TV Show

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

Graphic by Anjali Rao-Herel ‘22

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praised in The New York Times for its accuracy regarding the details of chess, from the handling of the pieces to the historical references and real masters.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.


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

Graphic by Karina Wu ‘22

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.

“I Am Not Okay With This” takes risks but doesn’t go far enough

“I Am Not Okay With This” takes risks but doesn’t go far enough

To Netflix, nothing seems to parallel the perils of adolescence like telekinesis and murder. Eleven blows up things with her mind in “Stranger Things,” the repercussions of murder become clear in “The End of the F***ing World” and countless attempted and successful vengeance plots unfold in “The Politician.” Netflix’s new story of teenage angst, “I Am Not Okay with This,” isn’t as big and bold as these other examples. It’s not flashy and it doesn’t involve high-speed chases, which might put it closer along the lines of the trials of average, non-bloodthirsty, teens of the “Everything Sucks.” In true Netflix style, “I Am Not Okay with This” does still involve telekinesis, daddy issues and a distinct murder.

“Cheer” reveals the rigors of an overlooked sport

Cheerleading has long been sideline entertainment, but now has finally attained its hard-earned spotlight with “Cheer,” a six-episode Netflix documentary series. The episodes follow the Navarro College cheerleading team through a period lovingly called “Daytona Season,” referring to the National Cheerleaders Association (NCA) Collegiate Cheer Championship in Daytona, Florida. Along the way, the series chronicles the life stories of the athletes.

Apple TV’s anachronistic “Dickinson” lacks depth

Along with Netflix, Hulu, HBO Go, Starz, ESPN and plenty of other streaming services, Apple has introduced its own five-dollar-a-month streaming service, Apple TV Plus. One of the shows Apple has pushed is “Dickinson,” an anachronistic telling of Emily Dickinson’s life in the years shortly after she left Mount Holyoke Female Seminary.

Winter is here: “Game of Thrones” season 8 premieres

Winter is here: “Game of Thrones” season 8 premieres

BY NADIA BABAR ’19

After a painfully long, two-year wait, the final season of “Game of Thrones” premiered on April 14. The eight-season series is based on George R. R. Martin’s “A Song of Ice and Fire,” an epic high fantasy series first published in 1996, opening with the novel, “A Game of Thrones.” Set primarily on the fictional continents of Westeros and Essos, “Game of Thrones” follows seven families as they struggle for the Iron Throne. The television series premiered in 2011 and has since established itself as one of — if not the most — popular television series of this decade. Created by Dan Benioff and D. B. Weiss, Martin also serves as an executive producer for the series, which smashed HBO’s ratings record with the premiere of its eighth season on Sunday.

Sci-fi classic “The Twilight Zone” is back on the air

Sci-fi classic “The Twilight Zone” is back on the air

BY SABRYNA COPPOLA ’22

CBS and Jordan Peele have reimagined Rod Serling’s classic science fiction anthology “The Twilight Zone” and released the first episode on April 1. Given Peele’s impressive work creating unsettling tales “Get Out” and “Us,” the reboot of this cult favorite is a fitting next project for the star director. Peele’s skill for reflecting the horrors of reality in his work is evident in the new season of “The Twilight Zone.”

“Queer Eye” Season 3: Fab Five promote self-love in Missouri

“Queer Eye” Season 3: Fab Five promote self-love in Missouri

BY SABRYNA COPPOLA ’22

Netflix released the eagerly anticipated third season of “Queer Eye” on March 15, providing the perfect binge-watch for this spring break. The Fab Five are back to “zhoosh” up Kansas City, MO. This season, Antoni, Bobby, Jonathan, Karamo and Tan bring a new sense of hope and confidence to nine new ‘heroes.’