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Stencil-style protest image in red and black showing a close-up of a man’s face with eyes closed. A cloth gag covers his mouth, printed with the words “CRITICISM OF ISRAEL IS NOT ALLOWED” in bold, black, uppercase letters.
antisemitism

The New Heresy: When Criticising Israel Becomes a Thought Crime

What’s being rolled out at Northwestern and other campuses is not a programme to protect Jewish students from abuse. It’s a mechanism to discipline campus speech, to teach students that anti-Zionism is taboo and that political critique must defer to geopolitical orthodoxy. It doesn’t mention the Nakba. It doesn’t mention the occupation. It doesn’t mention that many Jews oppose Zionism. These trainings don’t fight antisemitism, they flatten it into a tool of state ideology.
Book Review

The Woman Who Wasn’t There

Caroline Lane wasn’t looked for because the system didn’t need to see her. The system still got paid. That’s the quiet scandal at the heart of Saltwater Mansions. It begins as a mystery, a vanished woman, a locked flat, a pile of unopened post, but becomes something stranger and sadder: an inquiry into how a person can disappear while everything around them keeps functioning. David Whitehouse isn’t writing true crime. He’s writing about the grief we ignore, the relationships we don’t ask about, the neighbours we forget to see. What remains is not just absence, it’s a mirror.
Britain

The Migrant Crisis That Isn’t: Fear, Farage, Robinson and the Fantasy of Invasion

Tommy Robinson doesn’t live the life he claims to defend. He parachutes into protest scenes when there’s chaos to film, then jets off to sun himself abroad. He’s not the voice of the working class, he’s a voyeur of decline, turning grievance into spectacle for clicks and cash. What he sells isn’t solidarity. It’s resentment dressed up as nostalgia.

A man stands in front of a battered white minivan parked on an empty asphalt lot, holding a shotgun and aiming skyward. The van’s door is open, debris scattered inside. The sky is overcast and the scene feels desolate. Text above reads “SOVEREIGN” with festival laurels and cast names including Nick Offerman and Jacob Tremblay. The overall tone is bleak, tense, and distinctly American.
Film

“As long as I can keep the chains off”

A man, his car, and his gun. This is pure Americana, not the myth of reinvention, but the fantasy that remains when everything else is lost. Sovereign begins with poverty. The ideology comes later.
Jeremy Corbyn

The Macron Fantasy

John Rentoul has never understood the left. A Blairite to his core, he sees politics as something to be managed, not transformed. His call for Starmer to copy Macron isn’t about defeating Farage, it’s about using him. The aim isn’t to inspire, but to frighten voters back into line. Like Macron, Starmer doesn’t oppose the far right. He needs it.

Graffiti-style stencil painting of four California National Guard soldiers in riot gear, standing shoulder to shoulder with stern expressions. Each figure holds a baton and a large shield labelled 'CALIFORNIA NATIONAL GUARD'. The background is dark and distressed, with blood-red splatters and harsh shadows enhancing a menacing, authoritarian tone.

The Militarisation of Los Angeles and the Fascist Normal

The LA deployment is not a policing measure. It is a political theatre of domination designed to send a message: the state belongs to Trump, the military answers to Trump, and those who oppose him—activists, migrants, dissenters—will be met with force.