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Elizabeth Heydary's avatar

Thank you for this piece, we have been talking about Ballerina Farm all week in my family. Whether Hannah Neeleman loves her husband, kids, lifestyle is not really the issue and all she seemed to address in her response was that her family felt personally attacked.

I loved the profile because it actually addressed the idea of being trapped into choices that felt like her own but are all in service of the good Mormon wife and mother role. And as my sister said this week everything about that response was in service of the brand.

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Becky Karush's avatar

If I’ve learned anything reading In Pursuit, it’s that the squishiness of all things BF gets squishier at the lie fundamental to influencers and their audiences, that the performance is the life, the performance being so impossibly, perfectly guileless and intimate we feel like we can take the fantasy as truth. But the only BF life choices we can see, really see, are their choices of presentation. The profile, for all the cultural nerves it rightfully inflames, denied them control over their performance and put the life up for grabs. For people who love and need their performance vitally and personally, the profile was a violation. For people like me who love Sara’s writing about their performance and its larger meaning, the profile was above all interesting, first as another performance of a thousand choices. But also, the writer was straightforward about her sole, thwarted desire: to talk to Neeleman at length alone. That was the super potent and provocative driver of the whole thing, the source of conflict, the door to bigger cultural implications and to the funny stuff (the ditches!), and what made the piece specific to the “I” of the writer but also tapped the audience’s paradoxical hunger to KNOW Neeleman, to touch the real skin Neeleman performs in, to confirm or topple the idol, and thereby the writer made us as readers complicit in disturbing and distrusting the performance. It was great, great writing. (By contrast, the profile on Virginia Sole-Smith, whose work I love and need, was aloof and petty, without honest stakes for the writer and with an unexamined, untrustworthy obsession over Virginia’s hair and butter. It wanted to pierce a veil of influencer performance, but it created the veil it was piercing and pretended it was just reporting. The Times piece had its own agenda, as all profiles do, but it was honest about its aims. The dissonance between that candor, which is always messy, and BF’s existential and commercial need to control all aspects of presentation, was sidebar pretty interesting, too.) But much more to the point of your great writing, Sara: yes, hard agree, people invoking feminism as a righteous defense of one beautiful idealized white woman’s “choices” (and her feelings) is maybe the biggest, reddest flag of white feminism and white supremacy eeeeeeevvvvvveeeerrrr. Also, Daniel presenting as such a douche despite all their attempts at performing him otherwise is so funny. His performance turns her constant Vogue cover shoot into MAD magazine. It’s amazing. It’s so awkward. It’s unsettling to imagine how the power imbalances between them play out. It’s all somehow archetypal. How could we NOT write and think about BF? There’s too much here, too much that lets us examine ourselves through our reactions to them, and they’re choosing to perform for us! This is what culture is!

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