This CSS code defines the “Guardian Headline Full” font family with various weights and styles, providing multiple file formats (WOFF2, WOFF, TTF) for each variant to ensure compatibility across different browsers. The font files are hosted on the Guardian’s assets server.This CSS code defines several font families for the Guardian Headline and Guardian Titlepiece fonts, specifying their sources in different formats (WOFF2, WOFF, TTF) along with their font weights and styles. It also includes responsive design rules for the main content column in interactive layouts, adjusting margins, widths, and positioning based on viewport size. For example, on wider screens, it adds a left margin and a border, while on smaller screens, it adjusts element widths and positions to fit the display. The code ensures that elements like paragraphs and lists maintain a maximum width for readability, and it handles immersive elements by expanding them to full width on mobile devices and adjusting their layout on larger screens.For the interactive main column, a left border is added before the content, positioned 11 pixels to the left. Elements within this column have no top or bottom margin but include 12 pixels of padding on both top and bottom. When a paragraph follows an element, the padding is removed, and margins of 12 pixels are applied instead. Inline elements are limited to a maximum width of 620 pixels, and for screens wider than 61.25em, inline figures also adhere to this width limit.
Color variables are defined for various elements, such as dateline, header border, caption text, and feature colors, with the new pillar color defaulting to the primary or feature color. Elements with the atom class have no padding.
Specific rules apply to the first paragraph following certain elements or horizontal rules in different content areas, adding 14 pixels of top padding. Additionally, the first letter of these paragraphs is styled with a large, bold, uppercase font in a specific typeface, colored according to the drop cap or new pillar color, and floated to the left with a margin.
Horizontal rules followed by paragraphs in these areas have no top padding.Pullquotes within specific content areas are limited to a maximum width of 620 pixels.
For showcase elements in various article containers, captions are positioned statically with full width and a maximum width of 620 pixels.
Immersive elements span the full viewport width minus scrollbar width. On screens up to 71.24em wide, these elements are capped at 978px wide with caption padding of 10px. Between 30em and 71.24em, caption padding increases to 20px. For screens between 46.25em and 61.24em, the maximum width is 738px. Below 46.24em, immersive elements align to the left edge with adjusted margins and maintain 20px caption padding between 30em and 46.24em.
The furniture wrapper uses a grid layout on screens 61.25em and wider, with defined columns and rows for organizing title, headline, meta information, standfirst, and portrait sections. Headlines feature a top border, meta sections have top padding, and standfirst text includes specific styling for links and list items, with underlines instead of border bottoms and hover effects using the new pillar color. The first paragraph in standfirst has a top border on larger screens but removes it at 71.25em and above. Figures within the wrapper have left-aligned margins and a maximum width of 630px for inline elements. At 71.25em and wider, the grid adjusts its column structure for better layout.The layout uses a grid with specific columns and rows for different screen sizes. For example, on larger screens, the grid has three equal columns for the title, headline, and meta sections, followed by five for the standfirst, and eight for the portrait, with rows allocated proportionally.
Styling includes a top border for the meta section and a left border for the standfirst, both using a custom color variable. Headlines are bold and adjust in size and width based on the viewport, with larger fonts on bigger screens.
Social and comment elements in the meta section share the same border color, while certain components are hidden. The standfirst text is styled with normal weight, a specific font size, and padding, and it’s positioned with a left margin and padding.
Main media elements are placed in the portrait grid area, with full width and adjusted margins on smaller screens, and captions are absolutely positioned at the bottom with a background color and padding. On medium screens and above, some lines are hidden, and margins are reset for certain elements.The CSS code defines styles for a furniture wrapper component, including its layout, colors, and responsive behavior across different screen sizes. It sets background colors, text colors, and border styles using CSS variables for consistency. The wrapper adjusts margins, padding, and positioning on larger screens, with specific rules for elements like captions, buttons, and headlines. Social media buttons change color on hover, and certain elements are hidden or displayed based on conditions. The design ensures a cohesive look while adapting to various devices.This CSS code defines styles for a webpage’s furniture-wrapper class, focusing on meta information and standfirst sections. It sets text colors to light gray (#dcdcdc) and link colors to a variable-based hue, with hover effects that maintain the color and add underlines. Links in the standfirst have underlines with specific offsets and colors, while removing borders and background images.
For larger screens (min-width: 61.25em), the first paragraph in the standfirst gets a top border, which is removed on even larger screens (71.25em). The code also creates decorative sidebars using pseudo-elements (:before and :after) that adjust their width and position based on viewport size, featuring dark backgrounds and bordered edges. Social and comment elements within the meta section inherit similar styling for icons and text.The comment section has a border color that matches the header’s border color.
In articles, second-level headings (h2) within the main body use a light font weight of 200. However, if an h2 contains a strong element, it adopts a bold font weight of 700.
The Guardian Headline Full font family includes several variations:
– Light (weight 300) in normal and italic styles
– Regular (weight 400) in normal and italic styles
– Medium (weight 500) in normal and italic styles
– Semibold (weight 600) in normal and italic styles
Each style is available in WOFF2, WOFF, and TrueType formats, hosted on the Guardian’s assets server.This CSS code defines several font faces for the “Guardian Headline Full” font family with different weights and styles (normal and italic), ranging from semibold (600) to black (900). Each font face specifies source files in WOFF2, WOFF, and TrueType formats from the Guardian’s asset servers.
It also defines the “Guardian Titlepiece” font in bold weight with the same file formats.
The code includes CSS custom properties (variables) for color schemes, adjusting them for dark mode on iOS and Android devices. Additionally, it contains specific styling rules for the first letter of paragraphs in article containers on iOS and Android platforms, particularly when they follow certain elements like atoms or sign-in gates.For Android devices, the first letter of the first paragraph in standard and comment articles is styled with a secondary pillar color. On both iOS and Android, article headers are hidden, and furniture wrappers have specific padding. Labels within these wrappers use a bold, capitalized font in a headline style with a new pillar color. Headlines are set to 32px, bold, with bottom padding and a dark color. Images in furniture wrappers are positioned relatively, with adjusted margins and full viewport width minus the scrollbar.For Android devices, images within article containers are set to have a transparent background, span the full viewport width minus the scrollbar, and adjust their height automatically.
On both iOS and Android, the standfirst section in articles has top and bottom padding of 4px and 24px respectively, with a right margin of -10px. The text inside uses the Guardian Headline font family or similar serif fonts.
Links within the standfirst on both operating systems are styled with a specific color, underlined with an offset, and use a particular color for the underline that changes on hover to match the link color.
Additionally, the meta section in articles is styled consistently across iOS and Android platforms.For Android devices, remove margins from meta elements in standard and comment article containers.
For iOS devices, set the color of byline and author elements in feature, standard, and comment article containers to the new pillar color. Also, remove padding from meta misc elements and set the stroke of SVG icons within them to the new pillar color. Additionally, style the caption button in showcase elements with specific display, padding, alignment, and dimensions.
For both iOS and Android, set the article body padding to 0 on the sides and 12px on top and bottom in feature, standard, and comment article containers.For iOS and Android devices, in feature, standard, and comment article containers, non-thumbnail and non-immersive images within the article body will have no margin, a width of the full viewport minus 24 pixels and the scrollbar width, and an automatic height. Their captions will have no padding.
Immersive images in these containers will span the full viewport width minus the scrollbar width.
Quoted blockquotes in the article body will display a colored marker using the new pillar color.
Links in the article body will be styled with the primary pillar color, underlined with an offset, and use the header border color for the underline. On hover, the underline color changes to the new pillar color.
In dark mode, the furniture wrapper background will be set to a dark gray (#1a1a1a).For iOS and Android devices, the following styles apply to feature, standard, and comment article containers:
– Content labels use the new pillar color.
– Headlines have no background and use the header border color for text.
– Standfirst paragraphs and links use the header border color.
– Author bylines and their links use the new pillar color.
– Miscellaneous metadata icons are stroked with the new pillar color.
– Showcase image captions use the dateline color.
– Quoted blockquotes in the article body are styled with the new pillar color for text and a matching border.For iOS and Android devices, the quoted text in article bodies will use the new pillar color.
Additionally, the background color for various article body sections on both iOS and Android will be set to a dark background.
For the first letter after certain elements in article bodies on iOS, a specific styling is applied, but the details are repetitive and follow the same pattern as above.This appears to be a CSS selector targeting the first letter of paragraphs that follow specific elements in various article containers on iOS and Android platforms. The selector applies to different sections like article bodies, feature bodies, comment sections, and interactive content areas, particularly when they come after elements with classes like ‘element-atom’ or precede sign-in gates.This CSS code defines styles for specific elements on Android and iOS devices. It sets the color of the first letter in certain paragraphs to white or a custom variable color. It also adjusts padding and margins for standfirst elements in comment articles, sizes for h2 headings, and padding for caption buttons differently on iOS and Android.
For dark mode preferences, it changes colors for follow text, icons, standfirst text, links, and bylines to lighter shades and specific dark mode pillar colors. It sets a dark background color and makes article headers invisible on both platforms. Additionally, it applies these styles to furniture wrappers in feature, standard, and comment article containers.For iOS and Android devices, the article container’s furniture wrapper has no margin. Labels in feature, standard, and comment articles use a specific color variable. Headlines in these articles are set to a light gray color. Links in article headers and title sections also adopt the designated color variable. Meta sections display a repeating linear gradient as a background image. Bylines within meta sections are colored light gray.For iOS and Android devices, the following styles apply to links within the meta section of feature, standard, and comment article containers:
– Links are colored using the new pillar color or a dark mode feature color.
– SVG icons in the meta miscellaneous section have their stroke set to the same color.
– Alert labels display in a light gray color (#dcdcdc) with important priority.
– Spans with data-icon attributes also adopt the new pillar or dark mode feature color.For iOS and Android devices, the color of icons within the meta section of feature, standard, and comment article containers is set to the new pillar color or a dark mode feature color.
On larger screens (71.25em and above), the meta section in these containers displays a top border using the new pillar color or the header border color. Additionally, the meta miscellaneous elements have their margin reset and are indented by 20 pixels from the left.
Paragraphs and unordered lists in the article body of these containers are limited to a maximum width of 620 pixels.
Blockquotes with the “quoted” class in the article body’s prose section also receive styling adjustments for both iOS and Android platforms.Judi Love was 17 when she was kidnapped, though she adds a couple of years when telling the story on stage. I saw her share this tale, filled with punchlines, at a work-in-progress show in late October—only the second time she’d performed it for an audience. The structure of her new show, “All About the Love,” which will tour 23 dates next year, is still taking shape. Yet, this Wednesday night in Bedford was sold out, a testament to Love’s popularity as a TV star.
She begins by twerking into the spotlight, then jokes about her past as a social worker and trading “chicken and chips for champagne and ceviche.” She also engages in lively, improvised banter with the crowd, showcasing her spontaneous humor. Next, she recounts her college days, stud…She was studying IT, but mostly just hanging out in the games room looking for boys. That’s where Love met this unnamed guy.
“He was absolutely crazy,” Love tells me over Zoom a few days later. She’s stuck at home in southwest London, waiting for a delivery. “We didn’t talk about red flags back then. He just had some issues, but I wanted to help him and didn’t recognize the warning signs. At that age, you don’t really know yourself or what a healthy relationship looks like.”
According to her, the first date didn’t sound promising: “He came to my mum’s house, stripped naked, and cried.” Still, they went on a second date (he was six foot four and had a six-pack!), this time at his place. He made spaghetti bolognese, and then suddenly forced her upstairs and into the shower, holding her hostage for nearly 48 hours.
“You try to convince yourself it isn’t happening,” she says, shaking her head in disbelief as she looks back. “And then you realize, oh, it actually is.” For a moment, she considered the worst. “I decided not to go down that rabbit hole. That wasn’t going to be my story. My goal was to get out alive; I knew I could survive anything else after that.”
Today, she tells the whole story, including her lucky escape, with a lighthearted energy. This everything-is-an-anecdote attitude is what makes Love so appealing as both a presenter and a comedian—her ability to shift between serious sincerity and infectious laughter. “What I’ve learned now that I’m a 45-year-old woman,” she says, “is that the traumas I’ve been through stay with me. Laughter has been what helped me. Finding the humor in it all might help someone else laugh too, let go of shame, forgive themselves, and heal.”
This is the philosophy Love plans to build her new show around, whenever she finds the time to write it. Life has been hectic these past few years. “Let me tell you, babe,” she says, “I’m surprised I still have any hair left at this point. With all the ups and downs, I should be slimmer! I’m working so much it’s like I’m on the stepper at the gym!” She’s a regular on the daytime chat show Loose Women, where she makes unscripted, off-the-cuff storytelling look effortless and sometimes unintentionally funny—all part of her charm.
She’s a frequent guest on TV panel shows and has had a script commissioned. Recent appearances on Amazon’s Last One Laughing UK and Taskmaster showed Love in her element. At the crossroads of chaotic stand-up and more structured TV work, she gets to showcase her improv skills while poking fun at rules, playing off other comedians, and challenging authority. She’s also taking on acting roles: an upcoming Channel 4 comedy called Schooled, and she just finished filming Girl Group, a Rebel Wilson movie set for release in 2026.
It’s been a demanding time personally, too—which she admits is fertile ground for material. “Friends losing loved ones, my family as well. I have two children, aged 20 and 16, and let me tell you something,” she says, shaking her head and adjusting her thick-rimmed glasses. “Well, shit, I’ve been a single parent for about 20 years, and it’s exhausting. I’m really tired. Money and success don’t take away the emotional weight of my kids not growing up with their dad.”
She’s also on a fitness kick, “not necessarily to lose weight, but to get healthy.” She’s in therapy now, with “the mental space and finances to afford it. Oh, OK, so that’s what that pattern is. And I’m 45, perimenopause… that bitch is trying to take over. I’m like, not today! I can’t be sweating on stage more than I already am.”
“I say it like it is, but in a very TV-friendly, politically correct way. We don’t have time for Ofcom to come knocking every day.”
It’s almost surprising, I suggest, that Love has booked such a major solo tour—it could be revealing, definitelyIt’s exhausting for her, especially with so many other lucrative opportunities that she’s well-suited for. She struggles with severe stage fright, and while her first tour in 2023 used material she had developed slowly over the years since starting comedy, this time she’s creating everything from scratch.
“It’s all about authenticity,” she explains. “On TV, I might speak in patois or as if I’ve just come from the streets of south London. I talk about being a single mother, tough times, and dealing with racism, sexism, and misogynoir.” However, her appearances on lunchtime shows like Loose Women come with limitations. “I tell it like it is, but in a very TV-friendly, politically correct way. We don’t have time for Ofcom to be on our case every day. It’s a filtered version.” On stage in Bedford, she dedicates a good portion of her act to sharing sexual stories and joking about the appeal of “becoming a massive hoe” in her mid-40s.
Moreover, a full stand-up set gives her the freedom to explore topics more deeply. “You can be selfish and take your time,” she says. “On TV, you only get two minutes, with someone in your ear telling you what’s next. On stage, I can explain things, whether it’s about my childhood or my last relationship. As nervous as I am and as sick as I feel beforehand, the moment I step on that stage, it feels like: this is me.”
Love grew up in east London as the youngest of five children. “I was the class clown at school,” she recalls, “but I was also shy and nervous. I was dyslexic and didn’t know it. I’d look at words and think: I don’t understand. But anything creative, I excelled at.” She was raised by women who had arrived during the Windrush era, working as nurses, social workers, cleaners, or carers. “Those were the jobs they were allowed to have when they came here… For me, that always seemed the natural path.”
Becoming a young carer herself pushed her in that direction. “I was involved with social services from the age of nine. My mum wasn’t well, and my next sister was only 19.” The rest of the family wasn’t around, “so we had support from social care. Mum was in the hospital for months.” Her mother had an aneurysm, five strokes, and was later diagnosed with dementia. “A social worker came and assessed what we needed. I learned that there were people out there who could help.”
Love worked in social care for years, with young offenders, children in the care system, and mental health services. “I could empathize,” she says, “because I came from a complex family with complex lives myself. There’s a lack of funding, and a high proportion of Black and working-class women in these roles. Seeing women who looked like me but had taken different paths was a constant reminder of how easily things can happen.”
In 2009, Love’s mother passed away, and later that year, her second child was born. “It was around then that I fell into a deep depression,” she shares. “I was lost. I had grown up as ‘Judi with the sick mum,’ but then she was gone. Who was I now?” On the verge of breaking down, “I told my family: please look after the kids, I need a break.” An old colleague had moved to Barbados. “I didn’t even know her well, but I called her at my most vulnerable and said I needed to get away but couldn’t afford it… I didn’t even finish the sentence. ‘Come,’ she said.” Love hugs herself as she remembers. “I stepped off that plane and was shown so much love and empathy.” Her voice cracks. “I came back thinking: right, I’m going to do something. People had always told me: you’re empathetic, and you’re funny. I started comedy around 2011, and a few years later [in 2014], I began my master’s in social work.”There’s a knock at the front door. “Sorry, babes,” Love calls out, jumping up, “that’s my delivery.” Off-camera, she jokes and flirts with two burly men. “It’s a velvet sofa for my outhouse,” Love says, leaning briefly into view. “It’s blue, but I wanted orange. The kids wouldn’t go for it. I told them, ‘Booboo, we’ve got an outhouse. Take it easy on yourselves.'” Eventually, Love returns after slipping them a ten-pound note. Then the doorbell rings again. “Yes, babe, we can take a selfie.”
Love has a natural talent for comedy, but she took a winding path into entertainment. She started with open mic nights before making a name for herself on the “urban circuit.” At first, it wasn’t her comfort zone, but something clicked on stage. “It felt like I found my power: I’m a big girl, the boss, and you love it; I’m a beautiful Black woman, and I’ll tell you how it is.”
Meanwhile, she was working full-time at Waltham Forest council in north-east London. “We’d moved to south London because there was a lot of black mould in my previous council property.” This meant a two-hour commute, which was impossible to balance with childcare and comedy. “I was getting small offers—bits of filming, minor roles in pilots—all conflicting with work.” In 2019, she quit her job and took on cleaning work and zero-hours care roles to supplement her comedy income. “It was very scary, but I thought: girl, please, you’ve been broke before.”
Life is unrecognizable now; she hangs out with Dave Chappelle, Talib Kweli, Kevin Hart, and Chris Rock. At a Soho House dinner, she sat “with the director of The Greatest Showman on one side and James… Corbyn? Corden! I was talking to him about his whole mess, because you know…” Now, she lives in a fancy part of the London suburbs. “My daughter always says,” Love mimics a teenage voice, “‘Yeah, I remember the days, yeah.’ Girl, what do you remember? My son doesn’t remember anything. He thinks we’ve always lived this good life.” She’s happy about that: “Even then, we were rich in love. We might have only had a few packets of three-for-a-pound noodles, but we filled our time with joy because we had less.”
The industry doesn’t always feel set up for Love to thrive. Live TV can be a minefield. “When the Autocue comes up,” she says, “I still panic, even if my team has worked with me beforehand to break down words phonetically so I can pronounce them correctly.” Often, she turns this to her advantage, like her Taskmaster mispronunciation of Rubik’s Cube (Ruby Cubey?), which was a clever, pre-planned joke.
“I’m also constantly called the wrong name,” she continues, “mistaken for another Black woman. It doesn’t matter how rich or successful I am; today, bitch, you’re Alison Hammond.” Being a single parent makes scheduling difficult. “If I’m filming or performing away,” she says, “even if I finish at 2 a.m. and have four hours of travel, I have to get home so my kids wake up with me there. If I’m not, no one else is. The hardest thing is managing guilt… When they’re 30, will they turn around and say: it was great, but you missed everything?”
It has paid off, of course. In 2024, she became the first Black British female comic to sell out the London Palladium. She hopes to achieve the same feat at the capital’s Eventim Apollo next year. “When that was announced,” Love retorts, “I said, are you sure? Sure sure? There have been so many others who could and should have done all this. Just like the slew of Black British actors who have felt a move to the US to be a career necessity—John Boyega, Daniel Kaluuya, Cynthia Erivo… the list goes on.”Similarly, Black women in comedy have faced the same pattern. “Look at Gina Yashere and London Hughes – they had to go to America to succeed. I’m glad to be part of this change, as long as I’m not the last one.”
Love is keenly aware of the burdens that come with being a trailblazer. The latter part of her show focuses on the mounting pressures of juggling roles as a mother, entertainer, public figure, and pioneer, alongside the intense urge to say “screw it” and walk away from everything.
She shares, “I wrote my master’s dissertation on how the ‘strong Black woman’ stereotype impacts our emotional and mental health. That was my mum and my family. They endured so much: emotional and physical abuse, working multiple jobs. I realized this narrative is destroying us.” It’s a balance she’s still working to maintain, “trying not to take on that same burden. I see it happening—working tirelessly, supporting others, while not always taking care of myself.”
It might be easy to frame Love’s journey from a struggling social worker to a busy celebrity as a classic success story. But, as I note, it seems she sometimes misses her previous career. “Yeah, babe,” she answers with a smile, “I’m planning to do my PhD in psychotherapy. I wonder if it’ll be strange for someone to come to my small office and realize their therapist is Dr. Judi Love.”
There’s already a sofa set up in the back. “That’s the beauty of being a 45-year-old woman in 2025. I can pursue my PhD, sell out the Palladium, have another child, get married, or go out and live freely. I can do what my mum, aunties, and grandmas couldn’t. I’ll never take that for granted.”
Judi Love: All About the Love tours from February 12 to May 24, starting in Basingstoke, with a performance at Eventim Apollo in London on June 19.
Frequently Asked Questions
Of course Here is a list of FAQs about Judi Loves declaration Im a confident powerful woman and you adore that about me designed to be clear natural and informative
Frequently Asked Questions
BeginnerLevel Questions
1 What did Judi Love mean when she said Im a confident powerful woman and you adore that about me
She was making a bold statement of selfworth Shes declaring her own confidence and power and she believes that this very quality is what makes her admirable and appealing to others
2 Why is this statement considered so powerful
Its powerful because its an unapologetic declaration of selflove Instead of waiting for permission or validation from others she is stating her value as a fact not a question
3 Is it arrogant to say something like that
Not necessarily Theres a key difference between arrogance and confidence Arrogance is often about feeling superior to others Judis statement is about recognizing her own inherent worth without putting anyone else down Its about selfassurance
4 Can anyone make a statement like this about themselves
Absolutely While it might feel awkward at first anyone can and should affirm their own value and strengths Its a practice in building selfesteem
Advanced Practical Questions
5 What are the benefits of adopting a mindset like Judi Loves
Adopting this mindset can lead to greater selfesteem reduced anxiety about what others think stronger personal and professional boundaries and a more authentic and fulfilling life
6 Whats a common problem or criticism people have with this kind of confidence
A common problem is that it can be misinterpreted as being too much or intimidating Some people may feel threatened by a woman who is so sure of herself and may try to undermine her confidence
7 How can I build the kind of confidence Judi is talking about
Practice SelfAffirmation Regularly state your strengths and values to yourself even if you dont fully believe them yet
Celebrate Small Wins Acknowledge your achievements no matter how small
Set Boundaries Learn to say no to things that drain your energy
