If the concept of "Woman of the Year" is supposed to reflect leadership, influence, cultural impact, or principled courage, then the choices made by Glamour magazine this year raise more questions than they answer — and not the rhetorical kind.
On one hand, you have actual cultural influencers — women who took genuine heat for standing on principle. Riley Gaines, who went from NCAA swimmer to frontline activist in the debate over women’s sports and fairness in competition. Gina Carano, who stood up to Hollywood’s ideological conformity and paid the price with her career, only to become a touchstone for artistic independence. Sydney Sweeney, whose unapologetic normalcy became a lightning rod in an industry allergic to middle America. And J.K. Rowling — a woman who, regardless of your position, has been one of the most fearless voices in defense of women’s rights in an era when even that phrase can get you blacklisted.
These are women with consequence. They said things that got them uninvited from cocktail parties and corporate sponsorships — and they kept saying them.
But Glamour's pick?
Ms. Rachel — real name Rachel Accurso — is a wildly popular children’s YouTube personality, known for her educational songs and affirmations. No question, she’s built an empire, and by any entrepreneurial standard, that’s impressive. But the award here doesn’t seem to be recognizing her business savvy or her impact on childhood development. Rather, it’s a nod to her activism — specifically, her inclusion of a “non-binary” cast member, her public Pride declarations, and most recently, her social media commentary regarding the war in Gaza. She offered empathy for Palestinian children, but critics quickly noticed the glaring silence on the Israeli victims of October 7 — a silence that, in today’s hyper-scrutinized climate, speaks volumes.
Then there’s Rachel Zegler — the face of Disney’s Snow White reboot, and, unfortunately for her, the face of a film that not only flopped critically and commercially but left a sour taste with audiences. Her PR missteps became as well-known as her performances. From dismissing the original Snow White as “weird” and “sexist,” to publicly alienating half the country’s voters, to opining on foreign policy in a manner that seemed more performative than informed — Zegler became the embodiment of Hollywood’s increasingly insular tone. And yet here she is, being honored as a Woman of the Year.
So what is Glamour really awarding? It's clearly not box office success or universal appeal. Zegler has been relentlessly criticized by both fans and insiders. And while Ms. Rachel is undeniably popular among her niche, her most praised attributes in the article weren’t her songs or educational content, but her messaging — her politics.
When you set aside the branding and look at what both Rachels do have in common, a theme emerges. Both have aligned themselves with progressive causes. Both have signaled support for Palestine, with at best, selective silence on Israeli suffering. And both are perceived by their critics as being more celebrated for their politics than for their achievements.
Which leads to a troubling implication: that in today's cultural institutions, being on the "correct" side of a particular narrative now outranks accomplishments, talent, or even measurable impact.