A baroque, maximalist digital composite in the style of a satirical political cartoon meets high-church iconography. Donald Trump sits enthroned at the head of a long gilded mahogany table, rendered in soft AI halo-light — the kind of beatific glow normally reserved for Renaissance altarpieces. He wears both a business suit and a suggestion of papal vestments, loosely layered. Around him, courtiers in military medals and tech-bro stubble genuflect, arms outstretched. Eagles, American flags, and a faint suggestion of dollar signs float among the golden light. The composition deliberately mimics Last Supper staging. Background hints at a gilded ballroom-temple with crystal chandeliers. Colour palette: deep crimson, imperial gold, and sickly angelic white. The mood is equal parts reverent and grotesque — Rubens meets Mad magazine. No text overlay.

Trump is not The Messiah, just a very Naughty Boy

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When Donald Trump posted an AI-generated image of himself as a divine healer — haloed, beatific, hovering over the sick like a Sistine saviour — the cult of self had finally annexed the cult of Christ. A satirical dispatch, written in homage to Martin Amis, from the gilded ballroom-temple of the Trumpian court: where the joke is on all of us.

Mission Impossible

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Trump’s Hormuz blockade is live. Oil is at $102. China’s Defence Minister says the strait is open for Chinese ships and dares the US to stop them. A forty-nation coalition is forming against the blockade. And one of the last two tankers carrying pre-war oil on earth is heading to Australia. Urban Wronski on the war Trump cannot win.

Raccoon in a suit sitting between two men at an interview table with a microphone

VANCE DROPS IN

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JD Vance has just returned from negotiations with Iran. The Strait of Hormuz is still closed. Two C-130s are still on a dirt strip outside Isfahan. And the Vice President would like to explain, in his own words, why this is going tremendously. Urban Wronski channels Clarke and Dawe. Stand by.

The radome spheres of Pine Gap intelligence facility visible against the Australian desert sky at dusk, small against the vast red landscape

Not Reporting A War Part 2

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Pete Hegseth is the Peter Principle applied to the largest weapons arsenal in human history. Pine Gap guides the missiles. Australian-made F-35 parts are in the payload. And our media calls it a partnership. Part Two of Urban Wronski’s investigation into what Australia’s press is not reporting, and what our silence is costing.

The Erasure of a Civilisation Part 2 of Donald Trump, the War on Iran, and the Rules Nobody’s Enforcing

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On the morning of April 7, Donald Trump posted that a whole civilisation would die that night. He was not bluffing. Part Two of Urban Wronski’s Operation Epic Fury series examines the systematic destruction of Iranian universities, libraries and cultural institutions, the weapons tested on children, and what it means that none of the rules are being enforced.

Trump’s Invisible Airstrip Show

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Trump burned two C-130s on an Iranian runway, declared total victory, and is now threatening to demolish the power grid of 92 million people. Tonight is the deadline. Urban Wronski on the Easter debacle built on assumption, sustained by bluster, and ending in wreckage that no quantity of “WE GOT HIM!” can unbog.

Sparse television interview set in the style of Clarke and Dawe: interviewer at desk, suited figure rising to leave, clutching a shopping bag labelled ALBO, Pine Gap radomes faintly visible through studio window behind him.

A Man of His Word

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Bryan Dawe is seated. John Clarke enters in a suit, slightly harried, carrying a reusable shopping bag with “ALBO” written on it in texta.
Australia sent troops to a war it hasn’t declared, through a base it won’t discuss, after a school massacre it can’t explain, while the Prime Minister assures us that transparency is everything. Clarke and Dawe, imagined for the age of Operation Epic Fury.