Accelerationism
Trump, Land, Dugin
Trump is not Land’s monarch nor Dugin’s tsar. He is their degraded symptom: the parody of a fascist synthesis of technology and tradition, replayed in the register of meme stock and casino populism.
The rest of the blog
Trump is not Land’s monarch nor Dugin’s tsar. He is their degraded symptom: the parody of a fascist synthesis of technology and tradition, replayed in the register of meme stock and casino populism.
From PwC’s colour-coded attendance dashboard to HSBC’s biometric checkpoints and the rise of Algorithmic Affect Management, the new wave of “bossware” represents less an innovation than the latest stage in capital’s long history of making workers legible. What began with the factory bell and the punch clock now extends to our faces, moods, and keystrokes.
Zarah Sultana’s interview in Sidecar captures the anger at Labour’s complicity in genocide and austerity, but it risks becoming another broad reformist project, haunted by the ghosts of Corbynism—vulnerable to sect capture, parliamentary illusions, and the same popular-front logic that has historically disarmed the working class.
Nigel Farage’s TikTok wunderkind wants us to imagine a Britain that never fought Hitler, kept its colonies, and models itself on Bukele’s prison state. This is not contrarianism; it is fascist nostalgia dressed up as common sense.
Alexander Dugin calls the Trump–Putin summit in Anchorage “splendid,” insisting the US and Russia must find an “understanding as superpowers.” The problem is that this fantasy of bipolar order flatters two declining states while obscuring the real forces shaping the 21st century.
With armed red-state troops patrolling a blue city, Trump is not protecting Washington; he is rehearsing the mechanics of civil war.
Every August, the right reheats its old contempt for higher education. Their complaint is not about debt or “Mickey Mouse” degrees, it is about closing the gates of knowledge, keeping universities for the dominant class and consigning everyone else to warehouses and call centres.
On World in Action’s Conversations With a Working Man (1971)
Adam Curtis’s latest series attempts to diagnose the collapse of public trust in Britain—but without his voice, a clear argument, or fresh material, Shifty drifts through the ruins of the neoliberal age, recycling fragments and offering atmosphere where once there was clarity.
On Andor, Class Struggle, and Watching Rebellion Under Trumpism
Why were we laughing? From the crumbling walls of Rising Damp to the locked gates of Porridge, from the clenched class tension of The Likely Lads to the surreal paranoia of Reggie Perrin, the golden age of the British sitcom was never just about gags. It was about containment. These were shows about men—white, working class, often thwarted, trapped in rooms they didn’t build but could never leave. They weren’t sitcoms so much as comedies of decline.
Watching Severance, I couldn’t help wondering if we’re already living it, split between the person we are at work and who we are the rest of the time, with capitalism quietly stealing the best parts of us.
Full of unflinching realism, Adolescence is a harrowing exploration of justice, masculinity, and radicalisation, told in relentless real time. This review contains spoilers.
The ruins Owen Hatherley documented over a decade ago, of modernist ambition, of public housing, of a Britain that once believed in itself, have only deepened, and with a new New Labour government poised to repeat the same failed housing policies, the cycle of speculation, privatisation, and social cleansing shows no sign of ending.
The Manson murders have long been framed as the dark collapse of the 1960s dream, but Errol Morris’s Chaos: The Manson Murders suggests a more unsettling possibility, that the violence was not the product of countercultural excess, but of a deeper, hidden war waged by the state against the radical potential of the era.
Apple TV+’s “Severance” uses Marxist theory and hauntology to reveal capitalism’s relentless assault on worker consciousness and human dignity.
A review of the recently shown BBC Scotland documentary series ‘The Hunt for Bible John’.
