“There’s no cigar smoke wafting through the pages,” he said to The New York Times in 2017, “and the obligatory three B’s are gone, too - brown liquor, boxing and bullfighting.”Īs the same article reported, Mr. Fielden, he said pretty much the same thing years ago, before Harvey Weinstein and his ilk sent half the population to the penalty box. Sebastian took a swipe at the publishing patriarchy, telling The Wall Street Journal that he wanted to get away from the idea “that both the Esquire reader and writer is a middle-age white guy who likes brown liquor and brown leather.” In one of his first interviews after he got the job, Mr. He may have fit the image of the “Esquire man” too well for the times.
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Fielden had vowed to revive the “literary charisma” of the magazine of Fitzgerald and Dos Passos. Sebastian replaced Jay Fielden, a dapper Texan given to Hemingway and Cifonelli suits, who had departed weeks before, citing the lure of new (and unspecified) possibilities. His appointment as editor prompted industry speculation that he was going to go “full Cosmo,” chasing Instagram-friendly content and trending topics on Twitter just like Cosmopolitan, Esquire’s sister publication at Hearst that has lately been pursuing data as hotly as it long proselytized multiple orgasms. Sebastian, 39, made his name as Esquire’s digital director, where he oversaw a significant rise in traffic to the site, according to Hearst. This past June, the magazine installed its second editor, Michael Sebastian, in three years.
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Singh explained to Jessica Bennett of The New York Times for an article in August, “is meant to represent gender and sexual fluidity.”Ĭhange is also afoot at Esquire, the tweediest of the men’s titles, which for decades carried a whiff of dad’s old cedar chest full of pocketknives and Mickey Mantle baseball cards. fans.įor a cover image this summer, the team commissioned the fine-art photographer Ed Freeman (a rare man who still shoots for Playboy, though he is gay) for an arty underwater shot featuring three female activists for causes like ocean conservation and H.I.V. Recent feature articles include profiles of Andrea Drummer, a female African-American chef who runs a cannabis-centric restaurant in Los Angeles, and King Princess, a genderqueer pop singer who is as a symbol of self-acceptance to young L.G.B.T.Q. The magazine’s new leadership team consists of a gay man (the executive editor Shane Singh) and two women (the creative director Erica Loewy and Anna Wilson, who is in charge of photography and multimedia), all millennials.
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It’s an open question whether the men who now turn to Pornhub and its ilk for the kind of “entertainment” that Playboy built an empire on even noticed.Įven so, the magazine, which long held up Hef, with his phallic-symbol pipe and star-studded skin romps at the Playboy Mansion, as the epitome of American straight male aspiration, is turning the brand’s hyper-male, hyper-hetero legacy on its head. After the death of its founder Hugh Hefner in 2017, Playboy has morphed into an art-book quarterly that ditched its old tee-hee-hee motto, “Entertainment for Men,” for a gender-blinkered “Entertainment for All.” The magazine has rechristened its Bunnies as “brand ambassadors,” and even embarked on a short-lived experiment to cut out the nudes.
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Even Playboy, mired in identity crisis since dial-up modems, is suddenly woke.