Welcome to the great unwokening of Hollywood! Shame no one can be bothered to turn up | Jason Okundaye
Sydney Sweeney, the star of popular series like “Euphoria” and “The White Lotus,” has recently found herself at the center of a cultural conversation that reflects the broader dynamics of political identity and media consumption in contemporary society. As a young actress who has garnered significant attention from both fans and critics alike, Sweeney has unwittingly become a symbol of a burgeoning rightwing cultural movement, particularly among Gen-Z audiences. This phenomenon is illustrated by a striking cover from New York magazine that depicted young conservatives reveling in their perceived cultural dominance following the inauguration of Donald Trump. The imagery suggests a shift in how political affiliations are expressed and celebrated, with conservative aesthetics gaining traction among youth who are eager to challenge the prevailing liberal narratives of pop culture.
Despite her rising profile and the cultural significance attributed to her persona, Sweeney’s films have not seen the expected success at the box office. This paradox raises intriguing questions about the disconnect between her celebrity status and audience engagement with her projects. For instance, her recent film “Reality,” which premiered to mixed reviews, struggled to attract viewers despite the actress’s star power. Critics have noted that while Sweeney embodies the allure of a new conservative icon, her films often do not resonate with the very audiences that might be drawn to her public persona. This disconnect may stem from a broader trend in which the political affiliations of actors do not necessarily translate into commercial success, highlighting the complexities of audience preferences in the current media landscape.
As the cultural landscape continues to evolve, Sweeney’s situation reflects a pivotal moment in which celebrity, politics, and consumer behavior intersect. The rise of rightwing aesthetics among younger generations, as exemplified by the popularity of vintage political apparel, suggests a growing desire for representation in spaces traditionally dominated by liberal ideologies. However, the lukewarm reception of Sweeney’s films indicates that while her image may resonate on a cultural level, it does not guarantee audience investment in her artistic endeavors. This dynamic underscores the challenges faced by artists navigating the intricate relationship between personal branding, political identity, and the commercial realities of the entertainment industry.
Sydney Sweeney has become the poster child of a predicted rightwing cultural domination. So why is no one watching her films?
I was on a walk around my local area in London when I was stopped in my tracks by a young man sauntering past me, wearing stone-wash jeans, a pair of shades and a “Reagan-Bush ’84” T-shirt. He gave off an incredibly smug air but, to be fair, he did look good. It’s a nice T-shirt, not like those garish Reform-branded football kits, so I could see why it might be appealing. A quick search informed me that for gen-Z rightwingers in the US, it has become the “
conservative take
on a band shirt or the once-ubiquitous Che Guevara tee”.
That casual display of conservative aesthetics reminded me of something else too: a much discussed
cover of New York magazine
from earlier this year, after Trump 2.0’s inauguration, which showed young rightwingers celebrating as they “contemplate cultural domination”.
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