The Hoya: The Guide: January 19, 2024

COMEDY SPECIAL Jasmine Criqui (CAS ’26) takes a look at Mike Birbiglia’s latest special. B4

FILM Clayton Kincade (SFS ’25) marvels at the sexual and cinematic daring of ‘Poor Things.’ B6

FILM William McCall (CAS ’25) is agog at the disturbingly hypnotic ‘May December.’ B7

January 19, 2024

Wonka Wonks, Rejoice Timothée Chalamet’s new twist on the Roald Dahl classic is a treat.

Andre Albrecht Hoya Staff Writer

ILLUSTRATION BY: CLAIRE MIN/THE HOYA

IMDB Left: The extravagance of the Catton family in “Saltburn” draws Oliver Quick (Barry Keoghan) into their world of luxury.

FILM

Dramatic ‘Saltburn’ Shocks Film Viewers With Unexpected Twists, Spectacle  Saeed Samra Hoya Staff Writer

This article contains major spoilers for“Saltburn.”

What initially presents as a cute summer romance á la “Call Me by Your Name” quickly transforms into a story of obsession, murder, mystery and jaw-dropping scenes in “Saltburn.”

The film uniquely combines old-money scenery with young, fierce, euphoric energy pouring from the talented cast, vivid lighting and cinematography and intimate plot and writing. A deep dive into the blindness that lust for money breeds, “Saltburn” is rich with classist microaggressions and social commentary. But “Saltburn” has a few crazy, unbelievable scenes that detract

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some from the movie — both sacrificing re-watchability for viewers’ shock and overpowering the movie’s messaging.

Directed by Emerald Fennell, “Saltburn” tells the story of Oliver Quick (Barry Keoghan) as he integrates himself into the life of generationally wealthy classmate Felix Catton (Jacob Elordi). Oliver takes advantage of Felix’s pity to lie about his life story, claiming to be a poor only child with a troubled relationship with his addict mother and dead father. We watch as Felix becomes a caretaking friend to Oliver and eventually invites Oliver to spend the summer at their family estate, the famous Saltburn.

Felix’s family embodies many personas of the archetypal old-money family. Felix and his mother Elspeth Catton (Rosamund Pike) are gullible though well-mean-

ing – seeing the poor as a population in need of help, though their care is truly centered upon self-praise and the “white savior” mentality. Felix’s sister Venetia Catton (Alison Oliver) carries the weight of a fragile woman, yet thinks of herself as untouchable and unpunishable. His father Sir James Catton (Richard E. Grant) aptly represents the patriarch of such a family who believes money and exotic extravagance prove solutions to any problems. Finally, Felix’s cousin Farleigh Start (Archie Madekwe) serves as an interesting adversary to Oliver: someone clinging onto the power and wealth they so desperately desire while becoming engrossed in the fantasy of it all, taking on a distasteful arrogance and narcissism.

Fennell develops an intensity that brings

out the worst in all her characters. Watching a family that strives so hard for perfection and superiority fall apart was fascinating, and Oliver’s unique relationships with each family member foster different complex questions.

Fennell introduces Venetia as a troublesome, free-spirited girl who likes to play with the minds and bodies of Felix’s friends. We see, however, the power Oliver secretly has over this family as he asserts a clear dominance over Venetia, taking advantage of her own attempts at manipulation and further cementing himself in the family. Oliver similarly overpowers Farleigh and his many attempts to humiliate Oliver, while entrancing Elspeth by assuming the role of a human pet of sorts.

The most fascinating relationship, however, was by far the homoerotic tension between Oliver and Felix.

The viewer is left in a state of shock as Oliver shows clear signs of love toward Felix and yet kills him all the same – begging the question of what qualifies as love. Fennell constructs a relationship that dives into the more obsessive sides of love. While Oliver may love Felix in his own twisted way, his obsession and lust overpowers his emotion, removing any true care or compassion Oliver may have felt towards Felix.

Keoghan does an amazing job portraying the complexity and sinister undertone of Oliver’s character. One is torn between understanding Oliver’s desire for wealth one could only dream of, yet being disgusted by his actions, both morally and literally.

The glamor of this film is reminiscent of many newer teen dramas and creates a beautiful mosaic atmosphere through elegant cinematography and a piercing score, which furthers its hypnotizing quality.

Various scenes throughout left my theater gasping and squirming in our seats. Oliver pushed the R rating to its limit with his ending nude dance, extended drink of Felix’s post-masturbation bathwater, and outdoor period sex with Venetia. And while these moments were hysterical, I feel they dominate the conversation much more than the other more meaningful notions the film deals with.

While this makes a hilarious and fun experience for a first-time viewer, its shocking effect decreases on repeat watches.

While a rewatch allows the viewer to appreciate the hints Fennell drops as to Oliver’s real nature throughout the earlier scenes, this intrigue does not compensate for what is lost on a secondary screening.

Overall, while this film doesn’t seem to be “favorite movie” material, it is a wild ride and worth the watch (without family!), even if only for a one-time screening.

THEHOYA.COM | FRIDAY, JANUARY 19, 2024

IMDB Left: Noodle (Calah Lane) and Willy Wonka (Timothée Chalamet) form an alliance.

MOVIE

Welcome to the Wonderful, Whimsical World of ‘Wonka’: A Feast for the Eyes  Andre Albrecht Hoya Staff Writer

“Come with me, and you’ll be in a world of pure imagination,” Timothée Chalamet beckons in his mesmerizing portrayal of the iconic chocolatier Willy Wonka, an endearing dreamer determined to share his fantastical confections with the world.

Directed by Paul King of the highly-rated “Paddington” series, “Wonka” is a cinematic treat spanning two magical hours, inviting you to cast aside the shackles of adulthood and embrace the wonders of a world where anything is possible.

At first glance, “Wonka” appears to be a commercial exploitation of Roald Dahl’s classic, banking on its star-studded cast and nostalgia

factor. However, in a delicious twist, the film transcends this saccharine appeal and brings unexpected depth and complexity. King infuses the story with a melange of emotional flavors, from hopeful sugar highs to bittersweet lows. The film’s humor hits a sweet spot with its witty dialogue and riotous absurdity.

“Wonka” is a feast for the eyes, featuring stunning cinematography and special effects that masterfully bring fantastical elements to life. Each scene is a treat, overflowing with magic and color. The costumes are similarly impressive, from Wonka’s quirky outfit to the Oompa-Loompas’ flamboyant garb. This reimagined world of Wonka is a whirlwind of sugary spectacles and bonbon bliss, creating a delightful atmosphere steeped in childhood fantasies.

FRIDAY, JANUARY 19, 2024 | THEHOYA.COM

Musically, the film’s soundtrack blends sugar, spice and everything nice to create a medley of melodies that stick with you like bubblegum.

Songs range from the whimsically heartwarming to the toe-tappingly triumphant, with each capturing the film’s enchanting spirit.

Chalamet captivates as Willy Wonka, striking a balance between an innovative reinterpretation and the classic Wonka spirit.

Chalamet’s portrayal, characterized by his earnest naivete and heart-warming kindness, contrasts with previous interpretations by Gene Wilder and Johnny Depp. He shines particularly in the dancing and singing sequences, like “Pure Imagination” and “A Hatful of Dreams.”

Calah Lane, portraying Noodle, the mastermind behind Wonka’s enterprise, is equally

magnetic. Her duet with Chalamet in “For a Moment” is a highlight of the film. Hugh Grant adds his unique flair of snarky humor as Lofty the Oompa Loompa. The film’s antagonists, the comically villainous chocolate cartel and the dysfunctional duo of Mrs. Scrubbit and Bleacher, who coerce Wonka into indentured servitude, add a layer of playful malevolence, reminding us of the good-versus-evil narratives of our childhood.

While the brisk and breezy pace of the film captures the vibrant interplay between Wonka and Noodle, it under-develops the rest of Wonka’s companions, undermining the film’s central message: “It’s not the chocolate that matters - it’s the people you share it with.”

Unfortunately, the film also relies on familiar tropes. Wonka, like many classic heroes, is motivated by the loss of his mother, seeking to honor her memory through his chocolate creations. Noodle, a bookish orphan, stands up for herself and reunites with her family. Despite these predictable storylines, the characters’ vibrant portrayals captivate and engage the audience to the end.

The film indulges in fantastical absurdities and plot contrivances, demanding a suspension of disbelief. Its unapologetic silliness may not appeal to all, but it adds to its charm.

Wonka’s ability to conjure wondrous magical candies and overnight transformation of a dilapidated shop are feats of pure fantasy. Embracing the film’s wizardry and whimsy is key to fully appreciating its charm.

In a cynical world, “Wonka” is a scrumptious cinematic escape. It will surely please adults who will catch easter egg references to the previous movie adaptations and enthrall a new generation of youngsters with its magic and artistry. The film will whisk you away on a swift and silly adventure and rekindle your inner child.

In the words of Wonka, “Here is the child that you left behind. Here is the kid with the curious mind. Here is the wonder we used to feel back when the magic was real.” Paul King’s “Wonka” is a golden ticket back to childhood that will leave you craving more.

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IMDB

Left: Mike Birbiglia discusses doctors’ office visits, juicing and overly-chlorinated water in “The Old Man and the Pool.”

COMEDY SPECIAL

Mike Birbiglia Dives Deep into Humor In ‘The Old Man and the Pool’  Jasmine Criqui Senior Guide Editor

What’s so funny about cancer, heart attacks and an impending sense of your own doom? Mike Birbiglia (COL ’00), back for his fifth Netflix special, is here to tell you.

Filmed in the Lincoln Center’s Vivian Beaumont Theater, “The Old Man and The Pool” follows on the heels of “The New One,” Birbiglia’s 2019 special that detailed his journey to fatherhood. The two shows overlap in their personal style and darker themes, with “The Old Man and the Pool” chronicling a new phase of life for Birbiglia and his family.

Birbiglia’s style of comedy has always been more anecdotal than observational,

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deftly weaving startling life experiences, philosophical musings and humorous reflections into specials that are part memoir, part confessional. But while “The New One” is a slow build, “The Old Man and the Pool” throws you right into the deep end, with Birbiglia recounting a pulmonary test so disastrous it made his doctor question whether he was having a heart attack.

To increase his lung capacity, a cardiologist recommends Birbiglia start swimming, which flashes him back to his unpleasant first encounter with a YMCA pool at five years old that was “one part water, two parts chlorine” and had a locker room with a “jungle of eye-level genitalia.” Despite thinking in that moment that he’d never return to a YMCA pool, the Birbiglia of the

present begrudgingly agrees to do so.

The past and present blend together seamlessly in “The Old Man and the Pool,” with the health scares of Birbiglia’s father and grandfather paralleling his own and his unsuccessful forays into the world of high school wrestling setting up a hilarious lack of aquatic prowess. Though physical comedy isn’t what made Birbiglia famous, his recreation of his own swimming technique, narrated as “blending the water into a chlorine smoothie” is wildly entertaining.

The set design only adds to the effectiveness of his storytelling as the stage swells in the shape of a crashing wave behind him, serving both as a projector screen and, in one instance, a slide. Though always patterned with cool-toned pool tiles, the exact

color shifts to keep up with the tone of the set and at different points is overlaid with Birbiglia’s own diary entries and a graph of his pulmonary test.

It should be noted that this is not always a special where you understand why you’re laughing. At its core, it’s hardly more than a series of increasingly concerning medical diagnoses shot through with anecdotes that force Birbiglia to reckon with his own mortality, all delivered with the sort of dry detachment reserved for a man who admittedly fills out hospital intake forms by circling every pre-existing condition and crossing out “pregnant.”

But detached isn’t quite the right word, because although Birbiglia’s delivery often favors a deadpan drawl, his tone is unfailingly earnest. Despite subject matter that would make even Eeyore blush, Birbiglia strikes you as someone who genuinely finds the human condition fascinating and worth examining through comedy, even the parts that are messy, mundane and downright depressing.

So while it might be morbid that one of the biggest laughs of the night occurs when the audience watches a graph of Birbiglia’s lung capacity plunge so far below the baseline that it borders on absurd, it’s completely in keeping with the overall tone of the show. Birbiglia is a master of delivery, easily developing his recurring gags, building suspense until the audience is hanging onto every word and bringing all his themes full circle with rumpled charisma and astonishing sincerity.

The resounding reaction among the people I watched the special with was, “How is this guy still alive?” And while Birbiglia doesn’t have an answer to that, he seems just as eager as you are to unpack it.

THEHOYA.COM | FRIDAY, JANUARY 19, 2024

FILM

The Devastating, Crushing Weight of ‘The Iron Claw’ James Pocchia

Philanthropy Director

One exciting trend in recent cinema involves the injection of actors known for their comedic or blockbuster roles into dramas helmed by auteur directors. From “Twilight” star Robert Pattinson’s wild yet nuanced performance in Robert Eggers’s “The Lighthouse” to comedy king Adam Sandler’s brilliantly harried turn in the Safdie brothers’ “Uncut Gems,” these roles have proven that talented directors can draw strong dramatic performances from the unlikeliest of actors.

And now, another actor has entered this conversation: Zac Efron of the famed “High School Musical,” who delivers one of the best performances of 2023 in “The Iron Claw.”

Written and directed by Sean Durkin and released Dec. 22, “The Iron Claw” portrays the emotional true story of the Von Erich brothers, a quartet of young men attempting to make their mark upon the world of professional wrestling under the domineering influence of their father (Holt McCallany), himself a former wrestler.

The film’s first hour unfolds in the upbeat fashion

one might expect from a sports biopic, with brothers Kevin (Efron), Kerry (Jeremy Allen White), David (Harris Dickinson) and Mike (Stanley Simons) working to reach greater heights in the wrestling world while simultaneously striving to preserve the fraternal bond that unites them.

Nostalgia oozes off the screen thanks to the warm chemistry between the brothers, who, when not training for their next bout, embark on sunlit car rides to hamburger joints and college parties as hits like “Tom Sawyer” and “(Don’t Fear) The Reaper” dance in the background.

And then, roughly halfway through the film, everything takes a turn for the worse.

At a moment when the brothers are beginning to obtain their greatest successes — both in wrestling and, in Kevin’s case, romantic love — the Von Erichs are forced to confront a sudden tragedy, leading to a downward spiral of despair and death from which no escape seems possible.

This downfall — which, sadly, serves as a largely accurate depiction of the real family’s story — makes “The Iron Claw” one of the most emotionally devastating films ever created. No words can sufficiently prepare any viewer for the

ON YOUR RADAR

tear-inducing scenes featured during the film’s 132 minute runtime, especially the ephemeral afterlife sequence that serves as its final climax.

The movie’s unyieldingly woeful plot is made all the more heartrending thanks to some beautiful performances, especially that of a transformed Efron. Efron’s ability to believably convey unbridled joy, intense anxiety and deep sorrow makes him the standout among a group of talented performers.

Efron and Durkin craft an endearing persona for Kevin Von Erich that contradicts the machismo one might expect from a Hollywood depiction of a male wrestler. In defiance of the draconian patriarchy his father establishes, Kevin supports and respects his spouse, commits himself to protecting his brothers and channels his grief into kindness towards his own children. This characterization develops Kevin into the cinematic antithesis of toxic masculinity.

Just as impactful as Efron are the impeccably cast supporting actors. White, wearing an expression that often seems on the verge of tears without giving into them, gives the brawny Kerry Von Erich heartbreaking vulnerability. McCallany overcomes some occasionally formulaic dialogue by sporting a consummately glowering visage that makes

By Jasmine Criqui

FOOD

WINTER RESTAURANT WEEK

EVENT

LIVE-BAND KARAOKE

Maybe your voice makes people weep for joy, or maybe they’re weeping for an entirely different reason. Embrace that uncertainty at 8 p.m. on Jan. 20 with karaoke in the HFSC Great Room! Whether you’re there to perform or merely appreciate the music, drinks and pizza will be provided free of charge.

Feeling a last minute craving coming on? Act fast, and you can satisfy it with D.C.’s biannual Restaurant Week. Showcasing D.C.’s vibrant culinary scene, Restaurant Week gives customers access to special menus and deals on breakfast, lunch and dinner at over 150 participating locations through Jan. 21.

@GEORGETOWNCSE/INSTAGRAM

@LIBERTEDC/INSTAGRAM

EVENT

SPORTS

LUNAR NEW YEAR CELEBRATION

INDOOR INTERMURALS

Thinking of trying out a new sport but the temperature has you second-guessing?

Yates Field House has got you covered.

Team registration is open now for basketball and table tennis leagues as well as a one-day futsal tournament, so you can get your exercise and camaraderie while staying toasty warm.

In collaboration with the 1882 Project Foundation and The Music of Asian America Research Center, the Kennedy Center invites you to welcome in the Year of the Dragon with lion dancing and drumming on Jan. 27.

Though tickets are currently sold out, stay tuned — reservations are rolling and a limited number of free tickets will be distributed on the day of the event starting at 4:30 p.m..

KENNEDY-CENTER.ORG

FRIDAY, JANUARY 19, 2024 | THEHOYA.COM

his despotic character an uncommonly hateable villain.

With these standout performances nicely complemented by strong work from Dickinson, Simons, Maura Tierney and Lily James, “The Iron Claw” boasts one of the year’s most talented ensemble casts. Though Durkin’s assured direction and writing amount to a poignant vision, his film would have left little lasting impact without those committed actors, all of whom display a willingness to venture into the story’s emotional darkness.

But perhaps the saddest aspect of “The Iron Claw” is the lack of recognition it has obtained.

Though critics have praised Durkin’s movie, it has received no consideration in the awards circuit and has underperformed at the box office. Consequently, the film seems destined to fade into the cinematic backdrop of 2023, a year dominated by more popular biopics like “Oppenheimer,” “Maestro” and “Priscilla.”

But “The Iron Claw” does not deserve this fate.

Durkin’s film not only honors the calamitous true story of the Von Erichs, but it also offers a meaningful portrayal of how an unsupportive parent’s psychological abuse can destroy lives.

IMLEAGUES.COM

| B5

IMDB Left: Bella Baxter (Emma Stone) discovers the lush and memorable world of “Poor Things.”

FILM

‘Poor Things’ Presents Audience Members With a Sexually-Daring Magnum Opus

 Clayton Kincade Contributing Editor

If sex makes you squeamish — or if you believe that depiction equals endorsement — stay far, far away from the bizarre, enchanting allure of “Poor Things.”

Directed by Yorgos Lanthimos, “Poor Things” follows Bella Baxter (Emma Stone), a young woman in a fantastical Victorian London resurrected, a la Frankenstein, after her suicide by Dr. Godwin Baxter (Willem Dafoe) as she discovers self-determination and sexual liberty.

There is a dark kicker, though: Bella, pregnant at the time of her death, returns to life thanks to the brain of her unborn fetus, which is implanted into Bella’s adult body. Bella’s new brain develops rapidly as a result, with Bella going from speaking half-baked sentences to existential, philosophical musings in the blink of an eye.

Eventually, Bella discovers self-pleasure — and “furiously jumping” with another. As Bella travels the world with an insatiable appetite for knowledge and learns to love philosophy, she discovers that the world is not all it is made out to be.

The intentionally provocative and subversive premise is undoubtedly uncomfortable when sex and prostitution are thrown into the mix. The

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online discourse around the film is frantic, with many unsure whether to qualify the film at worst as sexist child pornography written and directed by men or at best as a voyeuristic fetish piece.

The beauty of “Poor Things,” however uncomfortable the context, lies in the setup’s moral grayness. To investigate the socio-political context of the film is vital — what does consent look like when the mind and body do not develop parallel to one another? — but the core of “Poor Things” is the exploration of how the Other navigates the world in a place not built for them.

To reduce “Poor Things” solely to a discussion of sex, of which there is admittedly a lot, is reductive. The film engages in a murky hypothetical, but that setting gives way to more interesting conversations about liberation and meaning that transcend traditional notions of gender. Sex, and the amount of sex the film depicts, is a vital vehicle for conversations about how the patriarchy and neurotypical societies ascribe purpose to bodies.

Take, for instance, Bella herself. Stone delivers a once-in-a-lifetime performance as Bella, played with ingenious heart and fervor. Stone nails with uncanny ability each stage of Bella’s mental life: her speech and body slumps as a child; her body prances and contorts with a fine dexterity in ballrooms as an adolescent; and her speech develops

bite and wit as she gains full control of her body by the end of the film.

Stone gives herself completely to Bella, effortlessly outshining all of her past performances with ease. Only Stone could communicate Bella’s sensitive and wonderful ethos, giving way to thoughtful interpretations that Bella is an analogy for transness and autism in a world that constantly fights against self-agency and discovery.

Bella’s peers further color and complicate her journey. Dafoe gives another memorable performance as Dr. Godwin — complete with makeup that makes his face look slashed through and put back together like a confused Jenga tower — and Mark Ruffalo shines with a frustrated and fragile male ego as Duncan Wedderburn, an English lawyer obsessed with Bella.

Even those with the smallest of roles devour the screen. Ramy Youssef melts as Max McCandles, a sensitive and misguided assistant to Dr. Godwin; Jerrod Carmichael unveils a dark interior as Harry Astley, a pessimistic intellectual who pushes against Bella’s optimism; and Christopher Abbott threatens to steal the entire show in a delicious and secretive third act role.

The entire film is held together with an uproarious screenplay by Tony McNamara, filled with insults and ironic humor so outlandish it is hard to

imagine how he invented the material or adapted it from Alasdair Gray’s titular novel. The comedy is often physical — and best experienced blind with one hand over the mouth in shock — but the wordplay is on another level.

When a character calls Bella a “whore,” for instance, Bella responds that she “is the means of her own production.” Perhaps this humor will not land for some — and goes to incredibly dark places facing censorship in some countries — but the wit is relentless if you give yourself over to the dark corners of the mind.

Lighting everything is a lush and imaginative production design effort by Shona Heath and James Price. As Bella travels to different cities, including Lisbon, Paris and Alexandria, each city is represented by tiny dioramas that explode in color. Instead of using CGI, the background landscapes are virtual screens that paint the entire film in a dreamlike haze.

The score, too, adds to the sets. Jerskin Fendrix’s composition grates the ears like a lab experiment gone wrong or a malfunctioning church organ, but it still charms with a hypnotic flare. Each string and cord feels like it is getting plucked from the flesh of your brain, perfectly situated within the created world.

Tying everything together is Lanthimos’ magnificent direction. His signature wide angle and fish lens shots survive under the supervision and long-time collaboration of Robbie Ryan, yet to a tasteful extent compared to his past films. Handheld and static shots flesh out the experience, creating a visual feast for the eyes. Paired with an excellent transition mid-film from black-and-white to color, Lanthimos asserts that he is at the height of his directorial prowess.

If you look past the strangeness of this world and its devices, you will be greeted with an undeniable and unforgettable masterpiece from the best working talent today. This tale is a story that only works in the visual format, a powerful reminder of why entertainment has something to tell us about the human experience.

The last frame of “Poor Things” — not to be spoiled here — is more than a home run finish.

It is a triumph of the power of the spirit, a celebration of irony as a form of storytelling.

Perhaps the poor things in life are not our situational circumstances, or people themselves, but the inability to see the world as a source of joy in the face of all its darkness.

THEHOYA.COM | FRIDAY, JANUARY 19, 2024

IMDB

Left: Elizabeth (Natalie Portman) observes the routine of Gracie (Julianne Moore) to prepare for her role in a new film.

FILM

‘May December’ is Worthy of its Plaudits  William McCall Senior Guide Editor

This awards season, the Academy of Motion Picture Arts and Sciences is spoiled for choice. Christopher Nolan’s “Oppenheimer” has been judged the “film of the century,” “The Color Purple” — directed by Samuel “Blitz” Bazawule — continues to generate considerable buzz and Sean Durkin’s “The Iron Claw” left many a theater-goer tearyeyed. Yet a surprise contender has emerged from the pack as a sleeper — the Todd Haynes-helmed “May December.”

The film, nominated for four Golden Globes, stars Natalie Portman as Elizabeth, a method actress doing research for an upcoming film depicting the sexual union between Julianne Moore’s middle-aged Gracie and the then-underage Joe Yoo (played by “Riverdale’s” Charles Melton).

Gracie and Joe have since been married following the former’s release from prison, where she birthed the first of the couple’s children. The situation is already strained

given Gracie’s pedophilic reputation and her difficult relationship with her children from her first marriage; it’s hardly made any better

by Elizabeth’s ceaseless, careful prying.

Indeed, though the actress’ status as an outsider to her role’s disturbing history may suggest that she is some kind of heroic audience surrogate, she is anything but. As she mines Joe and Gracie’s lives for usable histrionic nuggets, Elizabeth reveals herself to be more concerned with seeing just how far she can push the family’s limits than with compassionate research practices. In her hands, method acting becomes a justification for abhorrent, manipulative behavior and salacious glee, as eventually reflected in her performance as Gracie at the film’s conclusion.

Of course, Gracie — as to be expected — isn’t much better. Outside of her statutory transgressions, Gracie is chillingly hell-bent on maintaining the lie that her liaison with Joe was out of love, even as her machinations arrest her husband’s emotional development. The manner in which she so callously abandoned her first husband and kids, too,

FRIDAY, JANUARY 19, 2024 | THEHOYA.COM

leaves much to be desired, casting doubt on her assurances to Elizabeth that — instead of the lascivious predator that the tabloids make her out to be — she is a family woman first and foremost.

In fact, herein lies the real appeal of “May December.” Elizabeth and Gracie are intriguing in their own right, but it is Melton’s Joe who steals the show. He is the picture of a man stuck in time — clinging desperately to the belief that his tale is one of love and not maliciousness, lest the truth shatter him and the life he’s built for himself. From his cringing deference to Gracie to his inability to connect substantively with his son and daughters, Joe’s subtle weakness is on display from minute one, simultaneously heartbreaking and horrific.

On a macro scale, “May December” obviously has a lot to say about the danger of leery, scandal-obsessed media (via Elizabeth’s damaging influence on her subjects), as well as how easily “romance” can conceal unhealthy realities (readily apparent through the film’s exploration of Joe and Gra-

cie’s intricate tryst). Most striking, however, is its nuanced understanding of how abuse functions. Through the suggestion that Gracie herself was molested by her father, as well as Joe’s uncomfortable (and sometimes disconcerting) attempts at growing closer to his son in particular, “May December” subtly acknowledges that systems of maltreatment are at the end of the day the result of a generational domino effect. Is each character still individually responsible for their actions?

Absolutely. But they are also buffeted back and forth by forces they neither understand nor in many cases even acknowledge, the tragic victims of some original act of cruelty.

So this awards season, in addition to the current frontrunners for Best Picture and Best Leading Actor/Actress, be sure to take a moment to appreciate Portman’s, Moore’s and Melton’s creation — I can assure you that “May December” will not disappoint.

Just be prepared to approach the film openly and with a critical eye — there are layers beneath the surface that are captivating and troubling without measure.

| B7

COMEDY SPECIAL

Trevor Noah Tricks White People Into Singing in ‘Where Was I’  Amber Cherry

Deputy Guide Editor

As someone with possibly undiagnosed ADHD, “Where Was I” is an all-too-relatable title. Trevor Noah’s work often reflects the stream of consciousness of the neurodivergent, except his jumpy stories always tie back together in the end. Much like the rest of his work, his new comedy special joyfully unearths the ironies of our current political and social climate. Noah’s ability to weave the ordinary aspects of life with the more socio-political ones allows his audience to breathe between the sometimes heavier bits without seeming too preachy.

Noah opened with how he’s been enjoying America recently, maybe because it’s almost the end. This pessimistic joke was like a gut punch to the audience, whose laughs reflected more of an “oh-ho” than a “haha.”

According to Noah, history in America is a tense subject. On the topic of changing the name of Columbus Day to Indigenous Peoples Day, Noah joked he heard a man on the

news say, “Well, how would you feel if someone just came around and tried to change the name of something that’s been around for a long time?” And in true Trevor Noah fashion, he points out the irony: “But sir, isn’t that the spirit of Columbus Day?” After saying he liked how specific Columbus Day was compared to Indigenous Peoples Day, Noah’s tone landed on the other side, making fun of Columbus for refusing to accept that he did not, in fact, find India — he didn’t even reach America. “That, my friends, is the inspiring story of how white men can fail up,” Noah joked. His political commentary on this common debate is a signature of Noah’s specials.

From there, Noah seamlessly transitioned to talk about Floridian parents trying to ban textbooks with slavery in them, which he thinks is a futile debate because “kids don’t read textbooks.” Noah paused, giving the laughter the time it needed to ruminate, and then said, “They watch TikTok.” His suggestion of how to teach kids history: a faux TikTok dance while talking about history, breaking the socio-political rant with a more

CROSSWORD

mundane aspect of life in the 21st century.

Noah’s jokes were so effective because he interspersed them coherently with social commentary — here arguing that the textbook issue is manufactured, a madeup issue politicians have raised to distract us from actual problems. My father’s enthusiastic reaction to Noah’s commentary — “Yes! That’s what I’ve been saying!” — indicates how effective his comedy is. Generationally, Gen X and Gen Z both hope to see through the fog of political polarization.

Noah next riffed on the topic of American patriotic symbols. From pointing out that the people who most fervently urge others to “respect the flag” are also those who wear the flag as underwear, to comparing the national anthem to gangster rap: you could add “bitch” at the end of every line and it would still make sense.

However, as Noah acutely observed, the one song white people like more than the anthem is Neil Diamond’s “Sweet Caroline.” Noah starts to recite the song, slowly pointing out how white audience members

never really expect to start singing “Sweet Caroline,” it just starts to creep out. Once he reached the chorus, Noah paused as the crowd uncontrollably blurted out, “bum bum bum… Did you feel that? That was your whiteness coming out,” Noah said. “See, I didn’t tell you to join in. That was pure, uncut Caucasian joy.”

In his previous work, Noah had been known for his vulnerability. Granted, vulnerability is above and beyond in the standup world, but it’s what made Noah a household name. Yet unlike “Son of Patricia,” where Noah shares the dark parts of his past, and “Afraid of the Dark,” where he shares his cultural breakthrough since moving from South Africa to America, “Where Was I” did not have the same sort of intimate connection between comic and audience.

As Noah left the stage, “Sweet Caroline’’ started to play. As Noah goes into a car with Neil Diamond and begins singing, we see footage of the audience members dancing and singing along as they leave the theater.

If comedy is all about knowing your audience, Noah has that nailed down.

By Jasmine Criqui

This Week’s Theme: First Snow 1

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ACROSS 1. Unit of snow, or to become drowsy 6. Passage between rows of seats, as in a theater or airplane 7. Abbr. for Maryland sports team 8. Bread crumb variety 10. Text messaging services, abbr.

Last issue’s solutions 1

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DOWN 1. Conditions that may follow storms 2.Smallest U.S. state, by area 3. Unique book IDs 4. Unit of snow, or to cancel plans 5. Ultimate end, as per Aristotle 9. Morning hour, abbr.

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ACROSS 1. Exam taken at the end of a semester 6. Female name and title of an interactive film video game released in 2019 7. Contractions that may represent “are not,” “is not” or “has not” 8. Acronym for Super Saiya-jin transformation in Dragon Ball Z 9. To express one’s gratitude

DOWN 1. “I ate so much at our Thanksgiving ___!”

2. Spoken language, also known as Gaelic 3. Person trained in ancient Japanese martial arts 4. Common alternative to the SAT 5. Refractive surgery for the eye

THEHOYA.COM | FRIDAY, JANUARY 19, 2024