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Britain

The Migrant Crisis That Isn’t: Fear, Farage, Robinson and the Fantasy of Invasion

Tommy Robinson doesn’t live the life he claims to defend. He parachutes into protest scenes when there’s chaos to film, then jets off to sun himself abroad. He’s not the voice of the working class, he’s a voyeur of decline, turning grievance into spectacle for clicks and cash. What he sells isn’t solidarity. It’s resentment dressed up as nostalgia.

A man stands in front of a battered white minivan parked on an empty asphalt lot, holding a shotgun and aiming skyward. The van’s door is open, debris scattered inside. The sky is overcast and the scene feels desolate. Text above reads “SOVEREIGN” with festival laurels and cast names including Nick Offerman and Jacob Tremblay. The overall tone is bleak, tense, and distinctly American.
Film

“As long as I can keep the chains off”

A man, his car, and his gun. This is pure Americana, not the myth of reinvention, but the fantasy that remains when everything else is lost. Sovereign begins with poverty. The ideology comes later.

Jeremy Corbyn

The Macron Fantasy

John Rentoul has never understood the left. A Blairite to his core, he sees politics as something to be managed, not transformed. His call for Starmer to copy Macron isn’t about defeating Farage, it’s about using him. The aim isn’t to inspire, but to frighten voters back into line. Like Macron, Starmer doesn’t oppose the far right. He needs it.

Exporting Jobs, Importing Virtue: A Marxist Critique of Gary Smith’s Net Zero Position

Gary Smith says Britain’s net zero policy has exported jobs and imported virtue. But what he’s really defending isn’t working-class power, this is fossil capital in a hard hat. Decarbonisation without class politics is a gift to Farage. But the answer isn’t more oil. It’s public ownership, planning, and a transition built by workers, not against them.

Britain

From “Feed the World” to Looking Away

Live Aid was forty years ago. Today, we are haunted once again by the images of starving children (and now, starving adults) in Gaza. But this time, it doesn’t seem to register. No concerts. No campaigns. No national reckoning. Why? Because the system can only process suffering when it’s stripped of politics. Ethiopia’s famine was framed as fate. Gaza’s is a siege, and Britain is complicit. That’s the difference.

A retro, screen-printed style illustration of a large construction site at twilight. Multiple cranes dominate the scene, with one lifting a massive circular structure. In the foreground, a solitary figure in a yellow hi-vis jacket stands facing the site. The sky is a textured teal, and the buildings and machinery are rendered in bold shades of orange and black.

Half Finshed Futures

Britain doesn’t have a problem with ambition—it has a problem with delivery, honesty, and class. HS2 is just the latest national fiasco sold as progress, then gutted behind the scenes to serve consultants, cronies and headlines.

A grainy, vintage-style photograph shows a massive fire engulfing a facility at night on the outskirts of a city. Thick black smoke billows into the sky, illuminated by the intense orange and yellow flames below. In the background, the cityscape glows with scattered lights, contrasting with the dark sky and the ominous blaze in the foreground. Several utility poles line the edge of the compound, silhouetted against the fire.

Trump, Tehran, and the Spectacle of Pressure

As Trump ramps up pressure on Iran—economically, militarily, and rhetorically—he discards intelligence briefings in favour of bombast, demands a surrender he can’t define, and courts catastrophe under the banner of strategic clarity. But Iran is not Iraq, and the fantasy of collapse may end in flames, not order.

A distorted television broadcast screenshot from the 1980s showing Margaret Thatcher speaking. The image is heavily glitched with horizontal multicoloured static lines disrupting her face and suit. She wears a dark blazer, a pearl necklace, and has her characteristic hairstyle. The glitch effect creates a retro, unsettling atmosphere.

Shifty and the Curtis Method in Decline

Adam Curtis’s latest series attempts to diagnose the collapse of public trust in Britain—but without his voice, a clear argument, or fresh material, Shifty drifts through the ruins of the neoliberal age, recycling fragments and offering atmosphere where once there was clarity.

A square graphic split vertically into two halves. On the left, a Barbie doll is depicted wearing a striped concentration camp uniform with a yellow Star of David and an identification number. On the right, a grey microwave oven is illustrated. The background uses muted beige, purple, and grey tones, with thick black outlines and a retro graphic style. The image critiques the commodification of trauma and modern consumer culture.

The Century of Soap and Barbie

Europeana is what happens when history loses faith in its own narrative. Part bureaucratic fever dream, part Adam Curtis montage, it recites the atrocities and absurdities of the twentieth century in a tone so flat it becomes damning.

A vivid red and orange photograph of a nuclear explosion during Operation Upshot-Knothole. A massive fireball and mushroom cloud dominate the image, illuminating the night sky. A steel test tower is visible in front of the blast, and silhouetted Joshua trees and human figures can be seen in the foreground, emphasising the scale and intensity of the detonation.

Destroy Everything, Explain Nothing

There are no responsible nuclear powers—only powers with the bomb and those without—and by explaining the science while ignoring the politics, Frank Close turns history’s most destructive weapon into a tale of tragic inevitability rather than state terror.

Shock and Awe, but for Who?

Israel’s assault on Iran wasn’t an act of self-defence or solidarity with the oppressed—it was a theatre of imperial dominance, applauded by the West, sold as morality, and carried out with the full force of a nuclear-backed settler state.

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.