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photographs, or in endless speculation about their private lives. Even in the worst scandals, a businesslike suit-and-tie formality is still accorded the president. Saturday Night Live presidential skits are funny in part because they play on our belief that in reality, presidents are quite contained and buttoned-down figures, and their families, trotting not far behind, colorless and obedient. The joke on Nixon was that he was pitiably uptight—even at the height of Watergate, drinking heavily, he remained in his coat and tie, kneeling in prayer. Gerald Ford merely tripped coming off Air Force One, providing great hilarity in this break from formal presidential poise. Ronald Reagan, likely suffering the early effects of Alzheimer’s, remained a carefully managed picture of calm and confidence. Bill Clinton, amid the greatest break in presidential decorum in modern history, was even so always portrayed as a man in control. George W. Bush, for all his disengagement, was allowed by the media to be presented as dramatically in charge. Barack Obama, perhaps to his disadvantage, was consistently presented as thoughtful, steady, and determined. This is partly a benefit of overweening image control, but it is also because the president is thought to be the ultimate executive—or because the national myth requires him to be. That was actually the kind of image that Donald Trump had worked to project throughout most of his career. His is a 1950s businessman sort of ideal. He aspires to look like his father—or, anyway, not to displease his father. Except when he’s in golf wear, it is hard to imagine him out of a suit and tie, because he almost never is. Personal dignity— that is, apparent uprightness and respectability—is one of his fixations. He is uncomfortable when the men around him are not wearing suit and ties. Formality and convention—before he became president, almost everybody without high celebrity or a billion dollars called him “Mr. Trump”—are a central part of his identity. Casualness is the enemy of pretense. And his pretense was that the Trump brand stood for power, wealth, arrival. On the February 5, the New York Times published an inside-the-White-House story that had the president, two weeks into his term, stalking around in the late hours of the night in his bathrobe, unable to work the light switches. Trump fell apart. It was, the president not incorrectly saw, a way of portraying him as losing it, as Norma Desmond in the movie Sunset Boulevard, a faded or even senile star living in a fantasy world. (This was Bannon’s interpretation of the 7imes’s image of Trump, which was quickly adopted by everyone in the White House.) And, of course, once again, it was a media thing—he was being treated in a way that no other president had ever been treated. This was not incorrect. The New York Times, in its efforts to cover a presidency that it openly saw as aberrant, had added to its White House beat something of a new form of coverage. Along with highlighting White House announcements—separating the trivial from the significant—the paper would also highlight, often in front-page coverage, the sense of the absurd, the pitiable, and the all-too-human. These stories turned Trump into a figure of ridicule. The two White House reporters most consistently on this beat, Maggie HOUSE_OVERSIGHT_019952