‘Bridgerton’ Review: Historical Fallacies Fall Flat

By Jendayi Leben-Martin ’24

Contributing Writer

“Bridgerton,” a show released on Netflix on Christmas, is a period drama and romance series that has become so popular it’s brought Regency-era jewelry back into style. The show centers on the wealthy Bridgerton family and the people surrounding them as they embark on a journey to find love in one of the most affluent towns in Regency London. With Netflix being recently criticized for a lack of diversity in its casts and its portrayal of characters of color (when they are cast), many eyes were on “Bridgerton.” The show comes close to breaking through the standard Netflix has set for storylines of Black and queer characters, but regrettably misses the mark. 

The drama features characters of all races living in historically inaccurate harmony in wealthy London. For several episodes, “Bridgerton” doesn’t acknowledge the question that seems obvious to me: How did this racial harmony come to be? 

The casting directors used a method called “blind casting” where they didn’t select actors based off of their race. While “Bridgerton” is not the first project to use this method (ever heard of a musical called “Hamilton”?), it is not as “woke” a decision as many might think. Aside from the pros and cons of blind casting itself, I thought that the writers and producers (including Shonda Rhimes, who is also responsible for TV sensations “Scandal” and “Grey’s Anatomy”) chose to completely ignore the idea of race in the show and simply have the characters interact with no mention of their differences. Though I can’t say I completely agree with this method or with blind casting in general, I initially thought that this was a refreshing way to produce a show. I appreciated that the Black actors did not play Black characters, but simply played characters. 

Unfortunately, just as I was making my way through the season and my respect for the show was growing, it all shattered in one scene. 

In the fourth episode, Lady Danbury (Adjoa Andoh) explains how racial relations in their society came to be. She reminds Simon (Regé-Jean Page) that the marriage between King George and Queen Charlotte, who is Black, has given Black people the opportunity to integrate seamlessly into society with no lasting negative effects or biases. While I understand that “Bridgerton” is a romance and that the creators are more committed to the sex scenes than they are to historical accuracy, the blatant disregard for race and the struggles undergone by people of color is hard to ignore. Put plainly, Black people have been literally risking their lives for hundreds of years just to be seen as equal to white people under the law, and in 2021, we are still so far from that goal. For the writers of “Bridgerton” to say that all racism and racial biases end with the union of a white king and an incredibly light-skinned queen is a slap in the face to the bitter reality of racism that has been at the forefront of many of our minds for the past year. 

Unfortunately, race is not the only heavy theme “Bridgerton” brushes over. When Benedict, one of the Bridgerton brothers, attends a party with his friend Henry Granville, who happens to be a successful artist, he finds Henry in a room making out with an unknown man. I had been anticipating something like this, as I sensed sexual tension between the two from the moment they met. However, the show does not go anywhere with this story. Benedict simply confronts Henry, who is married to a woman, and he responds with a short monologue that can be summed up along the lines of “love is love.” Of course, we can all agree that representation is important in shows and movies, but one of the troubles of trying to include different types of marginalized characters simply for the sake of including them is that the characters often fall flat. This is exactly what happens with Henry Granville. 

All in all, “Bridgerton” does a good job of creating a beautiful, whimsical world for viewers to escape into for eight episodes. However, shows shouldn’t haphazardly include Black or queer storylines that they are not prepared to flesh out. When writers, directors and producers add diversity to their casts and characters simply in order to say that they have done so rather than because they actually care about those stories, it shows. I regret to say that “Bridgerton” comes across as one of those projects.

‘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.

SNL Is ‘Live From New York’ Again

Image courtesy of Flickr

By Kenna Hurtuk ’23

Staff Writer

Season 46 of “Saturday Night Live” kicked off on Oct. 3 with unique guidelines and protocols in place for its cast members, crew and audience. Yes, audience — a select number of viewers, with a limited ticket selection for the general public as well as a special selection for health care workers, donned masks to enter the studio after being rigorously tested for COVID-19 and its symptoms. This is an unprecedented shift from the last several episodes of season 45, which were all aired virtually and filmed from cast members’ homes. Show creator and producer Lorne Michaels defended the decision to include a live audience. “With comedy, when you don’t hear the response, it’s just different. With the kind of comedy we do, which quite often is broad, timing gets thrown off without an audience,” he reflected.

For this episode, timing in general was a major challenge, as just one day before the show went live, President Donald Trump announced that he had tested positive for COVID-19. Writers scrambled to incorporate information surrounding his diagnosis into the cold open which parodied the presidential debate between Trump (played by Alec Baldwin) and Joe Biden (played by Jim Carrey). They ultimately went the ironic route with Carrey as Biden remarking, “Imagine if science and karma could somehow team up to send us all a message about how dangerous this virus can be. I'm not saying I want it to happen, but just imagine it did.”” Later, in host Chris Rock’s monologue, the comedian quipped, “President Trump’s in the hospital from COVID[-19], and I just want to say, my heart goes out to COVID[-19].”

After the show aired, writers were accused of mocking Trump’s diagnosis. Baldwin responded to claims that the jokes were in poor taste. “We only have the words of the White House itself and the people who work there themselves to go on and all of them have been saying he is not in any danger. We only have their word to go by. If their word had been that he was in serious trouble, then we wouldn't have done it,” Baldwin said. Additionally, the (albeit morbid) irony of Trump’s diagnosis would have been difficult to ignore, especially in the context of that week’s debate, in which Trump mocked Biden for wearing masks in public. 

Following the cold open, Rock brought both levity and urgency to the nature of presidential elections themselves. “I think we need to renegotiate our relationship to the government,” he explained. “Does it work? I mean, I think Joe Biden should be the last president ever. Like, we need a whole new system.” 

He added that “we’ve agreed in the United States that we cannot have kings, yet we have dukes and duchesses running the Senate and the Congress, making decisions for poor people. Rich people making decisions for poor people — that’s like your handsome friend giving you dating advice.” The comedian reminded the audience — both the socially distanced audience present and the millions of viewers watching from home — that “we’ve got to take this serious, man.” 

His monologue called into question what the role of comedy should be during this unprecedented time. Can shows like SNL justify the playfulness with which their platform addresses serious structural issues, even in the name of comedy? It is a delicate balance to tread.

Megan Thee Stallion tackled this interplay between entertainment and advocacy in her performance of “Savage.” Midway through the number, she and her dancers raised their fists as the screen behind them shattered and the sound of gunshots rang through the studio. As they stared directly into the audience, an audio clip from Malcolm X’s speech “Who Taught You to Hate Yourself?” began to play, while the screen projected the quote, “The most disrespected, unprotected, neglected person in America is the Black woman.” 

When Megan Thee Stallion broke her silence, she said, “We need to protect our Black women and love our Black women, ’cause at the end of the day, we need our Black women. We need to protect our Black men and stand up for our Black men, ’cause at the end of the day, we’re tired of seeing hashtags of our Black men.” She and her dancers ended the song with emphasis on the message that had been projected onto the back wall of the stage: “Protect Black Women.”

Megan Thee Stallion’s appearance enabled her to make a powerful statement while still being able to enjoy her time on set and showcase her lyrical and comedic talents. The rapper and singer-songwriter continued her SNL debut with a performance of “Don’t Stop” featuring Young Thug. Later, she also joined cast members Chris Redd, Kenan Thompson, Pete Davidson and Ego Nwodim in “Bottom of Your Face,” a music video commentary on dating while wearing masks.

Since the first at-home episode of SNL, COVID-19 has been a recurring cast member, and it framed much of the context for this in-person episode. Despite limitations of social distancing, time constraints and the sheer volume of material to be packed into a single episode, this was a show to remember.

Disney’s ‘the Owl House’ Is a Spooky and Heartfelt Show From the Creators of ‘Gravity Falls’

Graphic by Karina Wu ‘22

by Ezri Braid-Grizzell ’23

Staff Writer

On Aug. 29, 2020, the Disney Channel aired the season one finale of its new animated series, “The Owl House.” The show tells the story of Luz Noceda, a teenager deemed “too weird” after her frequent chaotic mishaps at school and sent off to “Reality Check” camp for the summer. But as a name as strange as “The Owl House” might imply, Luz does not find herself at camp. Instead she stumbles through a door into a magical world full of witches, demons and spider-breathing griffons. (Who knew?)

After Luz (Sarah-Nicole Robles) settles in with the rogue witch and con woman, Edalyn Clawthorne (Wendie Malick) and King (Alex Hirsch), a demon, she sets off to find her own magical calling. 

There have been so many stories in the world that, at this point, it’s impossible to avoid common narrative tropes. But “The Owl House'' doesn't fall into cliches. A magical school may at first scream “Harry Potter,” and while there are many purposeful nods to the franchise, Hexside is completely unique and full of new possibilities to explore. “Chosen One” quests and “impossible” trials are included in the show as a warm, giggling acknowledgment that the show knows exactly what it’s supposed to do as part of the fantasy genre.

But perhaps one of the most celebrated elements of “The Owl House” is that Luz, the main character of the series, is confirmed as bisexual. According to creator Dana Terrace, there was some initial resistance from Disney higher-ups, but now she is “VERY supported by current Disney leadership” (@DanaTerrace, Twitter). Another major character, Amity Blight (Mae Whitman), is initially introduced as the gold star student and the main rival to Luz. Over the course of the show, however, she gets her own redemption arc and is revealed to have feelings toward Luz. 

That’s not one main character, but two, confirmed as LGBTQ+. 

That’s a big step up from Disney’s shallow attempts at representation with LeFou in the live-action “Beauty and the Beast” or the minor character of Officer Slater from “Onwards” (who was considered by many to be Disney’s first-ever openly gay character).

When I first started watching “The Owl House” about a week before the final episode of this season aired, I wasn’t sure quite what to expect. My only real connection to the show was Alex Hirsch, the creator of another Disney favorite, “Gravity Falls,” who is now the voice of a two-foot, tummy-rub-loving demon in “The Owl House.” But actually, the connection tracks — Terrace worked as a storyboard revisionist on “Gravity Falls” way back in 2012. Because of these overlaps, it’s not hard to notice the similarities in animation style, writing and humor. The overarching elements of the supernatural, mystery, family-friendly cosmic and eldritch horror and government conspiracy all align as well. That, and Alex Hirsch is still the voice actor for many minor characters in the show. 

If you’re looking for a sort of spiritual sequel to “Gravity Falls,” or just a segue into the new, quirky and colorful era of animation, “The Owl House” has got your back.