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Photo of the European Court of Human Rights building
Britain

The ECHR Debate: Sovereignty, Rights, and the Limits of Law

As Britain debates leaving the European Court of Human Rights, the clash between nationalist zeal, technocratic caution, and left-leaning legalism exposes a deeper struggle over sovereignty, immigration, and the meaning of human rights

Satirical illustration of a coin with two faces: one side shows a smiling Nigel Farage in a suit, the other side shows a stern, frowning Nick Griffin in a suit, symbolising two sides of the same coin
Britain

Operation Restoring Injustice

Nigel Farage’s “Operation Restoring Justice” is nothing new. Strip away the slick staging and media amplification, and it’s the same nativist bile the BNP peddled in the 1990s, only now treated as respectable politics.

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.

Book cover of "Murderland: Crime and Bloodlust in the Time of Serial Killers" by Caroline Fraser. The design features a monochrome photo of a man's face—partially obscured—with a superimposed industrial landscape and plume of smoke, blending the imagery of a serial killer with a polluted, foreboding environment. The title is in bold yellow text at the top, and the author's name appears at the bottom in yellow, noting her as the Pulitzer Prize-winning author of "Prairie Fires".

The Crazy Wall

Caroline Fraser’s Murderland dismantles the voyeurism of true crime by tracing serial murder not to aberrant monsters but to the poisoned infrastructures, institutional apathy, and cultural amnesia that made their violence possible.

Graffiti-style stencil painting of four California National Guard soldiers in riot gear, standing shoulder to shoulder with stern expressions. Each figure holds a baton and a large shield labelled 'CALIFORNIA NATIONAL GUARD'. The background is dark and distressed, with blood-red splatters and harsh shadows enhancing a menacing, authoritarian tone.

The Militarisation of Los Angeles and the Fascist Normal

The LA deployment is not a policing measure. It is a political theatre of domination designed to send a message: the state belongs to Trump, the military answers to Trump, and those who oppose him—activists, migrants, dissenters—will be met with force.

A dark, dystopian digital painting of heavily armed police in tactical gear and gas masks standing in formation along a smoke-filled, war-torn urban street. The scene is shadowy and oppressive, with glowing embers and twisted tree branches in the background, evoking a sense of militarised occupation and impending violence.

Let California Secede in Spirit

California is not a client state—if Texas can defy Washington to punish the poor, then California can defy Washington to protect them.

A stylised diptych poster On the left, a utopian scene of post-war British council housing: clean, mid-century low-rise flats with open communal space where children play and neighbours chat in a sunlit courtyard. On the right, a stark contrast—dilapidated, privately rented housing with cracked walls, broken windows, a decaying swing, and a large “FOR RENT” sign, evoking neglect, scarcity, and social decline. Both panels are rendered in red and beige tones, underscoring the ideological shift from collective provision to market-driven decay.

A Nation That Rents, and Rots

The British housing crisis is not a matter of scarcity but of structure—a system that treats homes as investment vehicles, tenants as revenue streams, and housing itself as a battlefield between capital and collective life.