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There is legitimate scrutiny of antisemitism on the left, but at the same time, rightwing media outlets offend with impunity. That makes no sense

The media’s message appears to have cut through. At the crucial rally against antisemitism in London on Sunday, Zack Polanski, the Jewish leader of the Green party of England and Wales, was not invited to speak, on the grounds that he had not done enough to root out antisemitism from the party. But Nigel Farage was invited, on the grounds that his party, Reform UK, has “expressed very broad support for the fight against antisemitism”. More than two thousand Jews saw things differently and signed a petition arguing that the invitation to Farage “fundamentally undermines” the message of solidarity in defence of Jewish safety and dignity. I agree with them.

Antisemitism must be stamped out everywhere. “Never again” means zero tolerance for this age-old hate, wherever it occurs and whoever voices it. It is indeed a problem on the left, and I’ve often found myself in dispute with those who downplay or minimise it.

George Monbiot is a Guardian columnist

You may think you know when someone’s trying to deceive you, but there’s a clever trick very few people are aware of – one that has eluded AI and Traitors contestants alike

Can you tell if someone is lying?

Close your eyes. You’re already twice as good as you were before.

The 26-year-old has received rave reviews for his micro-budget horror Obsession, support from Ari Aster and control of a Texas Chain Saw Massacre remake

Things have been going scarily well for 26-year-old film-maker Curry Barker.

The past 18 months have seen him level up from lo-fi YouTube comedy skits to an $800 horror short that went viral to a breakout feature picked up for $15m to being handed the reins of one of the most legendary franchises in Hollywood. It’s almost too good to be true.

Defying criticisms of ‘slop’ and ‘theft’, the growing culture of AI-powered creativity is attracting interest from Hollywood

In a former hemstitching workshop where artisans sewed pleats for Stockholm’s 19th-century bourgeoisie, a distinctly 21st-century craft is taking root: AI film-making.

One day last week, an actor, director and composer squeezed into a tiny studio booth to record a voiceover for their next AI release. Critics disparage AI movies as “automated slop” or cheating, and fume at what they claim to be industrial-scale copyright theft. But this had a distinctly homespun feel, the little team fussing over a monologue by a poetic Scottish gorilla inhabiting a transhumanist cyberpunk universe. It was a bit like recording the Archers, one of them joked.