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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.

Linocut-style illustration in black and beige showing two firefighters in full gear spraying water at a damaged multi-storey apartment building. The building's facade is scarred with broken windows and debris, while a smashed car with headlights on sits among rubble in the foreground. Ivy clings to parts of the structure, evoking a scene of recent destruction and urgent response.

Between a Rock and a Hard Place: Britain, Russia and the End of American Guarantees

Russia is at war with Britain. The US can no longer be trusted. And our government’s response? First aid classes and cadet training. If this is what cohesion looks like, we are in real trouble.

A vintage-style illustration evokes the look of a 1960s children’s book, with textured tones of orange, navy, and muted teal. A Muslim woman in a black burqa walks hand-in-hand with her smiling young son along a tidy British high street lined with brick buildings, trees, and striped shop awnings. The image has a nostalgic, screen-printed feel, blending everyday warmth with quiet defiance.

Burqas, Billionaires and a Broken Party: The Ugly Heart of Reform UK

Let’s not pretend there’s a serious policy debate here. The call to ban the burqa wasn’t a contribution to some Enlightenment café of ideas; it was a dog whistle blasted at full volume, a panic-button press designed to provoke.

A group of protesters march down a city street holding trans pride flags and placards. At the centre, a person holds a large sign reading: “THE THREAT OF TRANS PEOPLE IS A STATISTICAL ANOMALY! FACT: EHRC WANTS TO HUMILIATE TRANS PEOPLE. SUPREME COURT RULING DID NOT HEAR FROM ONE TRANS PERSON.” The crowd includes people of various ages and genders, with police officers visible to the left and Union Jack flags hanging in the background. The mood is serious but determined.

Correctional Politics and the Cruelty of Clarity

Trans people are not confused. They are not misled. They have not been lied to. They are responding, with dignity and resistance, to a sustained campaign of dehumanisation, spearheaded by a cross-section of legal hardliners, culture warriors, so called feminists, and opportunists.

Surplus Humanity: When the Robots Come for the Last Mile

Amazon’s humanoid delivery bots aren’t just replacing drivers—they’re accelerating the creation of what William I. Robinson calls surplus humanity: billions rendered useless to capital.

David Peace’s Munichs

David Peace’s Munichs is not just a novel about the Munich air disaster, it is a novel about how tragedy lingers, how history is shaped in grief and uncertainty, and how disaster, in the absence of instant news, once unfolded in echoes and silence.