Readers gasp at the news that their beloved columnist is leaving the Guardian after 25 years

How could you let this happen (It’s true: this is my final column. You have exactly 24 hours to complain before my inbox self-destructs, 2 October)? You have some truly great writers, and for them I will continue to support the Guardian, but it’s Marina Hyde’s column that many of us look forward to most. She is uniquely and reliably smart, funny and spot-on. Is it money? Like Nye Bevan with consultants, fill her mouth with gold if you have to; you can clean it up afterwards. But I fear I’m too late, and all that’s left to say is: Thank you, Marina, for brightening so many of our days, and for putting our thoughts so brilliantly into words. And thank you, Guardian, for giving her the space to do so.
Richard O’Brien
Highbridge, Somerset

• The honour is all ours, Marina. It’s devastating news to know that I can no longer laugh, cry, squirm, gasp, disagree and love your columns. I have looked forward to reading your words for the last 25 years and you will be very much missed. Thank you, and go well.
Gill Empson
Aston-on-Trent, Derbyshire

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© Photograph: Jay Brooks/The Guardian

© Photograph: Jay Brooks/The Guardian

© Photograph: Jay Brooks/The Guardian

Jeremy Strong’s slow-talking Facebook founder turns into a cameo, background to a thriller about a whistleblower that somehow never mentions Trump

Here is a film for all those people who solemnly deplore social media in conversation but haven’t quite got round to deleting their accounts. Sixteen years have gone by since The Social Network, written by Aaron Sorkin and directed by David Fincher; this was the addictive, obsessive-compulsive movie about the birth of Facebook in Harvard’s macho-competitive cauldron of student sexism and nerdy self-pity, starring Jesse Eisenberg as the fast-talking, arrogant, not-necessarily-evil genius Mark Zuckerberg. Now Sorkin is back with a sequel of sorts, directing his own script – and now Zuckerberg is basically evil, but also weirdly slow talking, as if all the zinging, smart-alecky Sorkinesque dialogue energy of the first film has been siphoned away in early middle age and dispersed among the insurgents in the new cast.

Sorkin’s jittery, funny, syncopated style is unmistakable, as distinctive in its way as David Mamet, although he has one joke about “spatula” being a Yiddish word that he has borrowed from Philip Roth’s Portnoy’s Complaint. It is the story of how in 2021, Zuckerberg’s Facebook empire was challenged by courageous whistleblower-employee Frances Haugen and Wall Street Journal investigative reporter Jeff Horwitz, who were on a mission to tell the world how Zuckerberg, scared by falling revenue, changed the algorithm so that engagement was supercharged by rage bait and hate speech, malice and envy. Facebook, moreover, didn’t factcheck political ads, thus driving a huge, nationwide surge in extremist groups and teen bullying and becoming a major player in the Capitol riots. (Having said that, this film does not say aloud the word “Trump” and rather cravenly declines to specify Maga activity.)

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© Photograph: Everett Collection Inc/Alamy

© Photograph: Everett Collection Inc/Alamy

© Photograph: Everett Collection Inc/Alamy

Newly unsealed court documents showed concern within Microsoft and OpenAI over the use of millions of news articles to develop A.I. systems.

Filings made Friday in The New York Times’s closely watched lawsuit against OpenAI and Microsoft included a range of copyright law and cultural references.

© Zack DeZon for The New York Times