Cutting through the fog of war
In an age of fake news, wartime leaders understand that they now have to fight against disinformation and conspiracies…
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In an age of fake news, wartime leaders understand that they now have to fight against disinformation and conspiracies…
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Write to [email protected] to have your thoughts voiced in the New Statesman magazine.
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Your weekly dose of gossip from around Westminster.
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The US risks being drawn into a Middle East war it does not want to fight.
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Also this week: Margaret Thatcher’s candour and the loss of a wise friend.
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The senior midwife on the UK’s failing maternity services.
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The continent is paying countries on its fringes, democratic and otherwise, to shield its core from all the chaos.
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This is not a bunch of Trots but a well-prepared team with a clear agenda.
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The Israel-Hamas war is fuelling conspiracies, lies and misinformation.
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The Hamas pogrom against Israeli citizens was the day when the Western-led international order expired.
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The duplicity that defined his spy novels also enabled his relentless pursuit of sexual pleasure.
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The novelist’s collected non-fiction reveals her extraordinary range, depth and independence of thought.
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Also featuring The Revolutionary Temper by Richard Darnton and The Wisdom of Sheep by Rosamund Young.
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Is consciousness an illusion? Only a philosopher could convince himself of something as implausible.
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Shattered by Brexit, the Tory party has been captured by populist disrupters. Can true conservatives win it back?
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The twins accrued hotels, newspapers and a fortress on their own island – then their fortune vanished.
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A new poem by Simon Armitage.
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Our choice of the highlights from the universities in 2023.
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The Italian writer, born 100 years ago, first sought to reflect political reality – and then to redefine it.
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Free Your Mind is a spectacle – but for a show about man and machine, it lacks the human…
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Susanna Fogel’s take on the viral New Yorker story reveals the dangers of lazy adaptation.
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The relentless racism in Lenny Henry’s incident-filled drama is all too believable; its saintly female characters less so.
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Carlos Acosta’s playful and fiery take on the 1869 ballet is a joyful marriage of movement and music.
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Wearing a flat cap and ancient raincoat he was calm, quiet, unflashy – a gentleman player.
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I woke at nine with a feeling of impending doom but thought, well, at least I have four hours…
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This column – which, though named after a line in Shakespeare’s “Richard II”, refers to the whole of Britain…
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