anti capitalist musings

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A cracked wall bears the words “Krome Transitional Center” above a row of four old CRT televisions. The largest screen shows the hooded, outstretched figure from the Abu Ghraib torture photos, standing on a cardboard box with wires attached to his fingers. The other monitors display static. Exposed pipes run down the wall, evoking a bleak, institutional atmosphere.
ICE

Kneel and Eat: America’s War on Migrants

Reading this made me feel sick. It brought back the images from Abu Ghraib, its black hoods, outstretched arms, the grotesque theatre of domination. Only this time, it’s not Baghdad in 2003 but Miami in 2025. Don’t look away: this is what America does to the unwanted. And Britain’s not far behind.

A vintage-style protest poster features the Palestinian flag centred on a textured beige background. Bold, black block text above the flag reads: “THIS FLAG CAN GET YOU ARRESTED*”. Beneath the flag, in smaller text, it says: “*HOWEVER GENOCIDE CAN’T”. The design uses distressed fonts and grainy textures in the style of protest posters, drawing attention to the criminalisation of Palestinian solidarity in contrast to the impunity for state violence.
Britain

Criminalising Solidarity

The Labour government has not criminalised violence, it has criminalised resistance. Holding a flag, wearing a slogan, even whispering “Palestine” is now suspect. But dropping bombs on children? That’s fine. If that sounds like justice to you, you’re already lost.

Britain

The Great British Retirement Swindle

They gutted final salary schemes. They tied your future to the stock market. Now they want to gamble what’s left on the promise of growth that never comes. Rachel Reeves calls it “unlocking capital.” What it really means is handing over your pension to the very firms that gutted the economy in the first place.

There’s no housing to fall back on. No council flat, no affordable rent, no hope of owning. Just a threadbare pension pot and a government asking you to work longer, save more, and expect less.

Crime and Punishment

Nigel Farage: The Performance Artist of British Punishment Politics

Farage isn’t offering a plan, this is performance. His “law and order” blitz isn’t costed, credible, or connected to reality. It’s the politics of punishment as spectacle: build more prisons, shout louder, deport faster, sentence longer. No thought to the broken justice system, no answers on prevention or rehabilitation. Just another culture war front for a party with no economic programme and no interest in governing.

A graphic representation of the Palestinian flag featuring a grainy, textured aesthetic. The design includes a red triangle on the left and three horizontal stripes—black at the top, white in the middle, and green at the bottom—each with a distressed, vintage look evocative of mid-20th century radical printmaking.
Britain

Is the Home Secretary Embarrassed Yet?

While Israel levels Gaza, the Labour government arrests pensioners in Liverpool for carrying a leaflet. Yvette Cooper calls it national security. But what we are witnessing is the suppression of solidarity, the silencing of dissent, and the transformation of protest into a punishable offence. A government that will not name a genocide is quick to jail those who do.

Gaza

The Exhaustion of Moral Capital

Moral capital was never just sympathy, it was a strategy. It allowed Israel to present itself as victim and victor, past sufferer and present enforcer. But capital is not infinite. What was once a shield has become a smokescreen. And in Gaza, that smokescreen has lifted.

The world is watching a nuclear-backed state starve and bomb a captive population, and still we are told this is security. But what happens when the story no longer convinces? What remains when the history runs out? Only the force. Only the ruin. Only the lie that it was ever anything else.

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