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Graphic in distressed orange, black, and olive green. The image shows ruined buildings silhouetted against a stark sky, with jagged barbed wire stretching across the foreground. The word “GAZA” appears in large, block letters at the top, evoking a sense of confinement, devastation, and resistance.
Ethnic Cleansing

This Is Ethnic Cleansing—Call It What It Is

Behind the talk of “humanitarian cities” and postwar development lies a brutal truth: this is a plan to herd Palestinians into ghettos, fence them in, and call it aid. When Blair’s thinktank is on calls about a “Trump Riviera” in Gaza, you know the project isn’t reconstruction—it’s removal.

A grainy, vintage-style image depicting a dense urban skyline with mid-rise buildings. A large, dark plume of smoke rises ominously from the city centre, suggesting a recent explosion. The image is rendered in a washed-out, sepia-orange tone, evoking a 1968 protest poster aesthetic with high contrast and nostalgic texture. A mosque minaret is visible among the buildings, hinting at the city's Middle Eastern setting.
Book Review

A Requiem for Human Rights

What separates Hedges’s account from the usual war reporting is his refusal to speak in the language of balance. There are no “both sides” here. Gaza is not a tragedy. It is a crime. And history, in his telling, is not analogy but repetition. The Nakba never ended. The airstrikes are new; the logic is old. “We progress backwards,” someone has scrawled on a UN school wall. That line could be the book’s thesis.

A vintage-style protest poster rendered in grainy halftone with a jaundiced beige and olive green palette. The image shows British soldiers in uniform, in a casual moment during a military inspection. Bold black text beneath reads: “SMILE FOR THE CROWN WHILE YOU OCCUPY THE STREETS.” The design evokes 1968 protest aesthetics with a stark critique of military presence and royal authority.
Imperialism

Who Is the Violence For?

This month, the British state made its position on violence unambiguous: while ex-generals and loyal newspapers led the charge, Parliament followed. The result was clear: Impunity for its own, criminalisation for its critics. In the same month it moved to quash investigations into war crimes in Northern Ireland, it voted to proscribe Palestine Action under terrorism law.

A digital illustration features portraits of Donald Trump and Alexander Dugin side by side, rendered in bold red, orange, and black tones. Trump appears stern in a suit and tie, his expression tense, with an American flag pin on his lapel. Dugin gazes forward with a solemn intensity, his thick beard and unkempt hair highlighted by radiating orange rays behind his head, evoking a dark, iconographic halo. The background is a deep red gradient, reinforcing the dramatic and ideological tone of the piece.
Alexander Dugin

Trump, Dugin, and the Eschatology of Reaction

Trump is no longer a politician in Dugin’s hands. He is a prophet who fell short. But the prophecy lives on. That’s how Dugin works: he turns failure into myth, betrayal into destiny. Putinism becomes the sacred, Trumpism the fallen. Everything is wrapped in theology, because the politics (when you look closely) aren’t up to much. It’s not tradition he’s defending. It’s accelerationism with a whiff of incense.

Imperialism

No One Is Above the Law—Not Even the SAS

The state demands loyalty from its killers, and contempt for those who ask why. To question the SAS is treated as heresy. To investigate them, as betrayal. But no one is above the law. Not even the men with night-vision goggles and state-sanctioned impunity. If the victims of British state violence are to be denied justice so that the myth of military virtue can remain intact, then we are not a democracy. We continue to be an empire that refuses to admit it.

A stylised screen-printed poster, depicting a broken factory window set in a red brick wall. The shattered glass forms sharp, black jagged lines against a beige background, with thick black outlines and graphic shadows. The design uses bold, limited colours—red, black, beige—and a grainy, stippled texture to evoke the mood of militant industrial unrest.
Gaza

Terror Is a Word They Use to Stop You

You don’t have to like the tactics. But if protest that disrupts power is treated as terrorism, then the state has rewritten the definition to suit itself.

A weathered and torn political poster clings to a rough concrete wall. The poster reads “SOCIALISM OR BARBARISM, 2029?” with the words “SOCIALISM” and “2029?” in bold black and “BARBARISM” in bold red. The edges of the poster are frayed and peeling, suggesting age and neglect.
Green Party

The Left Breaks Cover: Sultana, Corbyn, and the Case for a New Party — With McDonnell at the Helm?

The Labour Party under Starmer has become a machine for silencing dissent. Abbott, Shaheen, Driscoll, and others have been smeared, blocked, or expelled. The party has moved right on immigration, welfare, protest, and Palestine — and done so proudly. Sultana’s resignation wasn’t a betrayal of Labour values. It was a defence of them. And if a new left party is to be more than symbolic, it needs more than moral clarity. It needs leadership. Corbyn remains the figurehead, but John McDonnell (articulate, disciplined, and trusted) is the one who could anchor this project. He may not want the crown. But that is exactly what makes him the right person to hold it.

A large crowd at Glastonbury Festival waves numerous Palestinian flags under a partly cloudy blue sky. Dominating the image is a prominently raised flag in the foreground reading “GLASTO FOR PALESTINE” in white letters across the Palestinian tricolour (black, white, and green horizontal stripes with a red triangle on the hoist side). The atmosphere is festive yet political, with a visible sense of solidarity.

Douglas Murray and the Fetish of Empire

Murray calls the IDF a “citizen army”, as if it were Dad’s Army with drones. In truth, Gaza is a laboratory, where missiles are tested, faces scanned, and children used to perfect the next export.

A stylised protest-poster-style illustration in red, black, and beige tones. A punk musician with dreadlocks stands onstage holding a microphone and raising a Palestinian flag triumphantly, facing a cheering crowd with raised fists. Behind him is scaffolding and a control booth, with onlookers observing from above. Bold text at the bottom reads: JUST PUNKS BEING PUNKS

The Lobby That Doesn’t Exist (But Everyone’s Afraid Of)

They came for Glastonbury, the BBC, and a punk band. Then they came for students, civil servants, and anyone else who dared speak clearly about Palestine. What we’re watching is not a debate—it’s a crackdown. Armed with legal threats, media outrage, and the ever-flexible label of antisemitism, Britain’s pro-Israel lobby doesn’t just influence politics. It polices speech. And when even a chant against a military force under ICC investigation is treated as hate speech, the message is clear: the violence can continue, but naming it is forbidden.

It depicts five heavily armed and masked Border Patrol agents in tactical gear standing in and around the open sliding door of a white van. The central figure’s vest prominently displays a yellow badge with the words “BORDER PATROL.” The image has a rough, stencilled texture and a distressed background, evoking a dystopian, authoritarian atmosphere.

Spectacle at the Tool Aisle

The ICE raid at Home Depot isn’t law enforcement. This is performance of sovereignty. Armed agents posing in camo and Kevlar to detain migrant day labourers is not about public safety, but about staging dominance. It’s capitalism enforcing its border through spectacle: a theatre of control, broadcast from a retail car park, where labour is criminalised and militarism is aestheticised. This isn’t about stopping migration. It’s about punishing poverty and reassuring power.

Grenfell Tower covered in white sheeting with large green heart symbols and the words "GRENFELL FOREVER IN OUR HEARTS" displayed at the top. A red construction lift runs vertically up the centre, with trees and lampposts in the foreground under a clear blue sky.

The Fire That Deregulation Built

Eight years on, Grenfell remains a wound that hasn’t healed. Netflix’s documentary gives voice to the survivors, while Peter Apps’s account lays bare the systemic failures that made the fire inevitable, and the justice that still hasn’t come.

A bold graphic emblem features a red silhouette of Donald Trump’s profile against a black background. His head merges into a stylised red and orange mushroom cloud, symbolising nuclear explosion. The composition is symmetrical and stark, evoking propaganda poster aesthetics.

False Gods and Fallout: When Your Caesar Goes Globalist

Trump hasn’t changed, he’s doing what strongmen do: cutting deals, starting wars, appeasing generals. It’s Dugin who’s panicking. The fantasy’s collapsing, so he calls it a globalist takeover. The world isn’t ending. Just his script.

A cylindrical metal tin filled with bright red paint, sitting on a neutral grey surface. The paint is smooth and glossy, with the tin slightly scuffed, giving a utilitarian appearance.

Red Paint Is Not Terrorism

This is what it comes down to: the Labour government wants to put a group of activists who threw red paint at arms factories in the same legal category as ISIS.

Welfare Over Warfare

As Labour signs off on bombers and benefit cuts, Britain is being reshaped—not by necessity, but by choice. Welfare is being gutted while defence sails on untouched. This isn’t fiscal realism. It’s a war budget in peacetime.

A close-up image of tightly rolled newspapers stacked vertically, with dim, moody lighting and a grainy texture that gives the scene a vintage, noir atmosphere. Some headlines and columns are partially visible, adding to the sense of layered, obscured information.

Who Gets to Tell the Story?

Journalism doesn’t need saving by those who made it toxic. Wright names the rot—Murdoch, the lobby, the Oxbridge cartel—and shows how the presses keeps running.