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Greta Gerwig's hotly anticipated Barbie film is set to hit screens next week – and people are already hooked. There is, however, one snippet in particular that's got everyone in a chokehold: a two-second clip of Margot Robbie's feet. In the trailer, the Australian actress is shown stepping out of her high heels and maintaining the doll's arched foot. It's even created a notable 65 per cent spike in searches for 'Barbie heels' in the last month alone. The shot sent social media spiralling, with some going as far as turning the scene into a viral TikTok challenge. In one clip that racked up over 100,000 views, TikToker Shannon said she felt inspired by the trailer to come up with the unique challenge. @shannascribner @barbiethemovie inspired me with a challenge idea!! Stitch & show me how well you can do the #BarbieFootChallenge !!! #barbiefootchallenge #barbie #foot #feet #heels #challenge #footchallenge #feetchallenge #margotrobbie Another TikTok user showed just how difficult the challenge actually is, after several attempts of perfecting the 'Barbie foot.' @alessandramercedes #barbiemovie #barbieshoes #shoecollection #challenge Meanwhile over on Twitter, people have already added the phrase to their vocabulary with many mocking Republican presidential candidate Ron DeSantis after being spotted with his wife doing what some have described as the "Barbie foot" pose. Sign up for our free Indy100 weekly newsletter Speaking about the famous Barbie scene, Robbie told The Project that it didn't actually require as much effort as people expected. "There’s no special effects, you’d be amazed how few [special effects] there are in this film actually," she said. "We didn‘t do that many takes of it, a couple of takes and I kind of held on to a bar so I was sturdy when I stepped. "We just put double-sided tape on the floor so that my shoes stayed still and I did have a pedicure that morning." Barbie will hit cinemas on 21 July. Have your say in our news democracy. Click the upvote icon at the top of the page to help raise this article through the indy100 rankings.

Lewis Hamilton’s boss Toto Wolff has conceded Mercedes will have to scale Mount Everest to topple Max Verstappen’s Red Bull team next season. Mercedes clung on to second place in the constructors’ championship by the skin of their teeth – and a £10million cash boost – as Verstappen ended the most dominant season in Formula One history with another victory at the Abu Dhabi Grand Prix. The Dutchman, taking his 19th win from 22 rounds, finished 17 seconds clear of team-mate Sergio Perez. But, mercifully for Mercedes, the Mexican driver was demoted to fourth following a five-second penalty for a collision with Lando Norris. Ferrari’s Charles Leclerc was elevated to second with Mercedes’ George Russell third. Lewis Hamilton finished ninth in the other black-liveried machine. Had Perez outscored Russell, Mercedes and Ferrari would have been tied, with the Prancing Horse second in the team standings by virtue of Carlos Sainz’s win in Singapore. But following Perez’s sanction, Mercedes ended the campaign three points clear of Ferrari to land a £105million reward, rather than £95m. However, it marked a second straight season without a victory for Hamilton – a losing streak which now stands at 45 races – and Mercedes’ first winless campaign in a dozen years. They finished an eye-watering 413 points behind Red Bull, who have long since turned their focus to next year’s machine. Last season, Mercedes were 244 points behind the world champions. “Red Bull won by 17 seconds today, and haven’t touched the car since July or August, so you can pretty much guess where they’re going to be next year,” said a despondent Hamilton. Picking up the baton, Wolff added: “From Lewis’ perspective, he had a bad weekend. Fact. But that doesn’t do anything on him being the greatest driver in the world. “If we are able to give him a car, he will be fighting for a world championship. I have no doubt. But it is clear if you have a car like we have now, you are not at ease with it. “Red Bull started the new regulations in 2022 with a massive advantage and they have been able to maintain it. “We have a lot of respect for their achievements – from the engineering side, and the driver – and beating them under the current regulations is against the odds. Mount Everest is in front of us.” Hamilton and Mercedes will hope a brand new design will fire them back to winning ways following their no-sidepod flop abandoned on the eve of the opening race in Bahrain. Wolff continued: “We had to be honest that this car was never going to be good enough to fight for a world championship. We took the decision in April to go back to the drawing board and come up with something different for next year. “We are changing the concept. We are moving away from how we laid out the chassis, the weight distribution, the airflow, literally every component has been changed because only by doing that do we have a chance. You could get it wrong also. Everything is possible.” Mercedes have carried Hamilton to six of his record-equalling seven world championships. But the 38-year-old will head for the off-season wondering if he will ever win again, let alone mount a season-long championship challenge. With only minor tweaks to the sport’s technical rulebook before a complete overhaul in regulations in 2026, Hamilton has already expressed his fear that Verstappen will be untouchable for the next two years. Wolff added: “We have a board in our factory that shows all the world constructors’ championships since 1958. The table runs until 2050 so there are 27 open. And I would like to look back in 20 years and see many more Mercedes stars. “I hate retrospective views. But when we look back and consider the decade we had – second, first, first, first, first, first, first, first, first, third, second – and when you look at it from that perspective, you say, ‘that was OK’. “But from a micro-view there is one guy (Verstappen) that has won 19 races, and that of course, is not good enough.” Read More Lewis Hamilton cannot wait for season to end after qualifying 11th in Abu Dhabi George Russell fastest as rookies handed chance in first Abu Dhabi practice Class action lawsuit filed over farcical start to Las Vegas Grand Prix F1 Abu Dhabi GP LIVE: Race results and reaction at Yas Marina Max Verstappen sets new landmark as he ends dominant season with Abu Dhabi win When does the 2024 F1 season start?

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As I sit in the dark of Screen 2 at Oxford’s Curzon cinema, a woman a few seats away from me does something I’ve not seen before: she orders pizza. Specifically, she orders £64.85 worth of pizzas and chips for her and her family. A few minutes later – after the film has started, in fact – the food is brought to her, as though she was sitting in any regular restaurant and not in a cinema. Eating at the pictures is becoming ever more sophisticated, with ushers bringing you food as fancy as sushi without you having to move a muscle. Is it getting a bit silly? It’s no secret that cinemas have endured a range of crises over the past few years, partly thanks to the rise of streaming and then the pandemic and even more streaming. Cinemas across the country have shut down and forecasters predict that screens won’t be as full as they were pre-Covid until 2025. Some of the cinemas that survived, like AMC, are saddled with billions of pounds worth of debt. Just showing people films may not cut it in this difficult new era. As they fight to survive, cinemas are having to up their game. They have to offer “experiences”. Christina Flourentzou, operations manager at Curzon, says they learned that customers wanted more food and drink with their film thanks to their feedback service, Feed It Back. This happened before Covid struck, she points out, but post-pandemic the company rolled their restaurants out on a bigger scale. “What we’re trying to do is elevate the guest experience,” she says. “For us it’s about giving the guest the best possible experience; so anything that they want, we can give them, essentially.” At my local Curzon this includes padron peppers, mushroom and truffle croquettes, and vegan hot dogs. What Curzon has discovered, according to Flourentzou, is that when at-seat food and drink service is offered, the spend per customer goes up – often by as much as £2 per person. There is a different mindset when ordering at your seat compared with ordering at the till: “You take your coat off, your hands are free, you look at a menu, suddenly someone comes to you and says, ‘What would you like?’ Your mentality changes.” On any new site Curzon will now endeavour to install tables at seats, in order to allow for this in-screen service. Eating entire meals in your cinema seat is becoming more and more popular but it isn’t a brand-new phenomenon. Studio Movie Grill, born in Texas but with sites in states including California, Florida and Georgia, has been offering at-seat food and drink since 2000. Tearlach Hutcheson, the company’s vice president for film, calls this kind of operation a “cinema eatery”. He agrees that it isn’t just the pandemic that has caused a shift in customer priorities; it’s been happening over the past 20 years as home entertainment systems have become increasingly more sophisticated and cinemas have had to compete. “I think that people are looking for a different experience when they go to the theatres,” he says. “We have to provide a more luxurious catering experience to the guest.” I think the immersion is only going to get more and more. I think that everyone is going to adapt because this is what people want. I don’t think the cinema is enough now ... I don’t think it’s ever going to go back to popcorn and drinks Amy Fernando, creator of Taste Film At Studio Movie Grill, food revenue is more than twice that of ticket sales, and its CEO says that business is better for the company than before the pandemic. In cinemas, profit margins have always been higher on food than on tickets – though these margins are far smaller for cooked food than for popcorn and Coke. The kitchen staff at Studio Movie Grill are often dishing out six meals per minute. A recent innovation was a kitchen printer that printed orders faster than ever before. Servers are allowed to bring food and drink to guests at any point (unlike Curzon, where, Flourentzou says, it should strictly happen during the adverts and trailers) but the bulk of orders are placed within the first 30 minutes of arrival. Studio Movie Grill could represent the future of the cinema-going experience: it might soon be completely normal to bundle the film-and-a-meal experience into one. What Hutcheson is confident about is that cinemas will become more of a “destination spot” in order to entice people to leave the comfort of their homes. Flourentzou doesn’t think I’m right to call it “panic” but it does seem like cinemas are urgently fighting to stay alive. One person who knows all about using food and cinema to create an experience is Amy Fernando, creator of Taste Film, an enterprise that shows films to customers while serving them food featured in those films. Watching Goodfellas in 2016, Fernando was inspired by the infamous shaving garlic scene to marry the two things she cared most about. Seven years later, she has swapped teaching for running the business full-time. “I think the beauty of coming to the cinema, or doing an experience like this, is sharing it with like-minded people,” she says. “Post-Covid there is something special in getting dressed up, going out, and sharing the experience with other people.” When I go to watch Taste Film’s version of Mrs Doubtfire, I agree. I didn’t think of the film as one featuring all that much food but at appropriate moments we are served a savoury birthday muffin; chilli salt and pepper chicken wings; a meringue martini; tiger prawn skewers with chips and salad; a pina colada; and a chilli and chocolate mousse. As Fernando says, the frisson of fun is largely to do with two communal experiences: everyone not just watching the film at the same time but eating the same food at the same time. This won’t be replicable in regular cinemas (a Taste Film ticket is £75, for example) but the company is going from strength to strength, partnering with the big streamers, and its growth is indicative of people’s updated expectations around film. “Guests want more,” says Fernando, “and younger people want more.” Ultimately, of course, it will be the quality of films that govern whether or not cinemas stay afloat. This summer has seen an unusual boom in quality and business, with Barbie and Oppenheimer proving critical darlings as well as excellent earners. But where the cinemas can’t control how good the films are, they can control the various offerings they provide around them. “I think the immersion is only going to get more and more,” says Fernando. “I think that everyone is going to adapt because this is what people want. I don’t think the cinema is enough now.” Hutcheson and Flourentzou agree. Hand in hand with this development, Hutcheson says, will be a resurgence in “purer cinematic experiences” – people wanting to experience cinema with as sophisticated a picture and sound experience as possible. He believes that it won’t be long before cinema eateries – at the moment confined to more modest theatres – will also enter the IMAX space. Look at the signs and it certainly seems as though it will be difficult to put the genie back in the bottle – which means cinemagoers may need to brace themselves for an exciting new range of smells. Fernando is probably right when she says: “I don’t think it’s ever going to go back to popcorn and drinks.” Read More Too gay, too weird, too pregnant: The most controversial Barbie dolls in history Doing things alone isn’t ‘self-love’ – we don’t need to make everything empowering Sizzling kitchen drama The Bear is spicing up the dating game for chefs ‘It started with a radish’: Chef Simon Rogan reflects on restaurant L’Enclume at 20 The true story – and murky history – of Portuguese piri piri oil 30-minute summer recipes for all the family to enjoy

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