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The Brussels Waltz: Polishing the Silver While the Manor House Burns

Philomena O'Connor
Written by
Philomena O'ConnorIrony Consultant
Wednesday, January 21, 2026
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A satirical oil painting in the style of a Dutch Master, depicting a grand, decaying European ballroom with ornate gold leaf peeling off the walls. In the center, a group of stiff technocrats in 18th-century wigs and modern suits are using golden rulers to measure a tiny, shrinking circle on the floor labeled 'Room for Manoeuvre.' Outside a giant arched window, the sky is dark and stormy, with the massive silhouettes of an eagle and a dragon looming over the landscape. On a table in the foreground sits a silver tea set and a pile of thick, useless rulebooks.
(Original Image Source: euronews.com)

Oh, the delightful irony of the European Union attempting to find 'room for manoeuvre' in a world that has largely forgotten how to speak its particular dialect of bureaucratic obfuscation. It is truly a sight to behold—a grand, aging dowager at the opera, clutching her pearls of 'principle' while the barbarians are not just at the gates, but are currently redecorating the foyer according to their own vulgar, populist tastes. The latest existential crisis emanating from the hallowed, drafty halls of Brussels concerns the binary choice between power and principle. It is a false dichotomy, of course; the EU currently possesses the former in the same way a castrated bull possesses virility—historically, perhaps, and in theory, certainly—but in practice, it is mostly just a large, slow-moving object that requires an immense amount of feeding.

The call for 'strategic autonomy' or 'room for manoeuvre' is the geopolitical equivalent of a man trapped in a shrinking cardboard box insisting he is merely practicing a new form of minimalist yoga. We are told that internal political shifts are jeopardizing the Union’s foreign-policy and economic capacity. One must admire the linguistic gymnastics required to frame 'the inevitable collapse of a hollow consensus' as a 'shift.' These are not shifts; they are the tectonic plates of reality finally grinding beneath the weight of years of administrative arrogance and a stubborn refusal to recognize that the rest of the world no longer finds our moral lectures particularly charming or relevant. We have spent decades convincing ourselves that the world is a giant seminar room, and we are the tenured professors. Now, we discover the world is actually a high-stakes poker game where we have forgotten to bring any chips.

Let us look at the 'principles' we so loudly trumpet. They are the decorative tapestries of the Berlaymont, designed to hide the damp rot of indecision. We speak of human rights while signing energy deals with autocrats who view the Magna Carta as a quaint suggestion, and then we act shocked—shocked!—when our internal populace notices the hypocrisy. The rise of the 'internal political shifts' that the establishment so fears is merely the predictable result of a technocratic elite that treated the European project like an exclusive dinner party where the bill was left for the peasants to pay. Now the peasants are at the table, they’ve brought their own wine, and they’ve forgotten their forks. The paralysis of the EU is not a bug; it is the primary feature of a system designed to ensure that no one ever has enough power to actually do anything that might offend a medium-sized dairy farmer in Wallonia.

And then there is the economic capacity. For decades, the EU’s primary export was regulation—a way of telling the world how to play with its toys without actually building any toys of its own. Now, we find ourselves in a world where 'open power politics' is the only game in town, and we are showing up with a rulebook and a very expensive fountain pen. The 'room for manoeuvre' the EU seeks is increasingly occupied by the massive shadows of Washington and Beijing, two entities that view Brussels not as a peer, but as a particularly difficult regulatory obstacle to be bypassed or bribed. The dream of a 'Geopolitical Commission' has evaporated, leaving behind only the cold, hard reality of a continent that has spent its R&D budget on consultants who specialize in 'synergy' and 'inclusive growth' while the rest of the planet builds the future.

The tragedy—or comedy, depending on the quality of your cognac—is that the EU’s paralysis is self-inflicted. By tethering its foreign policy to the lowest common denominator of twenty-seven competing national interests, it has ensured that its 'ability to act' is limited to issuing sternly worded letters that are likely used as kindling in the capitals that actually matter. We are witnessing the slow-motion collision of a dream with a brick wall. The dream was a borderless utopia governed by reason; the wall is the stubborn reality of human nature, tribalism, and the fact that 'principled' speeches do not build semiconductor factories or stop hypersonic missiles.

So, we watch the dance continue. The Brussels Waltz is a melancholic affair, performed to the sound of crumbling infrastructure and the distant roar of a world that has moved on. The 'room for manoeuvre' is shrinking, the principles are fraying at the edges, and the power is a ghost story told to keep the investors from fleeing. I would say I told you so, but at this stage, even the satisfaction of being right is drowned out by the sheer, exhausting absurdity of it all. We are not expanding our room for manoeuvre; we are merely measuring the dimensions of our coffin to ensure it complies with the latest environmental directives regarding sustainable hardwood and low-emission linings. The manor house is burning, the silver is being polished, and the band plays on, beautifully, pointlessly, and in perfect accordance with the official protocols.

This story is an interpreted work of social commentary based on real events. Source: EuroNews

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