The flash popped in the dim bedroom light, catching Steve Bannon’s trademark scowl softening into something almost like a grin as he angled his phone for the perfect mirror selfie. Right beside him: Jeffrey Epstein, relaxed, shirt unbuttoned, one arm casually slung around Bannon’s shoulder like they were old college buddies.T

In a digital dump that has left commentators grasping for coherent narratives, nineteen previously unseen photographs have surfaced showing Steve Bannon posing for mirror selfies alongside Jeffrey Epstein. The images, timestamped between 2015 and 2017, were apparently taken in what appears to be Epstein’s Manhattan townhouse, judging by the distinctive wood-paneled walls and art collection visible in the reflections.

Bannon, shirtless in several shots, arm around Epstein in others, flashes the same half-smirk that once defined his media persona. Epstein, dressed casually, mirrors the pose with practiced ease. The selfies—grainy, poorly lit, unmistakably intimate—capture moments that feel almost domestic: two men who, on paper, should have occupied opposite poles of American power, laughing at their own reflections.

The discovery obliterates long-standing assumptions about ideological firewalls. Bannon built his brand on anti-elite populism, railing against the “Davos crowd,” globalist financiers, and the decadent cosmopolitan class Epstein came to symbolize. Yet here they are, side by side, comfortable enough to document their camaraderie in the most casual, modern way possible. No handlers, no staged photo ops—just two men who clearly knew each other well enough to drop the performance.

Context is still emerging. Sources close to the release suggest the photos came from a compromised personal device belonging to an Epstein associate, part of a larger cache that includes correspondence and financial records. Bannon’s camp has so far offered only a terse denial of impropriety, calling the images “taken out of context” and insisting any meetings were “purely professional” and related to “philanthropic discussions.” The explanation strains credulity when viewed against the sheer volume and informality of the selfies.

The political fallout is already chaotic. Progressive outlets frame the photos as proof of hypocrisy on the right; conservative commentators accuse the left of selective outrage, pointing to Epstein’s documented ties to figures across the spectrum. Centrists simply stare in disbelief at how thoroughly the old left-right binary has collapsed under the weight of these nineteen frames.

What remains undeniable is the visual power of the images themselves. Mirror selfies are personal, unguarded, almost confessional. They do not allow for distance or deniability. They force the viewer to confront the reality: two men who publicly embodied opposing visions of power were, in private, close enough to share the same reflection.

In an age when every political line was supposed to be bright and unbridgeable, these nineteen photos remind us how thin the glass really is.