Model: Kate Monroe
Production: BurgerRock
Media Photographу: Pedro Torres
Makeup Artist: Emily Vazquez Lott
Hairstylist: Angel Garcia
Location: La Valencia Hotel
What’s something in entertainment you think is currently overvalued? And what’s being overlooked that deserves more attention?
I think something that’s being overlooked right now is actual talent. If you look at the landscape—whether it’s TV on streaming platforms or movies—the level of talent just isn’t what it used to be.
I recently watched some older films with my son, and I don’t know if it’s because of cancel culture or what’s changed, but the messaging feels so watered down now that things just aren’t as funny anymore. It’s like we’ve really squashed humor.
I think it’s time to let talent shine again—let people be impactful and actually have fun with what they’re doing. If you look back at the ’90s and early 2000s, even something like a red carpet had people completely tuned in. Audiences were engaged—they were watching the fashion, idolizing stars. Now, viewership for events like the Oscars is at an all-time low.
I think there’s been a disconnect. When you forget that you only exist because people at home are watching, and you become too far removed from their interests, their needs, and even their worldview, you end up in a bubble that’s no longer appealing. Then you wonder why a simple TikTok or Instagram post gets more attention than a major film—it’s a sign something isn’t working.
So I think we need to refocus on talent, let people be funny again, and create films that are impactful, fresh, and tell new stories. We need to move away from the noise of the past decade. At a certain point, the public just doesn’t want what’s being sold—and if that doesn’t change, it risks getting completely lost.
What kind of power dynamics have you noticed since stepping into entertainment?
The interesting power dynamic I’ve noticed is that there’s very little authenticity—many people are disingenuous and out for themselves. That’s true in any business. I’m a CEO of an eight-figure company, so I see it there too. But in entertainment, it’s especially noticeable when people try to take their on-screen persona off-screen. It just doesn’t work—you’re not a character in real life. And that’s unfortunate.
Another big dynamic is that only a few people are actually making money. Many movies aren’t performing the way they used to, especially after COVID. People didn’t fully return to theaters. I go almost every weekend, and even in places where audiences can afford it, theaters aren’t full. You have to ask yourself: why aren’t people coming anymore?
I think the power is shifting to social media. People want to watch real people, hear real conversations, and see creators uncover things. That’s where attention is going, while the disingenuous, made-up stuff just doesn’t connect anymore. This next generation craves authenticity. The days when you could just be "a star” are over—you have to offer more than that now.
Are there eras, icons, or references you keep coming back to creatively?
I’m working on something right now called Modern Day Marilyn, and it’s exploring how some people have a certain frequency or resonance. It’s what gives them charisma, charm, and the ability to draw attention.
I’ve been thinking a lot about Marilyn Monroe in that context. She was ahead of her time—way too smart for the world she was in. People often underestimate her intelligence, but if you look into it, she was brilliant. She ended up surrounded by people who wanted to silence her, unfortunately.
If she were alive today, she’d be a completely different person. She might be the CEO of an eight-figure company, she might have gone into politics, or even made a power move that could have led her to be the first female president.
That resonance—the thing that makes someone a star—is what fascinates me. What makes people want to watch you? What gives someone that charisma, that charm, that "it” factor? Can it be learned, or is it something you pick up by observing others? I’m not sure it can. I think some of us are just born with a little more of that magic. And that’s exactly what intrigues me.
Your visual identity is becoming more defined—how intentional are you about building a recognizable aesthetic?
I’m working hard to put myself into a new bucket. I spent so much energy building this political machine and being on the news hundreds of times—it’s hard to escape that. People already have a certain impression of you.
If you Google me, your impression will be very different from what you get in this interview or if you met me in person. So I’ve been putting a lot of effort into showing people that I’m much more than they might think. I have a lot to bring to the table, big stories to tell, and experiences to share.
It’s been challenging. I’ve had publicity teams in the past who couldn’t get me out of that original bucket because they didn’t know how to handle someone like me—someone who had already "made it” in news. But success in news isn’t the same as success in Hollywood.
So I’ve been rethinking my talking points, questioning whether what I’m saying will resonate with people. I realized it doesn’t always. Sometimes I try to appeal to half the country, and while that works for them, it might repel the other half.
A little-known fact: I’m married to a liberal Democrat, atheist, Turkish immigrant. We have a mixed-race baby together. So while people might assume one thing about me, the reality is more complex. I’m working hard to show that complexity and expand how people see me.
Do you feel like you’re in a phase of reinvention or refinement?
I’d say I’m doing a bit of both—reinvention and refinement. I’m never idle in my own iteration. I don’t let the grass grow. I always have multiple ideas running at once, always asking: how can I do more, be more, impact more, leave a bigger legacy? That drives almost everything I do.
Refinement is a different kind of polish. Coming into Hollywood after doing political commentary requires some adjustment. Political commentary lets you be roasty, funny, and edgy, but when you’re going to a film festival or doing a magazine feature, you have to polish that up a bit.
I actually love that process. I love the come-up, looking back and realizing how far I’ve come. Two and a half years ago, I’d never been on TV. Now, I’ve been on more than 800 times. Two and a half years ago, I hadn’t run for Congress. My company had only made around $700,000. In such a short time, this iterative process has taken me places I never imagined.
I’m not stopping now. I’m aiming for exponential growth—this is just the beginning.
When do you feel most like yourself?
I feel most like myself all the time, because I’m always being me. Even a watered-down version of my personality might not be everyone’s cup of tea—and that’s fine. Not everybody drinks tea. I’m not pizza; I can’t be everything to everyone.
I tried that for a while, but like the Bible says about being lukewarm, everyone will spit you out. You can’t be on both sides of the fence all the time. I like to think I am who I am. I say yes when I mean yes, no when I mean no. If you don’t like that, that’s okay—likability isn’t necessary.
People assume you have to be likable to be successful, but plenty of very successful people aren’t. If someone thinks I’m unlikable, it just means we have a disagreement—and that’s fine. I’m not going to assume the other person is unlikable just because of that.
What do you hope industry insiders take away from meeting you at Cannes?
I hope industry insiders get excited to meet a woman who’s built everything on her own. I made every single nickel that went into this film. I had to overcome having my company stolen and then get it back on the very day I had to commit the funds for the movie.
I hope they see a Marine Corps veteran with grit, skill, and resolve, and think: this is someone I want to do business with. Am I the prettiest woman on Earth? No. Am I the best actress? No. But am I one hell of a businesswoman? Absolutely.
These people are looking to do bigger, better business, and if they meet me at this film festival, I’m there to make that happen. I’m not there for photos or fluff—I’m there to do big deals. If you have something significant to accomplish, I’m the person to meet.
Cannes is one of the most strategic gatherings in film—what are you hoping to walk away with from it?
I hope to walk away from Cannes with memories—lots of them. That’s the most important thing to me: capturing this moment in my life as an evergreen experience.
But of course, I also hope to spark interest in my Modern Day Marilyn concept. I want someone to say, "Yes, we should make that movie.” I’m hoping to show there’s a better way forward with projects like Studio Mint, where people can actually make money, fans can participate, and more people can engage with the industry. Hollywood has been stuck in chains for too long.
A lot of people stay in the industry just for the healthcare. But if that’s all you’re getting from acting, there are easier ways to make money. I want that perspective to be heard.
Ultimately, I hope to leave with strong business relationships, meaningful memories, and an impression that someone like me—a regular person—can enter a field dominated by established stars, thrive, and have the best time ever. You don’t need to fit the mold of a traditional superstar. You can make your own star.
In 12 months, what would make you feel like this pivot into entertainment has worked?
In 12 months, what will signal to me whether I should keep going is whether this pivot is actually working—because you can’t just chase the dragon. Some things aren’t meant for you. It’s like a slot machine: you can keep putting coins in, but eventually you could lose $10,000. At some point, you have to step back and ask, is this really working?
That said, over the last 2.5 years, I’ve developed a bit of a Midas touch. Most things I’ve put energy into are working. I put my intentions out into the universe, I pray things will work out, and I move as though they will.
If everything falls into place, Bodyman becomes a splash, I’m already producing Modern Day Marilyn, and I’m on my tenth season of these vertical dramas—fully immersed in revitalizing the movie business and making an impact across the industry.
