This article evaluates regulatory responses to stereotypical gender portrayals in advertising in the UK before and after the 2019 changes in the Advertising Standards Authority's (ASA) harm and offensiveness framework. It systematises for the first time the ASA's rulings in this territory and brings a new perspective in its modern practice by examining it within Deaux and Lewis' theoretical framework on the multicomponent structure of gender stereotypes. We argue that the ASA's new rule and guidelines represent a missed opportunity to take bolder steps against ads that objectify or inappropriately sexualise individuals and are not sufficiently attentive to the multi-faceted nature and fluidity of modern gender identities. We conclude by making recommendations for improving the effectiveness and implementation of the ASA's guidance on the depiction of gender stereotypes.

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Indecent images and defamatory meaning in late modern societies: taking ordinary, reasonable readers outside their ivory tower

-This article illuminates the possession element of the new offence under section 62 of the Coroners and Justice Act 2009, which outlaws certain non-photographic images of child sexual abuse. To this end, the analysis draws upon the case law concerning the offence of possession of extreme pornographic images, with which the new offence shares many common features. The article also presents the latest figures relating to convictions obtained since section 62 came into effect in April 2010. Last, it considers the proposed amendment to widen the provisions of the 2009 Act and argues that the already broad scope of the offence should be limited.

Weir's film The Truman Show tells the story of Truman Burbank, a man unaware of the fact that he has been the star of his own reality TV show since the day he was born. When a journalist asks Christof, the director of the show, how he has managed to keep this secret from Truman for so long, he replies: 'We accept the reality of the world with which we are presented. It's as simple as that.' Truman thinks he is an ordinary man living an ordinary life, but his entire world is a lie: the place where he lives is a television set with cameras hidden everywhere; everyone around him including his wife and friends are actors playing their roles. When he finally finds out the truth, he decides to break free from his comfortable mediated 'cage' and explore what lies beyond the world Christof and his team have built for him.