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Opinion: The evolution of cheerleading stereotypes

Opinion: The evolution of cheerleading stereotypes

If you were to imagine what any cheerleader would look like, I assume you would picture a ditsy, popular bully. If you were looking to cast one for your high school dramedy, you'd likely go with Sydney Sweeney, Sabrina Carpenter, or basically any blonde woman you could possibly imagine.
What you definitely wouldn't imagine would be old white presidents. But, both Dwight D. Eisenhower and George W. Bush were cheerleaders.
This begs the question: why and when did the stereotypes surrounding cheerleading develop?
The answer is just before World War 2, in a world where all cheerleaders were actually young men at Ivy League universities. Once the draft started, women began to fill in for their male counterparts, a role that women would come to be associated with in the 1950s. In the popular culture of the times, cheerleaders meant far more than just school spirit. They were both portrayed and viewed as the quintessential symbol of American femininity: wholesome, supportive, domestic, unambitious, pretty, preppy, and passive, all too happy to stand on the sidelines and cheer on exclusively male athletes.
In other words, the 1950s cheerleaders, as seen in movies like High School Confidential! , were the cultural ideal of young womanhood. By the 1960s, barely anyone would have remembered the sport's early masculine roots.
However, feminism would flip these early scripts on their heads. In the cultural revolutions of the 60s and 70s, this archetype was too traditional to fit into the changing times. Now viewed as an antagonist to women's liberation, the cheerleader began her descent into cultural villainy. In films like Grease , Carrie , and The Pom-Pom Girls , the characterization of cheerleaders ranged from ditsy and stupid to outright cruel or even satanic: Satan's Cheerleaders is the name of an actual film from 1976.
The trope would stick all the way through the 80s and 90s, but it would really take off in the early 2000s, when high school comedies and dramas exploded in popularity thanks to the surprise box office success of 90s films like She's All That , Scream , and 10 Things I Hate About You .
Narratively, cheerleaders present an easy target for the format, which trades in tales of misfit outcasts learning to overcome the pressures and limitations placed on them by traditional society. And who better to fill in for the antagonistic symbol of traditional society, social conformity, unattainable beauty standards, and general unpleasantness than cheerleaders and their jock boyfriends?
Films like Varsity Blues , Bring It On , Sky High , and Ice Princess followed this archetype to a tee. Even when cheerleaders aren't present onscreen, the tropes surrounding them are still coded into the evil popular girl cliches: think Regina George and the other Plastics from Mean Girls . In some ways, the evil cheerleader trope has been subsumed into the general 'Queen Bee' trope that sees ambitious women portrayed as aggressive, manipulative, or overbearing.
Fortunately, times are changing yet again for the cheerleader. Recently, media has made more attempts to humanize cheer. Netflix's Cheer shined a light on the intense athleticism, grit, and discipline demanded by the sport, as well as the severe risks of injury. Elsewhere, more layered portrayals are taking precedence over the caricatures–even the recent Broadway adaption of Bring It On has attempted to complicate its characters. In the competitive scene, more efforts have been made to increase the diversity of cheerleading teams and are even attempting to bring other genders back into the sport.
Really, as our expectations and understanding of gender continue to evolve, so will our representations of the cheerleader. So as our comprehension of both the sport and the people who practice it grows, will the cheerleader finally break free from its outdated stereotypes and emerge as a symbol of empowerment? Only time will tell, but I'm hoping that the first woman president will be a tumbler. Related
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Honoring Robert Altman's centennial, plus the week's best movies in L.A.
Honoring Robert Altman's centennial, plus the week's best movies in L.A.

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Honoring Robert Altman's centennial, plus the week's best movies in L.A.

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'The fans really zoom into these things, and they get so happy to see those items again. It's like an old friend,' says Santiago. Rogers adds 'they really know what episode it's from. I don't even know that! They have watched so many reruns that it's truly incredible. It's wonderful, and I'm grateful. I'm always curious to see what the audience thinks about the fashion'. One of these moments was the reappearance of the printed Chanel blouse, originally seen in season three, episode 15 of Sex And The City. Originally worn backwards, the blouse was reworn for season three, episode three of And Just Like That, though fans noticed it wasn't the exact same item after forensic examination of the positioning of the coloured patches. 'Molly found that Chanel blouse in a vintage shop in New York. It actually came from Karen Elson's personal collection, and more than likely it might have been a sample from the Chanel showroom that was given to her. We've found some other pieces that Sarah Jessica didn't own from the first run, but now she does,' Santiago tells. 'I think that the internet was so excited to see that Chanel blouse again. At the time we never really looked at the reverse to see if it matched the original one, but that's how closely people watch,' Rogers says. 'SJ has such an incredible archive of everything from the beginning of the show. And we're able to go in and pick out pieces that we want,' Santiago tells. 'We carefully choose where we want to place each piece. Every now and then, we'll find things out there in the market that have already been worn in the show,'. Do the pair feel a pressure when styling one of the world's most talked about series? 'For us, what we do is very much in our own little bubble and we don't really look about to see what other people are saying,' Santiago shares. 'It's a very safe space when Molly and I are together and we're creating with the actors. It's very collaborative. We have our own little world that we create and being able to play is the best, because we can be open and creative'. As beloved as the SATC universe is, the reboot has received scrutiny from fans and critics alike. 'I don't do anything that I don't like, so it bothers me when people jump on the train of "let's hate watch", that's not what I'm here for,' says Rogers. 'I put a lot of joy and satisfaction in getting things into the room to see SJ's reaction and I find it all a delicious experience. I just do not pay attention to the negativity. I often wonder, can people enjoy anything anymore? It's just all so judgmental. I'm not that way. I live and let live.' In the same way as the storylines of Carrie, Miranda, Charlotte (and Samantha) will live on in television history, so too will the iconic looks and enduring fashion legacy that And Just Like That and Sex And The City have left. And Just Like That is available to stream on Sky and Now TV, and own digitally on Apple TV and Amazon Prime. ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today HERE. Esther Coombes is the Senior Ecommerce Editor at Harper's Bazaar, ELLE and Esquire, overseeing luxury shopping content across fashion, beauty, travel and homes. She graduated from London College of Fashion with a First Class BA in Fashion Journalism in 2010, and has since worked at Marie-Claire, Easy Living, GLAMOUR and Women's Health. She held positions as Senior Fashion and Beauty Executive, Senior Lifestyle Executive and Content Lead during her nine years at HELLO! and HELLO! Fashion, creating editorial and branded content across the lifestyle sector and interviewing talent and experts including Lisa Eldridge, Jo Malone and Katie Jane Hughes for print and digital features. With exacting standards and a critical eye for editing new launches, she enjoys recommending readers best in class products and experiences, be that a glow-giving skin tint, a boutique hotel stay or the perfect slingback stiletto. In her spare time you can find her at a spin or reformer class or streaming the latest zeitgeisty podcast or television drama. You can follow Esther on Instagram at @esthercoombes.

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