Ten years on, we’re living with the ghosts of Brexit. Reform and Restore know that – the rest are playing catch-up | Aditya Chakrabortty | The Guardian

Keyword – Opinion
Trefwoorden – Brexit, European Union, Politics, Europe, Foreign policy, UK news, David Cameron, Boris Johnson, Nigel Farage, Reform UK, Rupert Lowe, Conservatives, Labour, Restore Britain
Title – Ten years on, we’re living with the ghosts of Brexit. Reform and Restore know that – the rest are playing catch-up | Aditya Chakrabortty | The Guardian
Author – https://www.theguardian.com/profile/adityachakrabortty
Link – Ten years on, we’re living with the ghosts of Brexit. Reform and Restore know that – the rest are playing catch-up | Aditya Chakrabortty | The Guardian
Publish date – 2026-06-18T05:00:01.000Z
Category – Opinion
URL – https://www.theguardian.com/commentisfree/2026/jun/18/brexit-ten-years-on-reform-restore-labour

W hat story does Britain tell itself about Brexit , 10 years after the vote that transformed the country? Watch TV or read the papers and you find one of two viewpoints: from the common room or the conference room.

The common room story is about chums and how they fall out. Friendships forged on hallowed playing fields and over Cotswold kitchen suppers, then dashed on the rocks of ambition. The new BBC documentary Brexit: A Very British Civil War is the latest in the genre, recounting what Dave said to Boris said to Michael said to Dom. It oohs at the deals struck over sets of tennis, and aahs at the then prime minister threatening dissenters with: “I will fuck you up for ever.” This is David Cameron as box office: the Scarface of the Bullingdon Club. And Brexit, you understand, was simply an Oxford fracas that got out of hand.

Over in the conference room, the suits bemoan the damage to GDP and whether one day the European club might let us back in. Brexit, you see, is about trade and contracts.

Entirely missing from either story is the streets. Those rainy streets outside polling stations where on 23 June 2016 people queued up, many of them for the first time in years. The slim majority opting to leave did so not necessarily because they cared much about the EU, but as part of a giant vote against the establishment. For months the government, the opposition, the Treasury’s Project Fear department, the Bank of England, the Confederation of British Industry, the Trades Union Congress and individual employers said Britain would be Stronger In – and still the public turned out to give their masters a huge raspberry.

In the weeks and months afterwards, politicians, newspapers and thinktanks constantly tried to show they were in tune with this public anger. “We hear you!” said one politician , a guy called Andy Burnham who had recently lost his second bid to become Labour leader. In response, Boris Johnson later dabbled in something called “levelling up”, which turned out to be a slogan rather than a policy. Ten years later, this revolt has been struck from the official narrative.

Yet it is this Brexit story, the story of the streets, that is easily the most important of the three. It directly shapes our politics today. You can draw a clear line from the mutinous mood of that summer to today’s byelection in Makerfield, Wigan, where in 2016 almost two out of three voters went leave . Ten years ago, voters were learning to voice their distrust of the two-party system. Politicians of both colours had lied to them about the stability of their banks, about austerity ending soon and wages rebounding – and now they wanted revenge. This week in Makerfield, not one candidate on the ballot paper supports the prime minister. Reform UK and Restore Britain, two rightwing parties that didn’t even exist a few years ago, will take a lot of votes.

I remember seeing that anger up close. Some weeks before the actual referendum, when the silverbacks of Westminster were still sure they had it in the bag, I reported around south Wales . What I saw and heard convinced me that this Labour heartland would vote against their party’s advice and for the cause fronted by Nigel Farage, in an act of self-harming nihilism. I remember visiting the village of Llanhilleth, and visiting the Miners Institute that towered like a cathedral over the workers’ cottages. It had been built with miners’ subs and then, in recent years, rescued from dereliction with Brussels money.

Inside was a barrel-chested man called Gareth Meek, who pulsed with anger – whether just towards this Asian lad from a posh newspaper or others, I don’t know. He used to be in carpets, until his back gave out; now he was here in this empty monument of better times. He was voting leave, he said, although his anger wasn’t aimed at the “Eurocrats” but Margaret Thatcher and Tony Blair and Cameron. “They sold the country out.” How would leaving help? He shrugged. “The damage is already done. You ain’t going to pull that back now.”

Not everyone who voted for Brexit was from a dead factory town. I sometimes characterise that vote as two groups – the postindustrial and the retired, both now disconnected from the formal economy. At a fete in east Dorset, a well-to-do pensioner told me all about the migrants overrunning London, before admitting she barely ever visited the place. “I just want my country back,” she said. Again, that twitch of rage.

The politics expressed itself as anti-establishment and anti-immigrant, although it often seemed to me even then that Romanians were merely the proximate target: it was mainly about feeling you and your town had fallen too far down the pecking order. While running a Vote Leave street stall, Callum Vaga told me: “I look out for men, especially from ethnic minorities and most of all if they appear less well-off.” But even in 2016, anti-immigrant feeling could easily turn into violence. The murder of Jo Cox by a neo-Nazi was the most horrific example but a few days after the vote, Polish-origin schoolkids in Huntingdon got cards calling them vermin.

Ten years ago, it was “breaking point” posters ; today, it is “pure cold rage”. The extremism was always there, but Westminster and the information economy has allowed it to become mainstream. In a forthcoming survey for Hope Not Hate, people were asked if “violence can be necessary to defend something you strongly believe in”: 29% agreed.

Rather than tackle the economic and social basis of that disaffection, Westminster left it to Farage to turn it into ethnic resentment. Even today, Starmer’s EU reset is solely aimed at the conference room. For the streets, he took his cue at the outset of his leadership from the branding agency that advised him : “The use of the flag, veterans … give voters a sense of authentic values alignment.” What began 10 years ago as an anti-elite revolt lives on today with a political establishment chasing their voters for fear of being left behind. As the French revolutionist Alexandre Auguste Ledru-Rollin is supposed to have said in the tumult of 1848: “There go the people. I must follow them, for I am their leader.”

Aditya Chakrabortty is a Guardian columnist

Brahms: Violin Sonatas album review – Ehnes and Armstrong’s performances exude an effortless rightness | Classical music | The Guardian

Keyword – Music
Trefwoorden – Classical music, Music, Culture, Johannes Brahms
Title – Brahms: Violin Sonatas album review – Ehnes and Armstrong’s performances exude an effortless rightness | Classical music | The Guardian
Author – https://www.theguardian.com/profile/clive-paget
Link – Brahms: Violin Sonatas album review – Ehnes and Armstrong’s performances exude an effortless rightness | Classical music | The Guardian
Publish date – 2026-06-18T14:00:04.000Z
Category – Culture
URL – https://www.theguardian.com/music/2026/jun/18/brahms-violin-sonatas-album-review

W ritten between 1879 and 1888, Brahms’s three violin sonatas are the work of a man in his creative prime. Between them, they cover a considerable emotional span, from the lyrical, ultimately wistful G major with its rain-dappled finale to the structural complexities of the fiery D minor. The central A major sonata, good natured yet intimate, is one of the composer’s sunniest and most endearing works.

James Ehnes and Andrew Armstrong met in Winnipeg in 1991 when the Canadian violinist was 15 years old and the American pianist was 17. The longevity of their partnership pays dividends here in performances that exude an effortless rightness. In the opening of the G major, Armstrong is the wind beneath Ehnes’s wings, the two musicians in artistic lockstep, even if the recorded sound favours the brightness of the violin. Pacing is assured, phrasing shapely. The gently pattering finale, with Ehnes’s graceful double-stopping, suggests remembrances of times past.

In the A major sonata, the tone is ideally conversational, readily evoking 35 years of friendship. A soaring andante frames a lightly sprung ländler followed by a gently questioning allegretto grazioso. Technical assurance is a hallmark of the impassioned D minor sonata, where Armstrong’s chuntering rhythms are counterpoised with full-blooded acrobatics on violin.

Throughout, Ehnes eschews the leaner, edgier approach of, say Alina Ibragimova or Anthony Marwood. Instead, his seamless partnership with Armstrong bears comparison with the classic accounts of Josef Suk and Julius Katchen.

Listen on Apple Music (above)

There is a path to peace for Starmer and Burnham – even as their backers prepare for battle | Tom Baldwin | The Guardian

Keyword – Opinion
Trefwoorden – Andy Burnham, Makerfield byelection, Labour, Keir Starmer, Wes Streeting, Politics, UK news
Title – There is a path to peace for Starmer and Burnham – even as their backers prepare for battle | Tom Baldwin | The Guardian
Author – https://www.theguardian.com/profile/tom-baldwin
Link – There is a path to peace for Starmer and Burnham – even as their backers prepare for battle | Tom Baldwin | The Guardian
Publish date – 2026-06-18T10:00:03.000Z
Category – Opinion
URL – https://www.theguardian.com/commentisfree/2026/jun/18/keir-starmer-andy-burnham-makerfield-byelection

O ne of the many problems with our politics now is that only the loudest or most discordant voices seem to get heard. And there’s certainly no shortage of people from rival Labour camps mouthing off about what happens next if Andy Burnham wins the Makerfield byelection today. An apparently well-placed source in his team says they are preparing to launch an “ immediate leadership challenge ” against Keir Starmer on Friday morning, while another briefs that Burnham will hold off – but only for 72 hours because they dare not risk losing momentum. At the very least, there will be a steady escalation of threats and ultimatums.

Meanwhile, the prime minister is said to be barricading himself into Downing Street, where he remains determined to contest a challenge and, according to some reports, will insist any member of the cabinet backing his rival must quit . For instance, some of his aides have been operating on the assumption that Ed Miliband, who has done little to conceal his desire for Starmer to go, will resign over the next week. Although this is vigorously denied by the energy secretary, along with claims that he is “ghosting” the prime minister’s calls, it has not stopped some hardline loyalists expressing unnecessary relish at the prospect of a more enforced cabinet departure for Miliband.

All this suggests that the high drama post-Makerfield that most of the media have predicted will be duly delivered. Yet there are also softer, and therefore less often quoted, voices who counsel caution to Starmer and Burnham.

Those helping Burnham prepare for government recognise that, having not been a minister for 16 years or an MP for nine, he could do with a longer run-up before leaping straight into Downing Street. Some have concerns about a policy programme that, vibes aside, seems remarkably similar to that being pursued by the current prime minister. They worry about polls showing the Greater Manchester mayor’s rating with voters has slipped into net negative figures since he made plain his desire to run the entire country. Others know he risks alienating a section of Labour MPs and members who are loyal to Starmer and believe the government is finally beginning to notch up some real achievements. Burnham’s supporters say lessons have to be learned from Wes Streeting’s frantic and ultimately unsuccessful efforts to trigger a leadership contest last month when, as one puts it, he “tried too hard to kick down the door”.

And, on the other side of Number 10’s door, there are signs that good sense can still prevail. Although any minister publicly demanding Starmer’s ousting could obviously not remain in his government, the prime minister realises he cannot present himself as a force for stability by unleashing chaos and sacking everyone who privately wants him out.

Amid all the overheated hyperbole on both sides, perhaps cooler heads can prevent the government sliding into a civil war. After all, neither side can really want a divisive leadership contest when Britain faces such huge challenges at home and abroad. And surely everyone would recognise that if Burnham is to take over as prime minister he needs to be prepared.

Starmer’s closest allies now acknowledge that questions about his continued leadership will have to be resolved at some point over the coming months, but not just yet. There is a surprising amount of enthusiasm for offering Burnham defence and intelligence briefings on privy council terms, or transition talks like those governments give opposition parties before a general election. Starmer said yesterday he wanted Burnham to play “a big role” in government. One proposal under discussion would even see him being invited to join the cabinet , possibly in a new post for constitutional renewal, although others say this would just be seen as a hostile act designed to put him on the back foot.

A temporary truce would allow Starmer to push through his defence investment plan – the kind of thorny issue Burnham definitely does not want to inherit – while potentially exposing the challenger to the kind of policy scrutiny he has not faced before. One of Burnham’s allies says it would work to his advantage by giving “Keir time and space to realise he doesn’t much like the new reality, where he will be constantly questioned by people asking if Andy agrees”.

The biggest stumbling block to negotiations, however, would be over when and how any ceasefire would end. Burnham’s team want him crowned leader by the time of the party conference, which begins on 27 September. They are anxious about what a long delay would mean for an autumn budget for which figures will soon need to be submitted in advance to spending watchdogs – when they are unlikely to want Rachel Reeves to remain in her post to deliver it. But Starmer is not ready to contemplate a leadership fight this autumn – probably not even this year – and nor will he concede that his premiership is over by giving Burnham a timetable for departure.

The prospect of resolving such differences is made more remote because relations between the two men have been in deep frost ever since the last Labour leadership election in 2020, when Starmer had hoped to count on the Manchester mayor’s support and was taken aback by his initial refusal.

Although much depends on what voters do in Makerfield, where a Labour byelection victory – decisive or otherwise – is by no means assured, Starmer says he will speak with Burnham over the next few days. It would help everyone if this dutiful prime minister can find a way to talk honestly, properly and in private to the man who wants to replace him.

Sure, those noisy voices may well prevail in the end. They usually do. But before the carnival of carnage begins – now more than ever – there is a still small voice of calm that needs to be heard.

Tom Baldwin is a former adviser to Ed Miliband and the author of Keir Starmer: The Biography

Bellingham, England’s man for elite moments, kicks over the console table | World Cup 2026 | The Guardian

Keyword – Football
Trefwoorden – World Cup 2026, England, Croatia, Thomas Tuchel, World Cup, Football, Sport
Title – Bellingham, England’s man for elite moments, kicks over the console table | World Cup 2026 | The Guardian
Author – https://www.theguardian.com/profile/barneyronay
Link – Bellingham, England’s man for elite moments, kicks over the console table | World Cup 2026 | The Guardian
Publish date – 2026-06-17T22:56:20.000Z
Category – Sport
URL – https://www.theguardian.com/football/2026/jun/17/jude-bellingham-man-for-elite-moments-england-croatia-world-cup-opener

And breathe again. For the opening 45 minutes under the giant Victorian train station roof at the Dallas Stadium, England produced a performance that was a bit like watching one of those YouTube videos where an awkward and frightening Chinese robot has learned how to dance like Michael Jackson.

Dogged and occasionally convincing, but the kind of spectacle that does generally end with the robot falling off the stage. England didn’t just play like machines in that first half. They played like faulty machines, scared machines, contributing almost zero free-form football to a 2-2 half-time score that included two Harry Kane set-piece goals; the first a set piece from a set piece, a penalty after a corner, set piece squared.

Was this going to be the story here? Is this how we’re going to go down, in a kind of singularity, the death of hope, football as units of action, deathly set moves? Tuchel called it last September. Throw-ins are back. Corners are so hot right now. In that opening half England had those parts, but nothing much else in between.

At which point, the most important thing happened, not just in this game, but in Tuchel’s time with England. Credit must go to the manager for whatever he did to these players at half-time . And also to Jude Bellingham, who scored what would turn out to be not just the decisive goal in this 4-2 win , but also a moment of drive and energy that was completely at odds with everything to that point.

This wasn’t quite an individualist’s goal, a dribble, or a moment of craft. It was an expression of basic sprinting will. It was an angry goal, and in exactly the right way. Bellingham took the ball in the right channel, running on to a simple pass over the top, and just kept going, veering inside, all drive and focus, with a rising sense of inevitability. He had the speed to leave two defenders mooching in his vapour trail, and the skill to produce a fine, cold, guided finish into the far corner at a full sprint.

It wasn’t just that England were 3-2 up in that moment. Or that they looked like a team. More that they looked like they actually wanted to take part in a game of football, that this wasn’t just an activity to be undertaken out of fear and self‑loathing. For the next 10 minutes they swarmed all over Croatia , might have scored four, and gave a glimpse not so much of patterns of play, but of a willingness to actually do this, of the muscle, speed and ruthlessness that are undeniably there in this team.

It felt right that Bellingham should be the man to kick over the console table and bring something ragged and raw to the day. It is easy to criticise him at times, given the level of his fame and status, the slight sense of confusion as to what his attributes really are, whether he has the deeper gears, the super-strengths of an elite player, or just the mannerisms and the profile.

Some have suggested Bellingham is just a player of elite moments, the only answer to which is, well, he’s 22, and elite moments will do just fine thanks. We’ll take those. Not least when, as here, they can change the entire shape of the day, the energy in the room, perhaps even the way England are going to play here. With any luck the team can now breathe around him for the rest of this tournament. Most significant, by the end, with Marcus Rashford adding another, this felt like something entirely new. It was fun, free, a little rough. England can do this. Who knew?

The Dallas Stadium is a genuinely epic arena, rising up out of the dead heat of Texas plain like a crash-landed alien spaceship. Inside, it’s like entering some futuristic microclimate, a place to store your secret island, your ark-full of uber humans for the coming rapture.

Before kick-off the spectacle was almost overwhelming from the sealed press box high up in the gods, the huge glazed canopy roof, the red and white, the 160ft screen picking out the terrifying planetary-scale heads of members of the crowd.

The upper tiers were decked in the well-worn travelling England flags, the roll call of names, Huddersfield, Gillingham, Grimsby, like an alternative shipping forecast.

And the opening 12 minutes were all about Kane, who finally got to become a place kicker in an NFL stadium, scoring from a retaken penalty. A little later Kane got to realise his other childhood dream of scoring an Arsenal goal, heading in direct from Declan Rice’s corner after a Croatia equaliser.

England stalled from there. They began to totter on their feet, circuit boards smoking. Tuchel was present here in all black, with that familiar look of some founding American settler, a goggle-eyed Dutch farmer in a straw hat out there tilling the lands. He must take credit if not for the start, then for the way England altered the energy here.

And also for the balance that became apparent by the end in midfield. Whatever England achieve in the US is likely to centre on how well Rice and Elliot Anderson can drive the game. It seems Tuchel has a type in there: upright, willowy, floppy-haired right-footed Englishmen.

It would be a bit of a stretch to suggest anything that happened in Dallas could amount to an act of vengeance for 2018. But England did finally wrest control here against the deathless Luka Modric, 40 years old and a more gnarled figure, but still the same gliding, bobbing miracle of balance and technique.

Modric left the field soon after England’s surge. Croatia were probably always there for the taking. But there was hope here, and energy, and best of all something a little ragged and human.

‘The masturbation scene wasn’t a big deal’: Théodore Pellerin on tackling his new film Nino’s challenges | Film | The Guardian

Keyword – Film
Trefwoorden – Film, Culture, Drama films, HPV vaccine, Health, Cancer
Title – ‘The masturbation scene wasn’t a big deal’: Théodore Pellerin on tackling his new film Nino’s challenges | Film | The Guardian
Author – https://www.theguardian.com/profile/philhoad
Link – ‘The masturbation scene wasn’t a big deal’: Théodore Pellerin on tackling his new film Nino’s challenges | Film | The Guardian
Publish date – 2026-06-18T04:00:03.000Z
Category – Culture
URL – https://www.theguardian.com/film/2026/jun/18/theodore-pellerin-interview-nino-film-challenges-masturbation-scene

J ust six months after the world rallied to defend poor Paul Dano , vulnerability may now be a hot commodity for an actor. What is “weak sauce” for Quentin Tarantino, who attacked Dano, can be mighty savoury for others. So it’s good timing that Théodore Pellerin, with his gangly frame and huge eyes, exudes that quality in the new French character study Nino. Gauche, hesitant and withholding, Pellerin is magnetic as a young Parisian locked out of his apartment for a weekend after a papillomavirus (HPV)-related cancer diagnosis.

Pellerin explains Nino’s predicament, his inability to be candid with his loved ones, almost down to the cellular level. “His throat cancer isn’t insignificant,” he says. “It’s the part that links the head to the body. There’s a dissociation from the body – a distancing of his emotions. And because it comes from a sexually transmitted disease, his sexuality – a strong life force – is stunted too. So his mission is to speak and to ejaculate.” Urgently in the case of the latter: Nino must freeze his sperm as his treatment will make him infertile. His odyssey around Paris is the gen Z answer to French New Wave classic Cléo de 5 à 7 , which also revolved around a cancer diagnosis. Only this time, it’s about the impossibility of finding a good place to masturbate.

Reeling off his character’s diagnosis with cool self-assurance via a Zoom call from his home in Montréal, Canada, Pellerin doesn’t seem vulnerable in real life. Plaid shirt rolled up his forearms, with cropped brown hair and tidy oval glasses, he has the brisk air of a business student between lectures. He is actually between projects, waiting for a new shoot to begin in August having recently finished Tom Ford’s 18th-century drama Cry to Heaven.

His stock is rising fast, thanks not just to Nino but also to last year’s caustic psychological thriller Lurker, in which he played a parasocial LA hipster desperate to ingratiate himself with a pop star. In that film his vulnerability segues into a dangerous neediness, but it always seems to remain Pellerin’s centre of gravity. Even more strident roles – like a loose-cannon apprentice hoodlum in the 2018 Québécois crime film Family First , or the pyramid-scheme proselytiser tutoring Kirsten Dunst in the 2019 TV series On Becoming a God in Central Florida – have a disarming innocence.

Nino director Pauline Loquès, who also co-wrote the script, recognised that Pellerin has a particular quality. “Théodore had this ability to give life to silences,” she says. “They became charged with other dimensions – poetic, mysterious or psychological.” She insists that he understood the character she created better than her – quite a feat considering this was a very personal project, drawn from her outrage at the death from cancer, aged 37, of a family member she will only identify as “Romain”.

Pellerin pointed out that Nino is fundamentally a film about parenthood – which came as news to Loquès, despite the number of parental or quasi-parental encounters (including an aftershave-proffering Mathieu Amalric), and the suddenly accelerated biological clock ticking in the background. Loquès, 39, used to be a journalist. Did Pellerin feel there was any risk in signing up for her first foray into directing? Au contraire: “Plenty of big directors make really bad films. And if you write a magnificent screenplay, the film will be great – because you’re close to your subject, you’ve mastered it.”

He goes on: “I never had the impression of having to force anything, or add a layer of fiction on top of what I was ‘living’ with the other actors.” Maybe this ambience was what allowed him to succeed with the pivotal masturbation scene. It would have been easy to overdo it, or hit an unfortunate comic note, instead of making it a touching moment of liberation.

“It was a bit stressful for Pauline because she didn’t want to sexualise a moment that was really important for the film,” says Pellerin. “She was a bit uncomfortable talking to me about the scene. We just had to stick close to what we were really saying, and what it represented for the character and the film. I’d just played Karl Lagerfeld’s boyfriend Jacques de Bascher in a TV series , with an orgy scene where I masturbate in a T-shirt. So Nino wasn’t really a big deal.”

If Pellerin talks like someone seasoned, it’s because he got off to a quick start, spurred on artistically by both sides of the family. His mother, Marie, is a choreographer; his father, Denis, a painter. After attending a secondary school that specialised in dramatic arts, he starred in his first TV series, the popular school drama 30 Vies, aged 16. “I grew up in theatre dressing rooms, with the dancers from my mum’s troupe. So the theatrical space was one I loved. It was playful, personal. Being an artist wasn’t necessarily what I always wanted to do when I was young – but it’s never been an impossibility from my perspective.”

Pellerin is speaking to me in French, his Québécois twang growing as the interview goes on. He quickly racked up credits in his native tongue, playing a younger version of Vincent Cassel’s character in Xavier Dolan’s It’s Only the End of the World in 2016, and a highly annoying little brother and possibly mentally ill street tough in Family First. But he identified English-language roles as the way forward in his career, and learned the language to appear as a teenager struggling with his sexuality in 2017’s Never Steady, Never Still , opposite Shirley Henderson.

Sidling around the edges of Hollywood, with a brief appearance as one of Joaquin Phoenix’s fantasy sons in Ari Aster’s Beau Is Afraid , Pellerin hit on bigger acclaim with Lurker. His LA drawl in the film is flawless – and the same is likely to be true of the RP he had to master as a castrato music professor in Cry to Heaven. In anglophone roles, he says, it’s all a question of rhythm: “There’s a bit more of an intellectual process to go through with English, because phrases are constructed in such a way that, for them to have the right sense, consciously or unconsciously, you have to hit the right accents. In French, you don’t have to worry about the rhythm. In English, it’s more pap-a-pap-a-pap-pap-pap.” His hand vaults up and down an imaginary score, like a conductor’s.

Pellerin is landing leading roles in both languages now, but he needs time to work his way fully into them – he has spoken in the past of being slow. Loquès elaborates: “He often says, ‘I’m not a great actor but I know how to read a script really well.’ That’s the difference between him and other actors – he’s very strong at doing research upstream. It’s a place of expansion for him. Then he tries to forget it all before coming on set.”

The roles that have stayed with him are the ones he went to town on, unsurprisingly. With Family First, he feared he might remain permanently in a sadistic frame of mind, while Lurker’s milieu of celebrity leeches and hangers-on took its toll too. “It was a kind of cynicism. The feeling of rejection was very strong, because that’s what the character was going through in every scene.” Nino, however, was a character he didn’t want to let go. “It was more of a return to my life, to frivolity. I wasn’t confronting mortality in the same way. I found it hard: it was like a loss of poetry in my life.”

The way Pellerin is going, though, there will soon be other characters to mine. I want to ask if he is already slipping into someone else’s skin, upstream of this August shoot – but we’re out of time. He has already told me he has to go at noon sharp. It turns out he is digging into a character, though: his own. “Er, I’ve got my therapy session on Zoom now, so that’s what I’ll be doing with my psychologist.” And with a wry smile and a “merci”, he’s gone. Being vulnerable is a full-time job.

Nino opens in UK cinemas on 19 June

‘It’s so camp!’ The queer Doctor Who cabaret with dancing drag daleks | Doctor Who | The Guardian

Keyword – Television & radio
Trefwoorden – Doctor Who, Television, Culture, Television & radio, Fantasy TV, Stage, Burlesque, Drag
Title – ‘It’s so camp!’ The queer Doctor Who cabaret with dancing drag daleks | Doctor Who | The Guardian
Author – Isobel Lewis
Link – ‘It’s so camp!’ The queer Doctor Who cabaret with dancing drag daleks | Doctor Who | The Guardian
Publish date – 2026-06-18T11:04:38.000Z
Category – Culture
URL – https://www.theguardian.com/tv-and-radio/2026/jun/18/queer-doctor-who-cabaret-dancing-drag-daleks-gallifrey-cabaret

T he atmosphere backstage at the Doctor Who-themed queer, adults-only cabaret night is every bit as chaotic as you might imagine. Hairspray clouds air already thick with overlapping conversations between drag kings and queens, singers and burlesque artists. In its midst, Reece Connolly adjusts his ruffled shirt and rhinestoned bow tie, and turns to his fellow performers. “This is a genuine question: do you think these are too tight?” he asks, gesturing to his black trousers. “No, they’re hot,” replies cabaret all-rounder Mariana Trench. The other acts agree, encouraging Connolly to “give [the audience] what they want”. He nods, and looks to me with mock sincerity: “This is community. This is what community looks like.”

Being a fly-on-the-dressing-room-wall backstage at the Wales Millennium Centre is a heady, exhilarating and slightly overwhelming experience. But for the stars of Gallifrey Cabaret, this scene of “gorgeous chaos” (as red-headed, red-moustached drag queen Carrot describes it) is business as usual. The show, which tours the UK with a mixed bill of drag, burlesque, live music, comedy, aerial performance and dance, is celebrating its fifth anniversary this month with an extra-special extravaganza at the Clapham Grand in London, and keeps getting bigger and better. Even fire acts and a dog have been given the Time Lord twist – albeit not at the same time.

Anyone with the slightest interest in Doctor Who will know that the show has had quite a week. After weeks of whispers, an official announcement came last Wednesday: showrunner Russell T Davies and production company Bad Wolf are out, with the BBC cancelling the 2026 Christmas special and putting the franchise out to tender. Doctor Who is entering an undefined hiatus period. When it will next materialise remains unclear.

But on this April night in Cardiff, where the glittering “LGBTQ+ARDIS” has docked in the Millennium Centre’s cabaret space for a sold-out, three-night residency, fans have no idea of what’s to come. They arrive in throngs, excitable as ever – Cardiff, as the home of contemporary Doctor Who, is a popular destination among Whovians.

But it’s Gallifrey Cabaret ’s social media presence – particularly on TikTok – that has allowed the team to reach their desired crowd of nostalgia-obsessed millennials and Doctor Who’s powerful and expansive queer fanbase. The gay sex jokes at this unofficial tribute night will be off-putting to some, but drag performer So Faux says that they’re simply embracing Doctor Who’s “inherently queer” side. For all its 18+ content, this is a space where everyone is welcome, Connolly tells the crowd in his opening monologue … “as long as you’re not a cunt.” Or, for that matter, a child.

Gallifrey Cabaret (or “Galley Cab”, as the team call it) was Connolly’s idea. His partner, Carrot, was supportive, but unsure if it would work. “I was like, ‘No one’s going to come to this,’” they recall, mid-costume change in a pair of flesh-coloured shorts and a bright red wig. Yet the first show at London’s Royal Vauxhall Tavern in 2021 sold out weeks in advance – “which never happens in cabaret, especially in queer cabaret”, Carrot adds.

They knew they were on to something special. Within two years, Gallifrey Cabaret had expanded, claiming the 700-plus-seat Clapham Grand as its London base. Things really blew up in December 2024, when Russell T Davies himself came along to watch. “We went along expecting fun, songs and hoots. What we didn’t expect was so much joy. A community. A sharing. A safe space,” Davies wrote on social media.

Tonight Connolly, with his tight-trousered take on Matt Smith’s 11th Doctor, is the evening’s compere. A natural host, he’s unafraid to poke fun at himself and the audience of “neurodivergent queers” in attendance. The pronoun jokes come thick and fast, affectionately and without malice. Carrot, meanwhile, is lip-syncing as two of the Doctor’s ginger companions. First, they role-play Karen Gillan’s Amy Pond dancing (naturally) to Britney Spears’ If U Seek Amy, before returning in a wedding dress to do Raye’s Where Is My Husband! as Catherine Tate’s Donna Noble. Their wigs and facial hair match impeccably.

Connolly and Carrot are on stage at every show, along with performer-in-residence Trench. The rest of the lineup is drawn from the local scene, the performers choosing their act and music as well as making their own costumes. This is the “crème-de-la-them” of the cabaret scene, Connolly tells the crowd.

Instantly recognisable as Billie Piper’s Rose Tyler in her pink hoodie and pencil-thin 00s eyebrows, So Faux is representing Cardiff’s drag scene tonight. She’s going to be singing live, she tells me as she tight-lines her thick false eyelashes with an inky black pencil. Faux’s track of choice is a parody of Overload by Sugababes, featuring the tweaked lyrics: “Show me things I’ve never seen / The London blitz and a Slitheen.”

World-ranked, Manchester-based burlesque performer Cadbury Parfait has had a different journey to Gallifrey Cabaret. For one thing, she is far less of a Doctor Who nerd than the rest of the cast, and has gone for a sultry, silly striptease routine inspired by companion Martha Jones (Freema Agyeman) and her medical background. The soundtrack? Doctor Jones by Aqua. “It’s cheesy as hell,” she says, chuckling as she applies blush.

For Parfait, the chance to perform in a queer space such as Gallifrey Cabaret was one of the big draws. Like all the acts, she describes the inclusivity of these crowds. Connolly agrees: “They are a gorgeous audience. They’re so warm and so up for it.” You can sense it in the room. People arrive with their friends, and leave with new ones, bonding over shared fandom around the cabaret tables. The only thing that could annoy this crowd, Connolly admits, is “if I was to go out as a host and be like, ‘Series two, episode 10,’ when it’s episode nine”.

There are people who can (and do) mouth along with every lip-sync, but you don’t need to be a Doctor Who completist to enjoy Gallifrey Cabaret. Trench remembers bringing along their parents, who hadn’t watched since Matt Smith’s era. “I was like, ‘You won’t understand every joke, but you will know enough,’” they say. “Even if you don’t know anything about Doctor Who, cock jokes are funny.” Tonight, Trench is singing live as a “Drag-lek”, a high femme take on the Doctor’s long-feared villain, the Daleks. They’re wearing a blond wig which is actually two wigs stacked one on top of the other, and a light-up, Madonna-esque cone bra layered over a sequin gown.

Interestingly, it’s often the short-lived monsters or niche side characters from the years 2005 to 2010 who receive the best response. Representing the heavily memed one-episode villain brigade tonight is local drag king Matt Hazard. Even with his costume half on, the black mohawk wig and green tinged skin are immediately recognisable (at least to a Doctor Who fan) as those of the Abzorbaloff, a grotesque alien played by Peter Kay and created, bizarrely, as part of a 2005 Blue Peter competition. His costume might be “a walking death sentence” to anyone with a latex allergy, but the screaming crowd lap it up.

Gallifrey Cabaret is proud to cater to Doctor Who’s queer fanbase, but I’m intrigued as to why the LGBTQ+ crowd have remained so loyal to this decades-old sci-fi series. “It’s camp,” Trench says, matter-of-factly. Hazard nods: “It’s so camp.” “I think it’s also the possibilities of it,” adds Connolly. “The Doctor is a gender-fluid rebel who hates authority – certainly challenges it – and loves fashion, has found family, which I think is a very queer thing.” Recently, Doctor Who found itself in the middle of a culture war over its so-called “woke agenda” (which, it has been suggested , may have played a role in the end of the show’s co-production deal with Disney). There’s something refreshing about Gallifrey Cabaret not softening those connections, but doubling down on them.

As the TV show enters another off-season with no end in sight, Whovians, frankly, could do with a laugh. Gallifrey Cabaret can facilitate them by the bucketload, but it also reminds us why this silly series about a time-travelling alien is worth fighting for. At a time when public ideas of Britishness feel increasingly exclusionary, the team behind Galley Cab take pride in the show’s national identity. “[Doctor Who] is one of the only things about Britain I actually like,” says Connolly, only to be interrupted by Trench, who suggests that Terry’s Chocolate Orange is also up there. “Right, there’s that, too,” Connolly says. But he’s certain: “I think Doctor Who, a lot of the time, represents the best of Britain.”

Gallifrey Cabaret is at London’s Clapham Grand on 26 June, then touring to Newcastle, Birmingham, Cardiff and Manchester

The cold, hard truth: what you should actually store in the fridge – from red wine to nuts | Food | The Guardian

Keyword – Food
Trefwoorden – Food, Nutrition, Health & wellbeing, Life and style
Title – The cold, hard truth: what you should actually store in the fridge – from red wine to nuts | Food | The Guardian
Author – https://www.theguardian.com/profile/eminesaner
Link – The cold, hard truth: what you should actually store in the fridge – from red wine to nuts | Food | The Guardian
Publish date – 2026-06-17T04:00:22.000Z
Category – Lifestyle
URL – https://www.theguardian.com/food/2026/jun/17/tomatoes-spuds-eggs-experts-on-what-food-to-store-in-fridge

I f every summer has a trending drink, then 2026 promises to be the season of the chilled red. In news that our European neighbours, who have long been doing this, will roll their eyes at, Britons have discovered the delights of a cold glass of red wine. No more serving at room temperature, or warming it by the fire (or radiator) as if you’re the host of a country house gathering: this year if your pinot noir isn’t in an ice bucket, consider it social death. The Times reports that gen Z drinkers are driving the trend, with Ocado finding that 56% had drunk chilled red wine, or wine served over ice, in summer compared with 35% of the wider population.

“We tend to serve wine way too warm in this country, and red wine particularly,” says the wine expert Tom Gilbey. “It accentuates the alcohol and makes it taste like soup. Actually almost every wine is better served slightly cooler than we normally drink it, and some red wines are beautiful when they’re really quite cool.” The optimum temperature is around 10C (50F). “So 20 minutes in the fridge, or 10 to 15 minutes in an ice bucket. You don’t want to serve any wine too, too cold, but it’s really refreshing.

Chilling accentuates the fruit, “and makes the acidity slightly brighter”, so it works best with lighter reds. “That would include beaujolais, a lot of pinot noir, some of the southern Italian wines. Some might argue with me, but I think primitivo is really good served slightly cool.”

All this is a lot to take in, especially after the claim that some of us are enjoying chocolate at the wrong temperature too. “We like foods when they make some noise,” Charles Spence, a professor of experimental psychology at the University of Oxford, recently declared . “You get a better snap when you break a fridge-cold bar.”

What’s more, he said: “Lower temperatures can also dull extreme flavours such as bitterness and sweetness, helping to create a more refreshing, balanced bite where the creamy mouthfeel takes centre stage.”

This means, of course, that two more items have been dragged into the fridge-or-cupboard conflict. Yours may already be a household where domestic disputes have been caused by the presence – or not – of a ketchup bottle in the fridge; where wondering what to do with your eggs is a cause of constant mild anxiety. Here, food experts deliver some cold truths.

Butter

You would think, says Kate Hall, a home food waste expert and author of The Full Freezer Method, that since butter is a dairy product, it always needs to be in the fridge. “It’s different, because it’s so high in fat and so low in water,” she says. “If you are wanting butter to spread, and it’s not too warm outside, it’s fine to keep it in a butter dish on the counter.” It can be a good idea to keep only what you’re likely to use within the next few days out and refrigerate or freeze the rest. In warm weather, it goes back into the fridge. Spreadable is good; pourable not so.

Bread

Hall often hears of people keeping their bread in the fridge. It’s a bad idea, she says. It will take longer to get mouldy – but less time to become stale. “You might get away with it if you’re having it for toast, but for sandwiches, it’s better to keep bread on the counter or the cupboard. Or freeze it while it’s still fresh, and then defrost slices as they’re needed.”

Eggs

Opinions remain divided. In the UK, it’s not essential to refrigerate eggs “because of how we handle eggs at the farm level”, says Gabriel Bray, a development manager of the consultancy Good Food Studio. In the US, for instance, eggs are refrigerated because they’re washed, taking away the outer protective layer. More than 90% of British eggs come under the Red Lion food safety scheme, which covers the whole production chain. “Without that stamp, I think it’s best to refrigerate,” says Bray.

A lot also depends on the temperature, especially in your kitchen. The official advice from the British Egg Industry Council is to keep eggs below 20C (68F), and so the fridge is usually the best place. In our kitchens, particularly small ones, the temperature can fluctuate, in hot weather or with radiators on full blast, or even just with an oven or tumble dryer in use. “Because the shell is porous, bacteria can travel into the egg,” says Hall. “It’s not a massive risk, but if you keep them in the fridge, they will last longer.” Keep them in the egg box, though, she adds, not in those little egg holders some fridges come with – the porosity of the shells mean they absorb odours.

Olive oil

Some people keep their olive oil in the fridge, thinking it keeps it fresher for longer – but Yacine Amor, the founder of the Artisan Olive Oil Company, says this isn’t the case. “Placing it in the fridge really doesn’t give any benefits in terms of preserving it, and if it’s done repeatedly, it may actually reduce the flavour.” Below 10C, olive oil tends to solidify. “What is key to preserving olive oil in the best condition is to avoid light, heat and oxygen. Choose a bottle of olive oil that matches your consumption, so ideally once you open a bottle, the best use would be within three months. Light has a significant impact on the quality, and that’s why, in general, high-quality olive oils are sold in dark glass. We recommend storing them in a cupboard away from any source of heat and light.”

Tomatoes

Do what people do in the Mediterranean, says Bray, and keep tomatoes out of the fridge for as long a possible. “They’re quite sensitive, so the fridge can affect the texture and the flavour. Once they’re ripe, best to chill them, and then you can extend the shelf life. You’re preventing that spoilage at their best, instead of ruining them when you’ve just bought them from the shop.”

Bananas

“Bananas, like most tropical fruits, are affected by the cold,” says Bray. Putting them in the fridge will affect the peel, turning it grey, but this is “a visual look more than anything” – they should still be nice enough inside. If you need another day or two out of them, refrigerate, says Hall, and ignore the look. “But if they are on the counter and they’re very ripe, and I’m not going to get through them all, I freeze them, and then use them in smoothies or porridge, or to make ice-cream.”

Citrus fruits

Dominique Ludwig, a nutritionist and author of No-Nonsense Nutrition , keeps lemons and limes in the fridge. It’s the same with leafy greens, and most fruit and vegetables. “Except onions and garlic – it’s too moist in the fridge, and that can make them go mouldy.” The degradation of nutrients will slow in cooler conditions, she says, “because it slows down the enzyme activity. Cold temperatures should help to retain more of [nutrients such as] vitamin C and folate.” Cold also helps preserve the beneficial compounds known as polyphenols.

Condiments and sauces

“People find this really controversial, and are very passionate about it,” says Hall. The advice on the back of bottles of ketchup or jars of sauces will usually instruct you to refrigerate after opening (homemade sauces should obviously be kept in the fridge). “Because they are usually either full of sugar or vinegar, they’re usually pretty shelf-stable, so will probably be fine if you prefer to keep them in the cupboard if you don’t like your sauces cold,” says Hall. But if you’re not using them up regularly, “then I would definitely keep them in the fridge”.

Apples

As with most fruit and vegetables, the fridge will make them last longer, but it’s personal preference, says Hall. “Some people find the flavour better if they’re kept in a fruit bowl, or they’re concerned about sensitive teeth.”

Avocados

If you store them in the fridge, they won’t ripen properly, says Hall. “It’s best to keep them out until they’re ripe. Then, if you don’t want to eat them just yet, I would put them in the fridge.” Freezing them at that point – or just an unused half – is another option. “I would generally then use it to make guacamole or in baking, such as putting into brownies.”

Jams, honey and marmalade

Keep honey in a cupboard to stop it crystallising, but everything else should probably be kept cold. Although the sugar in jam helps preserve it, you’re probably going to introduce crumbs and butter, says Hall, “and cause mould to come sooner. But also keeping it in the fridge will just make it last longer, and I don’t think it’s particularly detrimental to the flavour.” Lower-sugar jams are particularly susceptible to mould.

Peanut butter

“The thing with nut butters is that the oils can start to go rancid when they’re exposed to light and heat,” says Ludwig. The more natural butters, where the oils separate, should be kept in the fridge.

Coffee

Storing coffee in the fridge, says Hannah Whitton, the head of coffee at Craft House Coffee, is “a unanimous no from us. Coffee beans are highly porous, meaning they absorb food odours. The constant temperature shifts from taking coffee in and out of the fridge create condensation that rapidly destroys delicate flavours as the coffee absorbs moisture.” Keep beans in an airtight container in a dark place – for extra care, try a vacuum-sealed container. However, adds Whitton, “seemingly contradictorily, use the freezer for long-term storage. Sub-zero temperatures halt the ageing process almost entirely.” She recommends vacuum-sealing beans in single portions – “you can get vacuum sealers online cheaply” – and grinding them from frozen. “The cold makes the beans brittle, resulting in a more uniform grind.”

Seeds, particularly ground or milled seeds

Ludwig keeps nuts in the freezer, because she tends to buy big packs, but for smaller packs you’ll use up sooner, “it’s not essential”, she says. But for open packets of milled flaxseeds, for instance, “you do need to seal them and keep them in the fridge, because they’re more prone to oxidation”. It’s the same for more sensitive seed oils, such as hemp or flaxseed. “Once they’re open, they tend to be better in the fridge.”

Chocolate

There are a couple of issues with storing chocolate in the fridge, says the master chocolatier Paul A Young. “Chocolate picks up flavour incredibly easily, so anything in your fridge that has an odour, the chocolate will pick that up, and it will taste very odd. The second thing is it’s too cold, wet and humid. The chocolate will get very cold, it will come out of the fridge, condensation will form, which then dissolves the sugar, creating a sugar bloom – a really rough texture on the surface of the chocolate – and it takes away the appearance, and feels unpleasant on your tongue.” There is one exception: a fresh cream truffle should be kept refrigerated, then brought to room temperature before eating.

In hot weather, an emergency resetting of a melted bar of chocolate might be necessary, but the cocoa butter may separate. “It looks like a white swirly pattern in and on the chocolate,” says Young. “It’s still edible, but it’s going to be a bit crumbly, it’s not going to be as smooth and silky, but refrigerating will form it back together. That’s just what happens when the chocolate has become melted, and then you chill it quite quickly.”

If, like Spence, you like your chocolate with a snap – or it’s a type with a shell you want to crisp up – particularly in warmer weather, it’s acceptable to put it in the fridge for 10 to 20 minutes, in its original packaging. “That will bring the snap back and take away the bendiness – but no longer than that,” says Young. “Don’t store it in the fridge.”

Potatoes

The advice used to be to keep them in a cupboard, but now we’re told to keep them in the fridge to prolong their life and prevent sprouting (potatoes are the most-wasted food in UK kitchens). This may also give them a sweeter flavour. But they do take up space, Hall admits: “Keeping them in a cool, dark cupboard is fine. It’s recommended that you keep them away from onions.” The ethylene gas given off by onions – as well as other produce such as bananas, tomatoes and peppers – can speed up sprouting.

The malignant rise of OnlyFans managers: ‘It’s exploiting. It’s grooming. It’s predatory’ | Pornography | The Guardian

Keyword – Society
Trefwoorden – Pornography, Society, Digital media, Media, Social media, Young people, Internet, Technology
Title – The malignant rise of OnlyFans managers: ‘It’s exploiting. It’s grooming. It’s predatory’ | Pornography | The Guardian
Author – https://www.theguardian.com/profile/ameliagentleman
Link – The malignant rise of OnlyFans managers: ‘It’s exploiting. It’s grooming. It’s predatory’ | Pornography | The Guardian
Publish date – 2026-06-18T04:00:00.000Z
Category – News
URL – https://www.theguardian.com/society/2026/jun/18/malignant-rise-onlyfans-managers-exploiting-grooming-predatory

M arkuss Hussle wants his online students to understand one thing: he knows how to make money. There is no subtlety involved. He gives an hour-long presentation in one video, sitting next to his silver Lamborghini. In another, he splices his money-making tips with footage of a ski weekend with his friends in Courchevel, in the French Alps, including shots of private jets, helicopters and a girlfriend in a fur coat. He claims the trip cost $100,000 (£75,000). He shows off his watches and his swimming pool and talks about how his mother worked three jobs as a cleaner until he “retired her” and bought her a home by the sea.

If you were not paying close attention to the spreadsheets and presentations interspersed with the motivational lifestyle content, you might guess he was offering guidance on how to trade shares or invest in cryptocurrency. There are a lot of performance graphs and much discussion of account management, optimisation, scaling, working smart and tripling profits.

“It is one of the quickest and easiest ways to make money online,” he promises viewers, adding: “Follow me or you’ll stay broke.” The business model, he says – reclining on a white sofa, by a glass table that incorporates bundles of $100 bills in its design – is “embarrassingly simple”.

Hussle, 27, describes himself as an OnlyFans manager. Others view him as an e-pimp, although he rejects this description as “cringe” . He says he makes his money by taking a 50% cut of the earnings of women who sell videos of themselves performing provocative or explicit content on the website OnlyFans. Hussle, whose real name is Markuss Kohs, runs a digital marketing agency that encourages men to buy clips of the women he manages removing their clothes.

“The lonelier men get, the more money I make. And men have never been lonelier than right now,” he writes in promotional material for his parallel business, which offers online training, advising newcomers to the industry on how they can set up their own OnlyFans management firms. His coaching programme costs $8,000 and, judging by the recorded Q&A sessions, it is targeted at young men, some of whom appear to have recently left school.

“All right, boys,” the videos begin, before he tells his students how they too could buy a $350,000 customised supercar or spend $150,000 on a holiday in Cape Town if they just dedicate themselves to the challenge of pushing women to perform better on camera. “We are potentially like the brains behind the beauty,” he says.

Mostly, he avoids talking in clear terms about what the women – to whom he refers euphemistically as clients or content creators – are expected to do on camera to generate all this income. On one podcast, he was asked whether he would let his hypothetical daughter open an OnlyFans account. “Absolutely not,” he replied.

Hussle is part of an ecosystem that has rapidly grown up around OnlyFans. The London-based adult content site directly employs only 42 people, but generated $7.2bn in revenue from its 377 million account holders in 2024.

Since its launch in 2016, OnlyFans has promoted itself as a fun, harmless platform that allows creators, mostly women, to earn money by posting nude or semi-nude videos and photographs of themselves on the site. The creators’ “fans” subscribe to their content, message them and pay extra for personalised clips. Founded by a family in Essex, the company has been heralded in the media as one of Britain’s biggest tech success stories and as the country’s most powerful social media site.

More recently, in the face of rising criticism, the site’s supporters have switched to defending it as a commendably safe platform where its 4.6 million creators – a large proportion of whom are filming pornography – can earn money from the security of their own homes, without being exploited or bullied by coercive intermediaries or sleazy studio directors. The company takes 20% of earnings and the rest goes to the creator, with a handful of the platform’s most high-profile stars having made tens of millions of dollars from posting provocative content. British creators such as Bonnie Blue and Lily Phillips have said they see themselves as feminists who are working to achieve financial independence. Other successful OnlyFans performers use words such as “empowering” and “liberating” to describe their work.

This narrative insists that the invention of OnlyFans has radically shifted power dynamics in the pornography industry, handing control decisively to women. But it is increasingly clear that a new breed of middlemen have raced to take a cut of the $25bn paid out to creators since the firm launched. A BBC investigation broadcast this week, OnlyFans: Inside the Machine , revealed that some OnlyFans managers have used violence to intimidate women into compliance with their requests. One woman told the BBC that her arrangement with her management agency ended with her being thrown down the stairs and strangled by two masked men; another described being pressed to produce highly explicit content when she wanted to post only pictures of herself in her underwear.

After reviewing the documentary’s findings, the Labour MP Tonia Antoniazzi, the chair of the all‑party parliamentary group on commercial sexual exploitation, and Eleanor Lyons, the independent anti-slavery commissioner, called for a parliamentary inquiry into OnlyFans to examine the company’s processes and effectiveness at identifying indicators of trafficking, sexual exploitation, coercive control and violence. “Platforms which profit from monetised sexual content must be subject to stronger safeguards,” they wrote in a joint statement.

T he OnlyFans management industry includes a wide range of operators, from talent management firms in Los Angeles to small-time operators, sometimes men who have given up their day jobs to try to generate maximum revenues from their wife’s or girlfriend’s account.

At one extreme, there is Andrew Tate. The British-US national has been charged with rape, human trafficking and other offences in Romania and faces criminal charges in Britain including rape, actual bodily harm and human trafficking, as well as a civil case brought by four women. He previously ran Hustlers University, charging $49.99 a month for courses that offered, among other things, OnlyFans management tips. “The reason women need a man to do OnlyFans is the same reason a woman needs a man to do anything – because they’re incompetent and they’re very, very lazy and stupid,” Tate observed during one of his classes.

Hussle’s OnlyFans management style appears to be more respectful and his approach does not involve coercion. The Guardian is not aware of any allegations of misconduct made against his operation. He declined a request to be interviewed and did not answer emailed questions, but transcripts from 249 of his instructional videos on YouTube reveal his approach to the work.

First, he tells his students, they need to find a woman to represent. This should not be too difficult, he promises: aspirant OnlyFans managers should simply message women they already know from school, college or university and see if they want to work on the platform. “If she’s like: ‘Oh no! I would never do that,’ all right, cool – like, who gives a fuck? There are like 8 billion people in this world, nobody cares, you just move on to the next one.”

He suggests looking for women who have uploaded plenty of revealing images on their social media. “If they’re already posting bikini photos left, right and centre on Instagram for free, these girls can make money on OF.” Getting women to sign contracts will also be straightforward, he says, because managers will typically be “dealing with girls who are your age, 18 to 25, girls who you maybe even went to university with” who aren’t “business savvy” and “don’t really ask hard questions … It’s gonna be pretty easy for you to start.”

Advertising their services is also going to be a breeze, he promises. Doing “marketing to make a girl that is half-naked go viral with social media – it’s not really fucking rocket science, right? Attractive girls always get attention.”

His own language is quite careful, but he laughs when another manager he interviews for his YouTube show says the world they operate in is “a big group of … dudes pimping out girls and making money”. He interviews two women from Ireland who started posting on OnlyFans when they were teenagers; one of them was still at school when she turned 18, opened an account and began filming content in her bedroom. She talks about the secrecy involved in doing the work, hiding upstairs from her parents, the disapproval expressed by her family. Meanwhile, the men he interviews talk about money, cigars, supercars and trips to Marbella.

Hussle notes that most OnlyFans managers never have to show their faces. This is something men can do anonymously, holding themselves a few steps away from the stigmatised industry. The women who sign up as creators don’t have that privilege. If a potential model says she does not want to show her face on camera, that should be a red flag, Hussle tells students. “If she’s anxious of her friends or family finding out – which I understand – maybe she’s not 100% on it,” he says. “In an ideal world, the ideal client shouldn’t be worried about whether they want to do it or not.” Women often have doubts about doing this work, but once their earnings hit $10,000 a month, their hesitations tend to disappear, he claims.

“For a model to have a top earnings potential, they need to be open to doing fully explicit content,” he tells his students. It is one of the few clear references to the precise nature of the work he is managing. “The bigger creators are the ones that are doing like full-on pornos, full sex tapes.”

As the industry comes under greater scrutiny, even the best‑known performers are beginning to raise concerns about the exploitative nature of the OnlyFans management sector. It appears to reproduce, in digital form, a familiar pattern of men making money from selling women’s services.

Ari Kytsya, 25, began posting content on OnlyFans when she was 22 and became one of the site’s highest earners. When she was just 18, she says, long before she had considered pornography as a way of making money, she began getting messages on Instagram from men offering to manage an OnlyFans account for her. They were promising “they can make me this much money, saying: ‘You can go on trips, it’ll be so fun and great, and you’re going to be famous, and I’ll help you,’” she says.

She decided to sign up only when Covid disrupted her studies at a Canadian university. But the management approaches had made her aware at a very young age of the opportunities offered by online sex work. She still gets about half a dozen approaches a day from management outfits.

“It is something we should be worried about,” says Kytsya. “Almost every girl that I’ve talked to in the industry has had an experience – whether it’s being stuck in a contract that they can’t leave or having management taking advantage of them, or scamming them, or forcing them to do something.”

Penny East, the chief executive of the women’s rights charity the Fawcett Society, is uneasy at the proliferation of the management industry. “What’s surreal is how they talk as if they could be marketing a new drinks product – speaking in marketing jargon about analytics and conversions and audience engagement. And yet what they’re talking about is quite explicit pornography,” she says. “It is deeply troubling to see the normalisation of OnlyFans management companies. Men teaching other men how to market, sell and profit from women’s bodies is not progress.”

In 2023, towards the tail end of Covid, Victoria Sinis began working for an Australian OnlyFans management firm as the sector ballooned. More and more women were at home, growing short of money and looking for new sources of income; more and more men were working remotely and able to watch pornography from the privacy of their home. Part of Sinis’s job was to find new women to enter the industry.

“The recruitment process is really simple,” she says, over the phone from Melbourne. “You scour the internet, TikTok and Instagram, looking for girls that fit a certain criteria. Are they already posting provocative content? If they are, that’s telling you that either they already have an OnlyFans or they’re more likely to do something like OnlyFans. From there, you assess: how old do they look? Because the younger they look, the more money they make. Then we’d message: ‘Hey, I saw your Instagram! I love your vibe! Have you ever considered OnlyFans?”

Sinis says the agency would hire big houses where they filmed content and threw lavish parties to help persuade women to sign up. According to Sinis, staff often created false narratives for the models: women who were 20 would be advertised as “barely legal” 18-year-olds, because this was what made most money; a woman who had never played sport might be rebranded as a volleyball‑playing college girl.

After a few months in the job, Sinis began to worry that she was encouraging people into an industry they may not otherwise have considered. She says she was disturbed that the models signed up by the agency were regularly trawling dating apps to match up with men who would agree to have sex with them on camera. “We’re lying to these girls when we tell them that this is the pinnacle of success, that it’s the epitome of empowerment,” she says. “It’s not; it’s the porn industry. It’s exploiting, it’s grooming, it’s predatory. Telling you that your greatest asset in the world is to get naked and sell yourself online – I saw the mental-health consequences.”

Many of the women she met through the agency came from low-income, vulnerable backgrounds, she says. While creators usually started out with a clear sense of what they were willing to do online, Sinis says there was relentless pressure for them to do more.

“The girls prepared to do the most degrading acts were the most glorified on OnlyFans,” says Sinis. “Any boundaries they may have had when starting out were soon broken down. There was too much competition for them to say no. Everything they thought they wouldn’t do, they ended up doing it. It destroyed their self-confidence.”

Sinis left the agency, became a Christian and now gives presentations educating people about the sector. She says parents should be aware that girls in their late teens may be receiving approaches from agencies via their TikTok and Instagram accounts. “It’s so hard for people to understand that pimping and grooming and even trafficking is all digital now. I think we’re still in the very early days of people understanding it,” Sinis says.

Some women are happy to secure a contract with an OnlyFans management company. If a manager is good at their job, they will know how to attract more paying customers; for successful performers, who have a lot of followers already, managers take on responsibility for “chatting” – sending flirtatious messages back and forth to fans, encouraging them to make extra payments on the promise of more explicit content. The manager will either assume the performer’s identity or outsource this work to “chatters” in lower-income economies, often the Philippines or Nigeria, so that the chatting – and those extra payments – can continue 24/7.

M anagement companies have mushroomed across Europe and North America. Junior staff working for two OnlyFans management firms in LA and New York told me about the unease they felt when watching their male bosses target vulnerable young women. In LA, Rita (not her real name) said her employer would recruit successful performers by offering to help them transition from being a sex worker to mainstream modelling work.

“He would promise non-OnlyFans opportunities, which feels really sparkly to a girl who is thinking about how to get out of the OnlyFans space,” she says. This was particularly appealing to women who wanted to start families, or who were worried about the sustainability of their careers. “He was a master manipulator. He would say: ‘Wow, you’re gonna be a star. I’m gonna put you in this room and introduce you to this person.’ It’s unethical, because we knew there weren’t going to be any paid brand deals or television opportunities.”

In New York, at another agency, a junior employee described watching the agency’s owner pressure women to film what is known euphemistically as “boy-girl content” (having sex on camera). “There would be this spiral of pushing the girls to do more and more stuff because the last thing didn’t really end up increasing their earnings. It got really bizarre really quickly. He’d say: ‘Maybe it’s because you’re not doing enough kink videos.’ Sometimes he would tell me to talk to her and tell her: ‘If you really want to make it in this industry, you have to do XYZ.’ Or he would contact her directly and yell at her. Either way, she’d be pressured into doing this stuff.”

Clara (not her real name) says she opened an OnlyFans account in 2021, when she was 19. Her university classes had gone online, due to Covid, and she was living in Miami with time on her hands. She is well educated, comes from a middle-class family and had no pressing need to make money from the site. However, she had an uneasy relationship with her parents and viewed them as controlling; she was anxious to make her own money so that she could be independent. She says she was mesmerised by the huge sums promised by the managers who constantly messaged her. “Their main form of attack is Instagram DMs,” she says on a video call.

Clara quit after six months: “I was just uncomfortable.” She is not soliciting sympathy for her choices, but wants to educate people about the industry. “All the managers are young and super fun. They’re like: ‘We’re gonna make so much money! It’s going to be so fun! You’re going to be so good!’ Once you start having issues with them, that’s when their true colours start to come out.”

A year later, she was still being bombarded by daily messages from managers. “There were a lot of start and stop points because I was very hesitant to join,” she says, reflecting on her decision to quit the site a couple of times. “I think I was so young that I was just trying to override my own intuition.” When she chose to reactivate her account for a third time, her new manager told her she would need to do “boy-girl content” in order to get the contract. “He wanted that, because it makes more money, so I did make tapes with somebody. It was not something that I wanted to do – it was causing me anxiety and I put my foot down the next time he asked – but, of course, it’s already out there. It’s too late now. So that’s probably the worst thing.”

She says now that she views the relentlessly chirpy encouragement from management firms as a form of grooming. “They’re selling you a dream, a lifestyle: you’ll be able to travel, you’ll be able to buy things, it won’t matter what people say about you because you’ll be so rich. And I was able to do these things, but at what cost?”

Clara is among the more successful OnlyFans content creators. She thinks she generated about $2m from the site over five years, of which she took home $400,000 after the site’s cut and her management fees. She left the platform at the end of 2025 to take up a more conventional brand management role and has since come to a clearer understanding of the ways in which the industry can be exploitative.

“I don’t find selling explicit content on the internet empowering,” she says. Early on, her parents had to pay $4,000 to help extract her from a contract with a management company. “It is kind of pimp behaviour. It’s not like people are being forced on to the platform against their will – at least, in my experience. It’s more like: now that I’ve done this, I can’t leave. Managers are very greedy: they always want your money and if you try to leave them they threaten to sue you, or they do sue you, or they threaten to post all your content somewhere else and make money off of you.”

S ole-trader OnlyFans managers who aren’t part of a larger agency often join informal online networks, swapping tips with each other on Reddit or on vast Telegram messaging boards. Data analysts from the Netherlands have been analysing one of the largest Telegram OnlyFans managers’ groups, scrutinising conversations between more than 10,000 members over the past three years, documenting how female OnlyFans performers appear to be being bought and sold on the site.

Chris de Meijer, an online safety consultant for DataExpert and one of the analysts of the group, says: “They talk about models like it’s a product, a thing you can sell and buy.” He estimates that the group is 95% male, with members mostly aged between 18 and 30. Much of the discussion centres on the mechanics of becoming an OnlyFans manager: “They’re asking each other: how do I get my models, where do I find chatters? People respond: I’ve got an account, I’ve got a model.”

Documents examined by DataExpert reveal details of the women being traded. One message reads: “Hello gents, got a sweet little model from Switzerland you might be interested in … current price $1999 OBO [or best offer], 15 day warranty period”. Another begins: “What’s up gentlemen, I have a lovely young Russian lady I want to offer to you. She has agreed to take 30%. She’s 22 y/o, very responsive, and has already provided us with quite a bit of content.”

Members of the group advise each other on how to treat performers who want to part ways with their manager, with some discussing whether it is best to call in lawyers or threaten violence. De Meijer notes that managers usually hold copies of the women’s passports – because OnlyFans needs them for ID verification – and know the logins for their social media. “Handling all this information makes it a grey area, which might very well become quite dangerous,” he says.

But he also suspects some of the participants in the forums switched to selling instruction courses on how to succeed in this sector because they were not making money in the core business. “A lot of those agents are starting to sell training courses. That is probably not because their modelling agency is going so well. They need to earn money from other ways and they start eventually selling training to the next one, and to the next one, so it looks like a pyramid scheme.” (There is no suggestion that Hussle is involved in such a scheme.)

An OnlyFans spokesperson says the site “was designed to empower creators to control and monetise their content” and stresses that the platform takes the “safety of our users seriously”. The spokesperson continues: “While some creators choose to work with third parties to help manage their online presence, OnlyFans does not endorse or have relationships with management agencies, and cannot review or influence any contractual agreements creators choose to enter into outside the platform as we are not party to them. If anyone raises a concern about a creator’s account, we will immediately restrict the account, conduct an investigation and take action to ensure the creator is in control of their OnlyFans account.”

Melinda Tankard Reist, the founder of Collective Shout, an Australian grassroots activist group that campaigns against the sexualisation of girls, says governments should do more to regulate the sector. She is worried by the way the industry is “normalising women as transactions, as commodified products for commercial, sexual exchange. It teaches young people that this is what women are for.”

In his videos, Hussle says he shares Tate’s belief that men should be breadwinners, while women are there to “build a beautiful family”, look after the children and “clean the house”. He says these views are standard in Latvia, the country he grew up in until he was nine, when he moved with his parents to a council estate in Suffolk, England. He posts videos from his home in Dubai, criticising women’s driving skills, including the way his girlfriend parks his silver Rolls-Royce.

It’s hard to know how much of the lavish lifestyle footage he posts is genuine. Sometimes it pushes the frontiers of absurdity so far that it feels like satire. He tells novices to take pictures of themselves in front of expensive cars in a dealership, or in the lobby of an expensive hotel, to project a high‑status appearance. This makes it hard to interpret the many pictures he posts of himself standing next to luxury cars.

His LinkedIn page says he attended the University of Cambridge, but elsewhere he boasts about achieving success without a university education. He talks about his hard upbringing and stresses that childhood poverty is a superpower because it makes you hungry for success. He is impressively committed to making a go of his life.

Promoting OnlyFans performers was not his first choice of career. His earlier, more conventional entrepreneurial efforts – launching a social-media marketing agency in Essex and helping law firms boost their online presence – appear to have been disrupted by the pandemic, like the lives of so many of the women who began posting on OnlyFans during Covid. He turned to the adult industry as a plan B.

He knows that women may be suspicious of the men who offer to manage them and tells his male students that paying women to pretend they are in charge of the business may be a good way to reassure future clients. He discusses whether it makes sense to pay women to record fake testimonials and concludes that it is worth a try.

During interviews with male podcasters, he defends his profession, pointing out that the work is not illegal and expressing bemusement that it attracts disapproval compared with “real problems in the world” such as governments that are “spending hundreds of millions of dollars on weapons of mass destruction”.

His views on the industry are evolving. In more recent clips, he says he is against encouraging new women to start working in the sector in case they come to regret the decision. He stresses that it is easier to work with women who already have OnlyFans experience and that he simply wants to help them make more money from their work.

Success in this world is fed by loneliness, “the death of real dating, and the fact that men will happily pay $200 for an AI voice note from a girl who doesn’t know their name”, he writes on X, encouraging people to sign up for his courses.

“The loneliness epidemic isn’t my fault, but it is my income,” says Hussle. “Men were spending this money long before I showed up. They’ll be spending it long after. I just learned how to stand in the middle and collect.”

Do you have an opinion on the issues raised in this article? If you would like to submit a response of up to 300 words by email to be considered for publication in our letters section, please click here

From penalties to Pavarotti and Beckham to Bruckner: classical music and football are closer than you might think | Music | The Guardian

Keyword – Music
Trefwoorden – Music, Culture, Classical music
Title – From penalties to Pavarotti and Beckham to Bruckner: classical music and football are closer than you might think | Music | The Guardian
Author – https://www.theguardian.com/profile/tomservice
Link – From penalties to Pavarotti and Beckham to Bruckner: classical music and football are closer than you might think | Music | The Guardian
Publish date – 2026-06-17T14:43:26.000Z
Category – Culture
URL – https://www.theguardian.com/music/2026/jun/17/world-cup-classical-music-nessun-dorma-terrace-chants

F rance ’98, when Scotland last faced Morocco at a World Cup – as they do this Friday – and lost a crucial game three-nil. ( John McGinn’s winner against Haiti in Boston on Sunday rewrites all the recent records and sets the team on a path to almost certain glory this time around. Obviously.)

But you could have read the runes of Scottish doom in that World Cup by the tunes that Scotland fans had in their ears. Scotland’s song that year was Del Amitri’s masterpiece of melancholy, Don’t Come Home Too Soon , the most downbeat, honest, and lyrical World Cup song ever written – alas, the team didnae listen. And there was the BBC’s World Cup titles for 1998: Fauré’s Pavane , which lifted the moodometer from melancholic all the way to apathetic. (Not that England did much better, despite the surreal street party of Vindaloo , Engerland’s unofficial anthem, and the self-satisfaction of Three Lions , they went out in the round of 16, after David Beckham’s red-card against Argentina.)

In using Fauré for football, the BBC were building on a long history of the beautiful game and classical music, which have always gone together like Scott McTominay and majestic overhead kicks . Edward Elgar’s contribution to Wolverhampton Wanderers’ musical heritage sadly isn’t still sung on the terraces, but his scoring of “He Banged the Leather for Goal!”, setting words he’d read in a match report about his beloved Wolves, might be the first bespoke football chant by a major composer, written in 1898. (It’s also a harmonically dense and chromatically complex wee tune.) Dmitri Shostakovich’s football obsession – he was devoted to the team that’s now called Zenit St Petersburg – was marked in 2016 when Zenit celebrated their 90th anniversary with a Shostakovich-themed pre-match show, inspiring them to beat Spartak Moscow 4-2. And listen to the Football March movement from Shostakovich’s ballet The Golden Age from 1930 to hear how Shostakovich created the drama and noisy energy of a team in orchestral sound , starting with the referee’s whistle and plunging into chaos on the park.

But the moment when football and classical music became indelibly linked was the summer of 1990, when the BBC used Luciano Pavarotti’s rendition of Nessun Dorma as the theme tune for its coverage. Puccini’s aria from his final opera, Turandot , (Nessun Dorma means none shall sleep) tells of Calaf’s plea for insomnia. Princess Turandot has a single night to learn his name. If she succeeds, she can execute him, if she remains ignorant of her suitor’s actual name, she has to marry him and Calaf will be victorious. (Spoiler alert – Calaf wins Turandot’s heart by the end of the show.)

But none of that context was important for the significance of the high As and Bs at the end of the aria (also sung by the Three Tenors as a triple-headed Calaf at their concert on the eve of the final of Italia 90 in Rome ) It’s a freak of performance practice, by the way, that the highest and most famous note in the whole aria, that final high B, was marked by Puccini in the score as a slightly slowed-down semiquaver – it should be a very short note. But that “vinceroo-oooo” (I will win) is extended by Pavarotti et al into a whole bar and more, dozens of times longer than Puccini intended. Tenors gonna sing, tenors gonna milk it. Germany duly did win, beating Argentina 1-0.

Current proof of the ongoing classical connections that bind football fans together is the team- and nation-crossing phenomenon of the White Stripes’ Seven Nation Army, which is sung everywhere from club matches to international fixtures from Bruges to Boston. (Club Brugge KV was where it all started in 2003) And, as every fool knows, Jack White borrowed his riff from the first movement of Bruckner’s Fifth Symphony – alas a story too good to be true. White came up with the riff at a sound check in Melbourne , consciously or unconsciously drawing on Bruckner’s symphony.

Yet the musical connection is real. So even if the BBC and ITV have ditched any classical references in their title sequences for this current World Cup, they can’t take Bruckner out of the terraces .

This week Tom has been listening to: {oh!}Orkiestra’ s new recording of Mozart’s 29th Symphony and Janiewicz’s Fifth Violin Concerto. It’s the freedom that Martyna Pastuszka and her players dare with all of this repertoire, and the Mozart in particular, that’s wonderful: here’s a symphony that sounds like a collective improvisation from the musicians – and the fortepianist in particular. There’s no other recording of the symphony like it. Listen on Spotify

UK mosques advised to run lockdown drills amid fears of anti-Muslim attacks | Islam | The Guardian

Keyword – World news
Trefwoorden – Islam, UK news, Religion, Islamophobia, World news, Northern Ireland, Race
Title – UK mosques advised to run lockdown drills amid fears of anti-Muslim attacks | Islam | The Guardian
Author – https://www.theguardian.com/profile/aamna-mohdin
Link – UK mosques advised to run lockdown drills amid fears of anti-Muslim attacks | Islam | The Guardian
Publish date – 2026-06-18T09:00:35.000Z
Category – News
URL – https://www.theguardian.com/uk-news/2026/jun/18/mosques-lockdown-drills-fears-anti-muslim-attacks-grow-mcb-guidance

Mosques are being advised to carry out lockdown drills, strengthen ties with police and improve CCTV coverage under national guidance published amid growing concerns about anti-Muslim attacks.

The Muslim Council of Britain (MCB) released a new security and preparedness framework for mosques, trustees and volunteers, warning that places of worship and community centres faced an increasing threat from vandalism, intimidation, threats and targeted hostility.

The guidance provides practical advice on how mosques should respond to an incident. It includes lockdown procedures, emergency response planning, incident reporting systems and measures to strengthen relationships with local authorities and police forces.

There has been a series of attacks recently targeting Muslim communities, including one on the home of an imam in Bolton, and heightened fears after racist riots in Belfast .

The MCB warned its nearly 500 affiliated mosques and community centres to remain vigilant for another summer of “violence on our streets”, and imams were encouraged to use Friday sermons to share messages of hope, unity and resilience.

Home Office figures released last October showed recorded hate crime in England and Wales was rising for the first time in three years, including increases in racially and religiously motivated offences. In England and Wales, where 3.9 million people identify as Muslim, anti-Muslim hate crime rose from 2,690 offences to 3,199 in the 12 months to March 2025.

The guidance sets out a phased roadmap for improving security over three, 12 and 36 months. Initial recommendations include appointing a dedicated safety lead, carrying out a walkthrough security assessment, identifying CCTV blind spots and establishing clear lockdown and “hold and secure” procedures.

The guidance warns that common vulnerabilities include a lack of named safety officers, weak links with police, uncontrolled access points, poor lighting and volunteers being unsure how to respond during emergencies.

Among the threats identified are graffiti, vandalism, arson attempts, abuse and intimidation at entrances, suspicious individuals loitering around premises, threats during busy prayer times and bomb threats or suspicious packages.

The framework encourages mosques to build stronger relationships with neighbours, councillors, local businesses and other faith groups, saying community ties can help ensure a faster and calmer response when incidents occur.

Wajid Akhter , the MCB secretary general, said communities remained concerned about a repeat of the unrest seen in recent summers.

“As we approach [the anniversary of] the 19 June [2017] Finsbury Park terrorist attack, our thoughts and prayers remain with the family of Uncle Makram Ali, the survivors and their families,” he said. “The horror of that night remains etched in our collective memory. It remains a stark reminder of what happens when venomous, unchecked Islamophobia is allowed to fester in our society.”

He said that dehumanising rhetoric against ethnic minorities, immigrants and Muslims circulating in public discourse had directly translated to heightened anxiety and vulnerability on the ground.

“The recent riots in Southampton and Belfast that exploited knife crime tragedies highlights how parts of Britain’s politicians and mainstream media, aided by algorithm-fuelled social media disinformation and foreign-based billionaires seeking yet more violence on our streets, relish any opportunity to relive the Southport-style racist and Islamophobic nationwide riots of summer 2024,” he added.

The MCB said an anonymous survey conducted after the recent disorder in Northern Ireland revealed widespread fear among Muslim communities. One respondent, who lived with her family in accommodation attached to a mosque, described being in a “constant state of fear and anxiety” following attacks on homes, businesses and vehicles.

“I am deathly worried that our mosque will be attacked and burned in the middle of the night whilst me, my husband and my girls are sleeping upstairs and we can’t get out in time,” she said. “I have been having these thoughts and can’t seem to stop catastrophising.”

Another respondent said: “It is frightening to witness young men being influenced and going door to door looking for foreigners, claiming there are foreigners in certain homes. This behaviour is terrifying for many people in the community”

They noted that a Muslim hijabi woman was recently chased by racists on her way to work. “She was in a very vulnerable situation, and a passerby helped her get into a car and to safety.”

Another respondent said support for those affected by anti-Muslim hate crime had been limited. They said their daily lives had been significantly altered since widespread racist rioting engulfed Belfast.

“Many of us feel unsafe going out to work, shop, or carry out normal day-to-day activities because of racist targeting and intimidation,” they said.

Akhter said the guidance was not just about installing physical barriers. “It is about empowering our communities to remain vigilant, to build strong local relationships and allies, and to have the structure in place to respond.”