@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Light.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Light.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Light.ttf’) format(‘truetype’);
font-weight: 300;
font-style: normal;
}
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-LightItalic.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-LightItalic.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-LightItalic.ttf’) format(‘truetype’);
font-weight: 300;
font-style: italic;
}
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Regular.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Regular.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Regular.ttf’) format(‘truetype’);
font-weight: 400;
font-style: normal;
}
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-RegularItalic.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-RegularItalic.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-RegularItalic.ttf’) format(‘truetype’);
font-weight: 400;
font-style: italic;
}
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Medium.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Medium.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Medium.ttf’) format(‘truetype’);
font-weight: 500;
font-style: normal;
}
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-MediumItalic.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-MediumItalic.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-MediumItalic.ttf’) format(‘truetype’);
font-weight: 500;
font-style: italic;
}
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Semibold.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Semibold.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Semibold.ttf’) format(‘truetype’);
font-weight: 600;
font-style: normal;
}
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-SemiboldItalic.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-SemiboldItalic.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-SemiboldItalic.ttf’) format(‘truetype’);
font-weight: 600;
font-style: italic;
}Here’s the rewritten text in fluent, natural English:
“`css
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Bold.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Bold.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Bold.ttf’) format(‘truetype’);
font-weight: 700;
font-style: normal;
}
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-BoldItalic.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-BoldItalic.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-BoldItalic.ttf’) format(‘truetype’);
font-weight: 700;
font-style: italic;
}
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Black.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Black.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-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/full-not-hinted/GHGuardianHeadline-BlackItalic.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-BlackItalic.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-BlackItalic.ttf’) format(‘truetype’);
font-weight: 900;
font-style: italic;
}
@font-face {
font-family: ‘Guardian Titlepiece’;
src: url(‘https://interactive.guim.co.uk/fonts/garnett/GTGuardianTitlepiece-Bold.woff2’) format(‘woff2’),
url(‘https://interactive.guim.co.uk/fonts/garnett/GTGuardianTitlepiece-Bold.woff’) format(‘woff’),
url(‘https://interactive.guim.co.uk/fonts/garnett/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, 0px));
position: relative;
left: 50%;
right: 50%;
margin-left: calc(-50vw + var(–half-scrollbar-width, 0px)) !important;
margin-right: calc(-50vw + var(–half-scrollbar-width, 0px)) !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: -10px;
}
}
“`The CSS code provided appears to be a set of styling rules for a web page, likely from a news or media site like The Guardian. It adjusts the layout and appearance of elements such as videos, images, captions, and text blocks. The rules handle things like spacing, maximum widths, color schemes, and responsive design for different screen sizes. Some parts define how interactive content, like self-hosted videos, should be displayed, including full-width immersive options. There are also color variables for light and dark modes, and specific adjustments for blockquotes and subheadings. The code ensures that elements like atoms and paragraphs are properly spaced and styled, especially when they appear first in a section.Here’s the rewritten version in fluent, natural English:
For the first paragraph after certain elements like `.sign-in-gate`, `.element-atom`, or `hr` (excluding the last horizontal rule), the first letter is styled with the font `Guardian Headline`, `Guardian Egyptian Web`, `Guardian Headline Full`, or `Georgia, serif`. It is bold, 111px in size, with a line height of 92px, floated to the left, uppercase, and has an 8px right margin. It is vertically aligned to the top, and its color comes from the `–drop-cap` variable, which defaults to `–new-pillar-colour`.
When a paragraph follows an `hr` element, its top padding is removed.
Pull quotes are limited to a maximum width of 620px.
For showcase elements, the caption is positioned statically and takes up the full width, with a maximum width of 620px.
Immersive elements take up the full viewport width, minus the scrollbar width. On screens narrower than 71.24em, they are capped at 978px, and their captions have 10px of padding on each side. On screens between 30em and 71.24em, the caption padding increases to 20px. On screens between 46.25em and 61.24em, the immersive element maxes out at 738px. On screens narrower than 46.24em, the element is shifted left by 10px (or 20px on screens wider than 30em), with no right margin.
The furniture wrapper is positioned relatively. On screens wider than 61.25em, it uses a CSS grid with a 20px column gap and no row gap. The grid has 10 columns: the first five are for the title, headline, meta, and standfirst, and the last five are for the portrait. The rows are set up so the title takes up 0.25fr, the headline 1fr, the standfirst 0.75fr, and the meta auto, all within the portrait row. The first child of the headline section has a 1px solid top border using the `–headerBorder` color. The meta section is positioned using the `po` property.Here’s the rewritten version in fluent, natural English:
The `.furniture-wrapper` class controls the layout of article headers. The standfirst section has a relative position with a small top padding and no right margin. Inside the standfirst, the first paragraph has a bottom margin of 4px, and list items use a font size of 20px. Links in the standfirst have no bottom border or background image, but are underlined with a 6px offset and a light gray underline color. On hover, the underline color changes to the main pillar color.
The first paragraph in the standfirst has a top border of 1px solid light gray and no bottom padding. However, on screens wider than 61.25em (about 980px) and also wider than 71.25em (about 1140px), this top border is removed.
For figures inside the `.furniture-wrapper`, on screens wider than 61.25em, they have no top or bottom margin and a left margin of -10px. Inline figures are limited to a max width of 630px.
On screens wider than 71.25em, the layout becomes a grid with specific column and row definitions. The grid has columns for title, headline, meta, standfirst, and portrait sections. The meta section has a 540px-wide top border line. The standfirst paragraphs have no top border, and the standfirst itself has a 1px vertical line on the left side.
On screens wider than 81.25em (about 1300px), the grid adjusts: the title and meta sections span 3 columns, standfirst spans 5, and portrait spans 8. The meta top border line widens to 620px, and the standfirst vertical line shifts slightly to the left.
Labels inside the article header have a small top padding of 2px. The headline (`h1`) is bold (600 weight), has a max width of 620px, and a font size of 32px. On screens wider than 71.25em, the max width reduces to 540px and the font size increases to 50px.
The keyline-4 element (or the lines section) has no right margin on screens wider than 46.25em (about 740px), and is hidden on screens wider than 61.25em. Its SVG stroke color matches the header border color.The furniture wrapper has a dark background and spans from -10px to 10px on the left and right, with 4px of padding at the bottom. On screens wider than 30em, the margins increase to -20px and padding to 8px. At 61.25em and above, the padding becomes 20px on both sides. For very wide screens (81.25em and up), decorative elements are added on both sides using `:before` and `:after` pseudo-elements, which extend the dark background and add a border.
Inside the furniture wrapper, the meta section and its social and comment elements use a border color defined by `–headerBorder`. Some meta containers are hidden. The standfirst section is positioned with a left margin of -10px and left padding of 10px. On screens 46.25em and wider, it gets a small top padding. The standfirst text is 20px, with normal weight and 14px bottom padding.
The main media area is positioned relative, with no top margin and a 2px bottom margin. It takes up the portrait grid area. On screens 61.25em and wider, the bottom margin is removed. On smaller screens (up to 46.24em), the media area expands to full viewport width (minus scrollbar) and shifts left by 10px. If the screen is between 30em and 46.24em, the left shift increases to 20px.
The caption sits at the bottom of the media area, with padding and a background color that matches the caption background variable. The text color comes from `–captionText`. The caption spans the full width and has a minimum height of 46px. The first span inside the caption is hidden, while the second is shown and takes up to 90% width. On screens 30em and wider, the caption padding increases. If the caption has the “hidden” class, it becomes invisible.
The caption button is positioned at the bottom right of the media area, with a circular background and no border. Its icon is slightly scaled down. On wider screens (30em+), the button moves slightly inward.
For interactive content columns on very wide screens (71.25em+), a pseudo-element is adjusted to start higher and be taller. Headings inside such columns are limited to 620px width.
Custom CSS variables are set: `–new-pillar-colour` uses a dark mode pillar color (falling back to `–darkModeFeature`), `–headerBorderColor` is a medium gray, and `–darkModeFeature` is a bright red-orange.
Certain navigation and aside elements are hidden, as are sections that follow asides.
The article header and title links/span inside the furniture wrapper use the new pillar color. On screens 61.25em and wider, the first child of the headline section gets a top border using the header border color.Here’s the rewritten version in fluent, natural English:
The headline text in the furniture wrapper is bold and light gray. The headline images have no top margin and a small bottom margin. On wider screens, the meta section shows a colored top border. The text inside the meta section—including details, summaries, and spans—is light gray. Social media buttons and links in the meta section use a border and text color that match the pillar color. Their icons are filled with the same color. When you hover over them, the background becomes dark and the icon turns white. Other text in the meta section is also light gray, and links use the pillar color. When you hover over a link, the underline changes to match the pillar color.
In the standfirst section, links are underlined with a light gray line and use the pillar color. When you hover over them, the underline changes to the pillar color. The standfirst text is light gray. On medium screens, the first paragraph has a top border. On larger screens, that border is removed. List items in the standfirst are also light gray. On larger screens, a colored line appears above the standfirst. On smaller screens, the furniture wrapper shows a vertical line on the left side, using the dark background color.Here is the rewritten text in fluent, natural English:
A 1-pixel solid border using the header border color. The left position is calculated as half the negative space between the full viewport width (minus the scrollbar width, if any) and 738 pixels. The width is set to half of that same space.
After the furniture wrapper, a pseudo-element is added with no content but a full height, positioned at the top. It has an absolute position, a dark background color, and a left border of 1 pixel solid using the header border color. Its right position is calculated as half the negative space between the full viewport width (minus the scrollbar width) and 738 pixels, and its width is half of that space.
For screens wider than 61.25 em (about 980 pixels), the before pseudo-element of the furniture wrapper gets a width equal to half the space between the full viewport width (minus the scrollbar width) and 978 pixels, and its left position is half that space in the negative direction. The after pseudo-element gets the same width, but its right position is half that space in the negative direction.
For screens wider than 71.25 em (about 1140 pixels), the same logic applies but with 1138 pixels instead of 978.
For screens wider than 81.25 em (about 1300 pixels), the same logic applies but with 1298 pixels instead of 1138.
Inside the furniture wrapper, any element with the class “keyline-4” or with the data attribute “gu-name” set to “lines” will have its SVG stroke set to the header border color.
Also inside the furniture wrapper, the social and comment sections within the meta area (whether accessed by ID or data attribute) will have their border colors set to the header border color.
In the article body or in interactive content, any h2 heading will have a font weight of 200. However, if an h2 contains a strong element, its font weight becomes 700.
For any div with the attribute “data-print-layout” set to “hide”, its unordered lists will have no background image.
Finally, a custom font called “Guardian Headline Full” is defined in several styles: light (300 weight) in normal and italic, and regular (400 weight) in normal and italic. Each style is loaded from the Guardian’s asset server in WOFF2, WOFF, and TTF formats.Here is the rewritten text in fluent, natural English:
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-RegularItalic.ttf’) format(‘truetype’);
font-weight: 400;
font-style: italic;
}
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Medium.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Medium.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Medium.ttf’) format(‘truetype’);
font-weight: 500;
font-style: normal;
}
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-MediumItalic.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-MediumItalic.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-MediumItalic.ttf’) format(‘truetype’);
font-weight: 500;
font-style: italic;
}
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Semibold.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Semibold.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Semibold.ttf’) format(‘truetype’);
font-weight: 600;
font-style: normal;
}
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-SemiboldItalic.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-SemiboldItalic.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-SemiboldItalic.ttf’) format(‘truetype’);
font-weight: 600;
font-style: italic;
}
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Bold.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Bold.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Bold.ttf’) format(‘truetype’);
font-weight: 700;
font-style: normal;
}
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-BoldItalic.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-BoldItalic.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-BoldItalic.ttf’) format(‘truetype’);
font-weight: 700;
font-style: italic;
}
@font-face {
font-family: ‘Guardian Headline Full’;
src: url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Black.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-Black.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-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/full-not-hinted/GHGuardianHeadline-BlackItalic.woff2’) format(‘woff2’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-BlackItalic.woff’) format(‘woff’),
url(‘https://assets.guim.co.uk/static/frontend/fonts/guardian-headline/full-not-hinted/GHGuardianHeadline-BlackItalic.ttf’) format(‘truetype’);
font-weight: 900;
font-style: italic;
}Here’s the rewritten version in fluent, natural English:
“`css
font-family: ‘Guardian Titlepiece’;
src: url(https://interactive.guim.co.uk/fonts/garnett/GTGuardianTitlepiece-Bold.woff2) format(‘woff2’),
url(https://interactive.guim.co.uk/fonts/garnett/GTGuardianTitlepiece-Bold.woff) format(‘woff’),
url(https://interactive.guim.co.uk/fonts/garnett/GTGuardianTitlepiece-Bold.ttf) format(‘truetype’);
font-weight: 700;
font-style: normal;
:root:has(.ios, .android) {
–darkBackground: #1a1a1a;
–feature: #c70000;
–darkmodeFeature: #ff5943;
–new-pillar-colour: var(–primary-pillar, var(–feature));
}
@media (prefers-color-scheme: dark) {
:root:has(.ios, .android) {
–new-pillar-colour: var(–darkmode-pillar, var(–darkmodeFeature));
}
}
body.ios #feature-article-container .element-atom:first-of-type + p:first-of-type::first-letter,
body.ios #feature-article-container .element-atom:first-of-type + .sign-in-gate + p:first-of-type::first-letter,
body.ios #feature-article-container .element-atom:first-of-type + #sign-in-gate + p:first-of-type::first-letter,
body.ios #standard-article-container .element-atom:first-of-type + p:first-of-type::first-letter,
body.ios #standard-article-container .element-atom:first-of-type + .sign-in-gate + p:first-of-type::first-letter,
body.ios #standard-article-container .element-atom:first-of-type + #sign-in-gate + p:first-of-type::first-letter,
body.ios #comment-article-container .element-atom:first-of-type + p:first-of-type::first-letter,
body.ios #comment-article-container .element-atom:first-of-type + .sign-in-gate + p:first-of-type::first-letter,
body.ios #comment-article-container .element-atom:first-of-type + #sign-in-gate + p:first-of-type::first-letter,
body.android #feature-article-container .element-atom:first-of-type + p:first-of-type::first-letter,
body.android #feature-article-container .element-atom:first-of-type + .sign-in-gate + p:first-of-type::first-letter,
body.android #feature-article-container .element-atom:first-of-type + #sign-in-gate + p:first-of-type::first-letter,
body.android #standard-article-container .element-atom:first-of-type + p:first-of-type::first-letter,
body.android #standard-article-container .element-atom:first-of-type + .sign-in-gate + p:first-of-type::first-letter,
body.android #standard-article-container .element-atom:first-of-type + #sign-in-gate + p:first-of-type::first-letter,
body.android #comment-article-container .element-atom:first-of-type + p:first-of-type::first-letter,
body.android #comment-article-container .element-atom:first-of-type + .sign-in-gate + p:first-of-type::first-letter,
body.android #comment-article-container .element-atom:first-of-type + #sign-in-gate + p:first-of-type::first-letter {
color: var(–secondary-pillar, #000);
}
body.ios #feature-article-container .article__header,
body.ios #standard-article-container .article__header,
body.ios #comment-article-container .article__header,
body.android #feature-article-container .article__header,
body.android #standard-article-container .article__header,
body.android #comment-article-container .article__header {
height: 0;
}
body.ios #feature-article-container .furniture-wrapper,
body.ios #standard-article-container .furniture-wrapper,
body.ios #comment-article-container .furniture-wrapper,
body.android #feature-article-container .furniture-wrapper,
body.android #standard-article-container .furniture-wrapper,
body.android #comment-article-container .furniture-wrapper {
padding: 4px 10px 0;
}
body.ios #feature-article-container .furniture-wrapper .content__labels,
body.ios #standard-article-container .furniture-wrapper .content__labels,
body.ios #comment-article-container .furniture-wrapper .content__labels,
body.android #feature-article-container .furniture-wrapper .content__labels,
body.android #standard-article-container .furniture-wrapper .content__labels,
body.android #comment-article-container .furniture-wrapper .content__labels {
font-weight: 700;
font-family: ‘Guardian Headline’, ‘Guardian Egyptian Web’, ‘Guardian Headline Full’, Georgia, serif;
color: var(–new-pillar-colour);
text-transform: capitalize;
}
body.ios #feature-article-container .furniture-wrapper h1.headline,
body.ios #standard-article-container .furniture-wrapper h1.headline,
body.ios #comment-article-container .furniture-wrapper h1.headline,
body.android …
“`For feature, standard, and comment article containers on both iOS and Android, the headline inside the furniture wrapper is styled with a font size of 32px, bold weight, 12px of padding at the bottom, and a dark color (#121212).
On both platforms, the image inside the furniture wrapper is positioned relatively, with a 14px top margin and a left margin of -10px. Its width is set to the full viewport width minus the scrollbar width, and its height adjusts automatically. The image, its inner container, and any links inside it have a transparent background and the same full-width sizing, with height set to auto.
The standfirst section on both platforms has 4px of padding at the top and 24px at the bottom, with a right margin of -10px. The text inside the standfirst uses the font family Guardian Headline, Guardian Egyptian Web, Guardian Headline Full, or Georgia (serif). Any links within the standfirst, including those in list items, follow the same styling.Here’s the rewritten CSS in fluent, natural English:
For links inside the standfirst section of furniture wrappers on Android devices, the text color uses the new pillar color, with no background image. The links are underlined, with the underline offset by 6 pixels. The underline color comes from the header border (usually #dcdcdc), and there is no bottom border.
When hovering over these links on iOS or Android devices, the underline color changes to the new pillar color.
For the meta section inside furniture wrappers on both iOS and Android, there is no margin.
For the byline, author name, author links, and meta byline text inside the meta section on both iOS and Android, the text color uses the new pillar color.
For the meta miscellaneous section on iOS devices, the styling remains as defined.For `.meta__misc`, and for iOS and Android versions of the feature, standard, and comment article containers, the `.furniture-wrapper .meta__misc` has no padding.
On iOS and Android, in the feature, standard, and comment article containers, the SVG icons inside `.furniture-wrapper .meta__misc` use the new pillar colour for their stroke.
On iOS and Android, in the feature, standard, and comment article containers, the caption button inside `.element–showcase` is displayed as a flexbox. It has 5px padding, is centered both horizontally and vertically, is 28px wide and 28px tall, and is positioned 14px from the right.
On iOS and Android, in the feature, standard, and comment article containers, the article body has 12px padding on the left and right.
On iOS and Android, in the feature, standard, and comment article containers, any image element inside the article body that is not a thumbnail or immersive image has no margin. Its width is calculated as the full viewport width minus 24px and the scrollbar width (if any), and its height is automatic.
For these same images, the caption has no padding.
On iOS and Android, in the feature, standard, and comment article containers, any immersive image element inside the article body has a width equal to the full viewport width minus the scrollbar width (if any).
On iOS and Android, in the feature, standard, and comment article containers, a blockquote with the class `quoted` does not have a `:before` pseudo-element.On iOS and Android, for feature, standard, and comment article containers, the following styles apply:
– For blockquote quotes inside the article body: the color is set to `var(–new-pillar-colour)`.
– For links inside the article body: the color is `var(–primary-pillar)`, with no background image, an underline, a 6px offset, and the underline color set to `var(–headerBorder)`. When you hover over these links, the underline color changes to `var(–new-pillar-colour)`.
In dark mode (when the user’s system prefers a dark color scheme):
– The furniture wrapper background becomes `#1a1a1a`.
– The content labels inside the furniture wrapper use `var(–new-pillar-colour)`.
– The headline (`h1.headline`) has no background and its color is `var(–headerBorder)` (with `!important`).
– The standfirst paragraph text color is `var(–headerBorder)`.
– Links in the standfirst and the byline author text (including links within the byline) also use `var(–headerBorder)`.For the `.le-container .furniture-wrapper .meta span.byline__author a`, and for Android devices in the feature, standard, and comment article containers, the `.furniture-wrapper .meta .byline__author` and `span.byline__author a` should use the color `var(–new-pillar-colour)`.
On iOS and Android, in the feature, standard, and comment article containers, the `.furniture-wrapper .meta__misc svg` should have a stroke color of `var(–new-pillar-colour)`.
For iOS and Android, in the same article containers, the `.furniture-wrapper figure.element-image.element–showcase figcaption` should use the color `var(–dateline)`.
On both iOS and Android, in the feature, standard, and comment article containers, the `.article__body .prose blockquote.quoted` should be colored with `var(–new-pillar-colour)`.
For iOS and Android, in the feature, standard, and comment article containers, the following elements should have a background color of `var(–darkBackground)` with `!important`:
– `#article-body>div`
– `.content–interactive>div`
– `#feature-body`
– `[data-gu-name=body]`
– `#comment-body`Here is the rewritten text in fluent, natural English:
On iOS devices, the first letter of certain paragraphs should be styled in a specific way. This applies to paragraphs that come right after an element-atom, or after a sign-in gate followed by an element-atom, in various sections of feature, standard, and comment article containers. These sections include the article body, interactive content, feature body, data-gu-name=”body”, and comment body.
The same styling also applies on Android devices for the feature article container.This appears to be a long list of CSS selectors, not a text meant to be rewritten into fluent English. It’s code used for styling web pages, specifically targeting the first letter of paragraphs after certain elements on Android devices.
If you’d like me to help with something else, please provide the actual text you want rewritten.Here is the rewritten text in fluent, natural English:
For article containers and comment sections, the first letter of certain paragraphs has a color set to white (or the pillar color). On iOS and Android devices, the standfirst (introductory summary) in comment articles has extra padding at the top and no margin. Headings (h2) are 24 pixels in size.
On iOS and Android, caption buttons in feature, standard, and comment articles have specific padding values: 6px on top and 5px on the sides for iOS, and 4px on all sides for Android.
When the device is in dark mode (and no light color scheme is set), the following colors change: follow text and standfirst text become light gray, while follow icons, standfirst links, and bylines use the dark mode pillar color. The dark background is set to a very dark gray.
On both iOS and Android, the article header in feature, standard, and comment articles is hidden (opacity set to 0). The furniture wrapper (which contains labels and headlines) has no margin. Labels inside the furniture wrapper use the pillar color (or dark mode feature color). Headlines (h1) are light gray. Links in the article header or title section also use the pillar color (or dark mode feature color). Finally, the meta section has no content before it.Here’s the rewritten version in fluent, natural English:
For iOS and Android devices, the meta section in article containers uses a repeating horizontal line as a background border. On iOS, the byline text in the meta section is light gray (#dcdcdc). Links in the meta section use a custom pillar color (or a dark mode feature color as a fallback). The SVG icons in the meta’s miscellaneous section also use that same pillar color. The alerts label follows the same color styling.Here’s the rewritten text in fluent, natural English:
On iOS and Android devices, the `.alerts__label` class inside the `#meta` section (or `[data-gu-name=”meta”]`) within the furniture wrapper of feature, standard, and comment article containers should have a text color of `#dcdcdc`.
On both iOS and Android, any `span[data-icon]` inside the same `#meta` or `[data-gu-name=”meta”]` sections should use the color defined by the CSS variable `–new-pillar-colour`, falling back to `–darkModeFeature`.
The same applies to the `:before` pseudo-element of those `span[data-icon]` elements — they should also use `–new-pillar-colour` with a fallback to `–darkModeFeature`.
For screens wider than 71.25em (1140px), the `#meta` and `.meta.keyline-4` elements inside the furniture wrapper of feature, standard, and comment article containers should be displayed as block elements with a top border of 1px solid. The border color should use `–new-pillar-colour`, falling back to `–headerBorderColor`. Additionally, the `.meta__misc` class inside these elements should also follow the same styling rules.For the `.le-container .furniture-wrapper #meta .meta__misc` and similar selectors on iOS and Android devices, the margin is removed and set to 20px on the left side.
On iOS and Android, within the article body of feature, standard, and comment containers, paragraphs and unordered lists have a maximum width of 620px.
For blockquotes with the class `quoted` inside the article body’s prose section on both iOS and Android, the color of the `:before` pseudo-element is set to the secondary pillar color.
Links inside the prose section of the article body on iOS and Android are styled with the primary pillar color, no background image, an underline with a 6px offset, and an underline color of `#dcdcdc`. When hovered over, the underline color changes to the secondary pillar color.
In dark mode (when the user’s system preference is set to dark), the blockquote `:before` color changes to the dark mode pillar color. Links also use the dark mode pillar color, and on hover, the underline color remains the dark mode pillar color.On a Wednesday evening in midtown New York, people from Gen X to Gen Z pour out of the Ethel Barrymore Theatre and gather around the side stage door. They’re waiting for Taraji P. Henson.
“I feel like I’m Cardi B on tour,” Henson jokes. When we talk over a video call this April, the actor is one week away from opening night of her Broadway debut in the revival of August Wilson’s Joe Turner’s Come and Gone. During the show’s preview period, Henson has made a point to come down to street level after performances to shake hands, take pictures, and sign playbills. “It’s good to see my fans like this, up close and personal,” she says.
Over the past 30 years, Henson has become a Hollywood mainstay thanks to her thoughtful character work. She’s played a hip-hop soul star in Hustle & Flow, a devoted adoptive mother in The Curious Case of Benjamin Button, and a groundbreaking NASA mathematician in Hidden Figures. She’s also a four-time Emmy nominee, a Golden Globe winner, an Oscar nominee, and a Tony-nominated producer. But Henson’s formal training is in theater, and that’s where she truly shines. “I got that good Howard [University] training,” she says of her alma mater, where she studied drama in the 1990s. “[I was] made for the stage.”
It might seem like Henson waited a long time to come to Broadway. But in truth, Broadway was waiting for her—and when it was ready, all it took was a 20-minute phone call from Debbie Allen, the veteran actor, choreographer, and filmmaker. After Denzel Washington, a steward of August Wilson’s works, tapped Allen to direct the stage and screen revival of Joe Turner’s Come and Gone, she began putting together her cast.
“Joe Turner found me. [My character] Bertha found me,” Henson recalls. She pauses, then launches into an eerily spot-on impression of Allen, raspy drawl and all. “Debbie called me and was like, ‘Taraji, I got something for you! How do you feel about doing Miss Bertha in Joe Turner’s Come and Gone, honey? We’re gonna do the film, but we gotta do this Broadway play first, honey.’ And I said, ‘Well, Debbie, anything for you. All you had to do was say August Wilson, and I’m in.’ It was that easy.”
Joe Turner’s Come and Gone is the fourth play in August Wilson’s classic Century Cycle, set in 1911 Pittsburgh. The original cast included Black luminaries like Delroy Lindo and Angela Bassett. Today, Henson leads the star-studded cast of the Allen-directed revival alongside Cedric the Entertainer, Ruben Santiago-Hudson (an actor and playwright), and Joshua Boone (a Broadway star). Henson plays Bertha Holly, the devoted matriarch of a boarding house she runs with her husband Seth. Bertha and Seth care for their boarders with a parental attentiveness.Empowering, loving, and protective, it creates a space where self-discovery can thrive—a lasting practice for the descendants of slaves.
[View image in fullscreen: Taraji P Henson as Bertha Holly in Joe Turner’s Come and Gone. Photograph: Julieta Cervantes]
The characters in Joe Turner are, at most, just one generation removed from slavery. Most head north, urgently searching for identity, stability, success, and connection, only to find that slavery’s shadow is everywhere. In every deliberate scene, the characters face constant reminders of slavery’s destruction. The ground they walk on is a patchwork quilt, woven from the dreams, faith, grief, integrity, desires, trauma, and unstoppable joy of free Black migrants.
There are countless elements of Joe Turner that, sadly, still ring true in our 2026 world—like the theme of displacement. “Families are being torn apart right now, as we speak,” Henson says. “Someone being detained by ICE has just disappeared. Whole families are being destroyed. That blows my mind.”
The play is also steeped in Black spirituality, both Hoodoo and Christianity. Henson says audiences “didn’t understand” these details when it first opened in 1988 at the same theater where the 2026 production is staged. But now we’re in a post-Sinners world, where mainstream understanding of African-American faith has broadened. In 2025, Ryan Coogler’s spiritual thriller invited audiences to reflect on Black religion outside the Christian church, with its insightful portrayal of the sacred practice of Hoodoo.
“That’s Black people, period. That’s just who we are,” Henson says. “You can take us, snatch us from an entire continent, but what you won’t do is cut us off from the Creator.”
For Henson, the play’s core message is a call to action. “It’s very important in your lifetime to find your purpose, whatever that is. No one can give it to you,” she says. “Everyone has a purpose. [The character Bynum] calls it a ‘song.’ Because once you find your purpose, you’ll want to sing about it, you’ll want to tell the world about it, and then you’ll inspire someone else to find theirs. And it’s all connected to God—reconnecting yourself to the Creator, love, and laughter… There’s so much to learn from [the play], but I think the main theme is making sure love is at the heart of that purpose.”
[View image in fullscreen: Taraji P Henson and Janelle Monáe in 2016’s Hidden Figures. Photograph: Everett Collection Inc/Alamy]
Henson believes her Broadway debut came at the perfect time, as a lesson—or reminder—to embrace her own purpose. “I still love the craft. I’m a producer, I have a production company, so I’m behind the scenes,” Henson explains. “The wizard isn’t real to me anymore. The rose-colored glasses are off. Now I understand the business, and a lot of the time, the business involves politics. That drains the artistry out of me. It wears me down and makes me wonder, ‘Why am I doing this?’ Because it doesn’t make me happy—having to fight and scramble for a dollar and for my worth. That’s exhausting.”
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In 2023, Henson made headlines by opening up about how the pay gap for Black women in Hollywood affected her career. “I’m just tired of working so hard, being good at what I do, and getting paid a fraction of what I’m worth,” she said at the time. Henson tells me now that the last time she felt this burned out was when she left the CBS drama Person of Interest in 2013, feeling “empty,” disillusioned, and questioning her path.She stepped away from the screen and joined the cast of Above the Fold, a play set in the 1930s at the Pasadena Playhouse. It was a test of how committed she was to acting and whether it was the right fit for her. She was looking for that spark, and theater became her safe place.
“I brought Hollywood to me in Pasadena, that was the difference,” Henson says. “That’s how I got Cookie [in Lee Daniels’ hit TV show Empire], because Fox executives kept coming to that play.”
Watching Henson on stage, it’s easy to see why those executives kept returning: her magnetism is impossible to ignore. As Bertha, she pulls off a hat-trick, showing off her emotional depth as an actor, her impressive singing skills, and her natural talent for improv.
“I think the night you came, I dropped flour,” Henson says, referring to a kitchen scene where Bertha makes biscuits while talking to her husband. “I went home and beat myself up over it. Then I called my friend. They said, ‘Taraji, you’re so busy in that kitchen. Why would anyone in the audience think dropping flour isn’t normal?’ I cleaned it up, and no one noticed. No one.”
She laughs easily, her voice echoing off the walls. “That’s what’s so beautiful about live theater: you have to stay in character. You can’t say, ‘Oh crap, I dropped the flour, oh no!’ Then I’m Taraji. I have to stay Bertha and figure it out.”
Bertha Holly feels like she was written specifically for Henson—a fit that director Allen saw before Henson did. “I understood why Allen called on me to be Bertha,” she says. “A lot of characters I’ve played in my career have been the glue, the moral compass, like Bertha.” Allen’s complete trust in Henson has been returned tenfold, creating an intimate actor-director relationship and a growing friendship that Henson calls a “safety net.”
“And whenever I feel safe, I’m uninhibited,” she says. “You want an artist to explore, to feel free and safe enough to go there, to just forget they’re acting… You just want to make Allen proud.”
Henson treats every night like opening night, but she’s self-aware enough to balance strict discipline with rest and gratitude. “This Broadway moment forced me to really sit down and give myself credit… that’s why I’m glad I came now,” she says, getting teary-eyed. “This is years of hard work, me putting everything I have into all these characters I play, and earning my audience’s trust. It’s tough out there. People are barely getting by—eggs, gas, groceries, insurance are expensive. So when people spend their money on a ticket with my name on it, I’m going to give them everything I’ve got.”
Since previews started, Henson has met crowds of people who traveled to New York with their churches or universities, or flew in from California or Texas, to see her Broadway debut (the show’s run has been extended twice). Seeing her real impact as an artist through her audiences wasn’t just reaffirming—it gave her a new definition of success. She no longer measures her worth as a performer by a gold-plated award.
“I’m very hard on myself,” Henson says. “The industry can mess with your mind and make you think you’re not worthy because you don’t have ‘the gold.’ I don’t care who got that gold. Are they coming to see you like this? I give my gift so freely to the world, and the world sees it. That’s why they show up for me. And that’s worth more than man-made gold.”
Joe Turner’s Come and Gone is at the Ethel Barrymore Theatre, New York City, until July 26.
Frequently Asked Questions
Here is a list of FAQs based on Taraji P Hensons statement Its exhausting to always have to fight for my worth
BeginnerLevel Questions
1 What does Taraji P Henson mean by fighting for my worth
She means constantly having to prove her value demand fair pay or insist on being respected in her career often because of her race and gender Its the mental and emotional energy spent on being treated equally
2 Why is she speaking out about this now
Taraji has been open about pay inequality in Hollywood for years She recently highlighted it again while promoting her film The Color Purple saying shes tired of the constant battle for fair compensation and recognition
3 Is this just about money
No While pay is a big part its also about respect creative control and not being stereotyped Its the exhaustion of having to justify your presence and talent in rooms where others dont have to
Advanced Questions
4 How does this relate to the Black tax or minority tax in workplaces
Directly The Black tax refers to the extra emotional professional and financial burdens Black professionals facelike being overworked underpaid or expected to represent their entire race Tarajis comment is a personal example of that exhausting reality
5 What specific examples has Taraji given of this fight
Shes shared that she took a pay cut for The Curious Case of Benjamin Button because she knew the role would advance her career and shes spoken about having to negotiate harder than white peers for similar roles Shes also mentioned being labeled difficult for asking for what shes worth
6 How does this affect mental health
Constantly fighting for your worth can lead to burnout anxiety and selfdoubt Taraji has been open about her own mental health struggles and this statement highlights how systemic injustice wears people down over time
Common Problems Examples
7 I feel like Im always fighting for my worth at work Is this normal
Unfortunately yesespecially for women people of color and other marginalized groups Its a common experience but it shouldnt be If you feel this way you
