When Heathcliff returns to Yorkshire a rich man after a three-year absence and finds Cathy married to Edgar, the roles reverse. Now it’s his turn to inflict pain. He marries Isabella, “an abject thing,” whom he tells Cathy he’d only live with in “a very ghoulish fashion,” turning “the blue eyes black, every day, or two.”
Brontë’s Isabella (who is Edgar’s sister in the novel but his ward in the movie) doesn’t enthusiastically consent to her own degradation—but Fennell’s Isabella does. And although she naïvely crushes on Heathcliff because she thinks he’s sexily moody—rather than a lunatic set on the ruination of her and her entire family—the novel’s version is not a simpleton infatuated with dolls, as portrayed in the film.
That said, in the novel, Heathcliff is able to trick Isabella into eloping, putting himself in position to inherit the Grange, which he wants to spite Edgar. Once they’re married, Heathcliff reveals his true nature and begins terrorizing her, prompting Isabella to ask Nelly in a letter, “Is he a devil?” If readers are at all uncertain of his sociopathic tendencies, Heathcliff then hangs his wife’s dog. Jacob Elordi would never.
Instead, Elordi’s Heathcliff collars and chains Oliver’s Isabella herself, instructing her to bark like a dog. Importantly, this only occurs after he tells her he’ll “never love her,” will “treat her abominably,” and asks her no less than four times, “Do you want me to stop?” This is a sadist who is surprisingly committed to consent. Isabella becomes his willing submissive, a plot line that provides the film’s comic relief. When she calls Heathcliff “diabolical,” she means in the way he savages her body. Though momentarily amusing, it’s a total 180 from the book, in which Isabella demonstrates the most agency of any character: Horrified by Heathcliff, she escapes to London, where she raises their son, Linton, until she dies.
And that’s not the only sub/dom addition Fennell has made to Wuthering Heights. In the novel, the servant Joseph is a self-righteous zealot who’s always banging on about the Bible. His character is an avatar for the austere religion that threatens to impinge on the wildness that reigns at the Heights. That is to say, he doesn’t use farm equipment to have bondage sex with a housemaid in the stables—as he does in the film. (Joseph is played by actor Ewan Mitchell.) Believe it or not, there is zero bondage sex in Brontë’s classic.
If the book is psychosexual, the emphasis is on the “psycho.” In this buttoned-up Victorian milieu, all erotic desire is shoved under the surface, and Heathcliff and Cathy’s thwarted love, though all-consuming, is never consummated. Robbie and Elordi’s Catherine and Heathcliff, on the other hand, have a months-long affair in which they have explicit sex in a montage whose settings include her powder-pink bedroom, inside her carriage, on the moors, and atop a table.
In the novel, the closest the two come to sex is when Heathcliff digs up Catherine’s grave—not once but twice. The second time, he knocks out the side of her coffin and plans to do the same to his own, so that when he’s buried next to her, their decaying corpses will merge. Recalling the story, Brontë’s Heathcliff tells Nelly he slept well that night for the first time in 18 years, dreaming of himself dead with his “cheek frozen against [Cathy]”—a scene that for many implies a necrophilic embrace. In contrast, “Wuthering Heights” ends with Heathcliff cradling Catherine’s expired body on her deathbed. The poignant image is juxtaposed with flashbacks of them as children lying sweetly next to one another. (Can’t wait for Fennell’s reimaging of “A Rose for Emily.”)
The Lost Generation: Cathy II, Linton, and Hareton
As is tradition in adaptations of Wuthering Heights, Fennell’s film narrows its scope to Heathcliff and Cathy’s relationship and ends with her death. When the credits rolled, the woman next to me turned to her friend and exclaimed, “Wait, what? There must be a part two!” There is not. But her confusion was understandable, since Cathy dies just halfway through the novel—which is, in fact, split into two parts.
Amazon is reportedly adding Teresa Palmer (The Fall Guy, Warm Bodies, Hacksaw Ridge) to its pantheon of Norse gods for its God of War TV show adaptation. As first reported by Deadline, Palmer will play Sif, Thor’s wife and eventual leader of the Aesir, in the live-action adaptation. It may not carry as much weight as the casting of the video game’s protagonist that was revealed earlier this week to be Ryan Hurst, but it could hint at the direction the TV show may take.
While Sif plays a minor role in the God of War Ragnarok game, the early casting confirmation could indicate that the showrunner, Ronald D. Moore, may give the character a more involved role. In God of War Ragnarok, Sif is known as Odin’s diplomat before the events of Ragnarok, where she becomes the new leader of the Aesir, one of two tribes of Norse gods. Notably, Amazon’s adaptation is still missing the casting confirmations for Atreus, Thor, Odin and many other Norse gods seen in the video game. Even so, the God of War TV show has already secured at least two seasons.
By now most people know the secret behind Scott Pilgrim Takes Off: Scott Pilgrim — well, he takes off. He’s gone, for most of the narrative, leaving the players as we know them to pick up the pieces and figure out what happened to him. What happens to them in his absence is usually a total flip of what we’ve come to expect: Think Gideon introducing Lucas to the slowburn anime he’s been watching for a while (or maybe just a few days).
Bryan Lee O’Malley, who wrote the original comic and co-created the Netflix anime reboot with BenDavid Grabinski, knows that sort of remake is something audiences have come to expect. “I mean, it’s in the air, right? We’re all seeing remakes and reboots of everything,” O’Malley says.
When Scott Pilgrim Takes Off was in development he says he and the team looked at everything new in this vein they could, from The Matrix ResurrectionstoSpider-Man: No Way Home. But just as frequently he turned elsewhere for inspiration — Dragonball Z, Cowboy Bebop, Keep Your Hands off Eizouken!, or even Elden Ring. But none of these were quite the main catalyst, even something like Evangelion, which he calls “a good comparison, but not necessarily an influence.”
The real reason O’Malley wanted to make this story was simply: It was the only way he could see revisiting the world of Scott Pilgrim.
[Ed. note: This interview has been edited and condensed for clarity.]
Polygon: Starting off: I’m curious to hear a little bit about how you did justice by Matthew Patel, the lowest ranking evil ex.
Image: Netflix
Bryan Lee O’Malley: Our first spark of idea was to kind of take Scott Pilgrim out of the picture after the first episode. And that naturally led to the process of: Then what happens to Matthew? What does Matthew get? And then what do the other exes think about it? So yeah, it really appealed to me right away, and to be like, Oh, then Matthew should win, and Matthew should become the boss. Because we’re going through all these different reversals of fortune; so someone goes from the top to the bottom, and someone has to go from the bottom to the top. And yeah, giving Matthew kind of his flowers was so much fun.
Were there any characters in particular — like Matthew, or just generally — that you felt most excited by like, OK, if we open up this world without Scott in it, what can you do?
I was excited to take on kind of all the exes; that was one of the biggest appeals to me of revisiting Scott Pilgrim, was just — I felt like I gave them short shrift in the books a little bit. I was making it up as I went along, and I was locked into Scott’s perspective. And I was younger and didn’t really know that much about other people like that! I certainly didn’t know about movie stars, or rock stars, I didn’t really know the details of how they lived; I just saw them in magazines, or whatever or in movies.
So now I’ve lived a little more, I’ve been in LA for a long time, and met lots of different types of people. And I think that just feeds back into kind of giving these characters a little more pathos, a little more depth and nuance — and pathos also in the sense of, like: pathetic; they’re also losers. And that was always really fun for me.
One of the things BenDavid told me was you were approached to adapt this, and you were wrestling with, Well, I’ve changed since I did this story, what does that mean? And I’m curious what sort of things you were really thinking about as you’re getting approached for this series that so many people love and so many people cherish and it hits different for you now.
Well, I mean that’s the initial fear. Netflix, and our producers, Jared [LeBoff] and Edgar Wright had approached me, we had talked about it a little bit — doing a series — and they were kind of keen on on doing it much more like the books initially. And for me that just made me kind of recoil. Like I don’t want to revisit myself at 25, necessarily. And it’s all there! It’s all on the page. So why would I want to relive that? Why would I want to perfect something that was so messy; it just seems like an impossible task.
Because the messiness is such a part of it. It’s part of the joy of it, is it’s messy, it’s complicated. It’s irreducible. So when faced with writing X number of TV episodes, I just thought, how the fuck am I gonna do that? I just had no idea, so it was really not until that dinner with BenDavid that that we just kind of started spitballing — not professionally; just kind of joking around [wondering], What can we do with these characters? And then a lot of those jokes we were like, Oh, actually, that would work. So you know, the joke of “Scott dies at the end,” or “Matthew becomes the boss” — those all just became something that we can really work with.
Image: Netflix
At what point did it become clear to you that if we’re revisiting this, and we’re taking Scott out of it, and we’re giving everybody space to be a little bit more themselves, a little bit more nuanced — at what point did it kind of become: Oh, Scott might be the bad guy?
Well, I mean, that’s definitely part of the initial discussion. That’s a perception. I don’t really see Scott as the bad guy. But these days — this is a terrible thing to say in an interview — the perception definitely on Twitter and stuff kind of turned over the last maybe five years where now it’s like, “He’s a bad character!” “It’s a toxic relationship!” and all this kind of chatter.
And I think all that stuff is true. But I don’t think that people in the 2000s didn’t think it was true. Like, I think the younger generation is, like, We discovered that Scott is bad. But, you know, it says on the very first page he’s dating a high schooler; no one’s supposed to think that’s a good thing. I think in the 2000s, I took it for granted that people would be like, Oh, he’s terrible, but it’s funny. So now you kind of have to be a bit more explicit — it’s just the way our culture works, the way online works. Like, if you don’t outright condemn something, then the absence of condemnation is seen as a tacit approval.
So yeah, it was never a tacit approval. It was a tacit condemnation. But definitely in the show in the modern era, yeah, we have a scene where [we show] Scott, it’s not a good thing to date a high schooler. So — throw them a bone?
I’m curious how you interpolated but also synthesized a lot of those conversations that are happening around this property into this, since it feels like this show is so in conversation with those.
I’ve absorbed all those things over the years; I didn’t disappear after Scott Pilgrim finished. So in a lot of ways, I kind of want it to feel like Scott Pilgrim is back from the dead. You thought it was gone, but it’s back. But not only is it back, like it never left, it’s also been paying attention to you. It’s grown up alongside you.
Image: Netflix
And we had to kind of cater to so many different audiences: someone like you, who read it a long time ago, and kind of has a memory of it, of what it felt like. But also someone who just read it last week for the first time, or someone who just discovered the movie, or somebody who hasn’t seen any of it. So it was just this really complex, but invigorating challenge of: how do we make this feel fresh, and also layered — and also hopefully staggering to some people who have thought about the book, but maybe not to this degree?
Did you find yourself being surprised by your reaction to revisiting this and reframing it in any way? Were there any characters who you felt ring a little differently or sit a little differently with you?
I don’t think I have a strong memory of how it hit back then. But it was really just a fun process, writing them and, and discovering these things and challenging ourselves to find new ways into everything.
I got to write the great scene where Knives and Kim sit down and play music together. And it’s not something I could’ve done in the comic, a) because it’s music. And then just the logistical challenge of making that happen, and making it feel organic and real, was very satisfying. And then that final scene, like just made plays magically for me. It was cool to discover those things by virtue of the collaboration with all these different artists and stuff. And that was that was the big new thing. It’s just letting other people in and letting their they all have their own different kinds of love for the series. And that shows, I think.
Scott Pilgrim Takes Off is now streaming on Netflix.
Stories, especially beloved stories, have a tendency to bleed past their borders and escape their original bodies. Bram Stoker’s Dracula is among many well-loved works that have long since taken on new shapes, shifting forms constantly. The epistolary tale of vampires has hundreds upon hundreds of adaptations, with one domineering throughline: Stoker’s lasting characterization of the elegant, verbose, vampiric count himself.
Given the breadth and variety of the landscape, it can be difficult, at this point, to iterate on Dracula in a way that feels fresh — which is why Dimension 20’s Coffin Run was, and continues to be, such a delight.
Coffin Run, a Dungeons & Dragons actual-play series, premiered in the summer of 2022. The six-episode run, described on Dropout’s website as “a tale as old as many lifetimes,” was helmed by storyteller and game master Jasmine Bhullar and starred Zac Oyama, Erika Ishii, Isabella Roland, and Carlos Luna. Coffin Run emerged from Bhullar’s love of Stoker’s novel, she told CBR in 2022, as well as comedic source material like Young Frankenstein and What We Do in the Shadows.
The cast of the series shines as archetypical members of Dracula’s retinue, brought together to ferry the Count (who sustains undeath-threatening injuries at the top of the series) home to Castle Dracula in his coffin. Oyama plays Squing, a Nosferatu-like vampire who is Dracula’s “firstborn,” turned as a child and preserved forever. Roland plays Dr. Aleksandr Astrovsky, a brash, invigorated mad scientist figure. Luna plays Wetzel, a young human who lives as Dracula’s plaything in hope of becoming a vampire himself. And Ishii plays May Wong, one of Dracula’s vampire brides, who used to be an actress in New York.
Image: Dropout
Coffin Run unfolds as a love letter to Dracula, both the form of the novel and the vampire himself. The story roots itself in Stoker’s work from the start, anchoring the narrative in the epistolary form. It’s letters all the way down, really (and not just inside Squing, who has a tendency to eat them). The series opens on Dracula himself standing over a writing desk, penning a letter to Squing. The letter takes a journey across the sea before it arrives at the Gold Crona Inn — much like Jonathan Harker at the outset of Dracula. From there, letters guide the narrative, arriving for the players at key moments.
Letters, as a kind of delivery system for the story, are adeptly wielded by Bhullar — because of the fickle nature of their author, Dracula, when heartfelt sentiments are poured out in the letters there’s a lingering sense of unease, perpetuated by the arrival of letters that reveal that the Count’s feelings for his coffin-bearing friends and family might not be what they seem. Wetzel, for example, becomes disillusioned with the Count as the series goes on, slowly beginning to distrust him, while May realizes that her own adoration for Dracula may be more one-sided.
Materially, Coffin Run pays beautiful homage to the Gothic lushness of Dracula. When players are handed letters, they receive actual letters at the table, passed along with a glowing candlestick. In the final fight, Dracula’s vitality is measured by vials of “blood” poured into a crystal goblet by Bhullar and then consumed as the vampire comes back to himself. Black-and-white film adaptations get a nod in the grayscale miniatures and the monochromatic set. The special effects all come together to create a world that feels incredibly familiar to horror fans as well as uniquely new — Rick Perry, production designer and creative producer for Dropout, gets heaps of nods throughout the series for his work on the sets and miniatures, as do the crew in a talkback episode post-series.
Image: Dropout
From the Scooby-Doo-like title sequence to the performances, the crew and cast of Coffin Run perfectly hone in on the comedic influences Bhullar cited for the series, as well as the inherent ironies of the source material. May, the classically gorgeous vampire bride, is played by Ishii with a gleeful, over-the-top accent, as is Roland’s Dr. Astrovsky. Squing, as Dracula’s firstborn, is constantly baffled by modern technology, referring to the train that delivers Dracula’s coffin as a “metal tube.” Seemingly, his lack of understanding stems from apathy, rather than access. Castle Dracula, when the story eventually arrives there, is similarly frozen in time, preserved by caretakers who eventually end up ceding the castle to antiquers and “Lairbnb” opportunists.
So much of vampiric representation in pop culture is rooted in Dracula’s particular brand of allure. Even Dungeons & Dragons has its own storied distillation of Stoker’s Transylvania and the titular count in the enigmatic Strahd von Zarovich and the land of Ravenloft. The cast and crew of Coffin Run do a fantastic job of preserving the larger-than-life presence of Dracula in the story, from adding a silhouetted batwing shadow over Bhullar when she speaks to characters as Dracula to character arcs that nod at the ubiquity of the Count and his story. In discussing his place with Dracula at the end of the tale, Wetzel says, “It’s like everyone in [Castle Dracula], they’re just gonna be in there for a while, you know? It’s like the same thing over and over again. Same stuff.”
No adaptation is perfect — with Dracula in the public domain and vampires back in the zeitgeist (hello, Interview with the Vampire, and the resurgence of Twilight, and a million other fanged options), there will likely be hundreds more distillations in the future. Coffin Run takes a pile of well-known, over-offered ingredients — Dracula, the undying bogs of Transylvania, letters, a carriage ride through wolf-stalked trees — and makes something wonderfully new from them.
At the very least, it’s worth sinking your teeth into.
The Last Airbender to Return in Live Action on Netflix in 2024
Nickelodeon’s popular series, Avatar: The Last Airbender, will be making a comeback in 2024 in an exciting new Live Action version, with Netflix taking the reins. After the disappointing 2010 film adaptation, this latest adaptation looks promising, as Netflix has released images of the characters from the Land of Fire. The story follows a young boy who is the last Airbender and future Avatar, tasked with restoring order between the four nations of Fire, Air, Water, and Earth. When the previous Avatar died, the Fire Nation seized control, disrupting the peace. Now, the last airbender must discover a way to restore balance. Fans can expect this highly anticipated series to release next year, aiming to stay faithful to the original material.
Netflix’s Commitment to Staying True to the Source Material
Netflix has assured fans that they will use the original material as a guide to create the Live Action adaptation. The platform aims to give a fresh visual dimension to the 2005 animated series. This is not the first time Netflix has revived an anime, as they previously produced a successful live action version of One Piece. For those eager to revisit the world of Avatar: The Last Airbender, the animated series is currently available on the SVOD platform.
The First Reactions are Very Positive
Since the release of the trailer, fans have taken to social media to express their excitement. Messages such as “Netflix, I trust you, don’t be wrong” and “Oh my God, this is so good. I can’t wait” flooded the official Netflix tweet revealing the Fire Nation actors. Currently, no further information about the story or additional cast members has been disclosed. However, Netflix has hinted that more details will be revealed during GeekedWeek 2023, which will take place from November 6 to 12.
In the midst of a heat wave in Nova Scotia, Canada, this July, humans sought out air conditioning and shelter in the shade. Fish in the Wrights River, meanwhile, converged on what patches of deeper, cooler water they could find, like holes in the streambed out of the sun’s glare. One of those areas of relief, though, hadn’t occurred naturally. It had been created by humans pumping cold water from a nearby well into the overheated stream. Cold-loving fish, like Atlantic salmon, flocked to this stretch of water in droves.
Researchers had devised the setup as part of an experiment to test a potential method for helping Atlantic salmon survive rising water temperatures caused by climate change. Like humans, the fish thrive at a certain temperature range, ideally between about 43°F and 72°F. Spending too much time in water above about 82°F can be lethal. Freshwater rivers and streams like the Wrights are critical to maintaining salmon populations—it’s where young Atlantic salmon grow through their initial life stages before heading towards the ocean; and it’s where they return as adults to spawn. Worries are growing that, due to climate change, these rivers are getting too hot for the fish to survive. In the U.S. Northeast, just a few rivers on the Gulf of Maine still support Atlantic salmon populations—the species’s range once extended as far south as the Long Island Sound. In Canada, meanwhile, populations in some southern rivers have crashed as rising temperatures take their toll.
Salmon can tolerate high temperatures for short periods of time. Migrating upriver through shallow water warmed by the sun, the fish tend to seek out what researchers refer to as “thermal refuges,” spots of relatively cool water where they can rest before journeying farther upstream. The idea behind the experiments this past summer, presented at a meeting of the Geological Society of America on Oct. 17, is to start testing whether it might be possible to begin creating man-made thermal refuges along rivers in order to help Atlantic salmon survive. (The research has not yet been published.)
Kathryn Smith, a PhD candidate at Dalhousie University who led the research, says that some people see such an approach as being all but inevitable in the years ahead. “We need to think about how we can adapt to that warming world and still preserve the Atlantic salmon [and other] coldwater biodiversity in our rivers,” she says.
In her experiments, Smith and her team tested two approaches. In what was referred to as the “active” approach, they pumped cold water from a well into the river, while in the “passive” approach, they redirected an offshoot of the river underground for a stretch, where it would be cooled by the surrounding soil and rocks. When the offshoot returned to the main body of the river, it created a patch of water a few degrees colder than the surroundings. In both cases, fish species including salmon soon sought out the artificial cold water spots, though the active approach brought more fish, especially during the July heat wave that happened to coincide with the experiment. Hundreds of fish, including brown trout and white lake chub, as well as dozens of salmon, often congregated in the patch of cold water from the well to escape the heat.
While much research has gone into studying and mapping thermal refuges in rivers, Smith says that no one to her knowledge had yet attempted to create artificial cold spots. It was an open question whether the fish would be able to make use of them. The hope, with the current results, is to conduct more tests to see what approaches work best for different regions and fish species, and eventually to apply the systems to help fish species around the world threatened by warming rivers.
“It was exhilarating,” Smith says, on seeing the fish congregating in the cool patch of water. “[There was] lots of hooting and hollering from excitement.”
Contributing to the growing momentum around food and agriculture at COP27— and in a groundbreaking moment for the Conference of the Parties— Egypt (in its role as COP27 Presidency) and the World Health Organization have launched the Initiative on Climate Action and Nutrition (I-CAN), an initiative to integrate the global delivery of climate change adaptation and mitigation policy action and nutrition and sustainable food systems to support bi-directional, mutually beneficial outcomes.
The groundbreaking event took place on November 12th 2022— Adaptation and Agriculture Day at COP 27 in Sharm-El-Sheikh, Egypt following a full day of food systems and climate-related events including the launch of the Food and Agriculture for Sustainable Transformation Initiative (FAST).
I-CAN is a multi-stakeholder, multi-sectoral initiative that will be implemented with the support of UN agencies and partners including the Food and Agriculture Organization (FAO) and the Global Alliance for Improved Nutrition (GAIN) and emphasizes pillars of action that consist of implementation, action and support, capacity building, data and knowledge transfer, policy and strategy, and investments.
The launch of the Initiative for Climate Action and Nutrition at COP27
Daphne Ewing-Chow
Dr Maria Helena Semedo, Deputy Director General, of FAO referred to the initiative as a “win-win” for each of the sectors— agriculture, adaptation and nutrition.
Commitments pertaining to climate and nutrition are scarcely included global climate policies and Nationally determined contributions (NDCs).
Worldwide, less than 12% of national policies consider climate, biodiversity and nutrition, while only 32% of National Action Plans (NAPs) include adaptation actions related to food safety and nutrition.
“By working together including through action during the UN Decade of Action on Nutrition, we can deliver healthy diets and a resilient agri-food system,” said Semedo.
Globally, 30% of all people are facing micro-nutrient deficiency; 828 million people are undernourished, and 676 million are obese. Vulnerable groups are disproportionately impacted. Climate change exacerbates these impacts by threatening global crop productivity from the perspective of both yields and losses (with spillover effects of food prices and calorie intake) and the nutritional quality of crops. Conversely, food systems also contribute to climate changes through the release of greenhouse gases (e.g., CO2, methane and nitrous oxides) and through land degradation.
“The relationship between nutrition and climate change is a challenge, but it is also an opportunity… We must implement the Initiative on Climate Action and Nutrition for a healthier, safer and greener future for our children and grand children,” said Dr. Tedros Ghebreyesus, Director General of the World Health Organization in remarks delivered via video feed.
The framers of the initiative indicate that a shift towards sustainable, climate-resilient, healthy diets would help reduce health and climate change costs by up to US$ 1.3 trillion while supporting food security in the face of climate change.”
Drought and plagues caused by climate change are one of the causes of malnutrition (ORLANDO … [+] SIERRA/AFP via Getty Images)
AFP via Getty Images
Government representatives from Egypt and other nations, including Sweden, Netherlands, Bangladesh and Canada, stressed their commitment to the initiative and its objectives. The representative from Cote d’Ivoire called for the inclusion of the I-CAN launch in the final outcome document from COP27.
Dr Naeema Al Gasseer, Representative of the World Health Organization in Egypt confirmed that “Nutrition and health are very critical to any environmental policy decision.”
Dr Khaled Abdel Ghaffar, Egypt Minister of Health and Population confirmed that “The government of Egypt is committed to an integrated approach to nutrition and climate change.”
Dr Yasmine Fouad, Egyptian Minister of Environment advised that government is looking what it is being produced and how it is being produced and what is being consumed and how it is being consumed. She also stressed that marginalized voices, and particularly women, would be included in the integrated approach towards agriculture, adaptation and nutrition.
“We will spare no effort to make this happen,” she said.
Lawrence Haddad, Executive Director for the Global Alliance for Improved Nutrition emphasized the bidirectional relationship between nutrition and climate change, indicating that resilient, sustainable and healthy diets are a critical link between nutrition and climate change.
Dr Vijay Rangarajan, The Foreign, Commonwealth & Development Office (FCDO) Director General said that “putting nutrition on the agenda is crucial and will remain crucial.”
According to the I-CAN concept note, “Business as usual will not allow countries to realize their targets of Agenda 2030, including those of SDG 13 (Climate Action), SDG2 (End Hunger) and SDG3 (Health). Transformative policy and action is needed to deliver sustainable, resilient and healthy diets to generate multiple benefits across SDGs.”
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