No more games: Trump admin to slap Antifa groups with 'foreign terrorist' label



The Trump administration has designated several Antifa groups as foreign terrorist organizations.

President Donald Trump issued an executive order in September that declared Antifa a domestic “terrorist threat,” claiming that the group “explicitly calls for the overthrow of the United States Government, law enforcement authorities, and our system of law.”

'The United States will continue using all available tools to protect our nation from these anti-American, anti-capitalist, and anti-Christian terrorist groups.'

The EO accused the anarchist group of using “illegal means” to launch “a campaign of violence and terrorism nationwide,” including obstructing the enforcement of laws and routinely doxxing political figures.

Trump’s action called on federal agencies to “investigate, disrupt, and dismantle any and all illegal operations” tied to Antifa. However, designating the enterprise as a foreign terrorist organization would allow for more enforcement options, including making it a federal crime to provide material support to the group.

Secretary of State Marco Rubio announced on Thursday that four European Antifa-affiliated groups — Antifa Ost in Germany, Informal Anarchist Federation/International Revolutionary Front in Italy, and Greek-based groups Armed Proletarian Justice and Revolutionary Class Self-Defense — were named "Specially Designated Global Terrorists."

RELATED: If Trump labels Antifa a foreign terrorist organization, here's what he can do next

Secretary of State Marco Rubio, President Donald Trump. Photo by Anna Moneymaker/Getty Images

Rubio noted that the department “intends to designate all four groups as Foreign Terrorist Organizations, effective November 20, 2025.”

Antifa Ost has committed multiple attacks in Germany between 2018 and 2023 against those it considers “fascists” or part of the country’s “right-wing scene,” a State Department fact sheet about the latest announcement read.

FAI/FRI, which also has affiliates across Europe, South America, and Asia, has reportedly claimed responsibility for “threats of violence, bombs, and letter bombs against political and economic institutions.”

The State Department said that the Armed Proletarian Justice “has attempted and conducted improvised explosive device (IED) attacks against Greek government targets.” It previously claimed responsibility for planting a bomb near a police headquarters in Greece.

Revolutionary Class Self-Defense also reportedly took responsibility for two IED attacks in Greece.

RELATED: Trump designates Antifa as a 'MAJOR' terrorist organization — and can likely make the label stick this time

Photographer: Stephanie Keith/Bloomberg via Getty Images

“Groups affiliated with this movement ascribe to revolutionary anarchist or Marxist ideologies, including anti-Americanism, 'anti-capitalism,' and anti-Christianity, using these to incite and justify violent assaults domestically and overseas," the State Department said.

“Today, building on @POTUS’s historic commitment to uproot Antifa’s campaign of political violence, the Department of State is designating four Antifa groups as Foreign Terrorist Organizations and Specially Designated Global Terrorists. The United States will continue using all available tools to protect our nation from these anti-American, anti-capitalist, and anti-Christian terrorist groups,” Rubio wrote in a post on social media.

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Antifa Is The Identity-Obsessed Progeny Of A Long Line Of Brutal Marxist Terrorists

If Antifa is to be defeated, its godless utilitarianism and Marxist identity-obsession that excuses in advance any and every action taken by the 'oppressed' against the 'oppressor' must be entirely rejected.

You May Have Missed It, But Left-Wing Violence Is Only Getting Worse Since Charlie Kirk’s Killing

'The next scary thing'

All Roads Bleed to Rome

Until recently, my understanding of the battle for Italy from 1943-44 was straightforward: After landing in Sicily, U.S. and British forces hopped across to Salerno, then Anzio, working their way up the boot until they reached Rome. I hadn’t given much thought about the terrain, the logistics of a multinational force that included New Zealanders, Poles, Moroccans, and Indians, not to mention the miserable weather and the strategic errors that cost countless lives. This lack of appreciation was a concern even at the time. In a letter to his family, Lawrence Franklyn-Vaile of the 38th Irish Brigade wrote in part, "There is also a strong feeling that the Second Front is being so glamourised that, when it does commence, people will forget all about this campaign and will be saying afterwards, ‘What, were you not in the Second Front, oh Italy, that was nothing.’"

The post All Roads Bleed to Rome appeared first on .

Nancy Pelosi Spotted at Swanky Three-Thousand-a-Night Lake Como Hotel

Now she's the speaker of the penthouse.

The post Nancy Pelosi Spotted at Swanky Three-Thousand-a-Night Lake Como Hotel appeared first on .

Democrat Presidential Hopeful Wes Moore Caught On George Clooney’s Yacht In Italy

'Gov. Moore needs to get his priorities straight'

If Ukraine Wants Security Guarantees, It Should Get Them From Europe

Trump should make clear that if Europe doesn't take the lead in supporting Ukraine, they cannot expect the U.S. to once again bail them out.

Anti-Israel Outburst From Husband of Sanctioned UN Palestinian Rights Envoy Fuels Calls for Dismissal From World Bank

Sanctioned U.N. Palestinian rights envoy Francesca Albanese appeared flustered late last month when an audience member at one of her public events stood to accuse Israel of "genocide" and the Italian government of "washing its hands of this genocide."

The post Anti-Israel Outburst From Husband of Sanctioned UN Palestinian Rights Envoy Fuels Calls for Dismissal From World Bank appeared first on .

Leftists' favorite F-word — and why they'll never drop it



I notice to my profound disappointment that two of my major scholarly projects landed with a thud. Despite years of research and two books on fascism and antifascism, my findings have been ignored by both the left and the right — including the so-called conservative media establishment.

That’s a pity, especially with so much loose talk about “fascists” running around Washington these days.

Fascism, as it existed in the 20th century, is dead. Antifascism, as it is wielded today, is a political weapon that thrives by manufacturing enemies.

My argument is straightforward: Fascism was a popular European movement in the interwar period, shaped by several conditions unique to that era — returning soldiers who saw themselves as a “front generation” after World War I, economic turmoil in countries like Italy, France, Romania, and Spain, disillusionment with corrupt parliamentary systems, and a “cult of the leader.”

Fascist movements also fed on fears of the Soviet takeover of Russia. Unlike the communists, who worked to spark revolutions across Europe, fascist groups pushed a revolutionary nationalist ideology.

The most representative example was Benito Mussolini’s Italian movement, which came to power after his March on Rome in October 1922. Italy was the only country to establish a full-fledged fascist government, although fascist or fascist-like parties held influence in coalitions elsewhere. The Italian regime blended a cult of the leader with corporatist economics and nostalgia for imperial glory.

Contrary to the later alliance with Hitler, Mussolini’s government initially drew support from patriotic Italian Jews and between 1934 and 1936 led European opposition to Nazi Germany, denouncing its anti-Semitism as barbaric. The 1938 anti-Jewish laws came only under heavy German influence.

Nazism was not “generic” fascism. Hannah Arendt was right to classify it as totalitarian and genocidal. While Hitler borrowed certain trappings from Latin fascists, Nazi Germany drew far more from Stalin’s Soviet model — particularly in its use of terror, secret police, and propaganda to remake reality.

Equating Mussolini’s authoritarian nationalism with Hitler’s genocidal regime is intellectually lazy, even if Mussolini’s disastrous decision to ally with Nazi Germany at the 11th hour paved the way for the comparison.

My critic Jacob Siegel accuses me of drawing this distinction to “sanitize” fascism. Not so. I do not treat it as an archaic movement out of nostalgia but because it is irrelevant to the contemporary West, which is dominated instead by a woke, bureaucratic left.

Antifascism, however, is another matter. It began with Marxists — and later communist regimes — branding capitalist nations that resisted revolution as “fascist.” The Frankfurt School and its American heirs expanded the label to cover ideas and movements far removed from Mussolini or Hitler. By the 1950s, an “F-scale” was used to screen government employees and teachers for supposed fascist sympathies.

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Photo by JOAQUIN SARMIENTO/AFP via Getty Images

Today, “antifascists” slap the term on anything that conflicts with their politics or lifestyle. Esteemed Yale professors Timothy Snyder and Jason Stanley insist our current president is not only a fascist but possibly a Nazi. In their view, opposing any part of the feminist or LGBTQ agenda puts one on the road to Hitlerian tyranny.

This rhetorical game serves a purpose: It shields the accusers from the obvious countercharge that they are the true totalitarians. In my book on antifascism, written as Antifa and Black Lives Matter riots engulfed American cities in 2020, I documented how the American left and its European counterparts mobilize with the same discipline and ruthlessness as the Nazis before they took power.

The difference is that today’s left faces no organized counterforce comparable to the German communists — and enjoys the support of a compliant media. That media not only excuses leftist violence but portrays it as justified. This mirrors the Nazi and communist tactic of claiming to be under siege even while holding power, using the manufactured threat as a pretext to crush dissent.

Fascism, as it existed in the 20th century, is dead. Antifascism, as it is wielded today, is a political weapon that thrives by manufacturing enemies. And the left is using it with remarkable success.

Mel Gibson has been fighting this fight longer than you think



Everyone knows who Mel Gibson is. He’s an absolute dynamo and a giant of the cinema industry. But if you ask me, he's still deeply underrated, underestimated, and underappreciated.

Gibson's always felt cut from a different cloth and a bit separated from the rest of Hollywood and celebrity culture. Yes, he’s a mega-celebrity. But even still, you can tell his mind has always operated on a completely different level than most of his peers.

Gibson was defending a worldview, alone, in the middle of a media machine that existed solely to discredit him.

He's always been direct and clear about his religious belief. He's not pretending to be some gnostic “Christ consciousness” guru like a Russell Brand or a Jim Carrey would. He's a firm and open believer in the Trinitarian God of the Christian faith. It’s not a side note with him. It’s foundational.

A lifelong 'Passion'

Everyone knows he funded and directed "The Passion of the Christ" with his own money. But what people don’t always pick up on is that his faith doesn’t just show up in his subject matter. It informs his whole understanding of history and of humanity’s destiny.

This includes questions about the nature of God, questions about the nature of our universe, about where we come from, where we’ve been, and where we're going.

Everything is contained within the gospel of Jesus Christ. And Gibson tackles every subject matter from that foundation.

That’s what sets him apart. Mel Gibson isn’t just a guy who makes movies. He’s a man trying to wake people up. And the way he does it is by bringing the historical past roaring back into the present.

Truth in history

Think about it: "Braveheart" is about the Catholic Scottish struggle against the British crown. "Apocalypto" is a raw and brutal depiction of Mayan pagan savagery and ends with the moment Catholic Spanish ships arrive. "Hacksaw Ridge" tells the story of a Christian soldier in WWII whose unshakable faith ends up restoring the courage of the broken men around him.

All of these films are built on the same foundation: The truth contained within history is more powerful than fiction.

That resonates with me deeply as an apostolic Christian. And I think it explains why the powers that be in Hollywood have targeted Gibson so aggressively over the years. He’s not just a threat because of his beliefs. He’s a threat because he’s effective.

He makes powerful, unforgettable art with spiritual conviction. And he’s been doing it since long before the rest of us even realized what kind of cultural war we were in.

The burden of being first

I respect him immensely for that. I “woke up,” so to speak, around 2015 or 2016, around the time of the first Trump campaign. But this man has been “awake” for decades. He’s been carrying burdens we didn’t even know existed.

And when you go back and watch old interviews, like the one he gave Diane Sawyer after the release of "The Passion," you start to realize how outnumbered and outgunned he really was.

In that interview alone, Gibson was relentlessly henpecked by Sawyer for completely innocuous things like the claim that God helped him make the movie or for cinematically depicting the “radical” gospel narrative that the Pharisees brought Jesus to Pontius Pilate to be executed.

At one point, Sawyer even calls into question the validity of the gospel itself, saying that historians often argue the Gospels were written a century after they took place. She laid this at Gibson’s feet, as if to say he was wrong and even (as she eventually says) anti-Semitic for making a film about the most widely spread and historically influential religion in human history.

Against the media machine

It’s obvious that he wasn’t just defending a film. He was forced to defend himself, solely because he was so good at bringing the most important narrative in human history to life in a painstakingly realistic and historically accurate fashion. He was defending a worldview, alone, in the middle of a media machine that existed solely to discredit him.

And this was all before smartphones, before YouTube, before Twitter, back when legacy media controlled the entire narrative and could destroy you with the click of a headline. The media painted him as crazy because it couldn’t risk anyone taking him seriously. It had to make an example of him.

But now? The world has changed. And on some level, we’ve gone through what he has, too. Anyone who was on Facebook, Twitter, and Instagram during the COVID and Biden eras saw their ideas censored, shadow banned, mocked, and silenced.

We’ve learned firsthand how the system works. And we’re starting to realize that maybe a guy like Mel Gibson wasn’t insane at all. Maybe he was just early.

And now, once again, he’s ahead of the curve.

Trump's Hollywood ambassador

As the media world fractures and Hollywood continues its slow implosion, Mel Gibson is stepping into a new role as Trump’s official Hollywood ambassador.

What does that mean? It means he’s leading the charge in building a new entertainment world. One that doesn’t run through Los Angeles, corporate studios, or globalist gatekeepers. One that’s not rooted in mindless CGI, gender ideology, or committee-approved scripts, but in real stories that actually push artistic boundaries.

The big development he’s involved in right now is the proposed U.S.-Italy co-production treaty. Expected to be signed at this year’s Venice Film Festival, this deal would make it easier for American and Italian filmmakers to collaborate, meaning joint financing, easier logistics, shared tax incentives, and streamlined distribution across both countries. It’s being backed by Trump and spearheaded on the ground by people like Mel Gibson and Italian film producer Andrea Iervolino.

But again, this isn’t just a business move. It’s a cultural reset. A spiritual realignment of what kind of stories we tell and where they come from.

You might not realize it, but we’re entering a new era. And the clearest sign of it is the content itself.

Just look at "The Leopard," a new Netflix series based on the classic Italian novel by Giuseppe di Lampedusa. It’s a tale about the tragic disintegration of aristocracy in Italian society during the Italian unification of 1861. It’s not woke. It’s not postmodern garbage. It’s a return to historical memory. It tells a story about something that actually matters, something that actually happened and that actually shaped the world we currently live in.

The production and distribution of a show like this is an indication of where the cultural landscape is trending.

And that’s exactly the kind of trend Mel Gibson has always been ahead of.

He’s not chasing fantasy or modern social narratives.

He’s saying: Look to the past.

Look to the martyrs. Look to the saints. Look to the bloodlines and the battles that shaped civilization. That’s where the real stories are. And now, slowly, the industry is starting to catch on.

Gibson isn’t waiting. He’s moving fast. Right after the treaty gets signed, he’s jumping into production on "The Resurrection," the long-awaited sequel to "The Passion of the Christ," filmed entirely in Italy.

He’s also producing a series on the Siege of Malta, one of the most overlooked and epic moments in Western history. These aren’t vanity projects. They’re cultural weapons that are meant to break the spell of modernity.

Roadblocks ahead

There are some roadblocks. The biggest one is EU competition law. Because Italy is part of the EU, it technically can’t strike up an exclusive partnership with America without Brussels stepping in. The EU has rules against giving unfair advantages to individual countries. And if this deal is seen as bypassing France, Germany, or other major players, it could be blocked or slowed down.

But there are ways around it.

The “cultural exception” clause is a legal doctrine used within EU law that allows member states to restrict free trade in order to protect and promote cultural goods, particularly in film, broadcasting, and publishing. France has famously used this to restrict the influx of Hollywood films, arguing that cinema is not just a commercial good but a vehicle of national identity and cultural heritage.

Italy could invoke this same clause if it were to partner with Mel Gibson to co-finance or co-distribute his upcoming historical epics (including "The Resurrection" and "The Siege of Malta") through the framework of an Italian production company. This would grant the project partial European identity, potentially shielding it from EU anti-monopoly measures or accusations of unfair American dominance in the cultural market.

But this may be an uphill battle.

While the EU talks a big game about cultural diversity, in practice, France and Germany dominate cultural policy, and they often use EU institutions to serve their national interests. Italian Prime Minister Giorgia Meloni, despite growing support across parts of Europe, is not trusted by France or Germany. In fact, Macron has reportedly snubbed her from prior engagements involving the U.S. president, presumably fearing she’d strengthen Italy’s bilateral ties with the U.S. outside of the EU framework.

Europe's cultural future

This is a key geopolitical tension. Many southern and eastern EU nations (Italy, Spain, Hungary, Poland) secretly miss the U.K.’s presence in Brussels, not because of ideological alignment, but because Britain was a balancing force against Franco-German hegemony. With Brexit, that counterweight vanished, and now France and Germany rule.

So if Meloni wants to collaborate with Mel Gibson and Trump on a “Hollywood-Vatican axis” of cultural production, it won’t just be about entertainment. It will be a political fight over who controls Europe’s cultural future.

Here’s where the story gets even richer. Mel Gibson, despite being the Hollywood icon that he is, is deeply distrusted by the American liberal elite and European establishment alike. His unapologetically Christian worldview, his reverence for history (especially Christian history), and his refusal to bend the knee to modern progressive orthodoxy make him an absolute nightmare to Brussels cultural bureaucrats.

In other words, Gibson isn’t just trying to tell a story. They believe he’s trying to transform the cultural narrative itself. And isn’t that precisely what they’ve always come after him for, going all the way back to "The Passion"?

They've been dragging the man's name through the mud for years, and they might be doing some more of that in the coming years. But he’s never quit. And now, he’s leading the charge into something new, or rather, something old that’s simply resurfacing.

If Gibson is successful in harnessing the power of this cultural trend, if faith, history, and truth return to the screen in a serious way, if a new golden age of entertainment is restored, then we’ll look back at his entire journey and body of work one day and realize that he was never wrong. He was never crazy. He was just early.