In Slovakia, the destruction of cultural institutions has become a new normal. Since October 2023, after the elections that returned a SMER-led government to power, Martina Šimkovičová—a former TV Markíza news anchor—became minister of culture. The artistic community has been severely threatened by her decisions, which are often carried out with nationalist figures in the background and are widely seen as aimed at undermining LGBTI+ communities and independent, alternative theatre and fine art.

Šimkovičová already has a rapid track record of purges and dismissals in cultural institutions, including the Slovak National Library in Martin, the Slovak public broadcaster (RTVS, under pressure of restructuring), the Slovak National Theatre, and the Slovak National Gallery. No wonder: she is hardly just another nationalist politician—she has been associated with pro-Russian narratives, misinformation, and conspiratorial framings about a world captured by immoral liberal progressives. In the sense of the contemporary global alt-right movement, she is one of the most visible politicians fighting the seemingly progressive “deep state.” And as an apostle of “clean” national culture, she has become a symbol of this political turn in Central Europe.

In Czech and Slovak media, the focus is usually on her purported stupidity and incompetence. Although I agree that it is necessary to struggle against authoritarian and nationalist politics in the region, this is a typical liberal way to denounce the opposition—to employ the criteria of good taste and intelligence. And this is dangerous, especially when it is connected to the humiliation of women, older or disabled people.

We have seen during Miloš Zeman’s presidency the absence of scruples when mocking his health and age; Šimkovičová has been mocked in a similar way as a dull blonde, dummy, nationalist Barbie. Of course, she—and especially figures around her such as Lukáš Machala—have spread a lot of stupid theories, such as chemtrails, pandemic denial, or LGBTI+ conspiracy narratives. But that does not necessarily imply low intelligence. Highly educated people, including physicians, spread conspiracy theories as well. Psychological research informs us that we have to distinguish carefully between thinking style (intuitive / critical, etc.) and intelligence, as they are not purely and simply inverse. Crucial are biases such as proportionality bias or the conjunction fallacy, which are hardly restricted to stupid people and nationalists. The point is probably whether we think analytically and whether we are open to doubt, as scepticism—even about official accounts of events (as Darel Cookson writes in the aforementioned article)—can be healthy. And intuitive thinking is very common in culture and art, and it is usually recognised as a virtue.

When the Slovak National Theatre, under consolidation pressure from the Ministry of Culture, decided to fire five actors (Roman Poláčik, Martin Šalacha, Daniel Žulčák, Anna Magdaléna Hroboňová and Táňa Pauhofová), the international celebrity Pauhofová became the public symbol of the act. In much of the social media content and news coverage, she was presented as the main and most recognisable victim, as she had been a visible critic of Šimkovičová in recent years. Czech and Slovak news media used her story as an example of the politician’s hatred and authoritarian style (which, of course, is for Šimkovičová truly characteristic).

But as we know now, the story is different. Pauhofová did a good deed, as she said she offered to be fired instead of a colleague. As she explained later in December 2025 in the media, it does not necessarily mean that she is no longer working in the theatre, as she is expecting external cooperation with the institution (as well as Poláčik). Her sacrifice makes sense, as she was less reliant on the institution than the colleague she sought to protect. And because she is a recognised celebrity, she could hardly be afraid of being without work.

In fact, it may be true that Šimkovičová cut positions for budgetary reasons (which hardly excludes other, political motives). The official explanation from the Ministry of Culture is that the Slovak National Theatre has to economise. Even if we evaluate Šimkovičová’s politics as authoritarian and nationalistic, this is hardly shocking in our neoliberal world. The fact that one person could be replaced suggests that the simplistic narrative is insufficient. Rather, it is a call to examine the interconnections between neoliberalism and nationalism.

We should analyse authoritarian politicians in a mature way: analytically, reasonably, and carefully. This story reveals that journalists and the art world can be prone to intuitive—possibly even conspiratorial—thinking as well as their opponents. To think rashly and without consideration of all the facts can lead us not only to the dehumanisation of our opponents (whether women or older people), but to the loss of realism. We should be on guard to protect our minds from the same thinking style we criticise in conspiracy theorists.

To remain sober and alert—that is our most serious weapon.

Cartoon by the author.