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A screenshot of The Telegraph’s website front page. The main headline reads: “Police take pro-migrant protesters to asylum hotel.” The subheading says, “Essex officers brought counter-demonstrators to face angry residents, claim witnesses.” Beside the text is an image of uniformed police officers in high-visibility jackets standing in front of a group of pro-migrant protesters holding “Stand Up to Racism” placards. A black Jeep with a visible rear wheel is parked in the foreground. The scene takes place outside the Bell Hotel in Clacton-on-Sea. The mood is tense, with the police forming a line between protesters and onlookers.
Far-Right

The Telegraph’s Riot: When Anti-Fascists Become the Problem

While far right mobs are framed as “concerned locals”, anti-fascists are treated as the threat. The police escort becomes the scandal, not the fact that far-right demonstrators are being allowed to dominate England’s streets with near impunity. When the media sides with the mob, resistance is rebranded as provocation.

Britain

The Patriarchy in Uniform: Reform UK’s Law and Order Is a War on Women

When Reform UK’s justice spokesperson declared she would “much rather see a great big strapping male police officer with a female,” she wasn’t just airing a preference. Pochin was laying out a worldview. One where women are too vulnerable to patrol alone, too soft for frontline work, and too inconvenient to be equal. As under Trump, so under Farage: the creeping politics of patriarchy, where power is always male, and women are tolerated only if they stay in their place.

Britain

The Real Arsonists of Social Cohesion

The English disease is back. While Scotland holds the line with civic identity and social solidarity, England is once again the testing ground for far-right mobilisation and state complicity. From hotel sieges in Epping to flag-waving standoffs in Norfolk, this isn’t about deprivation alone. This is nationalism curdled into grievance, stoked by those who know exactly what they are doing. And the only person who benefits from this is the man rubbing his hands together, whispering told you so, told you so, and you all know exactly who that is: Nigel Farage.

Britain

Unbinding the State: On Suella Braverman’s Plan to Leave the ECHR

Braverman’s plan to leave the ECHR isn’t legal reform, it’s preparation for rule without restraint. Like the ERG before her, she wraps authoritarian ambition in the language of sovereignty. Strip away the rhetoric and what’s left is a state unbound, a state that punishes, not protects. If she jumps to Reform UK, this plan becomes reality.

A cracked wall bears the words “Krome Transitional Center” above a row of four old CRT televisions. The largest screen shows the hooded, outstretched figure from the Abu Ghraib torture photos, standing on a cardboard box with wires attached to his fingers. The other monitors display static. Exposed pipes run down the wall, evoking a bleak, institutional atmosphere.
ICE

Kneel and Eat: America’s War on Migrants

Reading this made me feel sick. It brought back the images from Abu Ghraib, its black hoods, outstretched arms, the grotesque theatre of domination. Only this time, it’s not Baghdad in 2003 but Miami in 2025. Don’t look away: this is what America does to the unwanted. And Britain’s not far behind.

A vintage-style protest poster features the Palestinian flag centred on a textured beige background. Bold, black block text above the flag reads: “THIS FLAG CAN GET YOU ARRESTED*”. Beneath the flag, in smaller text, it says: “*HOWEVER GENOCIDE CAN’T”. The design uses distressed fonts and grainy textures in the style of protest posters, drawing attention to the criminalisation of Palestinian solidarity in contrast to the impunity for state violence.
Britain

Criminalising Solidarity

The Labour government has not criminalised violence, it has criminalised resistance. Holding a flag, wearing a slogan, even whispering “Palestine” is now suspect. But dropping bombs on children? That’s fine. If that sounds like justice to you, you’re already lost.

A stylised diptych poster On the left, a utopian scene of post-war British council housing: clean, mid-century low-rise flats with open communal space where children play and neighbours chat in a sunlit courtyard. On the right, a stark contrast—dilapidated, privately rented housing with cracked walls, broken windows, a decaying swing, and a large “FOR RENT” sign, evoking neglect, scarcity, and social decline. Both panels are rendered in red and beige tones, underscoring the ideological shift from collective provision to market-driven decay.

A Nation That Rents, and Rots

The British housing crisis is not a matter of scarcity but of structure—a system that treats homes as investment vehicles, tenants as revenue streams, and housing itself as a battlefield between capital and collective life.