By Camille Paglia
Thursday, December 12, 2015
Girl squads were a hashtag summer craze that may have
staying power. Blogs and magazines featured intricate star charts of the
constellations of celebrity gal pals clustering around Taylor Swift, Cameron
Diaz, Lena Dunham or Tina Fey.
Names appearing on the shifting roster of girl squads
include Drew Barrymore, Reese Witherspoon, Selena Gomez, Willow Smith, Kendall
Jenner, Sofia Richie, Chloe Sevigny and Karlie Kloss. Hot models Gigi Hadid and
Cara Delevingne bob and weave through several groups. Adele joined the club in
November when she dined out in New York with Emma Stone and varsity squad
player Jennifer Lawrence.
"Squad" as a pop term emerged from 1990s
hip-hop (Hit Squad, Def Squad). It once had a hard, combative street edge, but
today it's gone girly and a bit bourgeois. Social media are its primary engine.
Perhaps the first star to use stylish Instagrams to advertise her tight female
alliances was Rihanna, with moody snaps of herself and bestie Melissa Forde out
and about in Los Angeles or lolling seaside on Barbados.
Do girl squads signal the blossoming of an idealistic
new feminism, where empowering solidarity will replace mean-girl
competitiveness? Hollywood has always shrewdly known that cat-fighting makes
great box office. In classic films such as The
Women, All About Eve, The Group and Valley of the Dolls,
all-star female casts romped in claws-out bitchfests. That flamboyant,
fur-flying formula remains vital today in Bravo TV's boffo Real Housewives series, with its avid global following.
A warmer model of female friendship was embodied in Aaron
Spelling's blockbuster Charlie's Angels
TV show, which was denounced by feminists as a "tits-and-ass" parade
but was in fact an effervescent action-adventure showing smart, bold women
working side by side in fruitful collaboration. A similar dynamic of
affectionate intimacy animated HBO's Sex
and the City, whose four feisty, mutually supportive professional women
prefigured today's fun-loving but rawly ambitious girl squads.
The entertainment industry has seen feminist spurts come
and go. Helen Reddy's 1972 smash hit "I Am Woman" became the
worldwide anthem of second-wave feminism. In 1985, Aretha Franklin and Annie
Lennox did the slamming duet "Sisters Are Doin' It for Themselves."
The Spice Girls encapsulated sex-positive third-wave feminism with their 1997
manifesto Girl Power! Performing at the 2014 Video Music Awards, Beyonce
flashed "FEMINIST" in giant letters behind her, but questions were
raised about the appropriation of that word by a superstar whose career has
always been managed by others, first her parents and now her domineering
husband, Jay Z.
With gender issues like pay equity for women actors and
writers coming increasingly to the fore, girl squads can be seen as a positive
step toward expanding female power in Hollywood, where ownership has been
overwhelmingly male since the silent film era. For all its dictatorial
overcontrol, however, the early studio system also provided paternalistic
protection and nurturance for young women under contract. Marilyn Monroe was a
tragic victim of the slow breakdown of that system: The studio made her, but in
the end it could not save her from callous predators, including the Kennedys.
Young women performers are now at the mercy of a
swarming, intrusive paparazzi culture, intensified by the hypersexualization of
our flesh-baring fashions. The girl squad phenomenon has certainly been
magnified by how isolated and exposed young women feel in negotiating the
piranha shoals of the industry. A dramatic example of their vulnerability was
the long-lens pap photo of Swift sitting painfully sad and prim on a Virgin
Islands taxi boat after her tumultuous 2013 holiday breakup with pop star Harry
Styles.
Given the professional stakes, girl squads must not slide
into a cozy, cliquish retreat from romantic fiascoes or communication problems
with men, whom feminist rhetoric too often rashly stereotypes as oafish pigs.
If many women feel lonely or overwhelmed these days, it's not due to male
malice. Women have lost the natural solidarity and companionship they enjoyed
for thousands of years in the preindustrial agrarian world, where multiple
generations chatted through the day as they shared chores, cooking and child
care.
In our wide-open modern era of independent careers, girl
squads can help women advance if they avoid presenting a silly, regressive
public image — as in the tittering, tongues-out mugging of Swift's bear-hugging
posse. Swift herself should retire that obnoxious Nazi Barbie routine of
wheeling out friends and celebrities as performance props, an exhibitionistic
overkill that Lara Marie Schoenhals brilliantly parodied in her scathing viral
video "Please Welcome to the Stage."
Girl squads ought to be about mentoring, exchanging
advice and experience and launching exciting and innovative joint projects.
Women need to study the immensely productive dynamic of male bonding in
history. With their results-oriented teamwork, men largely have escaped the
sexual jealousy, emotionalism and spiteful turf wars that sometimes dog women.
If women in Hollywood seek a broad audience, they must
aim higher and transcend a narrow gender factionalism that thrives on
grievance. Girl squads are only an early learning stage of female development.
For women to leave a lasting mark on culture, they need to cut down on the
socializing and focus like a laser on their own creative gifts.
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