DHS Under Fire for “Manifest Destiny” Social Media Posts Amidst Culture War Distractions
The Department of Homeland Security (DHS) has drawn criticism for recent social media posts that invoked themes of Manifest Destiny, sparking debate about national heritage and inclusivity. The controversy highlights a broader trend of cultural commentary, where seemingly minor events often overshadow more notable policy or messaging issues.
The DHS’s X (formerly Twitter) account posted an image of the 19th-century painting “American Progress” on July 23, accompanied by the caption: “A Heritage to be proud of, a Homeland worth Defending.” This painting, by John Gast, visually represents the concept of Manifest Destiny, the belief that the United States was divinely ordained to expand across the North American continent. Critics argue that this imagery and caption, notably without acknowledging the perspective of Indigenous peoples, can be seen as exclusionary and insensitive to the historical displacement and violence associated with westward expansion.
Approximately a week prior, the DHS shared another image, “A Prayer for a New life” by Morgan Weistling. This painting depicts a white family in a covered wagon, a scene often associated with the westward expansion era. The DHS captioned this post: “Remember yoru Homeland’s Heritage.” The article notes that the DHS misidentified the painting’s title. The author points out that this narrative of American heritage, frequently enough portrayed through a “little House on the Prairie” lens, does not encompass the diverse origins of all Americans, including those whose ancestry does not align with this specific historical depiction. figures like former First Lady Melania Trump, senator Marco Rubio, former Trump advisor Stephen Miller, U.S. Second Gentleman Douglas Emhoff (husband of Vice President Kamala Harris), and Supreme Court Justice Clarence Thomas are cited as examples of individuals whose American origin stories may differ from the imagery presented.
The author contrasts the reaction to the DHS posts with the public’s engagement with other cultural moments. As an example, a skit featuring actress Sydney Sweeney on Saturday Night Live, where she portrayed a Hooters waitress, was met with significant online commentary, particularly from those who viewed it as a rejection of “woke” culture due to Sweeney’s perceived sex appeal and a joke about her appearance. Similarly, a Dunkin’ Donuts advertisement featuring “The summer I Turned Pretty” star Gavin Casalegno, who delivered a lighthearted monologue about being the “king of summer” and attributed his tan to “genetics,” also became a subject of online discussion, with some critics drawing parallels to controversial figures or ideologies.
The article suggests that the intense focus on these more superficial cultural events distracts from perhaps more consequential issues, such as the DHS’s messaging on national heritage. The author implies that the public’s attention is often diverted to less impactful controversies,leaving more substantive matters,like the implications of government messaging on historical narratives,under-examined.
