Goedemorgen Nederland, goedemorgen Ter Apel. Omdat we in Nederland geen asielcrisis hebben, maar de mensen wel een asielcrisis ervaren, zijn er vannacht honderd mensen heen en weer gereden naar Gieten en staat er vandaag weer een lange rij bij het aanmeldcentrum, dat wij langzamerhand zo goed kennen. Maar laten we nou eens denken in oplossingen. Dit weekend is het toch Pinksteren, dus maandag hoeven er geen kranten gedrukt te worden. Dat betekent dat er een schitterend gebouw op een A-locatie in Amsterdam-Zuidoost een tijdje ongebruikt is. Het GeenStijl Noodopvang Plan luidt derhalve: laten we 200 jonge alleenstaande mannen een paar overnachtingen aanbieden in De Kamer Van Klok. De pendelbusjes staan al klaar. Wat kan er misgaan.

Gaat juist goed!

Social

Some stories can only be told by the one who started them. For many years, Canopée waited to come of age to finally adorn herself with a richer plumage. She has travelled the world, met many versions of herself along the way. Ten years on, the typeface returned to write her next chapter on her own terms: fuller, richer, with a complete lowercase, new weights, and new styles. What defines Canopée is contradiction held in tension. Its serifs are sharp, geometric, precise, yet the letterforms they inhabit are organic, rounded, built with a looseness that pushes back against that rigidity. This friction is intentional. It is where the typeface lives. Rhythm here is structural, not merely optical. Condensed letters sit alongside extravagantly wide ones: tight, then open, tight, open. That alternation is its pulse. Designing the lowercase took more than two years. The challenge was not technical, it was one of equilibrium. Roundness alone would have made it soft and unserious.

A misogynist is made to learn the error of his ways in this painfully dated and embarrassingly star-packed sexism comedy

In its attempt to become a one-stop shop for just about every form of nostalgia possible, Netflix has now decided to revive the dreadful British comedy of the 2000s. Films such as Sex Lives of the Potato Men, Three and Out, Fat Slags and Lesbian Vampire Killers saw creatives boldly stand up to Hollywood and declare that whatever they could do, the UK film industry could do it 10 times worse.

The all-deciding algorithm has somehow deemed it necessary for a return to that cursed era with the release of Ladies First, a broad and chintzy new comedy that would have felt old hat even back then. It’s an excruciatingly unfunny high-concept thought experiment, imagining a world with flipped gender politics, that’s far too happy with itself and what it’s allegedly achieving to be passed off as just some charming throwback. Like the other misfires it recalls, it’s also a criminal waste of talent, a murderer’s row of actors who hopefully got paid handsomely for the embarrassment of this whiffing up their IMDb pages.

Continue reading...

The Kusuma Neolithic Hall, based on Durrington 68 site, will allow visitors to ‘step back in time’ into the lives of those who built the stone circle

It may have been a place for ceremony or a barn for pack animals. It could have been a place for weary labourers to rest their heads. Or perhaps there was no building at all.

English Heritage has unveiled a 7-metre-high reconstruction of what a 4,500-year-old Neolithic hall may have looked like at Stonehenge, offering visitors a glimpse into the lives of the prehistoric builders who raised the world’s most famous stone circle.

Continue reading...

Call it a mix of collectivism and entrepreneurialism or just an overarching vibe, but the mayor’s philosophy could be on the way to Westminster

Among the underrated later work of those revered sons of Manchester the Smiths, there is a completely jaw-dropping song simply titled London. Full of fury and excitement, it depicts a Mancunian as he boards a train, travelling to the capital full of ambition and hope, but also gripped by a gnawing ambivalence. Andy Burnham, whose love of the band is hardly a surprise, may well recognise not only its defining theme, but the song’s accidental encapsulation of his decision to try to make his way to the House of Commons, in a line crooned by Morrissey in slightly mocking tones: “And do you think you’ve made the right decision this time?”

Even if some observers only give him a 45% chance of winning, it looks like Burnham has, particularly when it comes to his pitch for power. Eleven years ago, let us not forget, a somewhat different incarnation of the future Greater Manchester mayor was one of four candidates for the Labour leadership, along with Jeremy Corbyn, and chose to stage one of his launch events at the City of London HQ of the auditing firm Ernst & Young. There he said he might back further benefit cuts, and claimed that too many people associated Labour with “giving people who don’t want to help themselves an easy ride”. In 2022, he told me this was the result of bad advice: “I listened to people that I shouldn’t have, really. It was tone-deaf … it wasn’t me. It wasn’t authentic.”

John Harris is a Guardian columnist

Continue reading...

This week, Donald Trump dropped a personal $10bn lawsuit he had against the Internal Revenue Service in exchange for a so-called anti-weaponisation fund. The $1.8bn fund will be used to compensate those who think they have been unfairly investigated by the government in the past. Jonathan Freedland speaks to the legal analyst Kristy Greenberg about why critics are calling this fund ‘corruption on steroids’

Continue reading...

In a collapsing world, artists like Slayyyter and Cobrah are chasing extreme highs with hyperactive music and debauched lyrics. Is their trashy vibe emancipating – or a bit contrived?

If any year demanded a soundtrack of self-aggrandising female mayhem, it’s 2026. Amid the terrors of war, AI and the climate crisis, women are expected to be symbolic vessels of order and stability: thin, beautiful and perpetually 25 – a state of perfection newly available for purchase thanks to weight-loss drugs and the deep plane facelift.

Covered unironically in leopard print and rhinestones, a cohort of young female pop stars are defying this familiar con with brash electronic pop, shamelessly hedonistic lyrics, anarchic sexuality and an obsession with what was once dismissed as “white trash”. It’s an aesthetic embraced by performers such as Slayyyter, Kim Petras, Cobrah, Demi Lovato, Snow Strippers’ Tatiana Schwaninger, Tove Lo and returning scene godmother Kesha.

Continue reading...