TEHRAN - Until just a few months ago, anyone who wanted to shape narratives around war and politics had to stand behind official podiums or have access to massive media networks. Today, that equation has flipped in a surprisingly dramatic way: a few young creators, using nothing more than Lego figures, are now challenging the very figures who once dominated narrative-making figures like Donald Trump, a man who turned media into a personal instrument of power and is now himself being turned into a subject of satire and trolling. This time, the game is unfolding on a field where the rules are no longer dictated solely in Washington or inside major studios.

The team known as “Explosive Media,” which produces these well-known Lego-style videos using artificial intelligence, explained in an exclusive conversation with Tehran Times that the project began as a simple collaboration among several media activists. They had previously worked together on social issues, particularly the Palestinian cause. But the real turning point came in the midst of crisis, during what they describe as the third imposed war by the US-Israeli coalition against Iran. Instead of repeating conventional formats, they decided to try something different. After experimenting with multiple ideas, they ultimately arrived at an unexpected form: storytelling through Lego.

At first glance, the choice seemed simple, even childish. But it quickly proved to be a powerful tool. They realized that when a deeply serious subject is presented through humor and an informal tone, the audience’s mental resistance drops. Instead of confronting a heavy, direct message, viewers become curious: “Let’s see what happens next. Let’s see how they portray this character.” That curiosity keeps them engaged until the end.

One of the project’s key aims has been to focus directly on figures like Trump and Netanyahu, individuals widely recognized as major producers and drivers of narratives within Western media. By creating satirical and ironic videos, this young Iranian team has effectively turned Trump into a subject of trolling, flipping the usual media dynamic. In this reversal, politicians who typically control narratives have themselves become the narrative. The same tools once used to shape public opinion are now being turned against their original wielders. Arab media outlets and some Western analysts have openly acknowledged that Iran, through these simple yet clever formats, has managed to gain the upper hand in the “war of narratives,” outpacing the United States and, in particular, raising awareness among younger Western audiences. This, in turn, has made these videos not only widely viewed but also a source of irritation and concern for certain Western political circles.

As the creators themselves noted, their initial target audience was not international. They aimed to meet global standards, but their primary focus was domestic. However, something quickly changed the trajectory: the videos gained far more traction abroad—especially in the West. Views surged, but more importantly, so did the reactions. Western audiences didn’t just watch; they analyzed, discussed, and shared the content. That was when the team realized they were facing a much larger “cultural market,” one with a broader, more curious, and more engaged audience.
From that point on, their strategy shifted. The focus turned toward international audiences, but not in a vague or generalized way. Their targeting became precise. They understood, for instance, that rap music resonates more with younger audiences, while references to figures like Michael Jackson connect better with older generations. Even the choice of music style, humor, and cultural references is carefully calibrated based on audience segmentation. This is not random production; it is deliberate design.

Another notable aspect of this project is the team’s deep understanding of Western culture. Many Western media outlets and audiences have pointed out how accurately these videos capture not only the language and cultural nuances of the West but also its internal contradictions. This insight comes from continuous study books, foreign media, and social platforms alike. In a sense, what is often described as “Western cultural dominance” is here being repurposed as a tool against itself.

As the project expanded, it began drawing increasing attention from Western media outlets. Reports, interviews, and analytical pieces appeared across platforms such as the BBC, CNN, The New Yorker, and other mainstream publications. According to the team, some of this coverage was partial or shaped by bias. Nevertheless, even such attention ended up amplifying their reach. Each time a Western media outlet engaged with these videos, it effectively contributed to their wider dissemination.

Beyond media coverage, political reactions have also been significant. Many well-known Western politicians and analysts have shared these Lego videos and commented on them. For instance, military analyst Patricia Marins shared one video depicting the reconstruction of Iranian infrastructure and described it as “the best piece produced by an Iranian group.” Trita Parsi, vice president of the Quincy Institute for Responsible Statecraft, wrote that a recent Lego video signaled a notable shift moving away from mocking the US military toward directly engaging the American public, potentially aiming to reduce tensions and promote peace. He described this approach as a reversal of strategies long used by the United States itself.

These Lego videos, with their simple yet sharp language, challenge official narratives in a way that many in the West find unsettling, not because they are complex, but precisely because they are simple, accessible, and highly shareable. They communicate ideas that often fail to resonate through lengthy formal analyses.

To better understand this context, one can look at Western political discourse itself, where internal criticism reveals clear contradictions. In one speech, it is openly stated: “No one has told us the truth from the beginning of this operation… We’ve been told we hit thousands of targets and succeeded, but that’s like saying a terminal patient had his leg amputated successfully, while the patient is dead.” Such admissions highlight fractures within the system, fractures that this kind of content brings into sharper focus.

Elsewhere, criticism becomes even more pointed: “We’re told we can’t afford healthcare or social services, but we can afford war.” This contradiction between domestic priorities and foreign policy is one of the themes these videos indirectly touch upon. When official narratives of “defending values” clash with economic and social realities, the ground becomes fertile for alternative storytelling.
Even in security analyses, signs of tension are evident. Discussions about escalating conflicts, control over vital energy routes, and zero-sum rivalries suggest a world entering a more complex phase. In such an environment, narrative-building becomes even more crucial, and this is precisely where projects like this find their role.

As Explosive Media noted, their journey has not been without challenges. Their accounts have been repeatedly shut down on platforms like YouTube and Instagram. Yet, unexpectedly, these setbacks have worked in their favor. Each shutdown brought more attention and expanded their audience. They themselves joke about it: “Here we go again.” In effect, restrictions have become a form of unintended promotion.

There have also been efforts to discredit the project, particularly by emphasizing that some state-affiliated media outlets have purchased distribution rights for the videos. The team, however, sees this as normal, as selling broadcasting rights is part of any media business model. Ironically, such attempts to link them to specific institutions have often backfired, increasing their visibility instead.

What ultimately remains is not just a series of viral videos, but a sign of a deeper shift. The power of narrative is no longer monopolized by the West or mainstream media. It is no longer only governments and large institutions that decide what is seen and how it is interpreted. Smaller groups, equipped with creativity and strategic insight, can now enter the field and even reshape its rules.

And perhaps that is what unsettles some in the West the most: the realization that narratives no longer flow strictly from the top down, but can emerge from unexpected places, even from a handful of Lego videos.