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She’s Young, Trump-Friendly, and Has a White House Press Pass

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She’s Young, Trump-Friendly, and Has a White House Press Pass

The waitress was pouring tap water. But Natalie Winters was quick to ask for bottled.

“No fluoride for our dear dinner guest!” she said, gesturing to me. “Only filtered water and pesticide-free limes.”

We were sitting in the back corner of Butterworth’s, a Capitol Hill bistro that has become a destination for friends and supporters of President Trump. Stephen K. Bannon, Ms. Winters’s current boss, has hosted private events there. Her former boss, Raheem Kassam, the editor in chief of The National Pulse, is an investor. The menu that night featured lamb tartare, oysters brûlée and pork cheeks.

Ms. Winters and I had met for dinner, or so I had thought. “Honestly,” she said, “I’m probably not going to eat because that’s my brand. I don’t eat at restaurants because I don’t like the seed oils that they use.”

At 24, Ms. Winters has been a White House correspondent since Jan. 28. She reports for Mr. Bannon’s “War Room” podcast, whose audience includes large swaths of the Republican base, high-level officials and the president himself.

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She belongs to a group of journalists from conservative outlets who have taken on a new national prominence in recent months as they jostle for positions in the cramped James S. Brady Press Briefing Room. The White House press secretary Karoline Leavitt has described long-established news media organizations as increasingly irrelevant while accusing them of spreading “lies.”

The White House Correspondents’ Association, which includes journalists from dozens of outlets, has criticized the new administration’s handling of the press, saying it discourages independent reporting and gives priority to those who favor President Trump’s agenda. But the elevation of nontraditional outlets has been a good thing for Ms. Winters and some other journalists in the West Wing, including those representing Breitbart News and Lindell TV, the platform founded by the conspiratorial MyPillow salesman Mike Lindell.

When Ms. Winters is not seated beside Mr. Bannon in the basement studio of his townhouse near the Capitol, she is often reporting to the loyal “War Room” audience from outside the White House, delivering off-the-cuff monologues that pillory Democrats and, sometimes, her fellow reporters.

“It’s very gonzo, which I like,” she said. “I think of it as an I.Q. test every day.”

Ms. Winters describes herself as a “populist nationalist,” like Mr. Bannon. She says she “detests” more Republicans than she admires. She frequently attacks party leaders like Speaker Mike Johnson and usually supports Mr. Trump.

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“Even though I agree with most of what Trump does,” Ms. Winters said, “it’s because I ideologically agree with him. Not because I am a cultist.”

She counts Mr. Bannon not only as her co-host and boss, but also as her mentor. When he went to federal prison last year for defying a subpoena from a congressional committee investigating the Jan. 6 riot, he entrusted her to host “War Room” in his absence.

Since Mr. Trump’s reascension, her profile has skyrocketed to the point where she says she is recognized in restaurants and airports. She says her parents have been surprised by her often combative onscreen persona.

“It’s such a different version of myself than I am in my day-to-day life,” she said, adding, “I don’t even recognize myself.”

Ms. Winters grew up in Santa Monica, Calif., the daughter of a physician father and a stay-at-home mother. She attended Harvard-Westlake, an elite prep school in Los Angeles, and was relatively apolitical until the 2016 campaign was underway.

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Various school activities struck her as liberal-coded and performative. First it was a bake sale intended to raise awareness of the gender pay gap. “Just straight-up bogus,” Ms. Winters said. Then came the student walkout in protest of gun violence after the mass shooting at Marjory Stoneman Douglas High School in Parkland, Fla. “A school-sanctioned walkout,” she said. “What are you doing?”

Her only published piece in the high school paper was a letter to the editor in which she made the case for the confirmation of Brett Kavanaugh to the Supreme Court. It was not well received on the mostly liberal campus. Because of her conservative views in general and her support of Mr. Trump in particular, she was ostracized by her peers, she said.

“Maybe the trope that everything goes back to high school trauma is true,” she added.

During her senior year, after she learned she had gotten into the University of Chicago, she more or less stopped going to class. She skipped her high school graduation day because she was flying to Washington to start working as an intern for Mr. Kassam, who was then a “War Room” co-host. She also missed out on prom. “It was the best thing I ever did,” she said.

During her first year of college, Ms. Winters became a “War Room” staff writer. She frequently commuted to Washington instead of attending class. “My best friend from college is, like, Steve,” she said, referring to Mr. Bannon. As Covid spread across the globe, she made her first on-camera appearance.

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“The pandemic’s really where she got her sea legs,” Mr. Bannon said in a phone interview. He used some baseball-scout lingo to describe Ms. Winters, calling her “a five-tool player.”

She has raised her visibility with her appearances on “Piers Morgan Uncensored,” a YouTube talk show hosted by the former CNN personality. “She is always a lively and provocative contributor, even if I don’t agree with many of her views,” Mr. Morgan said by text. But Ms. Winters insists she’d be happy spending her days sifting through federal databases.

“She’s essentially a nerd at heart,” Mr. Bannon said.

One of the biggest feuds on the right has been between Ms. Winters’s boss and Elon Musk, who, with the president’s blessing, has embedded himself within the federal government. At the height of the rift, Mr. Bannon called Mr. Musk a “truly evil person.” In response, Mr. Musk wrote on X: “Bannon is a great talker but not a great doer.”

The spat has put Ms. Winters in a unique position. Mr. Musk is one of her 630,000 followers on X, and he frequently reposts her. She has lauded him and his leadership of the Department of Government Efficiency.

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“I think I’m the only person who could bring them together and get peace,” she said, laughing.

Ms. Winters may be a White House correspondent, but her job is not so much to cover Mr. Trump’s avalanche of executive actions as it is to report and comment on what she labels “opposition forces,” whether they be Democratic politicians, liberal organizations or major news outlets.

Hugo Lowell, a White House correspondent for The Guardian, said that Ms. Winters differs from other reporters on the beat because she is “vocal about her own political views and clearly infuses them into her coverage.”

“But she’s good on TV,” Mr. Lowell added, “and she has built up an audience with Trump’s base that translates to a degree of influence in a fragmented media ecosystem.”

Ms. Winters compared the White House briefing room to high school. “This is my first time in a professional setting where my MAGA royalty clout means nothing,” she said.

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Her outsider status was confirmed when the National Press Club rejected her bid to become a member. Asked about the denial of Ms. Winters’s application, a spokesperson for the organization, which was founded in 1908 and has roughly 2,500 members, said: “Decisions are made in alignment with the standards of journalism we uphold. We do not publicly comment on individual applications out of respect for all involved.”

Many White House reporters affiliated with large news organizations do not talk to her, Ms. Winters said, and several of them contacted for this article declined to comment. But, ultimately, someone who has blasted much of the news media as “ground zero of left-wing opposition to Trump” was always going to be in for a chilly reception.

At Butterworth’s, true to her word, Ms. Winters had only bottled water during our three-hour talk.

She said she has had two drinks in her life and has never done drugs. She also has a budding lifestyle brand. Items for sale include a tank top with “More insecure than the border” plastered across the front and a tote that reads “A little conspiratorial.”

Her cable news network of choice is MSNBC, which she watches partly to generate material. She said that in another world she might have been a poetry professor. “I always joke — in my day-to-day life, I really am a lib at heart,” she said.

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She also loved “Barbie” and agreed with the monologue delivered by America Ferrera, in which her character says, “It is literally impossible to be a woman.” But, Ms. Winters caveats, “It’s also really hard to be a man.” She added that scores of women younger than she had asked her not only for career advice but also for tips on how to be like her.

Like a growing Gen-Z contingent, she is “anti-app,” meaning dating apps. One day, she would like to settle down with a man she can be “submissive” to, she said. She added that she had been wronged in past relationships, which only stoked her ambitions.

“I was like, ‘I’m going to get revenge,” she said. “You can watch me on TV being the next big deal.’”

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Lifestyle

Jonathan Groff loves criticism … up to a point

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Jonathan Groff loves criticism … up to a point

A note from Wild Card host Rachel Martin: When I was growing up my parents talked a lot about purpose. They wanted my siblings and me to find careers that were satisfying but really they wanted us to find our purpose — the thing we were put in the world to do. And that’s the idea that came into my head when I was thinking about how to introduce Jonathan Groff. Because yes, he’s a mega talent with a long list of Broadway credits including “Spring Awakening” and “Hamilton.” He won a Tony award for his role in “Merrily We Roll Along” and now he’s nominated for another Tony for his new musical about singer Bobby Darin called “Just in Time.”

But when I watch Jonathan Groff perform it’s more than just watching a person do what they love – it’s watching a person live out their purpose. It’s like he couldn’t do anything else if he tried. And watching him on stage, doing his very special thing, is just a complete joy.

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Pennsylvania kindergarten student handed out jello shots to classmates, district says

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Pennsylvania kindergarten student handed out jello shots to classmates, district says

Pennsylvania kindergarten student passed out jello shots to classmates, district says

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Pennsylvania kindergarten student passed out jello shots to classmates, district says

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An investigation is underway after a Pennsylvania school district said a kindergarten student gave jello shots to classmates. 

The Greater Johnstown School District said a kindergarten student at the elementary school gave out “alcohol in the form of small jello cups” to three other students. 

The superintendent said once staff learned about the situation, “immediate action was taken.” The students were taken to the nurse’s office for evaluation, and out of an abundance of caution, EMS was called to take the kids to a local hospital. Parents were notified and met first responders at the hospital, the district said.

It’s unclear how the student got the alcoholic jello cups, but the district said it’s looking into it and cooperating with authorities.  

“We are currently in possession of the jello cups and the matter is under investigation,” the district said in a release. “We are cooperating fully with local authorities to determine how the student came into possession of these items and to ensure the continued safety of our students and staff.” 

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The superintendent said the district is committed to transparency, though it’s limited in what it can share because of student privacy laws. The district called it an “isolated incident.” 

“We want to assure our families that the health and well-being of our students is our top priority. Counselors and support staff will be available for any students who may need assistance processing today’s events,” the district said. 

The school thanked staff, administration, school nurses and school police officers for their “swift response” to the situation. 

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No Naked Dressing at Cannes Film Festival? How Will Stars Make News?

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No Naked Dressing at Cannes Film Festival? How Will Stars Make News?

The Cannes Film Festival is getting more covered-up — and just in time for the opening ceremony honoring the octogenarian Robert De Niro. Bella Hadid, newly blonde, is already in town, and stars expected include Halle Berry, Scarlett Johansson and Emma Stone. But anyone expecting one of the most reliable moves on the red carpet might be disappointed. The new dress code for gala screenings includes the admonition, “for decency reasons, nudity is prohibited on the red carpet, as well as in any other area of the festival.”

Cue a crisis in the fashion-film industrial complex.

After all, nowhere has the naked dress been more of a presence than at Cannes, where the combination of Mediterranean, sun and a certain Gallic disdain for prudishness (or at least perceived disdain for prudishness) have conspired to create its own tradition of sartorial liberation.

And “nudity,” when it comes to celebrity dressing, is a relative term. The idea that it may no longer be a shortcut to the spotlight is even more shocking than the clothing it may be proscribing.

“Naked dressing,” or that mode of dress in which large swaths of the normally private body are aired for public viewing, has been a tent pole of the publicity machine since long before Marilyn Monroe cooed “Happy birthday, Mr. President” into a microphone in a flesh-colored sheath so tight it left little to the imagination.

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In recent years it has become practically a category unto itself, especially at events like the Met Gala. That’s where Beyoncé played Venus on the half shell in 2015 in sheer Givenchy with strategically placed floral embroidery. Where, in 2024, Rita Ora wore a nude Marni bodysuit covered in what looked like strings, and Kylie Minogue modeled a Diesel dress with a naked torso superimposed on her actual torso. It has been framed as a post-Covid libidinal celebration and a post-#MeToo reclamation of the body. Either way, it is pretty much always a talking point.

All the way back in 1985, Ilona Staller, or La Cicciolina, the porn star, politician and former wife of Jeff Koons, walked the Cannes red carpet in a white satin … well, what would you call it? An evening version of Rudi Gernreich’s monokini, with breast-baring straps and a long white satin skirt. Madonna dropped her opera cape to reveal her Jean Paul Gaultier bullet bra and undies on the carpet in 1991, and in 2002 Cameron Diaz wore a sheer beaded gown and panties, starting a peekaboo trend that is still going strong.

Indeed, the dress as scrim, a transparent piece of nothing draped over bare skin or lingerie to suggest clothing without actually covering much of anything, is perhaps the most popular current form of naked dressing. It is more omnipresent than, say, the skirt slit up to here and the top cut down to there that has also been modeled by many on the red carpet. It provides the illusion of clothes while also teasing what is underneath.

It’s unclear from the wording of the Cannes dress code if the new policy applies only to literal nudity or to clothing that exposes body parts that might reasonably be termed “indecent.” According to Agnès Leroy, the head of press for the festival, the new rules were established to codify certain practices that have been long in effect. The aim, she said, “is not to regulate attire per se, but to prohibit full nudity — meaning the absence of clothing — on the red carpet, in accordance with the institutional framework of the event and French law.” (Even if French law allows toplessness on some beaches, a reality that may add to the confusion around the Cannes rules.)

Still, that leaves the dictum somewhat open to interpretation, given the general absence of fabric in many evening looks. One person’s vulgarity can be another person’s celebration, and who is to say who gets to police whose body?

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(This is reminiscent of the time Melania Trump addressed critics of her naked photo shoots in her memoir, situating them in an artistic tradition that includes John Collier’s “Lady Godiva” and Michelangelo’s “David,” and noting that “we should honor our bodies and embrace the timeless tradition of using art as a powerful means of self-expression.”)

Perhaps the new code is simply calculated to prevent the sort of attention-grabbing stunt that occurred at the Grammys in February, when Ye, the rapper formerly known as Kanye West, crashed the red carpet with his wife, Bianca Censori, only to have her take off her fur coat to reveal her fully naked body “covered” by an entirely transparent nylon slip that provided no coverage at all. That seemed to have taken the trend to its ultimate, disturbing extreme by breaking the last barrier in naked dressing: genitalia.

Even though Ye had not actually been invited to the event, he and his wife dominated the headlines the next day more than the actual award ceremony.

The fact that the Cannes dress code also prohibits “voluminous outfits, in particular those with a large train, that hinder the proper flow of traffic of guests and complicate seating in the theater” suggests that what the organizers were really forestalling was the appearance of dresses that act as their own sort of performance art, grabbing eyeballs and dominating conversations that might otherwise be focused on the films that are the nominal point of the festival.

If that was the aim, however, it has somewhat backfired. By officially banning nudity on the carpet, the Cannes organizers simply sparked a raft of pieces (like this one) discussing nudity on the carpet. Most of them focus less on the actual meaning of the term in all its thorny nuance than the opportunity to revisit notorious nude-adjacent moments past.

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You could have seen that one coming.

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