Masculinit(ies) and the Male Celebrity Feminist

Male Celebrities: Proud to be Feminist

Under the title “8 Male Celebrities Who Are Proud to Be Feminists,” Marie Claire (2015) tells its readership that they are “never happier than when a man declares himself a feminist”, and as such, the publication is keen to support men’s contribution to a feminist cause. What is worth noting here is that, although the men on this short list speak about a myriad of equality rights and resources ranging from childcare provision to support for rape victims, most never refer to themselves as a feminist, nor actively campaign in line with the goals of a feminist movement.

We are told that “feminism got the royal seal of approval” when Prince Harry delivered a message about dignity and respect at a recent “Chime for Change” concert. As an “ascribed” celebrity, one might suggest that it is not appropriate for members of the British monarchy to offer more politically motivated or movement-based commentary, but this lack of meaningful action extends into the sphere of “achieved” and “attributed” celebrity entertainers (Rojek 2001). Marie Claire went on to applaud Ryan Gosling because he is “attracted to films that have strong female characters” and is vocal about their being strong women in his life. He tells interested parties that the equality debate has become of greater significance in his life since the birth of his young daughter. Outside of the gendered media sector, the actor has spawned a host of Internet memes in which his image is paired with feminist quotes, which has, according to recent research, “helped men alter their opinions on feminism” (Sanghani 2015). That said, in the actors own words, “I didn’t make those [memes], you know? It’s not by design” (Bueno 2015).

Reality television pop star, Harry Styles, is said to be what the magazine refers to as another “proud feminist,” albeit a proud feminist who does not refer to himself as a feminist in interviews, press junkets, or tweets. Styles is congratulated both for calling on his fans to support the United Nations “HeForShe” campaign and for being part of a phenomenally successful pop group whose lyrics tend to speak of female empowerment rather than female objectification. Elsewhere, he is noted for doing “amazing stuff” including offering support to antibullying campaigns, taking a public stand against domestic violence, and drawing attention to the problem of homophobia in sport (Wood 2015). However, what this amounts to is holding a placard (Styles 2014), painting his nails (Ennis 2015), and wearing an National Football League (NFL) shirt (Jeffries 2014).

The women’s magazine applauds an ex-SNL (Saturday Night Live (1975- ) comedian, Andy Samberg, because of his insistence that women, like men, can be funny. Samberg is heard commenting that “[s]ince there have been men and women, there have been funny women…f--king idiot-ass men keep saying that women aren’t funny. It makes me crazy. I find it disgusting and offensive every time.” Elsewhere, Samberg is given the feminist moniker not because of his commitment to breaking down sexist barriers in the world of comedy but because of his depiction of masculinity, or rather, of masculinity in crisis. We are told that the actor “holds a mirror to the most loutish of American males, rendering Peeping Toms, self-righteous belligerents, and cocksure ladies’ men with heavy-handed mockery” (Zeveloff 2011). However, when he wore a National Organization of Women T-shirt to a Spike television event, “even the most accommodating among us had a difficult time believing him” due in part to the fact that he routinely trades in female objectification, physical humor, and fake vomit, while never publicly referring to himself as a feminist (ibid).

Unlike the feminist candidates before him, Joseph Gordon Levitt does refer to himself, repeatedly and during a myriad of television and online forums as a feminist, explaining that his mother raised him to understand the campaigning voices of the second wave movement. Marie Claire is in support of the actor as he draws attention to pay inequalities and what he sees as the complexities surrounding the term itself. Speaking of his choice to identify as a feminist, the actor comments that today “there are still plenty of tensions and unfair situations that arise more so for women than for men” both within and beyond the entertainment arena. Levitt speaks about his film, Don Jon (2013) as being inspired by feminist debate and posted a YouTube video that explored the diverse interpretations of feminism for an interested audience. In an interview with Ellen DeGeneres, he tells us that “women can frequently be regarded as objects, and if we don’t work to fight sexism it can become a part of our belief system” (Zarrell 2014). And yet although he has pronounced that feminism should be celebrated because it is of “benefit to society,” he has also been heard speaking at a Comic-Con panel telling interested fans that “most pretty girls aren’t funny” (Gray 2013). Although the actor has since apologized and retracted his statement, it does leave us questioning the sincerity of his feminist identity, after all, his feminist announcements, and YouTube musings time nicely with the promotion of and press junket relating to his auteur vehicle.

Like Joseph Gordon Levitt before him, Jon Hamm is a self-proclaimed feminist, due in part to his maternal inspiration. Marie Claire quotes him as saying “[m]y mom was relatively young and raising a kid by herself, so I do consider myself a feminist…I get that sensibility. I’m certainly not a misogynist, no way, man; I’m down with the strong ladies.” Elsewhere, feminist inspired websites congratulate the actor for speaking out about inequality between the sexes, especially given his notoriety as the unreconstituted male chauvinist from the aMC (American basic cable and satellite television channel) drama, Mad Men (2007–2015; Taylor 2011). The actor says that he was inspired to teach after spending “the majority of his life in summer camps, after school programs and daycare centres” with limited male role models to look up to (Moore 2011), continuing on this topic when he spoke about the importance of outreach programs to boys and young men at a benefit for the Rape Treatment Center. Hamm suggests that we have to broaden our discussions about rape and consent from girls and women to boys and men in order to keep society safe (Moore 2011). Although audiences have no reason to challenge Hamm when he tells us that “I’ve never treated any women as badly as Don Draper treats them, with his lies, his affairs, his sexism and chauvinism, and I’d hate anyone to think I was like him” (Wigg 2011), his comments might be directed at audiences and television executives alike. After all, few actors look to be typecast, irrespective of the popularity of the character, genre, or medium in question.

Of the eight male performers Marie Claire selected as out and proud feminists, only two of the men have actually uttered the word feminist, and none of the aforementioned performers have taken any action to further the feminist agenda, beyond the use of a YouTube video, tweet, or hashtag. The final two names on the list go further in terms of the feminist agenda by trying to do more than encourage debate, and yet these men are not doing so as self-proclaimed feminists, but rather, as vocal fathers and partners.

Since becoming a father, Ashton Kutcher has campaigned for increased baby changing facilities in men’s public toilets (Kutcher 2015). His concern is not just with baby changing facilities, but a broader felt sense that men should take on more paternal responsibilities, making the point that it is an “injustice” to assume that childcare is the sole responsibility of a wife or mother (Larimer 2015). Although Kutcher might be championed for his paternal interest, he is speaking as a father not a feminist. The two are not mutually exclusive, but it is worthy of note. Kutcher states that “I would like my daughter to experience a world where gender doesn’t dictate one’s responsibility or limit one’s opportunity” (ibid), and it is for readers to decide whether the “personal is political” or if the personal is simply that, firmly situated within the domestic sphere.

Like Kutcher, David Schwimmer can be seen as a campaigner, again based on personal experience rather than broader feminist sentiments. The actor tells us that having two ex-girlfriends who were the victims of child abuse sensitized him to the issue and inspired him to campaign for the victims of rape, to become a director for a center for rape victims in California and to star in several television Public Service Announcements (PSAs) urging men to end violence against women. Moreover, Schwimmer tackles the themes of innocence, child sexual assault, and the sexualization of young girls in the media in his first full-feature movie as a director, Trust (2010), in order to draw further attention to what he sees as important social and sexual issues. Although Schwimmer’s interest in gender equality informs his volunteering and activism, it is difficult to present him as a male celebrity feminist, because not only does he fail to refer to himself as a feminist, but he openly rebukes his celebrity status and seeks to put personal and professional space between his work and any notion of fame or notoriety.

Bustle, an online news and entertainment website for women, by women, makes the point that although “many men might agree that women should have equal rights, far fewer wear the label of feminist proudly” before introducing us to a small number of male celebrities who are “using their influence, power, and voices to advocate for gender equality” (Dionne 2014). Although it is worthy of note that many of the names foregrounded by Marie Claire are repeated here and that these names, as already mentioned, do not use the feminist moniker, the way that these men are presented is of interest.

The emergence and growth of male celebrity listicles would have audiences assume that great feminist strides are being made within and beyond the HeForShe campaign, and although it is important to hear about support for women’s causes and to be informed about those men and women who are campaigning and fund-raising for gender equality, these recycled quotes and winsome gifs are revealing beyond any feminist advice and advocacy. My point here is simply that Marie Claire pronounces “Awww” after its overview of Kutcher’s efforts to encourage fathers to take on greater childcare responsibilities, while “swooning” over Gosling, meme or no meme.

Buzzfeed tells us that Levitt is dreamy (Zarrell 2014), while the Bustle feature begins with an “obvious newsflash: the coolest, smartest, sexiest men also tend to be feminists” (Dionne 2014). While one actor is spoken about with “ever-increasing affection,” another is referred to as “a gorgeous male lead” (ibid). In this same way, Cosmopolitan tells us to “…connect with more pro-women dudes…as if you needed another reason to adore some of Hollywood’s sexiest leading men’ (Hurwitz 2014). And such commentary is not reserved for the women’s magazine sector. After all, in a Huffington Post listicle, we find that “there are many fierce ladies who have been…applauded for working to make the world a better place for women. But it’s also important to remember that we have some awesome—and swoon-worthy—male allies out there” (Vagianos 2014). The feature refers to what it calls “easy-on-the-eye” celebrities before concluding that “if any of these guys are single, we call dibs” (ibid). The entertainment inspired infotainment Blog, Wonderslist, refers to one actor as “smoldering” and another as “adorable” before telling us that a number of “drool-worthy men have proven that you do not need to be a woman to be a feminist” (De 2014). Moreover, even though we would all agree that further efforts should be made to end domestic violence, marital rape, and sex trafficking, one might question how much these male celebrity feminists have actually contributed to these causes.

Bloggers and journalists dote on these men as both feminists and physical specimens, irrespective of their credentials in challenging the broader patriarchal culture. This treatment is so routine that Cassandra Leveille penned a frustrated call to “Stop Fawning Over Male Feminists” for the millennial online news site, Mic (Leveille 2014). The main concern here is that we are setting the bar too low, so that these recycled quotes and accompanying photographs will replace feminist activism; while simultaneously being “held up as proof that feminism is working” (ibid). If popular male celebrities taking on the feminist mantle are being held up as evidence that feminism is working, then we run the risk of maintaining, if not actively encouraging the patriarchal status quo. Globally, vast numbers of women work toward feminist goals, and we have to ask if they consider male celebrity feminists helpful to the cause. The answer is “[m]aybe, but most likely they’re more concerned with whether the work they’re already doing will have enough funding to be successful” (Zeisler 2014).

The men on these lists are commercially successful and traditionally handsome, and although one would not suggest that they appeal solely to a female demographic, there is a sense that their musings about respect, equality, and empowerment are popular with a particular population; those women who avail themselves of the beauty, celebrity, and entertainment sector. The fact that it is routinely Prince Harry and Harry Styles in these popular feminist listicles over and above Barrack Obama is telling here. While the Harry’s, plural, recognize the male role in empowering women, Obama signed the Fair Pay Restoration Act bill into law. The fact that the men on these lists are spoken of approvingly in terms of both their feminist voice and physical appearance does little to further the political, economic, personal, or social rights for women. In short, there is an assumption that the top 8, 9, 10, or 28 male celebrity feminists mean that society is making inroads into gender equality, when in fact these lists seem to distract us from the real work of feminism that is and has yet to take place.