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This isn’t a defence strategy—it’s a subsidy for the arms industry, a performance of deterrence, and a reaffirmation of Britain’s role as obedient junior partner in the global machinery of capital.
On Larry Alan Busk’s Democracy in Spite of the Demos
Lee Anderson doesn’t want a solution—he wants a stage, and the small boats crisis is just the latest prop in Britain’s long-running theatre of cruelty
Starmer’s weapons pipeline is less about deterring war and more about embedding militarism into the heart of Britain’s economic model.
Ryan’s Second Strike is a taut, post-Brexit techno-thriller in which privatised warfare meets Cold War ghosts, and the real enemy is the story you’re told to believe.
Geoff Dyer’s Homework shows childhood not as innocence, but as class training—plastic toys, unwritten rules, and a welfare state already fraying at the edges.
The presidency was already a sideshow in Trump’s first term, but his second has stripped it of any remaining dignity, turning the White House into just another stage for his brand of gaudy, transactional spectacle.
What if the greatest threat to your freedom wasn’t a government decree, a criminal act, or even a political ideology, but an algorithm? The Dream Hotel, Laila Lalami’s chilling new novel, imagines a world in which surveillance capitalism governs not only what we do, but who we are allowed to be.
A masterful dissection of power, corruption, and the making of modern America, The Apprentice deserved to sweep the Oscars, but the Academy, as always, chose safety over truth.
Histories of 1914 and the start of the First World War continue to proliferate, yet few reflect on how those histories themselves have been shaped. Perry Anderson’s Disputing Disaster is a forensic examination of how the war’s origins have been written, but what does it omit?