream about his ex-wife that stuck with him. At the time, Andrew, who is now in another relationship, had been considering reaching out to his ex, to whom he had been married for 10 years, to catch up.

In the dream, he was meeting his sister at his parents’ house for dinner, and they arrived to find his ex-wife in the backyard, sitting calmly at a picnic table. He and his family then went inside the house and looked through a window at his ex-wife.

Andrew said he woke up feeling like he had “dodged a bullet,” and later decided that contacting his ex would be a bad idea.

That Andrew’s dream provided enough insight to change his course of action, Barrett said, supports what is commonly known as continuity hypothesis: A theory that states that anxieties in our dreams may mirror the ones in our waking life.

“He said he’d been thinking it might be reasonable and even pleasant to start getting together with his ex occasionally,” she said. “But something in his dream made him abandon this plan.”

Ian Wallace, a psychologist in Inverness, Scotland, and author of “Decode Your Dreams: Unlock Your Unconscious and Transform Your Waking Life,” was struck by the placid imagery: the calm face of Andrew’s ex and the picnic table.

“The picnic table could symbolize that he now has the opportunity to make things easier and more pleasant for himself,” he said.

Tap dancing for attention

Five years after Zach, 31, broke up with his on-and-off girlfriend of three years in 2014 because of issues related to dating long-distance, he had a dream about them meeting at what Zach described as a “magic academy,” like the one in the TV series “The Magicians.”

The two were on a great lawn, and Zach heard an old phonograph playing what he said might have been a love song in the distance. He began to tap dance, hoping his ex-girlfriend would see him, but she had fallen asleep on a blanket.

Later, he was in a room inside the academy. “All of the rooms are locked by a magical spell that can only be broken by the occupant of the room,” Zach said. When he heard a knock on the door, he opened it to find his ex-girlfriend there.

Zach, who is in another relationship, said he rarely dreams about his ex-girlfriend and that he woke up wishing that he was at the magical academy.

According to Barrett, “each room being locked with a spell only its occupant can break” could be associated with the issues that Zach and his ex faced by dating long-distance. That Zach woke up wishing he was at the academy could suggest an openness to reconnecting. “I wouldn’t be amazed to see this dreamer give it” another chance, she said.

The dream’s mystical quality, Wallace said, suggests that Zach is seeking a perfect relationship. “In waking life, we can sometimes delude ourselves with magical thinking as we try to idealise a romantic relationship rather than engaging with practicalities,” he said.

Rekindling a relationship

Right around the start of the pandemic, Justy, 34, said she started having one or two dreams a month about her ex-husband, whom she divorced in 2014 after two years of marriage.

In one dream, Justy, who is currently single, arrived at a hotel in the area where her ex grew up. There, she discovered that he was getting married to someone else. Soon she was surrounded by his family and friends, who told her that they wished it was her and him getting married again. Then, Justy and her ex were somewhere else, alone. He was holding her and saying that he wanted to be with her.

Justy said the dream stayed with her because of how emotional it felt, despite the fact that she and her ex-husband no longer share romantic feelings.

“I think a big part of why these dreams started during the pandemic is there’s this nostalgia for when I was married,” she said. “I really liked where my life was at and where my career was going.”

The past two years have changed so much about our lives that past relationships may have an added appeal because new ones are harder to imagine, said Barrett. The dream may be more about a nostalgia for a time that her ex represents, rather than the person himself.

“Past relationships may have an added appeal as brand-new ones are harder to initiate right now” because of the pandemic, she said.

This article originally appeared in The New York Times.

If you’ve slept, perchance you have dreamed about an ex and woken up wondering, “What was that all about?” The good news for chronic analysers: An intense dream about a person you cared about months or even decades ago doesn’t mean you’re secretly pining for them.

If you’ve slept, perchance you have dreamed about an ex and woken up wondering, “What was that all about?” The good news for chronic analysers: An intense dream about a person you cared about months or even decades ago doesn’t mean you’re secretly pining for them. Deirdre Barrett, a dream researcher at Harvard University and author of “Pandemic Dreams” and “The Committee of Sleep,” who has a doctorate in clinical psychology, said a number of factors can spark a dream about an ex-partner. “Triggers can include an anniversary of a death or a breakup or a divorce decree,” she said. “But dreams can also be a reaction to how we feel about our present relationships.” Instead of looking at dreams about exes as a sign of still being hung up on them or as a signal to look them up on social media, Barrett said to think of them as a chance to examine your current emotions and how you’re coping with them. “The whole idea that we process deaths or breakups in an ‘all or nothing’ way is deceptive,” Barrett said. “Life is a continuous ‘getting over it.’ These things never fully disappear.” Here, Barrett and another expert parse the takeaways from three such dreams. To protect the privacy of both parties, we are using first names only for the dreamers and not naming their exes. An ex-spouse reappears Andrew, 47, had been divorced for three years when he had a dream about his ex-wife that stuck with him. At the time, Andrew, who is now in another relationship, had been considering reaching out to his ex, to whom he had been married for 10 years, to catch up. In the dream, he was meeting his sister at his parents’ house for dinner, and they arrived to find his ex-wife in the backyard, sitting calmly at a picnic table. He and his family then went inside the house and looked through a window at his ex-wife. Andrew said he woke up feeling like he had “dodged a bullet,” and later decided that contacting his ex would be a bad idea. That Andrew’s dream provided enough insight to change his course of action, Barrett said, supports what is commonly known as continuity hypothesis: A theory that states that anxieties in our dreams may mirror the ones in our waking life. “He said he’d been thinking it might be reasonable and even pleasant to start getting together with his ex occasionally,” she said. “But something in his dream made him abandon this plan.” Ian Wallace, a psychologist in Inverness, Scotland, and author of “Decode Your Dreams: Unlock Your Unconscious and Transform Your Waking Life,” was struck by the placid imagery: the calm face of Andrew’s ex and the picnic table. “The picnic table could symbolize that he now has the opportunity to make things easier and more pleasant for himself,” he said. Tap dancing for attention Five years after Zach, 31, broke up with his on-and-off girlfriend of three years in 2014 because of issues related to dating long-distance, he had a dream about them meeting at what Zach described as a “magic academy,” like the one in the TV series “The Magicians.” The two were on a great lawn, and Zach heard an old phonograph playing what he said might have been a love song in the distance. He began to tap dance, hoping his ex-girlfriend would see him, but she had fallen asleep on a blanket. Later, he was in a room inside the academy. “All of the rooms are locked by a magical spell that can only be broken by the occupant of the room,” Zach said. When he heard a knock on the door, he opened it to find his ex-girlfriend there. Zach, who is in another relationship, said he rarely dreams about his ex-girlfriend and that he woke up wishing that he was at the magical academy. According to Barrett, “each room being locked with a spell only its occupant can break” could be associated with the issues that Zach and his ex faced by dating long-distance. That Zach woke up wishing he was at the academy could suggest an openness to reconnecting. “I wouldn’t be amazed to see this dreamer give it” another chance, she said. The dream’s mystical quality, Wallace said, suggests that Zach is seeking a perfect relationship. “In waking life, we can sometimes delude ourselves with magical thinking as we try to idealise a romantic relationship rather than engaging with practicalities,” he said. Rekindling a relationship Right around the start of the pandemic, Justy, 34, said she started having one or two dreams a month about her ex-husband, whom she divorced in 2014 after two years of marriage. In one dream, Justy, who is currently single, arrived at a hotel in the area where her ex grew up. There, she discovered that he was getting married to someone else. Soon she was surrounded by his family and friends, who told her that they wished it was her and him getting married again. Then, Justy and her ex were somewhere else, alone. He was holding her and saying that he wanted to be with her. Justy said the dream stayed with her because of how emotional it felt, despite the fact that she and her ex-husband no longer share romantic feelings. “I think a big part of why these dreams started during the pandemic is there’s this nostalgia for when I was married,” she said. “I really liked where my life was at and where my career was going.” The past two years have changed so much about our lives that past relationships may have an added appeal because new ones are harder to imagine, said Barrett. The dream may be more about a nostalgia for a time that her ex represents, rather than the person himself. “Past relationships may have an added appeal as brand-new ones are harder to initiate right now” because of the pandemic, she said. This article originally appeared in The New York Times.

Why we dream about past loves

Sarah Weingartz, 18, became a makeup expert during her senior year of high school. Her days were spent in Zoom classes and at a part-time job at McDonald’s, and her nights on FaceTime, where she would connect with two classmates, usually around midnight, put on a bunch of eye shadow and lipstick, wipe it off and then go to sleep.

During the thick of quarantine, Weingartz, who never wore makeup prepandemic, stocked up on vibrant pencils, powders and palettes. She studied cat-eye techniques from Kall Me Kris, aka Kris Collins, a Canadian TikToker with more than 40 million followers, and experimented with blue shadow and eyeliner, now staples in her growing makeup collection.

“I started with a basic wing and got more and more fancy as it went on,” Weingartz said of her eyeliner journey. “It snowballed from there.”

Now she draws an exaggerated wing that “swoops up” and extends beyond the outer corner of her eye and uses white liner on her waterline to make her eyes “pop.” When she feels like it, she smudges on some red or blue eye shadow.&nbsp;<a href="https://www.wionews.com/entertainment/lifestyle/news-black-women-make-waves-in-hair-care-435478" hreflang="en">Black women make waves in hair care</a>

This is what the new way to wear makeup is all about.

After years of romanticising “no-makeup makeup,” a catchall for the products to give the illusion of a “bare” (yet perfect) face, people are opting for self-expression as they weigh their appearance in a largely post-lockdown world. Many are back to socialising, eating out, vacationing, going to the office and events and, soon, holiday parties, and they’re hungry for ways to express their individuality.

“There is a huge collision of cultural trends that are affecting the reinvention of makeup,” said Sam Cheow, global head of makeup innovation, portfolio and product development of the Estée Lauder Cos., including lockdowns, social media, Gen Z and a more discerning shopper. “People hate to be told that ‘this is the trend.’”

It’s why the pandemic ignited a makeup rebirth in terms of how we apply it, the products and colors we use, and our attitudes toward beauty. Modern makeup is meant to reflect what’s going on inside; it isn’t about looking hot or as if you’re not wearing any at all — it’s colorful, expressive, imperfect and meant to be seen.

<h5><a href="https://www.wionews.com/photos/best-bars-in-the-world-2021-revealed-new-delhis-sidecar-only-indian-entry-to-make-the-list-435456" hreflang="en">Best bars in the world 2021 revealed, New Delhi's Sidecar only Indian entry to make the list</a></h5>

According to 1010data, which analyzes consumer habits, online makeup sales in the United States (lip, eye and face categories combined) have increased by 29% in 2021, compared with 2019.

“People are coming to the realization that makeup is a way to celebrate your femininity and personality,” said Violette Serrat, a makeup artist and the founder of Violette_Fr. “It’s finally happening.”

So what will makeup look like and how will we wear it?

‘Girl Gaze’ Makeup

After years of perfecting imperceptible makeup, the kind designed to conceal, contour and highlight, something new is afoot. It’s not a heavy-handed, complicated look that demands a 35-shade eye shadow palette and a 30-minute YouTube tutorial. Nor is it the kind of makeup that, like shapewear, you’re not supposed to see but which is quietly rearranging your body into something more palatable for men.

“A ‘no-makeup makeup’ look implies that you’re trying to cover up something,” said Maria Salcedo, senior vice president for merchandising at Ulta Beauty. The store is phasing out the term.

Enter “girl gaze” makeup, a new middle ground that’s expressive yet still simple in its application and, most important, wearable. A single wash of metallic pink shadow over the entire lid or blue eye “paint” used as liner doesn’t require much time (or skill).

It’s not revolutionary, but it is an evolution of the painstakingly pink Glossier era. Dewy-faced teens and millennials still want to look dewy but with twinkling yellow-gold liquid eye shadow. Real skin is in; the full-coverage foundation of the contouring heyday — which took place roughly between 2015 and 2019 — is out.

Doniella Davy, makeup designer for HBO’s “Euphoria,” believes makeup should be something you wear for&nbsp;yourself, she said, not because you feel pressure to contour your nose or cheeks to give the illusion of perfect bone structure (although that’s perfectly fine, too).

<h5><a href="https://www.wionews.com/entertainment/lifestyle/news-nicki-minaj-turns-39-celebrates-with-a-nude-photoshoot-435388" hreflang="en">Nicki Minaj turns 39, celebrates with a nude photoshoot</a></h5>

She urges people to think about makeup less “correctively.”

“There is a world where you can wear the pink eye shadow and not do the concealer,” Davy said.

‘Time to Be Seen’&nbsp;

Mascara, eyeliner, eyebrow enhancers, false lashes and eye shadow are a bright spot for beauty. The eyes are the only visible part of the face in a mask, but they’re also the feature that allows for the most expression and creativity.

“There is this inner urge to peacock out somewhere,” said Shireen Jiwan, founder and CEO of Sleuth Brand Consulting. “Maybe we’re not willing to peacock in 3-inch heels, but we are in a blue eye shadow.”

Overall, online eye makeup sales in the United States have been 47% higher in 2021 than in 2019, according to 1010data. That’s more than double the rise in sales in the lip or face categories in the same time period.

Search terms reflect the trend, too. The analysts looked at the top terms leading to a beauty purchase on Amazon. Last year “face wash” and “shampoo” were the most searched for items. Now “mascara” and “gel nail polish” are the No. 1 and 2 searches leading to a beauty purchase.

“Now is the time to be seen,” said Tereza Kurbasa, 41, an administrative assistant in Melbourne, Australia. “Everyone is going to go crazy.” She celebrated the end of Melbourne’s sixth lockdown with shimmery eye shadow and lunch with friends, her first time in a restaurant in months.

A pink eye was the epicenter of a “flirty and fun” weekend makeup look Kurbasa planned far in advance using Milk Makeup Color Chalk in Skip It, Flower Beauty eye shadow palette in Bloom, KVD Beauty liquid liner and MCoBeauty mascara.

“I didn’t get the chance to add my LoveSeen lashes, but they will be used hopefully soon,” she said. (LoveSeen is the new line of fake lashes from former J. Crew executive Jenna Lyons.)

Alanna McDonald, president of Maybelline, said that its Sky High mascara, which hit shelves in January, is one of the top sellers of the year.

“It’s a real customer insight about the desire to wear makeup for everything you missed,” she said of the company’s makeup business, now disproportionately driven by eye and lip products.

Similarly, E.l.f. Cosmetics has had success with its Big Mood mascara, which came out in August, and the No Budge Shadow Stick, a collection of 12 metallic eye shadow pencils that come in neutral beige to vibrant sapphire.

Shadow sticks are designed for “one swipe” use, said Gayitri Budhraja, chief brand officer of E.l.f. Also, they’re shimmery and cost just $5.

Raynell Steward, founder and chief executive of the Crayon Case, a school supply-inspired line of makeup, is seeing demand for bold eye shadow.

“People that were never into color are more into color now,” Steward said, adding that she had trouble keeping an 18-shade Box of Crayons palette and mini eye shadow “notepads,” especially in green, in stock.

“The nude palettes are not selling,” she said.

The New Blue and Monochromatic Lids&nbsp;

Beauty industry experts say complicated eye motifs — think over-the-top shadow with eyebrows that look as if they were drawn on with a Sharpie — are passé.

Serrat suggests a single wash of color painted over the entire lid (blue is her favorite), applied with a brush or your finger. Depending on your mood, the end result can be intense and opaque, light like a watercolor or somewhere in the middle.

With Violette_Fr’s Yeux Paint, a liquid eye color that doubles as a liner, you can swipe it across your lid and blend to your liking or paint a thick line along the lash line (wing optional) with a pretty easy-to-use applicator. A “twinkling” blue is the most popular color, Serrat said. (She thought it would be beige.) Two new shades came out in late October: a rich navy and an acid yellow gold.

Don’t let blue eye shadow conjure memories of frosted hair, feathered bangs, Madonna in the 1980s and bad fashion. The new blue isn’t garish.

“If you’re wearing a blue eye shadow but your hair is chill, your skin is kind of bare and you have a little gloss on, you still look like you,” Serrat said.

At MAC Cosmetics, yellow lids are trending.

In some places, sales for yellow shadow tripled or quadrupled, Drew Elliott, the company’s global creative director, reported, a result, he said, of content and a “Yes to Yellow” campaign that kicked off last spring.

What about skin?

“This younger consumer knows their skin is textured,” said Eden Palmer, vice president for global brand at Morphe. “They’re OK with that and want to show it.”

It’s a sentiment shared industrywide. At brands and stores like Morphe, Nars, Sephora and Ulta, customers are opting for tinted moisturizer or skin tint over full-on foundation — to pair with a big-eye look, of course.

“People are excited to show their face again,” Jiwan said. “The only difference is that they’re showing it in a different way than they did before.”

This article originally appeared in The New York Times.

Sarah Weingartz, 18, became a makeup expert during her senior year of high school. Her days were spent in Zoom classes and at a part-time job at McDonald’s, and her nights on FaceTime, where she would connect with two classmates, usually around midnight, put on a bunch of eye shadow and lipstick, wipe it off and then go to sleep.

Sarah Weingartz, 18, became a makeup expert during her senior year of high school. Her days were spent in Zoom classes and at a part-time job at McDonald’s, and her nights on FaceTime, where she would connect with two classmates, usually around midnight, put on a bunch of eye shadow and lipstick, wipe it off and then go to sleep. During the thick of quarantine, Weingartz, who never wore makeup prepandemic, stocked up on vibrant pencils, powders and palettes. She studied cat-eye techniques from Kall Me Kris, aka Kris Collins, a Canadian TikToker with more than 40 million followers, and experimented with blue shadow and eyeliner, now staples in her growing makeup collection. “I started with a basic wing and got more and more fancy as it went on,” Weingartz said of her eyeliner journey. “It snowballed from there.” Now she draws an exaggerated wing that “swoops up” and extends beyond the outer corner of her eye and uses white liner on her waterline to make her eyes “pop.” When she feels like it, she smudges on some red or blue eye shadow. Black women make waves in hair care This is what the new way to wear makeup is all about. After years of romanticising “no-makeup makeup,” a catchall for the products to give the illusion of a “bare” (yet perfect) face, people are opting for self-expression as they weigh their appearance in a largely post-lockdown world. Many are back to socialising, eating out, vacationing, going to the office and events and, soon, holiday parties, and they’re hungry for ways to express their individuality. “There is a huge collision of cultural trends that are affecting the reinvention of makeup,” said Sam Cheow, global head of makeup innovation, portfolio and product development of the Estée Lauder Cos., including lockdowns, social media, Gen Z and a more discerning shopper. “People hate to be told that ‘this is the trend.’” It’s why the pandemic ignited a makeup rebirth in terms of how we apply it, the products and colors we use, and our attitudes toward beauty. Modern makeup is meant to reflect what’s going on inside; it isn’t about looking hot or as if you’re not wearing any at all — it’s colorful, expressive, imperfect and meant to be seen. Best bars in the world 2021 revealed, New Delhi's Sidecar only Indian entry to make the list According to 1010data, which analyzes consumer habits, online makeup sales in the United States (lip, eye and face categories combined) have increased by 29% in 2021, compared with 2019. “People are coming to the realization that makeup is a way to celebrate your femininity and personality,” said Violette Serrat, a makeup artist and the founder of Violette_Fr. “It’s finally happening.” So what will makeup look like and how will we wear it? ‘Girl Gaze’ Makeup After years of perfecting imperceptible makeup, the kind designed to conceal, contour and highlight, something new is afoot. It’s not a heavy-handed, complicated look that demands a 35-shade eye shadow palette and a 30-minute YouTube tutorial. Nor is it the kind of makeup that, like shapewear, you’re not supposed to see but which is quietly rearranging your body into something more palatable for men. “A ‘no-makeup makeup’ look implies that you’re trying to cover up something,” said Maria Salcedo, senior vice president for merchandising at Ulta Beauty. The store is phasing out the term. Enter “girl gaze” makeup, a new middle ground that’s expressive yet still simple in its application and, most important, wearable. A single wash of metallic pink shadow over the entire lid or blue eye “paint” used as liner doesn’t require much time (or skill). It’s not revolutionary, but it is an evolution of the painstakingly pink Glossier era. Dewy-faced teens and millennials still want to look dewy but with twinkling yellow-gold liquid eye shadow. Real skin is in; the full-coverage foundation of the contouring heyday — which took place roughly between 2015 and 2019 — is out. Doniella Davy, makeup designer for HBO’s “Euphoria,” believes makeup should be something you wear for yourself, she said, not because you feel pressure to contour your nose or cheeks to give the illusion of perfect bone structure (although that’s perfectly fine, too). Nicki Minaj turns 39, celebrates with a nude photoshoot She urges people to think about makeup less “correctively.” “There is a world where you can wear the pink eye shadow and not do the concealer,” Davy said. ‘Time to Be Seen’ Mascara, eyeliner, eyebrow enhancers, false lashes and eye shadow are a bright spot for beauty. The eyes are the only visible part of the face in a mask, but they’re also the feature that allows for the most expression and creativity. “There is this inner urge to peacock out somewhere,” said Shireen Jiwan, founder and CEO of Sleuth Brand Consulting. “Maybe we’re not willing to peacock in 3-inch heels, but we are in a blue eye shadow.” Overall, online eye makeup sales in the United States have been 47% higher in 2021 than in 2019, according to 1010data. That’s more than double the rise in sales in the lip or face categories in the same time period. Search terms reflect the trend, too. The analysts looked at the top terms leading to a beauty purchase on Amazon. Last year “face wash” and “shampoo” were the most searched for items. Now “mascara” and “gel nail polish” are the No. 1 and 2 searches leading to a beauty purchase. “Now is the time to be seen,” said Tereza Kurbasa, 41, an administrative assistant in Melbourne, Australia. “Everyone is going to go crazy.” She celebrated the end of Melbourne’s sixth lockdown with shimmery eye shadow and lunch with friends, her first time in a restaurant in months. A pink eye was the epicenter of a “flirty and fun” weekend makeup look Kurbasa planned far in advance using Milk Makeup Color Chalk in Skip It, Flower Beauty eye shadow palette in Bloom, KVD Beauty liquid liner and MCoBeauty mascara. “I didn’t get the chance to add my LoveSeen lashes, but they will be used hopefully soon,” she said. (LoveSeen is the new line of fake lashes from former J. Crew executive Jenna Lyons.) Alanna McDonald, president of Maybelline, said that its Sky High mascara, which hit shelves in January, is one of the top sellers of the year. “It’s a real customer insight about the desire to wear makeup for everything you missed,” she said of the company’s makeup business, now disproportionately driven by eye and lip products. Similarly, E.l.f. Cosmetics has had success with its Big Mood mascara, which came out in August, and the No Budge Shadow Stick, a collection of 12 metallic eye shadow pencils that come in neutral beige to vibrant sapphire. Shadow sticks are designed for “one swipe” use, said Gayitri Budhraja, chief brand officer of E.l.f. Also, they’re shimmery and cost just $5. Raynell Steward, founder and chief executive of the Crayon Case, a school supply-inspired line of makeup, is seeing demand for bold eye shadow. “People that were never into color are more into color now,” Steward said, adding that she had trouble keeping an 18-shade Box of Crayons palette and mini eye shadow “notepads,” especially in green, in stock. “The nude palettes are not selling,” she said. The New Blue and Monochromatic Lids Beauty industry experts say complicated eye motifs — think over-the-top shadow with eyebrows that look as if they were drawn on with a Sharpie — are passé. Serrat suggests a single wash of color painted over the entire lid (blue is her favorite), applied with a brush or your finger. Depending on your mood, the end result can be intense and opaque, light like a watercolor or somewhere in the middle. With Violette_Fr’s Yeux Paint, a liquid eye color that doubles as a liner, you can swipe it across your lid and blend to your liking or paint a thick line along the lash line (wing optional) with a pretty easy-to-use applicator. A “twinkling” blue is the most popular color, Serrat said. (She thought it would be beige.) Two new shades came out in late October: a rich navy and an acid yellow gold. Don’t let blue eye shadow conjure memories of frosted hair, feathered bangs, Madonna in the 1980s and bad fashion. The new blue isn’t garish. “If you’re wearing a blue eye shadow but your hair is chill, your skin is kind of bare and you have a little gloss on, you still look like you,” Serrat said. At MAC Cosmetics, yellow lids are trending. In some places, sales for yellow shadow tripled or quadrupled, Drew Elliott, the company’s global creative director, reported, a result, he said, of content and a “Yes to Yellow” campaign that kicked off last spring. What about skin? “This younger consumer knows their skin is textured,” said Eden Palmer, vice president for global brand at Morphe. “They’re OK with that and want to show it.” It’s a sentiment shared industrywide. At brands and stores like Morphe, Nars, Sephora and Ulta, customers are opting for tinted moisturizer or skin tint over full-on foundation — to pair with a big-eye look, of course. “People are excited to show their face again,” Jiwan said. “The only difference is that they’re showing it in a different way than they did before.” This article originally appeared in The New York Times.

The new makeup is meant to be seen

On Oct. 30, 2015, a fire ripped through a nightclub in the Romanian capital, Bucharest, leaving 64 people dead. Almost six years later, a documentary about the fire and its tragic aftermath has been nominated for two Oscars.

It would be the first Oscar win for the Eastern European country, but the film’s success is bittersweet for many Romanians, given its painful subject matter — particularly since many believe not enough has changed since 2015.

“Collective,” which has been nominated for best documentary feature and best foreign film, follows a group of investigative journalists from a sports newspaper as they uncover painful truths about the Romanian health care system.

“The situation was so appalling that basically it should have been a big scandal in the whole of Europe,” said Alexander Nanau, the film’s director.

Events on the night of the fire and its immediate aftermath ricocheted across Romania, toppling the government at the time — led by the Social Democratic Party — and mobilizing civil society into large-scale protests.

In the years since, however, there have been further political scandals, and few health care overhauls. The coronavirus pandemic has also put huge new demands on the struggling Romanian health care system. Two fires in COVID-19 wards in the last six months have left at least 20 people dead.

Many Romanians wonder how much has really changed since “Collective.”

While tragic, the nightclub fire is just the film’s starting point. The blaze claimed 27 lives in its immediate aftermath, but 64 people would ultimately die, many victims of a health care system awash with corruption and willing to hide painful truth from the victims and their families.

Standing outside one of Bucharest’s main hospitals, Nanau recalled: “It was basically in front of this hospital where the minister of health always stood flanked by doctors saying ‘We can treat the burn victims at the highest standards.’”

However, as the journalists found out, the burn unit was not even operational at the time, Nanau said. “It’s incredible that they have the guts to lie to all these people that their kids are being given surgery in the most modern burn unit when in fact this was closed.”

The journalists also discovered that the disinfectant used in hospitals across the country was being watered down, to the extent that it was largely ineffectual, probably resulting in many more deaths. The owner of the company involved drove his car into a tree after the truth was brought to light, killing himself.

The documentary shows in real time the reaction of the journalists after a whistleblower sends them footage from a hospital of maggots crawling in the wound of a burn victim.

The film has been compared to both “Spotlight” and “All the President’s Men,” and in a review for The New York Times late last year, Manohla Dargis described “Collective” as a “staggering documentary” that offered “no moment when you can take an easy breath, assured that the terrible things you’ve been watching onscreen are finally over.”

For people in Romania, however, much of what is shown onscreen is painfully familiar.

Catalin Tolontan, then editor-in-chief of the daily newspaper Gazeta Sporturilor, is one of the main protagonists of “Collective.” Before the documentary, “We used to receive 10 or 15 messages per day from the public, with scoops or information,” he said in an interview. “After the movie we received 70 to 80 a day.”

Tedy Ursuleanu, who suffered severe burns across her head and body, and had her fingers amputated as a result of the fire, is one of the strongest characters in the film.

In an interview, she said that it was not a hard decision to let the filmmakers follow her, but that seeing the film was a painful experience. “When I saw some of the scenes, the impact was as if I lived those moments again,” Ursuleanu said. “I started to cry. I needed to go outside to compose myself.”

Ursuleanu said she believed that not enough progress had been made in the years since the documentary was filmed. “Changes have taken place, but they are few compared to the needs we have here,” she said. “Sadly, tragedies like this could easily happen again, because even now measures are not respected.”

Partway through the documentary, “Collective” introduces a young, reform-minded health minister, Vlad Voiculescu, who is brought in as part of a short-lived technocrat government.

Voiculescu and his team face strong resistance as they try to bring greater transparency to the health care system, while having to accept that the system was culpable in many deaths.

In a recent interview, Voiculescu, who was reappointed as health minister late last year, said that what frustrated him most was that on his return he found an institution that was “even more collapsed than before.” Now, Voiculescu is more focused on dealing with the coronavirus than overhauling the Romanian health care system.

“Collective,” which appeared on streaming platforms late last year, has resonated strongly with audiences around the world, especially at a time when the pandemic has made health care a central issue globally.

Nanau, a Romanian director who spent much of his life in Germany before moving back to his home country in 2015, has a track record of producing powerful documentaries. His previous film, “Toto and His Sisters,” followed the lives of three teenagers left to fend largely for themselves in one of the poorest areas of Bucharest, after their mother was sent to prison on drug charges.

But with “Collective,” he seems to have found a subject that hit at a perfect moment.

The film’s impact has also been felt outside Romania. Earlier this year in Mongolia, when a woman with COVID-19 was transferred from the hospital in freezing temperatures just days after giving birth, journalists began asking tough questions of the government, apparently encouraging one another on Facebook by referencing “Collective,” which a local television station had shown days earlier. Protests followed, and the government ultimately resigned.

“If you are a journalist in a small country and saw ‘Spotlight,’ you could say, ‘Well, this is the U.S., they have a lot of resources, they have a strong democracy, they have a bond between the public and government,’” Tolontan, the newspaper editor, said. “But if you are in Mongolia or the Czech Republic, Indonesia, and you saw this movie, you think ‘They’re like us.’”

Romanian movies like “4 Months, 3 Weeks and 2 Days,” “Beyond the Hills” and “Child’s Pose” have received top awards at international festivals over the years, but none has won an Oscar.

Andrei Gorzo, a Romanian film critic, said that it was harder for Romanian viewers to see “Collective” as a morally clear-cut tale of a few good people fighting to change the rotten system. Instead, he said, it captures a specific moment in Romania, when urban, middle-class voters believed in a new breed of politician, young and unsullied, who could clean up Romanian politics. “It is impossible for me to watch the film without acknowledging that a lot of that romanticism has turned sour since then,” he said.

Others are more optimistic. “The generation that will change things here is not the generation that is 35-plus,” Nanau said. “It’s the younger generation, and these are the people that write to us, that we have met in the cinemas.”

Tolontan said he saw “Collective” as “a point of no return” for Romanian society.

Whether the film wins at the Oscars ceremony next month, many Romanians still hope that the film’s biggest impact will be at home, and that they can leave its content in the past.

On Oct. 30, 2015, a fire ripped through a nightclub in the Romanian capital, Bucharest, leaving 64 people dead. Almost six years later, a documentary about the fire and its tragic aftermath has been nominated for two Oscars.

On Oct. 30, 2015, a fire ripped through a nightclub in the Romanian capital, Bucharest, leaving 64 people dead. Almost six years later, a documentary about the fire and its tragic aftermath has been nominated for two Oscars. It would be the first Oscar win for the Eastern European country, but the film’s success is bittersweet for many Romanians, given its painful subject matter — particularly since many believe not enough has changed since 2015. “Collective,” which has been nominated for best documentary feature and best foreign film, follows a group of investigative journalists from a sports newspaper as they uncover painful truths about the Romanian health care system. “The situation was so appalling that basically it should have been a big scandal in the whole of Europe,” said Alexander Nanau, the film’s director. Events on the night of the fire and its immediate aftermath ricocheted across Romania, toppling the government at the time — led by the Social Democratic Party — and mobilizing civil society into large-scale protests. In the years since, however, there have been further political scandals, and few health care overhauls. The coronavirus pandemic has also put huge new demands on the struggling Romanian health care system. Two fires in COVID-19 wards in the last six months have left at least 20 people dead. Many Romanians wonder how much has really changed since “Collective.” While tragic, the nightclub fire is just the film’s starting point. The blaze claimed 27 lives in its immediate aftermath, but 64 people would ultimately die, many victims of a health care system awash with corruption and willing to hide painful truth from the victims and their families. Standing outside one of Bucharest’s main hospitals, Nanau recalled: “It was basically in front of this hospital where the minister of health always stood flanked by doctors saying ‘We can treat the burn victims at the highest standards.’” However, as the journalists found out, the burn unit was not even operational at the time, Nanau said. “It’s incredible that they have the guts to lie to all these people that their kids are being given surgery in the most modern burn unit when in fact this was closed.” The journalists also discovered that the disinfectant used in hospitals across the country was being watered down, to the extent that it was largely ineffectual, probably resulting in many more deaths. The owner of the company involved drove his car into a tree after the truth was brought to light, killing himself. The documentary shows in real time the reaction of the journalists after a whistleblower sends them footage from a hospital of maggots crawling in the wound of a burn victim. The film has been compared to both “Spotlight” and “All the President’s Men,” and in a review for The New York Times late last year, Manohla Dargis described “Collective” as a “staggering documentary” that offered “no moment when you can take an easy breath, assured that the terrible things you’ve been watching onscreen are finally over.” For people in Romania, however, much of what is shown onscreen is painfully familiar. Catalin Tolontan, then editor-in-chief of the daily newspaper Gazeta Sporturilor, is one of the main protagonists of “Collective.” Before the documentary, “We used to receive 10 or 15 messages per day from the public, with scoops or information,” he said in an interview. “After the movie we received 70 to 80 a day.” Tedy Ursuleanu, who suffered severe burns across her head and body, and had her fingers amputated as a result of the fire, is one of the strongest characters in the film. In an interview, she said that it was not a hard decision to let the filmmakers follow her, but that seeing the film was a painful experience. “When I saw some of the scenes, the impact was as if I lived those moments again,” Ursuleanu said. “I started to cry. I needed to go outside to compose myself.” Ursuleanu said she believed that not enough progress had been made in the years since the documentary was filmed. “Changes have taken place, but they are few compared to the needs we have here,” she said. “Sadly, tragedies like this could easily happen again, because even now measures are not respected.” Partway through the documentary, “Collective” introduces a young, reform-minded health minister, Vlad Voiculescu, who is brought in as part of a short-lived technocrat government. Voiculescu and his team face strong resistance as they try to bring greater transparency to the health care system, while having to accept that the system was culpable in many deaths. In a recent interview, Voiculescu, who was reappointed as health minister late last year, said that what frustrated him most was that on his return he found an institution that was “even more collapsed than before.” Now, Voiculescu is more focused on dealing with the coronavirus than overhauling the Romanian health care system. “Collective,” which appeared on streaming platforms late last year, has resonated strongly with audiences around the world, especially at a time when the pandemic has made health care a central issue globally. Nanau, a Romanian director who spent much of his life in Germany before moving back to his home country in 2015, has a track record of producing powerful documentaries. His previous film, “Toto and His Sisters,” followed the lives of three teenagers left to fend largely for themselves in one of the poorest areas of Bucharest, after their mother was sent to prison on drug charges. But with “Collective,” he seems to have found a subject that hit at a perfect moment. The film’s impact has also been felt outside Romania. Earlier this year in Mongolia, when a woman with COVID-19 was transferred from the hospital in freezing temperatures just days after giving birth, journalists began asking tough questions of the government, apparently encouraging one another on Facebook by referencing “Collective,” which a local television station had shown days earlier. Protests followed, and the government ultimately resigned. “If you are a journalist in a small country and saw ‘Spotlight,’ you could say, ‘Well, this is the U.S., they have a lot of resources, they have a strong democracy, they have a bond between the public and government,’” Tolontan, the newspaper editor, said. “But if you are in Mongolia or the Czech Republic, Indonesia, and you saw this movie, you think ‘They’re like us.’” Romanian movies like “4 Months, 3 Weeks and 2 Days,” “Beyond the Hills” and “Child’s Pose” have received top awards at international festivals over the years, but none has won an Oscar. Andrei Gorzo, a Romanian film critic, said that it was harder for Romanian viewers to see “Collective” as a morally clear-cut tale of a few good people fighting to change the rotten system. Instead, he said, it captures a specific moment in Romania, when urban, middle-class voters believed in a new breed of politician, young and unsullied, who could clean up Romanian politics. “It is impossible for me to watch the film without acknowledging that a lot of that romanticism has turned sour since then,” he said. Others are more optimistic. “The generation that will change things here is not the generation that is 35-plus,” Nanau said. “It’s the younger generation, and these are the people that write to us, that we have met in the cinemas.” Tolontan said he saw “Collective” as “a point of no return” for Romanian society. Whether the film wins at the Oscars ceremony next month, many Romanians still hope that the film’s biggest impact will be at home, and that they can leave its content in the past.

Since the Oscar-nominated ‘Collective,’ much and little has changed

The first two films in the Netflix trilogy “To All the Boys I’ve Loved Before” pretty much checked every box on the teen rom-com boy-drama bingo card: a boy next door, a boy doomed to be on the losing end of a love triangle and, most important, the boy who helps hatch a fake dating plot that inevitably becomes … not so fake.

So when it came time to film the final installment, actress Lana Condor, who plays Lara Jean, the girl at the center of it all, was just about ready for a change of pace. “It’s called ‘To All the Boys,’” Condor, 23, said in a Zoom interview Monday. “It’s been about the boys. From Day 1. We get it.”

'To All the Boys: Always and Forever,' which begins streaming Friday, sets aside Team Josh and Team John Ambrose and Team Peter in favor of Team Lara Jean, as she finds herself on the brink of some major life decisions with high school graduation approaching. She has come a long way from the hopeless romantic who wrote down her feelings in sweeping love letters rather than acting on them, a habit that set off the antics of the first film when the letters inadvertently made their way to their recipients.

A lot has changed for Condor, too. She became a star overnight with the first installment, in 2018, and post-'To All the Boys,' she’s set to star in and executive produce a new comedy series for Netflix.

But first, after several years of a whirlwind work schedule, she’s focused on settling into her new home in Seattle with her boyfriend, actor Anthony De La Torre, and her dog, Emmy. As she prepares to say goodbye to the character that has defined her career so far, Condor discussed what it means to be one of the few Asian American actresses to headline a romantic comedy and why the Lara Jean of 'Always and Forever' is her favorite. These are edited excerpts from the conversation:

Q: This time last year, you surprised fans at the Paris Theater in New York for a screening of the second film of the trilogy — an experience that seems pretty foreign now. How does it feel looking back?

A: That was really emotional and made me feel just overwhelmed with joy. I’ve put so much of myself into these movies because I love them. And they’ve also changed my life. But looking back, I was running on fumes at that point, because it was shooting the movies back to back and then going on the big press tour. I wish that I had taken it all in and really been present.

Q: What was making this last film like for you?

A: I remember thinking, “How did I get here?” I wanted nothing more than to finish it the way that I would be super proud of Lara Jean. So I was just hell-bent; I was constantly talking to the director and the producers and writers and everyone like, “You guys, we need to show her stepping into the world as a young woman choosing herself for the first time.”

It was a crazy, emotional experience, because the last few years have been the greatest ups and the greatest downs of my life. [She has said she felt burned out after the first film.] I love the movies, the friends I made in the movies, the story — I love the color scheme of our movies, the pinks and the teals. So knowing it’s the last time I’ll be in the bedroom, the last time I’ll be in the school, all these things that I’ve been spending so much time in in the past three years, is emotional. I’m going to miss it a lot.

Q: What was it like filming in Korea?

A: We went during typhoon season. So I was like, "Who thought of this?" But it was amazing. We were just shooting touristy things, so we got to shoot at all locations that we would have gone to as normal tourists. We would meet people on the street and people would walk into the shot as we’re filming and just be like, “Oh hi! I love your movie!” And we’d be like, “You’re in it.”

Q: How did you feel about the way Lara Jean’s story came to an end?

A: Something I’m the most proud of is she never really loses her weird little -isms and quirks, and she never loses or changes her personality. That’s really hard not to do when you’re in high school. Yes, the Lara Jean we see in the third movie is a grown Lara Jean, and she’s different in that she has life experience now, but ultimately the things that make her her, she never let go of.

Q: The movies are based on Jenny Han’s books, and it’s fun spotting her cameos in each film. What has your relationship with her been like for the past few years?

A: She’s like my sister. We’re always on the phone for hours and hours. When we first were talking years ago, she said, “I just want you as Lana and as a young Asian American girl to have the same opportunities that Jennifer Lawrence as Katniss would have or Kristen Stewart as Bella from ‘Twilight.’” And that was before we even knew we would have three movies. I’ve never had anyone say that to me, particularly as an Asian American actress — almost to the point where I was like, "Is that even possible?"

Q: Was that representation aspect top of mind for you when making the movies? Did it add any extra pressure?&nbsp;

A: I read the book immediately before the audition, and that’s when I was like, "OK, this I have to have." Because this is an Asian American girl falling in love and this is something we need to see.

But when we were making the movies, it almost was like I was just being Lana. Because ultimately, it’s about a young girl falling in love and showing that anyone can fall in love. So I think that it was in my mind, but it also wasn’t. Because I don’t walk around in life like, Asian Lana going to the store, Asian Lana going to pick up food, Asian Lana walking my dog.

Q: We’ve reached the end of what Jenny Han has written for Lara Jean. But do you see a scenario in which we might see more of this story unfold, or in which you might play this character again?

A: I think never say never. (But) the third is all I know. To me, that’s the ending. But I would really like to see Lara Jean and Peter in their mid- to late 20s. Like they’ve gone through college, and I want to see what they’re like in the workspace. I have this dream that Lara Jean is working in some realm of literature, I don’t know, in New York, writing, living her life. Because I personally have this feeling that they’re going to try to make it work in college, but they’re going to have to grow separately to be fully ready to come together.

But I know for a fact that they’re going to get married; they’re going to live happily ever after. I just think they might need to grow as individuals first. And then I’d love to see them meeting each other again — she’s like at a cafe writing an article for a newspaper she’s working for, and he happens to be there, and they meet again in a new way where they’re older and developed. That would be so cool. If it happens, you heard it here first.

The first two films in the Netflix trilogy “To All the Boys I’ve Loved Before” pretty much checked every box on the teen rom-com boy-drama bingo card: a boy next door, a boy doomed to be on the losing end of a love triangle and, most important, the boy who helps hatch a fake dating plot that inevitably becomes … not so fake.

The first two films in the Netflix trilogy “To All the Boys I’ve Loved Before” pretty much checked every box on the teen rom-com boy-drama bingo card: a boy next door, a boy doomed to be on the losing end of a love triangle and, most important, the boy who helps hatch a fake dating plot that inevitably becomes … not so fake. So when it came time to film the final installment, actress Lana Condor, who plays Lara Jean, the girl at the center of it all, was just about ready for a change of pace. “It’s called ‘To All the Boys,’” Condor, 23, said in a Zoom interview Monday. “It’s been about the boys. From Day 1. We get it.” 'To All the Boys: Always and Forever,' which begins streaming Friday, sets aside Team Josh and Team John Ambrose and Team Peter in favor of Team Lara Jean, as she finds herself on the brink of some major life decisions with high school graduation approaching. She has come a long way from the hopeless romantic who wrote down her feelings in sweeping love letters rather than acting on them, a habit that set off the antics of the first film when the letters inadvertently made their way to their recipients. A lot has changed for Condor, too. She became a star overnight with the first installment, in 2018, and post-'To All the Boys,' she’s set to star in and executive produce a new comedy series for Netflix. But first, after several years of a whirlwind work schedule, she’s focused on settling into her new home in Seattle with her boyfriend, actor Anthony De La Torre, and her dog, Emmy. As she prepares to say goodbye to the character that has defined her career so far, Condor discussed what it means to be one of the few Asian American actresses to headline a romantic comedy and why the Lara Jean of 'Always and Forever' is her favorite. These are edited excerpts from the conversation: Q: This time last year, you surprised fans at the Paris Theater in New York for a screening of the second film of the trilogy — an experience that seems pretty foreign now. How does it feel looking back? A: That was really emotional and made me feel just overwhelmed with joy. I’ve put so much of myself into these movies because I love them. And they’ve also changed my life. But looking back, I was running on fumes at that point, because it was shooting the movies back to back and then going on the big press tour. I wish that I had taken it all in and really been present. Q: What was making this last film like for you? A: I remember thinking, “How did I get here?” I wanted nothing more than to finish it the way that I would be super proud of Lara Jean. So I was just hell-bent; I was constantly talking to the director and the producers and writers and everyone like, “You guys, we need to show her stepping into the world as a young woman choosing herself for the first time.” It was a crazy, emotional experience, because the last few years have been the greatest ups and the greatest downs of my life. [She has said she felt burned out after the first film.] I love the movies, the friends I made in the movies, the story — I love the color scheme of our movies, the pinks and the teals. So knowing it’s the last time I’ll be in the bedroom, the last time I’ll be in the school, all these things that I’ve been spending so much time in in the past three years, is emotional. I’m going to miss it a lot. Q: What was it like filming in Korea? A: We went during typhoon season. So I was like, "Who thought of this?" But it was amazing. We were just shooting touristy things, so we got to shoot at all locations that we would have gone to as normal tourists. We would meet people on the street and people would walk into the shot as we’re filming and just be like, “Oh hi! I love your movie!” And we’d be like, “You’re in it.” Q: How did you feel about the way Lara Jean’s story came to an end? A: Something I’m the most proud of is she never really loses her weird little -isms and quirks, and she never loses or changes her personality. That’s really hard not to do when you’re in high school. Yes, the Lara Jean we see in the third movie is a grown Lara Jean, and she’s different in that she has life experience now, but ultimately the things that make her her, she never let go of. Q: The movies are based on Jenny Han’s books, and it’s fun spotting her cameos in each film. What has your relationship with her been like for the past few years? A: She’s like my sister. We’re always on the phone for hours and hours. When we first were talking years ago, she said, “I just want you as Lana and as a young Asian American girl to have the same opportunities that Jennifer Lawrence as Katniss would have or Kristen Stewart as Bella from ‘Twilight.’” And that was before we even knew we would have three movies. I’ve never had anyone say that to me, particularly as an Asian American actress — almost to the point where I was like, "Is that even possible?" Q: Was that representation aspect top of mind for you when making the movies? Did it add any extra pressure? A: I read the book immediately before the audition, and that’s when I was like, "OK, this I have to have." Because this is an Asian American girl falling in love and this is something we need to see. But when we were making the movies, it almost was like I was just being Lana. Because ultimately, it’s about a young girl falling in love and showing that anyone can fall in love. So I think that it was in my mind, but it also wasn’t. Because I don’t walk around in life like, Asian Lana going to the store, Asian Lana going to pick up food, Asian Lana walking my dog. Q: We’ve reached the end of what Jenny Han has written for Lara Jean. But do you see a scenario in which we might see more of this story unfold, or in which you might play this character again? A: I think never say never. (But) the third is all I know. To me, that’s the ending. But I would really like to see Lara Jean and Peter in their mid- to late 20s. Like they’ve gone through college, and I want to see what they’re like in the workspace. I have this dream that Lara Jean is working in some realm of literature, I don’t know, in New York, writing, living her life. Because I personally have this feeling that they’re going to try to make it work in college, but they’re going to have to grow separately to be fully ready to come together. But I know for a fact that they’re going to get married; they’re going to live happily ever after. I just think they might need to grow as individuals first. And then I’d love to see them meeting each other again — she’s like at a cafe writing an article for a newspaper she’s working for, and he happens to be there, and they meet again in a new way where they’re older and developed. That would be so cool. If it happens, you heard it here first.

Lana Condor says goodbye to 'To All the Boys'

Priyanka Chopra Jonas isn’t the kind to let a minute of her life slip away, even when life is on lockdown.

While others were perfecting their sourdough starters last spring, Chopra Jonas decided to write her first book — and finished it. As quarantine fatigue curtailed our enthusiasm for crafting and Kondo-izing, she was in London shooting the romantic drama “Text for You” alongside Sam Heughan and Celine Dion.

By the time a lot of us had been rendered bloblike, Chopra Jonas was in overdrive, simultaneously promoting three projects: her Netflix movie, “The White Tiger,” adapted from Aravind Adiga’s Booker Prize-winning rags-to-riches novel about a self-made Bangalore businessman; her memoir, “Unfinished,” which chronicles her 38 years, including her reign as Miss World and breakthrough into Bollywood and eventually Hollywood; and her new sustainable hair care line, Anomaly.

As if that weren’t enough, she was prepping to shoot “Citadel,” a spy series directed by the Russo brothers for Amazon, which had been delayed a year because of COVID-19 restrictions.

Through it all, Chopra Jonas was still finding room for some self-care and shut-eye, “which has to be scheduled time, because otherwise I would never get sleep,” she said. In a phone call in late January from her home in London, Chopra Jonas tracked the recent routines and cultural items that are keeping her busy.

These are edited excerpts from the conversation.

Wednesday morning

In our profession, my routine is dictated by the schedule that my team decides for me, predominantly. So the only thing routine-y about my schedule is I always make sure I have at least eight hours of sleep. My coffee machine is in my bedroom, right by my bed. The first thing I do is press the Nespresso button and smell the aroma of the coffee, and that’s how my eyes open.

Then I check out the news and scroll through Twitter usually still when I’m in bed. I need five or 10 minutes to orient myself to the fact that I’m waking up. On a languid day, maybe it would be half an hour. This ritual is ultimately what led me to “The White Tiger.” There was so much chatter around it in literary circles. I’m an avid reader. I try and pick up the books everyone’s talking about because I don’t really have the luxury of time to discover my own favourites.

My days start with a workout, usually on Zoom with my trainer. I started getting consistent with working out during quarantine. I hate working out otherwise. I’m not one of those people who’s like, “Oh my gosh, I enjoy it so much that I need it.” I listen to Hindi rap, like Raftaar and Divine, while I work out. It’s alive and visceral.

Wednesday afternoon

I watched the inauguration, and I think I felt exactly what the world was feeling. It was a very emotional time for a lot of my friends and family in America, and I felt very excited about the fact that the country is stepping into the right direction in terms of leadership. Not only should leadership look like this, but also sound like this. As someone coming from a country who has had many females in high positions of power, it’s awesome to see the U.S. finally get their first.

My days for the past two weeks have been back-to-back with recording my audiobook and promo, and [together] it takes 12 to 13 hours a day. I filmed three talk show interviews — Kelly Clarkson, Lilly Singh and Ellen — and I recorded a few podcasts and did several phone interviews. I think I was one of the earlier people to commit to the fact that we’re going to be working off Zoom for a really long time. So I found a corner of my room with a fireplace where I do all my Zoom calls.

Wednesday night

Before bed, I always need a few hours to unwind, and this is usually when I watch TV or read. Right now I’m reading “Amnesty,” Aravind Adiga’s next novel. I obviously am a fan. This is based in Australia, and it’s about a Sri Lankan immigrant, and it’s a thriller from his perspective. I do love to get out of work mode and just enjoy the content for what it is. But most of my reading I do with both [enjoyment and the idea of a project] in mind.

I haven’t been able to commit to a TV show because of how busy my schedule is. I recently finished “The Undoing,” “The Boys” and “Bridgerton” but I’m also really into movies after dinner. I’ve watched a lot of the Oscar contenders — “Sound of Metal,” “Da 5 Bloods,” “One Night in Miami.”

Thursday morning

Finally, I had some semblance of a morning I don’t even know how long. I woke up by 10, had a quick workout and then I had luxurious brunch with my mom, who is living in London with me. She was here with my husband during the holidays so that we could be together. I felt safer with her around me. My husband left-top of the year, but I didn’t let my mom go. So I’ve sort of kidnapped her right now.

Thursday afternoon

My first call wasn’t until 2 — a prep call with the producers of “Citadel,” which I am so excited to start. Prep calls are usually character development, which is one of my favourite things. The most exciting job as an actor is when you have the ability to take someone off the page and really breathe life into them.

Thursday night

Then it was back to promo. Unlike normal junkets where you’re local and live with the media, we have been up early and late to hit markets all over the world. Tonight we ended with “The Late Show With Stephen Colbert” at 1 am.

I couldn’t sleep, because you know when you go beyond tired on the other side of the hill? That happened. Then I was on TikTok for hours. I’m a secret admirer, so I consume whatever they show me. It’s a lot of baby videos or doggy videos or kitten videos.

We got a quarantine pet, yes, we did! He’s Panda, and he’s a rescue. I got Nick a German shepherd for our anniversary last year, and my dog, Diana, who I’ve had for four years, she’s a rescue as well. So we had the two. But Nick’s parents were visiting and they brought their girls with them, and the house was full of four dogs, and it was so amazing that after Nick’s parents left, I was kind of feeling like, we need another dog. He’s a mix between an Australian shepherd and a husky. And he’s a punk. He deliberately defies you but he’s so adorable that you forget everything. He’s in LA with Nick at the moment, but they should be coming here sometime next month.

Friday morning

It was my last free weekday before I start “Citadel,” which I’ll be filming until next November. It was also release day of “The White Tiger.” Release day is filled with a roller coaster of emotions, but always with bright eyes and hope for a strong opening. I’m so proud to share this film with the world.

Friday afternoon

I did “Hot Ones.” Oh my God. I’ve done it before on Jimmy Fallon, and it almost killed me. But this time — and I love spicy food. I need hot sauce. I carry it everywhere — but some of the hot sauces are like poison. They’re insane how spicy they are. I literally felt like I was going to faint. I had to open the doors up and walk outside and eat ice cream and milk, and I was crying. Ghost pepper was at No. 4. So you could imagine what No. 10 was.

Friday night

I did a viewing party for “The White Tiger” with a lot of my family and friends all on Zoom. It is such a provocative tale of something that all of us have become so desensitized to, which is this large division between the haves and the have-nots. And COVID specifically showed the world that disparity so glaringly. When is the last time you’ve driven past a homeless shelter or a homeless person and not done anything about it? A majority of the world lives in circumstances like that, so it’s really a sort of mirror into self-reflection. I’m very proud of the movie because it has social commentary, but at the same time it’s sarcastic, funny, dark and really clever.

Priyanka Chopra Jonas isn’t the kind to let a minute of her life slip away, even when life is on lockdown. While others were perfecting their sourdough starters last spring, Chopra Jonas decided to write her first book — and finished it.

Priyanka Chopra Jonas isn’t the kind to let a minute of her life slip away, even when life is on lockdown. While others were perfecting their sourdough starters last spring, Chopra Jonas decided to write her first book — and finished it. As quarantine fatigue curtailed our enthusiasm for crafting and Kondo-izing, she was in London shooting the romantic drama “Text for You” alongside Sam Heughan and Celine Dion. By the time a lot of us had been rendered bloblike, Chopra Jonas was in overdrive, simultaneously promoting three projects: her Netflix movie, “The White Tiger,” adapted from Aravind Adiga’s Booker Prize-winning rags-to-riches novel about a self-made Bangalore businessman; her memoir, “Unfinished,” which chronicles her 38 years, including her reign as Miss World and breakthrough into Bollywood and eventually Hollywood; and her new sustainable hair care line, Anomaly. As if that weren’t enough, she was prepping to shoot “Citadel,” a spy series directed by the Russo brothers for Amazon, which had been delayed a year because of COVID-19 restrictions. Through it all, Chopra Jonas was still finding room for some self-care and shut-eye, “which has to be scheduled time, because otherwise I would never get sleep,” she said. In a phone call in late January from her home in London, Chopra Jonas tracked the recent routines and cultural items that are keeping her busy. These are edited excerpts from the conversation. Wednesday morning In our profession, my routine is dictated by the schedule that my team decides for me, predominantly. So the only thing routine-y about my schedule is I always make sure I have at least eight hours of sleep. My coffee machine is in my bedroom, right by my bed. The first thing I do is press the Nespresso button and smell the aroma of the coffee, and that’s how my eyes open. Then I check out the news and scroll through Twitter usually still when I’m in bed. I need five or 10 minutes to orient myself to the fact that I’m waking up. On a languid day, maybe it would be half an hour. This ritual is ultimately what led me to “The White Tiger.” There was so much chatter around it in literary circles. I’m an avid reader. I try and pick up the books everyone’s talking about because I don’t really have the luxury of time to discover my own favourites. My days start with a workout, usually on Zoom with my trainer. I started getting consistent with working out during quarantine. I hate working out otherwise. I’m not one of those people who’s like, “Oh my gosh, I enjoy it so much that I need it.” I listen to Hindi rap, like Raftaar and Divine, while I work out. It’s alive and visceral. Wednesday afternoon I watched the inauguration, and I think I felt exactly what the world was feeling. It was a very emotional time for a lot of my friends and family in America, and I felt very excited about the fact that the country is stepping into the right direction in terms of leadership. Not only should leadership look like this, but also sound like this. As someone coming from a country who has had many females in high positions of power, it’s awesome to see the U.S. finally get their first. My days for the past two weeks have been back-to-back with recording my audiobook and promo, and [together] it takes 12 to 13 hours a day. I filmed three talk show interviews — Kelly Clarkson, Lilly Singh and Ellen — and I recorded a few podcasts and did several phone interviews. I think I was one of the earlier people to commit to the fact that we’re going to be working off Zoom for a really long time. So I found a corner of my room with a fireplace where I do all my Zoom calls. Wednesday night Before bed, I always need a few hours to unwind, and this is usually when I watch TV or read. Right now I’m reading “Amnesty,” Aravind Adiga’s next novel. I obviously am a fan. This is based in Australia, and it’s about a Sri Lankan immigrant, and it’s a thriller from his perspective. I do love to get out of work mode and just enjoy the content for what it is. But most of my reading I do with both [enjoyment and the idea of a project] in mind. I haven’t been able to commit to a TV show because of how busy my schedule is. I recently finished “The Undoing,” “The Boys” and “Bridgerton” but I’m also really into movies after dinner. I’ve watched a lot of the Oscar contenders — “Sound of Metal,” “Da 5 Bloods,” “One Night in Miami.” Thursday morning Finally, I had some semblance of a morning I don’t even know how long. I woke up by 10, had a quick workout and then I had luxurious brunch with my mom, who is living in London with me. She was here with my husband during the holidays so that we could be together. I felt safer with her around me. My husband left-top of the year, but I didn’t let my mom go. So I’ve sort of kidnapped her right now. Thursday afternoon My first call wasn’t until 2 — a prep call with the producers of “Citadel,” which I am so excited to start. Prep calls are usually character development, which is one of my favourite things. The most exciting job as an actor is when you have the ability to take someone off the page and really breathe life into them. Thursday night Then it was back to promo. Unlike normal junkets where you’re local and live with the media, we have been up early and late to hit markets all over the world. Tonight we ended with “The Late Show With Stephen Colbert” at 1 am. I couldn’t sleep, because you know when you go beyond tired on the other side of the hill? That happened. Then I was on TikTok for hours. I’m a secret admirer, so I consume whatever they show me. It’s a lot of baby videos or doggy videos or kitten videos. We got a quarantine pet, yes, we did! He’s Panda, and he’s a rescue. I got Nick a German shepherd for our anniversary last year, and my dog, Diana, who I’ve had for four years, she’s a rescue as well. So we had the two. But Nick’s parents were visiting and they brought their girls with them, and the house was full of four dogs, and it was so amazing that after Nick’s parents left, I was kind of feeling like, we need another dog. He’s a mix between an Australian shepherd and a husky. And he’s a punk. He deliberately defies you but he’s so adorable that you forget everything. He’s in LA with Nick at the moment, but they should be coming here sometime next month. Friday morning It was my last free weekday before I start “Citadel,” which I’ll be filming until next November. It was also release day of “The White Tiger.” Release day is filled with a roller coaster of emotions, but always with bright eyes and hope for a strong opening. I’m so proud to share this film with the world. Friday afternoon I did “Hot Ones.” Oh my God. I’ve done it before on Jimmy Fallon, and it almost killed me. But this time — and I love spicy food. I need hot sauce. I carry it everywhere — but some of the hot sauces are like poison. They’re insane how spicy they are. I literally felt like I was going to faint. I had to open the doors up and walk outside and eat ice cream and milk, and I was crying. Ghost pepper was at No. 4. So you could imagine what No. 10 was. Friday night I did a viewing party for “The White Tiger” with a lot of my family and friends all on Zoom. It is such a provocative tale of something that all of us have become so desensitized to, which is this large division between the haves and the have-nots. And COVID specifically showed the world that disparity so glaringly. When is the last time you’ve driven past a homeless shelter or a homeless person and not done anything about it? A majority of the world lives in circumstances like that, so it’s really a sort of mirror into self-reflection. I’m very proud of the movie because it has social commentary, but at the same time it’s sarcastic, funny, dark and really clever.

Priyanka Chopra Jonas’s Week: Fireside Zoom calls and 'Bridgerton' episodes