Lifestyle
Super Bowl ads played it safe, but there were still some winners
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When I spoke with Shayne Millington about the cheeky Super Bowl ad she was planning with Cardi B., the advertising executive was excited about the prospect of tweaking male sports fans in a way Big Game ads often don’t do.
But the NFL threw some cold water on her plans Sunday, preventing makeup brand NYX from airing part of their ad suggesting that men may have mistook the name of their Duck Plump lip gloss and used it in a certain private area. Instead, they aired 30 seconds featuring Cardi B and displayed a QR code viewers could use to access the full ad.
Millington, the Chief Creative Officer at McCann New York, told me before the game that the ad was an attempt to turn the tables on traditional Super Bowl advertising.
“You have to really look at how women have been portrayed in Super Bowl ads and in the past, and it’s not great,” she added. “So, on a platform as big as the Super Bowl where men have [traditionally] had the upper hand with humor…[this time] women will have the last laugh with Cardi B.”
Turns out, Millington’s ad was among the sauciest in a Super Bowl where brands played it safe even more than usual, perhaps due to the mammoth, $7-milion-per-30-seconds fee for airtime.
Political messages were subtle and shaded, including a retro-looking ad for independent presidential candidate Robert Kennedy Jr. that didn’t get near his controversial stands on vaccines and other issues (with a jingle that sounded like it could have been an ad for his dad; talk about a nepo baby). An ad for the website hegetsus.com aimed at boosting Jesus Christ focused on how his teachings might bring people together, not the controversial stands of one funder, the family which owns notably religious craft store chain Hobby Lobby.
Blame the intensely crazy pace of real-life news or the back-breaking price for ads, but this year’s crop of commercials seemed to lean away from controversy and into nostalgia, celebrity and cross promotion — with Super Bowl halftime performer Usher appearing in more spots than the Budweiser Clydesdales.
Here’s a breakdown of what worked and didn’t in the biggest – and most expensive – advertising showcase on American television.
Best use of a celebrity poking fun at something he knows we’re all laughing at anyway: State Farm’s ‘Like a Good Neighbaa’
We all know Arnold Schwarzenegger has somehow won over America’s hearts despite delivering lines in films so drenched with his Austrian accent that it sounds like English put through a Cuisinart. That’s why it’s so delightful to see him willing to send up both his action hero past and his dicey diction, playing a swashbuckling State Farm agent who somehow can’t say “labor,” “concealer” or “neighbor.” Even Jake From State Farm couldn’t help coach him through a speech pattern that, somehow, still makes all those words sound cooler when they come out of Ahnuld’s mouth. (Though his former Twins co-star Danny DeVito untimately had to help him out.)
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Worst use of a celebrity tolerating something we’re all laughing at anyway: BMW’s ‘Talkin’ Like Walken’
How do you come up with a concept so promising – much-mimicked Hollywood eccentric Christopher Walken walks through a day where everyone is doing their own Walken impressions – and wind up with a spot so, well, odd? Where are the celebrities who do amazing Walken impressions, like Kevin Pollak, Jay Mohr or even Tom Hiddleston? Where’s the moment Walken has fun with people trying to cop his off-kilter patios, (instead of looking like he can’t wait to get off the screen)? And why is the Super Bowl’s halftime headliner Usher showing up at the end and NOT doing a Walken impersonation? Small wonder this over-hyped ad is also in the running for Best Missed Opportunity. Sigh.
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Best way to get someone else to publicize your new music: Verizon’s ‘Can’t B Broken’
The ad itself is a fun affair, with Beyoncé trying to “break” Verizon’s 5G network through a series of outlandish stunts (assisted by Veep co-star Tony Hale), including creating Beyonc-A.I., the pink-themed Bar-Bey, and a musical performance in space. When none of that succeeds in bringing down Verizon, she says “Okay. They ready. Bring the new music.”
Of course, Beyoncé meant business, dropping two new tunes on her website and announcing the debut of a country-inspired album, Act II, for March 29. Forget about announcing a new album during the Grammys; Bey dropped her announcement on TV’s biggest platform, paid for by Verizon. Respect.
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Best celebrity save: Uber Eats’s ‘Don’t Forget Uber Eats’
Actually, I want to forget much of this spot, which features wooden moments like David and Victoria Beckham pretending to forget she was in the Spice Girls (will anyone catch that they’re spoofing a scene from his Netflix docuseries?) and another, um, forgettable cameo from Usher (did you know he’s playing the Super Bowl halftime? Feels like he’s popping up in half of the Super Bowl ads to remind you!)
But the conceit – that you have to forget something to make room in your memory for Uber Eats’ awesome services – hit home when Jennifer Aniston appeared, ignoring David Schwimmer even as he reminds her they worked together for 10 years on one of the most popular sitcoms in TV history.
Perhaps it’s because I disliked his character Ross’ romance with Aniston’s character on Friends so much, but when she walked away, convinced she didn’t know him, and he muttered “I hate this town,” I felt like TV justice had somehow been served.
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Best hope for Marvel fans: The Deadpool movie
That sound you heard at the game’s start wasn’t sports fans settling in for the Big Game. It was Marvel fans screaming in anticipation after realizing that Ryan Reynolds’ new Deadpool movie won’t just feature Hugh Jackman returning as Wolverine, but Reynolds’ disfigured, wisecracking mercenary superhero getting kidnapped by the TVA — an organization from the Loki series. And the TVA’s representative here is none other than Succession’s Tom Wambsgans, or the actor Matthew Macfadyen. If any film can rescue the world from superhero fatigue, this might be the one.
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Best use of a cat/worst use of a McKinnon: Hellmann’s ‘Mayo Cat’
Fans know Saturday Night Live alum Kate McKinnon has a special bond with cats — she’s even come up with some sidesplitting sketches on the subject — so it was cute to see her alongside a feline who captivates the world by simply saying “mayo.” The ad also has a cool button at the end, where the cat dates and breaks up with fellow SNL alum Pete Davidson (“You lasted longer than most,” McKinnon quips.) But how do you spend millions on a commercial starring the funniest woman on TV and give all the action to her cat? Purrfectly frustrating. (Yes, I went there.)
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Second best use of a celebrity poking fun at themselves: Skechers ‘Mr. T in Skechers’
I’ll be honest, I didn’t notice there was no “T” in the footwear company’s name until Tony Romo upsets the famous A Team star by pointing it out. Watching a 71-year-old Mr. T walk on hot coals and do CGI-assisted pull ups while insisting “I pity the fool who has to touch his shoes” as he cavorts in Skechers slip on shoes, I saw a mix of nostalgia, absurdity and good-hearted self-parody that I didn’t even knew I needed until it happened. Once again, Mr. T. for the win.
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Best tribute to a departed legend: FanDuel’s Super Bowl Kick of Destiny Part 2
Reprising the stunt from last year, where the four-time Super Bowl champion tight end tried – and failed – to make a 25-yard field goal, this year’s commercial featured Gronk failing again. In a teaser for the series of ads released early, Rocky co-star Carl Weathers was shown riding up on a motorcycle to encourage Gronkowski. After Weathers died earlier this month at age 76, producers reworked one of those ads to show the actor saying ruefully, “You gave it your all, Gronk.” Then the spot flashed to an image of Weathers with the message “Thank you Carl. 1948 – 2024.” Glad to see the company kept him in the spot; there’s no better, classier tribute to a towering talent than tipping the hat to him on the biggest platform in the world.
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Best ‘I’m not crying, you’re crying’ ad: Google Pixel’s ‘Javier in Frame’
I first gave this award last year for the dog food ad that made everyone emotional. This time, its Google Pixel showcasing its guided frame technology, in which the phone tells users when faces are fully in the picture frame. We see this work from the perspective of Javier, who utilizes the phone despite his problems with blurred vision to capture important moments in his life, including the birth of his child. The spot’s director, Adam Morse, is blind and it’s narrated at the end by Stevie Wonder. Poignant doesn’t begin to describe it.
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Most confusing movie ad: ‘Twisters’
It’s not apparent from watching the Super Bowl ad whether this film is a reboot or a sequel to the 1996 film that featured Helen Hunt, Bill Paxton and Philip Seymour Hoffman (according to Variety, it’s indeed a sequel). But after watching Glenn Powell and Daisy Edgar-Jones jostling around in a 2-minute spot spouting dialogue that referenced the original, I only had one question that really needed answering: Why?
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Best contest with the worst ad: DoorDash’s ‘All the Ads’
It’s an inspired giveaway: DoorDash will provide all of the items in every Super Bowl commercial to one lucky winner, including a 2024 BMW All-Electric i5, chicken wings from Popeyes for 150-plus people, a $50,000 check for their dream home and much more (you had to watch the commercial during the game and add a promotional code at this URL to enter). But hearing Laurence Fishburne majestically narrate a preview ad that uses DoorDash as a verb while products are bursting from the ground makes me want to DoorDash as far away from it all as possible.
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Worst use of a celebrity: ‘Sir Patrick Stewart Throws a Hail Arnold’ on Paramount+
Yes, you read the title right. Patrick Stewart, star of Star Trek: Picard on Paramount+, appears in a spot where he argues with Drew Barrymore, then orders Miami Dolphins quarterback Tua Tagovailoa to throw an animated fourth grader from Hey Arnold! up a mountain, before doing it himself. (The band Creed also shows up to play a song for some reason).
All I want is a sample of whatever the scriptwriters were smoking when they came up with this nonsense – or when they got Stewart to agree to appear in it.
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Second-worst use of a celebrity: Squarespace’s ‘Hello Down There’
The concept’s not so bad: We’re so distracted by our phones and social media that no one on earth notices a fleet of flying saucers overhead until the aliens build a website with Squarespace.
But it’s a drag seeing Oscar-winner Martin Scorsese direct this bit of fluff without much humor and a punchline that goes over like, well, a badly formatted website: Scorsese in traffic, looks at a sky filled with spaceships and tells his driver, “I told you to take Broadway. This always happens.”
Feels a little like hiring Frank Lloyd Wright to design your kid’s backyard playhouse.
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Lifestyle
‘Hellions’ author Julia Elliott wins $150K fiction prize
Author Julia Elliott won for her short story collection Hellions.
Forrest Clonts/Tin House
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Writer Julia Elliott has won this year’s Carol Shields Prize for Fiction for her short story collection Hellions. The award honors work by women and nonbinary authors in the U.S. and Canada.
Elliott, who also authored the novel The New and Improved Romie Futch and the short story collection The Wilds, is known for blending elements of Southern gothic horror, surrealism and fairy tale. Hellions, published in 2025, includes stories set against backdrops like a plague-stricken medieval convent, a feminist art colony, and small Southern towns.
“This eerie, eclectic, genre-leaping collection takes no half-measures; every sentence of Hellions crackles or crawls,” wrote the prize jury in a statement. “Here, human folly moves against a backdrop of horror and magic … But for all its wildness, there is tremendous control.”
The prize, named after a Pulitzer Prize-winning novelist, awards $150,000 to one winner each year. Novels, short story collections, and graphic novels by women and nonbinary authors are eligible.
This year’s finalists included Quiara Alegría Hudes (The White Hot), Lee Lai (Cannon), Megha Majumdar (A Guardian and a Thief), and Sonya Walger (Lion). They will each receive $12,500.
The Carol Shields Prize went to writer Canisia Lubrin in 2025.
You can listen to actor Donna Lynne Champlin read Elliott’s story “Hellion” on the Death, Sex & Money podcast here.
Lifestyle
Video: The Fashion References in ‘Cats: The Jellicle Ball’
new video loaded: The Fashion References in ‘Cats: The Jellicle Ball’
By Helen Shaw, Vanessa Friedman, Léo Hamelin, Laura Salaberry and Sutton Raphael
June 2, 2026
Lifestyle
Inside the all-masc lesbian and translesbian revue electrifying L.A. nightlife
At around 1 in the morning at the Sassafras Saloon in Hollywood, four masc lesbians in cowboy hats and chaps were dancing on top of the bar while bartenders attempted to continue making espresso martinis beneath them.
One performer crawled into the crowd and between the spread legs of an audience member, licking the air between their thighs. Another wrapped a belt around their girlfriend’s neck while thrusting against her to Bon Jovi’s “You Give Love a Bad Name.” The ravenous audience, almost entirely women, fluttered dollar bills all around, while easily filling the saloon’s 300-person capacity.
Across Los Angeles, countless strip clubs and revue shows were unfolding at that same hour, though none quite like this and likely few provoking this level of frenzy. The night had all the riotous energy of a scene from “Coyote Ugly,” with the choreographed masculinity of “Magic Mike.” Playing on the latter’s name, this was the doing of Magic Mascs, an all-masc lesbian and translesbian revue, by sapphics for sapphics.
Skye Valentinez, from left, Alexa Legend, Daddii Syd and King Captain are members of Magic Mascs, an all-masc lesbian and translesbian collective, that started in February.
“Our idea was to give lesbians what men get all the time at a strip club, but instead of just sitting around and singing ‘Pink Pony Club,’ actually going wild,” said group founder Daddii Syd, a.k.a. Syd Latimore.
The performers, self-described “daddies” — Daddii Syd, Alexa Legend, Skye Valentinez and King Captain — formed Magic Mascs in February. The performance at the Saloon was their third overall, but the group has already become an institution within lesbian nightlife in Los Angeles. They will make their debut during a Pride Month performance on Friday at Womxn Pride’s rooftop party in downtown L.A.
The members come from professional dance backgrounds. King Captain entered dance school at age 12 and taught dance for nearly a decade. Daddii Syd has danced since childhood. Alexa Legend spent years go-go dancing across clubs in the city before joining the troupe. Skye Valentinez, the baby of the group — cherub-faced, smiling through braces — is the newest to performing, though she steps into it naturally, exhibiting the same living, breathing caricature of masculinity as the rest of them.
“No one’s trying to be cisgender,” King Captain makes clear. “We’re not trying to be the kind of men who are born into and fed by patriarchy,” Daddii Syd added. “We’re redefining masculinity.”
King Captain gets their underwear stuffed with dollar bills from the crowd.
Magic Mascs’ success follows a broader trend of lesbians confidently stepping into masculinity before hungry eyes. In the past year, performative masc competitions have appeared across the country, with lesbians — hair slicked back and carabiners dangling from their Carhartt jeans — showing off in front of leering crowds. Magic Mascs feels like a more professionalized version of that phenomenon, less tongue-in-cheek — just tongue.
“We always knew there was a huge hunger for this,” Daddii Syd said.
Their first performance, in San Diego, sold out fast.
“I knew right away we were onto something special,” Daddii Syd said.
Videos of the troupe traveled far across sapphics’ algorithms, especially clips of King Captain, whose devoted fan base — known collectively as “The Castle” — make arduous trips just to see them in the flesh. One fan drove more than 20 hours from Dallas to San Diego to see Magic Mascs. Another sent an edible fruit bouquet from Australia.
Backstage, every gesture from the troupe was ultra-confident. Captain, wearing briefs stuffed with a sock full of rice, talked to me with a leg cocked on the footrest of my stool. Daddii Syd, Alexa Legend and Skye Valentinez stood pelvis-forward, hands behind their heads, flexing ropey muscles. They loved the camera, eyeing it like prey while tipping the brims of their cowboy hats. (“You guys are like the modern-day Beatles,” our photographer said.)
King Captain gets the Hollywood crowd into a frenzy during a recent show.
Everything in the show revolved around their hips. The performers rolled and glided before delivering sudden, mechanical thrusts powerful enough to rattle nearby glasses. Their bodies were taut with effort and exaggerated lust. Daddii Syd performed with her girlfriend Jamie in matching plaid, not leaving much to the imagination as they licked whipped cream off each other.
Alexa Legend, who described herself as shy offstage, eventually stripped down to nipple pasties and a cowboy hat, firing confetti from her crotch into the crowd. King Captain swerved their hips like a powerful mechanical bull. “Oh, Captain, my captain,” someone in the crowd said, hand pressed dramatically to her forehead.
They paid particular attention to a woman in a wheelchair in the crowd — typical of their performances — asking if they could sit on the wheelchair. They received keen consent. “That was, um, very nice,” she told me after, still a little lost for words.
“We’re huge on consent,” Daddii Syd said. At the start of the show, they told the crowd to cross their arms in a Wakanda Forever pose if they didn’t wish to be touched. They checked in constantly while moving through the crowd, leaning close to ask questions like, “Is this OK?” and “Anywhere you don’t like to be touched?”
Captain learned these habits through work in intimacy coordination and under the mentorship of Tonia Sina, among the first professional intimacy coordinators in Hollywood. That ethos of care extended beyond their interactions with the audience and into the way they interacted with one another offstage.
“We want everyone in the crowd to feel gorgeous,” King Captain said before the recent show at Sassafras Saloon in Hollywood.
King Captain, left, and Lauren Henson, a stage kitten for the Magic Mascs, perform together on the bar.
Forming a sanctuary for themselves was just as important to the troupe as emboldening others’ desire. “It’s hard to find other masc friends,” Daddii Syd said. “Everybody’s weirdly competitive and trying to sabotage each other.” King Captain agreed, asking: “Why can’t we all be daddies at the same time?”
Daddii Syd and King Captain, who are both in their 30s, had little butch representation or friendship growing up and they have now become something like father figures to Alexa Legend and Skye Valentinez, who are in their 20s.
“We have to protect each other,” King Captain said. “We have to look out for each other.”
Daddii Syd put her arm around Skye Valentinez and said: “Look at this beautiful baby we have.”
That tenderness carried straight into the night. There was a striking seriousness to the whole performance, which spanned from just past 10 p.m. to 2 a.m. Unlike a bachelorette party or the typical male revue, there was no giggling in the room, and no wink of camp from the performers. Here was a rare claim to unabashed public sapphic desire; it was given the scale and seriousness routinely afforded to heterosexual display, like the gleeful bravado of a man striding into Hooters.
By the end of the night at Sassafras Saloon, the performers had stripped down nearly to nothing, pouring water over themselves while the audience roared. The atmosphere felt like one of collective release, a recognition that masculinity and desire don’t belong only to men — that a group of four masc lesbians can be horny, inspire horniness and ultimately stir a hysteria that once greeted Channing Tatum or even the Beatles.
It was the magnitude of the response that night at the Saloon, as on every other night they’ve performed, that’s inspiring their next moves: total domination in sum. The troupe is already planning a national tour through Florida, Dallas and Sacramento, though Daddii Syd’s ambitions extend much further.
“The idea,” she told me, “is to go global. Like a boy band.”
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