The media that individuals consume dictates their views on society. The average individual sees more than 5,000 advertisements per day, each of which has the power to shape their beliefs, attitudes and expectations. Hence, it’s imperative that popular media uplifts marginalized groups, rather than confining them to stereotypes that can normalize sexism, racism or homophobia. Gender stereotypes have persisted in popular media, from sexist portrayals of women in 20th century advertisements to their depictions in movies and music today. Although the representation of empowered women has increased, gender-restrictive stereotypes and the objectification of women are still prominent in popular media today.
In the mid-to late 20th century, the media was inundated with sexist and restrictive representations of women such as smiling wives making ‘husband-pleasing coffee,’ or even a woman depicted as a literal carpet being stomped on by a faceless man. Unfortunately, these motifs are still being echoed in today’s media. Despite its release over 50 years after these ads, the cover of Sabrina Carpenter’s sixth studio album, “Man’s Best Friend,” is eerily reminiscent of these dehumanizing depictions of women.
Announced in early June, the new album’s cover sparked immense controversy as fans and haters alike evaluated the significance of Carpenter’s chosen cover art. The cover depicts Carpenter kneeling below a suit-clad figure, who is tugging on her hair. In conjunction with the album title — a nod to the age-old adage that “a dog is a man’s best friend” — the album’s cover draws an unfortunate connection between women and pets. The blatant dehumanization of women is beyond tone deaf in the current sociopolitical climate, where lawmakers are actively attempting to strip women of their rights. The current administration’s attack on gender equality renders uplifting depictions of women in the media more important than ever to ensure that sexist rhetoric and restrictive gender roles do not continue to permeate the fabric of our society.
Carpenter is known for her cheeky and harmless sexual innuendos, from freestyled suggestive outros to recurring sexual poses accompanying her song “Juno” on stage. Carpenter unabashedly developed her brand around both her femininity and sexuality without having an audience dominated by men, something many women around the world find empowering.
However, the cover of “Man’s Best Friend” crossed the fine line between cheeky humor and a tone-deaf belittlement of women. Carpenter’s sexual brand provides a basis with which to examine the cover. However, coupled with the album’s title, it cannot be defended as either sexual empowerment or satire. Online, defenders of the album claim it’s a ‘nonissue’ and argue that critics are incorrect because women still have their rights. Carpenter herself even released alternative cover art, captioning it on X as “a new alternative cover approved by God.”
However, Carpenter and her defenders fail to understand that criticism of the album cover is not rooted in the rise of purity culture or a dislike for female sexual empowerment in the media. Furthermore, they evaluate the album on face value, rather than examining it within its sociopolitical context. Those who critique it are focused on the significance of belittling depictions of women in conjunction with the surge in misogyny after the 2024 election. Cynthia Miller-Idriss, a professor at American University and director of the school’s Polarization & Extremism Research & Innovation Lab, notes that depicting women as inferior sparks a willingness to engage in political violence. The normalization of women as subservient in the media can drive abuse and hate directed towards women.
Carpenter’s new album might have been an attempt to reclaim derogatory depictions of women. However, there’s nothing ‘empowering’ about drawing parallels between women and dogs or depicting women as being subservient to men. Sexuality is empowering, but “Man’s Best Friend” is a poorly executed attempt to further her brand and image without acknowledging the lasting impacts of depictions of women in the media.
