This week, the focus was on Sabrina Carpenter and her rejection of the White House's use of her song 'Juno.' The video was intended to promote ICE arrests of migrants. However, the controversy escalated when a new, altered clip of the pop star was posted on the US administration's social media accounts. It was an advertisement for her appearance on 'Saturday Night Live,' but with overdubbed audio that completely distorted the original dialogue. Where Carpenter said "too attractive" referring to actor Marcello Hernandez, the modified version made it sound like if she said "too illegal." The caption on the TikTok and X video was clear: "Public Service Announcement: If you are an illegal offender, you will be arrested and deported." Carpenter's Response to the Appropriation of 'Juno' Carpenter's response to the first appropriation of 'Juno' was forceful. She called the video "evil and disgusting" and demanded: "Never involve me or my music to further your inhumane interests."

Far from an apology, accusers Abigail Jackson responded sarcastically and harshly to CNN, using the singer's lyrics against her and defending deportations.

This is not an isolated strategy. Olivia Rodrigo had already protested when her song 'All American Bitch' was used in a similar video, warning: “Never use my songs to promote your racist and hateful propaganda.”

And on November 3, the administration used Taylor Swift's 'The Fate of Ophelia' as the soundtrack for a montage glorifying Donald Trump, a video that remains online.

The pattern is clear: The White House selects pop hits, decontextualizes or digitally alters them, and combine them with images of deportations or pro-Trump messages. Media outlets such as Variety claim this is a deliberate tactic to generate engagement and ridicule artists who typically represent progressive values ??and have a vast army of young followers.

Everything indicates that the administration's message goes beyond immigration policy. It seems to be a direct message to pop culture and its icons, transforming their art into an instrument of a narrative that some of them reject.