JoJo Siwa’s recent personal and professional transformation has ignited widespread controversy, as her new relationship with a man and scaled-back LGBTQ advocacy polarize fans and critics, marking a significant shift from her previous image as a queer icon. This rebrand has sparked intense debates about identity, fame, and the expectations placed on public figures, particularly those who have built their careers on representation and advocacy.
JoJo Siwa, the 22-year-old former child star known for her roles on “Dance Moms” and Nickelodeon, has long been a figure of both adoration and scrutiny. After coming out as queer at 17 and embracing a “gay pop” phase last year, she attempted to shed her kid-friendly persona with edgy performances and vocal support for LGBTQ rights. However, that era was met with mixed reviews, including a Rolling Stone critique likening it to an “identity crisis,” leading Siwa to disown much of that work and seek a fresh start in her career.
In her current iteration, Siwa has traded spiky hair and face paint for sparkly jerseys and soft glittery eyeshadow, aiming for a more subdued aesthetic. The most divisive aspect of this change is her relationship with Chris Hughes, a “Love Island UK” alumnus she met on “Celebrity Big Brother,” where he comforted her after homophobic remarks from a castmate. This shift has alienated some queer fans who valued her loud LGBTQ advocacy, as she has quieted her vocal support this year, even pulling out of a Pride event citing scheduling conflicts.
Siwa’s musical choices have also fueled the backlash, particularly her cover of “Bette Davis Eyes,” which was poorly received for its gritty vocals and accompanying visual that drew “tradwife” comparisons. She now admits to hating the song and performs it reluctantly on tour, though it remains in her setlist due to fan demand. The cover’s release coincided with conservative commentators celebrating her “rebrand” as a victory over “woke” culture, further deepening the divide in public perception and highlighting the political dimensions of her evolution.
Despite the criticism, Siwa insists she remains committed to the LGBTQ community, referencing her past efforts like wearing a “trans rights are human rights” jacket to the GLAAD Awards. She argues that dating a man doesn’t invalidate her identity or advocacy, emphasizing that her coming out at a young age helped normalize queerness for many. However, she acknowledges feeling defensive and more guarded around queer individuals, unsure if they will be supportive or critical of her choices, reflecting the personal toll of public scrutiny.
The fallout has practical implications for her career, as she recently postponed a US tour and “cleaned house” by reducing her team size to focus on authenticity. Siwa’s setlist now blends bubblegum pop from her tween years with songs from her disowned era, reflecting her ongoing struggle to balance fan expectations with personal growth. Offstage, she admits to struggling with criticism, such as ejecting a fan for mocking her hairline, revealing the emotional challenges of navigating fame in the digital age.
Looking ahead, Siwa is rehearsing for a European tour and exploring new projects, including potential TV work with Hughes. She aims to become “a little more carefree” and less concerned with others’ opinions, though she concedes it’s a work in progress. As she navigates this turbulent phase, the debate over her evolution highlights broader questions about celebrity reinvention, the boundaries of personal and public identity, and the evolving nature of fan culture in contemporary society.