AMERICA’S SWEETHEARTS: DALLAS COWBOYS CHEERLEADERS: Greg Whiteley and a group of numerous collaborators have been refining one of the most successful television formulae at Netflix since the release of Last Chance U in 2016. Best-in-class sports photography combined with personal, character-driven portraiture has accompanied Last Chance U—which started out focusing on JUCO football—to three different universities and then expanded to include basketball. 

Then, without the Last Chance U banner, Whiteley and crew managed to accomplish even more success with 2023’s Wrestlers, which was one of my ten favourite shows of the previous year, and two seasons of Cheer.

Strangely enough, Whiteley and company’s brand-new seven-part Netflix series, America’s Sweethearts: Dallas Cowboys Cheerleaders, is the best testament to the effectiveness of the recipe and the artistry of One Potato Productions. 

It’s the poorest of their Netflix series and, for the first time ever, feels more like a polished pitch than an enlightening documentary as it becomes engrossed in the mythos surrounding its characters.

For starters, this is the first time they have documented an organisation that is far less in need of them and their attention than they are. I was constantly conscious of the ways in which the Cowboys Empire and the DCC, as everyone refers to the cheerleaders, were controlling and restricting access, as well as the numerous ways in which the DCC’s entire infrastructure is geared towards stifling individual candour in the sake of group messaging.

Second, this group has never found itself producing a series that hasn’t actually already been produced. Dallas Cowboys Cheerleaders: Making the Team was a television series that broadcast on CMT from 2006 until 2022. 

As the name implies, the show focused on the DCC audition process and was hosted by veteran choreographer Judy Trammell and longtime director Kelli Finglass.

Though for at least four of the seven episodes, America’s Sweethearts is a replay of Making the Team, the production quality difference between the CMT series and America’s Sweethearts is comparable to that of Dizzy Gillespie and a youngster playing a kazoo. 

We follow Judy, who is also best described as ‘Passionate about the DCC’, and Kelli as they sift through hundreds of in-person and online cheer contender auditions before narrowing the field down to 45 training camp picks and, ultimately, the 36-woman squad.

Throughout the process, we discover the fundamentals of becoming a Dallas Cowboys cheerleader. Unlike Cheer, the idea isn’t to establish cheerleading as a sport, but rather to position the DCC’s work as occupying a space between high-octane dance and endearing brand ambassadorship. 

We also get to know maybe a dozen of the aspirant rookies and astute veterans vying for those coveted spots. It’s easiest to characterise all of the candidates’ characteristics as “Passionate about the DCC,” which doesn’t necessarily provide the storytellers with an obvious opportunity to set themselves apart.

One of them is Kelcey, a rising team captain who is eager to support the DCC and is almost finished with her fifth and last season on the team. Reece is a former beauty queen who is hoping to make her first team. She is far from the only one whose love for Jesus is greater than her passion for the DCC.

 There’s Victoria, whose mother instilled in her a strong passion for the DCC, and whose emotional elimination and subsequent success constitute a pivotal element in the Making the Team narrative.

We also hang out with Anisha, who works as a cheerleader at night and is an orthodontist by day; Kelly, who has the geographical challenge of being from New Jersey; and Anna Kate, whose sister Caroline recently finished her DCC career and is now attempting to figure out what follows next. 

The choreography difficulties, judging panels, and sassy commentary of those early episodes are all hallmarks of the competitive reality genre. In fact, in one makeover episode, the girls visit a hairdresser and express fear that the judges may cut off their hair.

Within that framework, there are clumsy attempts to develop narratives, such as visits home to meet the girls’ families and the disclosure of a number of tragic secrets. I was able to learn a dozen of their names thanks to this, albeit that’s not really an accomplishment given almost everyone goes by “Kelly.”

But after the squad is finally assembled, there’s an odd misunderstanding about what to do next. In its final two episodes, the show had no goal other than to rush through the remainder of the football season. Should the drama stem from the Cowboys’ chances of winning the Super Bowl? since they don’t. 

Rather, Dolly Parton’s performance during the Thanksgiving game’s halftime is briefly highlighted, and one of the females who had not been featured at all before had a terrible incident occur, which makes her storyline regrettably random.

Even so, I couldn’t help but be fond of several of the cheerleaders and become involved in activities like the risky “Thunderstruck” jump-splits. As the seventh episode came to a close, including multiple participants metaphorically taking off their thick eyelashes and mascara while the camera functioned as a mirror, I became acutely aware that the series had not actually descended below any surfaces.

 All of Whiteley’s prior performances had the sense of being tales that he and his team had to share. America’s Sweethearts: Dallas Cowboys Cheerleaders seemed like a tale that Netflix intended to tell, aggressively partnering with the NFL and the Cowboys (a 10-part series about Jerry Jones’s golden years is upcoming). It is not equivalent to that.

Here are the detailed account on, America’s Sweethearts: Dallas Cowboys Cheerleaders. Follow Premiere next website for more details. 

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