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The Wedding That Ate Venice
It wasn’t just a wedding. It was an occupation.
For a few deeply strange days in late June, Venice ceased being a city and became a film set, one where no one knew what movie was being made, who the audience was supposed to be, or why the lead actress had clearly studied every frame of Kim Kardashian’s wedding content like it was an NFL playbook. Lauren Sánchez, the new Mrs. Bezos, didn’t just get married. She tried to canonize herself.
And she had a plan. There was a glitzy bachelorette party in Paris. A carefully stage managed sunset cruise down the Seine under the hum of drones. There was a wedding in Italy, just like Kim. There was a Vogue exclusive, albeit digital, complete with a dolce-vita wannabe shoot in her Sophia Loren inspired Dolce & Gabbana wedding gown. And in perhaps the most surreal flourish, Sánchez booked Matteo Bocelli, son of Andrea Bocelli yes, the same Andrea who famously sang at Kim and Kanye’s wedding in Florence.
This is not a coincidence. This is scripting. This is someone trying very, very hard to manufacture a wedding-as-moment.
What she failed to realize is that it is no longer 2014. The culture has changed, the fantasy has expired, and Lauren Sánchez is not Kim Kardashian. She doesn’t have the influence, the intrigue, or the irony like the kind Kanye West once knew how to manufacture, art-directing a wedding that felt both sincerely grand and wryly self-aware. She has money and a lot of it but no myth. And that’s the problem.
To understand just how off Lauren Sánchez’s wedding was, you have to go back to the one she was clearly copying: Kim and Kanye, 2014, the wedding that practically invented the modern celebrity ceremony.
Say what you want about KimYe, but that wedding made an impact on the culture. Optimized for virality: high/low, couture-meets-chaos, social media bait wrapped in Givenchy. From the Parisian pre-wedding fits to the Florence ceremony staged in front of a crumbling fortress, everything was hyper-curated and deeply personal. This wasn’t some random destination wedding with a Vogue shoot tacked on. It was a painstakingly crafted narrative.
Paris made sense, Kim and Kanye were fashion-obsessed, and Paris Fashion Week was their red carpet. They were front row. They were in it. Florence, we later learned, was where their daughter North was conceived. That detail turned what could’ve been a rich-person location flex into something intimate, even romantic. And then there was Versailles, the site of their rehearsal dinner, a deliberately imperial choice that positioned them as pop-cultural royalty. It wasn’t subtle. It wasn’t supposed to be. It was about legacy wrapped in gilded historic grandeur.
And the aesthetic? Tasteful. Thought out. Kanye commissioned a massive Carrara marble table for the reception. Riccardo Tisci designed Kim’s dress. The guest list was curated like an art exhibit, full of industry insiders and cultural players. This was a cultural event with layers and textures that made sense.
Yes they were showing off but at the same time they weren’t just showing off; they were performing an aspirational lifestyle that millions could obsess over, analyze, and replicate in mini ways online. That wedding birthed endless memes, think pieces, and viral moments. It was maximal but meaningful. It had context.
Venice, however, had no narrative in the Sánchez-Bezos wedding. It was the background, a luxury prop for a story Venice didn’t ask to be part of.
The city did not greet the event with open arms. As Jeff Bezos and Lauren Sánchez exchanged vows, a few hundred protesters gathered at the Venice train station on the following day with one clear message: “Bezos, f**k off,” and “Out of our lagoon!” They chanted in Italian, their voices rippling through the ancient city like a wave of defiance.

Venetian locals like 22-year-old Sofia D’Amato made it clear that this was not about envy. “We are not jealous of the fact that he earns so much money,” she told CNN. “We are jealous when his wealth hits us in the face.”
That wealth hit hard. The wedding reportedly cost $55 million. While Sánchez and Bezos pledged a combined €3 million to three Venetian cultural institutions, D’Amato dismissed the donations as “paltry” compared to the spectacle and disruption inflicted upon the city.
Protesters didn’t just express resentment toward Bezos’s private wealth, they drew stark contrasts between that opulence and the struggles of Amazon workers. One woman, identifying herself as an Amazon employee, shouted into the crowd, “We can barely pay the rent. Many of us come from far away to reach the warehouse… We don’t see these millions.”
The march, which moved through the city’s iconic bridges and squares, was a kaleidoscope of political symbolism: Palestinian flags, pride flags, anti-fascist banners, and Venice’s traditional red standard. Some even modified the golden lion on the Venetian flag to wear a black balaclava, an unmistakable symbol of resistance.
Predictably, city officials were quick to condemn the protests. In a press release, Venice’s municipal government called the demonstrations “ridiculous” and “grotesque,” dismissing opposition as “folklore of ‘No to everything.’” Their statement claimed that “contesting a wedding (any wedding) is already ridiculous in itself,” as if the billionaires’ invasion was the natural order, and dissent a bizarre outlier.
But for many Venetians, this wasn’t just a wedding to protest, it was a painful reminder of how their city is commodified and controlled by the ultra-rich, at the expense of everyday life.
There’s something oddly fascinating about Lauren Sánchez’s entire trajectory leading up to this wedding. The soft launches. The yacht wardrobe. The increasingly intentional paparazzi strolls. The Paris bachelorette that felt like a Vogue World afterparty with bigger bank accounts. She wasn’t just planning a wedding, she was orchestrating a character arc.
But if the wedding itself was a fantasy no one asked for, the Vogue coverage was the hallucination that followed. Behind it all, the unmistakable hand of Anna Wintour, who still seems to believe that a Vogue feature has the power to manufacture cultural relevance.
But this time, she didn’t just co-sign the narrative, she helped script it. According to reports, Wintour personally advised Lauren Sánchez on which designer to choose for her wedding dress. That wasn’t just a fashion favor. That was the ultimate act of legacy media meddling, as if the right label could turn a billionaire yacht wife into a main character. Wintour, still clinging to the idea that her blessing carries myth-making power, anointed Sánchez with the same institutional pomp once reserved for actual icons.
The thing is, everyone involved in this coverage fundamentally misunderstood who reads Vogue in 2025, especially online. Today’s audience is digital-native, hyper-aware, and deeply fluent in the language of spin. We know when we’re being sold something. And in this case, the product was Lauren Sánchez: aggressively packaged, horrifically over-styled, and force-fed down our throats like a satin-wrapped ad for moneyed mediocrity.
These people aren’t aspirational. They’re not even neutral. They’re actively loathed.
And yes, sure, you could compare this to the backlash when Kim Kardashian got her first Vogue cover. But that outrage was alive. That cover mattered. It arrived right as social media was exploding. Thirst was aspirational. The vibe was peak maximalism. KimYe were the zeitgeist. Whether you loved them or hated them, you were watching.
Jeff and Lauren wanted that. Desperately. But what they staged in Venice wasn’t a cultural coronation, it was a hollow production for people who still think “rich” means “interesting.”
There’s no iconography. No real story. Just a swarm of strategists hovering off-camera in the lagoon.
The difference between a moment and a media stunt is simple: one has soul. This had scheduling.
If Vogue still thinks it can manufacture buzz by throwing up carefully curated wedding posts on Instagram, the comments sections say otherwise. Scroll through any of the ten posts Vogue put up about the Sánchez-Bezos wedding, and you’ll find a consistent theme: anger, disgust, and outright mockery.
Comments like “Who asked?” “So tone-deaf,” “More billionaires ruining the world,” and simply “No one cares” flood every post. The wedding has become a lightning rod for frustrations about wealth inequality, entitlement, and the performative exhaustion of these ultra-rich pageants. It’s a digital rebellion against being sold a fairy tale that feels increasingly grotesque and irrelevant.
The optics are impossible to ignore: a billionaire wedding in Venice, a city suffocated by luxury excess, doubling as a sort of political power mixer for America’s richest, regardless of the ideologies they champion. It’s a reminder of how the ultra-wealthy consolidate influence behind closed doors, far from the consequences their politics inflict on everyday people.
The only real moment of truth in this entire circus didn’t come from Sánchez or Bezos. It came from the Venetians protesting on boats. From the clips of locals being rerouted around security barricades so that billionaires in sunglasses could glide through canals in peace. From the quiet rage of a city that’s been turned into a playground for the ultra-rich, now forced to host their mythmaking rituals.
This wasn’t a wedding. It was a symptom. A symptom of just how far removed the 1% has become from the rest of us and how tone-deaf our media class still is when it comes to documenting them.
Lauren wanted her Kim moment. She got her Marie Antoinette moment instead.
As for Vogue? It’s still playing prestige dress-up in a world that already left the party. The rest of us are rolling our eyes, wondering how many more of these billionaire Barbie weddings we’ll be forced to endure before the fantasy fully collapses.
They barricaded the protesters out of Venice, shutting down dissent with walls and security.
Me? I got blocked on Instagram. Turns out the easiest way to silence a critic in 2025 is just one click away.
{
"article":
{
"title" : "The Wedding That Ate Venice",
"author" : "Louis Pisano",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/wedding-that-ate-venice",
"date" : "2025-06-30 11:01:00 -0400",
"img" : "https://everythingispolitical.com/uploads/EIP_LaurenSanchez.jpg",
"excerpt" : "It wasn’t just a wedding. It was an occupation.",
"content" : "It wasn’t just a wedding. It was an occupation.For a few deeply strange days in late June, Venice ceased being a city and became a film set, one where no one knew what movie was being made, who the audience was supposed to be, or why the lead actress had clearly studied every frame of Kim Kardashian’s wedding content like it was an NFL playbook. Lauren Sánchez, the new Mrs. Bezos, didn’t just get married. She tried to canonize herself.And she had a plan. There was a glitzy bachelorette party in Paris. A carefully stage managed sunset cruise down the Seine under the hum of drones. There was a wedding in Italy, just like Kim. There was a Vogue exclusive, albeit digital, complete with a dolce-vita wannabe shoot in her Sophia Loren inspired Dolce & Gabbana wedding gown. And in perhaps the most surreal flourish, Sánchez booked Matteo Bocelli, son of Andrea Bocelli yes, the same Andrea who famously sang at Kim and Kanye’s wedding in Florence.This is not a coincidence. This is scripting. This is someone trying very, very hard to manufacture a wedding-as-moment.What she failed to realize is that it is no longer 2014. The culture has changed, the fantasy has expired, and Lauren Sánchez is not Kim Kardashian. She doesn’t have the influence, the intrigue, or the irony like the kind Kanye West once knew how to manufacture, art-directing a wedding that felt both sincerely grand and wryly self-aware. She has money and a lot of it but no myth. And that’s the problem.To understand just how off Lauren Sánchez’s wedding was, you have to go back to the one she was clearly copying: Kim and Kanye, 2014, the wedding that practically invented the modern celebrity ceremony.Say what you want about KimYe, but that wedding made an impact on the culture. Optimized for virality: high/low, couture-meets-chaos, social media bait wrapped in Givenchy. From the Parisian pre-wedding fits to the Florence ceremony staged in front of a crumbling fortress, everything was hyper-curated and deeply personal. This wasn’t some random destination wedding with a Vogue shoot tacked on. It was a painstakingly crafted narrative.Paris made sense, Kim and Kanye were fashion-obsessed, and Paris Fashion Week was their red carpet. They were front row. They were in it. Florence, we later learned, was where their daughter North was conceived. That detail turned what could’ve been a rich-person location flex into something intimate, even romantic. And then there was Versailles, the site of their rehearsal dinner, a deliberately imperial choice that positioned them as pop-cultural royalty. It wasn’t subtle. It wasn’t supposed to be. It was about legacy wrapped in gilded historic grandeur.And the aesthetic? Tasteful. Thought out. Kanye commissioned a massive Carrara marble table for the reception. Riccardo Tisci designed Kim’s dress. The guest list was curated like an art exhibit, full of industry insiders and cultural players. This was a cultural event with layers and textures that made sense.Yes they were showing off but at the same time they weren’t just showing off; they were performing an aspirational lifestyle that millions could obsess over, analyze, and replicate in mini ways online. That wedding birthed endless memes, think pieces, and viral moments. It was maximal but meaningful. It had context.Venice, however, had no narrative in the Sánchez-Bezos wedding. It was the background, a luxury prop for a story Venice didn’t ask to be part of.The city did not greet the event with open arms. As Jeff Bezos and Lauren Sánchez exchanged vows, a few hundred protesters gathered at the Venice train station on the following day with one clear message: “Bezos, f**k off,” and “Out of our lagoon!” They chanted in Italian, their voices rippling through the ancient city like a wave of defiance.Venetian locals like 22-year-old Sofia D’Amato made it clear that this was not about envy. “We are not jealous of the fact that he earns so much money,” she told CNN. “We are jealous when his wealth hits us in the face.”That wealth hit hard. The wedding reportedly cost $55 million. While Sánchez and Bezos pledged a combined €3 million to three Venetian cultural institutions, D’Amato dismissed the donations as “paltry” compared to the spectacle and disruption inflicted upon the city.Protesters didn’t just express resentment toward Bezos’s private wealth, they drew stark contrasts between that opulence and the struggles of Amazon workers. One woman, identifying herself as an Amazon employee, shouted into the crowd, “We can barely pay the rent. Many of us come from far away to reach the warehouse… We don’t see these millions.”The march, which moved through the city’s iconic bridges and squares, was a kaleidoscope of political symbolism: Palestinian flags, pride flags, anti-fascist banners, and Venice’s traditional red standard. Some even modified the golden lion on the Venetian flag to wear a black balaclava, an unmistakable symbol of resistance.Predictably, city officials were quick to condemn the protests. In a press release, Venice’s municipal government called the demonstrations “ridiculous” and “grotesque,” dismissing opposition as “folklore of ‘No to everything.’” Their statement claimed that “contesting a wedding (any wedding) is already ridiculous in itself,” as if the billionaires’ invasion was the natural order, and dissent a bizarre outlier.But for many Venetians, this wasn’t just a wedding to protest, it was a painful reminder of how their city is commodified and controlled by the ultra-rich, at the expense of everyday life.There’s something oddly fascinating about Lauren Sánchez’s entire trajectory leading up to this wedding. The soft launches. The yacht wardrobe. The increasingly intentional paparazzi strolls. The Paris bachelorette that felt like a Vogue World afterparty with bigger bank accounts. She wasn’t just planning a wedding, she was orchestrating a character arc.But if the wedding itself was a fantasy no one asked for, the Vogue coverage was the hallucination that followed. Behind it all, the unmistakable hand of Anna Wintour, who still seems to believe that a Vogue feature has the power to manufacture cultural relevance.But this time, she didn’t just co-sign the narrative, she helped script it. According to reports, Wintour personally advised Lauren Sánchez on which designer to choose for her wedding dress. That wasn’t just a fashion favor. That was the ultimate act of legacy media meddling, as if the right label could turn a billionaire yacht wife into a main character. Wintour, still clinging to the idea that her blessing carries myth-making power, anointed Sánchez with the same institutional pomp once reserved for actual icons.The thing is, everyone involved in this coverage fundamentally misunderstood who reads Vogue in 2025, especially online. Today’s audience is digital-native, hyper-aware, and deeply fluent in the language of spin. We know when we’re being sold something. And in this case, the product was Lauren Sánchez: aggressively packaged, horrifically over-styled, and force-fed down our throats like a satin-wrapped ad for moneyed mediocrity.These people aren’t aspirational. They’re not even neutral. They’re actively loathed.And yes, sure, you could compare this to the backlash when Kim Kardashian got her first Vogue cover. But that outrage was alive. That cover mattered. It arrived right as social media was exploding. Thirst was aspirational. The vibe was peak maximalism. KimYe were the zeitgeist. Whether you loved them or hated them, you were watching.Jeff and Lauren wanted that. Desperately. But what they staged in Venice wasn’t a cultural coronation, it was a hollow production for people who still think “rich” means “interesting.”There’s no iconography. No real story. Just a swarm of strategists hovering off-camera in the lagoon.The difference between a moment and a media stunt is simple: one has soul. This had scheduling.If Vogue still thinks it can manufacture buzz by throwing up carefully curated wedding posts on Instagram, the comments sections say otherwise. Scroll through any of the ten posts Vogue put up about the Sánchez-Bezos wedding, and you’ll find a consistent theme: anger, disgust, and outright mockery.Comments like “Who asked?” “So tone-deaf,” “More billionaires ruining the world,” and simply “No one cares” flood every post. The wedding has become a lightning rod for frustrations about wealth inequality, entitlement, and the performative exhaustion of these ultra-rich pageants. It’s a digital rebellion against being sold a fairy tale that feels increasingly grotesque and irrelevant.The optics are impossible to ignore: a billionaire wedding in Venice, a city suffocated by luxury excess, doubling as a sort of political power mixer for America’s richest, regardless of the ideologies they champion. It’s a reminder of how the ultra-wealthy consolidate influence behind closed doors, far from the consequences their politics inflict on everyday people.The only real moment of truth in this entire circus didn’t come from Sánchez or Bezos. It came from the Venetians protesting on boats. From the clips of locals being rerouted around security barricades so that billionaires in sunglasses could glide through canals in peace. From the quiet rage of a city that’s been turned into a playground for the ultra-rich, now forced to host their mythmaking rituals.This wasn’t a wedding. It was a symptom. A symptom of just how far removed the 1% has become from the rest of us and how tone-deaf our media class still is when it comes to documenting them.Lauren wanted her Kim moment. She got her Marie Antoinette moment instead.As for Vogue? It’s still playing prestige dress-up in a world that already left the party. The rest of us are rolling our eyes, wondering how many more of these billionaire Barbie weddings we’ll be forced to endure before the fantasy fully collapses.They barricaded the protesters out of Venice, shutting down dissent with walls and security.Me? I got blocked on Instagram. Turns out the easiest way to silence a critic in 2025 is just one click away."
}
,
"relatedposts": [
{
"title" : "Honoring Indigenous Resilience",
"author" : "Water Protector Legal Collective",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/honoring-indigenous-resilience",
"date" : "2025-10-13 08:50:00 -0400",
"img" : "https://everythingispolitical.com/uploads/mni-indigenous-peoples-day.jpg",
"excerpt" : "Indigenous Peoples are not relics of the past – despite centuries of colonialism and systematic attempts at genocide and erasure, Indigenous Peoples are still here, stewarding world biodiversity, protecting land, water, and life for future generations. On this Indigenous Peoples’ Day, we uplift ongoing resistance struggles and honor the continued resilience of our relatives.",
"content" : "Indigenous Peoples are not relics of the past – despite centuries of colonialism and systematic attempts at genocide and erasure, Indigenous Peoples are still here, stewarding world biodiversity, protecting land, water, and life for future generations. On this Indigenous Peoples’ Day, we uplift ongoing resistance struggles and honor the continued resilience of our relatives.As climate disruption intensifies, Indigenous knowledge guides climate and justice movements, offering visions of futures rooted in kinship, stewardship, and collective survival.Honoring and supporting Indigenous resilience is not just a moral imperative - it’s a blueprint for a more sustainable, just future. We uplift the courage and commitment of Indigenous Peoples who safeguard the land, water, and life that sustain us all.From Standing Rock to Palestine, from Mauna Kea to the Amazon, Indigenous Peoples resist settler colonialism, land theft, and water apartheid.This #IndigenousPeoplesDay, we invite you to honor the resilience of Indigenous Peoples who, for millennia, have stewarded the land and waters, ensuring the preservation of 80% of the world’s remaining biodiversity.In a world that often sacrifices frontline communities for profit, we believe in a future where people and planet thrive together. 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Sign the petition—1,349 signatures short of 500,000!@ProtectMaunaKea@MKea.info@PuaCaseProtect Chi’chil Biłdagoteel #SaveOakFlatChi’chil Biłdagoteel (Oak Flat) is a sacred site for the Western Apache facing destruction from a copper mine project by Resolution Copper, a joint venture between BHP Billiton and Rio Tinto, the company that destroyed Juukan Gorge, a 46,000 year-old Aboriginal sacred site in Western Australia.Oak Flat, listed on the National Register of Historic Places, is vital for spiritual and cultural practices. The mine would destroy the site into a 1,100 foot deep and 2 mile wide crater. Despite court setbacks, Apache Stronghold continues to fight for the land’s protection through legal and spiritual resistance. 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With increasing pressure from illegal logging, mining, and agribusiness, they are calling for clear, legally recognized land demarcation.In August, the IV Indigenous Women’s March in Brasilia brought together over 7,000 Indigenous women from the seven biomes of Brazil who marched on Congress under the banner of “Nosso Corpo, Nosso Territorio” to demand demarcation and protection of Indigenous territories, seen as living extensions of Indigenous bodies. As the world gathers in Belem for COP30 in November, the call for environmental protection increases. For Indigenous Peoples, this is not just about one of the planet’s most vital ecosystems, but a matter of sovereignty and cultural survival.@ANMIGA@AmazonWatch@COIABIndigenous Resistance in Ecuador #ParoNacionalAcross Ecuador, Indigenous communities are rising to defend their ancestral lands, rivers, and way of life. Government-backed mining and extractive projects threaten sacred territories and vital water sources that sustain thousands of families. The Shuar, Cañari, and other Indigenous Peoples are standing firm despite violent repression and criminalization of their leaders. Nationwide mobilizations, led by CONAIE, highlight widespread opposition to policies that prioritize profit over life, culture, and ecology. This resistance is more than a fight against mining - it’s a fight for water, for land, and for the survival and dignity of future generations.@kichwahatari@conaieLenca Defenders Resilience in Honduras #JusticiaParaBertaProtecting Indigenous territories comes at great cost: in 2024, 146 environmental defenders were killed or disappeared worldwide. Still, Indigenous Peoples persist. In Honduras, the resilience of the Lenca people to protect their lands, water, and cultural survival from destructive projects like the Agua Zarca Dam, is a testament to the power of collective strength in the broader struggle for environmental justice despite overwhelming odds.Lenca defender Berta Cáceres, a Goldman Prize laureate and COPINH’s co-founder, was killed for her activism but her words, “Lo vamos a lograr, me lo dijo el río” (We will succeed, the river told me so) and resilience lives on in the generations of Lenca and other Indigenous defenders who continue the fight for land, water, and justice. COPINH, now led by her daughter, Berta Zuniga Cáceres, continues to advocate for the defense of natural resources, standing against corporate interests and neoliberal policies that prioritize profit over people.@COPINHFree Palestine #RivertoSeaPalestinians in Gaza and the West Bank have long endured militarized occupation, settler colonialism, land theft, and water apartheid. A permanent ceasefire is only the beginning - the need for justice, accountability for 773 days of genocide and other crimes against humanity, and the recognition of Palestinian rights to land, water, and self-determination remains.In 1948, the Nakba (“catastrophe”) resulted in the forced displacement of over 700,000 Palestinians. From October 7, 2023 to the present, over 67,000 Palestinians have been killed and UNRWA reports over 1.9 million, or 90% of Gaza’s population, have been forcibly displaced.Despite repeated attempts at erasure, the Palestinian spirit endures, resisting occupation in a centuries-old struggle for freedom and self-determination. Palestine will be free.Ancestral Resilience Shapes the FutureJoin us:The Water Protector Legal Collective (WPLC) is an Indigenous-led 501(c)(3) nonprofit law firm and advocacy organization that protects the rights of Indigenous Peoples, the Earth, and climate justice movements. Born out of the #NoDAPL movement at Standing Rock as the on-the-ground legal team for Water Protectors facing criminalization, WPLC continues to serve as a legal holding line for the Earth and front line environmental justice communities.waterprotectorlegal.org/donateSlow Factory is an environmental & social justice nonprofit organization. Since 2012, Slow Factory has worked at the intersections of climate and culture to build partnerships and community to advance climate-positive global movements through the lens of human rights, science, technology, and fashion. We redesign socially & environmentally harmful systems – we want what’s good for the Earth & good for people. Slow Factory empowers people of the global majority to advance climate justice and social equity through educational programming, regenerative design, and materials innovation.slowfactory.earth/donate"
}
,
{
"title" : "100+ Years of Genocidal Intent in Palestine",
"author" : "Collis Browne",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/100-years-of-genocidal-intent",
"date" : "2025-10-07 18:01:00 -0400",
"img" : "https://everythingispolitical.com/uploads/1920-jerusalem.jpg",
"excerpt" : "Every single Israeli prime minister, president, and major Zionist leader has voiced clear intent to erase the Palestinian people from their lands, either by forced expulsion, or military violence. From Herzl and Chaim Weizmann to Ben-Gurion to Netanyahu, the record is not ambiguous:",
"content" : "Every single Israeli prime minister, president, and major Zionist leader has voiced clear intent to erase the Palestinian people from their lands, either by forced expulsion, or military violence. From Herzl and Chaim Weizmann to Ben-Gurion to Netanyahu, the record is not ambiguous:{% for person in site.data.genocidalquotes %}{{ person.name }}{% if person.title %}<p class=\"title-xs\">{{ person.title }}</p>{% endif %}{% for quote in person.quotes %}“{{ quote.text }}”{% if quote.source %}— {{ quote.source }}{% endif %}{% endfor %}{% endfor %}"
}
,
{
"title" : "Dignity Before Stadiums:: Morocco’s Digital Uprising",
"author" : "Cheb Gado",
"category" : "",
"url" : "https://everythingispolitical.com/readings/dignity-before-stadiums",
"date" : "2025-10-02 09:08:00 -0400",
"img" : "https://everythingispolitical.com/uploads/EIP_Cover_Morocco_GenZ.jpg",
"excerpt" : "No one expected a generation raised on smartphones and TikTok clips to ignite a spark of protest shaking Morocco’s streets. But Gen Z, the children of the internet and speed, have stepped forward to write a new chapter in the history of uprisings, in their own style.The wave of anger began with everyday struggles that cut deep into young people’s lives: soaring prices, lack of social justice, and the silencing of their voices in politics. They didn’t need traditional leaders or party manifestos; the movement was born out of a single hashtag that spread like wildfire, transforming individual frustration into collective momentum.",
"content" : "No one expected a generation raised on smartphones and TikTok clips to ignite a spark of protest shaking Morocco’s streets. But Gen Z, the children of the internet and speed, have stepped forward to write a new chapter in the history of uprisings, in their own style.The wave of anger began with everyday struggles that cut deep into young people’s lives: soaring prices, lack of social justice, and the silencing of their voices in politics. They didn’t need traditional leaders or party manifestos; the movement was born out of a single hashtag that spread like wildfire, transforming individual frustration into collective momentum.One of the sharpest contradictions fueling the protests was the billions poured into World Cup-related preparations, while ordinary citizens remained marginalized when it came to healthcare and education.This awareness quickly turned into chants and slogans echoing through the streets: “Dignity begins with schools and hospitals, not with putting on a show for the world.”What set this movement apart was not only its presence on the streets, but also the way it reinvented protest itself:Live filming: Phone cameras revealed events moment by moment, exposing abuses instantly.Memes and satire: A powerful weapon to dismantle authority’s aura, turning complex political discourse into viral, shareable content.Decentralized networks: No leader, no party, just small, fast-moving groups connected online, able to appear and disappear with agility.This generation doesn’t believe in grand speeches or delayed promises. They demand change here and now. Moving seamlessly between the physical and digital realms, they turn the street into a stage of revolt, and Instagram Live into an alternative media outlet.What’s happening in Morocco strongly recalls the Arab Spring of 2011, when young people flooded the streets with the same passion and spontaneity, armed only with belief in their power to spark change. But Gen Z added their own twist, digital tools, meme culture, and the pace of a hyper-connected world.Morocco’s Gen Z uprising is not just another protest, but a living experiment in how a digital generation can redefine politics itself. The spark may fade, but the mark it leaves on young people’s collective consciousness cannot be erased.Photo credits: Mosa’ab Elshamy, Zacaria Garcia, Abdel Majid Bizouat, Marouane Beslem"
}
]
}