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Claire McCaskill and Heidi Heitkamp Open up About Their Careers and How It Felt to Lose in the Year of the Woman


For almost a week after the midterm elections, Senator Claire McCaskill (D-Mo.) built her diet on the unimpeachable foundation of “a lot of pasta and a lot of wine.” In a sense, the meals were a metaphor. Who cared if she was undisciplined now? She had lost.

McCaskill served two terms in the Senate and is now, in her last week, one of its few ardent centrists. She also comes from a state that voted for Donald Trump (with a 19-point margin) in 2016. In the months since the election, McCaskill has chalked up her defeat both to the almost insurmountable numbers (19 points!) and to how the debate over now-Supreme Court Justice Brett Kavanaugh several weeks before the midterms galvanized conservative voters. (“That got people lit up,” she told Glamour.) In a recent interview with the New York Times she blamed progressive women, too, whom she feels criticized her for her more moderate approach when in fact what she needed was their help to beat a far more conservative opponent.

But no matter what contributed to her loss, the fact remains that she leaves her office in an unusual moment. For centuries it’s been unremarkable to see a women out of power. So few ever gained it to later lose it. But in 2018, the tides turned.

Whatever the initial sputters about the size or momentum of the blue wave (or was it a rosier shade?) the midterms communicated one absolute truth: The women who’d electrified the resistance didn’t just want to take to the streets; these women wanted seats.

It feels grand, but not quite like an overstatement to declare that a new era will kick off in our nation’s governance next month when this class is sworn in. A record number of women will now serve in the House of Representatives and the Senate. A woman will be Speaker of the House, superlative outerwear in tow. Women make up over 50 percent of the Nevada State Legislature. And nine women won gubernatorial races.

PHOTO: Bloomberg

Heidi Heitkamp (R) and Elizabeth Warren (L) in the United States Senate.

But the wave didn’t just sweep women into positions of influence; it also carried a few out. In the House, Mia Love, a Republican from Utah, and Barbara Comstock, a Republican from Virginia, lost their seats. And in the Senate, it wasn’t just Claire McCaskill; Heidi Heitkamp (D-N.D.) was also defeated.

After decades of service, both leave the capital this week and prepare to return to districts that rejected their leadership. To some extent, the women are now in unchartered waters. So few women have ever won statewide offices and served in the Senate (a grand total of 52) that there’s not much of a model for what happens next.

For Heitkamp, the first order of business is acceptance. Her race had been an uphill climb from the start, given that Donald Trump remains popular in North Dakota and won that state with ease in 2016. But Heitkamp insists she was not at all prepared for to be beat, not because she was delusional about the odds, but because she had made it a point to remain optimistic.

“Don’t anticipate the blow. Don’t anticipate failure. Push all the way through with the idea that this is going to work out.”

She’s worked with countless women in her political career; ambitious, smart women whom she’s seen “gird themselves for defeat” before they’ve even exhausted their opportunities. “‘Well, if it doesn’t work out that’s OK,’ or, ‘I’m not going to let it devastate me if I don’t get this job,’ and I think that’s a mistake,” Heitkamp says. If she has advice to offer anyone in a similar situation, it’s this: “Don’t anticipate the blow. Don’t anticipate failure. Push all the way through with the idea that this is going to work out.”

Heitkamp admits that her tactics can make disappointment “a little harder” to endure, but the work itself is easier when a loss doesn’t feel inevitable. The world is hard enough on women who want to succeed, as Heitkamp puts it, and scores of people in positions of power who want women to doubt themselves. Don’t make it easier on them.

Now of course Heitkamp has all the time she could ever want to dwell and to recover and, much to her amazement, to clean. Immediately following the election, she watched such mindless television she can’t remember even what network it was on. “I was so tired. I had worked so hard,” she says. When she regained some sense of equilibrium, she decided to take out her sorrow on…her closets. “It’s cathartic,” she says. “It’s like, OK, all of this stuff that you’ve collected now and haven’t paid attention to and just stored somewhere—it’s time clean that out. It’s time to get rid of stuff.”

McCaskill, too, has decided to toss whatever she’s collected that she doesn’t need, although in not quite so literally. After she licked her wounds (pasta, wine, repeat), she tried to remind herself that, as she sees it, “it’s impossible to be a victim and a leader at the same time.” She could complain (and some would suggest that she has, at least in her most recent interview with the New York Times‘ The Daily), but she insists she’d rather hunker down and get back to work. She wants to mentor women who want to run for office. Her goal, she says, is to teach them “how to be better fundraisers, how to use a sense of humor, how to see themselves as winners.” And she wants to dispense with the niceties.

“When you’re in public life you always have to live defensively and be careful about how things appear,” McCaskill says. “But now I can kind of go for it. Now I can offend with reckless abandon.” To serve Missouri, she wasn’t in a position to speak out as much as she might have liked against President Trump, for example, and what she now deems his “tortured relationship with the truth.” Now she doesn’t need to hold back—when it comes to Trump or even Democrats whom she thinks haven’t well-served rural white voters. “That was no fun, being disciplined,” she says. “I am going to be so undisciplined now it’s going to be a hoot.”

Claire McCaskill Casts Her Vote In Tight Missouri Senate Midterm Election

PHOTO: Scott Olson

Claire McCaskill in November 2018.

Even over the phone, McCaskill sounds light and unburdened. But rejection is rejection. And both she and Heitkamp have had to narrate in public and in real time what that’s like.

Heitkamp has lost elections before. The first was when she was 28 and ran for state auditor. “It was a long-shot campaign,” she remembers. “I did it because I wanted young women to see that we had opportunities to run statewide races. I came really close, and so it didn’t feel like a loss.” Supporters told her she exceeded expectations and had a bright future ahead in politics. It was for Heitkamp a kind of “first introduction” to the people of North Dakota, and it felt good. She lost her bid for governor too, much later. It was 2000 and she was diagnosed with cancer in the middle of the race. When she didn’t win, she didn’t have time to dwell. Her aides had spent the last few months of that campaign watching her hair fall out, watching her get weaker and sicker. Less than 24 hours after the results came in, she had her head shaved. (As now, so too then—it was time to get rid of stuff.) Her children were little, and they didn’t care if their mother was a governor or not.

The point was, she recalls, “OK, you tried this. It didn’t work, but you’ve got kids to.” She wasn’t focused on win or lose. She was focused on live or die.

Heitkamp did survive and the disease gave her perspective on the drama of politics, and this recent loss. But her wince is almost audible as she thinks back to how the results were plastered across the front page of newspapers nationwide. “That level of public exposure—it makes the failure tougher,” she says. Not as a woman, but as a person.

It’s not harder to lose in the Year of the Woman than it was in 2000, they both agree. It’s not much easier, either, but perhaps it’s more peaceable. Heitkamp has watched women stream into Washington over the past few weeks, full of ideas and ambition. When she wanted to run for office, conventional wisdom held that women could either be unmarried and have a career in federal politics or would have to wait until their children were grown up to enter the arena. This election, despite the outcome for her and McCaskill, undid that rule. “What excites me is that when [girls] look at these women who have come up in this election, they can see themselves in 10 years or themselves in five years or themselves now,” Heitkamp says. “The bottom line is that’s exactly the message we need to be sending.”

Heitkamp is 63, and doesn’t plan to disappear from public view. She has more to contribute, and she knows it. But as a citizen and as a woman who was encouraged in her twenties to see a future for herself in politics, she can muster up some excitement for what the capital will look like without her: “I am so excited to see what these women bring.”

There’s no real plan and no more rules and no more staff or schedules. Heitkamp feels sad and a liberated too. Her to-do list is short. “There are issues I know I’m going to continue to have a voice on; it’s just not going to be from inside the United States Senate,” she says. And in the meantime? “Time to binge-watch HGTV, baby.”


Mattie Kahn is a senior editor at Glamour.



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Claire and Jamie Are the Sexiest They've Been in Months in This New *Outlander* Sneak Peek


Ask any Outlander fan what they love about the show, and the sex scenes between Claire (Caitriona Balfe) and Jamie (Sam Heughan) will inevitably come up. Of course, those romantic moments aren’t the only thing we love about the time-traveling series, but…yeah, they’re high on the list.

Here’s the thing, though: Claire and Jamie don’t get that many opportunities to, uh, get down. They’ve spent the past three seasons constantly being separated by dramatic circumstances—a battle, a wayward horse, typhoid fever, to name just a few. And when they are together, they’re usually around smelly sailors, smelly soldiers, or smelly Rollo. Not sexy.

Considering all of that, it’s incredible they’ve found any moment alone—even Heughan agrees. “It’s amazing how their love lasts,” he told Glamour earlier this year. “They haven’t lost anything in their passion for each other, even though they seem to get very little time together. There’s always something going on.”

This season, however, Claire and Jamie have settled down to build their first home together. And naturally, Outlander fans hope this means more sexy times are on the horizon. Heughan promises that’s the case: “That’s one of the great joys of this season: They finally get to be together, somewhere safe and theirs to call their own.”

Claire and Jamie might be nesting, but that doesn’t mean they still don’t get the occasional interruption. Watch this exclusive sneak peek from this week’s upcoming episode—titled “Blood of My Blood”—and you’ll see what I mean:

“With all the sex scenes, or anything like that, we always try to approach them from a place of empowerment—not only the characters, but of the actors and the audience,” Balfe told Glamour about the show’s steamier scenes.

Outlander airs Sundays at 8 P.M. ET on Starz.

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Claire Foy Was Denied Entry Into an Emmys Party, so a *Queer Eye* Guy Helped Her Out


We’ve seen the Queer Eye guys help people dress better, clean up their living spaces, gain confidence, and even propose to their significant others, but did you know that they also have the power to get A-list celebs into high-profile parties? Claire Foy does now, since Jonathan Van Ness did just that on Monday night, when the actress was reportedly struggling to gain admission to the annual post–Emmy Awards Governor’s Ball. That’s right: Queen Elizabeth II herself (kinda), who had accepted the Emmy for Outstanding Lead Actress in a Drama Series mere hours before, was almost not allowed into an Emmys after-party.

The Good Samaritan move was shared on Twitter by The Hollywood Reporter‘s Chris Gardner, who watched it all go down. “Just witnessed crazy #EMMYS moment: Queen almost couldn’t get into Governors Ball. Claire Foy, best actress in drama winner, denied entry because of ripped ticket that prevented her team from entering back entrance until @jvn came to rescue after gushing over how much he loves her,” Gardner tweeted. As you can see in the photo Gardner attached to the post, Foy is literally carrying her Emmy in her hand, which should probably count for more than any ticket, ripped or not.

Regardless of these questionable ticketing policies, it appears that Foy was eventually able to enter the party, thanks in large part to Van Ness. The whole mix-up also gave Van Ness and Foy the chance to fawn over each other, and then share those incredible moments with the world. That night Van Ness shared a photo on Instagram of himself and the the Crown star—in coordinating white satin ensembles, no less—that appears to have been taken outside the party, either just before or after he salvaged Foy’s after-party plans.

The next day he uploaded a series of shots from the Emmys, including a video in which he appears to be recording a friendly message for one of Foy’s friends on her phone. Amid his proclaiming his love for all things British, Foy shouts, “This is the best thing that’s ever happened!” Couldn’t agree more.

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Claire Foy Says She Actually Wasn't Paid Back for Making Less Than Matt Smith on 'The Crown'


It turns out that Claire Foy may not be getting her due after all. In an interview with Al Arabiya English published Thursday (July 26), the actress said that she has not received the back pay supposedly promised to her for the gap between her and costar Matt Smith’s paychecks. “That was what was reported that I was back-paid. I’ve never mentioned anything about it and neither have the producers. The fact that that is ‘fact’ is—not quite correct,” she told Al Arabiya English.

To recap: In April the Daily Mail reported that Foy would reportedly receive £200,000 (around $260,000) in back pay for her lead role as Queen Elizabeth II. This news came about a month after producers Suzanne Mackie and Andy Harries confirmed that Smith, who played Prince Philip, was getting a higher paycheck than the woman who portrayed the queen.

“Going forward, no one gets paid more than the queen,” Mackie said at the time. Meanwhile, Left Bank Pictures, one of the production companies behind The Crown, apologized to both stars, while declining to mention whether anything would be done to retroactively address the gap.

Shortly after, Foy addressed the controversy: “I’m surprised because I’m at the center of it, and anything that I’m at the center of like that is very, very odd, and feels very, very out of ordinary,” Foy told Entertainment Weekly in March. “But I’m not [surprised about the interest in the story] in the sense that it was a female-led drama. I’m not surprised that people saw [the story] and went, ‘Oh, that’s a bit odd.’ But I know that Matt feels the same that I do, that it’s odd to find yourself at the center [of a story] that you didn’t particularly ask for.”

In the article published Thursday, Foy elaborated on those thoughts: “Yes, it’s Netflix, but it’s a British production company. It happened at the same time as it was coming out with a lot of other people that there was a lot of pay inequality across the board—in the music industry, in journalism, in every industry,” she told Al Arabiya English. “It’s across the board that it became part of a bigger conversation, which is an odd place to find yourself in.”

“I realized early on that me being quiet about it or me not thinking about it in any way, and not associating myself with it, would be harmful to me and also lots of other people,” she continued. “It’s taught me a lot, and I’m still learning about it. I have not come out the other side and know exactly what I’m talking about. I’m still learning as much as anybody else is.”

Glamour has reached out to Foy’s representative, Netflix, Left Bank Pictures, and Sony Pictures for comment, and will update this story accordingly.

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Claire Underwood Is Taking Over the White House in the Newest 'House of Cards' Teaser


When House of Cards‘ lead Kevin Spacey, who played Frank Underwood, was fired amid allegations of sexual assault, Twitter responded to the news with one overarching request: Make Claire Underwood, Frank’s scheming co-conspirator played by Robin Wright, President.

After months of speculation about the show’s direction, including a hiatus to rewrite the final season so Spacey’s character was removed, it seems that social media has gotten its wish. For Independence Day (July 4), Netflix released a short teaser on Twitter for House of Cards‘ sixth and final season featuring Claire Underwood and Claire Underwood only. Its title, straight from Netflix: “A message from the President of the United States.”

The accompanying clip, though short, was loaded with details to dissect. In the twelve-second teaser, Claire sits atop a marble seat quite similar to the Lincoln Memorial in Washington, D.C. Her hair is in its signature sharp bob, and she’s dressed in a navy skirt suit—a vision of unwavering power. “Happy Independence Day,” she deadpans directly into the camera, “to me.” The ad ends with a similarly short, but powerful hashtag: #MyTurn. Watch it in its short, political glory, below.

Releasing the teaser on the Fourth of July was no accident on Netflix’s part. When Claire says “Happy Independence Day—to me,” she’s suggesting that, liberated from Spacey’s character, she’s in the driver’s seat from now on. Sure, for Claire’s ice-cold persona, that may include more room for plotting and political corruption—but it’s her turn to be fully in charge.

Claire Underwood’s ascension to power somewhat parallels the gains Wright has made by speaking up and asking for more in her role. In 2016, Wright notably revealed that she had not received equal pay with Kevin Spacey when she first began working on House of Cards—despite the fact that her character was more popular. “I was looking at the statistics, and Claire Underwood’s character was more popular than [Frank’s] for a period of time. So I capitalized on it,” she said at a Rockefeller Foundation speech in 2016. “I was like, ‘You better pay me, or I’m going to go public. And they did.”

House of Cards is clearly moving in a female-powered direction. And, as expected, Twitter was thrilled with the first look at Claire Underwood’s turn in the coveted presidential seat (er, throne.) “This is MY President!” one user replied to Netflix’s account. Another said, “Robin Wright was always the real star.” True that.

Let the countdown to House of Cards season 6 officially begin.

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Claire Foy Is Reportedly Getting $275,000 in Back Pay for ‘The Crown’


It appears that Claire Foy is going to be properly paid for her role as Queen Elizabeth II on The Crown, after all.

Earlier this year it was revealed that Foy, despite being the show’s lead, was paid significantly less money than her male costar, Matt Smith, who plays the queen’s husband, Prince Philip. At the time the actress told Entertainment Weekly, “I’m surprised because I’m at the center of it, and anything that I’m at the center of like that is very, very odd, and feels very, very out of ordinary. But I’m not [surprised about the interest in the story] in the sense that it was a female-led drama. I’m not surprised that people saw [the story] and went, ‘Oh, that’s a bit odd.’ But I know that Matt feels the same that I do, that it’s odd to find yourself at the center [of a story] that you didn’t particularly ask for.”

Just last week Smith finally addressed the controversy. “I believe that we all should be paid equally and fairly,” he said. “Claire is one of my best friends. I support her completely.” (Producers said Smith was initially paid more because he was more well-known when the show began filming.)

Producers Suzanne Mackie and Andy Harries had pledged that going forward the gender pay discrepancy would be fixed. “Going forward, no one gets paid more than the queen,” Mackie said. But since Foy will no longer be playing the part going forward, it didn’t really help her much. Until today, that is. Foy is now set to reportedly receive around $275,000 in back pay to close the wage gap.

In a statement to the Daily Mail, Left Bank Productions (the company behind The Crown) said: “As the producers of The Crown, we are responsible for budgets and salaries. The actors are not aware of who gets what and cannot be held personally responsible for the pay of their colleagues. We are absolutely united with the fight for fair pay, free of gender bias and for a rebalancing of the industry’s treatment of women in front of the camera and behind the scenes.”

Long may she reign—and be paid fairly.



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