You know this is a spectacle, right? A show. That’s what it is. A performance for social media. With blood.

Pete Hegseth just ordered the twenty-first strike on a suspected drug boat. Three more bodies. Another video posted to X showing a vessel bursting into flames. “Three male narco-terrorists” dead, the military announces. No trial. No evidence presented. No due process. Just boats exploding on camera and bodies labeled terrorists because the Department of Defense says so.

This is governance as content creation. TikTok foreign policy. Snackable clips of military strikes designed for engagement metrics while everything that actually matters falls apart around us.

Blowing up drug-running boats in the Caribbean isn’t going to stop the flow of drugs into America. Everyone knows this. The drugs will keep coming—they always do, they always have. Different boats, different routes, same product reaching the same streets. This isn’t policy designed to solve problems. This is spectacle designed to produce feelings. The feeling that someone strong is doing strong things. The feeling that enemies are being punished. The feeling that something is being done even as nothing actually changes.

But it is illegal. Under United States law and international law. The rule of law is being killed alongside these men in these boats. Admiral Alvin Holsey—the four-star admiral overseeing these operations—resigned because the boats weren’t showing immediate hostile intent. Colombia says we’re killing their fishermen. Ecuador released survivors for lack of evidence. Congress hasn’t authorized any of this. The Constitution hasn’t been consulted. Just Hegseth ordering strikes and posting videos while the legal framework that makes civilization possible burns alongside the boats.

So they can post it on X. So they can show you what an amazing job they’re doing. While your prices rise. While the Epstein files document twenty thousand pages of connections that cannot be explained away. While the artificial intelligence market bubble exhausts its last breaths of irrational exuberance. While American citizens are illegally detained by masked federal agents and some have been shot. This is a show for social media.

Twenty-one strikes now. How many bodies for the algorithm? How many “narco-terrorists” killed without trial before someone asks to see evidence? How many boats exploding on camera before Congress remembers it’s supposed to authorize military action? The carrier arrives tomorrow. Fifteen thousand troops ready. And still no authorization. Still no debate. Just Trump saying he’s “sort of made up my mind” while Hegseth produces content.

This is what authoritarian governance looks like in the age of engagement metrics. The policy is the spectacle. The spectacle is the policy. You’re not supposed to ask whether it works. You’re supposed to watch the boats explode and feel like winning is happening. You’re supposed to see bodies labeled terrorists and feel safer. You’re supposed to consume the content and move on to the next post before you have time to ask: Where’s the evidence? Where’s the legal authority? Where’s Congress? What is this actually accomplishing besides producing clips for social media?

The boats keep exploding. The videos keep posting. The body count keeps rising. And while you watch the performance, Trump’s Epstein connections sit in those twenty thousand pages. While you debate whether the targets were really terrorists, American citizens are detained without warrants. While you argue about drugs, the Constitution collects dust and admirals resign in protest and the rule of law dies with every strike that produces another video for posting.

This is governance for the algorithm. Bodies for engagement. Military action as content strategy. Twenty-one strikes. The carrier arrives tomorrow. Eighty people dead in undeclared war. Congress silent. The Constitution ignored. Admirals resigning. The rule of law burning.

For fucking TikTok.

Mike Brock is a former tech exec who was on the leadership team at Block. Originally published at his Notes From the Circus.

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