anti capitalist musings

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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.

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.

A dark, oil-painted 1950s-style illustration titled “Daddy’s Home” shows a stern, scowling man resembling Donald Trump standing in a doorway, holding a briefcase. He wears a black suit with a red tie and looms under dramatic lighting. To his left, a woman looks frightened, covering her mouth with her hand. In the foreground, a young boy with a furrowed brow glares angrily. The mood is tense and ominous, evoking themes of authoritarian return and domestic dread.

Daddy’s Home: Trump, NATO, and the Spectacle of Power

Trump didn’t just return to NATO; he returned as “Daddy”—a role not earned through diplomacy, but conjured through spectacle. Baudrillard warned that when image overtakes reality, politics becomes performance. The bombs may have hit Iran, but the real strike was rhetorical. What mattered wasn’t destruction, it was the appearance of obliteration, the meme of authority, the myth of restored order. In the empire of simulation, the sovereign returns not with treaties, but with merch.