"It's a very, very tricky situation. I haven't said yes to either of them"
About this Quote
“It’s a very, very tricky situation” is the kind of sentence celebrities reach for when the real story is either too messy, too negotiable, or too profitable to narrate cleanly. Brigitte Nielsen isn’t selling an argument here; she’s buying time. The doubled “very” does the work of credibility: it signals heightened stakes without giving the audience anything litigable. Tricky is a soft-focus word, elastic enough to cover romance, contracts, rival offers, and tabloid chaos while sounding like a reasonable adult trying to be fair.
Then comes the strategic non-commitment: “I haven’t said yes to either of them.” That line is less about indecision than leverage. It positions her as the chooser, not the chosen. In an entertainment ecosystem that loves to frame women as being fought over or “caught” between men, she quietly flips the axis: two options exist, and she’s still evaluating. The pronouns matter, too. “Either of them” turns the subjects into interchangeable candidates; it denies the audience emotional specificity and keeps the press from pinning her to a single narrative.
The subtext is classic publicity-era survival: stay interesting, stay unpinned, stay in control of your story’s release schedule. It reads like a negotiation tactic in plain language, one that courts attention while refusing to become evidence. Even the vagueness functions as a kind of power: the less she reveals, the more everyone has to keep watching to find out what “tricky” really means.
Then comes the strategic non-commitment: “I haven’t said yes to either of them.” That line is less about indecision than leverage. It positions her as the chooser, not the chosen. In an entertainment ecosystem that loves to frame women as being fought over or “caught” between men, she quietly flips the axis: two options exist, and she’s still evaluating. The pronouns matter, too. “Either of them” turns the subjects into interchangeable candidates; it denies the audience emotional specificity and keeps the press from pinning her to a single narrative.
The subtext is classic publicity-era survival: stay interesting, stay unpinned, stay in control of your story’s release schedule. It reads like a negotiation tactic in plain language, one that courts attention while refusing to become evidence. Even the vagueness functions as a kind of power: the less she reveals, the more everyone has to keep watching to find out what “tricky” really means.
Quote Details
| Topic | Relationship |
|---|---|
| Source | Help us find the source |
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