This CSS code defines the “Guardian Headline Full” font family with multiple styles and weights. It includes light (300), regular (400), medium (500), and semibold (600) versions, each in both normal and italic styles. For each style, it provides font files in WOFF2, WOFF, and TrueType formats from the Guardian’s asset server.This CSS code defines several font faces for the “Guardian Headline Full” and “Guardian Titlepiece” font families. Each font face specifies different weights and styles (normal or italic) and provides multiple file formats (WOFF2, WOFF, and TrueType) for cross-browser compatibility. The fonts are hosted at the given URLs and include variations from light to black weights, with corresponding italic versions where applicable.This CSS code defines multiple font faces for the “Guardian Headline Full” font family, each with different weights and styles (normal and italic). For each variation, it specifies source files in WOFF2, WOFF, and TrueType formats from the Guardian’s asset server, along with the corresponding font weight (400 for regular, 500 for medium, 600 for semibold, 700 for bold, 900 for black) and font style (normal or italic).This text appears to be CSS code defining font styles and layout grids for a website, likely The Guardian’s. It specifies font files for different weights and styles, and sets up responsive grid layouts that change at various screen sizes. The code controls how elements like titles, headlines, media, and body content are arranged across different device widths.For interactive grid figures with immersive captions in specific content areas, the caption padding is set to 4 pixels at the top and 0 elsewhere.
Elements named “lines” and “meta” within interactive grids are positioned in the grid area from row 2 to 5 and column 1 to 2. The “lines” elements have a height that adjusts to their content and a top margin of 5 pixels, while “meta” elements have an 18-pixel top margin.
On larger screens (81.25em and above), the interactive grid uses a five-column layout with specific widths.
For iOS and Android devices, article headers use the Guardian Headline font family with medium weight for standfirst paragraphs and display section kickers with capitalized first letters. Keylines have increased top padding, and bylines use a bold font. Images within articles have automatic height, and paragraphs following atomic elements have no top margin.
Font faces for Guardian Headline Full are defined with light and light italic weights, sourcing from woff2, woff, and ttf files.This text defines a custom font family called “Guardian Headline Full” with various styles and weights. It includes regular, medium, semibold, and bold versions, each in both normal and italic styles. The font files are provided in WOFF2, WOFF, and TrueType formats from the Guardian’s website.@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-Black.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-Black.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-Black.ttf’) format(‘truetype’);
font-weight: 900;
font-style: normal;
}
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-BlackItalic.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-BlackItalic.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/noalts-not-hinted/GHGuardianHeadline-BlackItalic.ttf’) format(‘truetype’);
font-weight: 900;
font-style: italic;
}
@font-face {
font-family: ‘Guardian Titlepiece’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-titlepiece/noalts-not-hinted/GTGuardianTitlepiece-Bold.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-titlepiece/noalts-not-hinted/GTGuardianTitlepiece-Bold.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-titlepiece/noalts-not-hinted/GTGuardianTitlepiece-Bold.ttf’) format(‘truetype’);
font-weight: 700;
font-style: normal;
}
@media (min-width: 71.25em) {
.content__main-column–interactive {
margin-left: 160px;
}
}
@media (min-width: 81.25em) {
.content__main-column–interactive {
margin-left: 240px;
}
}
.content__main-column–interactive .element-atom {
max-width: 620px;
}
@media (max-width: 46.24em) {
.content__main-column–interactive .element-atom {
max-width: 100%;
}
}
.content__main-column–interactive .element-showcase {
margin-left: 0;
}
@media (min-width: 46.25em) {
.content__main-column–interactive .element-showcase {
max-width: 620px;
}
}
@media (min-width: 71.25em) {
.content__main-column–interactive .element-showcase {
max-width: 860px;
}
}
.content__main-column–interactive .element-immersive {
max-width: 1100px;
}
@media (max-width: 46.24em) {
.content__main-column–interactive .element-immersive {
width: calc(100vw – var(–scrollbar-width));
position: relative;
left: 50%;
right: 50%;
margin-left: calc(-50vw + var(–half-scrollbar-width)) !important;
margin-right: calc(-50vw + var(–half-scrollbar-width)) !important;
}
}
@media (min-width: 46.25em) {
.content__main-column–interactive .element-immersive {
transform: translate(-20px);
width: calc(100% + 60px);
}
}
@media (max-width: 71.24em) {
.content__main-column–interactive .element-immersive {
margin-left: 0;
margin-right: 0;
}
}
@media (min-width: 71.25em) {
.content__main-column–interactive .element-immersive {
transform: translate(0);
width: auto;
}
}
@media (min-width: 81.25em) {
.content__main-column–interactive .element-immersive {
max-width: 1260px;
}
}
.content__main-column–interactive p,
.content__main-column–interactive ul {
max-width: 620px;
}
.content__main-column–interactive:before {
position: absolute;
top: 0;
height: calc(100% + 15px);
min-height: 100px;
content: “”;
}
@media (min-width: 71.25em) {
.content__main-column–interactive:before {
border-left: 1px solid #dcdcdc;
z-index: -1;
left: -10px;
}
}
@media (min-width: 81.25em) {
.content__main-column–interactive:before {
border-left: 1px solid #dcdcdc;
left: -11px;
}
}
.content__main-column–interactive .element-atom {
margin-top: 0;
margin-bottom: 0;
padding-bottom: 12px;
padding-top: 12px;
}
.content__main-column–interactive p + .element-atom {
padding-top: 0;
padding-bottom: 0;
margin-top: 12px;
margin-bottom: 12px;
}
.content__main-column–interactive .element-inline {
max-width: 620px;
}
@media (min-width: 61.25em) {
figure[data-spacefinder-role=”inline”].element {
max-width: 620px;
}
}
:root {
–dateline: #606060;
–headerBorder: #dcdcdc;
–captionText: #999;
–captionBackground: hsla(0, 0%, 7%, 0.72);
–feature: #c70000;
–new-pillar-colour: var(–primary-pillar, var(–feature));
}
.content__main-column–interactive .element.element-atom,
.element.element-atom {
padding: 0;
}
#article-body > div .element-atom:first-of-type + p:first-of-type,
#article-body > div .element-atom:first-of-type + .sign-in-ga {
/ Additional styles can be added here if needed /
}This CSS code applies specific styles to various elements on a webpage. It adds 14 pixels of padding to the top of certain paragraphs, such as the first paragraph following specific elements or horizontal rules in different content areas like articles, comments, and features.
For the first letter of these paragraphs, it uses a large, bold, uppercase font from the Guardian Headline or similar serif families, with a size of 111 pixels and a line height of 92 pixels. This letter is floated to the left, has an 8-pixel margin on the right, and its color is set by a CSS variable for drop caps.
Additionally, it removes top padding from paragraphs that come right after horizontal rules. Captions for showcase elements are positioned statically with a maximum width of 620 pixels. Immersive elements are set to take up the full viewport width minus the scrollbar, with a maximum width of 978 pixels on larger screens. On medium to large screens, captions for immersive elements have horizontal padding of 20 pixels, while on smaller screens down to 30em, it’s 10 pixels. For screens between 46.25em and 61.24em, immersive elements have a specified maximum width.@media (max-width: 46.24em) {
.element.element–immersive.element-immersive {
margin-left: -10px !important;
margin-right: 0 !important;
left: 0;
}
}
@media (max-width: 46.24em) and (min-width: 30em) {
.element.element–immersive.element-immersive {
margin-left: -20px !important;
}
.element.element–immersive.element-immersive figcaption {
padding-inline: 20px;
}
}
@media (min-width: 61.25em) {
.furniture-wrapper {
display: grid;
grid-column-gap: 20px;
grid-row-gap: 0px;
grid-template-columns: [title-start headline-start meta-start standfirst-start] repeat(5, 1fr) [title-end headline-end meta-end standfirst-end portrait-start] repeat(5, 1fr) [portrait-end];
grid-template-rows: [title-start portrait-start] .25fr [title-end headline-start] 1fr [headline-end standfirst-start] .75fr [standfirst-end meta-start] auto [meta-end portrait-end];
}
.furniture-wrapper #headline > div:first-child,
.furniture-wrapper [data-gu-name=headline] > div:first-child,
.furniture-wrapper .headline > div:first-child {
border-top: 1px solid var(–headerBorder);
}
.furniture-wrapper #meta,
.furniture-wrapper [data-gu-name=meta] {
position: relative;
padding-top: 2px;
margin-right: 0;
}
.furniture-wrapper .standfirst .content__standfirst,
.furniture-wrapper #standfirst .content__standfirst,
.furniture-wrapper [data-gu-name=standfirst] .content__standfirst {
margin-bottom: 4px;
}
.furniture-wrapper .standfirst ul li,
.furniture-wrapper #standfirst ul li,
.furniture-wrapper [data-gu-name=standfirst] ul li {
font-size: 20px;
}
.furniture-wrapper .standfirst li a,
.furniture-wrapper .standfirst a,
.furniture-wrapper #standfirst li a,
.furniture-wrapper #standfirst a,
.furniture-wrapper [data-gu-name=standfirst] li a,
.furniture-wrapper [data-gu-name=standfirst] a {
border-bottom: none;
background-image: none !important;
text-decoration: underline;
text-underline-offset: 6px;
text-decoration-color: var(–headerBorder, #dcdcdc);
}
.furniture-wrapper .standfirst li a:hover,
.furniture-wrapper .standfirst a:hover,
.furniture-wrapper #standfirst li a:hover,
.furniture-wrapper #standfirst a:hover,
.furniture-wrapper [data-gu-name=standfirst] li a:hover,
.furniture-wrapper [data-gu-name=standfirst] a:hover {
text-decoration-color: var(–new-pillar-colour);
}
.furniture-wrapper .standfirst p:first-of-type,
.furniture-wrapper #standfirst p:first-of-type,
.furniture-wrapper [data-gu-name=standfirst] p:first-of-type {
border-top: 1px solid var(–headerBorder);
padding-bottom: 0;
}
}
@media (min-width: 61.25em) and (min-width: 71.25em) {
.furniture-wrapper .standfirst p:first-of-type,
.furniture-wrapper #standfirst p:first-of-type,
.furniture-wrapper [data-gu-name=standfirst] p:first-of-type {
border-top: unset;
}
}
@media (min-width: 61.25em) {
.furniture-wrapper figure {
margin: 0 0 0 -10px;
}
.furniture-wrapper figure[data-spacefinder-role=inline].element {
max-width: 630px;
}
}
@media (min-width: 71.25em) {
.furniture-wrapper {
grid-template-columns: [title-start headline-start meta-start] repeat(2, 1fr) [meta-end standfirst-start] repeat(5, 1fr) [title-end headline-end standfirst-end portrait-start] repeat(7, 1fr) [portrait-end];
grid-template-rows: [title-start portrait-start] 80px [title-end headline-start] auto [headline-end standfirst-start meta-start] auto [standfirst-end meta-end portrait-end];
}
.furniture-wrapper #meta:before,
.furniture-wrapper [data-gu-name=meta]:before {
content: “”;
width: 540px;
position: absolute;
top: 0;
background-color: var(–headerBorder);
height: 1px;
}
.furniture-wrapper .standfirst p,
.furniture-wrapper #standfirst p,
.furniture-wrapper [data-gu-name=standfirst] p {
border-top: unset;
}
.furniture-wrapper .standfirst:before,
.furniture-wrapper #standfirst:before,
.furniture-wrapper [data-gu-name=standfirst]:before {
content: “”;
width: 1px;
background-color: var(–headerBorder);
height: 100%;
position: absolute;
top: 0;
left: .5px;
}
}
@media (min-width: 81.25em) {
.furniture-wrapper {
grid-template-columns: [title-start headline-start meta-start] repeat(3, 1fr) [meta-end standfirst-start] repeat(5, 1fr) [title-end headline-end standfirst-end portrait-start] repeat(8, 1fr) [portrait-end];
grid-template-rows: [title-start portrait-start] .25fr [title-end headline-start] 1fr [headline-end standfirst-start meta-start] .75fr [standfirst-end meta-end portrait-end];
}
}The CSS code defines styles for a webpage layout, adjusting elements like headlines, meta information, and media based on screen size. Headlines are set to a bold font with specific widths and font sizes that change on larger screens. For medium screens, some margins are removed, and on larger screens, certain lines are hidden. Social and comment elements have borders matching the header’s color, while some components are not displayed.
The standfirst section has left padding and adjusts its top padding on medium screens, with paragraph text in a regular weight and larger font size. Main media elements are positioned relatively, taking full width on small screens and adjusting margins on medium ones. Captions are styled with a background color and positioned at the bottom, with a button to toggle visibility. On very large screens, the main column’s height is increased, and headings have a maximum width. Dark mode support is included, altering colors for features and backgrounds when preferred.For iOS and Android devices, the first letter of the first paragraph following an initial element or sign-in gate in feature, standard, or comment articles will be colored using the secondary pillar color, defaulting to black.
The article header height is set to zero, and the furniture wrapper has a top padding of 4px and side padding of 10px.
Within the furniture wrapper, content labels are bold, use specific font families, adopt the new pillar color, and have capitalized text. Headlines are 32px, bold, with 12px bottom padding, and a dark gray color.
Image figures in the furniture wrapper are styled with a 2px solid border in the new pillar color and 12px bottom margin.For Android devices, images in standard and comment articles are positioned relatively with a top margin of 14px, left offset of -10px, and width spanning the full viewport minus the scrollbar width, while maintaining auto height.
On iOS and Android, images and their inner elements in feature, standard, and comment articles have transparent backgrounds, full viewport width excluding scrollbar, and auto height.
The standfirst section in feature, standard, and comment articles on both iOS and Android has top padding of 4px, bottom padding of 24px, and a right margin of -10px.
Paragraphs within the standfirst use the Guardian Headline font family or fallback serif fonts.
Links in the standfirst, including list items, are styled with the new pillar color, underlined with a 6px offset, using the header border color for the underline, and no background image or bottom border.For iOS and Android devices, when hovering over links in the standfirst section of feature, standard, or comment articles, the text decoration color changes to the new pillar color.
In these same article types and platforms, the meta section has no margin.
Elements within the meta section, such as byline, author, and related links, display in the new pillar color.
Additionally, the meta misc section has no padding, and any SVG icons within it are not styled with specific rules in this excerpt.For iOS and Android devices, the following styles apply to feature, standard, and comment article containers:
– SVG icons in the meta section use the new pillar color for strokes.
– The caption button in showcase elements is displayed as a flex container, centered with 5px padding, 28px dimensions, and positioned 14px from the right.
– Article body content has 12px horizontal padding.
– Regular image elements (excluding thumbnails and immersive ones) span the viewport width minus 24px and scrollbar width, with auto height and no margin. Their captions have no padding.
– Immersive image elements span the full viewport width minus the scrollbar width.
– Quoted blockquotes in prose use the new pillar color for their decorative elements.
– Links in prose sections are styled with the new pillar color.For links within article bodies on iOS and Android devices, the color is set to the primary pillar color with an underline offset by 6 pixels and using the header border color for the underline. When hovered over, the underline color changes to the new pillar color.
In dark mode, the furniture wrapper’s background becomes dark gray, while labels adopt the new pillar color. Headlines lose their background color and take on the header border color, and standfirst text and links, along with byline authors and their links, are also styled with the header border color.For iOS and Android devices, the following styles apply to feature, standard, and comment article containers:
– The color of meta information text and SVG strokes uses the new pillar color.
– Captions for showcase images use the dateline color.
– Quoted text in the article body adopts the new pillar color.
– Backgrounds for various content sections are set to a dark background with high importance.
– The first letter after specific elements in the article body receives special styling.This CSS code targets the first letter of paragraphs that follow specific elements within various article containers on iOS and Android devices. It applies to different sections like feature articles, standard articles, and comment sections, ensuring consistent styling for drop caps or initial letter formatting across the platform.For Android devices, the first letter of paragraphs in various article containers and sections will appear in a custom color, defaulting to white. On both iOS and Android, comment article introductions have specific top padding and no top margin. Headings within the main text are set at 24 pixels in size.For iOS devices, the caption button in feature, standard, and comment article containers has a top padding of 6px and side padding of 5px. On Android, the same button uses 4px padding on all sides except the top, which is 0.
In dark mode, text and icon colors adjust for better readability: follow text and standfirst text become light gray (#dcdcdc), while follow icons, bylines, and standfirst links adopt a dark mode pillar color. Standfirst links also have a matching border color.
When the furniture wrapper includes a Guardian organization logo, the branding element is always displayed.
Across iOS and Android, labels and headlines in feature, standard, and comment articles use a medium font weight (500). The lines element is hidden.
The page background uses a weekend essay theme with a light pink shade (#fff4f2), which also applies to article sections and sub-meta backgrounds.
The furniture wrapper is positioned relatively and uses a grid layout for larger screens (over 81.25em), defining rows for title, headline, standfirst, meta, and portrait elements.
Article headers and titles are 70px tall on most screens, increasing to 80px on wider displays (over 71.25em). They contain labels with a background GIF of a book in the bottom-right corner—70x70px normally, 110x110px on larger screens.
A horizontal line appears below labels on smaller screens, spanning the viewport width minus scrollbar, but disappears on medium-sized screens (over 61.25em).For screens wider than 81.25em, adjust the furniture wrapper’s article header and title elements to a height of 125px. Also, set the headline’s top margin to -2px within the same wrapper.
Within the headline elements, remove bottom padding from inner divs. For the portrait main media headline wrapper, set it to full height, relative positioning, hidden overflow, and add 24px bottom padding.
Ensure headline text and links have no maximum width and display a 2px thick underline with a 6px offset on hover. Set their line height to 115%, font weight to 500, and font size to 36px, increasing to 50px on screens wider than 71.25em.
Position the standfirst relatively with 4px top padding, removing it on screens wider than 61.25em and reducing to 2px on those above 71.25em.
Display the branding island in the meta container and set the main media to relative positioning, placing it in the portrait grid area on wider screens (61.25em+). Keep inner divs of main media positioned relatively.This CSS code styles a media container for responsive layouts. It adjusts the display, dimensions, and positioning of images, captions, and decorative frames across different screen sizes. For smaller screens, elements span nearly the full viewport width with adjusted margins and padding. As the screen widens, it modifies widths, margins, and padding for optimal presentation, including repositioning a caption button. A decorative frame is applied as a background image, and a utility class centers content within a flex container.The CSS code defines styles for a furniture wrapper’s main media section, setting paragraph text to 24px size, bold weight, underlined, with 115% line height and a specific color variable. For interactive content columns on wider screens (over 71.25em), it removes left margin and hides a pseudo-element.
Supporting asides containing blockquotes get a background color from a variable, defaulting to #fff4f2. The first letter of the first paragraph is styled with light font weight, while drop caps use a headline font at 111px size, uppercase, floated left in a color variable.
Headings (h2) are colored #8d2700, 28px size (32px on wider screens), light weight, and adjust to medium weight if containing strong tags. Figures with iframes share the same background as supporting asides.
For app and mobile platforms, follow wrapper elements are displayed with top margin and 14px font size for spans. Media elements are set to fit their content width.
In dark mode, the body uses a dark gray (#1a1a1a) for article sections and weekend essay backgrounds, with a specific background image applied to certain elements after the content.This CSS code defines styles for mobile apps (iOS and Android) on The Guardian’s website. It sets background colors, font weights, and layout properties for article containers and their components. Specific rules apply to different article types (feature, standard, comment) and adjust for light/dark mode preferences. The code also handles grid layouts for wider screens and positions elements like titles and GIFs using flexbox.For iOS and Android devices, the content labels in feature, standard, and comment article containers have a font size of 17 pixels, normal style, bold weight, and 115% line height.
Links within these labels use a custom color (defaulting to #c74600) and do not change the text case.
GIF containers and their images in these sections are set to 70 pixels in both width and height.
A specific class, book-gif-white, hides these GIF elements when applied.
In dark mode, the book-gif class is intended to control the display of GIFs, though the rule appears incomplete.This CSS code hides certain GIF elements with the class “book-gif” on iOS and Android devices for feature, standard, and comment article containers. Instead, it displays white versions of these GIFs with the class “book-gif-white”. Additionally, it adds a horizontal line at the bottom of the title and GIF wrapper on these devices, which adjusts its width to 50% of the viewport on screens larger than 61.25em.For dark mode on iOS and Android devices, the background color behind article titles in feature, standard, and comment sections changes to #606060.
On larger screens (over 61.25em wide), the headline area in portrait-oriented main media sections is positioned using CSS grid for these same article types and devices.
Headlines and bylines in feature, standard, and comment articles display with specific typography: 36px size, normal style, medium weight (500), and 115% line height on both iOS and Android.
Additionally, bylines and their links maintain these font settings across all mentioned article types and platforms.For Android devices, the author’s name in comment articles appears in red, using the specified color variable or a default shade.
In dark mode, the author’s name across all article types on iOS and Android devices changes to a darker orange, with the color variable taking precedence.
On both iOS and Android, author profile pictures are hidden in all article layouts.
Headlines in all article types on iOS and Android have no bottom margin or padding.
The byline text is italicized in all article types on both operating systems, but the author’s name within the byline remains in normal font style.
Main media elements in all article types on iOS and Android adjust their height automatically, maintain a 4:5 aspect ratio, and have a transparent background.For iOS and Android devices, the following styles apply to feature, standard, and comment article containers:
– The main media figure element has full height and no left margin.
– Its inner figure is positioned at the top-left corner.
– The element’s inner container has a transparent background, no padding, and visible overflow.
– Images within these elements are set to the viewport width minus 40 pixels, with 20 pixels left margin and 25 pixels top margin.
– For images directly inside the element’s inner container, the top margin is reduced to 13 pixels.
– Figure captions are styled consistently across all these contexts.For all devices, figure captions within the main media container will have automatic height.
On iOS and Android devices, captions and their text in feature, standard, and comment articles are displayed as blocks with unlimited maximum height, positioned relatively, and colored using the custom property –captionText or a fallback gray (#999).
For screens wider than 46.25em:
– Figures in these containers have no maximum width limit.
– A pseudo-element before each figure spans almost the full viewport width with 10px margins.
– Images inside these figures take up nearly the full viewport width with 30px left margins and 40px top margins.
For screens wider than 61.25em:
[The original text appears to be cut off here, so the response ends at this point.]For iOS and Android devices, the width of the figure element’s pseudo-element in article containers is set to half the viewport width minus 20 pixels and the scrollbar width.
Images within these figure elements have a width of half the viewport width minus 40 pixels and the scrollbar width, with a left margin of 18 pixels, auto height, no padding, and a top margin of 10 pixels.
On screens wider than 71.25em, the pseudo-element is positioned 4 pixels higher.
For screens wider than 81.25em, the pseudo-element shifts 20 pixels to the left, and images adjust to half the viewport width minus 90 pixels and the scrollbar width, with a left margin of 12 pixels, auto height, a top margin of -10 pixels, and a top padding of 21 pixels.
In dark mode, the pseudo-element uses a white frame image as its background.
For the first image in the figure element, specific styles are applied similarly.For iOS and Android devices, the first image in feature, standard, and comment articles has specific styling:
On smaller screens:
– The image’s width spans the viewport minus 20px and scrollbar width, with no left margin and 10px padding.
– A pseudo-element before the image also spans the viewport width minus 20px and scrollbar width, aligned to the left.
On medium screens (61.25em and up):
– Images are set to 50% of the viewport width minus 30px and scrollbar width, with a 5px left margin, auto height, and 21px top padding.
– The container has a full height and a maximum width of 620px.
– The pseudo-element adjusts to 50% of the viewport width minus 20px and scrollbar width, aligned left, and full height.
On larger screens (81.25em and up):
– Images use 50% of the viewport width minus 70px and scrollbar width, with a 5px left margin, auto height, a -10px top margin, and 21px top padding.
– The pseudo-element’s styling remains consistent with medium screens.For iOS and Android devices, the layout of images and captions in feature, standard, and comment articles is adjusted across different screen sizes.
On smaller screens, the first image in the main media area is shifted 20 pixels to the left. When the screen width reaches at least 46.25em, the caption button is positioned 45 pixels from the bottom. For larger screens of 61.25em or more, the main media area is set to a portrait grid layout with a maximum width of 620 pixels and automatic height.
All figure elements are relatively positioned with no top margin. Their inner containers are absolutely positioned 15 pixels from the top and 20 pixels from the left, spanning the full viewport width minus 40 pixels. Images within these containers cover the entire area while maintaining their aspect ratio.
The caption button is placed 24 pixels from the right and 20 pixels from the bottom. On medium-sized screens (46.25em and above), the inner container of figure elements adapts to the new layout.For Android devices, figures within article containers are set to 680px wide with automatic height, positioned 10px from the top and left edges. The caption button appears 25px from the bottom.
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Ensure the first letter after an initial atom element in article and feature bodies is semi-bold.”The Celebrity Traitors” has already earned widespread praise for its suspense, entertaining blunders, and the most famous fart ever aired on TV. But among its many successes, one stands out as especially remarkable—and it’s something TV executives worldwide have been eager to achieve: it’s getting Generation Z to tune into live television.
For years, there’s been concern that viewers under 25 are abandoning traditional broadcast TV in favor of algorithm-driven digital platforms like YouTube, TikTok, and Instagram. Yet, the intrigue of “The Celebrity Traitors” seems to have lured them back.
Overnight ratings, which track live viewership and same-evening iPlayer streams, show that over half of 16- to 24-year-olds who watched the show during its time slot viewed every episode as it aired.
The finale set new records, drawing an average overnight audience of more than 11 million—the highest of the year and the largest since the “Gavin & Stacey” Christmas special. According to Digital i, 81% of 16- to 24-year-olds watching live TV at that time were tuned in.
Matt Ross, Digital i’s chief analytics officer, noted, “At a time when younger audiences are increasingly turning away from live linear TV, ‘The Traitors’ has become must-see viewing for 16- to 24-year-olds in the UK. The latest season has been a major draw for…”The race is now on to analyze the success of the show and determine what lessons can be learned from it—or whether its widespread popularity and ability to attract younger viewers is just a rare exception.
Katy Fox, executive producer at Studio Lambert, which produces the show for the BBC, said: “As producers, we hope for the whole family to stop what they’re doing and gather around the TV to enjoy a positive, joyful show together. The best part about 16- to 24-year-olds embracing Traitors so wholeheartedly is the incredible energy and creativity they bring to fandom—from memes and videos to Halloween costumes and more—it’s fantastic.”
The show’s success comes at a crucial time for the BBC, which has faced concerns about its appeal to Generation Z. Recently, Jordan Schwarzenberger, manager of the popular YouTube group the Sidemen, warned that the BBC risks becoming culturally irrelevant to young audiences.
Industry experts believe there are many lessons to be drawn from The Celebrity Traitors. They highlight its “always on” appeal, with the live show resembling a sports event, an official podcast, numerous clips, and fan-made memes and content ensuring there’s always something Traitors-related to engage with throughout the week.
Kate Phillips, the BBC’s chief content officer who originally commissioned the program, said her interest in the show began during the pandemic when she sought programs that could bring people together. Since then, the show, which originated as a Dutch format, has grown rapidly through word of mouth across generations—a key goal for the BBC, which aims to provide content with broad appeal.
“What I want are shows that have the 3Gs at their core,” she explained. “That means shows that three generations can watch together. One thing I’ve learned is that young people really enjoy watching with their parents and grandparents. People truly value that.”
Regarding the show’s appeal to younger viewers, she credited partnerships with TikTok, linking the platform directly with iPlayer. She also noted that the show’s social media strategy was “designed with under-35s, especially under-24s, in mind.” The show has been extensively clipped, and the BBC has been open to fans creating their own viral content.
Phillips added that despite talk of linear TV’s decline, The Celebrity Traitors shows how it can still serve as a “shop window” for top content. “Celebrity Traitors airs on linear TV but evolves into a cross-platform, shared experience that feels current, fun, and unfiltered,” she said. “The memes and comments create a second entertainment show alongside the main one.”
Jon Willers, a media consultant focused on reaching Generation Z, said the show’s success underscores the need for the industry to adapt and reskill for the social media era. “It’s one of the few shows that bridges two different worlds,” he remarked. “There’s the digital world, which attracts younger audiences through social media rather than traditional TV, and the traditional world centered on scheduled programming. Very few shows manage to penetrate both spaces. We need more programs with that vision.”This ambition shows that people aren’t necessarily leaving TV—they’re leaving TV that doesn’t resonate with them.
Until now, we’ve all been very siloed. TV producers made TV programs, social creators made content for social media, and broadcasters acted as publishers and handled marketing. Now, TV producers are trying to become more multi-platform.
In fact, The Celebrity Traitors isn’t the only hit show finding an audience with Gen Z, as traditional broadcasters adapt to the different ways young people discover and discuss their favorite shows.
A prime example is Dancing with the Stars, the U.S. version of Strictly Come Dancing. Once on par with other reality formats, it has now become the dominant title in its genre by embracing online culture—using viral songs, featuring dancers with a strong social media presence, and diversifying its cast.
Evan Shapiro, a Hollywood producer turned leading analyst on the creator economy, said, “Dancing with the Stars leaned heavily into the creator ecosystem by casting creators as contestants. It obviously paid off.”
He added, “Celebrity Traitors gathered a fascinating cross-section of U.K. entertainment culture and embraced the creator ethos—clipping the show extensively and encouraging user-generated content.”
Shapiro sees this as proof that big broadcasters and titles can adapt to changing consumption habits. “The mindset for successful crossover IP from TV to social media is: ‘The show is the clip, and the clip is the show—together, they are the show.’ It shows that when big publishers act like creators, they can become dominant creators themselves.”
For The Celebrity Traitors, the makers say casting was crucial. They included figures like Niko Omilana, who has over 8 million YouTube subscribers, even though he left the game early.
“We’ve always believed The Traitors can appeal to every generation and have tried to reflect that in our casting,” said Fox. “With a celebrity cast of diverse ages and personalities, we were confident younger viewers would connect with people they already know—and maybe discover some national treasures they didn’t. We’re delighted with the results.”
For others in the industry, the discussion about keeping younger audiences engaged complicates a simple equation. In show business, the golden rule still stands: it’s all about hits.
Peter Fincham, co-CEO of production company Expectation and co-host of the podcast Insiders TV, said, “The most powerful form of marketing will always be word of mouth—in conversations at home, work, or school. When that happens, young people watch. What’s a bit unusual today is an old-fashioned, mainstream hit that gets everyone talking.”
He added, “I’m wary of trend analysis. It’s the simplest thing in the world: have a great big hit, and people of all ages will watch. That was true 10, 20, 30 years ago.”
Frequently Asked Questions
Of course Here is a list of FAQs about how the celebrity version of The Traitors flipped a worrying TV trend with clear and concise answers
General Beginner Questions
1 What is the worrying trend that Celebrity Traitors flipped
The trend was towards meanspirited reality TV where shows relied on constant yelling personal attacks and toxic drama to create entertainment
2 How is The Traitors different from other reality competition shows
Instead of focusing on personal conflicts The Traitors is a strategic game of deduction and deception like a highstakes game of Mafia or Werewolf The drama comes from the gameplay not from personal animosity
3 What makes the celebrity version so special
Celebrities are already mediasavvy and understand the game of television They lean into the roles of Faithfuls and Traitors with theatrical flair making the strategic backstabbing feel more like a performance and less like a personal betrayal
4 Is the show actually less toxic
Yes generally While there is betrayal and suspicion its framed within the context of the game The contestants often separate the game from their reallife relationships and the postshow reunions are typically more about discussing strategy than rehashing personal fights
Advanced Impact Questions
5 How did the casting of celebrities change the shows dynamic
Celebrities brought builtin personalities and a willingness to play along for entertainments sake They were less concerned with being likable for a public vote and more focused on creating a compelling narrative which elevated the strategic and theatrical elements
6 Can you give an example of how it flipped the trend
Instead of a scene where two contestants scream insults over a petty disagreement The Traitors gives us a scene where a celebrity calmly and cleverly manipulates a conversation at a roundtable to throw suspicion off themselves The tension is intellectual not emotional
7 What does this success say about what audiences want now
It suggests that a growing segment of the audience is hungry for smarter more strategic entertainment People enjoy the puzzle and the psychological gameplay as much as or more than watching reallife conflict
8 Whats the risk for other shows following this model
The
