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Gaza’s Very Own Hind Khoudary

CÉLINE SEMAAN: Before you became a journalist working with Al Jazeera, what did you study? What were your interests?
HIND KHOUDARY: I started working in journalism in 2017. I used to work as a translator before I became a journalist. My interest was always writing. This is how I discovered myself. I used to write diaries; I would spend hours every day writing when I was a child. I would hide what I wrote underneath my clothes in my closet. The first time I published something I wrote, I felt exposed. Fortunately, I always get very nice feedback from editors. Covering the Great March of Return in 2017 and 2018 kick- started my career.
CÉLINE:Where are your diaries from childhood now?
HIND: They’re all gone. I never thought our house would be bombed. Every time I go to the house I search for stuff, but I have never found any of my journals. I can’t write anymore, and it’s something that’s suffocating me… even writing a caption for a story or a post, I can’t do that anymore. It’s fucking hurting me; it’s breaking my heart. I used writing as a tool to help myself, to express myself, to document everything, and I’m not able to do it. I got new pens and new notebooks. They’re all blank. I can’t write anymore.
I’m taking pictures of stuff… when I want to write something, I’ll go to the pictures and remember what I wanted to write. I’m a Cancer, and Cancer is a water sign. My house was a street away from the beach when I was a kid. I used to see the beach from my windows. It’s the only place where I find peace, because all I hear are the waves and the water. I look at the sky, I don’t hear drones, I don’t hear explosions. The sea is my best friend. I love it. It’s my escape.
CÉLINE: How has it been now that Israel is bombing Gaza more intensely? It’s something we can’t even wrap our heads around, because it was already so awful. How is it now? Give us a little update… what is going on right now in Gaza?
HIND: I think this period is the worst since the war started. People returned to their houses after the ceasefire. They tried to fix whatever they could fix, build their houses, despite the rubble, despite the destruction, despite everything. Some people pitched their tents on top of their bombed house. It was very hopeful. For a couple of months, we were very hopeful, and everyone was like, we’re not going to leave again. Whatever happens, we want to die here… until everything started once again. The massive bombardment started again. They’re bombing in a very crazy way. My friends are telling me that they find quadcopters (military drones) inside their houses. So most of the Palestinians were forced to flee again.
We’re living the same exact story once again; we’ve lived through the famine and then the displacement, and then the ground invasion… and there’s going to be another famine in the next couple of months. It suffocates you. We’re not Supermen or Batmen. If you stay, you’re going to either die and get buried in a mass grave or get arrested. There’s no other option. It’s very traumatizing. It’s very hard. Documenting this over and over again is hitting me hard because I can’t do anything about it. There’s nothing we can do. We’re in this cycle of violence, and nothing else can happen. And the worst thing is those explosive robots. They destroy entire houses. It’s this new technology where there’s no body left or anything. So all of this makes this the worst period ever.
CÉLINE: It’s terrible. The news coming from Gaza is being censored, so it’s very hard for us to follow what’s going on. How is it to document this while it’s happening? It must be very difficult. Are there any protocols you guys follow? How do you make sure that you are at least able to record something?
HIND: Every single day, when we wake up, we start counting the people who were recorded as deceased by the hospitals. Dozens are killed every day. No civil defense team, no crew can reach them, no one knows about them. So my reporting is not accurate, because we are not able to reach all the people. There are 1000s of Palestinians buried under rubble, and no one knows anything about where they are or how many are buried. I met dozens of families that were searching every single day for one bone of their family member, a bone, anything, just anything from whatever is left of them. There is nothing to say goodbye to, no body. So, yes, we try to document as much as possible, but our numbers are totally inaccurate.
CÉLINE: And even the cemeteries are being bombed. You are in a place that is being actively erased.
HIND: I went to the burial of a friend, and all of the graves were bombed. Why would you destroy someone’s grave? What is the point of doing something like that? It literally made me feel like: is this real? Why is this happening? Even after you die, come on… there’s nothing left to destroy.
CÉLINE: I’m sure the word resilience sounds more like an insult at this point, because I feel that as well. I myself am struggling to stay strong. I renew my strength by witnessing you every day. You’re holding the world on your shoulders at this moment, yet you remain soft. I’m sure people ask you: How do you find hope? But I want to ask you if you feel closer to God in this experience?
HIND: Losing everything, your beloved ones, your family members, your house, your future, your city; it’s a lot to handle. I always pray: God, give me the strength to continue. God, give me the strength to finish this till the end. The only thing I want to do is to reach the end. That’s what I want. And without God, I could never do this. We need strength, we need hope. But at the same time, we are very disappointed. I was sitting with a group of journalists, and a correspondent looked at the sky and said, “God, do something. Do something right now!” We all started screaming and shouting, “Do something. Please, do something.” It’s a love- hate relationship. It’s not knowing what to do, and at the same time, calling Him all the time, talking to Him all the time, asking Him to intervene.
CÉLINE: Do people ask you why you aren’t escaping? How do you keep in touch with your family abroad? I’m sure they must be worried.
HIND: I remember the fights I had with my family during the first weeks and months of the war when I decided not to leave. I want to be here because I want to experience everything. I would never walk away and leave my people. I send my family a message every now and then; that’s how I maintain my relationship with them. I have a lot of friends who are very worried, and they’re always texting. It’s not that I don’t want to text back or call back, but I don’t have anything to say. I don’t want to tell you I’m not okay because I don’t want to talk about it. Of course, I want to share everything, but I don’t have the capacity right now. I’m mentally exhausted. Everyone has been very understanding. Even if I don’t reply, they still send emojis. My brother always sends me videos laughing or singing. It was a very tough decision to stay. However, I do not regret it.
CÉLINE: I completely understand. I wanted to go to Gaza at the start of the war, but I couldn’t because I’m Lebanese. I was obsessed. I really wanted to be there. It’s very hard to watch it, but I know it’s harder to live it… I was reading your tweets yesterday night before bed. I feel you’re talking to somebody. I wondered if that person read your tweets?
HIND: Every app has a different part of me. Twitter is my diary; I love tweeting what I feel on that app. The heart of me is posting on Instagram. I love posting my feelings, but I also like to share stuff. I share what I see, what I feel, everything. I don’t post what I post on Facebook on Instagram or on Twitter. My feelings are very complicated. I was feeling neglected, as if someone had given up on me. I didn’t want to go through that onmyown.Yes,Ichosetobeonmyown.I thought I would be okay, but at the end of the day, you need someone to cry to, you need someone to hug, you need someone to express yourself to. You need someone to lean on.
CÉLINE: You’re going through a heartbreak, and you’re going through the destruction of your city, and you’re going through displacement… it’s beyond human. And as you said, we are not superheroes. I watch you, and I send you prayers and so much love. I was happy when I saw you dressed in a cute outfit the other day…
HIND: I try. I’m still picky about what I drink and eat, despite the fact that there are no options. I’m trying to save this part of myself. I am the person I am, and I’m happy that nothing has changed me.
CÉLINE: Again, I was reading your Twitter, and I felt like this experience is pushing a lot of people to their limits. Nonetheless, many people here are romanticizing the situation. They’re like, “Oh, it’s so inspiring. People are coming together and helping one another…” When, in reality, people are suffering. How do you describe the situation? Are people able to remain in solidarity? Or is it breaking people apart?
HIND: It’s breaking people apart. Imagine losing everything you have and then being thrown on the streets. Your family is in danger, or you’ve lost your family. You’ve lost everything you have, you’re starved, you don’t have an income. Everything that would make you stay the human you are is gone. For example, there are people who jump on the trucks to grab a bag of flour before anyone else can get it. Do you think these people ever thought they would end up here one day? People are starving, like literally, people are starving and if they do not do this, their family will not eat that day. They are forced to be the worst version of themselves.
Before the war, I never felt afraid in Gaza. I felt like these are my people. This is my home. I’ve never felt scared at home, but for the first time, I am scared when I’m home. Who are these people? I feel as if I’m living with zombies. When I’m working, I am always scared of people. I never felt like this before. I worked in all parts of Gaza. I went to houses, I protested. I never felt afraid that someone would harm me. But now I feel afraid when I’m on camera. I try to build a connection with people, but at the same time, I know that the person who was cursing at me or threatening me would never curse if he had not just walked for seven hours, barefoot and under fire from his house to where I am reporting… He doesn’t know where to go. The social fabric is literally destroyed.
Everyone knows the people of Gaza for their generosity and their kindness… and I’ve found some people who are still like this, even at this point. I’ll go into a tent to cover a story, and the people there insist on collecting wood, lighting a fire, and boiling water just so they can offer me tea. Gazans are still Gazans, but at the same time, the situation and the toll it’s taking is stronger than the people.
CÉLINE: It feels that collective action has taken on a whole other meaning for most people in the West, because here they are very individualistic. They don’t really do collective action. But we’ve seen a big, big change. But still, it’s not enough.
HIND: We in Gaza feel like it’s not the same effort anymore. We used to see more stuff. We’re not seeing any. The killing of at least 270 journalists is not shaking the world. People in mass graves is not shaking the world. Nothing is shaking the world. Nothing is stopping this. What people need to understand is, people do not have internet in Gaza. They do not know. We’re under fire. We’re surrounded by Israeli tanks and soldiers. People don’t have water, they don’t have food, they don’t have electricity, they don’t have internet. They have nothing, literally nothing.
I’m telling you about the regular people, not journalists and people who are connected. People are busy surviving in Gaza. People in Gaza line up for four hours for 10 liters of water. This is for a whole family to drink, to cook with, and to shower with. Ten liters of water for the whole family, and they wait four to five hours every single day to get it. I totally appreciate everyone’s efforts. I would not say anything other than that, but Gaza needs more. It definitely needs more action.
CÉLINE: I know you said that you’re holding on to not being changed, but ultimately, this experience has changed you. How has it changed you?
HIND: I’ve become more patient. I’m more peaceful. I was always a revolutionary. But after losing a lot, I’ve become very patient, very quiet. I wasn’t this quiet. I was always crazy. But the heartbreaks make you very sad. You become a person who doesn’t ask for anything.
CÉLINE: What message would you like to send to the people of the world?
HIND: I want to tell the world that Gaza still needs them. We still need you guys to do something.
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{
"article":
{
"title" : "Gaza’s Very Own Hind Khoudary",
"author" : "Hind Khoudary, Céline Semaan",
"category" : "interviews",
"url" : "https://everythingispolitical.com/readings/hind-khoudary-gazas-very-own",
"date" : "2025-11-21 09:01:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Hind-Khoudairy-Nourie-Flayhan.jpg",
"excerpt" : "",
"content" : "CÉLINE SEMAAN: Before you became a journalist working with Al Jazeera, what did you study? What were your interests?HIND KHOUDARY: I started working in journalism in 2017. I used to work as a translator before I became a journalist. My interest was always writing. This is how I discovered myself. I used to write diaries; I would spend hours every day writing when I was a child. I would hide what I wrote underneath my clothes in my closet. The first time I published something I wrote, I felt exposed. Fortunately, I always get very nice feedback from editors. Covering the Great March of Return in 2017 and 2018 kick- started my career.CÉLINE:Where are your diaries from childhood now?HIND: They’re all gone. I never thought our house would be bombed. Every time I go to the house I search for stuff, but I have never found any of my journals. I can’t write anymore, and it’s something that’s suffocating me… even writing a caption for a story or a post, I can’t do that anymore. It’s fucking hurting me; it’s breaking my heart. I used writing as a tool to help myself, to express myself, to document everything, and I’m not able to do it. I got new pens and new notebooks. They’re all blank. I can’t write anymore.I’m taking pictures of stuff… when I want to write something, I’ll go to the pictures and remember what I wanted to write. I’m a Cancer, and Cancer is a water sign. My house was a street away from the beach when I was a kid. I used to see the beach from my windows. It’s the only place where I find peace, because all I hear are the waves and the water. I look at the sky, I don’t hear drones, I don’t hear explosions. The sea is my best friend. I love it. It’s my escape.CÉLINE: How has it been now that Israel is bombing Gaza more intensely? It’s something we can’t even wrap our heads around, because it was already so awful. How is it now? Give us a little update… what is going on right now in Gaza?HIND: I think this period is the worst since the war started. People returned to their houses after the ceasefire. They tried to fix whatever they could fix, build their houses, despite the rubble, despite the destruction, despite everything. Some people pitched their tents on top of their bombed house. It was very hopeful. For a couple of months, we were very hopeful, and everyone was like, we’re not going to leave again. Whatever happens, we want to die here… until everything started once again. The massive bombardment started again. They’re bombing in a very crazy way. My friends are telling me that they find quadcopters (military drones) inside their houses. So most of the Palestinians were forced to flee again.We’re living the same exact story once again; we’ve lived through the famine and then the displacement, and then the ground invasion… and there’s going to be another famine in the next couple of months. It suffocates you. We’re not Supermen or Batmen. If you stay, you’re going to either die and get buried in a mass grave or get arrested. There’s no other option. It’s very traumatizing. It’s very hard. Documenting this over and over again is hitting me hard because I can’t do anything about it. There’s nothing we can do. We’re in this cycle of violence, and nothing else can happen. And the worst thing is those explosive robots. They destroy entire houses. It’s this new technology where there’s no body left or anything. So all of this makes this the worst period ever.CÉLINE: It’s terrible. The news coming from Gaza is being censored, so it’s very hard for us to follow what’s going on. How is it to document this while it’s happening? It must be very difficult. Are there any protocols you guys follow? How do you make sure that you are at least able to record something?HIND: Every single day, when we wake up, we start counting the people who were recorded as deceased by the hospitals. Dozens are killed every day. No civil defense team, no crew can reach them, no one knows about them. So my reporting is not accurate, because we are not able to reach all the people. There are 1000s of Palestinians buried under rubble, and no one knows anything about where they are or how many are buried. I met dozens of families that were searching every single day for one bone of their family member, a bone, anything, just anything from whatever is left of them. There is nothing to say goodbye to, no body. So, yes, we try to document as much as possible, but our numbers are totally inaccurate.CÉLINE: And even the cemeteries are being bombed. You are in a place that is being actively erased.HIND: I went to the burial of a friend, and all of the graves were bombed. Why would you destroy someone’s grave? What is the point of doing something like that? It literally made me feel like: is this real? Why is this happening? Even after you die, come on… there’s nothing left to destroy.CÉLINE: I’m sure the word resilience sounds more like an insult at this point, because I feel that as well. I myself am struggling to stay strong. I renew my strength by witnessing you every day. You’re holding the world on your shoulders at this moment, yet you remain soft. I’m sure people ask you: How do you find hope? But I want to ask you if you feel closer to God in this experience?HIND: Losing everything, your beloved ones, your family members, your house, your future, your city; it’s a lot to handle. I always pray: God, give me the strength to continue. God, give me the strength to finish this till the end. The only thing I want to do is to reach the end. That’s what I want. And without God, I could never do this. We need strength, we need hope. But at the same time, we are very disappointed. I was sitting with a group of journalists, and a correspondent looked at the sky and said, “God, do something. Do something right now!” We all started screaming and shouting, “Do something. Please, do something.” It’s a love- hate relationship. It’s not knowing what to do, and at the same time, calling Him all the time, talking to Him all the time, asking Him to intervene.CÉLINE: Do people ask you why you aren’t escaping? How do you keep in touch with your family abroad? I’m sure they must be worried.HIND: I remember the fights I had with my family during the first weeks and months of the war when I decided not to leave. I want to be here because I want to experience everything. I would never walk away and leave my people. I send my family a message every now and then; that’s how I maintain my relationship with them. I have a lot of friends who are very worried, and they’re always texting. It’s not that I don’t want to text back or call back, but I don’t have anything to say. I don’t want to tell you I’m not okay because I don’t want to talk about it. Of course, I want to share everything, but I don’t have the capacity right now. I’m mentally exhausted. Everyone has been very understanding. Even if I don’t reply, they still send emojis. My brother always sends me videos laughing or singing. It was a very tough decision to stay. However, I do not regret it.CÉLINE: I completely understand. I wanted to go to Gaza at the start of the war, but I couldn’t because I’m Lebanese. I was obsessed. I really wanted to be there. It’s very hard to watch it, but I know it’s harder to live it… I was reading your tweets yesterday night before bed. I feel you’re talking to somebody. I wondered if that person read your tweets?HIND: Every app has a different part of me. Twitter is my diary; I love tweeting what I feel on that app. The heart of me is posting on Instagram. I love posting my feelings, but I also like to share stuff. I share what I see, what I feel, everything. I don’t post what I post on Facebook on Instagram or on Twitter. My feelings are very complicated. I was feeling neglected, as if someone had given up on me. I didn’t want to go through that onmyown.Yes,Ichosetobeonmyown.I thought I would be okay, but at the end of the day, you need someone to cry to, you need someone to hug, you need someone to express yourself to. You need someone to lean on.CÉLINE: You’re going through a heartbreak, and you’re going through the destruction of your city, and you’re going through displacement… it’s beyond human. And as you said, we are not superheroes. I watch you, and I send you prayers and so much love. I was happy when I saw you dressed in a cute outfit the other day…HIND: I try. I’m still picky about what I drink and eat, despite the fact that there are no options. I’m trying to save this part of myself. I am the person I am, and I’m happy that nothing has changed me.CÉLINE: Again, I was reading your Twitter, and I felt like this experience is pushing a lot of people to their limits. Nonetheless, many people here are romanticizing the situation. They’re like, “Oh, it’s so inspiring. People are coming together and helping one another…” When, in reality, people are suffering. How do you describe the situation? Are people able to remain in solidarity? Or is it breaking people apart?HIND: It’s breaking people apart. Imagine losing everything you have and then being thrown on the streets. Your family is in danger, or you’ve lost your family. You’ve lost everything you have, you’re starved, you don’t have an income. Everything that would make you stay the human you are is gone. For example, there are people who jump on the trucks to grab a bag of flour before anyone else can get it. Do you think these people ever thought they would end up here one day? People are starving, like literally, people are starving and if they do not do this, their family will not eat that day. They are forced to be the worst version of themselves.Before the war, I never felt afraid in Gaza. I felt like these are my people. This is my home. I’ve never felt scared at home, but for the first time, I am scared when I’m home. Who are these people? I feel as if I’m living with zombies. When I’m working, I am always scared of people. I never felt like this before. I worked in all parts of Gaza. I went to houses, I protested. I never felt afraid that someone would harm me. But now I feel afraid when I’m on camera. I try to build a connection with people, but at the same time, I know that the person who was cursing at me or threatening me would never curse if he had not just walked for seven hours, barefoot and under fire from his house to where I am reporting… He doesn’t know where to go. The social fabric is literally destroyed.Everyone knows the people of Gaza for their generosity and their kindness… and I’ve found some people who are still like this, even at this point. I’ll go into a tent to cover a story, and the people there insist on collecting wood, lighting a fire, and boiling water just so they can offer me tea. Gazans are still Gazans, but at the same time, the situation and the toll it’s taking is stronger than the people.CÉLINE: It feels that collective action has taken on a whole other meaning for most people in the West, because here they are very individualistic. They don’t really do collective action. But we’ve seen a big, big change. But still, it’s not enough.HIND: We in Gaza feel like it’s not the same effort anymore. We used to see more stuff. We’re not seeing any. The killing of at least 270 journalists is not shaking the world. People in mass graves is not shaking the world. Nothing is shaking the world. Nothing is stopping this. What people need to understand is, people do not have internet in Gaza. They do not know. We’re under fire. We’re surrounded by Israeli tanks and soldiers. People don’t have water, they don’t have food, they don’t have electricity, they don’t have internet. They have nothing, literally nothing.I’m telling you about the regular people, not journalists and people who are connected. People are busy surviving in Gaza. People in Gaza line up for four hours for 10 liters of water. This is for a whole family to drink, to cook with, and to shower with. Ten liters of water for the whole family, and they wait four to five hours every single day to get it. I totally appreciate everyone’s efforts. I would not say anything other than that, but Gaza needs more. It definitely needs more action.CÉLINE: I know you said that you’re holding on to not being changed, but ultimately, this experience has changed you. How has it changed you?HIND: I’ve become more patient. I’m more peaceful. I was always a revolutionary. But after losing a lot, I’ve become very patient, very quiet. I wasn’t this quiet. I was always crazy. But the heartbreaks make you very sad. You become a person who doesn’t ask for anything.CÉLINE: What message would you like to send to the people of the world?HIND: I want to tell the world that Gaza still needs them. We still need you guys to do something."
}
,
"relatedposts": [
{
"title" : "Malcolm X and Islam: U.S. Islamophobia Didn’t Start with 9/11",
"author" : "Collis Browne",
"category" : "",
"url" : "https://everythingispolitical.com/readings/malcolm-x-and-islam",
"date" : "2025-11-27 14:58:00 -0500",
"img" : "https://everythingispolitical.com/uploads/life-malcolm-3.jpg",
"excerpt" : "",
"content" : "Anti-Muslim hate has been deeply engrained and intertwined with anti-Black racism in the United States for well over 60 years, far longer than most of us are taught or are aware.As the EIP team dug into design research for the new magazine format of our first anniversary issue, we revisited 1960s issues of LIFE magazine—and landed on the March 1965 edition, published just after the assassination of Malcolm X.The reporting is staggering in its openness: blatantly anti-Black and anti-Muslim in a way that normalizes white supremacy at its most fundamental level. The anti-Blackness, while horrifying, is not surprising. This was a moment when, despite the formal dismantling of Jim Crow, more than 10,000 “sundown towns” still existed across the country, segregation remained the norm, and racial terror structured daily life.What shocked our team was the nakedness of the anti-Muslim propaganda.This was not yet framed as anti-Arab in the way Western Islamophobia is often framed today. Arab and Middle Eastern people were not present in the narrative at all. Instead, what was being targeted was organized resistance to white supremacy—specifically, the adoption of Islam by Black communities as a source of political power, dignity, and self-determination. From this moment, we can trace a clear ideological line from anti-Muslim sentiment rooted in anti-Black racism in the 1960s to the anti-Arab, anti-MENA, and anti-SWANA racism that saturates Western culture today.The reporting leaned heavily on familiar colonial tropes: the implication of “inter-tribal” violence, the suggestion that resistance to white supremacy is itself a form of reverse racism or inherent aggression, and the detached, almost smug tone surrounding the violent death of a cultural leader.Of course, the Nation of Islam and Elijah Muhammad represent only expressions within an immense and diverse global Muslim world—spanning Morocco, Sudan, the Gulf, Iraq, Pakistan, Indonesia, and far beyond. Yet U.S. cultural and military power has long blurred these distinctions, collapsing complexity into a singular enemy image.It is worth naming this history clearly and connecting the dots: U.S. Islamophobia did not begin with 9/11. It is rooted in a much older racial project—one that has always braided anti-Blackness and anti-Muslim sentiment together in service of white supremacy, at home and abroad."
}
,
{
"title" : "The Billionaire Who Bought the Met Gala: What the Bezoses’ Check Means for Fashion’s Future",
"author" : "Louis Pisano",
"category" : "",
"url" : "https://everythingispolitical.com/readings/the-billionaire-who-bought-the-met-gala",
"date" : "2025-11-27 10:41:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_TBesos_MET_Galajpg.jpg",
"excerpt" : "On the morning of November 17, 2025, the Metropolitan Museum of Art announced that Jeff Bezos and Lauren Sánchez Bezos would serve as the sole lead sponsors of the 2026 Met Gala and its accompanying Costume Institute exhibition, “Costume Art”. Saint Laurent and Condé Nast were listed as supporting partners. To be clear, this is not a co-sponsorship. It is not “in association with.” It is the first time in the modern history of the gala that the headline slot, previously occupied by Louis Vuitton, TikTok, or a discreet old-money surname, has been handed to a tech billionaire and his wife. The donation amount remains undisclosed, but sources familiar with the negotiations place it comfortably north of seven figures, in line with the checks that helped the event raise $22 million last year.",
"content" : "On the morning of November 17, 2025, the Metropolitan Museum of Art announced that Jeff Bezos and Lauren Sánchez Bezos would serve as the sole lead sponsors of the 2026 Met Gala and its accompanying Costume Institute exhibition, “Costume Art”. Saint Laurent and Condé Nast were listed as supporting partners. To be clear, this is not a co-sponsorship. It is not “in association with.” It is the first time in the modern history of the gala that the headline slot, previously occupied by Louis Vuitton, TikTok, or a discreet old-money surname, has been handed to a tech billionaire and his wife. The donation amount remains undisclosed, but sources familiar with the negotiations place it comfortably north of seven figures, in line with the checks that helped the event raise $22 million last year.Within hours of the announcement, the Met’s Instagram post was overrun with comments proclaiming the gala “dead.” On TikTok and X, users paired declarations of late-stage capitalism with memes of the museum staircase wrapped in Amazon boxes. Not that this was unexpected. Anyone paying attention could see it coming for over a decade.When billionaires like Bezos, whose Amazon warehouses reported injury rates nearly double the industry average in 2024 and whose fashion supply chain has been linked to forced labor and poverty wages globally, acquire influence over prestigious institutions like the Met Museum through sponsorships, it risks commodifying fashion as a tool for not only personal but corporate image-laundering. To put it simply: who’s going to bite the hand that feeds them? Designers, editors, and curators will have little choice but to turn a blind eye to keep the money flowing and the lights on.Back in 2012, Amazon co-chaired the “Schiaparelli and Prada” gala, and honorary chair Jeff Bezos showed up in a perfectly respectable tux with then-wife MacKenzie Scott by his side and an Anna Wintour-advised pocket square. After his divorce from Scott in 2019, Bezos made a solo appearance at the Met Gala, signaling that he was becoming a familiar presence in fashion circles on his own. Of course, by that point, he already had Lauren Sánchez. Fast forward to 2020: print advertising was crumbling, and Anna Wintour co-signed The Drop, a set of limited CFDA collections sold exclusively on Amazon, giving the company a veneer of fashion credibility. By 2024, Sánchez made her Met debut in a mirrored Oscar de la Renta gown personally approved by Wintour, signaling that the Bezos orbit was now squarely inside the fashion world.Then, the political world started to catch up, as it always does. In January 2025, Sánchez and Bezos sat three rows behind President-elect Donald Trump at the inauguration. Amazon wrote a one-million-dollar check to Trump’s inaugural fund, and Bezos, once mocked by Trump as “Jeff Bozo,” publicly congratulated Trump on an “extraordinary political comeback.” By June 2025, Bezos and Sánchez became cultural and political mainstays: Sánchez married Bezos in Venice, wearing a Dolce & Gabbana gown Wintour had helped select. This landed Sánchez the digital cover of American Vogue almost immediately afterward. Wintour quietly handed day-to-day control of the magazine to Chloe Malle but kept the Met Gala, the global title, and her Condé Nast equity stake, cementing a new era of fashion power where money, influence, and optics are inseparable.Underneath all of it, the quiet hum of Amazon’s fashion machine continued to whirr. By 2024, the company already controlled 16.2 percent of every dollar Americans spent on clothing, footwear, and accessories—more than Walmart, Target, Macy’s, and Nordstrom combined. That same year, it generated $34.7 billion in U.S. apparel and footwear revenue that year, with the women’s category alone on pace to top $40 billion. No legacy house has ever had that volume of real-time data on what people actually try on, keep, or return in shame. Amazon can react in weeks rather than seasons, reordering winning pieces, tweaking existing ones, and killing unpopular options before they’re even produced at scale.Wintour did more than simply observe this shift; she engineered a soft landing by bringing Amazon in when it was still somewhat uncool and seen mostly as a discount retailer, lending it credibility when it needed legitimacy, and spending the last two years turning Sánchez from tabloid footnote to Vogue cover star. The Condé Nast sale rumors that began circulating in July 2025, complete with talk of Wintour cashing out her equity and Sánchez taking a creative role, have been denied by every official mouthpiece. But they have also refused to die, because the timeline is simply too tidy.The clearest preview of what billionaire ownership can do to a cultural institution remains Bezos’ other pet project, The Washington Post. Bezos bought it for $250 million in 2013, saved it from bankruptcy, and built it into a profitable digital operation with 2.5 million subscribers. Then, in October 2024, he personally blocked a planned editorial endorsement of Kamala Harris. More than 250,000 subscribers canceled in the following days. By February 2025, the opinion section was restructured around “personal liberties and free markets,” triggering another exodus and the resignation of editorial page editor David Shipley. Former executive editor Marty Baron called it “craven.” The timing, just months after Bezos began warming to the incoming Trump administration, was not lost on anyone. The story didn’t stop there: in the last few days, U.S. Vice President J.D. Vance revealed he had texted Bezos suggesting the hiring of a right-leaning Breitbart journalist, Matthew Boyle, to run the Post’s political coverage. This is a clear signal of how staffing decisions at a storied paper now sit within the same power matrix that funds the Met Gala and shapes culture, media, and politics alike. It’s a tangled, strategic web—all of Bezos’ making.It’s curious that, in the same 30-day window that the Trump DOJ expanded its antitrust inquiry into Amazon, specifically how its algorithms favor its own products over third-party sellers, including many fashion brands, the MET, a city-owned museum, handed the keys of its marquee event to the man whose company now wields outsized influence over designers’ fortunes and faces regulatory scrutiny from the administration he helped reinstall. This is not sponsorship; it’s leverage. Wintour once froze Melania Trump out of Vogue because she could afford to.But she cannot freeze out Sánchez or Bezos. Nor does she want to.So on the first Monday in May, the museum doors will open as they always do for the Met Gala. The carpet will still be red (or whatever color the theme demands). The photographs of celebrities posing in their interpretations of “Costume Art” will still break the internet. Andrew Bolton’s exhibition, roughly 200 objects tracing the dressed body across five millennia, displayed in the newly renamed Condé Nast Galleries, will still be brilliant. But the biggest check will come from the couple who already control 16 percent of America’s clothing spend, who own The Washington Post, and who sat three rows behind Trump at the inauguration. Everything else, guest list tweaks, livestream deals, shoppable moments, will flow from that single source of money and power. That is who now has the final word on the most influential night in American fashion."
}
,
{
"title" : "Communicating Palestine: A Guide for Liberation and Narrative Power",
"author" : "Palestine Institute for Public Diplomacy",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/communicating-palestine",
"date" : "2025-11-25 14:04:00 -0500",
"img" : "https://everythingispolitical.com/uploads/Cover_EIP_Template-MIT_Engineering_Genocide.jpg",
"excerpt" : "Communication as a Tool of Erasure",
"content" : "Communication as a Tool of ErasureAs new “peace plans” for Palestine are drafted far from Palestinian life, Palestinians find themselves once again spoken for - another reminder of how communication is weaponized to sustain Zionist colonialism. Colonialism doesn’t just seize land; it seizes the story and its agents. From early myths like “a land without a people for a people without a land” to today’s narrative spin that frames Palestinians as “rejecting peace,” the Zionist project has aimed to erase not only a people but also their agency, voice, and narratives.Today, as Israel continues its genocide on the ground, its propaganda apparatus, known as Hasbara (“explanation” in Hebrew), wages a parallel war over narrative in the media, in diplomatic halls, and online. From smear campaigns, to lobbying governments and media outlets, to pressuring digital platforms like Meta, the machinery of erasure is well-funded and relentless.As Edward Said wrote in Blaming the Victim, Zionist success was not just military - it was narrative. They won the global narrative battle long before 1948. Narrative control is not symbolic - it justifies policy, enables displacement, and legitimizes genocide.Our ResponseFor Palestinians, the narrative struggle has never been separate from the struggle for liberation. We recognized that incredible work is already being done to amplify Palestinian narratives and counter disinformation—through platforms like MAKAN, Decolonize Palestine, Let’s Talk Palestine, Newscord, and others. But what was missing was a one-stop toolkit that brings together the best practices and resources across all areas of communication, for everyone who communicates Palestine: media, policymakers, artists, content creators, advocates, and more. A space rooted not in defensiveness, but in reclaiming our agency and our narratives.So we built one.Communicating Palestine is more than a guide; it’s a manifesto for liberatory and decolonised communication. It is the outcome of a Palestinian-led process, woven from the wisdom of focus groups in Ramallah, Battir village, and Dheisheh Refugee Camp as well as journalists, activists and analysts. It centers Palestinian narratives on their own terms, refusing to be defined in reaction to the propaganda that seeks to erase them.What does the guide look like in practice? It’s a one-stop platform for anyone communicating about Palestine—journalists, activists, artists, policymakers. It’s organized into four core sections: Narratives and framings – analysis and recommendations to counter harmful tropes and disinformation. Visual representations – guidance for photographers, artists and video journalists on ethical imagery. **Communication and engagement practices **– tips and tools for ethical reporting and centering Palestinians with dignity, Tools – user-friendly resources that can be day-to-day support in your work. Practical checklists on key take-aways from across the guide Terminology guide for accurate wording and reporting. Photography and video guidelines to avoid harmful visuals. Resources countering disinformation, bias and fallacies. **This is a call to action. **It’s an invitation to unlearn the narratives we’ve been fed, to relearn how to engage with dignity and integrity, and to finally practice a form of communication that doesn’t just talk about justice, but actively builds it—one word, one image, one story at a time."
}
]
}