Hulu’s ‘Happiest Season’ Is a Huge Holiday Letdown

Graphic by Trinity Kendrick ‘21

By Sabryna Coppola ’22

Arts & Entertainment Editor

Content warning: This article mentions homophobia and emotional abuse.

The holiday season traditionally involves going home to see family, and that presents a potentially harrowing experience for many LGBTQ+ people. 

On Nov. 25, Hulu released their original film “Happiest Season.” Directed by Clea DuVall (famous for her role in “But I’m a Cheerleader”), the film follows Harper (Mackenzie Davis) and her girlfriend Abby (Kristen Stewart) as they visit Harper’s home for Christmas. Harper admits on the way that she lied about being out to her conservative (read: homophobic) family, and since her father is a politician running for reelection, she wants to keep their relationship a secret until after the holiday passes. 

The film opens with all the usual antics we can expect from this popular trope in LGBTQ+ movies, including lots of misunderstandings and innuendos. But as the movie progresses, Abby and Harper’s relationship becomes more strained. 

Since Harper’s family doesn’t know about her identity, they keep trying to set her up with her ex-boyfriend. Left alone in an unfamiliar place, Abby befriends Harper’s ex-girlfriend, Riley (excellently played by Aubrey Plaza). Harper’s tense relationship with her parents, her extremely competitive older sister and her hiding of Abby all come together to create a ticking time bomb.

The movie promises a star-studded cast, including Stewart, Plaza, Alison Brie and Dan Levy. However, it is only Stewart and Plaza’s talents that are fully utilized, as only their characters are fully developed. The rest seem to fall into flat stereotypes. 

Throughout the movie, Harper ignores Abby, who has admitted how hard it is for her to celebrate Christmas after the passing of her parents, and repeatedly convinces her to stay despite her discomfort. Levy plays Abby’s friend, John, who occasionally advises Abby over the phone to remove herself from the situation, eerily reminiscent of Jordan Peele’s horror film “Get Out.” However, at the end of the movie, he tells Abby that just because Harper is afraid to be open about her sexuality doesn’t mean that she loves Abby any less. Reminding Abby how scary it can be to come out to one’s family, he convinces her that Harper’s manipulative behavior is justified. 

Without revealing too much, I will say that I was immensely disappointed in this movie for many reasons. Following in the footsteps of almost every rom-com relationship, Abby and Harper are completely dysfunctional and, frankly, toxic. The cast is also mostly white, and the three characters of color lack dimension. They seem to be used as diversity tokens for the election of Harper’s father, which is wildly problematic and wholly unaddressed. Two of them frame Abby for stealing something from a mall, adding an unnecessary and racist plot point. Harper spends the entire movie pandering to her right-wing upbringing, hiding the parts of her that will tarnish her father’s reputation and, in the process, actively hurting Riley and Abby. 

This portrayal of LGBTQ+ romance is not the representation I wanted to see from DuVall, a lesbian icon. The best-case scenario would be a lesbian rom-com that wasn’t about their sexual orientation. But this toxic couple undermines that possibility. Instead, preying on the terrifying feeling of coming out enables an unhealthy relationship in which Abby is emotionally manipulated into letting herself be mistreated by Harper. I’m not asking for the perfect movie, but it would have been nice for the first mainstream lesbian rom-com to promote more meaningful representation.

The movie has had some mixed reviews. NPR called it “funny,” “charming” and “warm” and lauded the cast for their performances. However, lesbians on social media have expressed disappointment in the couple, pointing out how Harper’s general mistreatment of Abby is thinly glossed over by appealing to the fear of coming out. Like any rom-com, the problems are easily solved and the ending is perfectly happy —  every problem is neatly wrapped up and put away. Despite how much I wanted to like this movie, I think it’s something that will land differently with everyone who watches it. Knowing how hard it is to come out to family shines a sympathetic light on Harper, but for me, it wasn’t enough to excuse her actions. 

The movie is still worth watching, but don’t expect too much. There are some genuinely funny parts and a cozy, festive atmosphere to the film. Stewart and Plaza, both usually typecast as cold and sarcastic, give wonderful performances. It does show a nuanced relationship, which is important for “representational” movies, but marketing toxic as romantic just doesn’t sit right with me. 

To anyone struggling with difficult family dynamics over the holidays, remember that you are worthy and deserving of self-preservation. It can be a tough time for a lot of us, but remember to take care of yourselves. If you find yourself in Abby’s position, pack your bags and put yourself first. 

‘the Queen’s Gambit’ Brings Glamor and Tension To Cold War Chess

Graphic by Anjali Rao-Herel ‘22

By Sabryna Coppola ’22

Arts & Entertainment Editor

Content Warning: This article discusses substance abuse, addiction and injury due to substance use.

In the grip of the Cold War, a teenage girl battles to dominate international grandmasters of chess to redeem herself and prove the superiority of America over Russia. In Netflix’s adaptation of Walter Tevis’ 1983 novel “The Queen’s Gambit,” Anya Taylor-Joy plays Beth Harmon, a chess prodigy from Kentucky. The seven-episode series is intense, packed with a range of strong emotions and a surprisingly thrilling series of chess matches. Aided by the brilliant score and Taylor-Joy’s cool assurance, “The Queen’s Gambit” offers an exciting story of a girl dominating a traditionally male game. Beth’s troubled past and fraught relationships keep the audience on the edge of their seats, unable to turn away from their screens.

Beth is orphaned at a young age and moves to the Methuen Home for Girls. Sent on an errand to the basement, Beth sees the janitor, Mr. Shaibel, playing chess. Eventually, he agrees to teach her how to play. Beth quickly becomes an expert, even visiting a local high school to play the entire chess team at once and easily beating them all. This marks the beginning of Beth’s journey into global chess fame, expedited by her adoption by Mrs. Wheatley (Marielle Heller), who later helps her travel the U.S. to play in tournaments. Beth continues to play internationally and eventually faces off with Russian World Champion Borgov (Marcin Dorociński). The show has even been praised in The New York Times for its accuracy regarding the details of chess, from the handling of the pieces to the historical references and real masters.

Another plot point centers around the tranquilizers Beth and the other girls are given each day by the orphanage to stabilize their moods. Beth saves these tranquilizers and takes them at night to help her see an imaginary chessboard on the ceiling that she can use to play and analyze games in her head. When the government forbids the use of sedative drugs on children, Beth starts to experience withdrawals, causing her to break into the infirmary and overdose on them. Beth continues to struggle throughout the series with her dependence on drugs and alcohol, battling the conviction that they enable her to be a better chess player.

As a fan of Taylor-Joy after her performances in “The Witch” and “Split,” I was excited to see her in such a unique role. Her intensity was strong throughout the series, but I expected to see more moments of vulnerability, especially considering the personal losses she faces. But even with her stoicism, the dry wit and fierce determination of the character won me over. 

The show is visually captivating with a cool color palette and lush outfits for Taylor-Joy, culling the most glamorous trends of the 1960s. The score, written by Carlos Rafael Rivera, is excellent, bringing a sense of tension and excitement to the chess matches which feel accessible to non-chess players watching Beth learn the game. The soundtrack also features some great pop songs from the 1950s and ’60s, including the Monkees, the Kinks and Skeeter Davis’ “The End of The World.” 

Despite these undeniable strengths, I thought at times that the series left something to be desired. Its portrayal of Beth’s addiction seemed to lack consistency. Her use of drugs and alcohol was certainly labeled as a bad influence multiple times, but it still had a glamorous edge, reminiscent of substance portrayal in “Mad Men.” While we watched Beth sink to the lowest of lows, the dangerous effects of her substance use seemed watered down, diminishing the realities of addiction. Her apparent ability to stop her consumption of drugs and alcohol on a whim felt unrealistic, using her troubled genius and tragic past to romanticize a very real condition that nearly 21 million Americans face.

The one part of Beth’s struggle with addiction that does feel realistic is the support she is given from her friends. In her matches, many of Beth’s competitors become her friends and mentors. Harry Beltik (Harry Melling) and Bennie Watts (Thomas Brodie-Sangster) both turn from fierce opponents to trusted friends who offer her guidance on her path to beat Borgov. Bennie helps her stay away from alcohol while studying for her match with Borgov. Harry pleads with her to take care of herself when he sees her at a local chess event in Kentucky. 

She is also helped by a friend from Methuen, Jolene (played by the fascinating newcomer Moses Ingram). Jolene seems to find Beth at her lowest point, bringing symmetry to the show, as she was Beth’s closest friend when she first began taking pills. Knowing Beth’s history, Jolene is able to help her regain her sobriety and prepare for her final tournament in Russia. Jolene is also the only person of color in the series, which was disappointing. The existence of her international competitions seemed like an opportunity to address this, but she only seemed to face white European men, which is reflective of the pool of internationally recognized grandmasters in the 1960s.

 Even her competition with Borgov, like with Harry and Benny, seemed oddly friendly. Compared to all of the Cold War movies demonizing the USSR, their rivalry feels personal, not political. It is unclear if that is a reflection of the current relations between the U.S. and Russia, but it felt less like a political proxy competition than a video game’s boss battle. 

“The Queen’s Gambit” is visually rich and enthralling despite being fairly predictable. Taylor-Joy is charming and easy to root for. The show is cerebral and surprisingly moving at times. It also packs in quite a lot of information about the rules and history of chess. At just over seven hours, “The Queen’s Gambit” is a perfect series to binge in a weekend, especially if you’re looking to enjoy some retro fashion and watch a teenage girl from Kentucky embarrass chess masters at their own game.

Cardi B and Megan Thee Stallion’s Sex-Positive ‘WAP’ Goes Viral

Pictured Above: Cardi B (left) and Megan Thee Stallion (right)

By Sabryna Coppola ’22

A&E Writer

Being in quarantine this summer has brought us some great music (and subsequently some great TikTok dances), and Cardi B and Megan Thee Stallion’s duet “WAP” made a huge splash. The song spent two weeks at No. 1 on the Billboard Hot 100 list and has become an instant hit, breaking 93 million streams in its first week. “WAP” has received tons of support from fans of Cardi B and Megan Thee Stallion, but has also drawn the attention of conservative public figures weighing in with their opinions. 

The song itself is a sexy, boisterous anthem, celebrating sexuality for anyone with a “WAP” (wet ass p----). The song opens with a sample from Frank Ski’s song “W----- in This House,” looping throughout the song and setting the tone right away. The lyrics are explicit and detailed, putting euphemisms and double entendres to brilliant use. 

The music video is visually striking and iconic in its own right, using water to double down on the message, and other symbols of prowess — like tigers — to denote the fierce attitude and intentions of the performers. The video was choreographed by JaQuel Knight who is also known for his work with Beyoncé.

Personally, I loved the song. I love the message, the honest celebration of women’s sexuality and the bold self-awareness of “WAP.” The song has received a lot of attention on the social media app TikTok, sparking a viral dance choreographed by Brian Esperon for viewers to partake in. TikTok influencers, parents and church groups alike have used the song to record their own rendition of Esperon’s dance, embarrass their kids or make up their own parodies. 

However, not everyone had such positive feelings about “WAP.” Most notably, political pundit Ben Shapiro made a video on his YouTube channel dissecting the lyrics and reacting to the song. He read the lyrics in his signature monotone, adding his own commentary, which later would inspire remixes with the song performed in his voice. He mocked the song, implying that the sexual confidence portrayed by Cardi B and Megan Thee Stallion would only lead to further objectification of women, and gave the opinion of his wife, a doctor, who apparently advises people with “WAP” to see a doctor. 

This response is rather unsurprising from the likes of Shapiro, but parents and critics have denounced the sex-positive anthem as well. The National Review describes the song as “hoary sexual cliches and deification of lowlifes in a music-video milestone,” demonizing both artists for their pasts and shaming them for their sexual content. 

This song does what so many songs have done for men in the past. Singing and rapping about sexual prowess is nothing new for men in the music industry. What makes it a problem in “WAP,” besides the fact that it’s two women singing? American culture embraces the sexuality of men while suppressing the same sex positivity for women. The layer of respectability politics overlaid only proves the point more: Rapping about sexuality is only okay when it’s a man, forget two women of color. 

Negative reviews and slut-shaming aside, the song has generally been embraced by audiences around the world. It has already been nominated for MTV’s Song of the Summer award, and its star status doesn’t seem to be subsiding. “WAP” makes it clear it is a song made for female empowerment. Its adoration on TikTok makes its generally positive reception obvious, mirroring the popular use of songs by ppcocaine (or Trap Bunny Bubbles) known for their sexual content and inspiring many viral dances. 

The National Review writes, “This wanton spectacle is praised as ‘sex positive’ by college-grad journalists who’ve never known any sexual propriety (or the deliciousness of restraint).” The author seems to miss the point that the song was not created for them, or anyone else, but that it’s a form of self-expression and a celebration of the artists’ bodies. As myself, a “college-grad journalist” — if the shoe fits...

Sounds Spooky... Songs to Sing on Halloween

A&E's Best of 2018

TV Series

“Wild Wild Country”

CASEY ROEPKE ’21

A series full of archival footage and investigative information, “Wild Wild Country” tackles the documentary genre with amazing care and effort. The series follows the infamous and controversial Bhagwan Rajneesh, a guru from India who amassed a tremendous following with his teachings on meditation, religion, advocacy for sexual liberation and a break from traditional Indian values. The show focuses on Rajneesh, his personal assistant Ma Anand Sheela and other pivotal players in the controversial criminal activity that followed the movement’s relocation to the U.S., including the Rajneesh community’s takeover of Wasco County, Oregon. Throughout the whole, the directors, Maclain and Chapman Way, did their best to keep their own opinions out of the documentary, which leaves the fundamental question — who the bad guys are —unanswered. With a gripping narrative style, detailed historical recreations and incredible interviews, “Wild Wild Country” was popular among true crime fans and historians. It’s worth a watch and a rewatch. (Netflix)

“Dogs”

There is no better premise for a show: lovable, fluffy and heartwarming, the dogs in this six-part documentary series will steal your heart a million times over. From a service animal for a girl with epilepsy to the refugee willing to do anything to get his dog out of Syria, the series features stories illustrating the unbreakable bond between dogs and humans. It’s impossible to enjoy this television series without a box of tissues in hand, but it’s the emotional catharsis the world so desperately needs right now. (Netflix)

Video Games

“Octopath Traveler”

ERIN CARBERRY ’19

Released exclusively for the Nintendo Switch in July, “Octopath Traveler” is an unconventional version of the sprawling adventure and turn-based monster-fighting games that have earned a place in every gamer’s heart. The game was developed by Nintendo and Square Enix, known for the “Final Fantasy” and “Life is Strange” series. Rather than a single protagonist, “Octopath” follows eight different adventurers, each with different personalities, abilities and stories. Players select their main traveler at the beginning of the game and can choose to cross paths with as many of the other seven as they want, gaining allies in battle and another piece of the intertwined narrative world. What makes “Octopath” stand out is its cast of compelling characters and its distinctive aesthetic — 16-bit avatars travel a refined landscape full of glistening oceans, rocky ravines and countless types of monsters. The world is immersive, the graphics beautiful and the storylines engaging.

Movies

“Black Panther”

ERIN CARBERRY ’19

The single greatest film in the decade-long Marvel Cinematic Universe, “Black Panther” is an outstanding achievement in every way. Following the favorite newcomer from 2016’s “Captain America: Civil War” home to the rich and vibrant kingdom of Wakanda, “Black Panther” tells the story of King T’Challa (Chadwick Boseman, “42”) as he struggles with his newfound royal responsibility and a challenger who threatens to change Wakanda forever. The film’s villain, Killmonger (Michael B. Jordan, “Creed”) shines, thanks to both excellent writing and Jordan’s performance. Killmonger’s depth elevates the film as both T’Challa and the audience are faced with the reality that the world is not always as simple as good guys and bad guys. In a world where Hollywood white washes role after role and puts on a rather pitiful show of ‘diversity’ when it bothers to attempt it, “Black Panther”’s social importance cannot be understated. The movie’s success shows definitively that it is far past time to change that broken system.

Music

“Tranquility Base Hotel + Casino” - Arctic Monkeys

NADIA BABAR ’19

If ever there was a tough act to follow, it was the Arctic Monkeys’ 2013 LP, AM. But Alex Turner proves his boundless potential for musical innovation with “Tranquility Base Hotel + Casino,” a fearless experiment that demonstrates Turner’s lyrical genius. With songs about a taqueria on the moon and subdued notes from Harpsichords and vintage keyboards, the album is a true experiment that definitely disgruntled some hardcore fans of one of Britain’s most popular indie rock bands. Songs such as “Four Stars Out of Five” and “Batphone” make obscure references to consumerism, set to the background of Turner’s suave, velvety vocals. “Tranquility Base Hotel + Casino” is an amalgamation of hubris, a desperate search for meaning and surrealist narrative, but at the same time it bleeds authenticity and creativity. Either way, the experiment pays off.

“Nina Cried Power” - Hozier

SABRYNA COPPOLA ’22

Hozier’s newest album features his signature ethereal ballads, but with underlying themes of activism and hidden strength. The album’s titular song is a bluesy anthem that pays homage to artists of the civil rights movement, including Nina Simone and Billie Holiday. It is the most raw and energetic of his songs so far, celebrating music as a form of protest and the voices of change-makers. The songs on “Nina Cried Power” feel more structured and directed than some of Hozier’s earlier works, while still employing the same heavy rhythms, emphasis on folk-style guitar and cryptic messages of nature, pain, broken love and strength as his 2014 self-titled album. This is my favorite album of 2018 because it empowers protest and the poetry of the planet we live on.

“thank u, next” - Ariana Grande

TESS TUITOEK ’21

Ariana Grande’s new single “thank u, next” was the anthem we needed to end 2018 with a bang. Her music video paid homage to all our favorite rom-coms from the early 2000s like “Mean Girls,” “Legally Blonde,” “Bring It On” and “13 Going on 30.” The video broke a record for YouTube’s most watched video in 24 Hours. We can’t wait to see what Ariana has in store for 2019.