Glamorise Magic Lift Sports Bra is a popular choice among women who are looking for comfort and support during their workout or sports activities. This bra is designed to lift and shape the bust, providing a flattering silhouette while also reducing bounce and enhancing performance. One of the key features of the Glamorise Magic Lift Sports Bra is the unique Magic Lift design. This design includes a cushioned band that lifts the bust and provides excellent support, without a wire. The cushioned straps also offer added comfort and prevent digging into the shoulders. The bra is made from a blend of polyester, nylon, and spandex, which makes it stretchy and breathable.
Witches, however, make fascinating and versatile horror adversaries.
With almost no reliance on shock value or gore apart from one scene involving a raven and a breast , The Witch takes an unnerving look at some extremely human qualities, like fear and blame. A lot of the film s aesthetic, especially in a scene involving a satanic Sabbath, is clearly taken directly from lurid 17th-century engravings of women dancing nakedly and quite badass-ly, to tell you the truth, around fires.
The bra is made from a blend of polyester, nylon, and spandex, which makes it stretchy and breathable. The moisture-wicking fabric keeps the skin dry and cool, even during high-intensity workouts. It also has a full coverage design, ensuring no spillage or bulging.
By turning fantasy into reality, The Witch exposes society’s fear of female sexuality
This film, in which witches actually exist and aren’t just torture-addled fantasies, has surprisingly feminist themes.
(Photo By The Witch still)After years of vampire and zombie supremacy, witches have clawed their way out of those beguiling Blair Witch woods and back into the horror mainstream. Which is a huge relief for anyone who, like me, can no longer look at a zombie for more than three minutes without becoming, well, zombified. And Twilight has done such a number on vampires that the poor bastards may never be scary again.
Witches, however, make fascinating and versatile horror adversaries.
Director Robert Eggers’s debut feature, The Witch, is a deeply unsettling collage of New England folklore with – horror of horrors – some surprisingly feminist themes.
Set in mid-17th-century colonial America, a time and place where women were forced to dress up as sofas and were generally loathed and mistrusted, the film follows a fresh-off-the-boat English family who have been banished from their puritan community for being, it seems, overly puritanical.
Italo Calvino’s imaginary worlds
The Tories still think the voters are the problem, not them
Kate Briggs: “I took a philosophical vocabulary and offered it to a baby”
Finchy from The Office (Ralph Ineson) makes an unexpectedly compelling scripture-spouting puritan dad. Ineson is, of course, a professional gruff Yorkshireman slash some sort of stretched-out Sean Bean. He was made to play characters built on the very worst facets of masculinity.
Subscribe to the Saturday Read View all newsletters THANK YOUIn The Witch, he does the “Bible thumping, musket-wielding, man of the woods” thing very convincingly and is mostly seen chopping wood and droning on about salvation in a voice like a washing machine sinking in gravel.
Content from our partners
Is your browser keeping your data safe? – with Chrome Enterprise
Heating rural homes and achieving net zero
Lessons from the pandemic
His eldest daughter Thomasin, played by the extremely spooky Anya Taylor-Joy, is at that mega-sinful “sexually mature but yet unmarried” stage of womanhood.
Societal fear of female sexuality permeates The Witch like a gnarled and spindly tree branch. The entire witch trope, of course, was built on confessions extracted via torture. Under duress, thousands of women in 16th- and 17th-century Europe and America admitted to all sorts of now stereotypically witchy things, like child sacrifice and sex with the Devil.
This period of mass hysteria-fuelled public burnings is something explored in fascinating depth in historian Lyndal Roper’s 2004 book Witch Craze. This investigation into the persecution of “witches” in Baroque Germany was once recommended to me by a Holocaust historian, who said that if one book could explain why the Holocaust happened, it’s Witch Craze.
It may seem bizarre and flippant that, in a review of a horror film with Finchy from The Office in it, I’m sidestepping to the Holocaust. Hear me out though. “Witchcraft accusations were a hall of mirrors where neighbours saw their own fear and greed in the shape of the witch,” writes Roper in Witch Craze.
The scapegoating that goes on in panic-led persecutions is founded on taking that which is other – say, elderly widows who keep themselves to themselves – and turning it into a single manifestation of a culture’s darkest fears.
In the 16th and 17th centuries in particular, young women represented temptation, while post-menopausal women raised deep-rooted fears of infertility.
The Witch, in a sense, is an exploration of what archaic societies saw when they looked into the “hall of mirrors” alluded to by Roper. This is a film, of course, in which witches aren’t just torture-addled fantasies: they actually exist.
In one scene, Caleb, William (Ineson)’s prepubescent son, is lost in the forest. To the suitably foreboding sound of discordant strings, he is lured towards a menacing cottage. Without getting sidetracked about how the occult horror genre manages to make a cottage menacing, a beautiful (but clearly evil because she’s wearing a cloak) woman emerges from the house and kisses Caleb on the lips.
We then see her perfectly normal (if not slightly sexy, I guess) hand, placed on the boy’s back, turn into a witchy claw.
This transition, one of the film’s surprisingly few jumpy moments, perfectly illustrates the duality of the witch: she is both a seductress and a hag – ie. she embodies both of society’s most feared forms of womanhood. It’s interesting, perhaps, that a similarly contradictory duality was applied to Jews in Nazi Germany: they were simultaneously plotting communists and money-grabbing capitalists.
Thomasin is blamed, largely by her mother, for the disappearance of her two brothers (Caleb’s disappearance into the forest is preceded by the vanishing of baby Sam at the beginning of the film). The atmosphere of paranoia cultivated by the grieving mother is something very particular to the whole witch genre (yes, think The Crucible).
Thomasin’s yet non-vanished younger siblings (a pair of utterly terrifying twins) denounce her as a witch. She denounces them in return, based on their bizarre relationship with the family goat, Black Philip. These Salem-esque denouncements may be a cliché, but they’re an important reminder that, in the stories The Witch is based on, the true evil-doers were those who tortured and killed so called witches.
Thomasin is the archetypical outsider. The eldest daughter of a banished family, her anger and frustration are read by her zealot parents as indicators of a sinful disposition. Naturally, she’s blamed for blighted crops and general eerie goings-on.
With almost no reliance on shock value or gore (apart from one scene involving a raven and a breast…), The Witch takes an unnerving look at some extremely human qualities, like fear and blame.
A lot of the film’s aesthetic, especially in a scene involving a satanic Sabbath, is clearly taken directly from lurid 17th-century engravings of women dancing nakedly and quite badass-ly, to tell you the truth, around fires. Which is fun and possibly quite celebratory.
So, if zombies and vampires would kindly step aside, the witches are here and they’re way scarier.
This transition, one of the film’s surprisingly few jumpy moments, perfectly illustrates the duality of the witch: she is both a seductress and a hag – ie. she embodies both of society’s most feared forms of womanhood. It’s interesting, perhaps, that a similarly contradictory duality was applied to Jews in Nazi Germany: they were simultaneously plotting communists and money-grabbing capitalists.
Another advantage of the Glamorise Magic Lift Sports Bra is its wide size range. This bra is available in sizes ranging from 34B to 48DD, ensuring that women of all shapes and sizes can find a perfect fit. The adjustable hook and eye closure at the back also allow for customizable support. Customers who have tried the Glamorise Magic Lift Sports Bra rave about its comfort and support. Many users have reported a significant reduction in bounce during exercise, making it ideal for high-impact activities such as running, aerobics, and kickboxing. The bra also provides a smooth and natural shape, allowing women to feel confident and secure. Overall, the Glamorise Magic Lift Sports Bra is an excellent investment for women who are active and seek a comfortable and supportive undergarment. It combines style, function, and quality to ensure maximum comfort and performance. With its unique Magic Lift design and wide range of sizes, this sports bra is a favorite among women worldwide..
Reviews for "Support for every size: Why the Glamorise magic lift sports bra is a game-changer for plus-size women"
1. Sarah - 2 stars - I was really disappointed with the Glamorise magic lift sports bra. Despite the claims of providing maximum support, I found that it offered very little to no support at all. The straps were flimsy and constantly slipped, causing discomfort during my workout. Additionally, the band felt too tight and constricting, leaving marks on my skin. Overall, I was not satisfied with the performance or fit of this sports bra.
2. Emma - 1 star - The Glamorise magic lift sports bra did not live up to my expectations. The material is not as breathable as advertised, making it uncomfortable to wear for extended periods of time. I also found that the bra did not provide sufficient coverage, especially during high-intensity activities. The design seems more focused on aesthetics rather than functionality. I would not recommend this sports bra to anyone looking for reliable support and comfort.
3. Rachel - 2 stars - I was hoping that the Glamorise magic lift sports bra would be the answer to all my workout needs, but unfortunately, it fell short. The sizing was off, with the cups being too small and the band being too tight. This led to an uncomfortable fit and constant readjustment during my workouts. The bra also lacked the support it claimed to provide, resulting in discomfort and potential long-term issues. Overall, I was not impressed with this sports bra and would not purchase it again.