Former deputy prime minister, who left Meta this year, to be joined by Facebook-owner’s chief AI scientist

Nick Clegg is to add venture capitalist to his list of post-politics jobs, with the former British deputy prime minister and ex-senior executive at Meta taking on a new role at London-based Hiro Capital.

Clegg, who left his role as the Facebook-owner’s head of global affairs this year , is joining the European tech investment firm as a general partner.

Former deputy prime minister, who left Meta this year, to be joined by Facebook-owner’s chief AI scientist

Nick Clegg is to add venture capitalist to his list of post-politics jobs, with the former British deputy prime minister and ex-senior executive at Meta taking on a new role at London-based Hiro Capital.

Clegg, who left his role as the Facebook-owner’s head of global affairs this year , is joining the European tech investment firm as a general partner.

Former deputy prime minister, who left Meta this year, to be joined by Facebook-owner’s chief AI scientist

Nick Clegg is to add venture capitalist to his list of post-politics jobs, with the former British deputy prime minister and ex-senior executive at Meta taking on a new role at London-based Hiro Capital.

Clegg, who left his role as the Facebook-owner’s head of global affairs this year , is joining the European tech investment firm as a general partner.

We need people from Europe to move to the UK – but also a way to give Brits the opportunity to build the futures they crave

Announcing her new Youth Matters plan – £500m to “boost resilience and teach skills” – the culture secretary, Lisa Nandy, spoke of a “ violent indifference ” from the political establishment towards young people that had been going on “for decades”. She’s not wrong. We can look at all of the ways in which young people have seen their economic prospects and work opportunities systematically destroyed – and see that they all date from 2010.

First, the tripling of the tuition fee cap saddled them with debts that have become astronomical, particularly for degrees that are socially beneficial, such as medicine and nursing; this, incidentally, from a coalition in which one party explicitly promised never to do that. Yet for all its boldness in setting fire to manifesto promises and playing fast and loose with a generation’s future, the tuition fees policy didn’t actually deliver a sustainable funding plan for tertiary education – instead leaving it to cross-subsidise with foreign students, whom the political establishment has spent the past five years trying to chase out of the country .

Zoe Williams is a Guardian columnist

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 .

We need people from Europe to move to the UK – but also a way to give Brits the opportunity to build the futures they crave

Announcing her new Youth Matters plan – £500m to “boost resilience and teach skills” – the culture secretary, Lisa Nandy, spoke of a “ violent indifference ” from the political establishment towards young people that had been going on “for decades”. She’s not wrong. We can look at all of the ways in which young people have seen their economic prospects and work opportunities systematically destroyed – and see that they all date from 2010.

First, the tripling of the tuition fee cap saddled them with debts that have become astronomical, particularly for degrees that are socially beneficial, such as medicine and nursing; this, incidentally, from a coalition in which one party explicitly promised never to do that. Yet for all its boldness in setting fire to manifesto promises and playing fast and loose with a generation’s future, the tuition fees policy didn’t actually deliver a sustainable funding plan for tertiary education – instead leaving it to cross-subsidise with foreign students, whom the political establishment has spent the past five years trying to chase out of the country .

Zoe Williams is a Guardian columnist

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 .

We need people from Europe to move to the UK – but also a way to give Brits the opportunity to build the futures they crave

Announcing her new Youth Matters plan – £500m to “boost resilience and teach skills” – the culture secretary, Lisa Nandy, spoke of a “ violent indifference ” from the political establishment towards young people that had been going on “for decades”. She’s not wrong. We can look at all of the ways in which young people have seen their economic prospects and work opportunities systematically destroyed – and see that they all date from 2010.

First, the tripling of the tuition fee cap saddled them with debts that have become astronomical, particularly for degrees that are socially beneficial, such as medicine and nursing; this, incidentally, from a coalition in which one party explicitly promised never to do that. Yet for all its boldness in setting fire to manifesto promises and playing fast and loose with a generation’s future, the tuition fees policy didn’t actually deliver a sustainable funding plan for tertiary education – instead leaving it to cross-subsidise with foreign students, whom the political establishment has spent the past five years trying to chase out of the country .

Zoe Williams is a Guardian columnist

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 .

Emma Mackey, Jamie Lee Curtis, Albert Brooks, Rebecca Hall and Woody Harrelson are among the stars lost in the writer-director’s baffling misfire

Ella McCay, a new comedy drama written and directed by James L Brooks, feels like a relic, and not just because it’s set, seemingly arbitrarily, in 2008. Broadly appealing, well cast, neither strictly comic nor melodramatic, concerning ordinary people in non-IP circumstances, it’s the type of mid-budget adult film that used to appear regularly in cinemas in the 90s and aughts, before the streaming wars devoured the market. Even its lead promotional image, turned into a life-size cardboard cut-out at the theater – Emma Mackey’s titular Ella in a sensible trench coat, balancing on one foot as she fixes a broken block heel – recalls a bygone era of films like Confessions of a Shopaholic, Miss Congeniality or Little Miss Sunshine, that would now go straight to streaming.

To be clear, I miss these types of movies, and want to see more of them. I want to see a lighthearted but realistic portrait of a 34-year-old woman serving as lieutenant governor of an unnamed state that is, judging by the college football paraphernalia and the vibe, probably Michigan. I want to still believe in the possibility of smart and sentimental popcorn fare whose low-stakes drama insists on the inherent inconsistencies and decency of people. I especially would like to say that Ella McCay is an admirable final salvo (or so) for Brooks, the 85-year-old writer/director/producer whose prolific career includes both iconic sitcoms (The Mary Tyler Moore show, Taxi and the Simpsons), and now-classic films (Terms of Endearment, Broadcast News and As Good As It Gets).

Emma Mackey, Jamie Lee Curtis, Albert Brooks, Rebecca Hall and Woody Harrelson are among the stars lost in the writer-director’s baffling misfire

Ella McCay, a new comedy drama written and directed by James L Brooks, feels like a relic, and not just because it’s set, seemingly arbitrarily, in 2008. Broadly appealing, well cast, neither strictly comic nor melodramatic, concerning ordinary people in non-IP circumstances, it’s the type of mid-budget adult film that used to appear regularly in cinemas in the 90s and aughts, before the streaming wars devoured the market. Even its lead promotional image, turned into a life-size cardboard cut-out at the theater – Emma Mackey’s titular Ella in a sensible trench coat, balancing on one foot as she fixes a broken block heel – recalls a bygone era of films like Confessions of a Shopaholic, Miss Congeniality or Little Miss Sunshine, that would now go straight to streaming.

To be clear, I miss these types of movies, and want to see more of them. I want to see a lighthearted but realistic portrait of a 34-year-old woman serving as lieutenant governor of an unnamed state that is, judging by the college football paraphernalia and the vibe, probably Michigan. I want to still believe in the possibility of smart and sentimental popcorn fare whose low-stakes drama insists on the inherent inconsistencies and decency of people. I especially would like to say that Ella McCay is an admirable final salvo (or so) for Brooks, the 85-year-old writer/director/producer whose prolific career includes both iconic sitcoms (The Mary Tyler Moore show, Taxi and the Simpsons), and now-classic films (Terms of Endearment, Broadcast News and As Good As It Gets).

Emma Mackey, Jamie Lee Curtis, Albert Brooks, Rebecca Hall and Woody Harrelson are among the stars lost in the writer-director’s baffling misfire

Ella McCay, a new comedy drama written and directed by James L Brooks, feels like a relic, and not just because it’s set, seemingly arbitrarily, in 2008. Broadly appealing, well cast, neither strictly comic nor melodramatic, concerning ordinary people in non-IP circumstances, it’s the type of mid-budget adult film that used to appear regularly in cinemas in the 90s and aughts, before the streaming wars devoured the market. Even its lead promotional image, turned into a life-size cardboard cut-out at the theater – Emma Mackey’s titular Ella in a sensible trench coat, balancing on one foot as she fixes a broken block heel – recalls a bygone era of films like Confessions of a Shopaholic, Miss Congeniality or Little Miss Sunshine, that would now go straight to streaming.

To be clear, I miss these types of movies, and want to see more of them. I want to see a lighthearted but realistic portrait of a 34-year-old woman serving as lieutenant governor of an unnamed state that is, judging by the college football paraphernalia and the vibe, probably Michigan. I want to still believe in the possibility of smart and sentimental popcorn fare whose low-stakes drama insists on the inherent inconsistencies and decency of people. I especially would like to say that Ella McCay is an admirable final salvo (or so) for Brooks, the 85-year-old writer/director/producer whose prolific career includes both iconic sitcoms (The Mary Tyler Moore show, Taxi and the Simpsons), and now-classic films (Terms of Endearment, Broadcast News and As Good As It Gets).