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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.

Britain

The Great British Retirement Swindle

They gutted final salary schemes. They tied your future to the stock market. Now they want to gamble what’s left on the promise of growth that never comes. Rachel Reeves calls it “unlocking capital.” What it really means is handing over your pension to the very firms that gutted the economy in the first place.

There’s no housing to fall back on. No council flat, no affordable rent, no hope of owning. Just a threadbare pension pot and a government asking you to work longer, save more, and expect less.

Crime and Punishment

Nigel Farage: The Performance Artist of British Punishment Politics

Farage isn’t offering a plan, this is performance. His “law and order” blitz isn’t costed, credible, or connected to reality. It’s the politics of punishment as spectacle: build more prisons, shout louder, deport faster, sentence longer. No thought to the broken justice system, no answers on prevention or rehabilitation. Just another culture war front for a party with no economic programme and no interest in governing.

A graphic representation of the Palestinian flag featuring a grainy, textured aesthetic. The design includes a red triangle on the left and three horizontal stripes—black at the top, white in the middle, and green at the bottom—each with a distressed, vintage look evocative of mid-20th century radical printmaking.
Britain

Is the Home Secretary Embarrassed Yet?

While Israel levels Gaza, the Labour government arrests pensioners in Liverpool for carrying a leaflet. Yvette Cooper calls it national security. But what we are witnessing is the suppression of solidarity, the silencing of dissent, and the transformation of protest into a punishable offence. A government that will not name a genocide is quick to jail those who do.

Gaza

The Exhaustion of Moral Capital

Moral capital was never just sympathy, it was a strategy. It allowed Israel to present itself as victim and victor, past sufferer and present enforcer. But capital is not infinite. What was once a shield has become a smokescreen. And in Gaza, that smokescreen has lifted.

The world is watching a nuclear-backed state starve and bomb a captive population, and still we are told this is security. But what happens when the story no longer convinces? What remains when the history runs out? Only the force. Only the ruin. Only the lie that it was ever anything else.

A graphic poster with a textured, warm brown background. At the centre is the BRICS 2025 logo: a stylised, symmetrical burst of colourful triangles forming a tree-like shape, using vivid red, orange, yellow, green, and blue tones. Beneath the logo, bold black text reads “BRICS,” followed by “BRASIL 2025” and the Portuguese phrase “SUL GLOBAL INCLUSIVO E SUSTENTÁVEL.” The overall design evokes a mid-century political aesthetic with modern international symbolism.

When Principles Are Selective: BRICS, the Global South, and the Silence on Ukraine

BRICS condemns the bombing of Gaza and strikes on Iran with the language of international law, civilian protection, and sovereignty. But when it comes to Ukraine (a country invaded by one of its founding members) the silence is deafening. This isn’t a blind spot. It’s the logic of bloc politics. BRICS positions itself as a voice for the Global South, an alternative to Western hypocrisy, but it has its own double standards. Anti-imperialism loses its meaning if it only runs one way. The emerging multipolar order may be less Western, but it is not necessarily more just.

A vintage-style protest poster rendered in grainy halftone with a jaundiced beige and olive green palette. The image shows British soldiers in uniform, in a casual moment during a military inspection. Bold black text beneath reads: “SMILE FOR THE CROWN WHILE YOU OCCUPY THE STREETS.” The design evokes 1968 protest aesthetics with a stark critique of military presence and royal authority.

Who Is the Violence For?

This month, the British state made its position on violence unambiguous: while ex-generals and loyal newspapers led the charge, Parliament followed. The result was clear: Impunity for its own, criminalisation for its critics. In the same month it moved to quash investigations into war crimes in Northern Ireland, it voted to proscribe Palestine Action under terrorism law.

No One Is Above the Law—Not Even the SAS

The state demands loyalty from its killers, and contempt for those who ask why. To question the SAS is treated as heresy. To investigate them, as betrayal. But no one is above the law. Not even the men with night-vision goggles and state-sanctioned impunity. If the victims of British state violence are to be denied justice so that the myth of military virtue can remain intact, then we are not a democracy. We continue to be an empire that refuses to admit it.

A large crowd at Glastonbury Festival waves numerous Palestinian flags under a partly cloudy blue sky. Dominating the image is a prominently raised flag in the foreground reading “GLASTO FOR PALESTINE” in white letters across the Palestinian tricolour (black, white, and green horizontal stripes with a red triangle on the hoist side). The atmosphere is festive yet political, with a visible sense of solidarity.

Douglas Murray and the Fetish of Empire

Murray calls the IDF a “citizen army”, as if it were Dad’s Army with drones. In truth, Gaza is a laboratory, where missiles are tested, faces scanned, and children used to perfect the next export.

A bold graphic emblem features a red silhouette of Donald Trump’s profile against a black background. His head merges into a stylised red and orange mushroom cloud, symbolising nuclear explosion. The composition is symmetrical and stark, evoking propaganda poster aesthetics.

False Gods and Fallout: When Your Caesar Goes Globalist

Trump hasn’t changed, he’s doing what strongmen do: cutting deals, starting wars, appeasing generals. It’s Dugin who’s panicking. The fantasy’s collapsing, so he calls it a globalist takeover. The world isn’t ending. Just his script.

Shock and Awe, but for Who?

Israel’s assault on Iran wasn’t an act of self-defence or solidarity with the oppressed—it was a theatre of imperial dominance, applauded by the West, sold as morality, and carried out with the full force of a nuclear-backed settler state.

Blessed Are The Warmongers

This is how Putin wages war: deliberate strikes on civilian centres, on housing, schools, power stations, hospitals.