The world is about to be hit by a pink tsunami as "Barbie" -- Hollywood's ironic new take on the doll feminists once loved to hate --...

UPDATE: Sep. 12, 2023, 5:00 a.m. EDT This story has been updated to clarify the

Tracey Emin has opened up about “totally accepting death” when she was diagnosed with an aggressive form of bladder cancer in 2020. In June 2020, visual artist Emin was diagnosed with cancer, and subsequently underwent a series of major surgeries, including a full hysterectomy, as well as the removal of her urethra, bladder, lymph nodes, and part of her vagina and intestine. In April 2021, she shared that the cancer was “gone” after the surgery. In a new interview with The Times, Emin, 60, explained that upon her diagnosis, she was told that there was no guarantee the surgery would be successful in removing the cancer. At the time of her diagnosis, Emin said that she had feared being “dead by Christmas”. As a result, the Turner Prize nominee explained: “I totally accepted death – absolutely, totally.” “I think accepting death on such a profound level was what’s kept me alive,” she said. “I thought, you know what? Death looks after itself. We all die – now I’ll look after living. “I realised that my life has never really been living. I’ve been just dying. I’ve been so nihilistic. I thought, this is gonna change – if I get through this I want to look forward to things and I want to be present.” Emin, 60, now has a stoma (an opening on the abdomen connected to the urinary system allowing waste to be diverted out of the body) and uses a urostomy bag, which she will need to use for the rest of her life. On International Women’s Day in March, Emin penned a powerful personal essay in The Independent about her relationship with her body after surgery. Here, the artist admitted that she “hated” her bag, “but most days I’m philosophical; knowing that it keeps me alive”. She recalled: “One of my greatest golden moments was when my entire bag came off in Chanel on Bond Street: a tsunami of p*** cascading down my body crashing to the champagne-carpeted floor. Everyone was lovely and understood, Chanel even sent me a beautiful bouquet of flowers.” For the article published in The Independent, Emin created an exclusive acrylic on canvas artwork, titled “Marriage to Myself”. She also shared a candid photograph of herself standing in front of a full-length mirror with her white urostomy bag visible. While Emin works almost exclusively in the paint medium now, in June she unveiled three bronze doors that she secretly worked on for the re-opening of the National Portrait Gallery following a substantial £44m redevelopment. Etched in individual panels on the doors are 45 female faces, which Emin explained were inspired by facets of her “soul”. Emin said that her arrangement with the National Portrait Gallery was that she was not paid for the work (the gallery only paid the production fees), in exchange for total creative freedom. “It wasn’t a commission,” she explained. “I did it for free. I think the gallery wants to push the idea of portraiture in a different way. “There’s so many different ways to experience somebody’s, let’s say, soul. It doesn’t just have to be what they look like. It could be a portrait of the soul, for example. It could be lots of different things. So I think they wanted it to move away from the idea of classic portraiture. To stretch it.”

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There are Old Trafford debuts to savour. Wayne Rooney’s hat-trick against Fenerbahce, for instance, or Anthony Martial’s solo strike against Liverpool. A teenage Cristiano Ronaldo’s precocious display of trickery against Bolton. A similarly young Marcus Rashford’s two-goal emergence onto the scene against Midtjylland. Federico Macheda’s injury-time decider against Aston Villa was perhaps the goal that swung a title race. It is safe to say Andre Onana and Mason Mount’s United bows at Old Trafford do not belong in that category. They were introductions to forget, matches to be banished from the memory bank, moments that can at least be caveated with the knowledge that, as they happened in pre-season, there was an irrelevance to their ignominy. But these were inauspicious ways to start life at United’s home ground. Their £47 million goalkeeper was lobbed from perhaps 47 yards. Their £55 million midfielder missed an open goal. The £72 million striker, Rasmus Hojlund, was unveiled to smiles and applause but he is injured and will miss the start of the season. Erik ten Hag has landed his three major summer targets. They were not hired for one to be sidelined or humiliated. As United recovered to beat Lens 3-1, a three-goal comeback was preceded by a tale of three signings. The boyhood United fan Hojlund took the field first, though a problem sustained in pre-season with Atalanta means it is a few weeks before he does in earnest. He will be charged with converting chances. When Mount made a forceful run from deep into the box, the clearest of opportunities materialised. Bruno Fernandes’ cross-field ball was superb, Alejandro Garnacho centred and Mount only had to apply the finishing touch. But he swung his left foot and the ball hit his standing leg, his right. It was a glaring miss. Then came an extraordinary opener. United savoured a No. 7 lobbing a goalkeeper from the environs of the half-way line when it was David Beckham. Not when it was Florian Sotoca, a 32-year-old journeyman of a French forward. It was not entirely Onana’s fault, but it was a product of the shift in style since David de Gea’s departure. It was apparent from the off. There were cheers when, after barely 80 seconds, Onana came out of his box to get involved in a passing move. De Gea rarely did that. There was evidence of his confidence, too, with a cheeky header to Diogo Dalot when, had he held back a yard or two, he could have caught the ball in his box. On each occasion, his willingness to double up as the 11th outfield player showed the extra dimension he can offer United. But it was also a reason why Onana was on the edge of his area when Dalot misplaced a pass and Sotoca took aim with a combination of ambition and precision.c Backpedalling, flailing in thin air, Onana ended up in the back of the net. So did the ball. He had to untangle himself. It is a form of embarrassment that is an occupational hazard, part of the risk-and-reward equation for a footballing goalkeeper. De Gea probably would not have conceded that goal, because his starting position would have been five yards further back. Perhaps the Cameroonian has exacerbated the differences with his predecessor; his pre-season has been notable for how far he has strayed from his goal. United have gone from one of the most conservative keepers to one of the boldest. There is a showman in Onana; when a last-minute shot looped up off Lisandro Martinez, he made a flamboyant save, but if De Gea was undermined by his poor passing, the other issue was his errors. Meanwhile, a team who had lost their previous three pre-season games – albeit one with a youth side to Wrexham – went from a goal down to 3-1 up with a quick turnaround. First Marcus Rashford equalised with a deflected shot. The Mancunian operated as the centre-forward, a role that, with Hojlund injured, he is likely to occupy at the start of the season. Then Antony, who had provided the pass for Rashford’s goal, scored the second with a dink over goalkeeper Brice Samba following a ball from the electric Garnacho. Finally, Rashford’s header deflected in off Casemiro. They face Athletic Bilbao in Dublin on Sunday and return to Old Trafford to start their league campaign against Wolves. And then, Mount and Onana must hope, their first competitive action at Old Trafford will give them something to recall more fondly. Read More Manchester United complete £72m transfer of striker Rasmus Hojlund Marcus Rashford: Wayne Rooney wants me to break his Manchester United record A new era for old empires? How a summer of rebuilding could change the Premier League

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