
Rachel Reeves and the 2p Trap
The chancellor’s proposed income tax shuffle is clever accountancy but toxic politics — a pledge-break disguised as fiscal discipline, and proof that Labour has trapped itself in rules it cannot escape.
The rest of the blog
The chancellor’s proposed income tax shuffle is clever accountancy but toxic politics — a pledge-break disguised as fiscal discipline, and proof that Labour has trapped itself in rules it cannot escape.
More than 200,000 young men aren’t “signed off for life”—they are the reserve army of labour, conscripted into the Telegraph’s morality tale to prepare the ground for austerity.
David Frost calls it a new “Red Terror.” The truth is plainer: it’s the Right’s wars, coups and crackdowns that have spilt the deepest blood in politics.
Trump’s latest “kinetic strike” killed three unknown Venezuelans he labelled “narco-terrorists.” The phrase is not law but incantation, a word that strips away humanity and legitimises killing. From Vietnam body counts to Obama’s “signature strikes,” America has always named its enemies into existence, and into death.
To call Robinson’s rally “populist” or “right-wing” is to miss the point. Fascism doesn’t require every marcher to be a coherent ideologue; it requires a mass, a scapegoat, and leaders prepared to turn grievance into violence. That is what we saw in London.
The events of Saturday (13/09) prove that Britain can go fascist. Musk calls for violence, the Telegraph and Times launder his words, and Starmer clings to the flag. We must name the danger or watch it grow.
Camilla Tominey’s sainthood act for Charlie Kirk trades politics for piety. The Right already owns the machinery (press, finance, courts, police) and Kirk was part of the drive shaft. A death certificate doesn’t wash clean a career built on making violence respectable.
The ONS reports zero growth in July. The papers call it “grim news” for Rachel Reeves. In reality, it is the latest entry in a long obituary for British capitalism — a system now sustained only by euphemism, stagnation, and decline.
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.
Publishing a suspect’s ethnicity isn’t transparency, it’s a gift to the mob, a state-sanctioned dog whistle that trades justice for headlines and hands Reform UK exactly the ammunition it craves.
Farage wants you to believe he can fix the country. But he broke it. From Brexit to “civil disobedience,” his politics turned crisis into currency. Now he wants to cash in. Don’t buy it.
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.
Trump isn’t reopening Alcatraz. He’s pointing at the ruins and saying: this is what we’ll do to them. It’s not
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.
The mob lit the match, but it was the right-wing press that soaked the ground and stood back to watch it burn.
They say prisons are overcrowded, as if the cages are too small. As if the problem is spatial. As if all we need is a few more acres of razor wire and reinforced concrete and the crisis will vanish. But prisons aren’t full because we lack space. They’re full because we lack imagination.
Hallie Rubenhold and the Masculinity of Murder
Kristi Noem’s visit to El Salvador’s mega-prison wasn’t about enforcing policy, it was about staging power for the camera in a theatre of authoritarian realism.