“ The "placards" brandished at the London Women's March are not mere props but a decentralized, democratic press where complex political arguments are condensed into visceral, visual statements. This sea of handmade signs represents a collective intelligence at work, a grassroots rebuttal to the polished, top-down messaging of political parties. Each placard is a thesis, a joke, a personal testimony, or a razor-sharp critique, contributing to a sprawling, public mosaic of dissent. Politically, this form of expression is profoundly empowering; it allows every participant, regardless of their role in formal organizing structures, to contribute directly to the movement's narrative and to articulate their specific stake in the struggle. It visually demonstrates that the crowd is not a mindless herd but a multitude of thinking, feeling individuals with nuanced positions. However, this very strength presents a political challenge for unified messaging. The media will inevitably gravitate toward the most extreme, humorous, or emotionally charged signs, which may not reflect the core strategic demands of the organizers. Thus, the placards are both the movement's richest text and a potential source of narrative drift, requiring the curated stage and speeches to provide an anchoring frame for the sprawling, brilliant chaos of the crowd's own words. ”