The videos, widely shared across platforms such as X and Telegram, combine historical references, political satire, and cultural symbolism to challenge Western narratives and highlight systemic injustice and war crimes by the US.

One prominent video released by the Tehran-based group Explosive Media opens with imagery of Indigenous suffering in North America before shifting to depictions of enslaved Black Americans and victims of US military abuses, including those linked to Iraq’s Abu Ghraib prison.

The sequence then shows Iranian forces attaching messages to missiles, each invoking past tragedies attributed to US actions.

“For the stolen Blacks,” reads one banner, followed by “For the people of Hiroshima and Nagasaki.”

“In memory of victims of Iran Air flight 655,” states another, referring to the 1988 US downing of a civilian aircraft that killed 290 people.

“In memory of Rachel Corrie’s freedom struggle,” reads another message, referencing the American activist killed by an Israeli regime bulldozer in Gaza in 2003.

The video concludes with the fall of statues representing US President Donald Trump and Israeli Prime Minister Benjamin Netanyahu, alongside the phrase “ONE VENGEANCE FOR ALL.”

Addressing censorship concerns, the group says its content has faced removal by Western technology platforms, including YouTube.

“There was frustration, but no surprise – this story is not new,” a spokesperson for Explosive Media said. “We know well how the West wraps truth in silence and tries to mute every voice that speaks it.”

The group rejects accusations of inciting violence, arguing that its animations are symbolic expressions of resistance and historical memory.

Turning to ideological themes, the creators embed religious and cultural symbolism within their work.

“That’s actually one of our team’s favorite animations,” the spokesperson said, highlighting scenes involving missiles and drones as symbolic rather than literal.

Other videos directly target Trump’s rhetoric, reusing terms such as “LOSER” to slam him for hypocrisy and of prioritizing the interests of the Israeli regime over those of ordinary Americans.

“LOSER is one of our best creations,” the spokesperson said. “So we flipped it – and showed that, in the end, he’s the biggest loser of all.”

Expanding beyond satire, some productions address regional audiences, including a video directed at Lebanon asserting that Iran’s Islamic Revolution Guards Corps would not abandon the country following intense bombardment.

The videos are produced by a small team of young creators, typically aged between 19 and 25, reflecting a broader generational shift in Iran’s media strategy.

Although the group says it operates independently, it acknowledges that Iranian media outlets, sometimes purchase its content for broadcast.

“We produce high-quality media content, so it’s natural that different local media outlets – including some state-affiliated ones – sometimes purchase our work for broadcast,” the spokesperson said.

“In practice, we create the content first, and if the quality is strong enough, media organizations choose to buy it from us. This way, our independence is fully preserved.”

Broadening the digital front, similar Lego-style productions by other creators have emerged across the region, including in Pakistan, reflecting the spread of Iran-aligned narratives in the information space.

Analysts say the format’s effectiveness lies in its ability to merge satire, history, and political critique into easily shareable content that resonates with global audiences.

They add that such media reflects a wider shift in modern conflict, where digital storytelling and viral content are increasingly used to challenge dominant Western narratives and expose what critics describe as long-standing patterns of US and Israeli regime criminal conduct.