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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.

Alexander Dugin

Dugin Watch: The Performance of Apocalypse

Alexander Dugin has declared the Istanbul peace talks “meaningless theatre” and announced the arrival of “total war.” He wants Russia (not just its army, but its soul) put on a permanent war footing.

Screenshot of a Daily Mail headline by Frank Furedi reading: "We've been silenced on mass migration and the nation's furious. All it will take is one spark and tinderbox Britain will go up in flames: FRANK FUREDI." Below the headline, it notes the article was published at 01:10 on 24 July 2025 and updated at 09:25 the same day. The Mail logo appears at the top left.
Far Right Extremism

Britain Will Not Burn – But Furedi Wants It To

Frank Furedi claims the public has been silenced, while shouting from the pages of the Daily Mail. What he’s really mourning is the loss of uncontested dominance: the fantasy of a Britain where dissent means agreeing with him. This isn’t analysis, it’s a staged panic, designed to justify repression and launder far-right talking points as common sense. Britain isn’t a tinderbox. But pieces like this are trying hard to make it one.

In red ink on textured beige paper, a line of riot police with visors and shields confronts an angry crowd. One masked protester is being pulled back mid-leap. The figures are stylised and simplified, with harsh lines and dramatic motion, evoking urgency and confrontation. In the background, blocky lettering hints at a school building.
Britain

The Hotels Are Just the Excuse

The protests outside migrant hotels aren’t spontaneous. They are engineered. Stoked by far-right groups, amplified by the right-wing press, and legitimised by political cowardice, what we’re witnessing is a strategic campaign to turn fear into power. When the police protect anti-racists, it’s called provocation. When the far right throws bottles, it’s “community concern.” The hotels are just the excuse. The real target is the idea that Britain could ever belong to all of us.

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.

A graffiti-style poster on a textured off-white, slightly stained wall reads in bold red hand-painted letters: “BRITAIN DOESN’T NEED RESTORING IT NEEDS REBUILDING — FROM THE GROUND UP, BY AND FOR THE MANY.” The paint appears uneven and dripping in places

The Fantasy of Restoration: A Polemic Against Rupert Lowe

MP Rupert Lowe peddles a fantasy of lost greatness to mask the failures of those who’ve ruled and ruined this country. The problem isn’t immigration or identity. It’s inequality, privatisation, and a political class that sold off the future for short-term profit. You want courage? Try telling the truth about power.

The Bulletproof Messiah: On Butler by Salena Zito

Butler isn’t really about politics. It’s about belief. The bullet didn’t just graze him; it made him sacred. The messy contradictions of 2016 are gone. What’s left is atmosphere, myth, and the story of a man who bled on stage and got up again. The faithful took it as a sign. This isn’t reporting. It’s scripture. A gospel for a leader who survives everything, and so, must rule.

A red baseball cap with white block letters reading “THE CUTS BEHIND THE CAP” on the front panel. The image has a grainy, vintage texture in beige and muted tones. The cap appears slightly worn, set against a distressed background suggestive of aged paper or fabric.

The Cuts Behind the Cap: Trumpism’s War on Its Own Base

Trump promised to protect the safety net. Instead, he signed a law that slashes Medicaid, imposes work requirements, and purges the rolls by design. His supporters still cheer, not because the cuts help them, but because the performance does. The cap says “Make America Great Again.” The policy says: you’re on your own.

A graphic poster with a textured, warm brown background. At the centre is the BRICS 2025 logo: a stylised, symmetrical burst of colourful triangles forming a tree-like shape, using vivid red, orange, yellow, green, and blue tones. Beneath the logo, bold black text reads “BRICS,” followed by “BRASIL 2025” and the Portuguese phrase “SUL GLOBAL INCLUSIVO E SUSTENTÁVEL.” The overall design evokes a mid-century political aesthetic with modern international symbolism.

When Principles Are Selective: BRICS, the Global South, and the Silence on Ukraine

BRICS condemns the bombing of Gaza and strikes on Iran with the language of international law, civilian protection, and sovereignty. But when it comes to Ukraine (a country invaded by one of its founding members) the silence is deafening. This isn’t a blind spot. It’s the logic of bloc politics. BRICS positions itself as a voice for the Global South, an alternative to Western hypocrisy, but it has its own double standards. Anti-imperialism loses its meaning if it only runs one way. The emerging multipolar order may be less Western, but it is not necessarily more just.

Digital illustration of the International Criminal Court building in The Hague. The image uses a limited palette of teal, turquoise, muted beige, and deep blue. The building’s modern glass facade is simplified into geometric blocks, and the foreground features a bold sign with the ICC’s logo and name in French and English. The overall effect evokes mid-century graphic design, with clean lines, high contrast, and a subdued, politically charged tone.

When the Powerful Kill: Why Israel and Russia Get Away with War Crimes

The phrase “rules-based international order” has become a punchline. When Russia bombs a maternity hospital, it’s a war crime. When Israel flattens a refugee camp, it’s self-defence. The ICC pursues African warlords and Balkan generals with zeal—but stalls or retreats when the accused are allies of Washington or clients of London. The problem isn’t that international law exists. It’s that it doesn’t apply to everyone. War crimes are prosecuted not on the basis of what’s done, but who does it, and who they do it for.

Graphic in distressed orange, black, and olive green. The image shows ruined buildings silhouetted against a stark sky, with jagged barbed wire stretching across the foreground. The word “GAZA” appears in large, block letters at the top, evoking a sense of confinement, devastation, and resistance.

This Is Ethnic Cleansing—Call It What It Is

Behind the talk of “humanitarian cities” and postwar development lies a brutal truth: this is a plan to herd Palestinians into ghettos, fence them in, and call it aid. When Blair’s thinktank is on calls about a “Trump Riviera” in Gaza, you know the project isn’t reconstruction—it’s removal.

A grainy, vintage-style image depicting a dense urban skyline with mid-rise buildings. A large, dark plume of smoke rises ominously from the city centre, suggesting a recent explosion. The image is rendered in a washed-out, sepia-orange tone, evoking a 1968 protest poster aesthetic with high contrast and nostalgic texture. A mosque minaret is visible among the buildings, hinting at the city's Middle Eastern setting.

A Requiem for Human Rights

What separates Hedges’s account from the usual war reporting is his refusal to speak in the language of balance. There are no “both sides” here. Gaza is not a tragedy. It is a crime. And history, in his telling, is not analogy but repetition. The Nakba never ended. The airstrikes are new; the logic is old. “We progress backwards,” someone has scrawled on a UN school wall. That line could be the book’s thesis.