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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.
Philp’s not doing politics, he is doing panic. Jenrick’s dragging the whole Tory lot further right, and this is what’s left: no ideas, no plan, just enemies. Same fear, different headline.
Neutrality in the face of injustice is not impartiality. This is complicity. The court’s ruling isn’t about keeping police out of politics; it’s about appeasing a reactionary movement that wants trans people pushed from public life. Today it’s Pride. Tomorrow it’s the right to celebrate Eid, to march for Black lives, to speak up for Palestine. The message is clear: visibility is permitted only for the unthreatening.
He fed them tales of satanic cabals and deep-state executions, and now expects them to believe the Epstein dossier is boring.
Farage isn’t here to fix Britain. He’s here to make you hate your neighbour while his mates keep getting rich.
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.
Rachel Reeves is not just reviving trickle-down economics. She is sharpening it into a weapon aimed directly at the working class.
Farage says migrants are draining £12bn in benefits. The government’s own data says the real figure is closer to £3bn, and those he targets are more likely to be sanctioned and underpaid. This isn’t savings. It’s scapegoating.
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 ICE raid at Home Depot isn’t law enforcement. This is performance of sovereignty. Armed agents posing in camo and Kevlar to detain migrant day labourers is not about public safety, but about staging dominance. It’s capitalism enforcing its border through spectacle: a theatre of control, broadcast from a retail car park, where labour is criminalised and militarism is aestheticised. This isn’t about stopping migration. It’s about punishing poverty and reassuring power.
Europeana is what happens when history loses faith in its own narrative. Part bureaucratic fever dream, part Adam Curtis montage, it recites the atrocities and absurdities of the twentieth century in a tone so flat it becomes damning.
In the society of the spectacle, even death must pose for the camera, and what is buried is not only the body but the last fragile hope that anything might remain untouched by the churn of images
From the cult-like following of visionaries like Elon Musk to the polarising influence of figures such as Donald Trump, we explore how the digital age’s most prominent personalities contribute to and thrive within the ever-evolving spectacle that captivates and divides our global society.
The realm of the spectacle is a treacherous landscape, where commodities distort truth and opinions manipulate desires. The United Kingdom’s decision to wage war in Iraq stands as a chilling testament to this phenomenon. In this post, we will explore how words and images were craftily deployed to create a mirage of deception and illusion, justifying the invasion. We will delve into the roles played by key figures like Tony Blair and Alastair Campbell, as well as the influence of the neoconservative agenda, in shaping this narrative. In the end, the consequences of this sinister dance between truth and spectacle emerge from the shadows, providing a harrowing reminder of the dangers of succumbing to the allure of falsehoods and manipulation.
Using Guy Debord’s concept of the spectacle to examine imperialism.