What you're about to read isn’t fiction.
It’s a close look at how America’s highest office has adopted memes, mockery, and emotion-engineering as tools of communication — and control.
This isn’t just about Trump. It’s about the machinery behind the message.
The official White House Facebook page used to post things like holiday greetings and policy updates.
Now it posts memes that mock immigrants, attack journalists, and call the former Vice President a fraud — often with emojis.
This isn’t an accident. It’s a strategy.
Inside the new Trump administration, digital propaganda isn’t just a tool — it’s the engine.
And like any engine, it needs fuel. Rage. Laughter. Division.
The people running the feeds don’t care whatemotion you feel, as long as you react.
Her name is Maya Jennings. Or at least that’s what she calls herself. She’s 24.
She used to run a meme page that blended Christian messages with gym inspiration.
Her TikTok following? Over 2 million.
She knows what gets clicks. She also knows that irony is the perfect weapon. It confuses your critics and rallies your fans.
In 2024, she got a message:
“Come shape the voice of the White House.”
It came with a contract. And one rule in bold at the top:
“TRUMP IS THE MESSAGE. EVERYTHING ELSE IS ENEMY.”
They don’t call it propaganda, of course. They call it patriotic content operations.
Every morning, Maya gets a digest of what’s “trending” in conservative media, meme culture, and liberal outrage.
She combines them into what she calls “truth bombs.”
List:
Step 1: Choose a target – a politician, a news outlet, or just a random immigrant.
Step 2: Use visual language people recognize – like Obama’s HOPE poster, but twisted.
Step 3: Add a caption that mocks, simplifies, or ridicules.
Step 4: Drop an emoji — to make sure everyone knows it’s supposed to be “fun.”
“Ah yes, a true classic. We call this one... ‘Not a Maryland Dad.’”
— Posted by The White House, May 3rd.
The man in the image? No criminal conviction. No court record. Just a brown face and a name that sounded foreign enough to be useful.
Another post shows Kamala Harris, labeled “Not President.”
Underneath it, NPR: “Not Real News.”
And a map with “Gulf of America” replacing the Gulf of Mexico.
“It’s not about facts,” Maya says. “It’s about vibes. About who owns the laugh.”
Every post is run through an internal tool called VIBE INDEX— an AI-driven system that scores content based on how much engagement, loyalty, and outrage it provokes.
If something doesn’t hit the threshold, it’s rejected.
Trump reviews some posts personally. Others are “ghost-posted” under the White House banner with his tone, phrasing, and signature emoji usage.
One meme showed Trump facing off against a plane full of men in shackles.
Caption: “142,000+ criminals vs. 1 President. Guess who won.”
It went viral.
If you’re wondering why the White House’s posts feel more like internet trolling than official communication, it’s because that’s the point.
“The meme wars are real,” Maya says. “And we’re winning.”
There are no more policy briefings, only mood boards.No strategy memos, just trending templates.
The line between government and content creator has been erased — replaced by a 24/7 propaganda machine that’s optimized for dopamine.
The feed doesn’t care what’s true.
Only what hurts, hypes, or haunts.
And like Maya likes to say:
“If they’re not mad or laughing — you posted wrong.”
If this made you think — share it.
Help others understand how the message is being controlled.
Read interview with “Maya” below
Editor’s note:
The person we’re calling “Maya” asked not to be identified. That’s not her real name.
She agreed to speak on background after leaving what she describes as a “digital propaganda unit” connected to the White House’s social media operations.
Q: Let’s start with the basics. Who were you working for?
Maya:Technically? A private media contractor in Virginia. Functionally? The Trump team. We had access, tone guidelines, coordination calls. And no accountability.
Q: What was your role?
Maya:I was in what they called "Narrative Sync.” We monitored engagement, tested copy, and built meme variations for deployment. Sometimes on official accounts. Sometimes not.
Q: Were you posting on the White House Facebook page?
Maya:Not directly. But I helped shape the content that went out. We had a saying:
“If it bleeds, we boost it.”
That means outrage, fear, humiliation. Especially if it involved immigration, Kamala, or “the fake press.”
Q: What was the internal justification for that kind of messaging?
Maya:The line was: “We’re not lying. We’re leading.” The idea was that feelings are more powerful than facts. If people feltangry, or patriotic, or disgusted, we were doing our job.
Q: How big was the team?
Maya:We were about nine people in my group. But there were other cells — “visual ops”, “distribution overlays”, even a guy just in charge of emoji strategy. I’m not joking.
Q: Was there a moment when you realized you wanted out?
Maya:Yes. It was when we photoshopped a Honduran teenager into a gang lineup meme and watched it get a million shares in two hours. I kept thinking: this kid has no idea. We just made him a villain in someone’s election ad.
Q: So why speak now?
Maya:Because people need to understand: this isn’t just social media. This is state power adapting to the internet.
And it works.
Q: Do you think they’ll come after you?
Maya:I signed an NDA the length of the Patriot Act. But no one in that team used real names. They taught me how to disappear. I’m using it.
Q: If you could say one thing to someone scrolling through the feed, what would it be?
Maya:
“If it makes you laugh and hate at the same time — ask who benefits.”
🔎 About this project
whpropaganda.com is an independent media experiment exploring the intersection of digital influence, political messaging, and emotional manipulation at scale.
It examines how state-affiliated content strategies—especially those using irony, memes, and targeted outrage—have become central to the narrative machinery of modern governance.
We do not claim insider knowledge. We simply reflect what’s already being said—and what’s being shared.
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