Trump and Hegseth Star in Pro-Iran Videos—and Not in Ways They’d Like
There’s a new way to teach American history. It’s not woke. But it’s not patriotic, either. It’s not the 1619 Project or the 1776 project.
It’s the Iranian History of the United States, as seen in “One Vengeance for All,” the most cosmological of the recent pieces of pro-Iran Lego-style agitprop. This is the series you’ve probably caught a glimpse of—the obscene, masterful, and viral AI videos that have hammered the internet since the start of Donald Trump’s ruinous war in Iran. The series, which has been labeled “slopaganda,” is sometimes called “Operation Epstein Fury.”
The strongest entries in the series are produced by an anonymous student activist group called Explosive News (Akhbar Enfejari). Shorter videos in the same style, which look less polished, are reportedly fan-made. All of the videos treat the war with max cartoonery and max ideological torque. Russian and Iranian government accounts regularly boost them. (China has also made its own anti-American propaganda pegged to the war.)
Scare up the extremely violent videos at your own risk, but here’s a plot summary. In an early one, Trump, panicked about his culpability in the Epstein affair, smashes a red button to strike Iran as a distraction. After Iran strikes back and slams shut the Strait of Hormuz, Trump and Benjamin Netanyahu run scared from Iran’s strategic genius and godlike military might. In the next few videos, the U.S. Army loses personnel, planes, helicopters, and popular support; capital markets spiral. Coffins draped in American flags pile up.
“One Vengeance for All” stands out from the rest because it contains more American history than breaking news. And what a way to see our once-promising nation. The Iranian History of the United States features no pilgrims, Revolutionary War, Civil War, or wars in Europe. Also absent: slavery, civil rights, feminism, and unions.
Instead, you get 53 seconds of 600 years of American jingoism and genocide. The video opens on an AI caricature of an Indigenous man in a headdress looking to the heavens from the Western plains. Cut to a little boy carrying a dead infant amid smoldering rubble in Hiroshima. These are ghosts.
From there to Vietnam. A middle-aged woman carries a scythe, in a rice field, and again looks skyward. Then come slain Iranian leaders: Qassem Soleimani in 2020, Ayatollah Ali Khamenei in February. All ghosts. Now there’s a girl at a refugee camp in Gaza. We’re given to understand from her hopeful expression that help is coming, and that the help is the Iranian army, though it has no intention of “liberating” or “saving” the ghosts. Instead, with centuries of pent-up resentment in its arsenal, Iran will avenge their suffering with fire and fury.
About two-thirds of the way in, the narrative rounds on the American people, and finds Trump’s victims among us. A blond girl in a pink dress, no older than 6, is pictured in a tropical landscape. It’s Epstein Island. The island’s enigmatic blue-striped building, which some speculate is a reference to the Israeli flag, stands behind her. This girl is also a victim of American imperialism, courtesy of the Trump-Epstein class that merged capital and executive power; private-sector monopolies with political world domination.
This girl’s Iranian counterpart appears in the next image, a young schoolgirl in a blue coat and white hijab, and she seals the connection. She’s abandoned in the deserted courtyard of the Shajareh Tayyebeh girls’ school in Minab, Hormozgan Province. This is the schoolyard where around 170 people were murdered, elementary school students, when the school was bombed by U.S. forces back in February on the war’s first day.
At once, a sisterhood of ghosts coalesces. From Epstein Island to southern Iran, schoolgirls pair with schoolgirls, the specters of abused children whose lives or spirits have been extinguished by sadistic American tyrants.
Trump is globally known for sex crimes and, like Hegseth, charges of sex crimes—and the Iranian videos depict the two men explicitly as rapists. In one video, the Lego Trump has doll-like girl figures on his bed and lap, and Hegseth is shown in military garb, repeatedly committing rape. Assaults on girls are the modus vivendi of these videos’ versions of Trump and Hegseth.
These sequences are not idle trolling. Rape is, of course, a crime against humanity. But rape is implicated more immediately in the brief for this war, which centers not on strategic goals but on the relentless use of violence against innocents to humiliate an entire people.
As Jamelle Bouie put it recently, “Forcing others to submit through the indiscriminate use of force does not really sound like war. That does sound like something else. It sounds like rape.” He concluded that the ideology of Trump and Hegseth is “the ideology of the rapist.”
After 9/11, President Bush used to tell Americans that our enemies resented “our way of life.” In his memorable “Why Do They Hate Us?” speech of September 20, 2001, Bush answered his own question, “They hate our freedoms—our freedom of religion, our freedom of speech, our freedom to vote and assemble and disagree with each other.”
This may or may not have been true of the terrorists a quarter century ago. But it’s not at all true now of Iran, which the U.S. attacked without permission from the people or provocation from Iran. Iran hates the American government for its cruelty toward hundreds of millions of people across six centuries. It’s hard not to see the logic in it.
In Trump, the ideology of the rapist was unmistakable a decade ago, when he crowed about the joy he takes in humiliating human beings by mauling their crotches. With this war, he’s trying, as usual, for highly aestheticized spectacles of humiliation, and he’s getting them—but not for Iran. For himself, and for the United States.