
The Dallas Cowboys Cheerleaders Get a 400 Percent Pay Raise
In what amounts to the biggest reveal of the second season of the Netflix docuseries 'America's Sweethearts,' the Dallas Cowboys Cheerleaders will receive a pay raise of roughly 400 percent for the 2025 season.
It is a huge increase in a profession known for its low wages, and one that a former cheerleader for the team, Jada McLean, described in an interview with The New York Times as 'a drastic change' that could give the cheerleaders more financial security.
The pay bump is announced in Episode 7 of the show's second season, which began streaming on Wednesday. It caps a yearslong effort for higher pay that drew a great deal of attention in 2018 when the former cheerleader Erica Wilkins sued the team for unfair pay. She claimed in her lawsuit that she received roughly $7 per hour with no overtime pay and a flat rate of $200 per game, which, in total, ended up being less than the annual pay for the team's mascot, Rowdy. Her case was settled out of court in 2019 and, since then, hourly wages for the squad remained low.
Missing from the announcement of the raise in the show were any specifics of what the cheerleaders were making previously, or how much they would be paid under their new deal.
But in a rare instance of a Cowboys cheerleader, past or present, discussing her compensation, Ms. McLean told The Times that in 2024, her fifth year with the squad, she had made $15 an hour and $500 for each appearance, and that compensation varies based on experience. With the increased wages, she said veteran cheerleaders could now be making more than $75 an hour. The new contract also changes the structure around pay for game day and other appearances, though Ms. McLean said it still does not provide health insurance.
In an emailed statement, the franchise would not confirm the new wages or if the new rates apply to rookies on the team as well.
Want all of The Times? Subscribe.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Associated Press
25 minutes ago
- Associated Press
Petrovic, Alker, Ricardo Gonzalez share lead at Firestone in PGA Tour Champions major
AKRON, Ohio (AP) — Tim Petrovic shot a 4-under 66 on Friday for a share of second-round lead with Steven Alker and Ricardo Gonzalez in the Kaulig Companies Championship, the third major of the year on the PGA Tour Champions. Petrovic closed with a birdie on the par-4 ninth to match Alker and Gonzalez at 5-under 135 at Firestone South. Alker, from New Zealand, had a 66. Gonzalez, the Argentine player who shared the first-round lead with Soren Kjeldsen, shot 68. Miguel Angel Jimenez was a stroke back after a 66. Freddie Jacobson was 3 under after a 67. Angel Cabrera, who already has won two majors this year at the Regions Tradition and the Senior PGA Championship at Congressional, was 1 under after a 68. The winner of the tournaments gets a spot in The Players Championship at the TPC Sawgrass next year. Firestone South previously hosted the World Series of Golf and then a World Golf Championship. It's a strong test for players who next go to the U.S. Senior Open in Colorado. ___ AP golf:


Gizmodo
28 minutes ago
- Gizmodo
West End Games' Classic ‘Star Wars' RPG Is Still Setting the Blueprint for Its Universe
In the years since Lucasfilm overhauled Star Wars continuity—reclassifying years of Expanded Universe material as 'Legends' before wiping a clean slate of continuity it has developed over the last decade-plus—much of what has been rebuilt has been done so off of the back of re-canonizing elements of that old material. In some ways re-imagined, in others just lifted wholesale, the journey of modern Star Wars is as much about adding new stories as it is weaving the old ones back into them. There are perhaps two pillars that define the reconstructive effort above all. The story of Star Wars' future, as in that in the wake of the events of Return of the Jedi, has somehow inexplicably turned to 1994's The Courtship of Princess Leia as its guiding light. But the story of Star Wars' recent past, the trajectory of the rise of the Imperial machine that has been a richly delved period of exploration in everything from Andor to Bad Batch, from games, comics, and books, to movies like Rogue One and Solo? That's been West End Games' Star Wars RPG. First published in 1987, Star Wars: The Roleplaying Game spent over a decade filling out the background of the world before and after the original Star Wars trilogy across multiple editions and a plethora of sourcebooks. Without much to go on beyond the material Marvel's ongoing Star Wars comic series had developed at the time (itself coming to an end the year West End Games' Star Wars story began), the RPG would become an early groundwork for what would become the beginning of the Star Wars Expanded Universe as we would come to know it in the early 1990s. From species names to Rebel Alliance command structures, from events that still resonate now like the Ghorman Massacre depicted in Andor, Star Wars: The Roleplaying Game was the right combination of coming along at the perfect time and its creatives being given the exact level of free reign to create a perfect sandbox of Star Wars creation. And create WEG did, with dozens of intricate sourcebooks that didn't just cover the broad strokes of what it would mean to have a roleplaying game experience in Star Wars' galaxy, but the nittiest, grittiest details, many of which didn't just go on to shape the Expanded Universe when it began in earnest, but expand even further with the addition of the material created there, delving further and further into Star Wars' past with supplements based on the Tales of the Jedi comics, or Timothy Zahn's Thrawn Trilogy (itself shaped by the early writings of the RPG, given to Zahn as a guideline). It wasn't just raw informational data that WEG's books provided to shape the EU (and in turn modern continuity), but style and tone. This is most keenly felt in Greg Gorden's Imperial Sourcebook, which does a deep dive into details about different facets of the Empire's structure, from intelligence to military, and also explores things like COMPNOR—the Commission for the Preservation of the New Order, essentially the political superstructure of Imperial power—to elucidate the specific fascistic character of the Empire's oppressive tactics. But beyond the actual material itself, one major thing that still remains influential in visions of contemporary Star Wars, is how West End Games taught its writers to write Star Wars. West End Games' Star Wars style guide had a bit of a viral moment a decade ago when it re-emerged on the internet (at places like this very website!), to compare and contrast how its dos and don't matched up with what was then the nascent status of modern Star Wars in the wake of the reboot of canon and the release of The Force Awakens. But while the gift of hindsight can be enjoyable, WEG's advise on what made good Star Wars can still be felt throughout the very best of the material that we're getting today. The style guide pushed writers to be expansive and additive to Star Wars' world, rather than to simply play in what was already in the toybox. Familiar characters were to be few and far between, moral storytelling to be less clear-cut, with villains (new villains!) that had motivation beyond evil for evil's sake. Again, its approach to stories of the Empire were some of its most fascinating, pushing writers to remember that the Empire was made up of genuinely awful people, but also a galaxy of citizenry who had little choice than to conform to the grip of Empire, and who became its willing tool was different to just a regular person with their own wants and needs. Star Wars is a broad sandbox, but West End Games pitched an enduring vision of it that strove for maturity and intelligence, that took the base framework and world of the original movies and genuinely pushed them into new and compelling territories in order to give players a rich and thriving universe to play in. There's an argument to be made, of course, that not all Star Wars should adhere to this tone or particular frame of interest: WEG's vision of Star Wars leaned more into the military sci-fi of its view of the Imperial/Rebel conflict, and not necessarily too far into Star Wars' space fantasy roots, an equally important aspect of the universe. But it's remarkable to see how what has become some of the very best of Star Wars in the modern day—across books, television, comics, games, and movies—carry so much of Star Wars: The Roleplaying Game's heritage, not just in reference to the worlds, names, places, and events it first explored, but in the tonal vision it had for the galaxy far, far away. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what's next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.


Fast Company
28 minutes ago
- Fast Company
Astroworld is back in the spotlight and survivors are sharing haunting stories on TikTok
Astroworld is back in the news, and social media has some thoughts. In November 2021, a deadly crowd surge at Travis Scott's Astroworld music festival claimed the lives of 10 people. The then-annual event, held in the rapper's hometown of Houston, became one of the worst concert tragedies in U.S. history. It is now the subject of the new Netflix documentary Trainwreck: The Astroworld Tragedy. With renewed interest in the incident, survivors have taken to social media to share their own footage from the event. 'Only if I knew bro,' one attendee posted on TikTok over footage of himself in the crowd. The audio accompanying the clip is taken from the documentary: 'It started getting pretty hectic,' one survivor says. 'I'm like 'Oh my god I can't take a deep breath,'' adds another. 'Since everyone else is sharing their Astroworld experience,' another TikTok user wrote in the caption of a clip, which shows him tightly packed in the crowd as Scott performs. 'Not too long after this I got bumped into due to the crowd swaying and ended up falling on top of someone in the fetal position,' he wrote. 'We ended up getting out but man it was a struggle.' In other horrifying footage, the panicking audience can be heard calling for help. 'I've never posted this video before, rest in peace to all innocent lives lost,' the closed captions read over the video. Even before Scott took the stage, the crowd seemed to sense something was wrong. 'We are gonna die,' one attendee 'jokes' in a clip, now with 10.3 million views, filming the unsafe conditions. 'Saying this as a joke but on the inside this was a real feeling,' she wrote in the closed captions. 'This about to be bad when it starts,' another can be heard saying. 'Bro literally called it,' the captions add. 'I believe Astroworld 2021 was not an accident,' crowd safety expert Scott Davidson says in the documentary. 'It was an inevitability due to the lack of foresight and the abandonment of basic safety protocols.' Nearly 5,000 people were injured as a result of the crush. The Netflix documentary, which premiered on June 10, features interviews with several survivors. In total, 10 people lost their lives: Axel Acosta, Danish Baig, Rudy Peña, Madison Dubiski, Franco Patiño, Jacob Jurinek, John Hilgert, Bharti Shahani, Brianna Rodriguez, and Ezra Blount, who was just nine years old.