Farage was its champion, now it’s Badenoch – and the aim is the PM’s defeat at all costs
While the merits of a so-called Britannia shield to protect Britain from missiles and drones are debatable, the Conservatives’ proposal did achieve one thing last week: the very idea of the shield was used to anoint a political leader.
In a significant development, little observed amid the hullaballoo of news events, Kemi Badenoch’s uncosted, pie-in-the-sky plans to build a £10bn anti-missile system were enthusiastically heralded by the rightwing press. It was not just a matter of the plans themselves being lauded, even by outlets that must know them to be ridiculous. More significant is what it said about the champion chosen by these media organisations in their offensive against the Labour government and Andy Burnham.
Jane Martinson is an academic and Guardian columnist. She is a board member of the Scott Trust, which owns the Guardian Media Group, and writes in a personal capacity
Photojournalist whose arresting images captured human disaster from Vietnam to Aberfan, and most notably in apartheid South Africa
On 21 March 1960, a crowd gathered outside a police station in a Transvaal township, part of a nationwide protest against apartheid pass laws used to control where black South Africans could live, work and travel. A young British photojournalist pushed his way to the front and took a few pictures of police across the fence who were standing atop their armoured personnel carriers. With nothing much happening, he turned back and headed for his car. Then – without warning – there was the sound of heavy gunfire.
The photographer, Ian Berry, who has died aged 92, captured images of the carnage, which soon became known around the world as the Sharpeville massacre. Dozens of demonstrators were killed, many shot in the back as they fled, and hundreds were injured in what turned out to be a turning point in the country’s history.
Exclusive: German media group Axel Springer said to be planning between 50 and 100 editorial redundancies
The new owner of the Telegraph is preparing to make significant job cuts to its newsroom, just months after stating it would invest in the title to make it the “leading centre-right media outlet in the English-speaking world”.
Axel Springer, the German media company overseen by its billionaire chief executive, Mathias Döpfner, is understood to be examining proposals that would make between 50 and 100 journalists redundant.
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
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.)
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.
The New York Times claims in a lawsuit that OpenAI and Microsoft infringed on publishers’ copyrighted material by using their articles to train artificial intelligence.
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