Skip to content

anti capitalist musings

The rest of the blog

A close-up image of tightly rolled newspapers stacked vertically, with dim, moody lighting and a grainy texture that gives the scene a vintage, noir atmosphere. Some headlines and columns are partially visible, adding to the sense of layered, obscured information.
Book Review

Who Gets to Tell the Story?

Journalism doesn’t need saving by those who made it toxic. Wright names the rot—Murdoch, the lobby, the Oxbridge cartel—and shows how the presses keeps running.

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.
Donald J Trump

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.

Hand-painted protest signs displayed against a neutral background. One sign on brown cardboard reads “THEY SAY CUT BACK WE SAY FIGHT BACK” in bold black letters. Another, on black card, reads “NO CUTS TO PIP!” in large white letters. A third sign, painted blue and white, says “WELFARE NOT WARFARE,” with the word “NOT” inside a red prohibition circle. The style is bold, rough-edged, and defiant, evoking a DIY protest aesthetic.
Britain

Under Siege: Labour’s Crisis of Vision

Labour won power by promising stability, but what it offers now is paralysis. It has no strategy to counter Farage, no defence against a Tory right fightback, and no imagination to confront the ecological and economic shocks coming fast over the horizon. While Reform sets the agenda and the left reorganises, Starmer retreats into technocratic caution. The government is not leading Britain—it’s managing decline, and doing it badly. Unless Labour finds the courage to confront the forces tearing the country apart, it risks becoming the caretaker of its own collapse.

Front cover of the hardback version of The World After Gaza
Book Review

The World After Gaza – a short review*

Pankaj Mishra’s The World After Gaza is a searing indictment of Western complicity in Israeli aggression, exposing the ideological, economic, and political forces that have enabled the destruction of Palestine.

A stylised graphic illustration of a modern red London double-decker bus on Route 24 to Pimlico, set against a backdrop of classical city architecture and a London Underground sign. The image uses a bold 1968 protest-era colour scheme of red, beige, yellow, and black, with minimalistic, flat shapes evoking vintage political poster design.
Britain

London Is Not Over—You Just Don’t Belong in It

Matt Goodwin’s claim that “London is over” isn’t analysis, it’s a panic attack in column form. Behind the talk of pints and train delays lies the same tired script the Mail rehashes every few weeks, just in time for its readers to rage over their cornflakes. Crime becomes a cipher for immigration, anecdote stands in for data, and the city’s diversity is framed as an existential threat. But what really offends Goodwin isn’t decline—it’s that London no longer looks or sounds like him.

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.

Palestine a homeland denied

The Middle East descends into the Abyss

The Middle East now stands on a knife’s edge as cycles of violence threaten to engulf the region in widening conflict. But even amid the drumbeats of war sounded by the powerful, hope persists in the solidarity of ordinary people demanding justice and charting a course away from the abyss.

Behind the red eye

The inexorable march of technological progress casts a shadow over humanity’s future, as artificial minds made for war threaten to surpass and subjugate their mortal creators.

photograph of John McDonnell and Jeremy Corbyn from the 2016 Labour Party conference.

The Intricacies of Labour Party Politics

In this blog post, I delve into the complex dynamics of the Labour Party’s response to the war in Ukraine and challenge the oversimplified critiques presented by Kevin Bean in his Weekly Worker article. I emphasise the importance of a nuanced approach, party unity, and pragmatism, exploring the diverse perspectives within the Labour left and their contributions to the broader political discourse.

M1 Abraham tanks in the desert

Echoes of Iraq: Lessons from a Haunting Legacy

As we approach the anniversary of the start of the Iraq War, there has been a surge in retrospective articles examining the conflict and its aftermath. These introspective pieces provide an opportunity for us to reevaluate the decisions that led to the war, its far-reaching consequences, and the lessons we can glean from this turbulent period in history. By engaging in such reflection, we can better understand the complexities of war and work towards preventing similar catastrophes in the future.

Image that shows in a pop art style the 2003 anti war march in the UK

The Flaws of Capitalist Imperialism: Iraq

The Iraq War was not just a regrettable event but a calamitous blunder that continues to reverberate to this day. In scrutinising the reasons behind the conflict and its lingering effects, I’ve delved into three recent articles covering the legacy of the Iraq war, two in Foreign Affairs and one from The Atlantic. These articles detail the ideological and strategic forces that drove the US and UK towards invasion, leading to catastrophic outcomes that were both unforeseen and brutal. The war’s impact gave rise to widespread displacement, which in turn became a breeding ground for violent extremist groups. The dire consequences of misguided military interventions serve as a harsh reminder that war always comes at a great cost, and that those in power must take heed of the lessons of history.