If unions had a collective mythos, then the union-buster would be its demon. Called in by employers to thwart unionisation drives, the union-buster sows fear and discord wherever they tread, skirting and sometimes crossing the bounds of legality. All is fair in love and class war, after all.
In accordance with Sun Tzu’s dictum in The Art of War that warfare is the Tao of deception, union-busters operate, if not in secret, then at least under the cloak of deception and misdirection. Their art consists of appearing to do one thing while actually doing another. Countless organisers have seen their campaigns end in defeat without being fully aware of the forces arrayed against them. However, some of these covert tactics have been illuminated by repentent deserters. One such convert is Martin J. Levitt, a former union-buster from the United States who had his Damascene Moment and revealed the union-buster’s arsenal of deceit and discord in his Confessions of a Union Buster.
Weaving the threads from its two predecessors together, Mass Effect 3 brings the trilogy to an an epic conclusion. As war erupts across the galaxy and sentient life fights for survival, the game brilliantly reflects the stakes in its narrative and pacing. Mass Effect 1 was a spy thriller and Mass Effect 2 a heist movie, but Mass Effect 3 is the disaster film. With the Reapers (sentient AI that exterminate all advanced organic life every 50,000 years or so) swarming across the galaxy and conquering Earth before the game even properly begins, Mass Effect 3 sets a frenetic pace from its opening salvos, and rarely gives you time to catch your breath. You escape Earth to be sent to Mars, then to the Citadel (the galactic capital) to ask for aid, only to immediately divert to the home planet of another species which is also under Reaper assault. The pace does let up somewhat as you get further into the game and the number of sidequests proliferates, but I was easily 10 hours in before it felt like I had any opportunity to choose what to do next, rather than running from one disaster to another. Combined with the significant and effective use of cutscenes, the dramatic pace and the cinematic feel of the game are seriously improved.
Much rests on the shoulders of Commander Shepard, and hence the player, as they are sent off to rally a reluctant galaxy to humanity’s aid. This is a marked departure from Mass Effect 1 and 2, where the player was the hero of their own story, but those stories were embedded in a greater galactic whole. Not so in Mass Effect 3. As the game progresses, it becomes clear that Commander Shephard is the fulcrum on which the entire war effort moves, and without whom no successful action can be taken. Heroes holding the fate of the known world in their hands is a story as old as Achilles, but where the known world is a galaxy of trillions engaged in a collective struggle for surival, positing that only one person can be its saviour plays dangerously with our willing suspension of disbelief. All games have to make the player feel important enough to entice them to continue playing, but Mass Effect 3 does so excessively, diminishing both the potential of its worldbuilding and the emotional pay-off we might feel on its completion.
So Young is a play about five people, one of whom is dead. Central to the play is Helen, who died of Covid but around whose absence the remaining characters continue to orbit. We are witness to a single evening when couple Davie (Andy Clark) and Liane (Lucianne McEvoy) are invited by Milo (Robert Jack), Helen’s widower, to meet Milo’s new girlfriend Greta (Yana Harris). At twenty years old, Greta dramatically fails the ‘half + 7 rule’ for forty-something Milo, and his friends are unsurprisingly unimpressed. What follows is an evening of escalating strife as tempers rise as fast as glasses of wine get downed, and each friend wrestles with grief, death, aging and loss in their own way.
The 2025 production of So Young performed at the Citizens Theatre in Glasgow is superbly acted, with Liane frequently stealing the show with biting diatribes on the folly of men. All actors bring copious energy and pathos to the play, managing to navigate the fine balance between comedy and tragedy. And this is necessary, because from the first minute So Young is fighting a rearguard action against the cliched nature of its subject matter. “Older man fucks younger women instead of dealing with his emotions” is after all a tale as old as time, or at least as old as English Literature professors, as Liane points out. Can So Young offer us something new?
About halfway through One Battle After Another, soldiers wearing combat fatigues and brandishing guns break into a convenience store, looking for Willa Ferguson, the movie’s fugitive protagonist, as well as for evidence of illegal immigrants. This is a scene we are all familiar with: the armed entry of infantry into an enemy building. The military hand gestures and codes. The careful scouting of rooms for hostiles. Except, this isn’t Black Hawk Down or the Hurt Locker. We are not in Iraq or Afghanistan. And these soldiers have ‘police’ stitched to their uniform.
We are in ‘Baktan Cross’, USA. The war has come home.
One Battle After Another is a magnificent movie in many ways, most of which are much better expressed by professionalcritics. The excellent pacing means that despite coming in at 2:40hrs the movie doesn’t feel long. The story is gripping. The characters flawed but interesting, with Leonardo diCaprio, Chase Infiniti, Benicio del Toro and in particular Sean Penn all putting in stellar performances. The cinematography is beautiful, from vertiginous car chases to the carefully curated details in a family home. The minor garnish of magical realism provides for effective symbolism without ever really stretching the bounds of plausibility. The soundtrack is frenetic and of a kind with the movie’s feverish momentum. Watching One Battle After Another is like stepping onto a frantic and relentless rollercoaster. When you finally grind to a halt, you feel exhilarated, confused about what just happened, and wondering if you have to go on the ride again to fully appreciate it.
There is no shortage of excellent scenes in One Battle After Another, but one that stood out most starkly for me is the ‘police’ arriving in the fictional town of Baktan Cross for their womanhunt for Willa Ferguson (Infiniti). In its reminiscence of countless war movies, it shows us a country at war with itself, its military an occupying force on its own soil. This is a movie about the imperial boomerang having fully circled back.
Where have all the comrades gone? Once a common term of address for those engaged in joint struggle for a better world, decades of defeat, betrayal and marginalisation leave it barely used except ironically. In Comrade – An Essay on Political Belonging, Jodi Dean seeks to recover the term by arguing it defines a unique and necessary relationship for common struggle. As a union organiser, I was very sympathetic to this endeavour. Effective collective organising undeniably demands a strong level of commitment and discipline that cannot be attained through allyship or arise spontaneously. As Rodrigo Nunes and Vincent Bevins convincingly argued in Neither Vertical nor Horizontal and If We Burn respectively, neither disorganised horizontalism nor the post-capitalist networked citizen can amass the power we need for the struggles we face. Unfortunately Dean’s argument doesn’t succeed in revitalising the comrade for the 21st century, attempting to resurrect the ideal comrade from the 19th century instead. The effort is commendable, but unconvincing. The old order has gone, and we cannot simply will it back into existence.
At the conclusion of Mass Effect 1 we foiled the plan of the Reapers, sentient robot ships bent on eradicating interstellar civilisation, to teleport into the galactic capital and start their murderous rampage. Mass Effect 2 picks up the story shortly after, with our hero Commander Shepard relegated to patrolling the far reaches of space so that galactic politicians can more easily ignore your constant pleas to prepare for the delayed but not averted Reaper attack. No change here from the previous game where all politicians are inept and only the Space Marines™ can be relied upon to save the galaxy.
Though not even the Space Marines, as it turns out. In an unexpected turn of events, Mass Effect 2 kills off the player within the first five minutes, only for Commander Shepard to be resurrected two years later by our old friends Cerberus. Yes, the same human-supremacist, experimenting on live test subjects, rogue-black-ops-gone-terrorist Cerberus we encountered in Mass Effect 1. This setup presents excellent potential to challenge the player through the game’s morality mechanic, but predictably Mass Effect 2 is too timid to exploit it. You can agree with Cerberus’ ‘the end justifies the means’ philosophy or not, you can file your disagreement with their methods or not, the game will unfold as it unfolds. It is morality as aesthetics rather than ethics, and maybe there is a reflection here of a contemporary politics that is equally vacuous and free of stakes.
On 21 December 1988 at approximately 19:02, Pan Am Flight 103 was cruising over Scotland when a bomb exploded, rupturing the aircraft. All 243 passengers, 16 crew, and 11 residents of the small town of Lockerbie were killed as the aircraft crashed onto the town, its jet fuel igniting on impact. The majority of passengers were Americans, travelling home for Christmas. After a long investigation, Libyan intelligence officer Abdelbasset al-Meghrahi was convicted in 2001 for planting the explosive, though his single conviction remains controversial to this day.
37 years later, there has been remarkable amount of interest in the Lockerbie bombing, with two TV series on British television and Small Acts of Love, a new play to celebrate the reopening of Glasgow’s Citizens Theatre. Yet where the TV series focus on the investigation into the bombing and questions of responsibility and attribution, the play focuses on people: how they react and move forward after their lives are shattered, and how kindness can grow new bonds of friendship in the scorched earth of loss.
Every now and then a movie surprises you. That’s not unusual, but I hadn’t expected that movie to be Marvel’s Thunderbolts*. I too am no stranger to ‘Marvel Fatigue’ and have not really been invested in anything after Endgame with the exception of Loki and WandaVision*. When enjoying a movie requires an advanced degree in Marvelology you have lost me. Thunderbolts* only got its viewing as a sort of last hurrah before our Disney+ subscription goes the way of the OG Avengers. So it was a pleasant surprise when it wasn’t just a half-decent superhero movie, but offered an radically interesting perspective on mental health and redemption.
Warning, contains spoilers
Several elements make Thunderbolts* stand out from the recent Marvel fare. For one, it manages to take itself lightly without getting zany. While in the opening scenes we see Yelena Belova (Black Widow’s adopted sister, played by Florence Pugh) at work ‘cleaning up’ some off-the-books lab run by the movies baddie, we simultaneously hear her narrating how even her work cannot fill the emptiness she feels inside. The contrast is poignant, but ends in a lighthearted flourish when visuals and narration synchronize to show us Belova has been talking to a tied-up goon all this time. A goon who clearly has more important things on his mind than an assassin’s existential angst.
After discussing Mark Fisher’s Capitalist Realism in my last post, it felt appropriate to follow it up with a seminal text by one of the other key representatives of the early 21st Left: David Graeber. Graeber was strongly involved with the Occupy Movement and is credited with coining its famous “we are the 99%” slogan. An anthropologist by training, Graeber, like Fisher, applied his critical eye to a whole range of social phenomena, including debt, bureaucracy and social resistance. Sadly, also like Fisher, Graeber died too young, succumbing to acute necrotic pancreatitis in 2020.
Where Fisher gave us the insight that it remains easier to imagine the end of the world than the end of capitalism, one of Graeber’s enduring concepts is that of ‘bullshit jobs’. Bullshit jobs made their debut in a short essay in STRIKE! Magazine in 2013, which remarkably is still online. The essay generated a flurry of interest, including several surveys commissioned by pollsters like YouGov, which led Graeber to expand it into a full sized book. Unfortunately, what makes for a strong provocative essay does not necessarily translate into convincing social analysis. I had a vague recollection of Graeber’s argument from having read the essay years ago, and as with Fisher’s Capitalist Realism remember the sense of it expressing a truth that we all feel but can find hard to express. I was intrigued how Graeber had developed the original argument of the essay into a full length book, so decided to give the audiobook a listen. This was, sadly, a disappointment. The book is a padded out version of the essay, with the padding reinforcing its weaknesses and diminishing its strengths.
Every now and then a text is published that explosively captures its zeitgeist. For early 21st century Britain (and the West beyond), Mark Fisher’s Capitalist Realism: Is There no Alternative is such a text. The title of its first chapter (“It is easier to imagine the end of the world than to imagine the end of capitalism”) has become and remains a truism on the Left. The first part of the book’s title has become the descriptive term for the pervasive sense that there is, indeed, no alternative. That we are forever stuck in an Eternal Present of a crumbling public realm, increasing precarity and environmental disintegration, all the while being told by our capitalist overlords that this really is the best of all possible worlds.
Capitalist Realism came out in 2009, resonating with the politics that emerged from the Great Financial Crash: Occupy, student protests in the UK and elsewhere, the abortive resistance to austerity, the failed revolutions of the Arab Spring. If anything, events since then reinforce the observation that resistance is indeed futile. Reading Capitalist Realism for the first time in 2025, I was struck by how much it is of its time yet remains relevant today.