A graffiti exhibition at Canterbury Cathedral, one of the oldest Christian structures in England dating back to 597, has many people baffled and enraged.
The newly unveiled installation by the poet Alex Vellis and curator Jacqueline Creswell includes graffiti-style messages applied directly to the stone walls of the massive cathedral. Questions such as, “What is the architecture of heaven?” and “Does everything have a soul?” can be seen in the customary graffiti style script on the walls and columns of the building.
“Why are you indifferent to suffering?” another message found beneath a stained glass window says, per <a href="https://www.artnews.com/art-news/news/canterbury-cathedral-graffiti-art-hear-us-controversy-1234756433/">ARTnews</a>.
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The Church of England decided this week to cover the interior of the oldest cathedral in England in graffiti in order to represent the voices of “marginalised communities.”
The Very Rev David Monteith, Dean of Canterbury, said: “There is a rawness which is magnified by the… <a href="https://t.co/bQ6BYsNU2A">pic.twitter.com/bQ6BYsNU2A</a>
— Drew Pavlou 🇦🇺🇺🇸🇺🇦🇹🇼 (@DrewPavlou) <a href="https://twitter.com/DrewPavlou/status/1976571987381395614?ref_src=twsrc%5Etfw">October 10, 2025</a></blockquote>
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Creswell explained the exhibition’s goals on <a href="https://www.instagram.com/p/DPjR6L9gmfG/?hl=en&amp;img_index=1">Instagram</a>, writing, “By collaborating with marginalized communities—including the Punjabi, black and brown diaspora, neurodivergent individuals, and the LGBTQIA+ population—the exhibition promotes inclusivity and representation. It transforms the cathedral into a space where diverse voices can be heard, validating their experiences and fostering a sense of belonging.”
The exhibition has the support of the dean of Canterbury, David Monteith, who <a href="https://www.the-independent.com/news/uk/home-news/canterbury-cathedral-artwork-graffiti-drawings-b2843041.html">said</a> of the display, “There is a rawness which is magnified by the graffiti style, which is disruptive. There is also an authenticity in what is said because it is unfiltered and not tidied up or sanitized. Above all, this graffiti makes me wonder why I am not always able to be as candid, not least in my prayers.”
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Meanwhile, social media users are voicing their dismay at temporarily desecrating a house of worship.
Irish author Keith Woods <a href="https://x.com/KeithWoodsYT/status/1976595414565466254">posted</a> on X, “Was horrified to see this graffiti on Canterbury Cathedral, founded by St. Augustine [himself], then I discovered it was actually an initiative welcomed by the Church of England!”
“It’s actually stunning how much the elite of Britain hate their own culture and civilization,” Australian conservative activist Drew Pavlou wrote. “You couldn’t even invent this as satire. They are literally scrawling graffiti on the walls of ancient cathedrals. Everything beautiful is just torn down and destroyed.”
The graffiti display is scheduled to remain until January 2026.

Canterbury Cathedral

‘Horrified’: Graffiti Exhibition At Historic Canterbury Cathedral Sparks Outrage

Graffiti

London

Religion

United Kingdom

Wokeness

World

It is a truth universally acknowledged that the Left can’t meme, but can only scold the Right for memeing well.
This dynamic was once confined to esoteric feuds among terminally online partisans. Now, it’s playing out in the open — between government agencies and what remains of the legacy media — and the stakes are increasingly tangible.
The Trump administration’s social media accounts have spent their summer appropriating classic images of Americana, notably J.M. Flagg’s famous<a href="https://en.wikipedia.org/wiki/James_Montgomery_Flagg#/media/File:I_Want_You_for_U.S._Army_by_James_Montgomery_Flagg.jpg" target="_blank" rel="noopener"> 1917 Uncle Sam poster</a>. But things really hit a fever pitch when the Department of Homeland Security shared three seemingly innocuous images: <a href="https://x.com/DHSgov/status/1948150126494482555" target="_blank" rel="noopener">John Gast’s 1872 “American Progress,”</a> with the caption “A Heritage to be proud of, a Homeland worth Defending.” <a href="https://x.com/DHSgov/status/1940164863793549747" target="_blank" rel="noopener">Thomas Kinkade’s “Morning Pledge”</a> with the caption “Protect the Homeland,” and<a href="https://x.com/DHSgov/status/1944875154745778525" target="_blank" rel="noopener"> Morgan Weistling’s “A Prayer for a New Life”</a> captioned “Remember your Homeland’s Heritage.”
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Protect the Homeland.
“Morning Pledge” by Thomas Kinkade <a href="https://t.co/JLs26R3VlO">pic.twitter.com/JLs26R3VlO</a>
— Homeland Security (@DHSgov) <a href="https://twitter.com/DHSgov/status/1940164863793549747?ref_src=twsrc%5Etfw">July 1, 2025</a></blockquote>
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According to the <a href="https://www.washingtonpost.com/immigration/2025/07/29/trump-dhs-immigrants-social-paintings/">Washington Post</a>, “the art world is not happy” with these posts because they are “part of an effort to rewrite the past with an exclusionary view of American history,” one in which there are clear standards of good and evil.
The Post doesn’t attempt to show why ordinary Americans should care about this. But while the Post’s freakout may be amusing to behold, it also gets at something important. Liberals are right to panic about these posts — and conservatives should pay attention.
The second Trump administration is staffed with right-wing Zoomers. These staffers are digital natives: born in the memeworld, molded by it, and in many cases more radically opposed to the leftwing hegemony that reached its apogee during their formative years than those of us who remember the days when cable news still dictated the terms of national conversation.
Those days are gone. Millennials like JD Vance and Stephen Miller hold high office. The aesthetic sensibilities of the Zoomers on their staff are shaping the administration’s narrative warfare, providing unprecedented air cover to the administration’s ground operations. Their social media habits are a visible sign of just how far the Left has fallen from its media and, thus, meaning-making monopoly.
The recent dustup about Homeland Security posting Americana paintings is just a minor skirmish in the larger war that is being waged for the sensibilities of the American people. Liberals have long realized that he who controls the production, distribution, and regulation of images controls the hearts, minds, and imaginations of the population.
Despite their confusion over other fundamental truths such as the difference between a man and a woman, liberals grasp this reality — and in it, something essential to the human condition.
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A Heritage to be proud of, a Homeland worth Defending.
American Progress &#8211; John Gast <a href="https://t.co/agU6bl8TZ8">pic.twitter.com/agU6bl8TZ8</a>
— Homeland Security (@DHSgov) <a href="https://twitter.com/DHSgov/status/1948150126494482555?ref_src=twsrc%5Etfw">July 23, 2025</a></blockquote>
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We are imaginative as well as rational creatures, embodied as well as capable of abstract thought. Our reasoning about right and wrong, true and false, never gets very far without referring to something particular we’ve experienced, either directly in our own lives or vicariously through the testimony of others — including stories and history. “Music,” in the classical and comprehensive sense of “the arts of the Muses,” matters.
In ancient Greece, the nine Muses were the daughters of “Memory” and presided over the arts. Mythology and biography, parable and narrative, have always been the primary means of moral and political education, and they remain so today. Americans in general still recognize the power of the “Muse-ical arts,” mainly in the potency of historical narratives such as the Civil War, World War II, and the Civil Rights Movement.
We would do well to recover the sense of power contained in other forms of “Music,” especially the storytelling power of films. Newer <a href="https://www.dailywire.com/watch/movies" target="_blank" rel="noopener">ventures</a> on the <a href="https://www.semafor.com/article/07/20/2025/founders-films-aims-to-remake-hollywood-with-patriotism-palantir-and-ayn-rand" target="_blank" rel="noopener">Right</a> are beginning to do this.
But we still have a long way to go. Even the artists whose work the Trump administration is now using aren’t safe from the Left’s appropriation.
The Kinkade Family Foundation, scandalized by the Trump administration’s use of his work, <a href="https://www.kinkadefamilyfoundation.org/" target="_blank" rel="noopener">declared</a> it was “deeply troubled to see this image used to promote division and xenophobia associated with the ideals of DHS” and pledged solidarity with “our communities who have been threatened and targeted by DHS, especially our immigrant, BIPOC, undocumented, LGBTQ+, and disabled relatives and neighbors.” Weistling, the only artist of the three still alive, took to his <a href="https://www.morganweistling.com/" target="_blank" rel="noopener">website</a> to distance himself from the politics of the moment: “The recent DHS post on social media using a painting of mine that I painted a few years ago was used without my permission.”
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Remember your Homeland’s Heritage.
New Life in a New Land &#8211; Morgan Weistling <a href="https://t.co/nFL61Nljbw">pic.twitter.com/nFL61Nljbw</a>
— Homeland Security (@DHSgov) <a href="https://twitter.com/DHSgov/status/1944875154745778525?ref_src=twsrc%5Etfw">July 14, 2025</a></blockquote>
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Still, there is a virtually inexhaustible store of classic works of mythology, literature, and history, ancient as well as American, waiting to be adapted by artists who love rather than revile our inheritance.
There is a lesson here for older conservatives. Liberal donors have long appreciated the political utility of culture. As a class, they have lavished funds on all manner of artistic ventures, sowing seeds broadly in the expectation that just a few of their investments will blossom into captivating cultural products. As a result, they have dominated the culture for generations — not because young people are naturally more liberal (Zoomer men are currently disproving this myth) — but because their cold, hard cash has helped drag the next generation leftward.
Conservative donors are more comfortable running a business than patronizing the arts. They tend to focus their charitable giving on well-defined causes with short-term returns on investment. They have thereby won discrete battles — winning this election, pushing that policy through Congress — while losing the broader war for the soul of the nation.
That the unembarrassed Americanism of artists like Kinkade and Weistling has enjoyed commercial success while swimming against the tide of liberal cultural hegemony is a sign of just how high a demand remains in the American public for non-leftist cultural products. Liberal hegemony is cracking up, and as the Trump administration gets serious about winding down its taxpayer-funded power bases, from NPR and PBS to elite universities, the crack-up is bound to continue.
The emergence of an energetic and effective American Right has far more to do with digital disruption than with a strategic change in the conservative donor class. Conservatives who are serious about reclaiming American culture, and consigning the most anti-American elements of the Left to the dustbin of history, should put a shoulder to the wheel — not just in lobbying and campaign donations, but in directly patronizing the artists, educators, and other culture creators who celebrate rather than denigrate our civilizational heritage.
Pavlos Papadopoulos is Associate Professor of Humanities at Wyoming Catholic College.
The views expressed in this piece are those of the author and do not necessarily represent those of The Daily Wire.

American Progress

Americana Posting And The War For Culture

Conservatives

Department of Homeland Security

Gen Z

Painting

Washington Post

A security camera captured the moment when a tourist broke a Swarovski crystal-studded museum display dubbed the “Van Gogh” chair after sitting in it.
The incident occurred in April, but has been circulating on social media after just being released by the Palazzo Maffei museum, which is located in the Italian city of Verona.
The video shows a woman at first pretending to sit in the chair art piece, which was made by Italian artist Nicola Bolla. Next, her male companion gets into the same pose, only in his case puts his weight on the chair, causing both of the front legs to buckle. The man stumbles before the camera captures the pair rushing out of the room.
“They waited for the staff to leave the room,” museum director Vanessa Carlon said in a video posted on its social media. “And then … off they went, indifferent to what had happened.”
“Sometimes we lose our brains to take a picture, and we don’t think about the consequences,” Carlon added. “Of course it was an accident, but these two people left without speaking to us—that isn’t an accident. This is a nightmare for any museum.”
<iframe loading="lazy" title="YouTube video player" src="https://www.youtube.com/embed/lUpa_gM9_Ww?si=Lh14F6HPsGQoqf74" width="560" height="315" frameborder="0" allowfullscreen="allowfullscreen"></iframe>
“On the chair was a note warning people not to touch, and of course it is placed on a pedestal, so it’s quite clear it’s not a real chair,” Carlotta Menegazzo, an art historian who works at Palazzo Maffei, told <a href="https://www.bbc.com/news/articles/cn05dd4pz0jo">BBC</a>. She added that the sculpture only resembled a chair, but was actually crafted out of crystal-studded tinfoil.
The piece, which was inspired by Van Gogh&#8217;s famous 1888 painting &#8220;Van Gogh&#8217;s Chair,&#8221; has since been repaired by the museum’s restoration department and is on display to the public again. Reps said the video has been released as a reminder to visitors about how to treat the artwork at their facility.
&#8220;Art must be respected!&#8221; the museum said in a press release, per USA Today. They added that the video was released &#8220;to make this serious event an opportunity for reflection for everyone.&#8221;
The couple has not been identified.

Van Gogh chair

WATCH: Man Sits On, Breaks Swarovski-Encrusted ‘Van Gogh Chair’ At Italian Museum

General

Italy

Tourism

Andrew Klavan’s new book arrived in my inbox with providential timing. Only a few hours before I started perusing The Kingdom of Cain: Finding God in the Literature of Darkness, I’d signed a publishing contract for my first novel — a story of murder, prostitution, and the many debased things that fallen man is willing to do in pursuit of his ambitions.
But a tiny part of me blushed at the plot I was preparing to put down on paper — what would compel a Christian, a self-professed church lady no less, to tell such a sordid tale?  What compels other Christians to read them? Klavan, as might be expected from an award-winning crime writer and very public Christ-follower, has long been thinking about such questions and now provides an answer.
“We should look at the question from the other direction,” Klavan says, “what good does it do anybody to write about the world as it&#8217;s not?” And the world, as he details through the true stories of three notorious killers — including history’s first killer — can be a very dark place. Portraying that darkness accurately in our art, Klavan contends, is one way we can better recognize and appreciate the light.
As one endorser of The Kingdom of Cain said, the book is part meditation and part memoir. I’d add, it’s also part apologia, as Klavan makes an argument for the ultimate triumph of not just a generic goodness but a Christian goodness. Evil, he argues, in the tradition of C.S. Lewis’ The Problem of Pain, is the unwelcome guest to the original state of creation, which, as we know from Genesis, was very good.
“The shall-nots of the Ten Commandments are not restrictions on our true selves,” writes Klavan, “They are a guide to clearing the path to our original nature so we can become who we truly are.” Another way to say it is that the world began with a moral order, and what goes against that order is the intruder. Klavan explains why this reality should inform the work of any Christian artist seeking to write words that ring true. “I will write about absolutely horrific things,” he says, “but always in the moral world.”
What does writing dark works in the moral world look like? He shows us.
While analyzing the great fictional works his three case studies inspired, Klavan’s insights give new relish to film classics, offering fresh revelations about their appeal to audiences. One of his chapters on 1950s cross-dressing serial killer Ed Gein dissects how he is reimagined in the film Psycho. Unlike the novel it was based on, the movie recognizes not just the psychological brokenness of its villain, but his spiritual deformity. What the Catholic Hitchcock “understood in his bones,” Klavan writes, “is that there is a tension between the things of the spirit and the things of the flesh.”
And so, the great director played up that tension, bringing about his female lead’s murder right as she is in a moment of redemption, preparing to make amends for stealing $40,000 from her employer. This elevates the story from simple scare fest to tragedy.
“[Lead female character Marion’s] work in the film is the work of the spirit,” Klavan writes. Through her death, Hitchcock picked up on an aspect of Gein’s history that Psycho’s initial author didn’t — &#8220;the struggle to reconcile religion with eroticism is real.” This is something Hitchcock subtly points to by having Norman Bates use a biblical painting of Susanna and the Elders, which depicts two spiritual leaders trying to sexually exploit a woman as she is bathing, as a peephole to spy on Marion undressing for the shower.
From the Book of Daniel to the Bates Motel — the baser impulses of men will ever be a threat to women.
Other works inspired by the Gein case, like The Silence of the Lambs, compel because they not only tell us truthfully of the violence associated with perverted sexual desire, they also mock the idea that the explanations for such violence will be provided by psychiatry rather than religion. Hannibal Lecter is simply the face of unapologetic evil — like the icy Nietzscheans Leopold and Loeb (whose story Klavan also details), there is no Freudian concept that will restrain his malevolence. He would have to become an entirely new creature for that, a magic that only Christianity can work.
The book is full of similar, worthy insights, particularly when it comes to works inspired by the story of Cain. It is clear that for Klavan, there is no joy like the joy of accurately representing the human experience, and humanity is sinful. You cannot tell compelling stories while hiding reality, something the Bible’s authors apparently knew very well, given the horrors that fill Scripture’s pages from incest, to gang rapes, to, well, crucifixion.
Too often, Christians forget the “true” part of the Apostle Paul’s admonition to think about: &#8220;whatever is true, whatever is noble, whatever is right, whatever is pure, whatever is lovely, whatever is admirable.” Truth is sometimes ugly, but all truth is God’s truth, Klavan tells me, and will reflect God’s moral order. “Every honest story, every true story, has God,” he says
“Whether you believe or not, if you tell a true story, if you tell the truth about life, God will be there.”

Untitled design (31)

Andrew Klavan’s Dark World

Andrew Klavan

Bible

Christianity

A new statue of an overweight black woman placed in Times Square in New York City is inspiring a lot of reactions online, especially since it&#8217;s being compared to Michelangelo’s “David.” 
Times Square Arts recently erected the statue by artist Thomas J Price, which is called &#8220;Grounded in the Stars,&#8221; as a temporary display in the tourist-heavy area of Manhattan. There will also be a “Man Series” of billboards displayed in the area.
The Times Square website <a href="https://www.timessquarenyc.org/tsq-arts-projects/grounded-in-the-stars">says</a> of the piece: &#8220;Price’s multi-channel presentation on the screens and sculptural installation on the plaza below forms a two-part takeover in Times Square that foregrounds the intrinsic value of the individual and amplifies traditionally marginalized bodies on a monumental scale.&#8221;
The website notes that the statue depicts “a fictionalized character” who was “constructed from images, observations, and open calls spanning between Los Angeles and London.” 
“The young woman depicted in Grounded in the Stars carries familiar qualities, from her stance and countenance to her everyday clothing,” it says, noting that her “stance is a subtle nod to Michelangelo’s David.”
The site also says, “the woman in Grounded in the Stars cuts a stark contrast to the pedestaled permanent monuments — both white, both men — which bookend Duffy Square, while embodying a quiet gravity and grandeur.”
Social media users have had overwhelmingly negative reactions to the statue.
“They tear down statues of American heroes and replace them with statues of random obese black women. That’s because the Left has no historical heroes. Everyone who was born before approximately 2005 is inherently problematic,” Daily Wire podcast host Matt Walsh <a href="https://x.com/mattwalshblog/status/1920116456454328758?s=43&amp;t=BDz6oekueqrSVJ50bM62xw">wrote</a>.
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They tear down statues of American heroes and replace them with statues of random obese black women. That’s because the Left has no historical heroes. Everyone who was born before approximately 2005 is inherently problematic.
<a href="https://t.co/ypjxG1p2ZU">pic.twitter.com/ypjxG1p2ZU</a>
— Matt Walsh (@MattWalshBlog) <a href="https://twitter.com/MattWalshBlog/status/1920116456454328758?ref_src=twsrc%5Etfw">May 7, 2025</a></blockquote>
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“In 2021, NYC removed a statue of Thomas Jefferson from City Hall due to ‘racism.’ The city has now erected a huge statue of a rotund woman in Times Square,” conservative commentator Allie Beth Stuckey <a href="https://x.com/conservmillen/status/1920201578516263221">wrote</a>. 
“So, we’re taking down monuments to people who accomplished some of [the] greatest feats in human history, from which we are all still benefitting (sic), and instead honoring random people who have zero notable contributions. Doomed,” she added.
“Statues aren’t just art. they’re markers of who we are and what we stand for. But the Left doesn’t want heroes, they want a blank slate to push their woke agenda,” another commenter <a href="https://x.com/OneXOneY/status/1920118030673072397">added</a>.

Grounded in the Stars

New NYC Statue Of Overweight Black Woman Touted As ‘Contrast’ To Monuments Of White Men

New NYC Statue Of Overweight Black Woman Touted As 'Contrast' To Statues Of White Men

History

Manhattan

New York

New York City

Race

Statues

Times Square

U.S.

The 2025 Met Gala will go forward tonight with many A-list celebrities in attendance dressed in their wildest outfits to celebrate this year’s official theme: “Black Dandyism.”
Inspired by Monica Miller’s book “Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity,” the new exhibit will center on black style, especially menswear, from the 18th century to present.
The annual fundraiser for the Metropolitan Museum of Art’s Costume Institute will continue its longstanding tradition of being an over-the-top extravagant and slightly controversial event for celebrities to show off their fashion. Even celebrity fans often roll their eyes at what seems like a blatant display of wealth.
For example, tickets cost $75,000 each.
But this year, major news outlets like <a href="https://www.nytimes.com/2025/05/05/style/met-gala-2025-black-dandy-politics.html">The New York Times</a> are painting the Met Gala as a means of “resistance” against the Trump administration, especially since the president ventured into the world of the arts by taking over the Kennedy Center earlier this year.
NYT noted that this year’s show has special “relevance” as it’s “devoted for the first time entirely to designers of color” and “focuses on the way black men have used fashion as a tool of self-actualization, revolution and subversion throughout American history and the black diaspora.”
“This feels way bigger than just fashion,” Louis Pisano, a cultural critic and the writer of the newsletter Discoursted, told the outlet, mentioning how the theme was an intentional choice. “Putting black style front and center sends a real message.”
Co-chairs include Vogue editor-in-chief Anna Wintour, ASAP Rocky, Lewis Hamilton, Colman Domingo, and Pharrell Williams. LeBron James is an honorary chair.
“It’s important that we don’t sit this one out,” Pisano said. “Not when black fashion is finally being centered in an institution that has historically excluded it.”
“I’m already bracing for the conservative backlash once they pay attention to it, and that’s why it’s especially important that people show up,” he added.
The outlet noted that Meta CEO Mark Zuckerberg will not be attending the Met Gala this year, and neither will Elon Musk, who last attended in 2022. Most attendees are kept a secret until the event happens.
Wintour said in a statement that “the show was never about politics, not in conception, not now,” but is about  “self-determination, beauty, creativity and holding up a lens to history.”
She did acknowledge, “the Met recognizing and taking seriously the contributions of black designers and the black community in fashion has a heightened meaning in 2025.”

Colman Domingo

Met Gala’s ‘Black Dandyism’ Theme Touted As Act Of ‘Resistance’ Against Trump

Celebrities

Fashion

President Donald Trump may have replaced a portrait of former President Barack Obama with an artist&#8217;s rendering of the moment he stood and raised his fist — shouting, &#8220;Fight! Fight! Fight!&#8221; — after a would-be assassin shot him at a campaign rally in Butler, Pennsylvania.
The White House shared a short video on Tuesday showing tourists walking through the halls near the new painting, which showed Trump with his face bloodied and his fist in the air, surrounded by U.S. Secret Service agents.
&#8220;Some new artwork at the White House,&#8221; the caption read.
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Some new artwork at the White House 👀 <a href="https://t.co/l6u5u7k82T">pic.twitter.com/l6u5u7k82T</a>
&mdash; The White House (@WhiteHouse) <a href="https://twitter.com/WhiteHouse/status/1910764795382349948?ref_src=twsrc%5Etfw">April 11, 2025</a></blockquote>
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It was Katie Pavlich who tipped people off as to what might have been moved to accommodate the new acquisition: &#8220;I’m pretty sure this is where the Obama portrait was.&#8221;
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I’m pretty sure this is where the Obama portrait was. <a href="https://t.co/VSduieUK0l">https://t.co/VSduieUK0l</a>
&mdash; Katie Pavlich (@KatiePavlich) <a href="https://twitter.com/KatiePavlich/status/1910768365028663576?ref_src=twsrc%5Etfw">April 11, 2025</a></blockquote>
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A few suggested in the comments that the new art might be hanging across from the Obama portrait rather than in its place, but the reactions flooded in all the same.
&#8220;Wow &#8211; a much-needed upgrade from the last piece displayed there! Never forget,&#8221; Jenn Pellegrino said.
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Wow &#8211; a much-needed upgrade from the last piece displayed there! Never forget. ✊🏻🇺🇸 <a href="https://t.co/RWyBAKjmOj">https://t.co/RWyBAKjmOj</a>
&mdash; Jenn Pellegrino 🇺🇸 (@JennPellegrino) <a href="https://twitter.com/JennPellegrino/status/1910822065780760804?ref_src=twsrc%5Etfw">April 11, 2025</a></blockquote>
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Trump also raised eyebrows after it was revealed early on that he had hung a framed copy of the New York Post&#8217;s cover page featuring his <a href="https://www.dailywire.com/news/trump-hangs-mugshot-outside-oval-office-so-bad-a-that-its-surreal" target="_blank" rel="noopener">mug shot</a>.
&#8220;New office art just dropped,&#8221; Trump&#8217;s rapid response team posted in mid-February.
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New office art just dropped <a href="https://t.co/XNVfdmEHEG">pic.twitter.com/XNVfdmEHEG</a>
&mdash; Rapid Response 47 (@RapidResponse47) <a href="https://twitter.com/RapidResponse47/status/1890385341481152734?ref_src=twsrc%5Etfw">February 14, 2025</a></blockquote>
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&#8220;They framed Donald Trump’s mug shot and put it on the White House wall. This is so bad a** that it’s surreal,&#8221; one person posted in response to the framed mug shot.
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They framed Donald Trump’s mug shot and put it on the White House wall.
This is so bad ass that it’s surreal.<a href="https://t.co/Zm3GUl97J4">pic.twitter.com/Zm3GUl97J4</a>
&mdash; Philip Anderson (@VoteHarrisOut) <a href="https://twitter.com/VoteHarrisOut/status/1890459351334195677?ref_src=twsrc%5Etfw">February 14, 2025</a></blockquote>
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&#8220;Democrats really thought the Trump arrest and mugshot would end him politically. Instead he now has the mugshot picture hung just outside the Oval Office,&#8221; OutKick&#8217;s Clay Travis added.
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Democrats really thought the Trump arrest and mugshot would end him politically. Instead he now has the mugshot picture hung just outside the Oval Office. <a href="https://t.co/3w8lLfDKQe">pic.twitter.com/3w8lLfDKQe</a>
&mdash; Clay Travis (@ClayTravis) <a href="https://twitter.com/ClayTravis/status/1890467839884103951?ref_src=twsrc%5Etfw">February 14, 2025</a></blockquote>
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&#8220;Everyone who walks into the Oval office has to see Trump’s epic mugshot,” Libs of TikTok posted. “It’s a reminder of what they did to him and why he won.&#8221;
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Everyone who walks into the Oval office has to see Trump’s epic mugshot.
It’s a reminder of what they did to him and why he won. <a href="https://t.co/22qJKDSgqC">pic.twitter.com/22qJKDSgqC</a>
&mdash; Libs of TikTok (@libsoftiktok) <a href="https://twitter.com/libsoftiktok/status/1890461193980031157?ref_src=twsrc%5Etfw">February 14, 2025</a></blockquote>
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And from the Media Research Center: &#8220;Legendary! President Trump hangs his mugshot in the White House. Can’t wait for the leftist media meltdown.&#8221;
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Legendary! President Trump hangs his mugshot in the White House.
Can’t wait for the leftist media meltdown.<a href="https://t.co/JdQrfSOHkC">pic.twitter.com/JdQrfSOHkC</a>
&mdash; Media Research Center (@theMRC) <a href="https://twitter.com/theMRC/status/1890517044036010195?ref_src=twsrc%5Etfw">February 14, 2025</a></blockquote>
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Donald Trump Injured During Shooting At Campaign Rally In Butler, PA

Trump May Have Replaced Obama’s Portrait In The White House. Here’s What’s Hanging There Now.

Trump May Have Replaced Obama's Portrait In The White House. Here's What's Hanging There Now.

assassination attempt

Barack Obama

Executive

Politics

White House

President Donald Trump announced on Friday that he had terminated most members of the Board of Trustees at the Kennedy Center — including Chairman David Rubenstein — and had taken over the role himself.
Trump made the announcement in a post to his social media platform Truth Social, and added that he also planned to make immediate changes to some of the events that were held there — beginning with drag shows that were intended for an audience of children.
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<a href="https://t.co/kCZzFUAMVB">pic.twitter.com/kCZzFUAMVB</a>
&mdash; Rapid Response 47 (@RapidResponse47) <a href="https://twitter.com/RapidResponse47/status/1887995325022867825?ref_src=twsrc%5Etfw">February 7, 2025</a></blockquote>
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&#8220;At my direction, we are going to make the Kennedy Center in Washington, D.C. , GREAT AGAIN,&#8221; Trump began. &#8220;I have decided to immediately terminate multiple individuals from the Board of Trustees, including the Chairman, who do not share our Vision for a Golden Age in Arts and Culture.&#8221;
&#8220;We will soon announce a new Board, with an amazing Chairman, Donald J. Trump,&#8221; the president&#8217;s post continued, and he then pivoted to give some insight as to why he had made the call to change the center&#8217;s direction.
&#8220;Just last year, the Kennedy Center featured Drag Shows specifically targeting our youth — THIS WILL STOP,&#8221; he said, adding, &#8220;The Kennedy Center is an American Jewel, and must reflect the brightest STARS on its stage from all across out Nation. For the Kennedy Center, THE BEST IS YET TO COME!&#8221;
News broke around the same time that, in another similar post to Truth Social, Trump had revoked former President <a href="https://www.dailywire.com/news/trump-revokes-bidens-security-clearance-cites-poor-mental-acuity" target="_blank" rel="noopener">Joe Biden&#8217;s security clearance</a>. Citing Biden&#8217;s obviously deteriorating mental acuity, Trump mentioned the report compiled by Special Counsel Robert Hur — in which Biden was described as forgetful at best.
&#8220;The Hur Report revealed that Biden suffers from ‘poor memory’ and, even in his ‘prime,’ could not be trusted with sensitive information. I will always protect our National Security — JOE, YOU’RE FIRED. MAKE AMERICA GREAT AGAIN!&#8221; Trump&#8217;s statement read in part.

President Trump

Trump Dumps Kennedy Center Board, Puts Immediate End To Drag Shows For Kids

Donald Trump

Drag Shows

Two <a href="https://www.dailywire.com/topic/climate-change" target="_blank" rel="noopener">global warming</a> protesters who threw cans of tomato soup over the glass frame of Vincent Van Gogh’s “Sunflower&#8221; painting have been sentenced to time in prison for their actions.
On Friday, a London court sentenced Anna Holland, 22, and Phoebe Plummer, 23, from the activist group Just Stop Oil, to two years and 20 months in prison for their so-called protest against fossil fuels at a museum in London in 2022, <a href="https://www.cnn.com/2024/09/27/climate/just-stop-oil-climate-activists-prison-van-gough-soup-intl/index.html">CNN</a> reported.
Both Holland and Plummer were found guilty of criminal damage to the pieces of art&#8217;s gold-colored frame.  Judge Christopher Hehir blasted the two for their actions against the “cultural treasure,” which he said could have been “seriously damaged or even destroyed” by them by throwing soup on the paintings and then glueing their hands to the museum wall. The “Sunflowers” painting is valued at nearly $85 million.
“Soup might have seeped through the glass. You couldn’t have cared less if the painting was damaged or not,” Hehir said in court. “You had no right to do what you did to ‘Sunflowers.’”
<blockquote class="twitter-tweet">
🥫 BREAKING: 3 YEARS 8 MONTHS COMBINED IN PRISON FOR THROWING SOUP
⛓️ Phoebe and Anna have just been sentenced to 2 years and 20 months in prison respectively after throwing soup over the glass frame of Van Gogh&#8217;s &#8216;Sunflowers&#8217;.
🚔 Phoebe received a further 3 months for… <a href="https://t.co/JBjCgObiic">pic.twitter.com/JBjCgObiic</a>
— Just Stop Oil (@JustStop_Oil) <a href="https://twitter.com/JustStop_Oil/status/1839648995200704932?ref_src=twsrc%5Etfw">September 27, 2024</a></blockquote>
Plummer was also sentenced to an additional 3 months in prison for her part in a “slow march” in the road in October 2023 in London.
“You clearly think your beliefs give you the right to commit crimes when you feel like it,” Hehir said. “You do not.”
<a href="https://www.amiracist.com/" target="_blank" rel="noopener" data-saferedirecturl="https://www.google.com/url?q=https://www.amiracist.com/&amp;source=gmail&amp;ust=1726313279401000&amp;usg=AOvVaw115_qPFFEePDP86-Fvo-Vd">Am I Racist? Is In Theaters NOW — Get Your Tickets Here!</a>
Shortly after the sentences were handed down, more vandals from the same protest group shared a clip of three peeople  throwing cans of soup over the glass on not one but two Vincent Van Gogh paintings “in the &#8216;Poets and Lovers&#8217; exhibition at the National Gallery,” per the post on <a href="https://x.com/JustStop_Oil/status/1839670072530317423">X</a>.
The London judge is the same person who handed down sentences in July to five other so-called climate activists in the U.K. from Just Stop Oil or its allied group, Extinction Rebellion.
The court found the vandals guilty of “conspiring intentionally to cause a public nuisance,” after it had recruited people to climb structures along the M25 — a major traffic route around London — in November 2022, the outlet noted.
Hehir sentenced four out of five of the activists to four-year jail terms, while the group’s co-founder, Roger Hallam, was handed a five year sentence.
Related: <a href="https://www.dailywire.com/news/watch-global-warming-protesters-vandalize-one-of-worlds-most-iconic-art-masterpieces" target="_blank" rel="noopener">WATCH: Global Warming Protesters Vandalize One Of World’s Most Iconic Art Masterpieces</a>

Screen Shot 2022-10-14 at 7.39.45 AM

Climate Change Soup-Throwers Sentenced To Time In Prison

Crime

Global Warming

Prison

Protestors

The following is a transcript excerpt from Dr. Jordan Peterson’s <a href="https://www.dailywire.com/episode/1-introduction-to-the-idea-of-god-new" target="_blank" rel="noopener">Biblical Series</a>, which explores the psychological significance of the Bible. In <a href="https://www.youtube.com/watch?v=ZNIC-GZzj48" target="_blank" rel="noopener">this segment</a>, he addresses the complex and powerful nature of dreams, comparing it to artists’ talent at portraying more information than has yet to be articulated. He considers the questions: Where does information in a dream come from? What draws us to music? How long have humans been observing each other? And, the eternal question of human beings: How do you live in the world? You can explore more in Dr. Peterson’s <a href="https://www.dailywire.com/watch/jordan-peterson" target="_blank" rel="noopener">extensive catalog</a>, available on DailyWire+. 
I think the theory that dreams are merely the consequence of random neuronal firing is absolutely absurd because there is nothing random about dreams. They are structured and complex, and they are not like snow on a television screen or static on a radio. They are complicated. I have often seen people have very coherent dreams that have a perfect narrative structure. They are fully developed in some sense. So, that theory just does not go anywhere with me. I cannot see that as useful at all. I am more likely to take the phenomena seriously and say there is something to dreams.
You dream of the future; then you try to make it into a reality. That seems to be important. Or maybe you dream up a nightmare and try to make that into a reality; people do that too if they are hellbent on revenge, for example, and full of hatred and resentment. That manifests itself in terrible fantasies. Those are dreams; then people go act them out. These things are powerful. Whole nations can get caught up in collective dreams. That is what happened to Nazi Germany in the 1930s. It is an absolutely remarkable, amazing, horrific, destructive spectacle. The same thing happened in the Soviet Union. And the same thing happened in China. We have to take these seriously and try to understand what is going on.
Carl Jung believed that dreams could contain more information than was yet articulate. I think artists do the same. People go to museums, and they look at paintings — Renaissance paintings or modern paintings — and they do not exactly know why they are there. I was in a room in New York full of Renaissance art, the greatest painters. I thought maybe that room was worth a billion dollars or something outrageous because there were about 20 paintings in there. Priceless. Why are those paintings worth so much? And why is there a museum in the biggest city in the world devoted to them? And why do people from all over the world come and look at them? What are those people doing? One of them was of the assumption of Mary — a beautifully painted, absolutely glowing work of art — with 20 people standing in front of it looking at it. What are those people up to? They do not know. Why did they make a pilgrimage to New York to come and look at that painting? It is not like they know. Why is it worth so much? I know there is a status element to it too, but that begs the question, why do those items become such high-status items? What is it about them that is so absolutely remarkable? We are strange creatures.
I was trying to figure out, in part, where does the information that is in a dream come from? Because it has to come from somewhere. You can think about it as a revelation because it is as though it springs out of the void, and it is new knowledge and it is a revelation. You did not produce it. It just appears. I am scientifically minded, and I am quite a rational person, and I like to have an explanation for things that is rational and empirical before I look for any other kind of explanation. I do not want to say that everything that is associated with divinity can be reduced in some manner to biology or to evolutionary history or anything like that, but, insofar as it is possible to do that reduction, I am going to do that. And I am going to leave the other phenomena floating in the air because they cannot be pinned down. In that, I would put the category of mystical or religious experience, which we do not understand at all.
<h4><a href="https://www.dailywire.com/show/the-jordan-b-peterson-podcast" target="_blank" rel="noopener">WATCH: The Jordan B. Peterson Podcast on DailyWire+</a></h4>
Artists observe one another. They observe people, and they represent what they see. They transmit a message of what they see to us, and they teach us to see. We do not necessarily know what it is we are learning from them, but we are learning something, or, at least, we are acting like we are learning something. We go to movies, we watch stories, and we immerse ourselves in fiction constantly. That is an artistic production. For many people, the world of the arts is a living world, and that is particularly true if you are a creative person. It is the creative, artistic people who move the knowledge of humanity forward, and they do that with their artistic productions first. They are on the edge. The dancers, the poets, the visual artists, and the musicians do that, and we are not sure what they are doing.
Why do you like music? It gives you a deep intimation of the significance of things — and no one questions it. You go to a concert, you are thrilled, and it is a quasi-religious experience, particularly if people really get themselves together and get the crowd moving. There is something incredibly intense about it. It makes no sense whatsoever. It is not an easy thing to understand. Music is deeply patterned, and patterned in layers, and I think that has something to do with it because reality is patterned in layers. So I think music represents reality in some fundamental way, and we get into the sway of that and sort of participate in being. That is part of what makes it such an uplifting experience. But we do not really know that is what we are doing. We just go do it. And it is nourishing for people, young people in particular. Lots of them live for music. It is where they derive all their meaning, their cultural identity, everything that is nourishing comes from their affiliation with their music that is part of their cultural identity. That is an amazing thing.
The question still remains: Where does the information in dreams come from? I think it comes from watching the patterns everyone acts out. We watch that forever, and we have some representations of those patterns. That is part of our cultural history; that is what is embedded in stories, in fictional accounts of the story between good and evil, the bad guy and the good guy, the romance. These are canonical patterns of being for people, and they deeply affect us because they represent what it is we will act out in the world. Then we flesh that out with the individual information we have about ourselves and other people. It is as though there are waves of behavioral patterns that manifest themselves in the crowd across time, that great dramas are played on the crowd across time. The artists watch that, get intimations of what that is, and they write it down and tell us, and then we are a little clearer about what we are up to.
Take, for example, a great dramatist like Shakespeare. We know what he wrote is fiction, and then we say fiction is not true. But then you think, well wait a minute, maybe it is true like numbers are true. Numbers are an abstraction from the underlying reality, but no one in their right mind would really think numbers are not true. You could even make a case that the numbers are more real than the things they represent because the abstraction is so insanely powerful. Once you have mathematics, you are just deadly. You can move the world with mathematics. So, it is not obvious that the abstraction is less real than the more concrete reality. But if you take a work of fiction, like Hamlet, and say it is true because it is fiction, then you think, wait a minute, what kind of explanation is that? But maybe it is more true than nonfiction because it takes the story that needs to be told about you, and it extracts that out and says, “Look, here is something that is a key part of the human experience as such.” It is an abstraction from this underlying noisy substrate, and people are affected by it because they see the thing that is represented is part of the pattern of their being. That is the right way to think about it.
With these old stories, these ancient stories, it seems to me that process has been occurring for thousands of years. It is like we watched ourselves, and we extracted out some stories. We imitated each other, we represented that in drama, and then we distilled the drama, we got a representation of the distillation, and then we did it again at the end of that process. God only knows how long that took. They have traced some fairytales back 10,000 years in relatively unchanged form, and it certainly seems to me that the archaeological evidence suggests that the really old stories the Bible begins with are at least that old and likely embedded in the pre-history that is far older than that. You might think, well, how can you be so sure? The answer to that, in part is, cultures that do not change, like the ancient cultures, did not change as fast; they stayed the same. That is the answer. They keep their information moving generation to generation; that is how they stayed the same. We know again in the archaeological record there are records of rituals that have remained relatively unbroken for up to 20,000 years; it was discovered in caves of Japan that were set up for a particular kind of bear worship that was also characteristic of Western Europe. So these things can last for very long periods of time.
We are watching each other act in the world, and the question is: How long have we been watching each other? The answer to that, in some sense is, as long as there have been creatures with nervous systems. That is a long time. That is some hundreds of millions of years, perhaps longer than that, that we have been watching each other trying to figure out what we are up to across that entire span of time. Some of that knowledge is built right into our bodies, which is why we can dance with each other, for example, because understanding is not just something that you have as an abstraction; it is something that you act out. That is what children are doing when they are learning to rough and tumble play. They are learning to integrate their body with the body of someone else in a harmonious way, learning to cooperate and compete. That is all instantiated right into their body. It is not abstract knowledge; they do not know that they are doing that. They are just doing it. We can even use our body as a representational platform. So, we have been studying each other for a long time, abstracting out what it is that we are up to.
What should we be up to? That is an even more fundamental question. If you are going to live in the world, and you are going to do it properly, what does properly mean and who is it that you might go to about that? That is the right question. It is what everyone wants to know. How do you live in the world? Not, what is the world made of? How do you live in the world? It is the eternal question of human beings, and I guess we are the only species that has ever really asked that question because all the other animals just go and do whatever they do. But not us. It is a question for us. 
* * *
To continue, listen or watch more content with Dr. Jordan Peterson on <a href="https://www.dailywire.com/watch" target="_blank" rel="noopener">DailyWire+</a>.
<a href="https://www.jordanbpeterson.com/" target="_blank" rel="noopener">Dr. Jordan B. Peterson</a> is a clinical psychologist and professor emeritus at the University of Toronto. From 1993 to 1998 he served as assistant and then associate professor of psychology at Harvard. He is the international bestselling author of “<a href="https://www.amazon.com/Maps-Meaning-Architecture-Jordan-Peterson/dp/0415922216/ref=tmm_hrd_swatch_0?_encoding=UTF8&amp;qid=&amp;sr=" target="_blank" rel="noopener">Maps of Meaning</a>,” “<a href="https://www.amazon.com/12-Rules-Life-Antidote-Chaos/dp/0345816021/ref=tmm_hrd_swatch_0?_encoding=UTF8&amp;qid=&amp;sr=" target="_blank" rel="noopener">12 Rules For Life,</a>” and “<a href="https://www.amazon.com/Beyond-Order-More-Rules-Life/dp/0593084640/ref=tmm_hrd_swatch_0?_encoding=UTF8&amp;dib_tag=AUTHOR&amp;dib=eyJ2IjoiMSJ9.nbV0WtVit9busCddbjMST-Oe7hjueQrxfqnQ4L3HXXUFdIaqlEBr0sp9HQWIq9ut9NlHDAFA0YQoDWVZfDtKNJI7VvlzWv2rMhs2KcAAIIppPRMWq4GIiFerkrssvBABAjeKlg3OFs3H8IHs5D8ktJ5uBg3K-SZ4hpKltaKkrhY6j-RKn-tTkBz29JZXP3Rhm9SB14rHUX1nol5d4z4Fi6f8fwhxXWCVGgkvOHSqG6E.iVF1NljuBEwrpumO9rQBh9FotnzaIo4K7K8HvNnC46k&amp;qid=&amp;sr=" target="_blank" rel="noopener">Beyond Order.</a>” You can now <a href="https://www.dailywire.com/podcasts/the-jordan-b-peterson-podcast" target="_blank" rel="noopener">listen to</a> or <a href="https://www.dailywire.com/watch/jordan-peterson" target="_blank" rel="noopener">watch</a> his popular lectures on DailyWire+.
Be sure to <a href="https://www.amazon.com/Who-Wrestle-God-Jordan-Peterson/dp/0593542533/?_encoding=UTF8&amp;pd_rd_w=38kcw&amp;content-id=amzn1.sym.f911c8db-3a2b-4b3e-952f-b80fdcee83f4&amp;pf_rd_p=f911c8db-3a2b-4b3e-952f-b80fdcee83f4&amp;pf_rd_r=133-1833056-3520340&amp;pd_rd_wg=3zvBk&amp;pd_rd_r=93a1419a-853b-4c49-a764-cbaa90d3073a&amp;ref_=aufs_ap_sc_dsk" target="_blank" rel="noopener">PRE-ORDER</a> Dr. Peterson’s newest book: “<a href="https://www.amazon.com/Who-Wrestle-God-Jordan-Peterson/dp/0593542533/?_encoding=UTF8&amp;pd_rd_w=38kcw&amp;content-id=amzn1.sym.f911c8db-3a2b-4b3e-952f-b80fdcee83f4&amp;pf_rd_p=f911c8db-3a2b-4b3e-952f-b80fdcee83f4&amp;pf_rd_r=133-1833056-3520340&amp;pd_rd_wg=3zvBk&amp;pd_rd_r=93a1419a-853b-4c49-a764-cbaa90d3073a&amp;ref_=aufs_ap_sc_dsk" target="_blank" rel="noopener">We Who Wrestle with God</a>” (Portfolio/Penguin. November 19, 2024.)

Dr. Jordan B. Peterson

The Eternal Question Of Human Beings: How Do You Live In The World? 

Carl Jung

Jordan B. Peterson

Music

Psychology

Readers Pass

Shakespeare

An art piece based on <a href="https://www.dailywire.com/topic/justin-timberlake">Justin Timberlake</a>’s mugshot is on display in the same Hamptons town where he was arrested for a DWI last month.
The 43-year-old singer’s mugshot inspired a limited-edition <a href="https://www.dailywire.com/topic/arts">art piece</a> shown at the Romany Kramoris Gallery in Sag Harbor, <a href="https://www.dailywire.com/topic/new-york">New York</a>. The new installation, reportedly available for purchase in several colors, comes courtesy of artist Godfrey Lohman. A report from <a href="https://pagesix.com/2024/07/02/entertainment/justin-timberlake-mugshot-is-art-at-sag-harbor-gallery-happy/">Page Six</a> noted that tourists have been lining up to catch a glimpse of the piece.
“My reaction was, ‘Oh my God!’ That’s great! It’s just great!” gallery owner Romany Kramoris told Page Six. The so-called “Queen of Sag Harbor” also mentioned that the gallery had sold “two or three” of the art pieces, which cost $520 each. Kramoris added that “a lot of people are coming back.” 
<blockquote class="twitter-tweet">
Justin Timberlake’s mugshot turned into art at Sag Harbor gallery after Hamptons DWI bust <a href="https://t.co/ag37JMtduV">https://t.co/ag37JMtduV</a> <a href="https://t.co/8niBDtOkL3">pic.twitter.com/8niBDtOkL3</a>
— Page Six (@PageSix) <a href="https://twitter.com/PageSix/status/1808267195383697699?ref_src=twsrc%5Etfw">July 2, 2024</a></blockquote>
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“[Timberlake’s mugshot] is our most contemporary piece! It’s au courant,” another gallery employee told the outlet.
Timberlake was charged with one count of driving while intoxicated and two citations, including one for running a stop sign and another for failure to keep in lane, in the early hours of June 18.  
A police report obtained by <a href="https://people.com/justin-timberlake-had-one-martini-when-pulled-over-refused-breathalyzer-police-report-8665607">People magazine</a> noted that the pop singer’s &#8220;eyes were bloodshot and glassy, a strong odor of an alcoholic beverage was emanating from his breath, he was unable to divide attention, he had slowed speech, he was unsteady afoot and he performed poorly on all standardized field sobriety tests.&#8221; 
He also refused to take a breathalyzer test.
Documents also said Timberlake claimed, “I had one martini and I followed my friends home.”
According to reports, the young arresting officer did not recognize Timberlake as a celebrity.
“He didn’t recognize him or his name,” the source said. Another witness claimed, “Justin said under his breath, ‘This is going to ruin the tour.’ The cop replied, ‘What tour?’ Justin said, ‘The world tour.’”
Timberlake’s court appearance is currently set for July 26, when he’s scheduled to perform on his Forget Tomorrow World Tour stop in Poland. The “Cry Me a River” singer also has tour dates in the U.S. later this month.

Justin Timberlake

Justin Timberlake’s Mugshot Inspired A Portrait On Display In Hamptons Art Gallery

Art Based On Justin Timberlake's Mugshot Displayed In Hamptons Gallery 

A new <a href="https://www.dailywire.com/topic/arts" target="_blank" rel="noopener">portrait</a> of <a href="https://www.dailywire.com/topic/kate-middleton" target="_blank" rel="noopener">Kate Middleton</a>, Princess of Wales, is causing a stir and getting mostly negative reactions online.
The painting was commissioned by the <a href="https://www.dailywire.com/topic/united-kingdom" target="_blank" rel="noopener">British</a> outlet Tatler and graces the cover of their new July issue. It was created by British-Zambian artist Hanna Uzor. The portrait depicts Catherine during her appearance at the first state banquet of King Charles III’s reign.
“The July cover of the <a href="https://www.dailywire.com/topic/royal-family">Princess of Wales</a> is the latest in a series of portraits commissioned by Tatler. Each has heralded a new era within the Royal Family, celebrating the strength and dignity of those dedicating their life to public duty,” the magazine’s X post of the image said.
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The July cover of the Princess of Wales is the latest in a series of portraits commissioned by Tatler. Each has heralded a new era within the Royal Family, celebrating the strength and dignity of those dedicating their life to public duty <a href="https://t.co/AyxCT262tY">https://t.co/AyxCT262tY</a> <a href="https://t.co/M6K44s60GJ">pic.twitter.com/M6K44s60GJ</a>
— Tatler (@Tatlermagazine) <a href="https://twitter.com/Tatlermagazine/status/1793220299636301863?ref_src=twsrc%5Etfw">May 22, 2024</a></blockquote>
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Uzor never met the princess, but said she used photos and videos to create the painting. 
“When you can’t meet the sitter in person, you have to look at everything you can find and piece together the subtle human moments revealed in different photographs: do they have a particular way of standing or holding their head or hands? Do they have a recurrent gesture?,” the artist said in a statement, per <a href="https://www.cnn.com/2024/05/23/style/catherine-princess-wales-tatler-scli-intl/index.html" target="_blank" rel="noopener">CNN</a>. 
“All my portraits are made up of layers of a personality, constructed from everything I can find about them,” Uzor added.
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Online critics were not impressed with the final result, calling it terrible to the point of being disrespectful to the Princess of Wales.
“This is dreadful &#8211; somehow, I’m not sure the artist is a fan of the Princess &#8211; it looks like a bad GCSE [high school] project,” one commenter on X wrote.
<a href="https://onelink.to/dwapp" target="_blank" rel="noopener noreferrer" aria-describedby="sk-tooltip-9096" data-saferedirecturl="https://www.google.com/url?q=https://onelink.to/dwapp&amp;source=gmail&amp;ust=1716488494520000&amp;usg=AOvVaw2dyxfpdB0XAtZIqaVVdwYr">CLICK HERE TO GET THE DAILYWIRE+ APP</a>
“This looks nothing like the Princess of Wales. It’s so awful, it’s disrespectful,” another person echoed.
A third commenter <a href="https://x.com/CatherineInFL/status/1793342807802790089" target="_blank" rel="noopener">wrote</a>, “This is shockingly bad. Was the intention to erase the Princess of Wales and replace her with a pretend person? The disrespect to the Princess shouldn&#8217;t be acceptable.”
The new royal family portrait comes just after royal fans responded negatively to an official portrait of King Charles III, which was revealed earlier this month, as The Daily Wire previously <a href="https://www.dailywire.com/news/first-portrait-of-king-charles-iii-mocked-on-social-media-looks-like-hes-going-straight-to-hell" target="_blank" rel="noopener">reported</a>. The 8.5 by 6.5-foot painting by British artist Jonathan Yeo included a bold red background.
“It looks like he’s bathing in blood,” one popular Instagram comment said of the king&#8217;s portrait.
“Looks like he’s going straight to hell,” another royal follower agreed.

Kate Middleton

‘Shockingly Bad’: Critics Slam New Kate Middleton Portrait

'Shockingly Bad': Critics Slam New Kate Middleton Portrait

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