Two stories this week that look completely unrelated. A presidential phone call to a football governing body. A celebrity wedding at Madison Square Garden with zero authorised photos. Both ended the same way: the people trying to control the story lost control of it completely.

FIFA reversed Folarin Balogun's World Cup red card ban after Trump personally called Gianni Infantino. No explanation given. First time in 64 years a player avoided a suspension after being sent off at a World Cup. The USA then lost 4-1 to Belgium anyway. Meanwhile FIFA's own refereeing chief told the press that "nobody can claim FIFA can be influenced by anyone, not even by the FIFA president." He said this. During this tournament.

Also: Argentina vs Egypt. Egypt lead 2-0. Argentina come back. Egypt's goal disallowed by VAR on a borderline call. Egypt's coach says they were cheated. Half the football world agrees. The other half says it's conspiracy thinking. Both halves are arguing about it now, which is its own data point about FIFA's credibility.

Taylor Swift married Travis Kelce on July 3rd. Total media lockdown. No official photos. What happened next: AI-generated wedding images flooded the internet within hours, convincing enough that outlets needed Google DeepMind's SynthID tool to debunk them. Her wedding became the first celebrity event experienced primarily through AI misinformation. Then came the ICE contractor guest controversy. Then Trump. Then the response that became its own story.

This episode is about what happens when institutions and individuals try to own their narrative completely. Spoiler: it usually makes things worse.

The World Cup is back. 48 teams, three host countries, billions of eyeballs, and — somehow — Saudi Aramco as an official sponsor. Sure.

This week we go good, bad, and ugly on the 2026 FIFA World Cup through a media and communications lens. The good: why the World Cup's claim to global shared attention is actually different from every other event that gets called "the last global media event" (yes, we know we say that every time). The bad: what it means for the world's most international tournament to be hosted by a country that has spent four years making it structurally difficult for international people to enter. And the ugly: sportswashing as a communications strategy, FIFA's governance that got quieter rather than cleaner, and what Guy Debord would make of a match ball that is also a brand.

The football is still in there. Finding it just requires looking past quite a lot of other things first.

I'm back from Berlin. Three days at re:publica — Europe's biggest digital culture conference — and I have thoughts.

The good news: the room was packed. People sat on the floor and stood in the doorway to hear a talk about digital dissent in Southeast Asia. People genuinely care about the open internet, democracy, and what happens when platforms eat themselves. There was even a hater in my Q&A, which means at least someone was paying attention.

The complicated news: caring about the right things and building a coalition big enough to actually change them are two different skills. This episode is about the gap between them — and why the people who understand the game best sometimes struggle most to grow the team playing it.

Also: Cory Doctorow, enshittification, and why I'm still wearing the entrance wristband a week later.

This past week three things happened. The Devil Wears Prada 2 opened globally to $234M — a film about an industry that sacrifices craft for speed, made by sacrificing craft for speed. The first half and second half feel directed by different people, because the production more or less was. Ted Turner died, aged 87 — the man who invented 24-hour news in 1980, closed the gap between events and their broadcast to zero, and accidentally created the model that turned urgency into a default register rather than a signal.

And re:publica, Europe's largest digital culture conference, announced its 2026 theme: Never Gonna Give You Up. The Rickroll. Inverted. You know it's Rick Astley. That's the point.

In this episode, Sascha connects all three — using auteur theory, Neil Postman's Amusing Ourselves to Death, Walter Benjamin, and the political economy of media ownership — to ask what it looks like when media gives up on coherence, depth, and craft. And what it looks like when it refuses to.

Recorded before heading to Berlin to speak at re:publica on gamification, dissent, and the digital frontlines of Southeast Asia.

FUNK !T — media and communication theory for what's actually happening this week.

We're heading into the final weeks of The Late Show with Stephen Colbert - CBS' number one show for nine straight seasons. The official reason: "purely a financial decision." Two weeks earlier, Colbert had criticised a settlement between Trump and Paramount, CBS's parent company, which is currently seeking White House approval for a $110 billion merger. David Letterman called CBS "lying weasels."

Also this week, Reporters Without Borders released the 2026 World Press Freedom Index: the lowest score in 25 years. In 2002, 20% of the global population lived in countries with good press freedom. Today it's less than 1%.

These are not two separate stories. In this episode, Sascha unpacks how press freedom actually erodes in democracies - not through arrests or bans, but through ownership structures, regulatory dependencies, and "financial decisions." Chomsky's Propaganda Model. Agenda-setting theory. The political economy of who controls what gets said.

FUNK !T - media and communication theory for what's actually happening this week.

Justin Bieber’s 2026 Coachella headline set wasn't just a concert; it was a real-time renegotiation of the performer-audience contract.

This week on FUNK !T, we analyze the most polarizing performance of the year. We explore the stark divide between the physical attendees—who experienced a stripped-down, 45-minute acoustic set that actively rejected the traditional festival spectacle—and the digital audience on TikTok, who celebrated the performance as a profound and vulnerable "healing journey."

By pivoting from standard choreography to a highly intimate MacBook karaoke session on the biggest stage in the world, Bieber successfully tapped into the modern "therapy aesthetic." We break down how this strategy effectively shielded the performance from traditional critique, neutralized the internet's impulse to mock, and proved that you no longer need a pyrotechnic pop show to win the attention economy.

The era of the transactional pop spectacle might be over. Have we replaced the pop star with the parasocial avatar?

In this episode of the FUNK !T podcast, we are tackling the profound shift in political communication defining 2026.

Forget traditional propaganda designed to change your mind. Today’s governments, domestic agencies, and foreign militaries are working from a completely different playbook. They are no longer trying to persuade you; they are trying to control what looks normal.

The goal isn’t to win the argument - it’s to become the environment. Change the environment, and you change what people think is possible.

In this special episode, we dissect three critical case studies that reveal this new reality:

1. DHS & The Extremist Aesthetic (4:00): Why official government social media now uses the exact same visual and rhetorical grammar that extremism researchers flag as fringe. We discuss Framing Theory, Visual Rhetoric, and the visual shift of the Overton Window.

2. Voice of America (12:00): VOA journalists are suing their own outlet, alleging White House talking points have replaced objective journalism. We look at Agenda-Setting Theory and the fragile line between public broadcasting and state propaganda.

3. Iran’s Meme War (20:00): How a nation-state is deploying English-language memes as military communication tools targeted at Americans. We break down information warfare and the horizontal spread of peer-to-peer political "osmostis."

We tie these threads together to reveal the underlying logic: when governments don't argue with the environment, they become it.

We conclude with "The Funk" (32:00): A crucial shift in how we approach media literacy. The question isn't "Is this true?" but rather, "What is this making normal?"

The US military released footage of the Iran strikes this week. It was edited. It had music. It cut like an action trailer. 40 million impressions in 24 hours — before most people thought to ask what they were actually watching.

In this episode: why governments in 2026 don't need to manage journalists anymore, what Guy Debord's Society of the Spectacle has to do with a Pentagon post on X, and how propaganda stopped asking you to believe things — and started asking you to share them instead.

FUNK !T is media theory for the stuff actually happening right now.