Say you don’t understand the science without saying you don’t understand the science. You don’t have even a cursory, Wikipedia-level understanding. You have a 19^th-century understanding, but science has since developed better understandings of sex and gender.

i was told they ate all the dogs, before they started feeding children the mud

Be that as it may, that’s not why bourgeois democracies serve the interests of the bourgeoisie—the Epstein class—over us. The game was already rigged long before you got to the ballot box.

Despite research having shown that our vote has virtually no effect on outcomes, many still want to believe.

https://duckduckgo.com/?ia=images&iax=images&q=pinking+shears

My family doesn’t suffer from healthcare anxiety, which in this shithole country means we must be wealthy.

I don’t disagree with anything you just said. I can’t draw nearly that well, but then I’ve never really spent the time. I’ve learned a lot of things, but can’t learn everything; there are only so many hours in a life 🤷

Anyone can be creative, but most are not good illustrators, myself included.

© 2026 Google Gemini. All Rights Reserved. 😂

I’m not anti-AI, and neither is lemmy.ml. The only explicitly pro-AI instance is dbzer0, AFAIK.

My stance on AI is similar to that of @[email protected] » A Marxist Perspective On AI

People get so worked up over AI-generated memes. They’re just memes, folks. They’re not taking away anyone’s livelihood, and they’re not going to be hung in the Louvre. They’re ephemeral.

Reporter: [REDACTED]
Reason: Reason: AI slop, remove image

The Blue Wizards made revolution in the East, but that wasn’t chronicled in the Red Book of the Westmarch.

So you agree with them, that life under socialism was materially better than life under capitalism 👍

Neither we nor the Soviets/ex-Soviets ever claimed that socialism or communism was or ever will be utopian, only that they are better than capitalism.

Yes, I belong in here; I just have a deep voice.

The term Holomodor was coined in the late 1980s by Banderite fascists for the specific purpose of equivalating the early 1930s famine with the Holocaust. That’s why one shouldn’t propagate the term’s usage.

IIRC, years ago the Mexican state invested heavily in culinary training. I don’t know if that’s still the case.

Reporter: [REDACTED]
Reason: holocaust relativism

Holocaust exceptionalism

From Auschwitz to Gaza: Holocaust Exceptionalism and Genocide Denial

Gabriel Rockhill: Imperialist Propaganda and the Ideology of the Western Left Intelligentsia: From Anticommunism and Identity Politics to Democratic Illusions and Fascism

The CIA has also been deeply involved in the art world. For instance, it promoted U.S. American art, particularly Abstract Expressionism and the New York art scene, over and against Socialist Realism. It funded art exhibits, musical and theatrical performances, international art festivals, and more in a bid to disseminate what was touted as the free art of the West. The Company has worked closely with major art institutions in these endeavors. To take but a single telling example, one of the major CIA officers involved in the cultural cold war, Thomas W. Braden, was the Museum of Modern Art’s (MoMA) executive secretary before joining the Agency. MoMA’s presidents have included Nelson Rockefeller, who became the super-coordinator for clandestine intelligence operations and allowed the Rockefeller Fund to be used as a conduit for CIA money. Among MoMA’s directors, we find René d’Harnoncourt, who had worked for Rockefeller’s wartime intelligence agency for Latin America. John Hay Whitney of the eponymous museum and Julius Fleischmann sat on MoMA’s board of trustees. The former had worked for the CIA’s predecessor organization, the Office of Strategic Services (OSS), and allowed his charity to be used as a conduit for CIA money. The latter served as the president of the CIA’s Farfield Foundation. William S. Paley, the president of CBS and one of the major figures in U.S. psychological warfare programs, including those of the CIA, was on the members’ board of MoMA’s International Program. As this web of relations indicates, the capitalist ruling class works closely with the U.S. national security state in order to tightly control the cultural apparatus.

Many books have been written on the U.S. state’s involvement with the entertainment industry. Matthew Alford and Tom Secker have documented that the Department of Defense has been involved in supporting—with complete and absolute censorship rights—a minimum of 814 movies, with the CIA clocking in at a minimum of 37 and the FBI 22. Regarding TV shows, some of which have been very long running, the Department of Defense totals 1,133, the CIA 22, and the FBI 10. Above and beyond these quantifiable cases, there is, of course, the qualitative relationship between the national security state and Tinseltown. John Rizzo explained as much in 2014: “The CIA has long had a special relationship with the entertainment industry, devoting considerable attention to fostering relationships with Hollywood movers and shakers—studio executives, producers, directors, big-name actors.” Having served as the Deputy Counsel or Acting General Counsel of the CIA for the first nine years of the war on terror, during which time he was intimately involved in overseeing the global rendition, torture, and drone-assassination programs, Rizzo was well placed to understand how the culture industry could provide cover for imperial butchery.

These activities and many more reveal one of the primary features of the U.S. empire: it is a veritable empire of spectacles. One of its principal focal points has been the war for hearts and minds. To this end, it has established an expansive global infrastructure in order to engage in international psychological warfare. The near absolute control it exercises over mainstream media has been clearly visible in the recent drive to garner support for the U.S. proxy war against Russia in Ukraine. The same is true for its virulent 24/7 anti-China propaganda. Nevertheless, thanks to the work of so many valiant activists and the fact that it is working against reality itself, the empire of spectacles is incapable of completely controlling the narrative.