Digital & Print Membership
Yearly + Receive 8 free printed back issues
$420 Annually
Monthly + Receive 3 free printed back issues
$40 Monthly
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" : "Censorship Didn’t Start With Kimmel:: Why Independent Media Is Our Biggest Asset",
"author" : "Céline Semaan",
"category" : "",
"url" : "https://everythingispolitical.com/readings/censorship-didnt-start-with-kimmel-why-independent-media-is-our-biggest-asset",
"date" : "2025-09-19 13:55:00 -0400",
"img" : "https://everythingispolitical.com/uploads/EIP_Cover_Independent_Media.jpg",
"excerpt" : "Jimmy Kimmel is off the air. ABC suspended Jimmy Kimmel Live! after his monologue criticizing the political reaction to Charlie Kirk’s killing. The network, under pressure from conservative outrage, FCC threats, and nervous affiliates, caved. Suddenly, liberal commentators are outraged. Suddenly, people who considered themselves guardians of democracy are crying censorship. But here’s the uncomfortable truth: their tears are 700 days too late.",
"content" : "Jimmy Kimmel is off the air. ABC suspended Jimmy Kimmel Live! after his monologue criticizing the political reaction to Charlie Kirk’s killing. The network, under pressure from conservative outrage, FCC threats, and nervous affiliates, caved. Suddenly, liberal commentators are outraged. Suddenly, people who considered themselves guardians of democracy are crying censorship. But here’s the uncomfortable truth: their tears are 700 days too late.The silencing of voices did not begin with Kimmel. It has been happening all along, in classrooms where burning books was occurring under a democratic leadership, in newsrooms, in publishing houses, in theaters and comedy clubs. It has been happening quietly, steadily, almost imperceptibly—until the silence was too loud to ignore. Karen Attiah, one of the most important voices at The Washington Post, was recently fired. Writers have lost contracts. My own book was shelved by my publisher and literary agents for political reasons. Academics have been dismissed from universities, and journalists pushed out of their jobs. Each case is framed as an exception, but together they reveal a pattern: dissent is increasingly treated as a liability, not a public necessity.Nothing of this is an isolated punishment of individuals but it is a structural effort to narrow the bounds of what can be said. It is McCarthyism repackaged for a new century, only this time its reach extends beyond the Cold War paranoia of communism into the broader realm of political dissent. What we are witnessing is censorship as part of a larger effort to reshaping of the public sphere itself.The Illusion of Democratic ProtectionMany still cling to the idea that democracy, by its very nature, will protect us. That the courts will intervene, that the institutions will hold, that the First Amendment will somehow enforce itself. But democracy is not self-executing. Rights written on paper mean nothing if the institutions that carry them — universities, newsrooms, publishing houses, even late-night television — are captured or hollowed out.The so-called “marketplace of ideas” is an economy owned by corporations, hedge funds, and media conglomerates. What we read, what we watch, what we hear is already shaped by the profit motive and the political pressures of advertisers and owners. When Disney owns the network, when billionaires own the newspapers, when Silicon Valley decides who gets amplified and who gets shadow-banned, it is naïve to think the First Amendment alone will safeguard us. Democracy does not protect its people when its most basic infrastructure has already been sold off.The Long ErosionWhat happened to Kimmel is not shocking; it is predictable. The erosion of free expression has been slow, but steady. It shows up in grant applications denied for being “too political.” In canceled contracts and disappearing op-eds and governmental information wiped out of governmental websites. In comedians who decide not to say something, not because they don’t believe it, but because they know the cost of saying it. In students who fear speaking out, lest it follow them for life. In social media platforms quietly throttling reach under vague “community guidelines.”For over 700 days, genocide has been live-broadcast to the world, and yet the people who speak most clearly about it have been punished — whether by suspension, firing, or erasure. It’s by design, silence is the product of systems working exactly as designed. Even when Arab voices work tirelessly behind the scenes, they are surely to be erased on the world stages. Most convenient to have their message co-opted by palatable influencers or celebrities, who take up space with little critical thinking. This too is a form of censorship.The Role of Independent MediaThis is why independent media is not a luxury. It is a necessity. The survival of democracy depends not on the myth of neutrality in corporate media but on the ability of independent voices to hold power accountable. Independent outlets can say what others cannot, not because they are more radical, but because they are less beholden to greed and power. They exist outside the corridors of corporate profit and political pressure.Independent media tells the stories that otherwise disappear — the stories of people on the margins, the stories of communities under siege, the stories that advertisers would rather you didn’t hear. Acting both as a living archive and the public’s voice, it does more than just document: it builds the collective resilience we need to withstand propaganda. In a landscape flooded with misinformation, independent outlets give people the tools to see through the fog. They are not divisive; they are connective. They create solidarity across differences, reminding us that liberation is never zero-sum.The Structure of SuppressionWhen we talk about censorship, it’s tempting to imagine it as a blunt act: a book banned, a show canceled, a journalist jailed. But most censorship is quieter, structural, and bureaucratic. It looks like funding cuts that suffocate small outlets. It looks like corporate consolidations that shrink the diversity of voices. It looks like algorithms that bury dissent under oceans of entertainment. It looks like lawsuits, defamation threats, and regulatory red tape designed to exhaust those who dare to challenge power.These forms of suppression rarely make headlines, but they are precisely how freedom dies: not with a bang, but with a spreadsheet.Building Cultural InfrastructureIf we are to survive this moment and outlive fascism, we must recognize independent media as cultural infrastructure. It is as essential to democracy as clean water is to life. Without it, we cannot breathe politically. Without it, we cannot resist.This requires resources — not just clicks, likes, or shares, but real investment and independent platforms that can survive Silicon Valley’s censorships. Subscriptions and memberships from everyday people matter, but so does the responsibility of philanthropists and foundations. For too long, they have hidden behind the veil of “neutrality,” funding depoliticized projects while democracy itself collapses. To defend free expression requires courage — the courage to support media that tells uncomfortable truths.Independent media is not disposable content. It is the bedrock of collective survival. And if we allow it to be starved, silenced, or crushed under the weight of corporate monopolies, then we should not be surprised when democracy fails to save us.The CrossroadsWe are at a crossroads. Either we continue to wring our hands as one voice after another is silenced, or we begin to treat the media as the public good it has always been. Either we accept the narrowing of what can be said, or we invest in the broad chorus of voices that democracy requires.Censorship did not begin with Jimmy Kimmel, and it will not end with him. But it can end with us, if we choose to build and defend the cultural infrastructure that outlasts fascism.The choice is simple, but urgent: fund the voices that tell the truth — or watch them disappear.Not tomorrow. Not when it’s convenient. Not when the damage is already done.Now. Thank you for being a member. Invite your peers.Write for EIP."
}
,
{
"title" : "From Sabra & Shatila to Gaza: The UN’s Century of Failure and the Rise of Alternatives",
"author" : "Collis Browne",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/from-sabra-and-shatila-to-gaza",
"date" : "2025-09-16 10:47:00 -0400",
"img" : "https://everythingispolitical.com/uploads/2025_9_16_UN_Genocide_1.jpg",
"excerpt" : "On the 43rd anniversary of the massacres committed under Israeli authority at Sabra and Shatila camps in Beirut in 1982, a United Nations Commission Of Inquiry has concluded, as would any rational observer, that Israel has been committing genocide in Gaza since October 2023.",
"content" : "On the 43rd anniversary of the massacres committed under Israeli authority at Sabra and Shatila camps in Beirut in 1982, a United Nations Commission Of Inquiry has concluded, as would any rational observer, that Israel has been committing genocide in Gaza since October 2023.This is not news. It could, however, be a turning point, . The UN’s declaration cracks open the conservative West’s long-standing wall of denial about the genocidal intentions and actions of the U.S.–Israel military machine. What happens next matters.A Century of Genocidal IntentFor those who have been watching Palestine with clarity long before 2023, this genocide is not an aberration — it is the project itself. From its inception, every major Zionist leader and Israeli politician has openly articulated the goal of erasing the Indigenous people of Palestine, whether through forced expulsion or mass murder.More than a hundred years of speeches, policies, and massacres testify to this intent. The so-called “War on Gaza” is simply the most visible and livestreamed stage of an ongoing colonial project.The UN’s Empty WordsIs this UN report different? The UN has made declarative statements for decades with no action or enforcement. In 1975, the UN declared Zionism is racism, citing the “unholy alliance” between apartheid South Africa and Israel. Yet Zionists continued to enjoy privileged status across Western institutions. Since 1967, the UN has passed resolution after resolution denouncing illegal Israeli settlements on stolen Palestinian land. Still, the theft continues unchecked. In December 2022, the UN General Assembly demanded Israel end its “unlawful presence” in the Occupied Territories within one year. That deadline expires this week, September 18, 2025. Israel has ignored it completely, as expected — with no consequences. Declarations without enforcement are not justice. They are fig leaves for impunity.What Good Is the UN?The Geneva Convention obliges all states to intervene to stop and punish genocide. Yet no country has deployed forces to resist Israel’s military slaughter in Gaza. No sanctions. No accountability.If the UN cannot stop one of its own member states from carrying out genocide in full public view — in “4K” as the world watches live — then what is the UN for?The Rise of AlternativesThe cracks are widening. The government of China has announced a new Global Governance initiative, already backed by dozens of countries. Without illusions about its motivations, the concept paper at least addresses three of the UN’s structural failures: Underrepresentation of the Global South — redressing centuries of colonial imbalance. Erosion of authoritativeness — restoring the credibility of international law. Urgent need for effectiveness — accelerating stalled progress on global commitments like the UN’s 2030 Agenda. The question is not whether the UN will reform. It is whether it can survive its own irrelevance.Toward a New Global OrderFrom Sabra and Shatila to Gaza, the UN has failed to prevent — or even meaningfully resist — genocide. Its reports and resolutions pile up, while the graves in Palestine multiply.If the international body tasked with “peace and security” cannot act against the most televised genocide in history, then the world has to ask: do we need a new United Nations? Or do we need to build something entirely different — a system of global governance that serves the people, not the powerful?"
}
,
{
"title" : "France in Revolt: Debt, Uranium, and the Costs of Macron-ism",
"author" : "EIP Editors",
"category" : "essays",
"url" : "https://everythingispolitical.com/readings/france-in-revolt",
"date" : "2025-09-14 22:39:00 -0400",
"img" : "https://everythingispolitical.com/uploads/Bloquons-Tout.jpg",
"excerpt" : "France is burning again—not only on the streets of Paris but in the brittle foundations of its political economy. What began as a mass revolt against austerity and public-service cuts has become a national convulsion: roads blocked, train stations occupied, workplaces shut down under the call to “Bloquons Tout” (Let’s Block Everything). The collapse of François Bayrou’s government is only the latest symptom. At the root of the crisis is a political project: Macronism—the steady, decade-long tilt toward pro-business reforms, tax cuts for the wealthy, and austerity by default—that has hollowed out public revenue and narrowed citizens’ options.",
"content" : "France is burning again—not only on the streets of Paris but in the brittle foundations of its political economy. What began as a mass revolt against austerity and public-service cuts has become a national convulsion: roads blocked, train stations occupied, workplaces shut down under the call to “Bloquons Tout” (Let’s Block Everything). The collapse of François Bayrou’s government is only the latest symptom. At the root of the crisis is a political project: Macronism—the steady, decade-long tilt toward pro-business reforms, tax cuts for the wealthy, and austerity by default—that has hollowed out public revenue and narrowed citizens’ options.Tax Cuts, Corporate Giveaways, and Rising DebtSince Emmanuel Macron took office in 2017, his administration rolled out a suite of pro-market reforms: the abolition of the broad wealth tax (ISF), replaced by a narrower property wealth tax (IFI); a sustained reduction of the corporate tax rate to about 25%; and a raft of tax measures framed as competitiveness fixes for companies and investors. Economists now estimate that Macron’s tax cuts account for a significant share of France’s rising public debt; his reforms helped widen deficits even before pandemic and energy-shock spending pushed them higher. Today France’s public debt sits near 113–114% of GDP, and ratings agencies and markets are watching closely. (Le Monde.fr)These policies did not produce the promised boom in broadly shared prosperity. Investment did not surge enough to offset lost revenue, and growth remained sluggish. The political consequence was predictable: when the state has less to spend, the burden of balancing budgets falls on cuts to pensions, healthcare, and social programs—measures that overwhelmingly hurt working-class and vulnerable communities. (Financial Times)Pension Reform, Social Fracture, and the Limits of ConsentMacron’s government pushed a controversial pension reform—raising the retirement age from 62 to 64—which sparked nationwide strikes and mass protests in 2023. The reform illustrated a defining feature of Macronism: when public consent falters, the state still presses forward with market-oriented restructuring, deepening social fracture and anger. The pension fight didn’t create the crisis so much as expose it. (Al Jazeera)Colonial Hangover: Uranium, Energy, and GeopoliticsFrance’s energy model has long rested on nuclear power—once a source of national pride for its emission-free nature, and geopolitical independence. Behind that story, however, is another: the colonial era’s extraction of uranium in places like Niger, where French companies (notably Orano/former Areva) secured resource access under unequal terms. As Niger reasserted sovereignty over its resources after the 2023 coup and pushed back on French access, the illusion of seamless “energy independence” began to crack. Losing preferential access to Nigerien uranium has widened France’s energy insecurity and amplified the fiscal squeeze: higher energy costs, the need to secure new supply chains, and political pressure to maintain subsidies for households. The politics of extraction are now returning home. (Le Monde.fr)Climate, Austerity, and the Moral EconomyAdd the climate emergency to the mix—record heatwaves, floods, and wildfires—and the picture becomes even more bleak. Infrastructure strain and rising costs of climate adaptation demand public investment, yet the government’s posture has been to trim and reprioritize spending to satisfy markets. In practice, that means the people least responsible for climate harm—low-income communities, migrants, and precarious workers—are asked to pay the price. The result is a moral and political rupture: climate vulnerability plus fiscal austerity equals radicalized grievance. (Financial Times)A Convergence of FailuresThis is why the current uprising cannot be reduced to a single grievance. It is the convergence of multiple failures: Economic: tax policy that favored the wealthy while starving the public purse; rising debt and cuts that fall on the poor. (Financial Times) Colonial: the unraveling of extractive arrangements that once propped up French energy and power. (Le Monde.fr) Ecological: climate shocks that amplify social need even as public services are stripped back. (Financial Times) The revolt has therefore drawn a broad constituency—students, unions, public-sector workers, and neighborhoods long marginalized by austerity. It is not merely a labor dispute; it is a crisis of legitimacy for a model of governance that privatized gains and socialized pain.What Macronism Tells Us About the Global MomentFrance is a cautionary tale for democracies worldwide. When political leaders prioritize tax breaks for capital and cut public goods to placate markets, they borrow political stability against the future. The bill eventually comes due—in rising debt, in weakened social cohesion, and in violent backlash. Where resource dependencies meet neoliberal retrenchment, the risk of social rupture grows.Three Questions for What Comes Next Will the French state return to a redistributive project—taxing wealth, reclaiming revenues, and investing in climate resilience—or double down on austerity? Can movements translate street power into institutional change that addresses colonial legacies (resource sovereignty) as well as domestic inequality? Will climate policy be woven into social policy—so that adaptation and justice go hand in hand—or will they remain separate priorities, deepening vulnerability? France stands at a crossroads: continue a model that funnels benefit to capital while exposing citizens to climate and economic shocks—or imagine a social contract rooted in redistribution, de-colonial resource politics, and ecological justice. The choice will not be made in the Élysée alone. It is being argued in the streets, in workplaces, and across borders where the costs of extraction were first paid.Everything is Political—and in France today, that truth has never been clearer."
}
]
}