The White House has undergone a startling transformation, extending beyond mere redecoration to a re-evaluation of history itself. Newly installed plaques now accompany the portraits of former presidents, but these aren't the neutral historical summaries one might expect.
Beneath Joe Biden’s official portrait, a stark inscription declares him “by far, the worst President in American history,” alleging a “corrupt Election” as the basis of his presidency. The words echo the familiar rhetoric of a previous occupant, yet their placement within the hallowed halls of the White House feels profoundly different.
The changes, described as “upgrades” to the presidential “hall of fame,” reveal a clear editorial hand. Barack Obama is labeled a “divisive” figure, with the plaque focusing on the perceived failures of the Affordable Care Act and the subsequent loss of congressional control by his party.
Even Bill Clinton wasn’t spared. The plaque highlights the termination of NAFTA – a decision championed by the current administration – and pointedly references the 2016 election victory over Hillary Clinton. It’s a subtle, yet unmistakable, assertion of dominance and a rewriting of the narrative.
Not all portraits received critical assessments. Ronald Reagan, a figure often admired by the current president, is lauded as “The Great Communicator,” with the plaque emphasizing his landslide re-election and high approval ratings. A personal connection is even noted, stating mutual admiration between the two presidents.
These alterations are part of a broader reshaping of the White House. Recent months have seen sweeping changes, including the controversial decision to demolish the historic East Wing, a space traditionally dedicated to the First Lady’s operations, to make way for a massive, opulent ballroom.
The proposed ballroom, envisioned at 90,000 square feet, would significantly overshadow the existing White House structure, a move that has sparked outrage among those who view it as an extravagant and disrespectful overreach. It represents a dramatic shift in the building’s character and purpose.
Even seemingly minor details haven’t escaped scrutiny. The State Department has abandoned the Calibri font, introduced to improve readability for individuals with disabilities, in favor of the more traditional Times New Roman. The justification? A desire to “restore decorum and professionalism,” suggesting Calibri was somehow lacking in both.
The shift to Times New Roman was framed as a rejection of an “informal” aesthetic, with critics of Calibri claiming it had “degraded” official correspondence. This seemingly small change underscores a larger impulse: a deliberate attempt to impose a specific vision of order and tradition upon the institutions of government.
These changes, taken together, paint a picture of an administration intent on reshaping not just the physical space of the White House, but also the way history is remembered and presented within its walls. It’s a bold, and arguably unsettling, assertion of power and perspective.
