The rest of the blog
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.
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.
This isn’t a defence strategy—it’s a subsidy for the arms industry, a performance of deterrence, and a reaffirmation of Britain’s role as obedient junior partner in the global machinery of capital.
On Larry Alan Busk’s Democracy in Spite of the Demos
Lee Anderson doesn’t want a solution—he wants a stage, and the small boats crisis is just the latest prop in Britain’s long-running theatre of cruelty
Starmer’s weapons pipeline is less about deterring war and more about embedding militarism into the heart of Britain’s economic model.
Warfare looks and sounds like war, but says nothing about it. Iraqis are reduced to bullet magnets, the mission is never named, and behind the realism lies a vacuum: of politics, of purpose, of meaning.
If Reaganism found its myths on the big screen, Trumpism built its own spectacle—and may now be searching for its Riefenstahl.
A film about marines and monsters, yes—but also about empire, capital, and the systems that survive by turning crisis into opportunity. Watching Aliens now is like reading the minutes of a future board meeting: the Company adapts, the hive expands, and the mission continues.
A masterful dissection of power, corruption, and the making of modern America, The Apprentice deserved to sweep the Oscars, but the Academy, as always, chose safety over truth.
The end of the year wouldn’t be complete without a list.
Sidney Lumet’s “The Hill” (1965) is a harrowing exploration of the human cost of military service and colonialism, set against the harsh realities of a British military prison during World War II.
In his latest dystopian film, Civil War, director Alex Garland presents a thought-provoking and unsettling vision of a divided United States, inviting viewers to contemplate the consequences of societal polarisation and the role of journalism in capturing the truth amidst conflict.
Patrick Keiller’s Robinson trilogy explores modern Britain through a psychogeographic lens, revealing how landscapes shape collective psychology. The films expose spaces that reflect political and social forces underlying the nation’s fractures.
In the cold depths of the cosmos, the saga of Star Wars unfolds, a timeless allegory of proletarian emancipation waging an epic battle against the dark tide of fascism.
The allure of wealth and power has long been a driving force in the world of American capitalism. This insatiable pursuit has given rise to both real and imagined corporate behemoths, casting their shadows over the futures of countless communities and individuals.