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Britain

Theft by Design: How Right to Buy Looted the Public Realm

Right to Buy was never just a housing policy. It was a weapon. It stripped councils of their power, turned tenants into property owners, and recast collective provision as individual gain. The result wasn’t freedom but fragmentation: social housing gutted, rents soaring, and the right to strike undermined by the threat of eviction. Thatcher didn’t just sell homes. She sold a new class alignment, and we’re still living in its ruins.
Nuclear Weapons

Eighty Years Since Hiroshima. We’re Closer Now.

In 1984, we built a nuclear bunker out of cardboard boxes in the corner of our classroom. Each of us brought something for survival—Look-In mags, tins of beans, but no tin opener. Even as kids, we knew it was useless. That was the point. You couldn’t market nuclear war as survivable. Forty years on, the language has changed but the logic remains. The bomb hasn’t gone away, it’s just become background noise. The treaties are gone. The madmen are in charge. And the system that built the bomb still holds it, not to use necessarily, but to remind us who gets to decide if we live.

A close-up photograph of a dark grey suit jacket with a red circular badge pinned to the left lapel. The badge features bold white text that reads "JOIN A UNION" in all capital letters. The image is softly lit, with the badge clearly in focus and the texture of the suit fabric visible in the background.
Eddie Dempsey

The Right to Strike Is Not a Threat—It’s a Minimum Demand

The modern-day barons don’t run trade unions, they sail £100 million yachts and bankroll governments. Yet it’s the rail cleaner or the guard who’s cast as the threat. What’s truly appalling is not that Eddie Dempsey wants to strike fast, but that workers can’t strike in solidarity with Palestinians, can’t refuse to load weapons bound for Gaza, can’t use their collective strength to win better conditions across sectors. The right fears not chaos—but class power.
Alexander Dugin

Dugin Watch: The Neanderthal Meme Doesn’t Even Look Like Her

The image doesn’t look like Brigitte Macron because it doesn’t need to. It only needs to conjure the reaction. To push the buttons. And when those buttons get pushed (when people get angry) they declare victory. It’s all very childlike.

A textured graphic illustration shows a large, vivid blue water droplet set against a cracked, parched earth background. The droplet appears smooth and stylised, contrasting sharply with the grainy beige soil and jagged black fissures, evoking drought, scarcity, and the fragile symbolism of water amid environmental collapse.
Book Review

The Mirage of Water: On Filippo Menga’s Thirst

Water isn’t just drying up, it’s being sold back to us in bottles, summits, and charity hashtags. Filippo Menga’s Thirst shows how crisis becomes currency, how scarcity is manufactured, managed, and monetised. This isn’t about saving water, it’s about saving meaning.

Steamships and Settlers

“Palestine is not a digression from the climate movement. It is its centre.” That’s the force of Andreas Malm’s pamphlet, The Destruction of Palestine Is the Destruction of the Earth. It doesn’t ask for reflection. It demands action. This isn’t a balanced account of Gaza or a theory of climate collapse. Instead it’s a weaponised intervention against the politics of impunity. What Malm offers is a raw and necessary link: between the bombs that fall on Jabaliya and the storms that drown Derna, between settler colonialism and fossil capital, between the rubble of Akka in 1840 and the rubble of Gaza in 2024. The pamphlet is furious, and entirely justified. It should be read, and used.

From “Feed the World” to Looking Away

Live Aid was forty years ago. Today, we are haunted once again by the images of starving children (and now, starving adults) in Gaza. But this time, it doesn’t seem to register. No concerts. No campaigns. No national reckoning. Why? Because the system can only process suffering when it’s stripped of politics. Ethiopia’s famine was framed as fate. Gaza’s is a siege, and Britain is complicit. That’s the difference.

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.

Digital illustration of the International Criminal Court building in The Hague. The image uses a limited palette of teal, turquoise, muted beige, and deep blue. The building’s modern glass facade is simplified into geometric blocks, and the foreground features a bold sign with the ICC’s logo and name in French and English. The overall effect evokes mid-century graphic design, with clean lines, high contrast, and a subdued, politically charged tone.

When the Powerful Kill: Why Israel and Russia Get Away with War Crimes

The phrase “rules-based international order” has become a punchline. When Russia bombs a maternity hospital, it’s a war crime. When Israel flattens a refugee camp, it’s self-defence. The ICC pursues African warlords and Balkan generals with zeal—but stalls or retreats when the accused are allies of Washington or clients of London. The problem isn’t that international law exists. It’s that it doesn’t apply to everyone. War crimes are prosecuted not on the basis of what’s done, but who does it, and who they do it for.

Graphic in distressed orange, black, and olive green. The image shows ruined buildings silhouetted against a stark sky, with jagged barbed wire stretching across the foreground. The word “GAZA” appears in large, block letters at the top, evoking a sense of confinement, devastation, and resistance.

This Is Ethnic Cleansing—Call It What It Is

Behind the talk of “humanitarian cities” and postwar development lies a brutal truth: this is a plan to herd Palestinians into ghettos, fence them in, and call it aid. When Blair’s thinktank is on calls about a “Trump Riviera” in Gaza, you know the project isn’t reconstruction—it’s removal.

A grainy, vintage-style image depicting a dense urban skyline with mid-rise buildings. A large, dark plume of smoke rises ominously from the city centre, suggesting a recent explosion. The image is rendered in a washed-out, sepia-orange tone, evoking a 1968 protest poster aesthetic with high contrast and nostalgic texture. A mosque minaret is visible among the buildings, hinting at the city's Middle Eastern setting.

A Requiem for Human Rights

What separates Hedges’s account from the usual war reporting is his refusal to speak in the language of balance. There are no “both sides” here. Gaza is not a tragedy. It is a crime. And history, in his telling, is not analogy but repetition. The Nakba never ended. The airstrikes are new; the logic is old. “We progress backwards,” someone has scrawled on a UN school wall. That line could be the book’s thesis.

Front cover of the hardback version of The World After Gaza

The World After Gaza – a short review*

Pankaj Mishra’s The World After Gaza is a searing indictment of Western complicity in Israeli aggression, exposing the ideological, economic, and political forces that have enabled the destruction of Palestine.

A graphic that shows a bullet proof vest with the writing Press IDF spokesperson

Sympathy for the Occupier

Douglas Murray’s On Democracies and Death Cults isn’t journalism, it’s propaganda, where settler colonialism is recast as civilisation and Palestinian resistance is pathologised as a death cult. He doesn’t analyse October 7; he sanctifies it.

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