Today, Explained - Miss Piggy, feminist diva

Episode Date: September 18, 2026

From Miss Piggy to the Housewives, depictions of women who refuse to be anything but larger than life has revolutionized the way culture views the other side of middle age. This episode was produced by Danielle Hewitt, edited by Amina Al-Sadi, fact-checked by Miles Bryan, engineered by Bridger Dunnagan and David Tatasciore, and hosted by Noel King. Miss Piggy received the honorary "Grand Dame Diva of Culture, Divahood & Porcine Glamour" award at the 2026 Las Culturistas Culture Awards. Photo by Monty Brinton/Bravo via Getty Images. Listen to Today, Explained ad-free by becoming a Vox Member: vox.com/members. New Vox members get $20 off their membership right now. Transcript at ⁠⁠vox.com/today-explained-podcast⁠.⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

How old do you think Miss Piggy is? That is such a good question. I would say it's a little confusing because her relationship with Kermit and her kind of yearning girlishness for him would suggest a younger woman, right? But on the other hand, her empowered rage and over-the-top stylings would suggest a woman in full flourish. So, you know, I would say a ripe woman in her 40s or 50s, maybe. From hacks to the housewives to pluribus, on-screen depictions of women in middle age and later

life are more three-dimensional and unapologetic than possibly ever. What's Miss Piggy got to do with that? Coming up on today, Explain from Vox. Haven't had much luck on the dating apps lately? Don't worry. It's not just you. It does seem like across sex and dating and partnership, cohabitation, marriage, all of these behaviors are kind of on the decline. How to fight the romance slump and find a connection in real life.

That's this week on Explain It to Me. New episodes, Sundays, wherever you get your podcasts. This is me. Today, explained. Being aloof? Being demure. Interesting range of emotions. You think so?

My name is Angelica Jade Bastien, and I am a critic at New York Magazine and its site, Boulcher. You are, my view, one of America's leading critics at this point in history. Why are you writing about Miss Piggy? What's going on? I take femininity seriously. I find femininity a fascinating art form, a tool, a guide, an exploration, and experimentation. And I believe Miss Piggy, over several decades since the mid-70s when she came into being, has been such a fascinating window into how American culture looks at women, who are larger than life and refuse to be anything else. Okay, before I ask you about her arc, who is Miss Piggy?

God, how can you sum up Miss Piggy? Miss Piggy, you know, in the beginning was seen and played as a delusional woman who comes from like a hard background who decided to launch her career through beauty pageants and make her way, you know, into the limelight, so to speak. Small time girl trying to make it in the big city. And then I come home. And you found her in a small club, I suppose. No, no, oh, no.

I picked her up in a bus terminal. In the Midwest, on the farm. Oh. Yes? Yes. I was, uh, this, this is humorous? Yes, yes, well. Everyone had to grow up somewhere.

She has definitely become an emblem not for a woman being delusional, but for a woman making the argument that her most interesting art piece is herself. One knows what you want to see. You want glamour, you want chazazazzov. Well, you have come to the right big. And so now the star, she was delusional about being she actually is. Hmm. When did Miss Piggy first appear on The Muppet Show?

What was her job back then? When Miss Piggy first first appeared, she didn't have a name, and she showed up in the mid-70s sort of pilot for the Muppet show called Muppet Sex and Violence. Ladies and gentlemen, presenting the end of sex and violence on television. Which you wouldn't think they would have something like that? No. And she was just a beady-eyed sort of chorus pig. But in a couple years, like, I would say by 78, 1978,

she had coalesced into a more formidable figure. This is for you, Herbie. Here it was. She had the, you know, opera-length gloves, the feather boa. Ha! This is me wreaking grandeur. Being a loo? She actually had, you know, these big eyes with eyelashes and an iris.

So it gives her an interesting humanity. She had her blend of arch aggression and like put upon whispery femininity. And one of her early appearances in 1978 was on this British TV. show called Parkinson. Well, I'm going to make a special introduction, in fact, to Miss Piggy, because, as I say, I think she's so sensational. I mean, the really most beautiful, beautiful creature that I've ever set eyes. And I really mean it.

And she is so, so funny. You have such deep blue eyes. Yes, and you have bedroom eyes. And you see this blend of innuendo and just like confidence that I think has become the signature for Miss Pecky. Piggy. So even though, like, in 1974, 1974, 1975, she was just a beady-eyed chorus pig, she, within a few years, became the Miss Piggy we've grown to love today. And then how does she evolve from there? So we go from the late 70s up into the present day.

We're talking about a 50-year time span. What kinds of changes have we seen in the character in the last five decades? Those 50 years are really fascinating. We have, you know, images of and things like the Great Muppet Caper. We see her in a smaller role in the Muppet's Christmas Carol, although I think she has the best line reading in that movie. And therefore, I'm about to raise your salary. Oh, and I am about to raise you right off the page, and her onto the...

And so what you see in both the movies and her appearances, like I would say 80s and 90s, is like this blend of aggression and femininity. But I would say while, you know, you see a lot in the 80s and 90s, her still being seen as like larger than life and fascinating, sometimes her weight or her appetite or her aggression, it's a punchline that could easily make her a joke. For our last aerobic exercise, let's work out on the candy bars. Ready? Remove the wrapper, raise the boot. But by now, you know, if you talk to the people who actually bring the Muppets to life, the producers, the designers like I did for my piece, you learn that they're very aware of the fact that audiences no longer see those aspects of Miss Piggy as a detriment. Why do you think that is? I think there's a number of reasons, actually.

On one hand, I definitely think that we are seeing pretty much the end of the long. Larger Than Life Woman movie star, right? And so Miss Piggy is filling that void. So there's that. I also think that Miss Piggy, you know, her audience, when it comes to like later Gen Xers, millennials, are people who look at these sort of contradictions as fascinating rather than against femininity,

but an aspect of femininity that deserves to be not just praised, but probably Miss Piggy's mind worshipped. So there's, I think, a lot going on with gender today that really also fuels why people find Miss Piggy so fascinating because she's such an outlier. You write that in 2026, the people behind Miss Piggy understand that what was once a kind of locus of mockery is now something that people really like. What actually changed do you think?

Is it the way she's being presented that's changed? Is it us who have changed? What happened? I honestly think it's us. I think in a large part it's where we're at culturally with stardom, with femininity, with the gender wars happening, which has always been happening, it seems like, but has taken on new dimensions where, you know, being an independent woman who believes in yourself can be kind of dangerous. to the order, the world, and certain people who run the world expect of women. And so, you know, a lot of it is where we're at culturally, but also I think it's important to acknowledge that the change I am arguing about with Miss Piggy

happened when she was handed over to Eric Jacobson, who is such a fascinating performer. When I got to interview him, I was really struck by how, you know, quiet and measured and reserved he is. I was like, you would never know this is the person who makes Miss Piggy, Miss Piggy. And he said something to me that has really stuck with me and didn't make it into the final piece where he said, Miss Piggy didn't have to die young like Marilyn Monroe to be eternal. Damn, I like that. I really like that. What do you think our love of Miss Piggy says about what we want and what we don't want from women on screen, particularly more mature women. I think Miss Piggy is able to be a diva all the way down in a way real-life women kind of can't anymore.

But I think what Miss Piggy also communicates, the interest in her communicates at least, is that there is some acknowledgement on some cultural psychological level that there is a wisdom an older woman can provide that no one else can. Unfortunately, when we are talking about flesh and blood women who mess up, who sometimes marry partners who treat them terribly, or who make mistakes because they're human, you know, they're not allowed the leeway Miss Piggy is because she's not real as much as she feels real. Angelica Jade Bastion, you can read her at New York Magazine. When we come back, there are some real women who are changing our idea of what mature ladies look like and act like for better and for worse. Hey, what's up guys? It's Babbish. And on this week's episode of In The Booth, I'm joined by chef, cookbook author, and Food Network legend, Alex Squornishelly. We're talking about chops, the Hamptons, and what it takes to make a cry-worthy pasta. You can listen now wherever you get your podcasts. Support for today's explain comes from NPR. Trying to follow the political news every day can be a lot.

lot. Here's a cheat code that could help you out the NPR Politics podcast. They're a daily political podcast where you can catch up on the biggest political news of the moment, and you can do it in 15 minutes or less every weekday. Right now, NPR Politics has its eye on the midterms and the issues that affect your life, the high cost of housing, health care, ice and immigration, America's role in the world and the growing debt. There's no doom scrolling needed. It's just an exact calm summary for you to declutter the chaos. The NPR politics team is full of experienced political journalists who talk like your smart friends. They give it to you straight rather than speak in hyperbole.

They offer clarity without judgment so you can wrap up every episode with a better understanding of how the balance of power might shift without stressing you out. I used to work at NPR. The people who host and produce the NPR Politics Podcasts are fantastic. Listen now to the NPR Politics Podcast in the NPR app or wherever you get podcasts. With the midterms right around the corner, I wanted to focus this week on a simple question. What matters most when it comes to election day? My main question about the midterm is who are the real swing voters?

How data centers will be affecting the election. Where a PAC is having the most influence. Whether mail and voting is really being suppressed. So this week, we're going to answer some of your concerns and pull out the trends that we have seen throughout our time on the road. Five things you need to know about this year's midterm elections. The stakes, the candidates, the issues, we're cutting through all the noise. It's a midterm study guide.

Let's dig in. Catch us every Saturday on YouTube or wherever you get your podcast. I'm Today Explained. Because those other shows? Yesterday's news. Nomi Fry is a staff writer at The New Yorker. She co-hosts their culture podcast critics at large. We called Nomi to talk about, of all things, the real housewives.

I mean, I think. I think one of the places that we go to as a culture to see representations of kind of loud, proud, fully ripe, if you will, women. I won't, but you can't. Is Bravo's Real Housewives franchise. I don't keep up with the Joneses. I am the Joneses. It may look like I have it all, but I want more. I'll always have your back if you steps.

stabbing me and mine. In which we see groups of women in, you know, in different cities live out loud, going frankly through midlife and having kind of like relationships with each other, obviously, which is kind of the crux of the show. It's about groups of women. But also, you know, kind of going about the business of midlife, which might be kind of kids getting older. When you were in first grade and fourth grade.

in fourth grade and eighth grade, I was like, what is this child going to do in her life? And I'm just proud of the lady that you are. Relationships with their partners, possibly divorce. And I'm actually making a good decision before it turns into a bad situation. And I don't want that for my children. I like your optimism, but I had it too.

Sometimes death. Older parents. Alzheimer's is. terrible to watch somebody go through. Career challenges or triumphs that come to women in midlife. And I thought the alcohol was a great idea. I really looked up to what you did. And I thought it would be a great way for me to get ahead.

I just thought I would have a couple of things, the rosé and the prosaqo. You know, we see kind of all of that on our screens when we watch these shows. So Real Housewives has been on for 20 years? If we look over the past 20 years, understanding that, as you said, these are women in a certain phase of life, do you think the way that they are being portrayed or the way they feel comfortable portraying themselves because this is reality TV? Do you think that's changed? Like, has it evolved at all? I think the type has become much more familiar. You know, 20 years is a not unremarkable span of time. And I think...

Close to a generation, yeah. Yeah, and I think when the show began, there was a bit more surprise or like a tinge of like scandal or worry about women, you know, in their 40s and 50s kind of like throwing down on reality television in a way that I think we were used to seeing maybe younger, younger people do. And with the housewives, it was suddenly like, okay, these. women who are like have run like an insurance empire or something and are like 48 years old are suddenly like cat fighting with each other or you know having affairs or what have you and I think maybe the impression was that it was a little unseemly and I think over the past 20 years it's become much less remarkable of course you can associate that with a kind of crassening maybe of our culture and us becoming a nerd to what reality TV

can do and what types of behaviors it can represent on our screens. But I think it also maybe has to do with, yeah, the level of comfort would think older women on screen doing whenever the fuck they want. Do you, do you, if we were to talk about middle-aged women, women, whatever euphemism you want to use, women of a certain age, before real housewives, how were they portrayed on air? Like, where did we see them? What shows? You know, it's really crazy. Like, when you think about it really, it was like the picture of the Golden Girls, you know, the cast of the Golden Girls, the 1980s sitcom. You'll just have to grow old along with the rest of us.

I couldn't go old if I had to look like the two years. which was about like four retirees and they're all like kind of like basically gray-haired or white hair wearing like smocked flower tops kind of like retiree garb iconic but like palpably old or elderly looking women and it's like you know these women were only like 52 when the show was you know like they were like well we didn't know that was the thing I didn't know until that meme started circulating. Yeah, mostly they were women who were kind of middle age, like they weren't even really old yet. And yet it was like, okay, we're putting them out to pasture. You know, they're not really trying to still kind of like retain their kind of like

Vavum and kind of their sexual vibrancy and or their professional out and aboutness, right? This was about retirees. And so I think when I think, about like the shift that has happened for better or worse, and we can talk about it, you know, in some of the ways in which this might not have been like absolutely, like, great in all respects, but certainly thinking about women in midlife as still potentially like attractive, potentially sexual, you know, desiring and desirous subjects in the prime of their life rather than sunsetting into an early retirement as soon as you say hit 50 or something. I think, I think that's, that's really changed.

You know, the evidence for this, if you look at the show Hacks, for example, I've got all these eyes on me now. I'm finally respected. Anything I want to do, I have to do now. I remember sitting down to watch Hacks one day after a long run, very exhausted. Everyone had been talking about it. And I was like, she is supposed to be in. her 70s. Yeah. That like felt like a major deal. It's like this is a television show about a woman

in her 70s. I know. And that sort of thing didn't really, you know, yeah, I don't really think that was like, I mean, maybe murder she wrote, you know what I mean? But again, like Angela Lansbury was sort of like she was a woman out and about, I guess, solving murders, but certainly she wasn't like shown in complexity, you know, as kind of like a person, just a person, a person, a person who It happens to be in her 70s and that's part of her life. The reality is of getting older. But she's not like... She wasn't having sex, right?

Yeah, yeah. Which Deborah Vance was. Yes, yes, yes, absolutely. I think that's a big part of it. It's okay to like have sex past menopause or in menopause or, you know, it's like you don't necessarily have, just have to be like a woman in the first bloom of, you know, pubescence. to be considered sexual or to feel sexual or whatever else.

And I think that's a big transition. And Hax is an example of this. Deborah Vance, is this a booty call? Oh, don't be tacky. Just get on your private jet and get over here. Let me ask you about two competing schools of thought regarding real housewives. So there's one school of thought that I've certainly heard, which is these women are like there's a lot of plastic surgery.

There's a lot of behavior that you use. think of as associated, as you said, with younger people, but maybe isn't the most, like, um, decorous behavior for women of a certain age and therefore, oh, this is actually kind of problematic. Versus Andy Cohen, who will defend the housewives by saying there's no show that's given a platform for women over 50 in this way in terms of expressing their sexuality and who they are about, okay, so two competing points of view. Which of them do you buy? Oh, God. I think I'm probably somewhere in the middle, which might sound wishy-washy. But I don't think it's easy.

I would love to fall on one side of the debate. I think my life would be easier. Easier not just as a critic. Easier not just as a critic, but also as a woman who just, I just turned 50 this year. And so I think I would feel much more like if I embraced wholeheartedly, the kind of like, I'm 50, I'm out of the game and I'm fine with it. You know, or no, I'm going to like remake my face from scratch, you know, and spend $100,000 getting a facelift or whatever you want to, you know, however you want to paint it. My life would be easier, but I think just because the kind of internal debate wouldn't be kind of alive in me in a way that sounds more serene. But I think a lot of women are probably in a similar position to my own, whether in our own lives or in relationship to this kind of like,

housewives debate, which is like Andy saying, no, you know, these women can do whatever they want and they're grabbing the bull by the horns. They're kind of embracing their own agency and kind of like path of aging and like they're going to Lauren Sanchez it into the sunset, you know, or not into the sunset, into Mars or, you know, versus like, no, women should be allowed to grow older. Women should be allowed to look like be Arthur and still be. be on TV, you know? And so I think we need to realize what kind of world we're living in. But also I would love, I mean, I often say like, can we just return to like 70s feminism? Like, enough. I can't. I can't. I can't. I can't with this rat race. I can't with like,

oh shit, now I have to worry about my jawline. Like, ugh, let me, just let me rest. Why can't I be. It's just like, what a, how tiring. You know, let me rest. That was the New Yorker's No Me Fry. Danielle Hewitt produced today's show and Omina El Sadi edited. Bridger Dunningin and David Tadishore are our engineers and Miles Bryan, check the facts. The rest of the team includes Heidi Muwagdi, Peter Balinan, Rosen, Patrick Boyd, Kelly Wessinger, Ariana Aspudu, Dustin DeSoto, Gabriel Dunitov and Sean Ramos from. Our managers are Avishai Artsy and Jolie Myers. P is Miranda Kennedy. We use music by Breakmaster Cylinder. I'm Noelle King. Today explained is distributed by WNYC, and the show is a part of Vox.