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A vintage revolver mounted on a plain beige wooden wall, evoking the concept of Chekhov’s gun. The weapon is displayed in profile with a dark blued metal frame and a worn wooden grip, lit softly to highlight its aged, utilitarian design.
Alexander Dugin

The Gospel of World War Three: Alexander Dugin and the Death Cult of Civilisation

Alexander Dugin’s latest polemic is not political analysis but fascist sermon—an apocalyptic blueprint in which nuclear war is both inevitable and desirable. Cloaked in the language of sovereignty and tradition, it is a call to arms for a new ideology of holy Russian power. What begins with Fordow ends with the end of humanity. And for that reason alone, it demands scrutiny—not celebration. You listening, tech bros?

A square-cropped image featuring the bold black text "THE SAMSON OPTION" in all capital letters on a cream background. The second "O" in "OPTION" is stylised with the upper half containing the Israeli flag and the lower half the American flag, symbolising the book’s geopolitical focus
Iran

The Bomb in the Basement, the Bomb in the Mountains: Israel, Iran, and the Nuclear Hypocrisy of the West

The next state to cross the nuclear threshold won’t be doing anything new. It’ll be following the path Israel already took—building the bomb in secret, shielded by silence and strategic utility. The real precedent was set decades ago in the Negev. That’s the hypocrisy at the heart of the so-called international order: one bomb is a threat to civilisation, the other a pillar of it. This isn’t about non-proliferation. It’s about who gets to own the apocalypse.

A stylised, screen-printed poster shows the Spanish PM in a suit walking past large NATO emblems on bold, flat panels. The image is rendered in a 1968 protest aesthetic with a grainy texture and a limited palette of red, navy blue, and beige. The composition evokes vintage political posters, with stark contrast and minimal detail emphasising the symbolism of militarism and conformity.
Donald J Trump

Only Spain Has Got It Right

At The Hague summit, NATO committed to spending 5% of GDP on defence and security by 2035—a figure with no strategic rationale and every sign of submission to Donald Trump. Only Spain said no. Pedro Sánchez broke ranks, arguing that gutting public services to fund rearmament was neither economically justifiable nor politically defensible. In doing so, he exposed what the rest of Europe won’t admit: this isn’t about defence. It’s about deference. And someone had to refuse.

A stencil-style, red monochromatic illustration split vertically into two scenes. On the left, three masked or hooded figures—one wearing a tactical vest—stand beside a Ford SUV. On the right, outside a Home Depot store, two shoppers push a trolley while another stands nearby. The entire image is rendered in a bold red on a beige background
ICE

Rendition Comes Home

Under Trump and Stephen Miller, extraordinary rendition has been refashioned for domestic use—not to fight terrorism, but to disappear the vulnerable. There are no warrants. No charges. No destinations. Just men in unmarked vans, masked and armed, taking people who often never come back. This isn’t immigration enforcement. It’s the logic of the War on Terror—secret transfers, indefinite detention, legal disappearance—turned inward. The spectacle is the point. The fear is the policy.

A menacing, cartoonish figure in a turban and beard glares forward, baring claw-like hands. The background features silhouetted Islamic architecture—minarets and domes—framing the central figure. The design mimics Cold War–era Western fear-mongering visuals.

From Reds to Revolutionary Guards: The New Bogeyman of Empire

By the time Hollywood started scripting Iran as its newest bogeyman, the Cold War playbook had already been written. The turbans replaced fur hats, the chants swapped in for Russian-accented threats, but the role remained the same: the unknowable enemy, forever at the gates. From Argo to Homeland, Iran is less a country than a plot device—violent, duplicitous, irredeemably foreign. Yet in the shadow of this narrative, exiled Iranian filmmakers are doing something far more dangerous than propaganda: they’re telling the truth.

GB News Twitter logo

The Muffled Drumbeat of Progress: GB News and the Battle for Truth

As we delve deeper into the tumultuous seas of the 21st century, the airwaves have become a battleground for the soul of society. One such combatant, GB News, has emerged as a rallying point for reactionary rhetoric, a stark contrast to the march of progressive values. Let’s dissect the ways in which GB News stands as a barrier to our shared vision of a more equitable, inclusive, and just society.

The cover of this weeks New Statesman

The New Statesman: A Weekly Read Worth the Wait

A sit-down with this week’s New Statesman magazine reveals John Gray’s analysis on technocratic language, Adrian Pabst’s commentary on higher education, Andrew Marr and Wolfgang Münchau’s insights on bourgeois politics, and a warning on trans hate from a recent podcast on the CPAC conference in the US.

Blood Sport: The BBC vs the Tories

It’s a classic case of power versus principle, and the stakes have never been higher. In the end, it’s not just about football – it’s about the very soul of our democracy.

Working Class and Ruling Class

Lee Anderson’s Questionable Politics: From Labour to the Tories, and Now GB News

From Labour to the Tories and now GB News, Lee Anderson’s questionable politics have caused controversy and criticism. As a newly-promoted figure in the Conservative Party and set to join the likes of Rees-Mogg on GB News, Anderson’s remarks on poverty and working class representation have left many wondering whether he truly understands the realities faced by those he claims to speak for.