anti capitalist musings

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An image of a contract torn in half
Football

When Is a Contract Not a Contract?

When star forwards can down tools before the season starts and still win the move, a “contract” is just a polite fiction. Isak and Igamane are the canaries in the coal mine.

Britain

Planes That Will Never Take Off

Planes will never take off, but every promise of mass deportation erodes rights, normalises cruelty, and casts the mob as the voice of the nation.

A realist oil painting shows a Joan of Arc–like figure in medieval armour standing amid urban chaos. Flames engulf the street, sending black smoke into the air as police and emergency vehicles appear in the background. She raises a banner with a red cross high above her head while holding a sword at her side
Britain

The Free Speech Martyrdom of Lucy Connolly

Keir Starmer’s law-and-order theatrics have handed the far right its new saint: a self-styled free speech Joan of Arc—except this saint didn’t want to be burned, she wanted others to be.

Britain

The Law, the Hotel, and the Vanishing Migrant

Paul Bristow cites the Epping Forest ruling to demand hotel closures for asylum seekers, but offers no plan for what follows. The Conservatives built the hotel system; Labour inherits it; local politicians weaponise planning law while migrants disappear from view.

Keir Starmer

Dawn Raids and Banned Placards

The arrest of a part-time cleaner for sharing Facebook posts backing Palestine Action shows how Britain’s response to Gaza has drifted from foreign policy into domestic repression.

Britain

The Provincial Mussolinis

Farage brings the noise, Starmer brings the law. The country falls apart to the sound of flags snapping and doors slamming while capital quietly clears the till.

Hand-painted protest signs displayed against a neutral background. One sign on brown cardboard reads “THEY SAY CUT BACK WE SAY FIGHT BACK” in bold black letters. Another, on black card, reads “NO CUTS TO PIP!” in large white letters. A third sign, painted blue and white, says “WELFARE NOT WARFARE,” with the word “NOT” inside a red prohibition circle. The style is bold, rough-edged, and defiant, evoking a DIY protest aesthetic.

Under Siege: Labour’s Crisis of Vision

Labour won power by promising stability, but what it offers now is paralysis. It has no strategy to counter Farage, no defence against a Tory right fightback, and no imagination to confront the ecological and economic shocks coming fast over the horizon. While Reform sets the agenda and the left reorganises, Starmer retreats into technocratic caution. The government is not leading Britain—it’s managing decline, and doing it badly. Unless Labour finds the courage to confront the forces tearing the country apart, it risks becoming the caretaker of its own collapse.

Front cover of the hardback version of The World After Gaza

The World After Gaza – a short review*

Pankaj Mishra’s The World After Gaza is a searing indictment of Western complicity in Israeli aggression, exposing the ideological, economic, and political forces that have enabled the destruction of Palestine.

A stylised graphic illustration of a modern red London double-decker bus on Route 24 to Pimlico, set against a backdrop of classical city architecture and a London Underground sign. The image uses a bold 1968 protest-era colour scheme of red, beige, yellow, and black, with minimalistic, flat shapes evoking vintage political poster design.

London Is Not Over—You Just Don’t Belong in It

Matt Goodwin’s claim that “London is over” isn’t analysis, it’s a panic attack in column form. Behind the talk of pints and train delays lies the same tired script the Mail rehashes every few weeks, just in time for its readers to rage over their cornflakes. Crime becomes a cipher for immigration, anecdote stands in for data, and the city’s diversity is framed as an existential threat. But what really offends Goodwin isn’t decline—it’s that London no longer looks or sounds like him.

A vintage revolver mounted on a plain beige wooden wall, evoking the concept of Chekhov’s gun. The weapon is displayed in profile with a dark blued metal frame and a worn wooden grip, lit softly to highlight its aged, utilitarian design.

The Gospel of World War Three: Alexander Dugin and the Death Cult of Civilisation

Alexander Dugin’s latest polemic is not political analysis but fascist sermon—an apocalyptic blueprint in which nuclear war is both inevitable and desirable. Cloaked in the language of sovereignty and tradition, it is a call to arms for a new ideology of holy Russian power. What begins with Fordow ends with the end of humanity. And for that reason alone, it demands scrutiny—not celebration. You listening, tech bros?

A square-cropped image featuring the bold black text "THE SAMSON OPTION" in all capital letters on a cream background. The second "O" in "OPTION" is stylised with the upper half containing the Israeli flag and the lower half the American flag, symbolising the book’s geopolitical focus

The Bomb in the Basement, the Bomb in the Mountains: Israel, Iran, and the Nuclear Hypocrisy of the West

The next state to cross the nuclear threshold won’t be doing anything new. It’ll be following the path Israel already took—building the bomb in secret, shielded by silence and strategic utility. The real precedent was set decades ago in the Negev. That’s the hypocrisy at the heart of the so-called international order: one bomb is a threat to civilisation, the other a pillar of it. This isn’t about non-proliferation. It’s about who gets to own the apocalypse.

A stylised, screen-printed poster shows the Spanish PM in a suit walking past large NATO emblems on bold, flat panels. The image is rendered in a 1968 protest aesthetic with a grainy texture and a limited palette of red, navy blue, and beige. The composition evokes vintage political posters, with stark contrast and minimal detail emphasising the symbolism of militarism and conformity.

Only Spain Has Got It Right

At The Hague summit, NATO committed to spending 5% of GDP on defence and security by 2035—a figure with no strategic rationale and every sign of submission to Donald Trump. Only Spain said no. Pedro Sánchez broke ranks, arguing that gutting public services to fund rearmament was neither economically justifiable nor politically defensible. In doing so, he exposed what the rest of Europe won’t admit: this isn’t about defence. It’s about deference. And someone had to refuse.

A stencil-style, red monochromatic illustration split vertically into two scenes. On the left, three masked or hooded figures—one wearing a tactical vest—stand beside a Ford SUV. On the right, outside a Home Depot store, two shoppers push a trolley while another stands nearby. The entire image is rendered in a bold red on a beige background

Rendition Comes Home

Under Trump and Stephen Miller, extraordinary rendition has been refashioned for domestic use—not to fight terrorism, but to disappear the vulnerable. There are no warrants. No charges. No destinations. Just men in unmarked vans, masked and armed, taking people who often never come back. This isn’t immigration enforcement. It’s the logic of the War on Terror—secret transfers, indefinite detention, legal disappearance—turned inward. The spectacle is the point. The fear is the policy.