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Exporting Jobs, Importing Virtue: A Marxist Critique of Gary Smith’s Net Zero Position

Gary Smith says Britain’s net zero policy has exported jobs and imported virtue. But what he’s really defending isn’t working-class power, this is fossil capital in a hard hat. Decarbonisation without class politics is a gift to Farage. But the answer isn’t more oil. It’s public ownership, planning, and a transition built by workers, not against them.

Britain

From “Feed the World” to Looking Away

Live Aid was forty years ago. Today, we are haunted once again by the images of starving children (and now, starving adults) in Gaza. But this time, it doesn’t seem to register. No concerts. No campaigns. No national reckoning. Why? Because the system can only process suffering when it’s stripped of politics. Ethiopia’s famine was framed as fate. Gaza’s is a siege, and Britain is complicit. That’s the difference.

Alexander Dugin

Dugin Watch: The Performance of Apocalypse

Alexander Dugin has declared the Istanbul peace talks “meaningless theatre” and announced the arrival of “total war.” He wants Russia (not just its army, but its soul) put on a permanent war footing.

Screenshot of a Daily Mail headline by Frank Furedi reading: "We've been silenced on mass migration and the nation's furious. All it will take is one spark and tinderbox Britain will go up in flames: FRANK FUREDI." Below the headline, it notes the article was published at 01:10 on 24 July 2025 and updated at 09:25 the same day. The Mail logo appears at the top left.
Far Right Extremism

Britain Will Not Burn – But Furedi Wants It To

Frank Furedi claims the public has been silenced, while shouting from the pages of the Daily Mail. What he’s really mourning is the loss of uncontested dominance: the fantasy of a Britain where dissent means agreeing with him. This isn’t analysis, it’s a staged panic, designed to justify repression and launder far-right talking points as common sense. Britain isn’t a tinderbox. But pieces like this are trying hard to make it one.

In red ink on textured beige paper, a line of riot police with visors and shields confronts an angry crowd. One masked protester is being pulled back mid-leap. The figures are stylised and simplified, with harsh lines and dramatic motion, evoking urgency and confrontation. In the background, blocky lettering hints at a school building.
Britain

The Hotels Are Just the Excuse

The protests outside migrant hotels aren’t spontaneous. They are engineered. Stoked by far-right groups, amplified by the right-wing press, and legitimised by political cowardice, what we’re witnessing is a strategic campaign to turn fear into power. When the police protect anti-racists, it’s called provocation. When the far right throws bottles, it’s “community concern.” The hotels are just the excuse. The real target is the idea that Britain could ever belong to all of us.

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.

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.

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.

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.

The Bulletproof Messiah: On Butler by Salena Zito

Butler isn’t really about politics. It’s about belief. The bullet didn’t just graze him; it made him sacred. The messy contradictions of 2016 are gone. What’s left is atmosphere, myth, and the story of a man who bled on stage and got up again. The faithful took it as a sign. This isn’t reporting. It’s scripture. A gospel for a leader who survives everything, and so, must rule.

A red baseball cap with white block letters reading “THE CUTS BEHIND THE CAP” on the front panel. The image has a grainy, vintage texture in beige and muted tones. The cap appears slightly worn, set against a distressed background suggestive of aged paper or fabric.

The Cuts Behind the Cap: Trumpism’s War on Its Own Base

Trump promised to protect the safety net. Instead, he signed a law that slashes Medicaid, imposes work requirements, and purges the rolls by design. His supporters still cheer, not because the cuts help them, but because the performance does. The cap says “Make America Great Again.” The policy says: you’re on your own.

It depicts five heavily armed and masked Border Patrol agents in tactical gear standing in and around the open sliding door of a white van. The central figure’s vest prominently displays a yellow badge with the words “BORDER PATROL.” The image has a rough, stencilled texture and a distressed background, evoking a dystopian, authoritarian atmosphere.

Spectacle at the Tool Aisle

The ICE raid at Home Depot isn’t law enforcement. This is performance of sovereignty. Armed agents posing in camo and Kevlar to detain migrant day labourers is not about public safety, but about staging dominance. It’s capitalism enforcing its border through spectacle: a theatre of control, broadcast from a retail car park, where labour is criminalised and militarism is aestheticised. This isn’t about stopping migration. It’s about punishing poverty and reassuring power.

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.