Key Takeaways:
- One of the most popular ways that Iranian propaganda has spread online during its war with Israel and the United States is the use of AI-generated films that portray the Islamic Republic’s narrative through a Lego-style.
- This phenomenon of Lego-style propaganda clips has been covered by several mainstream media organizations interested in its effectiveness and reach.
- Some media outlets appear to have fallen under the spell of these regime-backed content creators and published effusive profiles, while others have covered this latest propaganda campaign more objectively and soberly.
One of the most effective elements of the Islamic Republic’s online propaganda campaign during the war between Israel, the United States, and Iran has been the use of AI-generated films, particularly those produced in a Lego-style format.
These creative and entertaining videos have rapidly spread Iran’s narrative across social media. They mock U.S. President Donald Trump, push conspiracy theories about the Epstein files, promote antisemitic tropes about Jewish control of American foreign policy, and fabricate Iranian military successes against Israel.
Their reach is undeniable. But so too is the troubling response from parts of the mainstream media.
Rather than interrogating the messaging and its origins, some outlets appear captivated by the format, allowing style to overshadow substance.
Iran’s new Lego video is characterically impressive propaganda. Epstein, oil politics, antisemitic tropes – all delivered through an iconic Western brand.
As ever, the goal is to exploit Western cultural divisions. As ever, it succeeds. pic.twitter.com/VVRYkjwvCY
— David Patrikarakos (@dpatrikarakos) April 10, 2026
For example, a profile by The New Yorker of Explosive News, one of the creators behind these Lego-style videos, treats the group with surprising deference. Despite credible concerns about links to the Iranian regime, the outlet allows the group to describe itself as a “student-led media team” that is “totally independent.”
The piece is internally inconsistent. It labels the content “slopaganda,” yet simultaneously praises it as innovative and entertaining.
More concerningly, it presents the creators’ motivations as “pure” — an astonishing characterization for a propaganda outfit advancing the narrative of a regime that represses its own citizens and exports terror.
The team behind those A.I. Lego videos denouncing Trump’s war in Iran sees itself as fighting “a battle between truth and falsehood,” a representative said—and “if truth isn’t flashy, it’s kinda lonely.” https://t.co/SSDPgYo6b8 pic.twitter.com/tiDfCCdCgj
— The New Yorker (@NewYorker) April 2, 2026
A separate profile by New York Magazine acknowledges the creators’ ties to the Iranian regime.
But even here, the tone remains largely admiring.
The content creators are portrayed as a new generation of regime communicators — lacking an “inferiority complex” about the West (unlike their predecessors), culturally fluent, and adept at tailoring propaganda to global audiences.
The result? A reframing of modern conflict — from battles fought on the ground by boomers to wars waged online by millennials.
While informative in parts, the article lacks critical distance. That may not be surprising given that its author, Narges Bajoghli, has publicly echoed regime-aligned narratives, including muddying the reality of Iran’s 2026 anti-government protests and downplaying the brutality of the state’s crackdown.
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Coverage by the BBC takes a more critical look at the content creator, getting it to admit that it works for the Iranian regime (even going so far as to say that it is “honourable [sic] to work for the homeland”), and highlights factual inaccuracies and antisemitic elements within the videos. It also reminds readers that internet access in Iran is tightly controlled, raising obvious questions about how such content is produced and disseminated.
Yet even here, there is a sense of awe. The creators are described as “savvy,” while experts praise the content as “highly sophisticated.” The implication is clear: even when critiqued, the propaganda is still being admired.
Only CNBC avoids this pattern. Its coverage dispenses with fascination and presents the videos plainly for what they are: propaganda produced by actors aligned with the Iranian regime.
No embellishment. No admiration. Just context.
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This contrast highlights a broader issue in media coverage.
Some outlets like The New Yorker and New York Magazine risk normalizing propaganda by focusing on its creativity while downplaying its purpose. Others, like the BBC, attempt a more balanced approach. But only a few treat the content with the necessary clarity and skepticism.
Iran’s propaganda machine is evolving. It is slick, shareable, and designed to exploit Western cultural and political divisions.
But the real failure lies not just in the propaganda itself but in how parts of the media respond to it. When journalists marvel at the packaging instead of scrutinizing the message, they risk becoming unwitting amplifiers of the very narratives they should be challenging.
For news consumers, the lesson is simple: Be informed. Be critical. And don’t confuse viral content with truth.
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