"We Can Do It!" is not just a poster; it's a satirical representation of blissful optimism and state propaganda intended to inspire, a symbol frozen in time where the complexity of global issues is reduced to a mere motivational slogan. It's the "Resilience Manual Made Simple," where every challenge, whether a world war or the economic crisis, is addressed with a simple flex of the biceps and a resolute smile, convincing the masses that the solution is within reach, provided they truly believe in it.

His raised fist and iconic polka-dot headband are the soundtrack to his parody. This isn't empowerment, but a silent injunction to get to work without question, to smile in the face of adversity, and to demonstrate unwavering determination, even when the pay isn't forthcoming or the conditions are deplorable. She is the embodiment of the "flaunted life coach," whose universal, decontextualized message promises that "everything will be fine" if you grit your teeth and put in a little elbow grease, ignoring the systemic structures that create the problems.

"We Can Do It!" is paradoxically the champion of individual effort disconnected from collective reality, convinced that a positive attitude is enough to move mountains, even when those mountains are made of discrimination or social injustice. For her, each period of crisis is an opportunity to resurface the same inspiring image, without ever questioning the evolution of the challenges or the relevance of her message in a world that no longer has the same benchmarks. Her ability to be reappropriated is less a versatility than an inexhaustible source of comical and sometimes cynical reinventions, where her initial message is lost in an ocean of memes and merchandise.

Her very appearance, that of the muscular and glamorized housewife, is a constant provocation: a blend of manual labor and marketing perfection. The poster takes its role as a "feminist symbol" seriously, but its very existence is a reminder that even the noblest of messages can become a simplistic and sometimes naive caricature when it is too often recycled and disembodied.