Welcome to my blog, a space where I explore the intersections of politics, culture, and radical thought through a Marxist and eco-socialist lens. I write about the ways capitalism shapes our world, how it seeps into art, film, TV, and literature, and what resistance can look like.

Through essays, reviews, and analysis, I aim to unpack the forces that drive our political and economic systems, and how they shape the culture we consume and create. Whether you’re here for political theory, cultural criticism, or just searching for alternative ways to think about the world, I hope this blog offers something valuable.

Join me in imagining what comes after capitalism.

Latest Musings:

A stylised graphic in a 1968 protest-poster aesthetic shows a hooded figure silhouetted in black, arms outstretched, standing before a fiery red and white explosion. The background is highly textured with grainy, distressed effects. In the bottom right, bold red and black block capitals read: “BRITAIN’S POGROM LOGIC.”

Britain’s Pogrom Logic

The mob lit the match, but it was the right-wing press that soaked the ground and stood back to watch it burn.

More Musings:

A stylised graphic in a 1968 protest-poster aesthetic shows a hooded figure silhouetted in black, arms outstretched, standing before a fiery red and white explosion. The background is highly textured with grainy, distressed effects. In the bottom right, bold red and black block capitals read: “BRITAIN’S POGROM LOGIC.”

Britain’s Pogrom Logic

The mob lit the match, but it was the right-wing press that soaked the ground and stood back to watch it burn.

Book cover of "Murderland: Crime and Bloodlust in the Time of Serial Killers" by Caroline Fraser. The design features a monochrome photo of a man's face—partially obscured—with a superimposed industrial landscape and plume of smoke, blending the imagery of a serial killer with a polluted, foreboding environment. The title is in bold yellow text at the top, and the author's name appears at the bottom in yellow, noting her as the Pulitzer Prize-winning author of "Prairie Fires".

The Crazy Wall

Caroline Fraser’s Murderland dismantles the voyeurism of true crime by tracing serial murder not to aberrant monsters but to the poisoned infrastructures, institutional apathy, and cultural amnesia that made their violence possible.

Graffiti-style stencil painting of four California National Guard soldiers in riot gear, standing shoulder to shoulder with stern expressions. Each figure holds a baton and a large shield labelled 'CALIFORNIA NATIONAL GUARD'. The background is dark and distressed, with blood-red splatters and harsh shadows enhancing a menacing, authoritarian tone.

The Militarisation of Los Angeles and the Fascist Normal

The LA deployment is not a policing measure. It is a political theatre of domination designed to send a message: the state belongs to Trump, the military answers to Trump, and those who oppose him—activists, migrants, dissenters—will be met with force.

A dark, dystopian digital painting of heavily armed police in tactical gear and gas masks standing in formation along a smoke-filled, war-torn urban street. The scene is shadowy and oppressive, with glowing embers and twisted tree branches in the background, evoking a sense of militarised occupation and impending violence.

Let California Secede in Spirit

California is not a client state—if Texas can defy Washington to punish the poor, then California can defy Washington to protect them.

A stylised diptych poster On the left, a utopian scene of post-war British council housing: clean, mid-century low-rise flats with open communal space where children play and neighbours chat in a sunlit courtyard. On the right, a stark contrast—dilapidated, privately rented housing with cracked walls, broken windows, a decaying swing, and a large “FOR RENT” sign, evoking neglect, scarcity, and social decline. Both panels are rendered in red and beige tones, underscoring the ideological shift from collective provision to market-driven decay.

A Nation That Rents, and Rots

The British housing crisis is not a matter of scarcity but of structure—a system that treats homes as investment vehicles, tenants as revenue streams, and housing itself as a battlefield between capital and collective life.

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