Lifestyle
When Posting Becomes Its Own Style of Politics
A growing number of conservative influencers are making content in which they claim to uncover fraud.
In December, the YouTuber Nick Shirley uploaded a video purporting to expose a scheme led by Somali refugees in Minneapolis.
It caught the attention of Vice President JD Vance, who shared the video online. Soon after, ICE was deployed to the city.
The video was inspiring to Amy Reichert, a 58-year-old San Diego resident, who started making her own videos claiming a similar scheme was afoot in her city.
She is one of many creators channeling populist rage and elite resentment into a style of posting.
It’s a mode of practicing politics some are calling “slopulism.”
Ms. Reichert doesn’t like to call herself a right-wing influencer.
She has a sizable following on social media (some 60,000 followers on X, and 80,000 on Instagram), where she posts videos of herself talking about what in her view is corruption in the Democratic-leaning city government of San Diego, usually while wearing rose-tinted aviator sunglasses.
Since the beginning of this year, Ms. Reichert, a licensed private investigator, has been making content that highlights what she thinks is a pattern of taxpayer fraud in her city’s child care centers. It’s a pivot she has made since watching the video by Mr. Shirley, the 23-year-old MAGA YouTuber, in which he claimed to have uncovered widespread fraud by a network of Somali Americans operating child care centers.
“I thought, How can I, as a private investigator and private citizen, do what Nick did in Minnesota?” Ms. Reichert said. “We are drowning in fraud in California.”
After just a few hours of researching state databases in early January, Ms. Reichert began to post screenshots on X of documents she claimed belonged to “ghost” day care centers in San Diego County. The posts spread widely. Soon, she was on television to discuss her work with the Fox News host Jesse Watters, and President Trump was sharing a clip of the segment on his Truth Social platform.
Then Ms. Reichert began making videos, sometimes standing outside the day care centers in question, in which she repeated the allegations while presenting little proof of wrongdoing. But her message — that foul play was taking place — was clear.
One video Ms. Reichert posted was quickly clipped and reshared on X by right-wing news aggregators. It earned close to half a million views — essentially a viral moment for a creator of Ms. Reichert’s stature.
She was also happy to see that Mr. Shirley, whose work Mr. Vance suggested was more consequential than Pulitzer Prize-winning journalism, began to follow Ms. Reichert on X.
“Quite amazing, these past few weeks,” Ms. Reichert said.
Ms. Reichert is one among many conservative content creators who have become the internet’s busiest sleuths in recent weeks. They create videos that are light on evidence and traditional journalistic techniques but are filled with sinister-sounding claims that neatly align with the Trump administration’s priorities.
Armed with digital cameras and publicly available documents, they claim to be documenting patterns of elite corruption, taxpayer fraud, abuse of power and government waste across the country, hoping their posts and videos will cross into the feeds of elected officials, as Mr. Shirley’s did.
Some of the biggest names in MAGA media have fanned out across the country to make this content.
The influencer Cam Higby claimed to have uncovered a nearly identical case of fraud, undertaken once again by Somali migrants, in Washington State.
Benny Johnson, a creator with close ties to the Trump administration, set out looking for fraud within state-run homeless programs and misspent Covid relief funds in California.
On YouTube, Tyler Oliveira, a 26-year-old creator with over eight million subscribers, posted videos claiming to have uncovered a “welfare-addicted” township in upstate New York.
Even Dr. Mehmet Oz, a Trump administration official, has made a video in which he claims a $3.5 billion medical fraud operation is happening in Los Angeles.
What Is ‘Slopulism,’ Exactly?
It’s a novel form of political behavior that has left many political commentators and researchers struggling to articulate what it is. Though many are quick to say what it’s not: investigative journalism. It is also, experts say, more than misinformation or disinformation, terms that fail to capture the nature of these misleading posts and how they are filtering up into the highest echelons of government.
Curt Mills, the executive director of The American Conservative magazine, called it “MAGA-muzak.”
Kate Starbird, a researcher at the University of Washington who studies online spaces and extreme politics, has called it “participatory propaganda.”
“Try ‘entrepreneurial opportunism,’” said A.J. Bauer, an assistant professor of journalism at the University of Alabama with a focus on right-wing groups.
“The real novelty here is the synchronization between the movement, the party and the state — but there isn’t a buzzword yet,” Mr. Bauer added.
The sameness of this politicized content, created overwhelmingly by figures orbiting the conservative cultural ecosystem, is, to many on the right and the left, not unlike digital “slop.” The term, which refers to low-quality, low-information, A.I.-generated content, has gradually expanded to more generally describe the gruel-like mixture of online ideas, images and memes flooding our feeds.
That’s how you get another term, “slopulism,” which has of late become a buzzword with X users and Substackers, many associated with the right, during the course of Trump’s second term.
Slopulism, as described by these commentators, is a kind of political post that elides concrete political concerns in favor of the fast-acting satisfactions of social media rage and culture-war jargon. It’s a political tendency that offers followers emotional gratification through mindless, performative gestures online.
Many of the content creators, like Ms. Reichert, were unfamiliar with the terms slop or slopulism.
These days, on platforms like X, slopulism is a pejorative label often applied to posts by politicians and pundits alike, anyone who shares out lowest-common-denominator ideas designed to appeal to loyal political bases.
On the right, this can look like gleeful cruelty, sadistic memes, posts that “own the libs” or sensationalized claims about fraud and conspiracy. On the left, it could be social justice messaging, online identity politics or populist economic proposals to, say, tax the rich.
The new wave of fraud-themed content, made by creators like Mr. Shirley, invokes familiar themes of populist rage and elite resentment. It seems to be the latest evolution in a culture where posting is a primary method of practicing politics — except these posts appear to be made not only to get in on a trending wave, but also to provoke policy action.
“Slopulism works by harnessing the excitement and vibe of a moment,” said Neema Parvini, a senior fellow at the University of Buckingham in England who is considered to have popularized the term. He believes it’s a way for populist leaders, like Mr. Trump, to keep their bases content.
“It convinces supporters to invest their emotions in story lines rather than the substantive politics or structure behind it,” he said. “It doesn’t lead anywhere, it’s just entertainment.”
‘Building for Years’
Renaming the Gulf of Mexico. The annexation of Greenland. A proposal to turn Gaza into a glittering resort town. All of these ideas found their potency in the form of viral content, circulated by those on the right, before they were fully embraced by the Trump administration. The online right podcaster Alex Kaschuta called this “the vibes-based international order.”
“This dynamic has been building for years,” said Dr. Starbird, the extremism researcher. “But in the second Trump administration, this relationship is more direct, with policies clearly being motivated, shaped and justified by and through digital content creation.”
As with most viral content, the ideas emerging from these online environs can be fleeting. Mr. Mills, of The American Conservative, described the administration’s recent policy priorities as having a “flavor of the month” feel.
Some on the right pushed back against the idea that slopulism, or any dynamic like it, is driving the administration’s actions.
“It’s a misread of the situation,” said Jesse Arm, vice president of external affairs at the Manhattan Institute, a conservative think tank. He pointed out that something like the Greenland annexation, which is often described as meme policy, could be traced to “far more serious conversations” between the president and his advisers as far back as 2019.
“I don’t think President Trump is hyper-invested in what’s happening online,” he said. “His administration is paying attention to what happens online, sure, but only in the sense that this is the main arena to gauge policy discourse.”
In a statement, Abigail Jackson, a White House spokeswoman, said Mr. Trump “always receives feedback and input from a variety of sources before making a decision that is in the best interest of the American people.”
Some see this as a positive style of governance, Mr. Mills said, adding, “It’s hyper-democratic in some ways: ‘Let’s look online and see what’s popular.’”
The content can have political consequences, but Mr. Bauer, the University of Alabama journalism professor, said he did not view its creation as a sincere political effort. Many of the creators he has observed making these videos aren’t highly ideological figures or even MAGA die-hards.
“They see an opportunity,” he said. “These are people that aspire to be famous online. They see that there’s a lot of desire and demand for right-wing content. And they are motivated by things like money and attention.”
Ms. Reichert said that the amount of money generated from her posts was “pathetically low,” but declined to offer further details.
Most of the fraud videos published in recent weeks resemble Mr. Shirley’s in both form and content. Almost always, the person suspected of wrongdoing is an immigrant or a member of a minority group, the most common ethnic category being that of Somali refugees, as in Mr. Shirley’s video about Minnesota.
While some, like Ms. Reichert, say they are inspired by Mr. Shirley, others deny any influence.
Until this January, David Khait, a conservative content creator with over 100,000 subscribers on YouTube, posted mostly man-on-the-street debates and interviews, a confrontational content style popularized by the conservative activist Charlie Kirk, who was assassinated in September. But recently, he has begun making videos about what he says is voter fraud in Fulton County, Georgia.
“There’s been no pivot here,” Mr. Khait, 26, wrote in a text message. “Call my content what it is: confronting institutional failure head-on because that’s what’s staring Americans in the face.”
The slopulist impulse may be most acute on the right at the moment — owing to the Republican control of the federal government — but some have argued this mode of online political engagement has its origins across the aisle.
Sean Monahan, the founder of the trend forecasting group K-Hole, has traced it back to the rise of the so-called “dirtbag left,” an online set of leftists who came to prominence during Bernie Sanders’s presidential run in 2016.
“It was a style of politics presented to younger, left-wing consumers, things like raising taxes on billionaires or modern monetary theory or controls on rent,” Mr. Monahan said. “There was a presumption that you could lay out a policy goal with no political trade-offs, no constituencies to navigate and no downsides.”
One recent example of slopulism on the left, he said, might be the mayoral campaign of Zohran Mamdani, whose platform included a promise to freeze the rent.
“He’s a little bit slopulist,” Mr. Monahan said of Mr. Mamdani, adding, “This is the feel-good model of politics where the mechanics are less important than taking credit and celebrating.”
For some, it is likely to be one of the more rewarding ways to practice politics in modern-day America.
“I don’t want to live a life of quiet desperation,” Ms. Reichert said.
Mr. Shirley, in recent days, has been staying the course, too. While he has moved on from Minnesota, he’s still making videos about fraud aimed at immigrant-operated day care centers. But this time he’s in California and has a new collaborator by his side: Ms. Reichert.
Last month, she posted a photograph of herself and Mr. Shirley on X that has been viewed 1.4 million times. Using a flame emoji, she wrote: “California, here we come!”
Lifestyle
The Head-Turning Hats of the 2026 Kentucky Derby
Hats? The Kentucky Derby had a few.
In the hours leading up to America’s most famous horse race, spectators in Louisville engaged in the event’s other time-honored tradition (apart from day drinking): parading around Churchill Downs in attention-grabbing outfits.
But it wasn’t just hats — fascinators, fedoras, bowlers, boaters, flowers and feathers (so many feathers) — that caught the eye. There were equine-inflected accessories too: purses, patterns, jackets, brooches and at least one vest.
A wild ride, as always.
Lifestyle
Their love blossomed in the buzzy L.A. restaurant scene. So what was their wedding food?
It wasn’t love at first anything for Anna Sonenshein when she met Niki Vahle while working at Son of a Gun in 2018. Rather, it started with a feud.
Sonenshein worked as a host, Vahle as a sous chef. She mostly ignored him.
“I was fed up with the kitchen thinking they were better than front-of-house,” she told me, on speakerphone, from the home they now share. “It’s such a common thing in restaurants, and I hate it.”
But, like all good star-crossed stories, the pair fell in love.
“And I beat all that out of Niki,” Sonenshein said.
“She did,” he called from a distance, as he wrangled one of their two dogs, Chicken. “We don’t tolerate any of that now in our restaurant.”
The restaurant in question is the Michelin Guide-inducted Little Fish, which the couple started as a pop-up out of their kitchen window in 2020 and has expanded to two locations: Echo Park and Melrose Hill.
With Little Fish, Sonenshein and Vahle unapologetically mix business, pleasure, family, friendship and food.
Friend of the couple, Hannah Ziskin of Quarter Sheets, made multiple cakes, including a “chef-y” combination of rhubarb with pistachio chiffon and mascarpone custard infused with orange peel, and her classic olive oil chiffon with fresh passionfruit and bay leaf-infused custard. The dog figurine, right, is modeled after the couple’s pets, Chicken and Hank.
(Madelyn Deutch)
It makes sense, then, that their biggest partnership to date — an April 18 wedding — would be a food-first, ceremony-second affair. About 120 guests sardined into the modest backyard of Sonenshein’s Santa Monica childhood home, with a veritable who’s who of the L.A. restaurant scene doing double duty as attendees and vendors.
As the teams behind Mariscos Jaliscos and El Ruso set up trucks out front, Aaron Lindell and Hannah Ziskin of Quarter Sheets conversation-hopped, and Kae Whalen, the L.A. darling wine Substacker (who also runs Little Fish’s wine program), snaked through the crowd with her pint-sized pomeranian under one arm.
In this dark era for L.A. restaurants, where economic fears, fires and ICE have led to countless closures, Sonenshein and Vahle have made a point of building community among restaurant workers and collaborators.
Niki Vahle and Anna Sonenshein, owners of Little Fish, embrace during their backyard wedding.
(Madelyn Deutch)
“When we were starting our businesses, none of us had any knowledge of the back-end stuff,” Ziskin told me. “We figured it out together.”
She and Lindell turned their Quarter Sheets pop-up into a brick-and-mortar in 2022. Little Fish followed the same trajectory a few months later.
“Niki and Anna will answer any question I have,” Ziskin said. “We talk business, money. It’s so rare to have that: friends in the same position who deeply understand what you do.”
Vahle and Sonenshein refer to their friends who also started food businesses during the pandemic as “our class.”
“We’re peers, not competition,” Vahle said. “We share notes; we share everything.”
In January 2025, when the Palisades and Eaton fires ripped through the city, these friends were the ones Sonenshein and Vahle called first as they created a network of almost 200 restaurants to source, cook and deliver meals to displaced families and first responders.
Wedding guests enjoy the grazing table and cake. (Madelyn Deutch)
Catalina Flores, of Panhead LA, curated the abundant grazing table.
(Madelyn Deutch)
As the party waited for Sonenshein and Vahle to appear, guests sipped his and hers wine selections by Whalen: a Domaine Derain “Landre” 2023 for Vahle (“A Niki wine reminds us that beauty, precision and transcendence are possible”), and a Le Mazel “Couvée Paulou” 2024 for Sonenshein (“An Anna wine is often fruity, vibrant, easy to adore and adores easily”).
Meanwhile, like any good father of the bride, Raphe Sonenshein held court at the grazing table, encouraging anyone in earshot to pile plates with charcuterie, taralli and gildas curated by Catalina Flores (Panhead LA) and Ryan Vesper (Gourmet Imports).
The mother of the bride, Phyllis Amaral, shepherded family members to a handful of front-row folding chairs. Everyone else would spend the night standing, balancing plates and, inevitably, spilling some wine.
“Very creative wedding,” said one friend of the family.
The low-key backyard wedding took place at the bride’s childhood home. Her sister, Julia Sonenshein, left, and mother, Phyllis Amaral, wore red.
(Madelyn Deutch)
The couple made their entrance — arm in arm — with Sonenshein in a tea-length, corseted gown and Vahle in a bespoke suit the shade of a Liguria olive.
During their vows, Sonenshein joked that marriage isn’t so scary when you already share six LLCs.
Then, they sealed their newest contract with a kiss.
The applause had barely subsided before a collective hunger took over.
Mariscos Jalisco served shrimp tacos, a nod to the couple’s own restaurant, Little Fish.
(Madelyn Deutch)
Mariscos Jalisco sent out trays of shrimp tacos — a nod to the couple’s seafood origin story — but guests still beelined for the truck, forming a line down the block.
Next door at El Ruso, owner Walter Soto chopped carne asada while his wife, Julia, took orders: two chile colorado; three birria; no onions, please. Their preteen daughter, Suri, played in the front seat of the truck.
“For us, it was something very special to know that we were going to serve food on such a special day to someone so special to us,” Soto said. “I remember seeing Niki several times eating at our food truck during the difficult times of ICE raids. [Then] we had to close our truck for three or four months. Anna and Niki came to my house with a check to help us endure that really bad time. That’s how we met them.”
El Ruso tacos rounded out the menu. Owner Walter Soto said he was honored to serve food at the wedding after the bride and groom supported his business during the ICE raids that dampened his sales.
(Madelyn Deutch)
As for the cake, try two. Both by Ziskin.
“I would have been offended if they hadn’t asked me,” she said.
The first was a Quarter Sheets menu classic: olive oil chiffon with fresh passionfruit and bay leaf-infused custard. Ziskin also created what she calls a “chef-y” combination: rhubarb with pistachio chiffon and mascarpone custard infused with orange peel.
Bride Anna Sonenshein mingles with guests near the El Ruso taco truck.
(Madelyn Deutch)
Before moving the afterparty to Santa Monica’s Not No Bar (co-owner Conner Mitchell is also one of Little Fish’s fishermen), the music cut briefly for speeches.
Julia Sonenshein, the bride’s sister and a sometimes food writer, admitted that she couldn’t separate their love story from a shared love of cooking.
“For these two, the idea that anyone would go without food, whether it’s friends who’ve stopped by for a coffee table meal or families who lost their kitchens in wildfires, is an unconscionable possibility they won’t accept,” she said. “And so they find a way to make sure all of us are fed.”
And what about Sonenshein and Vahle — did someone remind them to eat?
Vahle didn’t hesitate. “How could we forget?”
Lifestyle
How 7 Looks for ‘The Devil Wears Prada 2’ Came Together
When Molly Rogers got the call to work on the costumes for “The Devil Wears Prada,” she could sense right away that she was involved in something special.
“I knew people were going to go nuts for it — I’d never turned the pages of a script like that before,” said Rogers, who worked on the 2006 film as the associate costume designer under the tutelage of her longtime mentor, the “Sex and the City” costume designer Patricia Field.
But even Rogers couldn’t have predicted just how big the film would become. In the 20 years since its release, the comedy, about the imperious fashion magazine editor Miranda Priestly (Meryl Streep) and her ill-suited assistant, Andy (Anne Hathaway), has become part of the cultural lexicon, thanks to memes and memorable lines like Miranda’s contemptuous catchphrase, “That’s all.”
So when Field, who was busy styling the rom-com series “Emily in Paris,” asked Rogers to handle the costumes for the film sequel — this time as lead designer — she jumped at the opportunity.
Some designers might have been intimidated. Hathaway has called designing the costumes for a “Devil Wears Prada” film a “heroic act,” explaining in a recent Times article: “It’s not just one character arc, it’s so, so many. Fashion is a language in the film; it’s another character.”
For Rogers, though, the experience was more nostalgic than nerve-racking.
“It was like coming back to summer camp,” she said of the production.
On a recent morning at the Four Seasons Hotel in Lower Manhattan, Rogers went over sketches for six pivotal costumes from “The Devil Wears Prada 2” — and one that didn’t make the cut.
Vision in Red
At Rogers’s first meeting with Streep, Miranda’s gala look came up, and both had the same immediate thought: “It has to be red.”
“And she’s the one who said, ‘Let’s do a sleeve on one arm and bare on the other,’” Rogers said of Miranda’s asymmetrical gown, which is a custom-made Balenciaga in red silk super taffeta. “It’s so fabulous.”
The dress, which features a tilted collar and a thin matching belt, was built in Paris, with a team from Balenciaga flying to New York City twice to fit Streep for it.
At one point the actress suggested trying a hat to top off the look — possibly a nod to horns — but Rogers said she knew it was “gilding the lily.”
“It was her white hair alone that the red gown should frame,” she said.
Party in the Back
As Runway magazine’s new features editor, Andy is back in the same orbit as her frenemy and fellow ex-assistant, Emily Charlton (Emily Blunt), who’s now an executive at Christian Dior. To solve a crisis at the magazine, Andy agrees to an expansive feature on the company, whose advertising dollars Runway needs.
For Andy’s interview look, Rogers opted for a black button-down Jean Paul Gaultier pinstriped vest, paired with matching slacks, a pearl necklace — and nothing underneath.
“I was constantly trying to balance found things with things that she could have afforded and that she would wear as a professional reporter,” Rogers said.
There’s also a surprise when Andy turns around: The vest has an all-white silk back.
“I loved that,” Rogers said.
Caped Betrayer
For a scene involving a backstabbing Emily, Rogers went with a sequined Dior houndstooth power suit — with a Zimmermann leather capelet.
“I tried to find Dior pieces that have a little edge to them,” Rogers said of the black-and-white wool number from the spring 2026 collection.
Emily’s style in the sequel, she said, was an extension of the first: The character still has a mix-and-match aesthetic, pairing, for instance, a white Dior button-down with a Wiederhoeft corset and Gaultier black-and-white pinstriped pants.
“We didn’t have enough outfits for her,” Rogers said. “I think she changed 16 times.”
Editor Chic
One lesson Rogers has learned in more than 40 years working with Field, she said, is that “you cannot force an actor to wear anything.”
“You can have your heart set on a gown that you want in a scene and think it’s the perfect color, but you’re not the one in it,” she said. “Pat’s fittings, and mine as well, are very collaborative: Do you like what I brought into the room? How does it feel on you?”
So when she came across this homey, tasseled Dries Van Noten jacket, she crossed her fingers that Streep would dig it.
Streep did.
“She thought it was a great piece for the right scene,” Rogers said. “I thought it had enough oomph to it to still be in the office, and it looked like ‘editor.’ It made me think of Diana Vreeland,” once the editor in chief of Vogue.
Andy’s gala look inverts the movie’s through-line of sleeveless pieces layered atop button-ups and blouses: Here the base layer, a blouse from the Armani Privé fall 2024 couture collection, is sheer, tucked beneath a black silk velvet jumpsuit with pinstripe Swarovski crystal suspenders.
“It came down the runway without a blouse, and I was like, David’s never going to let me do that,” Rogers said, referring to the director, David Frankel. “Anne Hathaway at the dinner table with no blouse on — how cool would that be? But they made us a beautiful sheer blouse.”
Another hat that appeared in Rogers’s initial sketch bit the dust: a velvet Armani beret with jet-black glass stones.
“I am a hat fighter,” Rogers said. “I’ve gone through big hat fights, with Sarah Jessica Parker and I fighting for hats on TV shows. They always don’t want to light them, or they cast shadows, blah blah blah, and it always unfinishes an outfit.”
Though the beret for Andy was fabricated, she said, “sure enough, they killed it.”
Human Disco Ball
When Miranda saunters through the Galleria Vittorio Emanuele II, Milan’s stunning historic shopping arcade, the lights shimmer off the colored crystals and black sequins on her Armani overcoat, turning her into a human disco ball.
“When I read the script, I was like, ‘That needs to dazzle,’” Rogers said of the statement piece from Giorgio Armani’s Privé spring 2025 couture collection, which she layered over a tie-neck Lurex Oud blouse and black trousers.
It was a choice she initially had some trepidation about.
“I was afraid of the pussy-bow blouse on Miranda Priestly,” she said. “Because that feels soft to me. But it was such a cacophony of colors and textures, and I felt like it was strong enough.”
Miranda’s black cat-eye Prada glasses are striking, of course, but Rogers said the boldest accessory was her side-swept white hair.
“I think that there was great resistance to that,” Rogers said. “People didn’t understand that.”
The look was drawn from that of the fashion editor Polly Mellen and the model Carmen Dell’Orefice.
“Meryl and Pat insisted on it,” Rogers said.
Power Gloves
Emily’s gala dress — a strapless Dior gown with a nude tulle and black lace corset top, matching opera gloves and a slinky black satin skirt with a double side bow — was Rogers’s favorite look from the film. Alas, it ended up on the cutting-room floor.
Still, she said, she loved getting the chance to bring an edge to a very un-Emily-like shape.
“When I think of Dior and bows, I think of Charlotte,” Rogers said of the preppy “Sex and the City” character. “So to take a Dior bow and make it look — there’s a bit of a goth idea there. And I thought that was really appropriate for her character.”
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