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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.
Donald J Trump

The Litigious President: Trump, Epstein, and the War on Journalism

The President has weaponised billion-dollar lawsuits to silence reporting, chill satire, and punish dissent. After ABC and CBS paid out millions, The Late Show with Stephen Colbert was cancelled days after mocking a Trump settlement. Now he’s suing Murdoch and the Wall Street Journal over a sketch linked to Epstein. This isn’t about truth. It’s about fear, and who’s allowed to speak.
Britain

The Butcher’s Apron: How the Far Right Got What It Wanted

Let’s not pretend this was ever about a child proud of her nation. It’s about the adults. Their performance, their grievance, their weaponisation of the flag. The far right didn’t stumble upon this story; they engineered it. A girl in a Union Jack dress becomes a national martyr, a school is hounded into closure, and the flag flies higher because of it. This isn’t about inclusion. It’s about intimidation. Once again, they’ve made the butcher’s apron the price of admission, and Labour’s too afraid to say otherwise.
European Union

Time to Face Facts: Bayrou, Budget Bombshells, and the Unthinkable Truth About Fortress Europe

Europe is not being overrun—it’s running out. Of workers, of births, of time. François Bayrou’s budget bombshell is less about fiscal rules than demographic reckoning. Fortress Europe clings to nostalgia while the tax base collapses. No amount of white-baby fantasies or border theatre will reverse the maths. The future demands what no mainstream party dares admit: migration, not austerity, is the condition of survival.

A weathered protest-style poster titled "THE ANOINTED FALLS" features a crumbling Roman-style statue of a robed male figure with an outstretched arm, half-submerged in a swamp. The black-and-white image is overlaid with red stencil graffiti reading “IT WAS A FRAUD,” “DRAIN THE SWAMP,” and “LOSER.” The poster’s edges are torn and stained, evoking a gritty, decayed aesthetic.
Alexander Dugin

Dugin Watch: A Theology of Disappointment

Dugin is no longer prophesying. He’s grieving. What was once a militant theology of MAGA as civilisational rebirth has curdled into lament. Trump, the anointed disruptor, has become just another functionary—an “object,” not a “subject.” The Deep State wasn’t slain, the Epstein files remain sealed, Israel is unchallenged. Dugin’s dream wasn’t defeated in battle. It drowned in compromise.

The Litigious President: Trump, Epstein, and the War on Journalism

The President has weaponised billion-dollar lawsuits to silence reporting, chill satire, and punish dissent. After ABC and CBS paid out millions, The Late Show with Stephen Colbert was cancelled days after mocking a Trump settlement. Now he’s suing Murdoch and the Wall Street Journal over a sketch linked to Epstein. This isn’t about truth. It’s about fear, and who’s allowed to speak.

A weathered protest-style poster titled "THE ANOINTED FALLS" features a crumbling Roman-style statue of a robed male figure with an outstretched arm, half-submerged in a swamp. The black-and-white image is overlaid with red stencil graffiti reading “IT WAS A FRAUD,” “DRAIN THE SWAMP,” and “LOSER.” The poster’s edges are torn and stained, evoking a gritty, decayed aesthetic.

Dugin Watch: A Theology of Disappointment

Dugin is no longer prophesying. He’s grieving. What was once a militant theology of MAGA as civilisational rebirth has curdled into lament. Trump, the anointed disruptor, has become just another functionary—an “object,” not a “subject.” The Deep State wasn’t slain, the Epstein files remain sealed, Israel is unchallenged. Dugin’s dream wasn’t defeated in battle. It drowned in compromise.

From Fordism to Fascist Nostalgia

There was a time when the production line ordered more than goods, it ordered life. Work meant wages, wages meant stability, and stability gave the illusion of progress. That was Fordism. What remains now is the shell of that promise, retrofitted as nationalist fantasy. The factory is gone, but its myth has been repurposed. Not to build, but to blame.

At the top, a stylised Doomsday Clock shows the time at 89 seconds to midnight, its right edge crumbling into scattered debris. Below, a tattered folder labelled “EPSTEIN FILES” lies tilted on the ground, next to a worn red MAGA hat. The entire composition is in grainy sepia tones with strong black and red accents, evoking urgency and political decay.

Dugin Watch: Delay Is Not Peace, Dugin’s Fifty-Day Fever Dream

Dugin doesn’t need Trump to lead anymore. He just needs him to stall. The real project now is building a soft-theocratic death cult that prays for collapse but never acts. Spectators waiting for revelation, not revolution. Fifty days to Armageddon. Maybe. Maybe not. That’s the point.

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.

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 bold graphic emblem features a red silhouette of Donald Trump’s profile against a black background. His head merges into a stylised red and orange mushroom cloud, symbolising nuclear explosion. The composition is symmetrical and stark, evoking propaganda poster aesthetics.

False Gods and Fallout: When Your Caesar Goes Globalist

Trump hasn’t changed, he’s doing what strongmen do: cutting deals, starting wars, appeasing generals. It’s Dugin who’s panicking. The fantasy’s collapsing, so he calls it a globalist takeover. The world isn’t ending. Just his script.

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