Sounds of Moho Playlist: February Edition

[Image text: WMHC has been Mount Holyoke's independent, student-run radio station since 1952. To catch WMHC’s most recent programming, scan this QR Code or listen on air at 91.5 FM. 

WMHC Music Director Top Songs from February:

Sophie Maxfield '21→ NOTICE by JIMMY EDGAR 

Lucy James-Olson '22 → Reason to Believe by Vagabon ft. Courtney Barnett”

‘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.

Spotify Warped?: Students Find Shortfalls in Algorithm

By Mariam Keita ’24 and Rose Cohen ’22

Section Editor and Staff Writer

Last Tuesday, Dec. 1, the Swedish audio streaming service Spotify released their yearly Spotify Wrapped personalized experience, which tells eligible users about their top artists, top songs and minutes listened. In order to receive Wrapped, listeners would have needed to have an account before Nov. 15, listened to at least five different musicians and 30 different tracks. 

“I’ve seen people bond over music all the time and I think it’s a really beautiful thing because music is a universal language,” Tiwani Ariyibi ’24 explained, when asked about the music streaming platform’s annual feature. “Spotify Wrapped can build a community around your favorite artist which I think is really nice, even if the algorithm is a little messed up.” 

 Ariyibi, like many subscribers, enjoys the Wrapped feature. However, she was not necessarily satisfied with this year’s summary of her listening habits. 

This year, the creator of the Broadway musical “Hamilton,” Lin-Manuel Miranda, appeared among her Spotify Wrapped artists. 

“I really liked the [Hamilton] movie and I would play [the soundtrack] a lot, but that was a phase. It lasted like a solid month and then I never went back,” Ariyibi explained.

Mae Philippe-Auguste ’24 was also surprised by her Spotify Wrapped this year. 

“A lot of my stuff also came from my sleep playlist so I didn’t even bother posting,” Philippe-Auguste wrote in response to an Instagram story about this article.

Students in the class of 2024 listened to a good deal of sad music, according to Pearl Young ’24. 

“People started listening to emo music that was popular when we were younger,” she said. “I saw a lot of people in our class had Mitski [sic] somewhere in there [sic] top 10.”  

Ariyibi poses one theory as to why so many people had such wistful sounds in their Wrapped this year. “In a pandemic, you can’t really see your friends or family — things that would normally bring you comfort — and you have to find new ways [of coping].” Additionally, Ariyibi explained that Spotify users are turning to the artists that they listened to in their childhood. “I listened to a lot of Lauryn Hill [which] my mom used to play when I was younger,” Ariyibi said.

Joliet Morrill ’21, who has approximately 12,000 Spotify followers and creates Spotify playlists for her Tik Tok followers, suggested that people are returning to their old favorite songs for a sense of nostalgia. “[They want to] remind themselves of a different time,” Morrill said. 

Since 2020 began, Morrill found that Tik Tok users have been requesting mood-based playlists. “I have to create a story by giving the playlist an interesting title and cover,” Morrill explained. 

Erica Weathers has noticed similar trends while working as a Clinical Social Worker for Mount Holyoke College Counseling Services. 

“Many students that I work with use music as a way to self-soothe and relax or distract themselves from stressful emotions and to uplift their spirits. I also have had students that struggle with ADHD listen to relaxing music in the background while they're doing their work which provides just enough stimulation that can help them focus,” Weathers said.  

“If I had to guess about why students are listening to music from earlier stages of their lives, my best guess is that the music they listened to when they were younger can trigger positive memories and associations,” Weathers added. “The music is something that is known to them and in that way, can bring comfort during a time of great uncertainty.” 

Philippe-Auguste seemed to fit into this trend of listening to old music. “I’m a theater kid so songs from shows that I’ve been in, [they remind] me of my cast,” Philippe-Auguste explained. “I think it just takes you back to these good memories and people that you can’t necessarily connect with as much right now.”

Ariyibi thought the comeback of childhood music-related well to the year 2020. “I don’t think I can find someone who is happy about this year. Sometimes you just need music to help you cope through anything you’re going through and I think that’s why a lot of people had depressing music,” Ariyibi said.

Artist Profile: Vivi Corre

Graphic by Vivi Corre

By Anika Singh ’24

Staff Writer

 There is something immersive about Vivi Corre’s art. It is minimal yet enthralling — it entices the viewer to look, to relate. It draws them in. Gathering inspiration from current events, Corre sketched her latest piece, idly creating patterns influenced by her environment and ready to shape her newest work. 

Corre’s art journey wasn’t a straight line. “I used to not like art as a subject at all in high school,” she explained. “My own ideas and creativity were limited since the classes followed a technical flow and strived for a perfect depiction.” 

Corre did not find solace in this. “Art isn’t meant to be perfect, it’s supposed to be you!” she remarked.

It all started with a birthday gift. New iPad and pencil in hand, Corre explored the new features the device offered, her love for art growing by the minute. Corre remarked that it is incredible what a simple instrument can do, whether it's brightening up your favorite biology teacher's day as you give her your art as a baby shower gift (featuring the words “Future Stemminist”) or celebrating your college acceptance to Mount Holyoke by drawing Jorge enjoying M&Cs. These projects guided Corre to feeling a close affinity for art. 

“The Jorge artwork was definitely a turning point for me,” she said. “I had sent it out to [the Office of] Admission and they liked it so much that they reposted it on their Instagram, which led to people DMing me to ask if they could get it in a sticker format. That encouraged me to put my art out there,” she added. 

This resulted in the creation of a Redbubble account that now displays a handful of her creations. 

Art is everywhere, Corre believes. She described how her artistry comes to her, saying, “One of my favorite creations came to me as I sat in front of the television watching the 2020 vice presidential debate. Vice President-elect Kamala Harris shut down Vice President [Mike] Pence by her iconic ‘I’m speaking’ quote. That's where I got the idea to draw a loudspeaker with the quote.” 

Corre’s ideas are innovative and shine the brightest when her art is influenced by current events. A remarkable piece was her “AOC+Among Us” drawing, which came from the famous U.S. Representative Alexandria Ocasio-Cortez livestream during which she played the game Among Us to encourage the youth of America to vote in the 2020 presidential election. This piece is playful, displaying cutesy Among Us figurines while highlighting the political climate of America. Ocasio-Cortez seems to play a significant role in Corre’s art, as some of her quotes serve as catalysts for her creations. 

“I’m glad to see that my art can reach people,” Corre reflected. “I, unfortunately, don’t get to see who purchased my art, but at times my art is purchased from states or countries that I might not know people from, and I’m overjoyed to know that my art is now not only something I enjoy but other people do as well. Such a feeling can’t be replaced.”

To support Corre and her art, check out her Instagram art account, @vivicdesigns.

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. 

Artist Profile: Aftan

By Kenna Hurtuk ’23

Staff Writer

Aftan ’23 is an artist in more ways than one. Incorporating both visual and written elements into their work, they create warped yet reality-based pieces that reflect the existing world as well as the utopias they envision. Their poetry casts a dark but wistful spell over the page, and their art displays darkness openly but with powerful nuance. 

“I feel like there’s a lot of exploration of the body in my art,” Aftan reflected. A psychology major with a particular interest in memory and self-narrative, Aftan uses art to make the internal experiences of physicality and corporeality tangible, often through depictions of the body. Aftan said that their emotions gain tangible form in their art. 

This mind-body dialogue is a recurrent theme for Aftan. They said they are “constantly thinking about the narrative my [written and visual] art create in isolation from each other, but also in relation to each other.” 

Differing mediums provide this cyclical basis of inspiration in Aftan’s work. “My visual art is a byproduct of my poetry,” they explained. “The way I think is through poetry, and then that manifests itself in my [visual] art.” Aftan acts as an artistic translator, ensuring that their sketches and paintings maintain the poetic qualities of their written counterparts. 

Aftan is inspired by Franny Choi, Kaveh Akbar, Kristin Chang and Yanyi. “I’ve learned a lot from queer Asian poets,” they explained. These voices both reflected and introduced new perspectives to Aftan’s identity as a South Asian nonbinary poet. 

Another influence in Aftan’s work is their boundless love and care for others. “Love is everywhere in my art,” Aftan said. “I love very deeply. Love languages are important to me — making art and writing poems for people.” Their greatest hope is that those on the receiving end of their emotional energy “think about the emotions it evokes with intentionality.”

This intentionality is ever-present in Aftan’s life and work. Just as their written and visual art build on and lend creativity to each other, Aftan hopes to see more instances of community where people can depend on each other and build from their resources. They define simply surviving as “allowing the community to sustain us materially, physically and emotionally.” 

However, they are looking for more than that. “What drives my art,” they said, “is the community around me and envisioning a future where living is considered beyond survival.”

To support Aftan’s work, direct contributions can be sent to Amika19 on Venmo. Aftan can also be reached atsethi23a@mtholyoke.edu for inquiries about commissions.

‘Dash & Lily’ Is a Holiday Series Worth Your Time

Graphic by Trinity Kendrick ‘21

By Rose Cohen ’22

Staff Writer & Photographer 

During the first weeks of November, a handful of cheesy Christmas movies and shows begin to appear on streaming services like Hulu and Netflix. Most of them do not deserve your attention; they’re Hollywood fluff filled with cringeworthy lines, cliches and predictable character arcs. However, this year, Netflix’s adaptation of David Levithan and Rachel Cohn’s 2010 young adult novel, “Dash & Lily’s Book of Dares,” proves that worthy holiday series do exist. 

The show tells the epic love story of two 17-year-olds who live in New York City. The romantic comedy takes place during the days leading up to Christmas. 

Austin Abrams of “Euphoria” plays the finicky Dash, who detests the “forced cheer” and “frenzied crowds” that the holiday brings to the Big Apple. Among the tinsel, the carolers and the red and green lights, he finds peace inside the Strand Bookstore in downtown Manhattan. Surrounded by stacked aisles of fiction and nonfiction, the pessimistic Dash escapes the holiday joy by informing an employee that Gabriel García Márquez’s biography was misshelved. It “should be under ‘G’ for García, not ‘M’ for Márquez,” he explains. 

The show begins to pique interest when Dash scans the J.D. Salinger section of the shop and pulls out a medium-sized red notebook. Dash, intrigued by the question on the front cover, which reads, “Do You Dare…?”, flips through the pages. He finds a series of clues and challenges written by the Christmas-loving Lily (Midori Francis). She wants to find a clever teenage boy to go on adventures with; she’s tired of spending her days playing board games with her grandfather. 

Like in “You’ve Got Mail,” writer-director Nora Ephron’s 1998 romantic comedy, the two main characters have never met in real life. For the majority of the series, they only communicate through dares that they create for one another in the notebook. This means that Dash accepts Lily’s challenges, even if they tell him to sing Joni Mitchell’s Christmas folk song “River” in the middle of the Strand. He then creates his own dares and leaves the notebook for her to find so their game can continue. If you accept this improbable premise, you will enjoy the show.

You will also need to embrace the fact that Lily knows a good amount of the people involved in her dares. Her cousin works at the Strand, and he can ensure that Dash completes the challenges that take place there. Her uncle dresses up as Santa Claus at the Macy’s department store, and that makes it okay for Dash to steal his Santa hat to complete a dare. 

As the series progresses, we find out about the two teenagers’ past heartbreaks. Lily has felt like a freak and an outsider since her middle school crush bullied her years earlier. Dash dealt with loneliness after his ex-girlfriend moved to Brazil, leaving him bereft in New York. With each dare, the characters bring out the best in one another and slowly force each other out of their comfort zones. 

 It’s heartwarming to see Dash encourage the socially-anxious Lily — who spends her time sewing her own clothes — to attend a 2 a.m. Jewish punk show on the seventh night of Hanukkah. And it is just as meaningful to see the impatient Dash “go with the flow” in a mochi-making class, surrounded by Japanese grandmothers. 

Another great storyline in the show includes Lily’s queer brother, Langston (Troy Iwata). We get to see his love story unfold and witness him as a three-dimensional character. In an interview with The Wrap, Iwata commented on the role, stating, “Langston is just this really fun, quirky, snarky human who happens to be gay and it’s never really questioned or challenged by himself or any of his friends.”

“Dash & Lily” allows you to fall in love with the challenges in the red notebook and the characters involved. If you are looking to binge-watch a holiday series that actually has a somewhat meaningful plot, set aside roughly three-and-a-half hours for “Dash & Lily.”

‘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.

‘Bad Hair’ Falls Flat in Tackling Social Issues

Pictured above: Justin Simien (right) most recently directed “Bad Hair.”

By Mariam Keita ’24

Arts & Entertainment Editor

Director Justin Simien’s most recent work, “Bad Hair,” is certainly a lot to take in. The new movie became available on Hulu this October after premiering at the Sundance Film Festival in January. Simien is most well known for his 2014 feature film “Dear White People,” which was later adapted into the hit Netflix series of the same name. 

Much like Simien’s other films, “Bad Hair” boasts a predominantly Black cast and his trademark comedic style. But unlike in his other films, Simien attempts to venture into new territory by crossing over into the horror genre. 

Unfortunately, he doesn’t do it well. I found myself laughing when I was supposed to scream and yawning when I was supposed to laugh.

 The film centers on protagonist Anna Bludso (Elle Lorraine), an assistant at a Black television network who is unsatisfied with her stagnant career. After a suggestion from a co-worker and under the behest of new management, Anna decides to get a sew-in over her natural hair so that she can finally advance in the company. Little does she know, her new hair happens to be possessed.  

Though this movie had a budget of $8.9 million 一 more than twice the financial support that Jordan Peele’s “Get Out” received 一 it somehow managed to deliver less than half the performance. Featured among the movie’s star-studded cast were names like Laverne Cox, Usher, Kelly Rowland and Lena Waithe. However, not a single one of their characters played a role that is central to the plot.

Anna is a character without any dimension, whose life revolves almost entirely around her unsatisfying job. Her only “friends” and visible love interests are all co-workers, her relationship with her family is not stable at all and she is one missing rent payment away from homelessness. Throughout all of this, she remains a very passive agent in her own narrative, allowing bad things to happen without taking even the most rudimentary actions to fix them. 

As I watched “Bad Hair,” I couldn’t shake the feeling that Simien is trying to punish Black women with this narrative. 

Though I won’t spoil too much of the ending, I will say that “Bad Hair” seems to offer Black women two options: sell your soul by buying into Eurocentric standards of beauty and forgoing all bodily autonomy, or embrace your natural hair and accept the fact that you will never progress in life. 

At different points in the storyline, Anna embodies both choices. She seems to oscillate between just two moods: anger and fear. As one of my friends so deftly put it during our conversation about the movie, the hair had more personality than she did.

“Bad Hair” is an example of a movie trying to bite off more than it can chew. Some subplots that the movie attempted to tackle included colorism and texturism in the workplace, sexual coercion and gentrification. However, most of these themes failed to act in dialogue with one another, creating a chaotic storyline that is difficult to follow. After watching the entire film, I still don’t understand what the writers and producers were hoping to accomplish or what I, as the viewer, was supposed to take away from it.  

While it may have left a lot to be desired, the movie was not all bad. For example, I don’t know how but Simien managed to make something as simple as getting your hair done appear so terrifying and grotesque that I felt as though I was going to throw up and pass out at the same time. Another redemptive arc was the growth in Anna’s relationship with her cousin, with whom she has had a strained relationship from a young age. 

If you are looking for something to watch on a Friday afternoon that will give you a good laugh and get your mind working a little bit, “Bad Hair” isn’t a terrible option. Just make sure you don’t set your expectations too high.