Tiafoe v Shelton US Open semi-final a legacy of the departing Gaël Monfils | US Open Tennis 2026 | The Guardian

Keyword – Sport
Trefwoorden – US Open Tennis 2026, US Open tennis, Tennis, Sport, US sports
Title – Tiafoe v Shelton US Open semi-final a legacy of the departing Gaël Monfils | US Open Tennis 2026 | The Guardian
Author – https://www.theguardian.com/profile/tumaini-carayol
Link – Tiafoe v Shelton US Open semi-final a legacy of the departing Gaël Monfils | US Open Tennis 2026 | The Guardian
Publish date – 2026-09-10T18:51:34.000Z
Category – Sport
URL – https://www.theguardian.com/sport/2026/sep/10/tiafoe-v-shelton-semi-final-a-legacy-of-the-departing-gael-monfils

T he early days of this year’s US Open can be told in a series of farewells to competitors who plan to end their careers this year. The most moving of them all came in the form of Gaël Monfils’s grand departure inside Louis Armstrong Stadium against the wildly talented 20-year-old Learner Tien . Tien was competing in front of his home crowd, one of the Americans capable of a deep run, but for much of his straight-sets defeat the Frenchman had the American crowd in the palm of his hands.

Beyond the massive popularity he has garnered among tennis fans, one of the most striking parts of Monfils’s long farewell was seeing how highly nearly all of his fellow professionals, particularly his fellow black players, regard him. Frances Tiafoe says he spent his youth looking up to Monfils. Arthur Fils considers Monfils his older brother. Naomi Osaka’s nickname for Monfils, one of her idols, is simply “the Goat”. They all hold Monfils in such great esteem, and for good reason.

While women’s tennis has witnessed the successes of a long line of top black players, Monfils and his retired compatriot Jo-Wilfried Tsonga were, for so long, the standard bearers for black players in men’s tennis. In the same year that the 40-year-old Monfils will finally bow out, the new generation of black men’s players have consolidated their positions at the top of the sport.

Last month, the Cincinnati Open featured two black players competing in a Masters 1000 final for the first time as the 22-year-old Frenchman Fils overcame a year of injuries to defeat Tiafoe and win his first big title . Fils’s victory was preceded by Ben Shelton’s triumph at the Canadian Open in Montreal.

It took three weeks for the Fils v Tiafoe final to be eclipsed by an even more significant match between two black players. Tiafoe and Shelton will compete against each other in the US Open semi-finals on Friday night, with the winner becoming the first black man since Jo-Wilfried Tsonga at the 2008 Australian Open, and the first African American man since MaliVai Washington, the 1996 Wimbledon finalist, to reach a grand slam final. The victor will then attempt to become the third black man to win a grand slam after Arthur Ashe and Yannick Noah. Along with last year’s semi-finalist Félix Auger-Aliassime, there will be four black players inside the ATP’s top 11. The status commanded by Monfils, who never reached a major final, plainly underlines how important this moment is for future generations of black tennis players as well as themselves.

As Americans at the US Open, two players who have spent their careers being reminded of how far American men’s tennis has fallen since its decades of dominance over the sport, and particularly of Andy Roddick’s triumph at the 2003 US Open, the last time an American man won a title here, the significance of this moment is doubly important to Tiafoe and Shelton. Unlike in their previous runs, there are no multiple grand-slam champions or all-time greats left in the draw, with the earlier semi-final feauturing top seed Alexander Zverev against former top-10 player Karen Khachanov. All four can win this title.

The past few years in New York have been leading up to this match. It is just the fourth time Shelton has competed in the US Open main draw, yet somehow this will be his third US Open meeting with Tiafoe. Shelton won their 2023 quarter-final before Tiafoe exacted revenge in a bruising five-set, third-round match in 2024. They have become great friends, which can be awkward oncourt for some, but they enjoy battling against each other so much that their relationship only makes them even more determined to produce their best. It helps they are such creative, all-court players with great variation and explosive athleticism, which makes for such a complementary match-up.

This is a third major semi-final for both players, but neither man has ever been so well prepared. Shelton just delivered the biggest win of his career over the defending champion Carlos Alcaraz and the 23-year-old continues to evolve into a genuine grand slam threat. Tiafoe, meanwhile, has been one of the revelations this year. The 28-year old has spent the season determined to be more professional and focused each week than ever before, and his results are a direct consequence of his growing maturity. Their efforts have yielded by far the biggest opportunity of their careers, and the winner will be decided by which competitor is truly ready for the pressure and weight that accompanies such a massive opening.

‘She’s buzzing’: Charley Hull to face world No 1 Nelly Korda in Solheim Cup opener | Solheim Cup | The Guardian

Keyword – Sport
Trefwoorden – Solheim Cup, Golf, Sport, US sports
Title – ‘She’s buzzing’: Charley Hull to face world No 1 Nelly Korda in Solheim Cup opener | Solheim Cup | The Guardian
Author – https://www.theguardian.com/profile/ewanmurray
Link – ‘She’s buzzing’: Charley Hull to face world No 1 Nelly Korda in Solheim Cup opener | Solheim Cup | The Guardian
Publish date – 2026-09-10T17:07:54.000Z
Category – Sport
URL – https://www.theguardian.com/sport/2026/sep/10/solheim-cup-charley-hull-nelly-korda-foursomes-golf

Galleries at the 20th Solheim Cup have been granted a blockbuster start with Nelly Korda and Charley Hull to face off in Friday morning’s foursomes. The meeting of Korda, the world No 1, and Hull, Europe’s star turn, should ensure an electric opening in the Netherlands as the USA seek to retain the trophy won in Virginia two years ago . Korda nudged out Hull at the US Women’s Open in June.

Hull will partner the Solheim Cup debutant Lottie Woad against the formidable USA pairing of Korda and Allisen Corpuz to begin the tournament. Nanna Koerstz Madsen and Céline Boutier will represent Europe in match two, where they will take on Alison Lee and Lauren Coughlin. Esther Henseleit and Leona Maguire have been selected for the hosts in the penultimate match, with Andrea Lee and Lindy Duncan in opposition. The foursomes will conclude with Europe’s Swedish duo of Maja Stark and Linn Grant facing Rose Zhang and Jennifer Kupcho.

“She’s been buzzing, she’s been so excited,” said Europe’s captain Anna Nordqvist of Hull. “Her and Lottie have got to play quite a bit on tour this year, so I think they were both very excited to be paired with each other.”

Angela Stanford, the USA captain, said Korda and Corpuz had “earned the right” to lead their team out. “I feel like if I didn’t put those two out, I would be questioned,” Stanford added. “I feel like the whole world knew that they were coming.”

In a peculiar moment as the captains completed the last of their pre-tournament media duties, Nordqvist asserted every player on each team had to play on day one as per an agreement. Stanford looked bemused by the suggestion. The actual ruling, which was later clarified, says players must appear in at least one session before Sunday. Nordqvist must hope her misstep – or misunderstanding – is not a sign of things to come.

The USA have won only once on European soil since 2007, when they triumphed in 2015. Eleven years have passed since “Gimme-gate” but Alison Lee’s reappearance in a United States team in Europe gives cause to reflect upon the chaos that unfolded in Germany. “It was a shell-shocking week for me,” Lee recalls.

This weekend, Lee will be the sole playing survivor from the US contingent in 2015. Back then, aged 20, she picked up her ball before the supposed formality of a concession from Europe. Suzann Pettersen seized upon the moment, claiming the hole for Europe amid tears and ferocious backlash. The USA had the last laugh, winning the Solheim Cup by one point as Pettersen spent the evening sobbing in a hotel room.

“I had been thrown into a team where I didn’t really know anyone very well,” says Lee. “I just felt really grateful that the team around me, the US team, were just so supportive of me. They had my back and they were so welcoming.

“All that stuff happened on Sunday morning because there was a delay and we had to finish the Saturday afternoon session in the morning. So we had a couple hours before singles where we all came together and I was very rattled, obviously, with everything that happened. I think everyone just saw me as a little sister and they just really cared for me. They not only wanted to win, for the US, but we wanted to win for each other. And so I feel like that meant a lot.

“I was so young. I remember just being on the team was such a cool thing to be a part of. Less than a year before that, I was watching them all on TV so I was a little scared to be on the team, to be honest. Winning was super special.”

Pettersen’s redemption came in 2019, when she holed the winning putt for Europe at Gleneagles before announcing her retirement. Lee represented the US in Virginia two years ago but always had a return trip to Europe in her thoughts. “I feel really proud of myself,” Lee adds. “It was a huge goal to be here and I didn’t think it was in reach.

“I took some time off last year, I had my son who is 16 months old now. I knew it would be challenging to try and make this team and it was a hard, hard journey, but I did everything I could to make it here. To be able to make the team on my own this year just meant a lot.”

The US team will wear commemorative pin badges on Friday as a means of marking the 25th anniversary of the 9/11 attacks.

‘I’ve got more of a sense of humour than Ralph Lauren’ – nine things we learned from Paul Smith’s new memoir | Fashion | The Guardian

Keyword – Fashion
Trefwoorden – Fashion, Life and style, Men’s fashion
Title – ‘I’ve got more of a sense of humour than Ralph Lauren’ – nine things we learned from Paul Smith’s new memoir | Fashion | The Guardian
Author – https://www.theguardian.com/profile/chloe-mac-donnell
Link – ‘I’ve got more of a sense of humour than Ralph Lauren’ – nine things we learned from Paul Smith’s new memoir | Fashion | The Guardian
Publish date – 2026-09-10T17:00:41.000Z
Category – Lifestyle
URL – https://www.theguardian.com/fashion/2026/sep/10/paul-smith-the-designer-who-put-personality-into-menswear

I n July, the British designer Paul Smith celebrated his 80th birthday and he has now released a memoir to mark the occasion. Threads: My Life in Style tells Smith’s story, from growing up in Nottingham and leaving school with no qualifications to selling suits to celebs, including Gary Oldman and David Bowie.

Here are nine of our favourite lesser-known takeaways from the book.

1. He made boxers something you want to be seen in In the 70s, Smith reimagined boxers in clashing prints and colours, such as polka dots and stripes rather than drab greys and whites, catapulting them from the back of the underwear drawer to the pages of fashion magazines. “I always describe my early success as nudging rather than shoving the British male into appreciating the fact that you could be a little different,” he writes.

2. He has a love/hate relationship with stripes Smith describes the multi-stripe he has become synonymous with as “both a joy and a curse”. It was a design detail forced upon him in his early days due to budget constraints, but quickly became popular among his customers. “It began to take on a life of its own,” Smith writes. However, it “became a bit of a burden to me if to no one else. You meet people who say, ‘Oh, you’re the one who’s famous for the stripes.’ It’s like being Calvin Klein – you can make beautiful clothes every year but someone will always say, ‘Oh, you’re the one who makes underpants.’ You find yourself having to work around it.”

3. He’s to blame for the rise of novelty socks

In the 1980s, Smith says men only bought two types of socks: plain or argyle patterned. After coming across a pair with a paperclip motif in Japan, he brought the design to the UK. Now he sells more than 700,000 pairs of socks a year. “Quite often when I’m introduced to someone new he’ll say, ‘Oh yes – I get your socks for Christmas,’” Smith writes.

4. His office is the original example of curated chaos Piles of vinyl records, 28 bicycles (including the yellow Pinarello Chris Froome rode to victory in the Tour de France), a model train set, hundreds of books and oil paintings and a Snoopy telephone are just some of the curiosities you’ll find in Smith’s office. And then there are the rabbit figurines in all shapes and sizes, the result of a joke, which got out of hand, about how they were his lucky charm. “Every week I get rabbits of all kinds,” writes Smith. “They’re everywhere. Rabbits made of bronze, felt, plastic, wood, stone. A man in Italy sends me four or five a month, even though I’ve never met him.”

5. David Bowie hated small talk

Bowie became a big fan of Smith’s two-piece suits, including one in a lemon and pink overcheck. After turning up to the store unannounced several times to shop, Smith invited him for a cup of tea in his studio. It was the beginning of a friendship. Bowie never called Smith by his first name – instead, it was always Smithy. “Was he an easy person to be with and to talk to? Only if you were interesting,” writes Smith. “There was no small talk.”

6. He accidentally created Instabait

Even if you’ve never been to LA, you’ll probably recognise Smith’s Melrose Avenue store. Five years after it opened in 2005, Instagram launched and the store’s hot-pink wall became a selfie sensation. There have been thousands of snaps taken at the #pinkwall, making it one of the most Instagrammed buildings in California.

7. He’s not keen on comparisons to Ralph Lauren Smith describes getting “pissed off” in his early days when the press kept comparing him to the American designer, and renowned anglophile, Ralph Lauren. “I’ve got far more of a sense of humour, for a start,” he writes. “His shops were always so serious, with the stately-home image and the good-looking models. There was nobody that English in England.”

8. He collaborated with Pope Francis (sort of)

As a huge cycling enthusiast (he hoped to become a pro until he had a nasty accident aged 17), Smith was thrilled to be asked to design the leaders’ jerseys for the annual Giro d’Italia bike race in 201. It included the “maglia rosa”, a pink jersey that is (sort of) equivalent to the Tour de France’s yellow jersey. Smith added some red piping around the edge, signature striping on the left sleeve and a tiny sketch of a cyclist. It was sent to Pope Francis to be blessed. Smith writes: “I’ve done a lot of collaborations over the years, from cars to crayons, from carpets to cycles, but only one of them, so far as I’m aware, has been personally blessed by the pope.”

9. Despite all his success, he remains a do er Case in point, during lockdown Smith continued to work from his office, albeit alone. One day he was met by an unpleasant smell and discovered that 18 containers of forgotten milk had exploded all over the kitchen floor. He spent three hours cleaning it up. At one stage he found himself thinking: “I wonder if my friend Giorgio Armani is doing something like this now?” Still, when Smith told colleagues about his wiping marathon, “they all said the same thing: ‘Oh no! Only Paul Smith.’ And I took that as a compliment.”

To read the complete version of this newsletter – complete with this week’s trending topics in The Measure and your wardrobe dilemmas solved – subscribe to receive Fashion Statement in your inbox every Thursday.

Francophiles, Norman outfits and broken threads: visitors see Bayeux tapestry in UK for first time | Bayeux tapestry | The Guardian

Keyword – World news
Trefwoorden – Bayeux tapestry, France, History, Culture, World news, Education, Europe, Museums
Title – Francophiles, Norman outfits and broken threads: visitors see Bayeux tapestry in UK for first time | Bayeux tapestry | The Guardian
Author – https://www.theguardian.com/profile/rachel-hall
Link – Francophiles, Norman outfits and broken threads: visitors see Bayeux tapestry in UK for first time | Bayeux tapestry | The Guardian
Publish date – 2026-09-10T16:42:00.000Z
Category – News
URL – https://www.theguardian.com/world/2026/sep/10/visitors-bayeux-tapestry-exhibition-london-british-museum

O n the day Bayeux tapestry tickets were released, Megan Stockwell was at the beach. She was so determined to lock down her spot, that she sat with her toes in the sand for an hour, waiting in the online queue.

“The whole ticket buying experience felt like what other people would do to get Taylor Swift tickets. I was like, ‘oh God, am I, like, the geek version of this?’” she recalled.

Like any committed Swiftie, Stockwell felt confident the experience would be worth the hassle and cost. As a self-professed Francophile, she was fascinated by how the tapestry, which is temporarily housed at the British Museum until next July, tells the story of the Franco-British relationship through the Norman conquest, culminating in the battle of Hastings.

“You just grow up learning so much about it – at primary school, in history studies. You’ve always got some mention of the Bayeux tapestry, the Normans, the fact there’s even three lions on the back of our pound coins comes from Normandy.

“We’ve got such a close connection between French and British culture, our language and everything. This sort of feels like a visual representation of that,” she said.

Stockwell’s dogged pursuit of tickets, fascination with the Franco-British relationship, and childhood memories of learning about the battle of Hastings, were experiences shared by many of the visitors on the exhibition’s opening day.

Cydney, who lives in Texas, also drew inspiration from her experience queueing for concert tickets to secure a coveted opening day spot. She had woken up at 3am local time to join an online queue for an hour and half to secure them when they were released.

She anticipated it would be worth it: “It’s going to be life-changing, we’re so excited.”

Cydney had studied history for her undergraduate degree. “So I just really am interested to see what a significant artefact would be and to see how this is basically where the history of England and the UK as we know it really all began. Seeing something so old is just incredible and honestly such an honour.”

Her feelings were echoed by Adrian Harris, who was so moved to catch the exhibition that he signed up for British Museum membership purposely to gain early access to tickets. He ended up the second person through the doors on Thursday morning, after joining a “really jolly” queue at 9.30am.

“It was incredible. It was very, very moving to walk down the steps and to see the length and breadth of it. And I think they’ve done it so well, the British Museum. It was very profound to see it,” he said, adding he had been especially thrilled to spy Westminster Abbey, where he works, on the cloth.

He noted that although he was one of the first through the doors, he felt that 40 minutes was a restricted timeframe to see the 68-metre tapestry, though he observed that attendants were diligent in ushering people along.

A number of ticket holders for the Bayeux tapestry at a special first viewing last weekend were reportedly turned away after other visitors took too long to view it. The French owners of the tapestry have issued strict orders on when lights must be turned off in order to preserve the work.

Richard and Madeleine Abramson, who were in the first group alongside visitors dressed in Norman costumes, agreed that 40 minutes was a short time, but that it was being well policed. “They’re very clear at the beginning there’s a maximum time … they’re very carefully moving you on,” said Madeleine.

However, the oversight did not dampen the pair’s enthusiasm. “It was pretty awe-inspiring,” said Richard. “It’s very well presented, it develops like a film. It’s got a story to tell: it starts quietly, then it gets more intrigue and then you get to the action and it builds up to the battle, which is quite violent.”

Madeleine felt the tapestry loomed large for many former English schoolchildren. “Of all the history lessons you have, every child remembers 1066,” she said, adding that the fact the tapestry was stitched by female embroiderers also resonated. “[That they] told this whole story is still phenomenal,” she said.

Vivien and Karen had travelled from Hampshire to see the tapestry, also buoyed up by memories of their school days. “We learned about it at school. It’s something that’s always been in the back of your mind, then all of a sudden it’s here, so why not?” said Karen.

Vivien practises needlework, and was especially excited to witness the craftsmanship up close. “I’ll be looking for the two broken threads,” she said.

Denise Davies had bought two tickets for her husband John’s birthday. As a taxi driver who also runs black cab heritage tours of London, he was looking forward to expanding his historical knowledge.

At £33 a peak-time ticket, the exhibition’s cost has attracted some criticism – but Denise felt it was worth it. “ I could go to Alton Towers and it would cost me an arm and a leg. This is something special. I would have paid whatever it was because we’re never going to see it again … it’s a tick on the bucket list, basically.”

This article was amended on 11 September 2026 to describe the tapestry as being stitched, not woven, by female embroiderers.

A scientist said bananas ‘kill’ the benefit of blueberries. Is that true? | Well actually | The Guardian

Keyword – Wellness
Trefwoorden – Well actually, Health, Life and style, Fruit, Food, Science, Health & wellbeing
Title – A scientist said bananas ‘kill’ the benefit of blueberries. Is that true? | Well actually | The Guardian
Author – https://www.theguardian.com/profile/adrienne-matei
Link – A scientist said bananas ‘kill’ the benefit of blueberries. Is that true? | Well actually | The Guardian
Publish date – 2026-09-10T16:00:40.000Z
Category – Lifestyle
URL – https://www.theguardian.com/wellness/2026/sep/10/bananas-blueberries-smoothies-antioxidants

T his year was shaping up to be a banner year for bananas: they were lauded as “ 2026’s big viral taste ”, landed pride of place as Prada’s new lip balm flavor, and were even deemed “ the next pumpkin spice ”.

But this summer, the Mel Robbins Podcast featured Dr Rhonda Patrick, a biomedical scientist, who said that adding banana to a blueberry smoothie could adversely affect the nutritional benefits of the berries.

Could the beloved mashup of blueberries and bananas really be a bad match?

What is the claim about bananas affecting the nutritional value of blueberries?

Patrick’s claim involved an enzyme called polyphenol oxidase, which appears in bananas, and polyphenols, an umbrella term for a diverse family of antioxidant compounds found in plants – including blueberries.

“Polyphenol oxidase, it’s essentially an enzyme that’s breaking down the polyphenols. And there have now been studies … showing if you add bananas to blueberries, you’re not getting as many polyphenols. In fact, it’s quite a bit lower. So the banana is killing the benefit,” she said .

The most likely source for Patrick’s claim is a 2023 study that explored how polyphenol oxidase affected the body’s absorption of particular polyphenols called flavanols.

The study found that participants who drank banana smoothies with added flavanol had lower blood levels of these antioxidants than those who drank mixed-berry smoothies with the same additive.

Does this study support the banana-blueberry claim?

There are a few reasons not to rely too heavily on this study for this specific claim.

First of all, the researchers “never, ever made a smoothie with bananas and blueberries together”, says Dr Joe Schwarcz, a science communicator and director of McGill University’s office for science and society.

Further, the study “only had eight subjects … not a big enough number to have significant conclusions”, says Schwarcz.

But zooming out to the effects of polyphenol oxidase on flavanols, “there is a statistical difference in the amount of polyphenols that may be present in your smoothie as the result of the banana,” says Schwarcz.

I reached out to Patrick at her health content company, FoundMyFitness, to clarify her claim. A spokesperson, Dan (their full name was not provided on request), responded by email: “The fact that this enzyme breaks down some polyphenols is essentially beyond reproach and not dependent on any one study she cites.”

A body of research does support that polyphenol oxidase influences the antioxidative capacity of different compounds in fruit and vegetables in various different ways .

But context is important. Blueberries contain several types of polyphenols. Anthocyanins, which are responsible for the color of blueberries, are proportionally more significant and abundant in the fruit than flavanols, says Schwarcz.

Anthocyanins are associated with a range of potential health benefits, including reduced risk of overall mortality, cardiovascular disease and type 2 diabetes.

Thus, what this study measured was “not even the important compounds of blueberries”, says Schwarcz.

Finally, this study was funded by the Mars company – and the flavanols used in this project were derived from cocoa.

“And it just so happens that [Mars] sells flavanol supplements” and chocolate, which contains flavanols, says Schwarcz.

Can nutrients actually ‘cancel each other out’?

Yes, they can. “Nutrient interactions in food are actually quite common,” says Alyssa Northrop, a registered dietitian based in Minneapolis.

“Some nutrients enhance the absorption of other nutrients, like vitamin C and iron. Others can reduce absorption, such as the oxalates in spinach, which bind to calcium and reduce its bioavailability.”

But in the grand scheme of your diet, Northrop says you shouldn’t lose sleep over such interactions.

“Rather than trying to micromanage every food combination, I encourage people to focus on the bigger picture: eat a varied diet with plenty of fruits, vegetables, whole grains, nuts, seeds and other nutrient-dense foods to meet your body’s needs,” she says.

Eating too few fruits and vegetables is a bigger concern than optimizing polyphenol absorption from every smoothie, says Northrop.

“Most of us aren’t consuming the recommended five servings of fruits and vegetables daily. If adding a banana makes a berry smoothie more delicious and encourages someone to eat more fruit, I see that as a win,” she says.

“Bananas are often added to smoothies for their natural sweetness and unique texture that can make the smoothie thick and creamy,” says Sheri Gaw, a registered dietitian nutritionist based in the San Francisco Bay Area. Furthermore, bananas are easily accessible, inexpensive and healthy. They contain potassium, vitamin B6, vitamin C, manganese and magnesium, along with about 3 grams of fiber per medium fruit.

Should we be worried about not getting enough polyphenols?

Polyphenol-rich foods have been associated with a range of potential health benefits, including supporting cardiovascular and metabolic health, promoting a healthy gut microbiome, and helping prevent chronic diseases, says Northrop.

Evidence suggests that consuming between 400 and 600mg of flavanols daily from foods such as green tea, cocoa and apples may support cardiometabolic health, including potential improvements in blood pressure, cholesterol and blood sugar regulation.

But unlike with vitamin and mineral deficiencies, which can cause distinct negative health effects, “we don’t know the physiological effects of polyphenol insufficiency on health. Polyphenols are not considered essential nutrients, and there isn’t an established recommended daily intake for total polyphenols,” Northrop says.

If you’re really worried about your berry smoothie’s flavanol levels, add fruit that is lower in polyphenol oxidase than banana, such as mango or pineapple.

Or, experiment with different ingredients. “Oats, yogurt, silken tofu, kefir, avocado and frozen cauliflower are popular smoothie add-ins that can offer a similar creamy thickness as a banana,” Gaw adds.

Do I really need to stop putting bananas in my berry smoothie?

“In the context of your overall diet,” the interplay of bananas and berries is “insignificant”, says Schwarcz. Overall, it’s good to eat a variety of fruits, and we benefit from their varied antioxidant compounds.

Schwarcz has seen the idea of focusing on a specific food component and its impact on human health bubble up in nutrition literature for years.

“Your health is a very complex business of nutrition, of genetics, of your activity levels. And to try to make a big deal out of whether you put a banana in your smoothie or not – it’s just scientific nonsense,” he says. “It makes no practical difference in your life.”

NAZA review – Israeli intelligence officers cast chilling light on civilian deaths | Venice film festival | The Guardian

Keyword – Film
Trefwoorden – Venice film festival, Film, Documentary films, Gaza, Israel, Culture, Palestine, Festivals, Jonathan Glazer, NAZA, World news
Title – NAZA review – Israeli intelligence officers cast chilling light on civilian deaths | Venice film festival | The Guardian
Author – https://www.theguardian.com/profile/peterbradshaw
Link – NAZA review – Israeli intelligence officers cast chilling light on civilian deaths | Venice film festival | The Guardian
Publish date – 2026-09-10T15:15:39.000Z
Category – Culture
URL – https://www.theguardian.com/film/2026/sep/10/naza-review-israel-gaza

H ere is a disquieting documentary about what Israel’s military chiefs in Gaza reputedly call “Naza”, meaning civilian collateral damage – itself a queasy euphemism. The calculated “Naza” number is the amount of projected civilian deaths from each military strike, and perhaps it will come to have the same connotations as the US military term “body count” during Vietnam. The directors are Yuval Abraham and Rachel Szor, two of the film-makers behind No Other Land , which was about attacks by the Israel Defense Forces on Palestinian West Bank villages. NAZA is executive produced by Jonathan Glazer and James Wilson and appears under the production auspices of the Guardian, in which some of the stories have already appeared.

There are flaws: interviews were conducted on the condition of anonymity, but if no-one can be persuaded to put their name and face to their words (and of course it is terribly dangerous) then the impact of this as testimony is lessened. But even so, the film is casting a chilling light on what is happening now in Gaza .

Their faces in shadow, appearances and voices digitally altered, disillusioned Israeli intelligence officers and personnel speak to the directors about the war in Gaza. They do this semi-furtively on the dark night-time rooftops of Tel Aviv, the home of Israeli intelligence, supposedly for journalistic secrecy purposes – but it also provides a dramatic backdrop, as well as ambient footage of the city in all its eerie heedlessness and heartlessness. Periodically, the camera’s eye will drift across the gleaming apartment buildings, zooming in on glimpses of prosperous lives just 60km from Gaza.

The interviewees reject the whole concept of “human shields”. They allege that it is not a question of Hamas operatives hiding behind civilians; rather, Israel’s intelligence services have subcontracted their attack recon to AI. A computer program reportedly analyses the call pattern on phones belonging to known Hamas terrorists and finds which of the other tens of thousands of phones they have under surveillance exhibit the same tendencies – and then attack the owner, invariably at night, in the apartments whose whereabouts are already minutely documented by the state. A 15% permitted “error” rate for this is mentioned at one stage, and another respondent talks about an expected “Naza” rate of 20 for each action – but clearly this is elastic to say the least. Gaza’s civilians are considered to be all tacitly complicit in the grotesque antisemitic pogrom of 7 October, and whole buildings and vast numbers of people can be wiped out in one computer-generated assault.

Elsewhere, the officials talk about the logistics involved in “cleansing” northern Gaza and in sniper attacks on Gazan civilians who, desperate for food, don’t know they have crossed some invisible line into a militarised zone. Another part of the film talks about an intelligence unit unofficially loyal to prime minister Benjamin Netanyahu personally, engaging in dirty tricks undermining international human rights bodies who might be antipathetic to Israel’s political leadership.

The ahistorical comparison to nazism is inevitably and glibly invoked by one speaker. But Gaza, however horrendous, is not the same as the Holocaust. This specious parallel is all too readily available; the bombing of Dresden is the more obvious comparison. At all events, the anguish of Gaza is brought into pin-sharp focus.

NAZA screened at the Venice film festival .

I turned off my algorithm for 24 hours. Is this how social media used to be? | Social media | The Guardian

Keyword – Media
Trefwoorden – Social media, Technology, Instagram, Facebook, Australian politics, Meta
Title – I turned off my algorithm for 24 hours. Is this how social media used to be? | Social media | The Guardian
Author – https://www.theguardian.com/profile/caitlin-cassidy
Link – I turned off my algorithm for 24 hours. Is this how social media used to be? | Social media | The Guardian
Publish date – 2026-09-10T15:00:43.000Z
Category – News
URL – https://www.theguardian.com/media/2026/sep/11/i-turned-off-my-instagram-algorithm-opt-out-social-media-reforms-australia

I have a confession. I love my social media algorithm. It is a perfectly curated window into my insane and inquiring mind. It knows precisely which videos will tickle me and which memes will gently distract me from the slow collapse of humankind.

On Tuesday the Australian government announced “world-leading” reforms that would force social media platforms to allow users to opt-out of algorithms, dubbed “my feed, my way” . On the same day, I was delighted to be confronted with a video on Instagram of a woman accidentally spilling a bucket of eels on a Chinese train. Dozens of eels slithered among the passengers, who appeared not as surprised as I would have expected.

In bed that night, after sending the video to several friends and watching it multiple times, I lamented to my partner how I would find content like this if my accounts weren’t at the whim of the algorithm gods. “You can still search for eels,” he said. But would it be the same?

So, for 24 hours, I decided to manually turn off my algorithm via little-known settings on Instagram to get a sense of how the reforms might change my feed. This feature – accessed simply by tapping on the Instagram logo at the top of the home screen – allows you to limit your feed to posts from accounts you are following, in chronological order. This is basically what social media feeds, including Facebook, looked like when they started.

Would I be thrust back into the old days of social media, to how things were before artificial intelligence and Elon Musk bought Twitter and everything became an ad?

As a reminder of how things used to be, I scroll back to my first posts on Instagram and find sepia-heavy pictures of trees, gigs and friends. “The SKY,” says one, simply showing a sunset.

I am gripped with nostalgia for 2012, when all my posts got eight likes and no comments and I only followed two dozen close friends from school.

For a truly “authentic” social media experience, I trawl through my contacts and unfollow any account that isn’t a person I have met in real life. It is refreshing to unfollow news accounts, and politicians, but sad to let go of funny influencers and meme accounts and chefs.

“Goodbye, Ottolenghi,” I think wistfully. “Farewell, woman from Dallas Cowboys cheerleaders.” In total, about 100 accounts get the axe. I refresh my feed, and it only takes about 10 minutes of scrolling to run out of content to look at.

For the first time in years, Instagram informs me I have reached the “End of following”. “There are no more posts from accounts that you follow from the past 30 days,” it says.

I am floored and unmoored. Each time I refresh my feed for the next few hours, there is nothing new for me to mindlessly scroll. Instinctively, I keep clicking on the app but it’s futile. Is this how social media used to be? A tool to communicate with people rather than a way to remain constantly distracted?

What disturbs me, though, scrolling through a feed that should theoretically be made up of friends and family updating me about nice moments in their lives, is that it still feels hollow and impersonal.

Mostly, people are using it for self-promotion, whether it be posting about something they’ve published, projects they’ve done, brand partnerships or attempts to “go viral”. The only ones who seem to be using social media as it used to be are my mum and her friends, who still upload happy snaps with abandon. This is soothing but also very boring. And do I really need to know or care that someone I met backpacking in 2015 is appearing at an art festival in Amsterdam?

During my lunch break, instead of hitting the apps, I read my book and look at my surroundings. It’s nice. Maybe the solution is not to opt out of algorithms but to opt out of social media altogether.

The justification for turning off algorithm-driven content makes sense. The federal government and many experts have raised concerns about how dangerous and divisive content can be pushed into people’s feeds, drawing them further and further into rabbit holes.

I have watched on with concern as figures from the “manosphere” gain traction across the world alongside the rise of far-right parties, and how thinness appears to be the new norm in Hollywood, with eating disorder content proliferating on X, TikTok and Instagram.

Thankfully, this has not been my social media experience. According to Instagram’s AI summary of my algorithm, a little-known feature of the app, I enjoy “community events” and “saving furry friends”, with a particular penchant for content related to the “Sydney food scene” and, somewhat vaguely, “Australia” (click on the reels icon and then the double-heart symbol in the top-right corner to see yours).

My “For You” page is a haphazard collection of animals, food and gossip about reality TV. The top posts are an old man who summarises the latest episodes of Below Deck Mediterranean, a dachshund being pet with a spatula and someone making a cake with the face of Edward Cullen. It knows me so well!

But is this healthy? Do I really need to spend my time watching AI-generated dogs dancing in the shower, or marvelling at a man attempting to eat an extremely gigantic cone of soft-serve ice-cream? After 24 hours switching off, my conclusion? It’s numbing my brain and turning my own thoughts into slop.

Marvel’s Wolverine review – a gloriously conflicted lead is let down by crude, boring battling | Games | The Guardian

Keyword – Games
Trefwoorden – Games, Culture, PlayStation 5
Title – Marvel’s Wolverine review – a gloriously conflicted lead is let down by crude, boring battling | Games | The Guardian
Author – https://www.theguardian.com/profile/keithstuart
Link – Marvel’s Wolverine review – a gloriously conflicted lead is let down by crude, boring battling | Games | The Guardian
Publish date – 2026-09-10T15:00:40.000Z
Category – Culture
URL – https://www.theguardian.com/games/2026/sep/10/marvels-wolverine-review-a-gloriously-conflicted-lead-is-let-down-by-crude-boring-battling

I t was always going to be difficult to follow Spider-Man. Insomniac’s three games based around the web-slinger are masterpieces of superhero wish fulfilment, allowing you to swoop above a depiction of Manhattan alive with graffiti artists, roving journalists and gun-toting gangsters. If anyone should be up to the task, it’s Wolverine. A beloved Marvel stalwart, his life much darker and bloodier than Peter Parker’s, he seems the ideal protagonist for a moody action adventure. Yet somehow this well-made game falls short of its potential.

Set years before the founding of the X-Men, Marvel’s Wolverine sees a disenfranchised Logan falling back in with Sabretooth and Mystique when their mentor Nathaniel Essex is kidnapped by mutant-hating billionaire Bolivar Trask. This archetypal tech bro has a disturbing plan for world domination and the X Team are out to stop him – but there is a secret buried in Wolverine’s past that’s about to cause an eruption. It’s a decent setup, filled with the sort of intrigue, violence and Freudian tension we expect from the X-Men.

At its heart, though, Marvel’s Wolverine is, like its hero, an unreconstructed brawler. From the start, you can dodge, parry, shred attack and leap attack with speed and savagery, but as you earn XP, you unlock new techniques and combos as well as powerful special moves such as the tornado spin, which damages enemies all around you in a flurry of blades, or the spiral strike, which lets you drill through an enemy to escape a crowd. Your main combo attack is the barrage, accessed by hitting shred repeatedly, but this can be closed with a leap attack or other unlocked techniques for extra damage, and to stagger opponents. On top of this you can also unlock new DNA strands, which provide buffs to your health and cooldown speeds. The highlight, though, is the three-stage rage meter, which builds as you damage and parry enemies. At each stage you get more powerful attack and defensive stats, and at the final stage you become an almost indestructible machine of carnage, which is immensely liberating.

But while fights feel smooth and empowering, there is rarely any need to be creative or experimental. In the Spider-Man games, the character’s grace, his web-throwing, the three-dimensional nature of his movement, all encourage you to fight beautifully ; here I was reminded of 80s beat-’em-ups, or PS3 brawlers – a bludgeoning production line of identical fights against increasingly over-familiar enemy types. Sure, this fits with Wolverine’s character, but similar melee-based brawling adventures such as Devil May Cry and Bayonetta provide deeply layered combat systems and diverse enemy types which reward (and often demand) varied techniques from players. I survived a huge majority of skirmishes in the default difficulty setting by pummelling parry and switching between linked shred attacks and leaps, opening and closing barrage combos in the process, while letting rip with specials whenever they came online. The boss battles, which felt extremely familiar and at times cliched, demanded a similar approach, just with better timing and more patience.

Similarly, the Insomniac team warned us to expect a more tightly structured environment than in the Spider-Man titles, and they were not kidding. Wolverine is mostly linear, thrusting us from set-piece to set-piece in a globe-trotting race against time and plausibility. When we do get to big, inviting cities such as Madripoor or Tokyo, we find roads closed off and invisible walls directing us back to the action. The whole world feels like a theatrical backdrop, untouchable and aloof, and many miles from the bustling metropolis we got to live in and explore as Spidey. Yes, we all know this makes sense – Wolverine is by nature a rootless character, an inveterate drifter, but presenting us with a Tokyo so richly detailed and visually seductive, only to lock most of it off, feels almost cruel.

In contrast, the game’s interpretation of Logan is a triumph. Through exquisite character art and animation, and a brilliant performance from Liam McIntyre, he comes alive as a flawed, often unwilling hero, capable of extreme brutality and touching vulnerability. His rivalry with Sabretooth and his blossoming relationship with Jean Grey are intricate and involving, resulting in some truly moving scenes. But you play no interactive part in the linear story or its relationships, and the few attempts at offering puzzles tied in with the narrative are hurriedly designed and quickly abandoned. We’re told that Wolverine’s past trauma will be explored, but for much of the game this comes via snippets of lore that you unlock by competing in mini-challenges such as timed parkour runs and horde battles against waves of baddies. It feels like a rather insensitive way to portray and process PTSD. The climax of the game, when it comes, is an absolute technical marvel, a Homerian clash of super powers, but sadly its impact is lessened by far too many exposition flashbacks and airy metaphysical deviations.

Marvel’s Wolverine remains a lovingly crafted, beautifully polished hack-’em-up that will no doubt thrill Wolverine fans who want to eviscerate as many enemies as possible while looking out for X-Men easter eggs, and pausing once in a while to have story and subtext thrown at them. But despite the full-bloodied use of Wolverine’s claws and a generous array of moves and combos, combat lacks both the bone-crunching impact of the Batman Arkham games and the balletic joy of Spider-Man. As the game goes on and the enemies line up, it feels increasingly like a chore. Logan becomes what he always dreaded: hired muscle.

There is so much seductive and emancipating rage in this game, in its story, its combat mechanics, its gloriously conflicted protagonist. But the crescendo always feels like it’s just out of reach, like an argument in another room, or a war on the news.

‘Patients’ who pay $200,000 to be frozen after death are waiting to be reborn in an Australian shed | Cryonics | The Guardian

Keyword – Science
Trefwoorden – Cryonics, Death and dying, Health, Society, Australia news, Science, Insurance (Australia), New South Wales, Rural and regional Australia
Title – ‘Patients’ who pay $200,000 to be frozen after death are waiting to be reborn in an Australian shed | Cryonics | The Guardian
Author – https://www.theguardian.com/profile/catie-mcleod
Link – ‘Patients’ who pay $200,000 to be frozen after death are waiting to be reborn in an Australian shed | Cryonics | The Guardian
Publish date – 2026-09-10T15:00:40.000Z
Category – News
URL – https://www.theguardian.com/australia-news/2026/sep/11/inside-australia-cryonics-facility-holbrook-nsw-frozen-bodies

I’m standing atop a very tall ladder, peering down through a haze of liquid nitrogen vapour into a giant stainless steel flask containing three smaller containers.

Inside the smaller wedges – which are labelled 005, 006, 007 – are three of Peter Tsolakides’ “patients”. The frozen bodies belong to people who, before their death, paid handsomely to be cryogenically frozen in the hope of one day being brought back to life.

The ladder is inside a normal-looking shed in an industrial estate in Holbrook in regional New South Wales . Next to the shed is a grassy block strewn with several wrecked Hondas. Across the road is the local fire brigade.

Since it opened in 2023, the shed has housed the southern hemisphere’s only cryonics facility. Inside, seven patients are “suspended” head-down in liquid nitrogen at -196C. Four to a flask – a dewar, as they’re known in the business.

Tsolakides’ company, Southern Cryonics , is selling people “a chance of life extension”.

The gamble costs more than $200,000. Experts say there’s no way it will work.

Cryonics, they explain, remains a “dream”. Any attempted resurrection would be akin to taking a defrosted, and decidedly mushy strawberry, and believing it could be made firm and vibrant again.

But proponents say cryonics offers adventure. And a glimmer of hope of a longer or potentially limitless life.

Tsolakides, the chair of Southern Cryonics, makes no promises. “Basically, you need to have conquered death, cured all diseases and then be able to bring people back from the dead,” he says.

He puts the likelihood of his patients being brought back to life in 250 years’ time at about 10%. That’s more than nothing, he says.

But as with any risky venture, it pays to read the fine print.

A shed and a submarine

Holbrook is small town off the Hume Highway halfway between Melbourne and Sydney. It’s home to the decommissioned submarine HMAS Otway, stranded in a park 250km from the ocean.

Southern Cryonics is one of six such facilities in the world, according to its operators. There are two in the US and one each in Switzerland, China and Russia.

It’s thought there are about 1,000 people cryogenically frozen worldwide. Tsolakides describes the community as “tight knit”.

“Almost nobody’s interested in cryonics,” he tells Guardian Australia. “The people who we get joining us are people who’ve had a sort of life interest … but never knew it was available” in Australia.

Southern Cryonics chose Holbrook for its storage facility because of its proximity to Sydney and Melbourne and the fact it’s unlikely to be hit by earthquakes or floods.

The cryonicists need somewhere relatively safe given that patients are frozen indefinitely. They’re in the dewar until humanity develops the technology capable of “reviving” them; or, as their contract stipulates, the company goes bust. In that case, their body may be “disposed of”.

Conveniently, Holbrook was already home to a cattle-breeding association, and hence a delivery destination for the liquid nitrogen needed to freeze bull semen and embryos.

Southern Cryonics has two dewars so far. They’re basically big Thermos bottles.

Inside one are the first four of Tsolakides’ patients to be frozen. In May 2024, a man who died in his 80s was the first to be loaded upside down in his Trivial Pursuit-style quarter-cylinder wedge.

The second dewar has room for one more patient. Being in the shed, looking down into that space, I feel an immense loneliness.

Tsolakides says women are less likely than men to be interested in being frozen. That’s because, he suggests, women don’t like the idea of waking up in a future without family or friends.

‘A very strict protocol’

I am the first journalist allowed into the shed since the initial suspension in May 2024.

The shed is unremarkable apart from the two towering dewars – and a crash-test dummy, fully dressed and lying on the floor. It was used to test the winching mechanism for depositing bodies into the dewars.

Jim Davis, from Parkes Liquid Nitrogen, is there to top up the dewars. The metal flasks release plumes of vapour when they’re refilled. They were initially topped up once a month but that’s been increased to fortnightly at the request of two early clients who were worried about supplies running low after their mothers died and were suspended.

Davis also delivers the icy liquefied gas to police dog and cattle breeders, hospitals, engineers and human IVF clinics. “If they’re freezing it, I’m doing it,” he says.

Demand is increasing all the time, and supplies must be replenished regularly, Davis says.

You can’t seal liquid nitrogen in a vessel without the container blowing up, meaning it slowly escapes. “If I sealed one of these tanks, mate, the building wouldn’t be here,” he says.

To give patients the best chance of avoiding cellular destruction, their body undergoes an eight-hour “vitrification” process as soon as possible after death, Southern Cryonics says.

Another of Tsolakides’ companies, CryoPath, arranges a third-party medical perfusionist company to carry out the vitrification.

After someone dies, their body is cooled as quickly as possible – including by placing ice packs around their head. The corpse is then pumped with antifreeze-like embalming chemicals that turn it into a “glass-like state”, Tsolakides says, hopefully protecting it from the extreme temperatures inside the dewar.

“It’s a slow process,” he explains. “You have to follow a very strict protocol.”

After a body has been “stabilised” – usually at a funeral home – it’s transported to Holbrook and stored upside down. But not every patient in the shed has undergone this procedure. Some underwent a “straight freeze”.

In the Southern Cryonics contract, clients are asked to acknowledge that any known cryonic suspension method will probably result in physical damage to their body, which may be irreversible. The contract notes there will be another fee, yet to be determined, for any future revival.

Science v ‘mysticism’

Associate Prof Saffron Bryant, a cryopreservation expert at RMIT University in Melbourne, says current science “does not support our ability to quite preserve a whole body at this time”.

Bryant says cells, embryos and blood products can be successfully “cryopreserved” through vitrification. She says it’s “sort of like antifreeze you might put in a car” to prevent ice forming and protect cells from damage.

But it is not possible to deliver a cryoprotectant to everywhere in the body or even, at this stage, to a single organ.

“If you’re trying to cool a whole body down at the same rate, you’re going to have the outside, like the skin, cooling down faster than the inside,” she says. “We [use] that strawberry analogy – where things sort of get mushy.”

Bryant says even if it were possible to deliver cryoprotectant to the whole body and cool it at the correct rate, the underlying cause of death would remain.

The “heart attack or the Alzheimer’s or whatever it was that killed them” happened and no amount of freezing could reverse that, the academic says.

As to whether it’s possible to revive someone’s consciousness along with their physical body, Bryant considers this question to be more in the “realms of mysticism” than science.

Asked if she thinks Southern Cryonics is a scam, Bryant replies: “I’m not allowed to answer that.”

The initial stabilisation process costs an estimated $60,000. Clients then have to pay a further $150,000 to Southern Cryonics for their indefinite storage and a $350 annual “membership fee”.

The company “demands payment upfront” and Southern Cryonics recommends people take out a $210,000 life insurance policy.

Tsolakides says it costs about $5,500 a year to keep a patient suspended. Most of that goes towards liquid nitrogen and staff costs.

He plans to invest $100,000 from each client in “blue-chip” funds which he says could result in a collective pool of billions of dollars over the 250 years he estimates it will take for revival to become feasible.

On its website, Southern Cryonics says most suspensions are funded through life insurance and it can help people obtain a policy through a broker.

But Tsolakides acknowledges only one Australian customer’s insurer has agreed to pay so far and it was reluctant. He knows of “two or three” major insurers that will pay for cryonics but he won’t name them.

The Council of Australian Life Insurers says it can’t verify or endorse claims made by Southern Cryonics, CryoPath or any broker about using life insurance to fund cryonic suspension.

Its chief executive, Christine Cupitt, says nominating a cryonics provider as the beneficiary of a life insurance policy is a “significant decision” that people should consider carefully.

‘It is a dream’

Dr Kate Falconer, an Australian legal academic who specialises in death law and teaches at University College Cork in Ireland, says the cryonics community is made up of a small number of “diehard true believers”.

“Look, I think they probably do believe it,” she says. “But at the end of the day, it is a dream. There’s nothing concrete there.”

Falcolner nevertheless shows her students a New York Times video from 2015 where a young woman with terminal cancer talks about having her brain frozen after death.

“It’s incredibly moving [and] it really does hit home that there are some people who are choosing it because it is their only hope of any kind of long life.”

The latest suspension at the Holbrook facility occurred in June after a man in his 90s died. Southern Cryonics’ youngest patient is a woman who died in her 40s and whose premature death devastated her family.

The facility manager, Philip Rhoades, says he once preserved the brain tissue of a 15-year-old boy who took his own life. That was at the request of the teenager’s parents.

The preservation was done by Rhoades’ earlier venture, the Neural Archives Foundation, a registered charity which claims to preserves brain tissue as a “historical archive”.

Rhoades says the organisation makes use of “normal biomedical storage” across Australia. His own parents’ brains are preserved along with 12 other human brains and three dog brains.

Rhoades is a left-leaning vegetarian with a big family but no children of his own. He was planning to open a “life extension village” near his home in Cowra, in NSW’s central west, but says that was foiled by red tape.

“There was too much bureaucratic stuff,” he says. Instead, he’s thinking of turning the block into a GP clinic adjoined by a “biomedical research facility” for “radical life extension treatments”.

When he dies, Rhoades would love to be “uploaded to a supercomputer as soon as possible”. But as he doesn’t think that will be possible given that he’s in his 70s, he plans to be frozen and stored in the Holbrook shed.

Future generations will want to revive their great-great-great grandparents, Rhoades says.

“If the technology is possible at all … I think it will become very popular to talk to revivees.”

He thinks patients could be revived by 2080 and that someone who had a “good preservation” has more than a 50% chance of making it. But he knows there are no guarantees.

“If you get woken up in the future, you’ve hit the jackpot, really.”

Secret systems used by Israel in mass killings of Gaza civilians revealed in new film | Israel | The Guardian

Keyword – World news
Trefwoorden – Israel, Gaza, Venice film festival, Documentary films, Israel-Gaza war, Palestine, Middle East and north Africa, World news, Film, Culture, Festivals, NAZA
Title – Secret systems used by Israel in mass killings of Gaza civilians revealed in new film | Israel | The Guardian
Author – https://www.theguardian.com/profile/emma-graham-harrison,https://www.theguardian.com/profile/xanbrooks
Link – Secret systems used by Israel in mass killings of Gaza civilians revealed in new film | Israel | The Guardian
Publish date – 2026-09-10T13:42:20.000Z
Category – News
URL – https://www.theguardian.com/world/2026/sep/10/secret-systems-used-by-israel-in-mass-killings-of-gaza-civilians-revealed-in-new-film

Testimony from 24 Israeli military insiders ​on the secret ​systems used in ​the war on Gaza​ has been revealed in a new documentary film about the mass killing of Palestinian civilians.

NAZA, a film from the Oscar-winning Israeli directors Yuval Abraham and Rachel Szor, was shown at the Venice international film festival on Thursday as the only documentary competing for its prestigious Golden Lion award.

The film’s title comes from an Israeli military acronym used euphemistically to refer to civilians expected to be killed in a military attack. Produced by the Guardian , it features extensive testimony from Israeli intelligence officers and soldiers involved in the surveillance and remote killing of Palestinian civilians.

Interviews were filmed at night on rooftops in Tel Aviv, on the condition of anonymity because of the risks involved in speaking publicly about Israel’s war activities. The appearance and voices of participants in the film were digitally altered to disguise their identities.

The interviewees detail the secret methods used by the Israeli military in Gaza , including AI-based systems built to identify large numbers of potential low-ranking Hamas targets, who were then bombed in their homes at night, in the knowledge attacks would also kill their families.

The Israeli military hacked into phones to identify the location of such targets, and covertly listened into conversations with their wives and children moments before they were all killed.

The film also features first-person accounts about the destruction of neighbourhoods where the Israeli military estimated that up to 25% of residents were still sheltering in their homes, the systematic burning of civilian homes, and the killing of civilians at a food distribution site.

Abraham said at a press conference in Venice on Thursday: “We just told these officers: ‘Please describe to us what you did. How do these systems work? Sketch it out for us.’ Sometimes, in just asking the questions, you get the answers.

“Some of them did not express remorse and some did. Some spoke out of indifference, some out of pride.”

Several interviewees worked in a secret intelligence unit that reports directly to the office of Israeli prime minister, Benjamin Netanyahu; one said their mission was to “thwart peace”.

“We made this film out of a sense of obligation to use our position as Israeli film-makers and journalists to examine the systems behind the mass killing of Palestinian civilians for which our country is responsible,” Abraham and Szor said in their directors’ statement.

The directors stressed the film’s focus was not on “sporadic war crimes committed by rogue soldiers”. “It is on the orders themselves, the policies, the accepted practices, the language and logic that make those practices possible, and the people who operate within them,” they said. “The system and its cogs.”

The documentary was co-produced by James Wilson and executive produced by Jonathan Glazer, the same team behind the Oscar-winning film The Zone of Interest.

The film received a nearly 25-minute standing ovation after its screening, according to Variety, which called it a record for length of applause not just at Venice but at any major film festival and reported that Glazer embraced Abraham and Szor as it went on, while some members of the audience held up Palestinian flags.

NAZA builds on revelations first published by the Israeli-Palestinian publication +972 Magazine, the Hebrew-language outlet Local Call and the Guardian between 2023 and 2025. It was filmed and produced under tight security because of the risk to confidential journalistic sources, and its contents have remained a closely guarded secret before Thursday’s premiere.

Paul Lewis, the Guardian’s head of investigations and an executive producer on the film, described NAZA as the culmination of “years of painstaking work to uncover and verify the systems used by Israeli military intelligence in Gaza”.

Abraham said making the documentary had provided space to explore the collective impact of that work. “In this film we’re talking to 24 people. We are looking at systems of mass killing. There is something about cinema that allows you to explore structures and systems and how you put things together.”

Before the premiere, Alberto Barbera, the Venice film festival’s artistic director, told journalists NAZA would be “truly groundbreaking”, calling it “a politically disruptive and cinematically extremely interesting work”.

“It’s not just any collection of interviews,” Italy’s Cinecittà News quoted Barbera as saying. “It took them three years to convince these Israeli intelligence and military officials to share the work they did when the invasion of Gaza began, and I assure you, their testimonies are shocking.”

Israeli attacks in Gaza since 2023 have killed more than 73,000 Palestinians, the majority of them civilians, and injured more than 174,000 others, together representing more than 10% of Gaza’s prewar population.

Israeli restrictions on food shipments created a man-made famine last summer, and the Israeli military razed or damaged more than three-quarters of homes, so surviving Palestinians are now crowded into tent camps with little access to clean water or sanitation.

Israel launched its war after the 7 October 2023 Hamas-led attacks on Israel, when more than 1,200 people were killed and 251 taken to Gaza by militants. The majority of the dead and hostages were civilians.

Abraham and Szor were two of the four co-directors of No Other Land, which won the Oscar for best documentary in 2025 .

Drawing a connection between the two films, the directors said: “In the film No Other Land, we spent five years, together with [Palestinian co-directors] Basel Adra and Hamdan Ballal, documenting the army destroying Palestinian homes in order to paint a larger picture of a system of occupation and ethnic supremacy aimed at the removal of Palestinians from the West Bank.

“In NAZA, we are similarly connecting the dots of a system, gathering the testimonies of two dozen intelligence officers and soldiers and depicting the military systems used to perpetrate what a UN commission and the world’s leading human rights groups have described as a genocide.”