With a succession of high kicks, jump lines and to be honest, really underwhelming pom poms, the Netflix docuseries, America’s Sweethearts: Dallas Cowboys Cheerleaders (AKA DCC) has exposed the sexist, outdated, misogynistic, highly problematic, even dangerous reality of the elite cheerleading organisation. Directed by award-winning director Greg Whiteley, the seven-episode series follows the 2023-24 DCC squad from start to finish- starting at the audition process and training camp through the entire NFL season.
Arguably, the show does what it was meant to do - transparently sharing the emotions, challenges, and joy experienced along the cheerleader’s journey; or as Executive Vice President/Chief Brand Officer and Dallas Cowboys Cheerleaders President, Charlotte Jones says, “exactly what our fans and viewers would want." However, in doing this it also puts a huge spotlight on how highly problematic the DCC is.
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When I say problematic, as anyone else who has viewed the popular series will know, I mean really problematic. It is also as the DCC leadership would say “a part of the “tradition” and so deeply ingrained in the organisation that it infiltrates everything from the cheerleader’s eyebrow shape to how much they earn.
'The same since 1972'
I’ll start with the preoccupation, or fixation with appearance (because it seems this is where the judgement begins at the DCC).
This has been a part of the organisation since its beginning in 1972 when guidelines were written up about how the cheerleaders should and shouldn't look and have remained overwhelmingly unchanged for 40+ years.
This includes the expectation that the cheerleaders must maintain their weight, that they must look “well proportioned” in dancewear (they are even measured for their belly button to short waistband ratio) and that you can't wear underwear under the white shorts (good luck for game days while menstruating ladies).
The series director, Whiteley, has publicly commented about the misalignment between the DCC values and those from 2024, telling
“The world is moving in one direction, and here’s this institution that’s been largely the same since 1972 but is still wildly popular and wildly successful…. It’s an interesting dilemma,” says Whiteley. “I don’t know what you do about it.”
Toxic control of cheerleaders' bodies
Neither does DCC Director, Kelli Finglass it seems - or maybe she just doesn’t care. Because she and Jones are often the ones at the helm, picking apart the women’s appearance and bodies as if it's their duty and with an expectation that the women should be grateful for it.
At one point, Finglass asks whether one cheerleader is carrying more weight in her face and in another episode, she zooms in on official photographs of the women cheerleading at a game, analysing the shape of eyebrows, mascara application and another’s face which looked “weird” but thankfully could be cropped out.
This toxic control was explained by both the executives and the cheerleaders as upholding the world-class image of the DCC, a “necessary” task to complete.
However, For most people, this would be seen as highly unnecessary and a fast track to body image and appearance issues, something that dancers are often predisposed to.
Viewers slam pay disparity
Aside from this dangerous and irresponsible attitude around body image and appearance, another of the main issues highlighted throughout the series is the pay disparity.
There is much speculation on the cheerleader’s exact wage, with 2022 DCC alum Kat saying that her salary was similar to "a Chick-fil-A worker who works full time." This is generally around $25,000 per year (AUD 35,000).
Despite the skills and ability required to even qualify for auditions, the rigorous and highly competitive selection process, the workload - hours of practice and training, being on call 24/7, taking part in publicity and appearances, being representatives of the DCC at all times - meaning after hours and while working their other full-time jobs, and putting their bodies on the line with high kicks and jump splits - yes, despite this, they are paid a tiny fraction of pretty much any other employee of the Dallas Cowboys.
The highest-paid players of the Dallas Cowboys take home around $50 million a year, the mascot, Rowdy earns $65,000 (US) and the Dallas Water Boys earn $53,000 (US).
This inequality is “expected” according to the bigwigs at the Cowboys, with Jones explaining that, "It is about a sisterhood that they are able to form."
Not about money, but 'sisterhood'
"They’re not paid a lot. But the facts are, they actually don’t come here for the money. They come here for something that’s actually bigger than that to them. They have a passion for dance. There are not a lot of opportunities in the field of dance to get to perform at an elite level. It is about being a part of something bigger than themselves."
Overwhelmingly (and rightly) though, the has not been so receptive to this explanation:
“Men don’t play football for money either. They play for the game…yet they get paid," one angry viewer wrote on Instagram. "This conversation is outdated and old. The Cowboys are a multi-billion dollar organisation. They can afford to pay their cheerleaders more. Every NFL, NBA, NHL…team can.”
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“That woman speaking is gaslighting her own gender and throwing these incredibly hard-working women and talented dancers under the bus!," another wrote - presumably about Finglass. 'It’s abhorrent that this pay is tolerated. Shameful.”
Wrote another, “They do it for 'the sisterhood and passion for dance', well I guess we can stop paying NFL players so much since they do it for the brotherhood and love of the game, right? Stop gaslighting women and pay them their worth!”
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