The latest season of the Netflix documentary America’s Sweethearts dives deeper than just its glitzy surface, chronicling the 2024 audition, training, and performance season of the Dallas Cowboys Cheerleaders.
Philosopher Loren Lomasky posits in Persons, Rights, and the Moral Community that a defining feature of humanity is our commitment to pursuing various projects. As someone who enjoys engaging with diverse endeavors, I relish media that showcases individuals striving toward unfamiliar goals—be it competitive cooking, scientific discovery, glass-blowing, or cheerleading.
My initial viewing of America’s Sweethearts last year stemmed from this appreciation for project-driven pursuits. I anticipated a series that would, much like its inaugural season, immerse me in a fiercely competitive realm where I could admire the diligence of participants from afar, despite lacking any personal investment. The series certainly delivered on that front.
Yet, as many economists might concur, this season of America’s Sweethearts transcends the mere pursuit of flawless high kicks and perfect jump splits. It highlights a critical issue that Albert O. Hirschman termed voice and exit.
During the inaugural season, I was somewhat surprised to learn that members of the Dallas Cowboys Cheerleaders (DCC) often juggle multiple jobs while dedicating themselves to training, cheering, and engaging in promotional appearances for the organization. Many squad members earn as little as $15 per hour—comparable to my teenager’s earnings at Target—accompanied by a meager $500 bonus for personal appearances.
NewsNation highlighted this exchange in their coverage of the docuseries:
Charlotte Jones, chief brand officer for the Dallas Cowboys and daughter of owner Jerry Jones, stated in the docuseries:
“The facts are that 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, and to get to perform at an elite level … It is about being a part of something bigger than themselves. It is about a sisterhood that they were able to form, about relationships that they have for the rest of their lives,” said Jones.
“Yes, it is about sisterhood and passion. Absolutely. I met my best friends,” Puryear remarked to NewsNation in response. “However, we can still have best friends [and] I’m still paid fairly for my job in commercial leasing. Both are doable.”
Anyone who has ever been offered “exposure” as compensation or been told to accept lower wages due to their passion for their work can empathize. Passion and camaraderie should not serve as justifications for subpar pay.
By the second season, the issue of compensation had evolved into a central theme of the documentary rather than merely an afterthought that underscored the dedication of the DCC squad. The series reveals that many cheerleaders opted not to sign their contracts, exemplifying their “voice” by meeting with management to articulate their concerns. Some even expressed their readiness to exit the squad if their grievances went unaddressed.
Hirschman’s notion of loyalty is also vital here; it’s noteworthy that even amid high-stakes negotiations, the DCC team remained committed to their responsibilities, consistently emphasizing their desire to leave the organization better than they found it. Utilizing voice and being prepared to exit doesn’t necessarily equate to disloyalty; in fact, it can sometimes embody the essence of loyalty.
The season concluded without any improvement in the DCC’s contract. Some squad members indicated they would not audition to return, feeling that management had been unresponsive to their concerns, demonstrating a lack of willingness to engage meaningfully when they exercised their voice. (Perhaps management assumed that the pool of potential future DCC recruits was ample enough to risk losing seasoned veterans?)
However, the first season of the documentary gained considerable popularity, with the DCC establishing a robust social media presence. Online discussions and analytical articles began to highlight the alarmingly low compensation for the demanding work involved. This surge in visibility amplified the DCC members’ voices and increased the stakes for management in allowing them to exit. By the time of the end-of-season banquet, a new contract was presented that addressed the DCC’s demands with an astonishing 400% pay raise.
The strength of America’s Sweethearts lies in its portrayal of the significance of voice and exit, illustrating the potential for positive outcomes while also candidly acknowledging that these options carry inherent risks.
Much of America’s Sweethearts is dedicated to showcasing the Dallas Cowboys Cheerleaders as serious, hardworking professionals—who just so happen to don sequins, false lashes, and short shorts for their day jobs. Their resolute self-advocacy and evident grasp of voice and exit reinforce this narrative. When was the last time you negotiated a 400% salary increase while managing to keep your eyeliner perfectly intact?
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