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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 black withered Labour rose
Britain

The Art of Losing: Labour’s First Year in Power

Labour’s problem isn’t just that it inherited a broken economy. It’s that it refuses to say so. The party acts like governing is a performance for bond markets and newspaper editors, rather than an act of political leadership. Hard choices are made without explanation. Rollbacks happen without apology. And the public is left wondering: if even Labour doesn’t believe in what it’s doing, why should anyone else?

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

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 large black-and-white graffiti mural of a young Mike Tyson is painted on the side of a red brick building in New York. The mural shows Tyson before his face tattoo era, capturing his youthful intensity with a stern expression and strong jawline. His name, “MIKE TYSON,” appears in bold white capital letters beside the portrait. The building features classic urban architecture with fire escapes, giving the scene a gritty 1980s New York atmosphere. A streetlamp stands in the foreground, adding to the mural’s dramatic presence.

The Beast in the Bleachers

Mike Tyson was never just a boxer—he was a system made flesh. Mark Kriegel’s Baddest Man understands this: it’s not a redemption tale but an anatomy of spectacle, where a traumatised boy from Brownsville is forged into a global icon of violence, repackaged as entertainment, and finally rebranded for profit

The image is divided into three main sections: on the left, dark green conifer trees form a dense forest; on the right, large, jagged orange and yellow flames dominate the frame, licking upwards; above, thick grey smoke billows into a pale blue sky with sharp, graphic cloud shapes. The colours are bold and flat, with a textured, screen-printed effect, evoking urgency and destruction.

The Far Right Would Rather Burn the World Than Change It

The far right has no intention of meeting the climate crisis—they’re not even pretending anymore. As scientists warn we have just two years left to stay within the carbon budget for 1.5C, reactionary forces double down on fossil fuels, culture war, and delay. Their politics is not about preventing collapse, but exploiting it. Climate denial has become climate opportunism—and the cost will be counted in lives.

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.