On March 18, the official White House account on X posted two photographs of Virginia Basora-Gonzalez, a woman who was arrested earlier this month by U.S. Immigration and Customs Enforcement. The post described her as a “previously deported alien felon convicted of fentanyl trafficking,” and celebrated her capture as a win for the administration. In one photograph, Basora-Gonzalez is shown handcuffed and weeping in a public parking lot.  

The White House account posted about Basora-Gonzalez again yesterday—this time, rendering her capture in the animated style of the beloved Japanese filmmaker Hayao Miyazaki, who co-founded the animation company Studio Ghibli. Presumably, whoever runs the account had used ChatGPT, which has been going viral this week for an update to its advanced “4o” model that enables it to transform photographs in the style of popular art, among other things. The White House did not respond directly to a request for comment, instead referring me to a post by Deputy Communications Director Kaelan Dorr that says, in part, “The arrests will continue. The memes will continue.”

It’s worth pausing here: The internet has been flooded with AI-generated images in this exact Studio Ghibli style. Some people have used it for images of pets or family members. Others opted for a trollish register, leading ChatGPT to spit out cutesy renderings of JFK’s assassination, planes hitting the World Trade Center, and the torture at Abu Ghraib. On X, the prevalence of these images became an event unto itself, one in which the White House decided to participate by sharing a cartoon of a woman crying in handcuffs.

This is how the White House account operates now. In previous administrations (including much of Donald Trump’s first term), the account was used to post anodyne updates, highlight press releases, and share information about the administration. It was, to be fair, often painfully dull or written in the stilted language of a brand. Now the account exists to troll its political enemies and delight the MAGA faithful.

[Read: The internet is worse than a brainwashing machine]

On Wednesday, the account posted a picture of Vice President J. D. Vance shooting a tactical rifle, referring to the bullets he fired as “freedom seeds,” a term popular among gun YouTubers. When Google Maps adopted the “Gulf of America” language pushed by the administration, the White House account celebrated by sharing a video in which the words Gulf of Mexico are wiped off the globe. In February, it posted an AI-generated picture of Trump as an American monarch, wearing a crown. The image’s caption reads, “Long live the king.” After the disastrous Oval Office ambush of Ukrainian President Volodymyr Zelensky, the account posted a photo of Vance staring at Zelensky with the caption “Have you said thank you once?” Although the account sometimes shares actual news, it’s frequently preoccupied by rapid-response engagement bait for MAGA diehards. Less information, more content. The intent is not to inform but to go viral.

Beyond the fact that this kind of shitposting is so obviously beneath the office, the posts are genuinely sinister. By adding a photo of an ICE arrest to a light-hearted viral trend, for instance, the White House account manages to perfectly capture the sociopathic, fascistic tone of ironic detachment and glee of the internet’s darkest corners and most malignant trolls. The official X account of the White House isn’t just full of low-rent 4chan musings, it’s an alarming signal of an administration that’s fluent in internet extremism and seemingly dedicated to pursuing its casual cruelty as a chief political export.

To be clear, the actions of the second Trump administration—the dismantling of the federal government via DOGE, the apprehension and detainment of immigrants and green-card holders with seemingly no due process—are of far more consequence than what it posts on social media. But White House posts are not random missives either: They’re official government communications from the executive branch, sent out to 1.4 million followers, to say nothing of whatever additional reach these posts receive via algorithmic recommendation and ad hoc sharing.

The account’s true obsession is immigration: @WhiteHouse has posted dozens of mugshots of immigrants arrested by ICE. Each one lists an offense they’ve been arrested for in big block letters, and usually the catchphrase “MAKE AMERICA SAFE AGAIN” is appended. Earlier this month, after the Department of Homeland Security commented on the deportation of a Lebanese professor at Brown University—a violation of a court order temporarily protecting her from expulsion—the White House account responded by posting a photo of Trump waving goodbye from a McDonald’s drive-through window. (The picture was taken during a 2024 campaign stunt.) On Valentine’s Day, the account wrote, “Roses are red / Violets are blue / Come here illegally / And we’ll deport you.”

And in an infamous example, on February 18, the White House account posted a 41-second video of faceless men being shackled and marched onto planes. The post’s caption read, “ASMR: Illegal Alien Deportation Flight.” (ASMR is short for “autonomous sensory meridian response,” or the titillating sensation caused by certain noises, such as whispering, tapping, or crinkling; videos of people making such noises are enormously popular across social media.) The subtext of the White House post is far from subtle and is reminiscent of something out of 4chan’s notoriously bigoted politics message board: Watching allegedly undocumented immigrants bound in chains is a pleasurable, even sensual experience. Like any trolling post, it’s meant to be simultaneously taken seriously and played off as a dumb online joke. Even those inside the Trump administration seemed taken aback by the audacity of the post. Even some MAGA supporters appeared uncomfortable by @WhiteHouse’s brazenness. “If you guys could stick with the grim shock and awe, and leave the edgy gloating to those of us who don’t work in the White House I think that would probably be better for optics,” one user wrote on X. The “ASMR” deportation video, as of this writing, has been viewed almost 104 million times on X.

Exactly who is running the White House X account is an object of fascination for close observers. Some accounts fantasize that Trump’s college-age son, Barron, is running it. Those outside of Trump fandom have insisted that it is being run by edgelords—one post referred to the operator as an “incel reddit user.” One Bluesky user described the account as “lowkey goebbelsmaxxing,” a reference to the Nazi propagandist. (The White House did not respond to a request to identify who writes the account’s posts.) What all the speculation suggests is that at least someone with access to the account is intimately familiar with far-right internet spaces and culture, specifically Groypers, a term for the loose online movement that has succeeded the alt-right. Earlier this year, the writer John Ganz argued that “Groyperism totally suffuses the cultural environment of the right.” He and others have suggested that the culture is present in the offices of Republican representatives in Washington, D.C., including in the White House. (A Trump staffer was fired in the first administration for associating with white nationalists; he’s now back, in a role at the State Department.) Although the identities of whoever is running the account are, at present, unknown, what’s clear is that their output appears to delight prominent extremists online. The message coming from the account, to borrow language from one far-right X user, is clear: The posters are in control.

[Read: X is a white-supremacist site]

And the posters have goals. The first is to engage and supply their loyal audiences with constant memes and content. The second is perhaps more strategic. The account’s blatant humiliation of immigrants who it alleges have heinous criminal records is intentional. The goal is to goad their opponents into defending people accused of indefensible crimes. The primary accusation from the MAGA faithful toward people who are outraged about the White House’s Studio Ghibli post or the ASMR video is that the left is more concerned with defending fentanyl dealers and immigrants accused of rape and robbery than they are about the safety of the country. “Disappointing that folks are more upset about this meme than they are about the fentanyl crisis,” Dorr said in the same post that the White House pointed me to. But this is a false binary; in all cases, the chief objections are to the dehumanization and glee on display and the worrying lack of due process.

The White House is after something more than just shock value. It’s propaganda, and Trump’s allies are learning the playbook. This week, Department of Homeland Security Secretary Kristi Noem posted a video on X from a prison in El Salvador where deported immigrants are being held. Behind Noem are dozens of men in one jail cell, many shirtless with tattoos; their heads have all been shaved during intake. The prisoners are props, a backdrop for Noem’s message of intimidation to undocumented immigrants: “If you do not leave, we will hunt you down, arrest you, and you could end up in this El Salvadorian prison.” Like the ASMR post or the Ghibli cartoon, the implication is that these deportees are utterly undeserving of any shred of human dignity. There are many other examples, such as FBI Director Kash Patel’s recent posts, one of which features him walking around in camouflage, set to rock music, as FBI agents blow open doors with explosives. Taken together, the posts offer a bracing but useful insight into how the administration sees itself, and the message of casual cruelty and overwhelming force it wants to project to the rest of the world.

That this administration should fully embrace the tactics and aesthetics of online far-right extremists and technological tools like generative AI to further its message makes perfect sense. These are reliable ways to increase engagement, gain attention, and illustrate a precise vision of the future they want to usher in. Even so, the account is chilling. Those who’ve spent enough time in the online spaces that have clearly influenced this administration—or at least whoever runs its social accounts—know how this goes. This is a game of accelerationism and nihilism, using tools and platforms that excel at depersonalizing, thus rendering empathy for others ever more difficult. That this sociopathic posting style is coming out of this administration—that it has been so thoroughly mainstreamed by the right—suggests that the cultural architecture of the internet has changed. There is still a fever swamp, but now the White House sits on top of it.

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This week, OpenAI released an update to GPT-4o, one of the models powering ChatGPT, that allows the program to create high-quality images. I’ve been surprised by how effective the tool is: It follows directions precisely, renders people with the right number of fingers, and is even capable of replacing text in an image with different words.

Almost immediately—and with the direct encouragement of OpenAI CEO Sam Altman—people started using GPT-4o to transform photographs into illustrations that emulate the style of Hayao Miyazaki’s animated films at Studio Ghibli. (Think Kiki’s Delivery Service, My Neighbor Totoro, and Spirited Away.) The program was excellent at this task, generating images of happy couples on the beach (cute) and lush illustrations of the Kennedy assassination (not cute).

Unsurprisingly, backlash soon followed: People raised concerns about OpenAI profiting off of another company’s intellectual property, pointed to a documentary clip of Miyazaki calling AI an “insult to life itself,” and mused about the technology’s threats to human creativity. All of these conversations are valid, yet they didn’t feel altogether satisfying—complaining about a (frankly, quite impressive!) thing doesn’t make that thing go away, after all. I asked my colleague Ian Bogost, also the Barbara and David Thomas Distinguished Professor at Washington University in St. Louis, for his take.

This interview has been edited and condensed.

Damon Beres: Let’s start with the very basic question. Are the Studio Ghibli images evil?

Ian Bogost: I don’t think they’re evil. They might be stupid. You could construe them as ugly, although they’re also beautiful. You could construe them as immoral or unseemly.

If they are evil, why are they evil? Where does that get us in our understanding of contemporary technology and culture? We have backed ourselves into this corner where fandom is so important and so celebrated, and has been for so long. Adopting the universe and aesthetics of popular culture—whether it’s Studio Ghibli or Marvel or Harry Potter or Taylor Swift—that’s not just permissible, but good and even righteous in contemporary culture.

Damon: So the idea is that fan art is okay, so long as a human hand literally drew it with markers. But if any person is able to type a very simple command into a chatbot and render what appears at first glance to be a professional-grade Studio Ghibli illustration, then that’s a problem.

Ian: It’s not different in nature to have a machine do a copy of a style of an artist than to have a person do a copy of a style of an artist. But there is a difference in scale: With AI, you can make them fast and you can make lots of them. That’s changed people’s feelings about the matter.

I read an article about copyright and style—you can’t copyright a style, it argued—that made me realize that people conflate many different things in this conversation about AI art. People who otherwise might hate copyright seem to love it now: If they’re posting their own fan art and get a takedown request, then they’re like, Screw you, I’m just trying to spread the gospel of your creativity. But those same people might support a copyright claim against a generative-AI tool, even though it’s doing the same thing.

Damon: As I’ve experimented with these tools, I’ve realized that the purpose isn’t to make art at all; a Ghibli image coming out of ChatGPT is about as artistic as a photo with an Instagram filter on it. It feels more like a toy to me, or a video game. I’m putting a dumb thought into a program and seeing what comes out. There’s a low-effort delight and playfulness.

But some people have made this point that it’s insulting because it’s violating Studio Ghibli co-founder Hayao Miyazaki’s beliefs about AI. Then there are these memes—the White House tweeted a Ghiblified image of an immigrant being detained, which is extremely distasteful. But the image is not distasteful because of the technology: It’s distasteful because it’s the White House tweeting a cruel meme about a person’s life.

Ian: You brought up something important, this embrace of the intentional fallacy—the idea that a work’s meaning is derived from what the creator of that work intended that meaning to be. These days, people express an almost total respect for the intentions of the artist. It’s perfectly fine for Miyazaki to hate AI or anything else, of course, but the idea that his opinion would somehow influence what I think about making AI images in his visual style is fascinating to me.

Damon: Maybe some of the frustration that people are expressing is that it makes Studio Ghibli feel less special. Studio Ghibli movies are rare—there aren’t that many of them, and they have a very high-touch execution. Even if we’re not making movies, the aesthetic being everywhere and the aesthetic being cheap cuts against that.

Ian: That’s a credible theory. But you’re still in intentional-fallacy territory, right? Studio Ghibli has made a deliberate effort to tend and curate their output, and they don’t just make a movie every year, and I want to respect that as someone influenced by that work. And that’s weird to me.

Damon: What we haven’t talked about is the Ghibli image as a kind of meme. They’re not just spreading because they’re Ghibli images: They’re spreading because they’re AI-generated Ghibli images.

Ian: This is a distinctive style of meme based less on the composition of the image itself or the text you put on it, but the application of an AI-generated style to a subject. I feel like this does represent some sort of evolutionary branch of internet meme. You need generative AI to make that happen, you need it to be widespread and good enough and fast enough and cheap enough. And you need X and Bluesky in a way as well.

Damon: You can’t really imagine image generators in a paradigm where there’s no social media.

Ian: What would you do with them, show them to your mom? These are things that are made to be posted, and that’s where their life ends.

Damon: Maybe that’s what people don’t like, too—that it’s nakedly transactional.

Ian: Exactly—you’re engagement baiting. These days, that accusation is equivalent to selling out.

Damon: It’s this generation’s poser.

Ian: Engagement baiter.

Damon: Leave me with a concluding thought about how people should react to these images.

Ian: They ought to be more curious. This is deeply interesting, and if we refuse to give ourselves the opportunity to even start engaging with why, and instead jump to the most convenient or in-crowd conclusion, that’s a real shame.