FILM Isabelle Cialone (CAS ’27) claims that "Love Hurts" falls short in plot, script and dialogue. B2
TV The Donn B. Murphy One Acts Festival stays impressive, according to Isabelle Cialone (CAS ’27). B4
FILM "Apple Cider Vinegar" shows the darker side of health influencing, says Grace Ko (CAS ’27). B7
FEBRUARY 21, 2025
The third installation of the ‘Paddington’ franchise seems to have lost its claws in Peru. B3
Evie Steele Editor-In-Chief
Isabelle Cialone
Deputy Guide Editor
Besides successfully propagandizing soulless suburbia and promoting the unbridled capitalistic urge to love working, director Jonathan Eusebio’s rom-com offering “Love Hurts” does not accomplish much. Marvin Gable (Ke Huy Quan) might be the world’s most wholesome real estate agent, as established through an opening sequence — a scene so lathered with excessive, exaggerated merriment that it reminded me of the video backgrounds of pharmaceutical commercials. But not everything can be sunshine and rainbows — Marvin’s past comes back to haunt him in the form of love interest Rose (Ariana DeBose) and her moves to deface Marvin’s signage with Tumblr-esque mustache doodles. Worlds collide as his brother, the aptly-named kingpin Knuckles (Daniel Wu), reemerges and, with him, Marvin’s dark history as a hitman.
Unfortunately, the plot falls apart immediately. Marvin faces what should be a difficult decision, having to choose between his current and former lives, but the utter lack of chemistry between him and Rose — whose professions of love for one another are stone-faced and synthetic — renders it stale. His choice is unnecessarily dragged out over 84 minutes, making the movie’s relatively short duration feel endless. The relationship that blooms between emo-Robert Frost-wannabe Raven (Mustafa Shakir) and Marvin’s depressed and misunderstood assistant Ashley (Lio Tipton) is exponentially more realistic despite its sheer ridiculousness. Attempting to sell itself as an action romcom, “Love Hurts” is plagued with commitment issues, resulting in a non-sequential montage of poorly related subplots and confused character motivations. Perhaps in an attempt to save the film, the painfully overworked script turns to internal
monologue voiceovers and overly simplistic clarifications for every non-sequential plot point. The discombobulated script is chock-full of lines that just seemed to fall flat, making the whole movie feel more like a table read than a full-fledged film.
The only humor to be found is in the ironically hilarious content the script provides. My generosity in giving this movie more than a half-star is entirely because I was doubled over in laughter throughout much of it, feeling like my showing of “Love Hurts” was a social experiment. Had it not been for the giddy glee I felt laughing at the movie, “Love Hurts” would have made history as the first movie to make me leave early.
Aside from providing an unintentionally uproarious experience, the only things “Love Hurts” does right are its action scenes and fight choreography. As a big fan of fight scenes in unconventional places that force characters to get creative with their resources, I thoroughly enjoyed the sequences
LINSEY BROOKFIELD/THE HOYA
Even Cupid’s arrow couldn’t make deputy editor Isabelle Cialone (CAS ’27) love “Love Hurts,” a new action romcom whose plot, script and dialogue may hurt to watch.
that took place in offices and staged houses. Plus, watching a man as nice as Marvin Gable — played by someone as endearing as Quan — be so violent was amusing.
Alas, not even the presence of two recent Oscar winners, Quan and DeBose, and well-choreographed fight scenes were enough to save the movie. Both actors have been phenomenal in other works, yet Quan’s and DeBose’s performances were shabby, though this was largely the script’s fault. Quan was the perfect choice for such a genuine character, and it was great to see him in a lead role, but it was unfortunate that said role was in this movie. DeBose’s post-Oscar run has included some seriously awful movies, and this only further solidifies her tragic fall.
The supporting actors delivered enjoyable performances, with Marshawn Lynch particularly standing out as the gang member King, providing some of the film’s only intentional comedic moments. However, his role was ultimately irrelevant to the plot. The presence of Drew Scott of “Property Brothers” as Marvin’s rival realtor, Jeff Zaks, was an equally welcome addition. However, in classic action movie style, introducing such an expansive cast of side characters only resulted in those characters being killed off.
Ultimately, “Love Hurts” fails to deliver on what could have been an intriguing premise. Instead, it gets too caught up in useless subplots and relies on unsuccessful throwaway humor to save itself. However, if you want to go to the movies to laugh at how poorly something was produced, then “Love Hurts” could be a fun experience.
Success, ‘Paddington in Peru’ Is Underwhelming, But Hardly Unbearable
Evie Steele Editor in Chief
After the hit showings of “Paddington” in 2014 and “Paddington 2” in 2017 — the latter a rare sequel to eclipse the first film — Dougal Wilson, the first-time director of “Paddington in Peru,” has two difficult acts to follow. Indeed, though the long-overdue third film is just as lovable and sweet as its predecessors, in taking Paddington Bear from warm comedy to Amazonian action, it loses its predecessors’ subtle humor and simplicity.
The first two “Paddington” films see Paddington (voiced by Ben Whishaw), a newly arrived bear in London from Peru, settle into a new home with his found family, the Browns. Throughout the series, the titular figure escapes adversaries ranging from a taxidermist to a washed-up West End actor and eats (or drinks) marmalade at alarmingly high rates.
“Paddington in Peru,” meanwhile, takes Paddington and the Browns — risk-obsessed father Henry (an excellent and goofy Hugh Bonneville), adventurous and quirky mother
Mary (Emily Mortimer, replacing Sally Hawkins) and their two children Jonathan (Samuel Joslin) and Judy (Madeleine Harris) — far from their familiar home in Windsor Gardens. Missing the days of familial closeness as her two children grow up, Mrs. Brown takes a letter from Paddington’s aging Aunt Lucy (voiced by Imelda Staunton) as an opportunity for the family to visit her in the Home for Retired Bears in Peru. So far, so similar to the first two films: Whishaw’s Paddington is just as charming as ever, the Browns — Henry in particular — still as idiosyncratic.
Yet after the Browns’ flight lands in Lima, the plot becomes much loopier. Arriving at the Home for Retired Bears, the Browns meet the Reverend Mother (Olivia Colman), a slightly odd, guitar-playing nun, who informs them that Aunt Lucy is missing — kicking off a missing-bear search in the Amazon rainforest that becomes the film’s center. In search of Aunt Lucy, the Browns voyage up the Amazon aboard the charming Captain Hunter Cabot’s (Antonio Banderas) riverboat. As is par for the course in Padding-
ton films, the plot quickly becomes chaotic. Beyond the outlandish plot — well, as outlandish as it gets for a film about a talking British bear — the script is fairly weak. The first two Paddington films were packed with jokes; this time, however, the joke frequency is a tad lower, while the all-too-often lines about the importance of family, finding yourself and taking risks come off as saccharine. After the charming simplicity of the first two films, it all feels a little bit off — the action takes away opportunities for gentle humor, while the additions of Colman and Banderas, both of whom are funny, still fail to match the comedic gold of Hugh Grant in “Paddington 2.”
At their core, the Paddington films rely on subtle humor borne of poking fun at human behavior — principally Brits and their stereotypical staidness — as Paddington enters predictable circumstances and behaves unpredictably. The first film drew laughs in its depiction of Paddington on a London Underground escalator, the second with the bear bored of cafeteria food; in the third, other than a singular scene in a passport photo
IMDB
Bearing the heavy weight of its predecessors’ success, “Paddington in Peru” may not quite stick the landing, but still promises audiences of all ages a good time, says Evie Steele (SFS ’26).
booth, the plot takes us so far from predictable, normal circumstances that it deprives itself of that key mechanism of humor.
The film also misses Hawkins as Mrs. Brown, who, alongside Paddington himself, was the emotional core of the first two films. Hawkins provided a constant quirkiness that verged on unhingedness and genuine sweetness. Though Mortimer gives a solid performance, her Mrs. Brown lacks the eccentricity and whimsy of Hawkins’. Still, “Paddington in Peru” has some lovely — and humorous — moments, particularly those centered on marmalade. The film is filled with carefully crafted Wes Anderson-y shots and eye-catching visual touches, reintroducing the Browns through a dollhouse version of their home as seen in the first two films and touching on Henry and Mary’s sadness at becoming impending empty-nesters through beautiful animation of oil paintings. Its actors also do well — Bonneville is a reliable Henry and Olivia Colman is, well, Olivia Colman.
After all, “Paddington in Peru” is still “Paddington” — still funny and adorable and heartwarming in all the ways a good kids’ movie ought to be. And after eight years off-screen — so long that half the audience at my Saturday matinee showing had not yet been born when “Paddington” first came out — Paddington’s innocence and politeness still finds a way to charm viewers of all ages. Even if the sequel curse has finally reached “Paddington,” the worst of the three films — the bear minimum, perhaps — still put a smile on my face.
Isabelle Cialone Deputy Guide Editor
Every year, Georgetown University’s Mask and Bauble Dramatic Society hosts the Donn B. Murphy One Acts Festival (DBMOAF), a showcase of one-act plays that students write, direct, design and perform in. This year’s festival, which marked the 39th installment, took place Feb. 1316 and featured three plays: “Ouroboros,” “Six Years Later” and “The Enfancia Project.”
The first play, Anastasia Kelly’s (CAS ’26) “Ouroboros,” directed by Nate Findlay (CAS ’27), transports us to a world steeped in legend, where the two main characters have an extensive history and are no strangers to death. Lilias, portrayed by Claire Cable (CAS ’27), is a proclaimed “god killer” who has sought out and killed countless deities throughout their life. When Cecily, a young reaper played by Alex Roberts (CAS ’26), comes to collect a soul, Lilias divulges to her the haunted nature of her conscience.
The play centers around Lilias and Cecily’s conversation in a burning bar, exploring time, memory, grief and death to unravel their histories. The reveal of the surprising connections between the two made “Ouroboros” thematically fascinating and both lead actors did an incredible job portraying characters haunted by the complexities of their extensive pasts.
The play successfully imbues the lush world with mythology without burdening the audience with unnecessary information. This is accomplished through Kelly’s expertly written script and the impressive use of design elements. As a former theater lighting technician, I was captivated by the immersive representation of fire through light and sound. The costumes and set equally work to establish the mythical world.
With a seamless transition from the ingenious multifunctionality of the set, the burning bar
room was switched out for a quaint cafe in Cable’s “Six Years Later.” Directed by Rishu Nevatia (CAS ’27), the one-act sees a once-glorious superhero
The Red Sparrow, played by Marre Gaffigan (CAS ’26), reunites with his former arch-nemesis, The Ghost, played by Grady McDonough (MSB ’26) under their new, civilian identities — Kit Hunter and Peter Bennett, respectively. After six years from the spotlight, Hunter still basks in his fame. Bennett, whose public defeat and faked death masked the adoption of his new identity, has settled comfortably into his newfound ordinary life. Unfortunately, all is not as well as it seems.
Through Hunter’s longing to regain his sense of purpose and Bennett’s celebration of his new identity, “Six Years Later” explores the fine line between good and evil and the difficulty of balancing personal fulfillment with public responsibility. The script navigates these themes with great skill, interspersing thought-provoking content with
COURTESY OF ALESSIA VISCUSI Isabelle Cialone (CAS ’27) breaks down the three excellent shows within Mask and Bauble’s Donn B. Murphy One Acts Festival.
comic relief provided through secondary characters. The waiter, portrayed by Massimo D’Onofrio (CAS ’28), provides some of this relief, as his fanboy interactions with The Red Sparrow are hilarious.
Though a more similar world to our own than that of “Ouroboros,” Eden City is equally well-developed. Radio announcements and subtle set designs clarify the superheroes’ social status and other actors’ presence as background cafe-goers adds to the ambiance, making the setting feel believable.
The final show, “The Enfancia Project,” written by Eileen Miller (SFS ’26) and directed by Tommy Gaita (CAS ’26), is especially fitting for Georgetown, as it seeks to understand the purpose of pre-professional clubs. A satirical exploration of the toxic club culture that permeates today’s college campuses, the play depicts a resume-building experience gone wrong for undergraduate students in a consulting club. Told through a captivating alternation between interviews and flashbacks, it reveals the story of their fated meetings.
Ridiculous and funny in all the right ways, “The Enfancia Project” dives into the absurdity of consulting clubs as an institution — why do companies trust students freshly out of high school to manage real issues that can have such serious consequences? The excellent portrayal of the overly ambitious and rather misguided Crimerge Consulting’s CEO, Carla, played by Lainey Lyle (SFS ’27), successfully evokes the grim tragedy and danger that can come with placing such high expectations on students. As each of Carla’s peers is interviewed, the tragedy of the show is developed, with each student revealing the flawed yet painfully realistic reasons for their involvement in the club.
The three shows presented at this year’s DBMOAF were a testament to Mask and Bauble’s dramatic creativity and the authorial skill of the three playwrights. From the delicate and real conversation of “Ouroboros” to the intricate worldbuilding of “Six Years Later” and the relatable humor of “The Enfancia Project,” student talent shined in each show.
Imaneh Ansari Guide Staff Writer
With the magical glow of a spotlight, grandiose sets and geometrically perfect choreography, the National Ballet of China’s “Chinese New Year (A Ballet In Two Acts)” performance transformed the Kennedy Center’s stage into an immersive celebration of Chinese culture. Playing from Jan. 29 to Feb. 2 in the Kennedy Center’s Opera House, the ballet reimagined the classic ballet “The Nutcracker” to celebrate the Lunar New Year.
If you are someone who enjoys storytelling through art, this ballet is sure to keep you hooked. With a total run time of two hours, including the 15-minute intermission, the showcase was entirely immersive, transporting the audience into a beautiful artistic reimagination.
“The Nutcracker,” Pyotr Ilyich Tchaikovosky’s classic ballet, revolves around a young girl, Clara, who receives a Nutcracker doll as a Christmas present. When the doll magically comes to life on Christmas Eve, Clara experiences thrilling adventures in the Land of Sweets with the Nutcracker. The National Ballet of China’s
interpretation, in contrast, features a young girl, Yuan Yuan, played by Fang Mengying, Zhao Xinyue and Zhou Yue, receiving the doll as a gift for the New Year before traveling through a fantasy world with him.
The performance seamlessly wove traditional Lunar New Year mythology and classic elements of “The Nutcracker” together into an overall display of artistry, expertly reinterpreting the well-known ballet. Nian beasts, mythical creatures central to the origin story of several Lunar New Year traditions, replaced the usual mice as villains, while the Crane Queen, portrayed by Zhao, replaced the Sugar Plum Fairy. In the opening scene, a parade of zodiac masks for the Lunar New Year party replaced the Christmas party from “The Nutcracker,” outlining how the interpretation kept the central story of “The Nutcracker” while connecting it to a different holiday.
The one element that remained was the character of the Nutcracker, played by Chen Zhuming, Guan Chongzheng and Chang Sinuo in human form, remaining a nutcracker while in doll form. Though some may find this choice out of place amid every other change, I
Dive into a possible new hobby at The Wharf’s ice rink! This winter, visit the Caps Cantina Bar on Transit Pier to see Washington Capitals decor and experience a wonderful ice rink before it closes at the end of February. From 2 p.m. to 6 p.m. on Saturday, Feb. 22, skate with a DJ, Caps gear giveaways and more. The game will also be broadcast on an 85” TV. Wear Caps gear for a $5 discount to the rink!
enjoyed this connection to the original.
The show’s innovation and uniqueness differentiated it from other ballets. Specifically, the Dance of Fans, the Dance of Silk, the Dance of Kites and the Dance of Gold Ingot stood out as the best adaptations of “Nutcracker” productions. In the Dance of Gold Ingot, which reimagined Tchaikovsky’s Waltz of Mother Ginger and the Polichinelles, dozens of children emerged from a gold structure on center stage, an awe-inspiring and intricate reimagining of a well-loved dance sequence.
The stage and set elevated every aspect of the performance, with designer Gong Xun arranging flying kites, silk curtains and traditional Chinese fans to form an enthralling setting. One of the most visually stunning sets in the show was the Porcelain Kingdom, complete with large glass structures that seemed to hang from the sky, illuminating Yuan Yuan and the prince. The lights washed the dancers in glitter, changing the costumes to represent light and sparkly feathers.
However, the Kennedy Center Opera House Orchestra, led by prominent Chinese conductor Zhang Yi, and the National
By Caitlin McBride
Are you curious about the world of college improv? Would you like to dive into the intercollegiate scene? Well, now is the perfect time to act by attending the 2025 ImprovFest, where you can see students from across the country perform. Choose between two nights of improvisational adventure at Bulldog Alley from 9 p.m. to 11 p.m. on Friday, Feb 21 and Saturday, Feb. 22. Buy tickets online on CampusGroups.
If diving deep isn’t for you, consider a different kind of flow: The National Building Museum is offering an all-level yoga “sound experience” on Sunday, Feb. 23 from 9 a.m. to 10 a.m. This multisensory practice will feature the gong, ocean drum, chimes, crystal bowls and a crystal pyramid. It will take place in the Great Hall of the museum, under the colossal 75-foot-tall Corinthian columns. Tickets are $30 on Eventbrite, which includes a museum tour.
Children’s Chorus were the true backbone of the performance, enhancing every movement with their live music. The flutes, clarinets and French horn were highlights of the ensemble, heightening every dramatic scene and lightening every romantic moment.
Jane Raleigh, Kennedy Center director of dance programming, said she wanted to present Chinese culture and diverse perspectives to a new audience through the show.
“I always get excited when a work onstage can teach us something new about a culture different than our own,” Raleigh wrote in the program notes. “This company and this work reveal the delight, the beauty and the nuances of how Lunar New Year is celebrated in China through a language we can all understand — ballet.”
“Chinese New Year” certainly succeeded in its goal of fusing Chinese cultural tradition with Tchaikovsky’s classic ballet. The whole performance was enthralling, transporting the audience by integrating intricate set and costume design with beautiful dance. The show went beyond the boundaries of ballet and exemplified how classic ballets can be taken to a new level through creative artistic reinterpretation.
Balance out your mental and figurative “deep dives” with a lesson on how to literally dive deep. Outdoor Education is hosting Intro to Scuba in the Yates Field House pool on Saturday, Feb. 22 from 1 p.m. to 4 p.m. The course will include an hour-long classroom session, followed by an hour and a half of dive time in the pool. Register for $150 on CampusGroups. Alternatively, Outdoor Ed has a Sugarloaf Mountain day hike on Saturday, Feb. 22 ($12 on CampusGroups) and a Harpers Ferry day hike on Sunday, Feb. 23 ($15 on CampusGroups).
Sophia Tremblay
Hoya Staff Writer
Tyler Perry’s “The Six Triple Eight” effectively and beautifully tells the incredible true story of the 6888th Central Postal Directory Battalion, the only all-Black and all-female battalion in World War II. The film follows Lena (Ebony Obsidian) as she enlists in the army after her childhood sweetheart is killed in action. She meets other fellow enlistees as they narrowly get through basic training under the firm Major Charity Adams (Kerry Washington).
Lena’s story is set against the backdrop of a recurring mail freeze in Europe, which prevented U.S. soldiers from sending or receiving letters during WWII. Meanwhile, Major Adams faces the daunting challenge of sorting through 17 million pieces of mail in less than six months. The women find ingenious ways to identify and deliver the mail, ultimately completing the task in less than the six-month deadline.
IMDB
“The Six Triple Eight” celebrates the legacy of the United States’ first all-Black, allfemale battalion in an incredible true story which writer Sophia Tremblay (CAS ’27) describes as “fantastic.”
In full transparency, the first 20 minutes of this film left me feeling utterly lost. The opening battle sequence felt disconnected, introducing an unnamed soldier who never appeared again, effectively diluting any sense of narrative cohesion the film sought to establish. Perry also juggles too many different storylines too quickly — bouncing from the front lines to the White House to the suburbs — making it hard to settle in or truly understand the story initially. He also falls into the trap of dedicating far too much screen time to Lena’s romance that could have been spent unpacking the internal dynamics behind the 6888th’s remarkable feat. However, once the film found its rhythm and became more character-driven, it evolved into something fantastic.
The film is nothing short of excellent. Perry’s writing is genius, as he perfectly balances exploring the service of the women in the 6888th with the personal hardships they faced in a world that refused to rec-
ognize their contributions. The characters are written with a depth that skillfully and memorably forges a personal connection with the audience. It is also refreshing to hear writing that reflects genuine relationship dynamics between Black women, showcasing the reality of intersectional struggles between women from diverse socio-political and economic backgrounds.
The acting is also incredible and authentic, spotlighting female solidarity to emphasize the historical weight of sisterhood and its contributions. Kerry Washington, in particular, gives an electrifying and frankly Oscar-worthy performance as the battalion commander Adams, the country’s highest-ranked Black female officer during the war. Washington’s portrayal explores leadership and how it can manifest even in times of extreme racism, serving as a worthy tribute to the remarkable real-life Major Charity Adams. Adams’ passionate monologue to General Halt (Dean Norris)
at the end of the film, in which she demands respect for the battalion’s work, is an empowering moment full of soul. What the film lacks in narrative cohesion, it undoubtedly makes up for in heart. Perry’s exploration of what true heroism and patriotism entail, particularly in the face of blatant racism, gives this story a timeless appeal. “The Six Triple Eight” is not only a well-written and personally impactful film — it is an overdue tribute to the 6888th themselves. Their contributions were vital to the greater U.S. war effort, yet their service has been overlooked since the battalion’s creation.
At the end of the film, when the battalion receives recognition in the form of salutes from the soldiers who had previously denied them any sense of distinction, the audience cannot help but rejoice alongside them. Their triumph serves as a reminder of the sheer dedication and persistence these women embodied. The film does not just tell the story of these 6888th — it honors their legacies in a way that resonates with viewers.
Grace Ko
Deputy Guide Editor
Netflix’s latest addition to its slew of “true story” dramas is “Apple Cider Vinegar” — a limited series based on the story of Belle Gibson, a health influencer who pretended to have brain cancer. The series is biting and flashy, offering an unapologetic view of those in the world of health-and-wellness influencing, particularly those whose brand revolves around cancer and other fatal diseases.
Adapted from journalists Beau Donelly and Nick Toscano’s book “The Woman Who Fooled the World” the series follows the rise and fall of Gibson (Kaitlyn Dever), a young and, eventually, single mother whose charm allows her to easily manipulate everyone around her. In a bid for attention, Belle crafts a false narrative of surviving brain cancer, drawing inspiration from Milla Blake (Alycia Debnam-Carey), a wellness influencer who advocates for alternative medicine to treat cancer with whom Belle develops a parasocial attachment. Belle’s eventual rise to fame is aided by a similar
false narrative that she successfully cured her cancer from healthy eating. However, her deception begins to unravel when two journalists start to question her harmful claims, setting the stage for her inevitable downfall.
“Apple Cider Vinegar” effectively reinforces the distinction between reality and fiction by opening every episode with a disclaimer of Dever’s Gibson saying, “This is a mostly true story based on a lie.” This brief fourth-wall break, however needlessly direct, sets the ground for the writers to explore Gibson beyond what is present in the public eye without fully blurring truth and fiction. “True story” dramas aren’t meant to be documentaries, and “Apple Cider Vinegar” clarifies that it has taken creative liberties to portray the story at hand.
A few of these creative liberties include expanding on the arguably two most fascinating characters within the series: Milla Blake and Clive Rothwell (Ashley Zukerman). Blake is partially based on Jessica Ainscough, a real-life wellness influencer who, like Blake, was diagnosed with a rare soft-tissue cancer and turned
to alternative medicine for cancer treatment. In the show, Blake, unwilling to amputate her arm, turns to alternative treatments, posting her journey to recovery on a blog that gained public traction. There is an interesting complexity to Blake in the show: Her desperate hope that there is another way to heal herself creates a destructive and all-consuming faith in alternative medicine. Her blind faith ultimately leads to her own, and even her mother’s, death when she convinces her mother to also commit to “holistic” treatments. With Blake, the audience witnesses a very human, raw and even painful desperation to heal — and how that desperation can lead to putting one’s trust in dangerous options.
On the other hand, Rothwell is based closely on the real-life partner of the real Belle Gibson. In the series, Rothwell is given a quiet, nearly pathetic demeanor as he simply follows Gibson around. He is a silent pillar from the moment they meet, paying and supporting Belle in her endeavors while also serving as the stable parent to Gibson’s
IMDB
How far will you go for fame? New Netflix show “Apple Cider Vinegar” explores this question along with the true story of health influencer Belle Gibson, says Grace Ko (CAS ’27).
child. An interesting shift in Rothwell’s character is when it is indicated he knows — to some degree — about Gibson’s deception regarding her cancer diagnosis. Zukerman’s subtle expressions and looks of silent doubt brings the mystery of Rothwell to life, leading the audience to ask questions regarding Rothwell’s loyalty and choice to stay with Gibson despite being aware of her lies. While he is clearly devoted to Gibson’s son, the final episode suggests he also still loves Gibson despite all of the manipulation, cruelty and deception. Through this complexity, the writers create fascinating layers to Rothwell’s motivations and personality, making him another highlight within the series.
However, the true cornerstone of “Apple Cider Vinegar” is Dever’s absolutely stunning performance as Gibson. With Dever’s skill, Gibson becomes a desperate, conniving con woman whose desire to be loved has taken over all sense of reason. Tragic breakdowns are a tool in Gibson’s arsenal of manipulation that Dever delivers in shockingly real style. Each tear feels calculated, sparking anger from the viewer watching with the knowledge of Gibson’s deception. Without Dever, there wouldn’t be half the energy and delicate balance in creating pity and hate. Dever is such a dynamic presence on screen, and I had so much fun watching her gaslight, cheat, lie and manipulate as Gibson. While sometimes conventional in its storytelling, “Apple Cider Vinegar” shines with its multifaceted characters and a strong central performance by Dever. The series has an addictive sharp bite that simply leaves you wanting more pieces to its narrative of deception — distinctly as sour and acidic in tone as the apple cider vinegar namesake.
Nick Williams Guide Columnist
Jan. 14, 2012: the “Saturday Night Live” performance heard around the world. At this time, Lana Del Rey was simply an emerging singer-songwriter armed only with a viral woozy ballad and intriguing Old Hollywood mystique. She took the hallowed stage at 30 Rockefeller Plaza and changed the trajectory of her career — for the worse.
Del Rey sang “Video Games” and “Blue Jeans” off her forthcoming LP “Born To Die.” However, she chose to sing about an octave lower than the recorded versions, straining to hit the notes as she awkwardly fumbled her way across the stage. The backlash was practically immediate. Brian Williams of NBC referred to it as one of the worst performances in SNL history. The internet erupted with think pieces about Del Rey’s authenticity, questioning her talent, artistry and rise to mainstream prominence. Critics seized on Del Rey’s previous efforts to succeed in the industry under her real name, Elizabeth Grant, proposing she had developed the new persona to start fresh. Two weeks later, “Born To Die” dropped, earning a medi-
ocre 62/100 on Metacritic. Rolling Stone gave the record two stars, describing it as dull and dreary. Evan Rytlewski, panning the LP for the A.V. Club, stated, “Shallow and overwrought, with periodic echoes of Ke$ha’s Valley Girl aloofness, the album lives down to the harshest preconceptions against pop music.”
Lindsay Zoladz scored the work at a 5.5/10 for Pitchfork, calling it both out of touch and a collection with no fire. Randall Roberts for the Los Angeles Times said Rey’s singing was unrefined, while The Independent’s Andy Gill characterized the album as both irritating and morally objectionable with a two-star review.
But what did “Born To Die” mean for the average listener? Perhaps, to fully understand the album, the everyday audience should know that Del Rey operates in a highly stylized, aesthetics-driven space. Nowadays, I will often see an object, picture or social media post and think, “That is so Lana Del Rey” — there are not many artists with that level of aesthetic prominence or cultural integration. On “Born To Die,” Del Rey channels the imagery of 1960s Americana and Old Hollywood glamor. She sings about morbidly codependent relationships
By Tanvi Gorripati
on “Off To The Races” and “Video Games,” old money political dynasties on “National Anthem,” glamorized sadness on “Dark Paradise” and “Carmen” and salacious teenage romps on “This Is What Makes Us Girls.” There’s no shortage of U.S. cultural references in these lyrics. The production is eclectic, pairing lush string sections with hip-hop beats; critics have described the sound as somewhere between baroque pop and trip-hop. There was truly nothing like it on the market at the time or even today. Despite the initial controversy, the LP debuted at number two on the Billboard Hot 200, with first-week sales reaching up to 77,000 units. It topped the United Kingdom album charts with a monstrous 116,000 units; on the single charts, Del Rey saw top 10 placements for singles “Video Games” and the album’s title track. And its popularity persists; as of last week’s Billboard chart, “Born To Die” still sits in the top 100, having charted for 573 weeks.
As of 2024, the LP had sold seven million copies worldwide and racked up nearly nine billion streams on Spotify. Despite the negativity of critics, the record struck a chord with audiences.
As Del Rey continued making music,
reviewers came around to her brand, style and vibe. As the quality of each successive release slowly won critics over, they reconsidered the harsh initial reaction to Del Rey’s debut. While reviewing Del Rey’s 2017 LP “Lust For Life” for Vulture, Craig Jenkins claimed the album came from nowhere but still pulled off a fully formed aesthetic that was perhaps ahead of its time. In 2021, No Majesty writer Angelina Fay characterized the album as a classic, timeless piece of art. Pitchfork readjusted its score in October 2021, raising it from 5.5/10 to 7.8/10 with the remark that it should be a sign of things to come.
I agree that “Born To Die” was certainly ahead of its time. In an era where EDM club-focused bangers dominated the radio, Del Rey’s sadcore, alternative pop felt out of place. Nevertheless, Del Rey has gone on to inspire artists from Billie Eilish to Taylor Swift to Courtney Love. She has always held steadfast that the woman who created “Born To Die” was not simply a persona, but a true reflection of herself. Her enigmatic aura may have confused audiences in 2012, but as she continues to captivate fans and critics alike, Del Rey remains committed to expressing herself in genuine and unexpected ways.
1. To express gratitude
6. The spinning part of a mechanical device
7. A text message asking for confirmation
8. Not women
9. Samsung’s line of foldable phones
10. Hungarian software company known for its presentation technology
1. The current leader of the United States
2. A foolish or uncultivated person, or slang for a Canadian
3. To adjust or something that may get stuck in your head
4. Neither
5. An electronic dance-pop band with the song “Back in Time”
1. Last weekend’s Bowl
6. A dishonest or roguish man
7. Jalen Hurts or the United States’ national bird
8. Leadership Development Event, abbr.
9. What the Chiefs took last weekend, in slang
10. Famous Elba
1. The creator of Pokémon Unbound
2. What you might do to an ex on Snapchat
3. Communication device, also known as a beeper
4. Endoscopic variceal ligation, abbr.
5. Videos on Instagram
11. A pronoun for yourself