anti capitalist musings

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Close-up of a British two pence coin, copper-coloured, showing a heraldic lion in a crosshatched frame with fleur-de-lis corners and the words “TWO PENCE” at the top.
Labour Government

Rachel Reeves and the 2p Trap

The chancellor’s proposed income tax shuffle is clever accountancy but toxic politics — a pledge-break disguised as fiscal discipline, and proof that Labour has trapped itself in rules it cannot escape.

An illustration of a red fish (Herring) in profile against a pale background, with the words “RED TERROR” in bold black capitals beneath it.
Charlie Kirk

Red Herring, Not Red Terror

David Frost calls it a new “Red Terror.” The truth is plainer: it’s the Right’s wars, coups and crackdowns that have spilt the deepest blood in politics.

Donald J Trump

The Invention of the Narco-Terrorist

Trump’s latest “kinetic strike” killed three unknown Venezuelans he labelled “narco-terrorists.” The phrase is not law but incantation, a word that strips away humanity and legitimises killing. From Vietnam body counts to Obama’s “signature strikes,” America has always named its enemies into existence, and into death.

Britain

Beyond Creeping Fascism

To call Robinson’s rally “populist” or “right-wing” is to miss the point. Fascism doesn’t require every marcher to be a coherent ideologue; it requires a mass, a scapegoat, and leaders prepared to turn grievance into violence. That is what we saw in London.

Screenshot of a Telegraph article by Camilla Tominey titled “The killing of Charlie Kirk shows just how poisonous Left-wing politics now is,” with the subheading “Speech has consequences – we have once more learnt that lesson from the horrifying events in Utah.” Below the headline is a photo showing two people in jeans holding a poster with a portrait of Charlie Kirk.
Camilla Tominey

Tominey’s doublethink

Camilla Tominey’s sainthood act for Charlie Kirk trades politics for piety. The Right already owns the machinery (press, finance, courts, police) and Kirk was part of the drive shaft. A death certificate doesn’t wash clean a career built on making violence respectable.

Britain

Flatlining Growth, Rising Crisis

The ONS reports zero growth in July. The papers call it “grim news” for Rachel Reeves. In reality, it is the latest entry in a long obituary for British capitalism — a system now sustained only by euphemism, stagnation, and decline.

At the top, a stylised Doomsday Clock shows the time at 89 seconds to midnight, its right edge crumbling into scattered debris. Below, a tattered folder labelled “EPSTEIN FILES” lies tilted on the ground, next to a worn red MAGA hat. The entire composition is in grainy sepia tones with strong black and red accents, evoking urgency and political decay.

Dugin Watch: Delay Is Not Peace, Dugin’s Fifty-Day Fever Dream

Dugin doesn’t need Trump to lead anymore. He just needs him to stall. The real project now is building a soft-theocratic death cult that prays for collapse but never acts. Spectators waiting for revelation, not revolution. Fifty days to Armageddon. Maybe. Maybe not. That’s the point.

The title at the top reads “PUNISHED MORE, PAID LESS”. Below it is a bar chart showing sanction rates by ethnicity: White (3%), Asian (4.4%), Black (6.4%), Mixed (5.3%), Other (3.1%). The caption at the bottom says: “ETHNIC MINORITY CLAIMANTS ARE MORE LIKELY TO BE SANCTIONED. SO MUCH FOR ‘SPECIAL TREATMENT’.”

The £12 Billion Lie

Farage says migrants are draining £12bn in benefits. The government’s own data says the real figure is closer to £3bn, and those he targets are more likely to be sanctioned and underpaid. This isn’t savings. It’s scapegoating.

A World War I–style sepia-toned recruitment poster featuring a smiling Liz Kendall with shoulder-length wavy brown hair, wearing a grey blazer and white shirt. She points directly at the viewer with a bold, stylised hand in the foreground. Below her, in large black serif text, the poster reads: “YOUR COUNTRY NEEDS YOU.” The design mimics the iconic Lord Kitchener enlistment posters, evoking a sense of patriotic urgency.

Britain’s New Workfare Army: Liz Kendall’s Marching Orders for the Poor

Labour are not offering opportunity, they are outsourcing austerity. Liz Kendall’s call for unemployed young people to join the Armed Forces isn’t a jobs programme, it’s conscription by stealth. The message is clear: pick up a rifle or face the full force of a benefits crackdown. We’ve gone from “levelling up” to shipping out. And if the government can’t promise you housing, dignity or decent pay, it will instead offer you a uniform and a war.

A grainy, high-contrast black-and-white protest-style illustration of a burning book titled "The End of History." The flames consume the top corner, and the overall image is textured like a 1968 Paris street poster, evoking urgency and ideological critique.

The End of History as Counter-Revolution

Zhang Yongle reads Trumpism as a new mode of hegemony. But what his own analysis shows is something starker: Trump didn’t emerge to challenge the liberal order—he emerged from its collapse. Fukuyama tried to end history; Trump is what happens when that lie runs out of road. Neither serves the ordinary person. Both exist to protect capital when legitimacy fails.

A diamond-shaped, weathered yellow road sign stands against a backdrop of dark storm clouds. The sign reads "END OF THE WORLD*" in bold black letters, with a small asterisk. Below it, in smaller text, the caption reads "*IF PUTIN HAS HIS WAY." The sign appears aged and rusted, evoking a sense of dystopia and looming catastrophe

Dugin Watch: The Mad Prophet of Multipolarity

Dugin’s latest tract is less geopolitics than geopolitical psychosis. An unhinged blend of Orthodox ultranationalism, fascist paranoia, and terminal online posting. But buried in the hallucinatory sprawl is a blueprint for what Russia’s ideological vanguard now sees as the next phase: war with Europe, justified not by security, but by metaphysics.

A vintage-style halftone illustration in red, beige, and black shows a chaotic political rally scene displayed across five devices: an old CRT television, a tablet, and three smartphones. The central image on each screen depicts former President Donald Trump being escorted by Secret Service agents through a crowd of supporters. The distressed, grainy texture and muted tones evoke a 1968 protest aesthetic, emphasising media saturation and political spectacle.

Death of the Real

The bullet missed, but the image hit. And it’s the image that rules now. Trump, mid-stumble, hand to ear, flanked by agents in suits. It has already been cropped, filtered, multiplied. Not just a moment, but a message: the strongman under fire, the martyr made live. The spectacle doesn’t distract from the violence; it packages it. Sells it. Projects it across TVs, phones, and tablets until belief hardens into doctrine. This is what power looks like in the age of algorithmic memory: not stability, but survival on camera.