TELEVISION 'Stranger Things' is a mediocre but moving end, says Jasmine Criqui (CAS '26). B2
FILM Grace Ko (CAS '27) praises 'Wake Up Dead Man' for its emotional approach to genre. B4
FILM 'Zootopia 2' offers fun time and timely critique of society, says Francis Rienzo (CAS '27). B6
JANUARY 16, 2026
'Heated Rivalry' revolutionizes queer media with complex and emotional hockey romance. B3
Anandita Agarwal Guide Deputy Editor
Jasmine Criqui
Contributing Editor
After nearly 10 years, five seasons and countless fan theories, the sci-fi horror Netflix behemoth “Stranger Things” came to an end on New Year’s Eve, featuring a sprawling final episode that pits escaped-lab-experiment-turned-heroine Eleven (Millie Bobby Brown) and her allies against Vecna (Jamie Campbell Bower), a fearsome telepath with power over the creatures of the Upside Down.
The season’s most pleasant surprise is that something finally goes right for Will Byers (Noah Schnapp), who has spent the last four seasons harboring a mysterious link to an interdimensional monster and a not-so-mysterious (but perhaps equally agonizing) crush on his best friend Mike (Finn Wolfhard). With encouragement from Robin (Maya Hawke), Will is able to overcome both fears, first saving his loved ones by weaponizing his connection with the Upside Down to tap into Vecna’s powers and then getting rid of Vecna’s only leverage against him by confessing his feelings in front of the entire group.
There’s no way of getting around the inherent awkwardness of coming out to 14 people at once, but to be fair to Will, he probably timed it about as well as he could have. Even the most dedicated bigot might think twice about picking a fight with the guy who just snapped three monsters in half with his mind — the only character who’d have a chance is Eleven, and I’m pretty sure she doesn’t know what a gay person is.
Unfortunately, this isn’t the only scene in Season 5 that would have worked better with less people — the show’s tendency to introduce more characters than it kills off has long irked some fans, and the cast can definitely feel overstuffed during key sequences. However, “Stranger Things” does an excellent job ensuring that when major characters do die, the survivors are actually forced to grapple with the loss.
One of the best-written scenes in the entire season is the fight between Dustin (Gaten Matarazzo) and Steve (Joe Keery). Dustin is lashing out in grief and guilt after his close friend Eddie (Joseph Quinn) died protecting him in the previous season, while Steve is frustrated by Dustin’s self-destructive ten-
dencies and worried that he’s learning the wrong lessons from Eddie’s death. The argument is explosive; the resolution is deeply cathartic; and the arc as a whole adds heartbreaking nuance for all three characters.
The glaring exception to the rule of death being treated with gravity in “Stranger Things” is the ill-conceived plotline involving the U.S. military. In leaving Dr. Owens (Paul Reiser) behind in Season 4, the show loses its only even remotely virtuous government-affiliated character, replacing him with Dr. Kay (Linda Hamilton), who is ruthless to the point of idiocy.
Look, I’ve glanced at a history textbook. I get that Dr. Kay’s single-minded focus on beating the Russians, even if it means conducting illegal experiments on U.S. citizens and almost bringing about the literal apocalypse, is an unsubtle critique of U.S. leadership during the Cold War. But understanding the historical parallels doesn’t make it any less jarring to watch the fictional “good guys” go from battling CGI monsters to slaughtering rank and file U.S. soldiers without a second thought or any lasting consequences.
In the most egregious example, star student Nancy (Natalia Dyer) guns down three
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The final season of “Stranger Things” is both underdeveloped and overstuffed, yet it effectively ends a great show, says Jasmine Criqui (CAS ’26).
soldiers and the moment is played as empowering — never mind those are the first humans we’ve seen her kill in the entire series, or that their only crime is defending the military base our main characters are breaking into. I guess you can’t spell “women’s liberation” without “treason.”
Speaking of liberating women, the dynamic between Max (Sadie Sink) and series newcomer Holly (Nell Fisher) as they plot their escape from Vecna’s mindscape is another season highlight. The writers took a risk introducing another character this late in the game, especially one with as much screentime as Holly, but they made a smart gamble on Fisher’s ability to sell the role. The inclusion of Holly also reveals a new side of the otherwise standoffish Max as she’s forced into a mentorship role.
However, the time spent on Holly does mean some established characters feel distinctly underbaked. The biggest disappointment is that Eleven, after multiple seasons that showed her cautiously adapting to life outside the lab and bonding with her friends and chosen family, has reverted back to full child soldier mode, haunted by her failure to defeat Vecna the previous year.
Eleven’s single-mindedness wouldn’t be so frustrating if it were balanced with other meaningful interactions, but besides two surface-level conversations with Mike, she’s stuck talking to her adopted father Hopper (David Harbour) and fellow child experiment Kali (Linnea Berthelsen), both of whose primary character trait this season is “suicidal.” It’s a step backward emotionally for Eleven and it ultimately makes her pivotal final scene with Mike fall flat.
Though I can nitpick indefinitely, I do genuinely love “Stranger Things.” It’s a show that’s grown with me, and despite occasionally falling victim to its own massive scale, it maintains a solid emotional core. The writers may render familial bonds more skillfully than romantic ones, but they portray friendships best of all — when those are in focus, it’s one of the greatest shows of the decade.
Anandita Agarwal Guide Deputy Editor
When the self-isolated American thinks of Canada, they probably think of lumberjacks, the snow and maple syrup. Above all, they probably turn their mind to what is indisputably Canada’s greatest export: ice hockey. With the explosion of hockey romances on BookTok in 2020, it was only a matter of time before one took hold of the United States in a manner that can only be compared to the British “invasion” of One Direction. Though the immediate popularity of “Heated Rivalry” was surprising on account of both its queerness and explicit nature, it made complete sense to me when I sat down and actually watched the show.
Following the fictional, decade-long situationship-turned-love-story between Russian hockey player Ilya Rozanov (Connor Storrie) and Canadian hockey player Shane Hollander (Hudson Williams), “Heated Rivalry” appears, at face value, as a depiction of gay sex, but, in reality, it is a beautiful ex-
ploration of queer love and identity. As an avid hockey fan, I went into the six-episode show ready to brush it aside as nothing but a fun romance riddled with inaccurate depictions of the sport, but I ended up leaving the show in tears, deeply moved by what creator Jacob Tierney brought to life.
The show is based on Rachel Reid’s book of the same name, which is part of a larger series that explores different facets of queer hockey romances. The premise of “Heated Rivalry” is perhaps its most eye-catching element: two star hockey players who are bitter rivals by day and sexy lovers by night. While such a plot might have become a predictable and cliched story, “Heated Rivalry” is instead a nuanced exploration of Russian and Canadian identity, family and hypermasculine hockey culture amid a wonderfully grand and sweeping queer love story. This success is largely due to the show’s unapologetic nature, in both the gratuitous amount of explicit content and its unflinching yet tender portrayal of what it means to be human, queer and in love. Still, none
of the show’s more serious aspects detract from its unabashed and self-aware silliness, such as sexually suggestive logos for the fictional hockey teams, an apt 2000s indie queer Canadian soundtrack and enough softcore porn to rival “Bridgerton.” In fact, “Heated Rivalry” is so revolutionary in its showing of queer sex that it might have changed queer cinema forever.
Moreover, despite the scale of the decade-long story it tackles and the complexity of the themes it strives to highlight, the show’s deliberate pacing successfully weaves a touching and clear narrative. Beyond the ingenious cinematography and skilled writing, the standout performances of both Williams and Storrie infuse the show with an authenticity that makes it one of the most memorable and unmissable experiences of the last decade. Particularly, the multifaceted, poignant and talented portrayal of Ilya by Storrie rivals the acting greats, from his impeccable Russian accent to the raw emotional turmoil in the more tense scenes. Storrie’s monologue in
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“Heated Rivalry” is all the rage right now, and rightfully so, says Anandita Agarwal (SFS ’28), who lauds its emotional depth and expansive world.
Episode 5, “I’ll Believe in Anything,” is one of the richest texts on homeland, foreignness and queer love, deservedly throwing him into award show conversations.
With a side romance featuring veteran hockey player Scott Hunter (François Arnaud) and smoothie barista Christopher “Kip” Grady (Robbie Graham-Kuntz), the show successfully utilizes the story’s many facets to build a world that resembles our own but is imbued with a much-needed sense of hopefulness. With a fictional AllStar Game, Olympic tournaments and even a knockoff World Juniors Championship, the hockey elements of the show are as indepth as expected for Tierney, whose work on hockey-themed shows “Letterkenny” and “Shoresy” made him a longtime star of Crave, the Canadian studio that hosted “Heated Rivalry.” While slightly unrealistic in its depictions of hockey through on-ice sequences that would be both implausible and dangerous in real life, “Heated Rivalry” still captures the essence of being a professional hockey player with a lot of nuance and love. From driving interest in the real-life NHL to resonating with actual queer hockey players to getting attention from stars like Miley Cyrus and Anderson Cooper, “Heated Rivalry” has changed the conversation regarding both hockey culture and queer media. In a world weighed down by many heartaches, the idealism of “Heated Rivalry” is a soothing reprieve that is both expansive and contained, capturing the complexities of a small yet deeply important corner of the world.
Grace Ko
Hoya Staff Writer
Sit down, Sherlock Holmes. Benoit Blanc is back. Following the murder of a controversial priest, detective Benoit Blanc (Daniel Craig) teams up with the parish’s young assistant pastor Jud Duplenticy (Josh O’Connor) to solve this whodunit. The third installment to the beloved mystery series “Knives Out,” “Wake Up Dead Man: A Knives Out Mystery” further establishes the series’ wonderfully sharp and wacky world of director Rian Johnson’s making.
Compared to the previous films of the franchise, “Wake Up Dead Man” is more willing to delve into the emotional weight of its story rather than its mystery. This tendency serves as the film’s greatest strength.
At the center of the story is O’Connor’s Fr. Jud, a hopeful priest who believes in God’s for-
giveness rather than the wrath and anger Monsignor Jefferson Wicks (Josh Brolin) preaches in his leadership over the church. Young Duplenticy struggles with the aggression that Wicks embodies and the backlash he receives as the primary suspect in Wicks’ murder.
Despite this struggle, Duplenticy never loses sight of his role as a priest. In a particularly touching scene, he steps back from the pressing mystery as he listens to the worries and struggles of a chatty yet upset person. Within the constant back and forth of a murder investigation, Duplenticy continuously chooses to be there for others rather than for himself. This sincerity, kindness and moving belief is brought to life beautifully by a charming O’Connor.
Craig’s portrayal of Blanc’s logical force acts as the perfect foil to Jud’s sincerity. Blanc is quick to pursue rational explanation over emotional truth. It is only through his alli-
ance with Duplenticy that he learns to strive for optimism rather than assuming the worst. Their first meeting is a striking exchange that highlights their opposing worldviews and serves as one of the many explorations into religion — on belief as both a vicious and beautiful act. “Do these stories convince us of a lie,” Duplenticy asks Blanc in this first interaction, “or do they resonate with us something deep inside us that’s profoundly true?”
Along with its poignant dialogue, the film is full of intriguing visuals. These visuals add another dimension to the myriad conversations and characters that fill its story. For example, during the flashbacks to Wicks’ and the church’s past, the shots are framed in stained glass. In one, when Wicks’ mother Grace (Annie Hamilton) goes on a rampage on the church’s altar, broken red shards frame Grace’s wild eyes. The whole room is lit in
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Grace Ko (CAS ’27) says the latest addition to the “Knives Out” franchise, “Wake Up Dead Man,” is a uniquely emotional murder mystery.
shades of red, crafting a gorgeously evocative sequence. Darkness is frequently contrasted with light, an apt and intriguing visual display of Duplenticy’s and Blanc’s struggles. However, while “Wake Up Dead Man” succeeds in its spiritual exploration, its mystery takes a backseat. The film’s “impossible crime” is often relegated to short bursts where reveals are jarring and blunt, rather than the product of an appropriate and continuous buildup. As a result, there’s a slight disconnect between the film’s drama and mystery elements, one that doesn’t always disrupt the experience but isn’t entirely seamless.
Though the film boasts a huge character cast, a staple of the franchise, this set of characters feels to be a burden on a story rather than an addition. Unlike the first and second film, many of the characters are overlooked as the film’s plot develops. Potentially interesting figures, such as former cello prodigy Simone (Cailee Spaeny) who is drawn to faith for a miracle, aren’t explored beyond simple introductions. Duplenticy is an incredibly interesting character for the story to dedicate itself to, but this focus causes the other characters to become flat and feel unnecessary to the plot at hand.
Continuing its legacy of fascinating mysteries, “Wake Up Dead Man” is a welcome and well-crafted addition to the “Knives Out” series. While its mystery may not boast the most complex twists and turns, the film’s strength comes from its exploration of faith and religion. Under all the layers it carefully weaves, there’s a surprisingly heartwarming story at its core, making it maybe the first truly moving murder mystery in a long while.
Isabelle Cialone Senior Guide Editor
Another high-caliber political thriller has come out of 2025 in the form of Brazilian director Kleber Mendonça Filho’s “The Secret Agent.” The film, set in 1977 Brazil during the country’s military dictatorship, follows former professor Armando Solimões (Wagner Moura) on the run as he seeks refuge in Recife under the alias Marcelo. Though the film’s vibrant color palette and detailed views of the city fully immerse the audience in the 1970s, its examination of a people’s lives under corrupt and violent authoritarianism could not be more timely. Despite an early whimsical and flashy sequence of a Carnaval celebration, the film quickly turns to the grim seriousness of a country under dictatorship. As the title card indicates, 1977 Brazil is a “time of great mischief,” and that great mischief comes in the form of corrupt policemen, absurd journalistic fabrications serving as cover-ups for political violence and the persecution of innocent people who are made refugees. Yet, despite the bleakness
of these people’s lives, the film never loses touch with that initial cheerfulness and brightness; instead, it exudes a deep love for its people while depicting the injustices they face under corrupt politics.
When Armando is taken in by Dona Sebastiana (Tânia Maria), a Recife local who runs a safe house for political dissidents, he interfaces with four other “refugees” — that is, people in hiding who are attempting to flee Brazil to escape military persecution. As his son Fernando (Enzo Nunes) resides with his grandparents nearby due to his mother Fátima’s (Alice Carvalho) passing, the four other refugees become a sort of family to Armando. It is in these moments of friendship between the refugees and their patron that a certain lightness arises, despite the constant undertone of paranoid tension as two hitmen in São Paulo are hired to kill Armando.
While the hitmen pursue Armando, Recife’s corrupt chief of police Euclides (Robério Diógenes) and his sons deal with their recent discovery of a human leg found inside a tiger shark. Through an unexpected dreamlike sequence in which the hairy leg springs to life and hops through a public park, killing a couple as they kiss, the film explores the power of corrupt journalism.
Reflect on the past year while exploring the Portrait of a Nation: 2025 Honorees exhibition at the National Portrait Gallery. The exhibit compiles portraits of recipients of the Portrait of a Nation awards from a multitude of artists who made significant contributions to the United States this past year. Venture down any day from 11:30 a.m. to 7:00 p.m. Tickets are free.
By depicting the local newspaper’s absurd cover story of what was likely a politically motivated murder as though it were a real event, the line between reality and fabrication is blurred. Although the sequence feels out of place at first, its poignant message cannot be ignored.
Mendonça Filho understands the disastrous consequences of fabricated news — to the refugees who have seen this story countless times, it is comical, but it is also a terrifying revelation of the weaponization of the media as a tool for distraction.
As these storylines unfold alongside one another, they are framed by a present-day narrative, in which university student Flavia (Laura Lufési) uncovers and attempts to piece together Armando’s story through salvaged recordings. Though this framing helps to unite what at first feels like a very fragmented story, the interruptions feel clunky and out of place.
While its insistence on the importance of studying history and the role of memory is meaningful, and it is ultimately nicely tied up by the ending, the film’s rather slow pacing does not help with the awkwardness of the present-day insertion. However, the pacing and the story’s fragmentation mean the audience’s discovery of the plot mirrors
By Eliza Doty and Penelope Snoep
Take advantage of the last tastes of holiday cheer while achieving your 2026 athletic goals by ice skating in the National Building Museum. Make your way to the Skate Spectacular every Thursday to Monday from 12 p.m. to 5 p.m. until Feb. 9. There are also after-hours sessions on Thursdays and Fridays for those in search of an evening activity from 6 p.m. to 8 p.m. Tickets are $20.
Get your fill of the arts and learn about lesser-known, courageous individuals of the civil rights movement at Ford’s Theater in their two-day festival Jan. 16-17. The theatre also showcases talented playwrights, directors and Georgetown University graduate Reginald Douglas (COL ’09), and their works in progress. Admission is free.
Flavia’s, allowing the camera to settle in and fully flesh out the film’s characters.
The performances truly anchor the film’s success. Moura is perfectly reserved and mysterious while remaining likable and sometimes pitiable, and even the film’s slower moments still soar under his excellent lead. It’s no surprise that he was recognized as the 2025 Cannes Film Festival’s best actor and, more recently, made history as the first Brazilian actor to win the Golden Globe for best actor in a drama motion picture. Carlos Francisco’s performance as Fernando’s grandfather Mr. Alexandre hammers in the film’s emotional depth, particularly when he hears how Fátima described him.
Mendonça Filho’s “The Secret Agent” is a pertinent exploration of the specter of violent political corruption and one that remains hopeful despite its dismal subject matter. It steadfastly depicts the destructive power of political violence, but it doesn’t forget its victims’ humanity or country’s beauty. Rather, “The Secret Agent” puts forth a gripping, emotional study of a people threatened by authoritarianism and their struggle against it, both contemporaneously and decades after, when memory and connection become deeply important to continued resistance.
Tap back into your school spirit (perhaps a new exploration for some) at the men’s basketball game this Saturday, Jan. 17. Don your Georgetown gear and head over to Capital One Arena to see the Hoyas crush the University of Connecticut at 12pm. Claim your free student ticket on Ticketmaster, and you may even find yourself on the Jumbotron.
Francis Rienzo Hoya Staff Writer
World-building was one of the biggest strengths of the original “Zootopia,” which is turning 10 this year. The film introduced a city and world that had endless possibilities for storytelling and exploration. In “Zootopia 2,” we get a further look at Zootopia’s politics and its convoluted history. While not as admirable as its predecessor, the sequel still delivers an entertaining and funny experience that allows us to explore this everengaging city and its reflections on real life.
“Zootopia 2” picks up only one week after the events of the first film, with Judy Hopps (Ginnifer Goodwin) and Nick Wilde (Jason Bateman) continuing as cop partners. Chief Bogo (Idris Elba) threatens to separate them if they cannot resolve their differences, both politically and personally. The strenuous relationship between Hopps and Wilde forms the movie’s emotional core. This turns into a greater commentary on the need to set aside your differences to form healthy and authentic partnerships.
Nick and Judy still maintain their status as great detectives as Judy begins to unravel a story of revisionist history in Zootopia. She sees a piece of shed snake skin, which other characters disavow as impossible, as snakes are dangerous creatures that have not been seen in Zootopia for years. This plot point echoes the first movie, where Judy has a hunch that many others see as crazy. She meets Gary De’Snake (Ke Huy Quan in an excellent performance), an
undercover pit viper, at the Zootennial Gala, along with Pawbert Lynxley (Andy Samberg), a member of the esteemed Lynxley family that founded Zootopia. At the Gala, Gary attempts to steal a journal that might prove the innocence of snakes and reveal the true story of Zootopia’s founding, a mission Nick and Judy are accidentally thrust into aiding him with.
Similar to the first film, the political messages here are in full, explicit force, with the plot working through complex political issues like revisionism, the exclusion of minority groups and corrupt governments. Luckily, the film doesn’t feel like a dark and depressing social commentary because you learn to love the cast of characters. The humor in this movie is particularly well-written, with some genuine laugh-out-loud moments from Gary and between Judy and Nick. We also get a return of some of the most beloved characters of the metropolis, including Flash the Sloth (Raymond S. Persi) and the Godfather, Mr. Big (Maurice LaMarche). The film also makes a cheeky reference to the movie “The Shining,” which may have gone over the intended adolescent audience’s heads, but made me appreciate the movie even more.
There are also new characters introduced, some of whom work better than others. Gary De’Snaken has some hilarious lines as the snake that makes audiences root for him, despite many of the other characters’ apprehension toward him. Quinta Brunson appears as a quokka psychotherapist, delivering memorable but brief scenes. Some of the other characters, such as Pawbert and conspiracy
theorist Nibbles Maplestick (Fortune Feimster), also feel sadly underdeveloped. Pawbert is trying to please his family and prove his worth but is ultimately revealed as the villain trying to stop Judy from revealing Zootopia’s true history. This villain reveal does not work nearly as well as the plot twist in the first movie and felt significantly more half-baked. Moreover, the new characters and humorous subplots may be more palatable for the movie’s target audience than for a college student, though this was a flaw I was willing to move on from. Nonetheless, “Zootopia 2” still greatly resonated with me.
Apart from the allegorical plot and compelling characters, the animation is
gorgeous, with the movie getting to show off its complex world-building to great effect through new places like Tundratown and the reptile hideout. It feels like a classic, successful Disney sequel in the best of ways, echoing the first movie and expanding on the world. This will definitely not be the last we see of Judy and Nick, as the final scenes suggest the return of the corrupt Mayor Bellwether (Jenny Slate) and a new foray into the world of flying creatures. If this film has proven anything, it’s that the fox and bunny duo are worthy of returning to our screens time and time again in movies filled with intriguing social commentary and lovable characters.
Brad Derfner Guide Columnist
Following the Golden Globe Awards on Jan. 11, the 2025-26 awards season has reached yet another meaningful turning point.
Although the ceremony is infamous for rarely offering definitive Academy Awards answers, we can start to see which films may transcend initial award season predictions. Although this year’s Globes did give the presumed Oscar Best Picture winner Paul Thomas Anderson’s “One Battle After Another” four awards — Best Motion Picture - Musical or Comedy, Best Director, Best Supporting Actress and Best Screenplay — they also managed to award several underdogs and, in doing so, crucially reshape three races.
The most obvious shift came in Best Motion Picture - Drama, as “Hamnet” managed to emerge from a crowded field including “Sentimental Value,” “The Secret Agent,” “Frankenstein” and “It Was Just An Accident” to overtake the presumed winner, “Sinners.” While this result is not a seismic upset, it still registers as a notable disruption to widespread expectations going into the night. In the weeks leading up to the ceremony, “Sinners” emerged as a favorite in many forecasts, jumping from a 32% chance to win Jan. 5 to a 71% chance
Jan. 11 in Award Expert’s community consensus, a crowdsourced awards prediction platform. Much of this increase can be attributed to the continued momentum for “Sinners” among critics and the lack of consolidation behind a single competitor, but clearly, there was still enough room for “Hamnet” to capitalize on and gain a high-profile win.
“Hamnet” has quietly remained in the upper tier of the Best Picture race for most of the season. In recent weeks, it started to miss out on small nominations in technical guilds, such as the American Society of Cinematographers Awards, leading to its status slightly dipping. However, this Golden Globe win acts as a course correction, reaffirming its place among the top three contenders. Importantly, although this was a substantial loss for “Sinners,” the film still secured wins for Original Score and Cinematic and Box Office Achievement, proving that it continues to have sizable support among voters. Altogether, these wins add some necessary chaos to a category that has been largely stagnant for months.
If the Best Drama outcome worked to clarify which contenders outline the top tier, then Best Supporting Actor did the exact opposite, with the winner only underscoring how complicated the category has been this year. Stellan Skarsgård’s win for his role as Gustav Borg in “Sentimental Value” comes amid the most crowded acting race of the
year. Only a few weeks ago, critics largely coalesced around Skarsgård and Benicio Del Toro for his performance in “One Battle After Another,” with Del Toro holding 18 wins among regional critics and Skarsgård close behind with 11 as of Jan. 14.
However, in a lesson learned almost every year, momentum does not always translate from local critics to major ceremonies. Skarsgård’s performance was viewed as more likely to resonate with Globes voters, a theory that was seemingly confirmed last night. However, the race had already been reshuffled by Jacob Elordi’s shock win for his role in “Frankenstein” at the Critics’ Choice Awards on Jan. 4.
Skarsgård’s victory is likely to place him back in the lead for the Oscar, but his absence from the Screen Actors Guild (SAG) nominations prevents this lead from being uncontested, especially when considering that only two individuals in the last 20 years have won an Oscar while not being nominated at SAG. Elordi, on the other hand, seems firmly rooted in second place and has a plausible path to retaking the lead if he can come out victorious at SAG. Additionally, Del Toro and Sean Penn, who has quietly accumulated seven critics’ group wins for his role in “One Battle After Another,” still remain in play. Rather than helping narrow the field, the Globes have only ensured that the Oscar for Supporting Actor
will remain unpredictable deep into the season. Perhaps the night’s most important win came in Best International Feature, where “The Secret Agent” provided a true upset. For much of the year, standouts “Sentimental Value” and “It Was Just An Accident,” which won the top two prizes respectively at the Cannes Film Festival, seemed poised to dominate the international conversation, but recently, the race has undergone a dramatic reversal as “The Secret Agent” has now earned wins at both the Critics’ Choice and the Golden Globes, including a Best Drama Actor victory for Wagner Moura. The parallels to last year’s “I’m Still Here” are uncanny, with both films being Brazilian productions that won Globe Drama acting prizes for their leads. Ultimately, “I’m Still Here” secured the Oscar for Best International Feature and even a surprise Best Picture nomination. “The Secret Agent” looks to be even stronger and is now rumored to be eyeing a Best Director nomination for auteur Kleber Mendonça Filho from the Academy. As a whole, the Golden Globes did not simplify many races. “Hamnet” reclaimed footing among the top contenders; Skarsgård held his own in an increasingly contested acting race, and “The Secret Agent” proved that it has hopes beyond International Feature. The night promised an awards season not so different from previous ones:
Eliana Kut Hoya Staff Writer
“No Other Choice,” a stunning, scathing and satirical black comedy directed by Park Chan-wook, did not disappoint. The South Korean film anchored itself among the year’s most exciting and unique releases through its use of superimposed shots, exploration of the themes of pressure and choice and its genre mix of comedy and horror.
The film follows Yoo Man-su (Lee Byunghun) as he seeks employment through drastic measures. As a successful employee at a paper company, Man-su has done very well for himself and lives in his large childhood home with his wife, daughter and stepson. However, after the paper company he works for is bought out, Man-su loses his job and vows to find employment within three months. He decides to make fake advertisements for a paper company he “owns” as a way to scout out his competition by drawing in applicants for the fake company’s positions. Man-su chooses to kill the two most qualified applicants, whom he believes are the men that rival paper company Paper Moon would be most likely to hire. As Man-su carries out his plan, complications and difficulties abound, but he persists with nearly comical resolve — after all, he has no other choice.
In terms of the film’s technical elements, its cinematography, superimpositions and unique camera angles stood out most to me. Chan-wook primarily uses superimposed images during scene changes and in quiet
moments. These superimpositions often manifest as the layering of buildings or names over a person’s face, likely symbolizing the perception of modern individuals as replaceable in the age of mechanization, a notion Chan-wook returns to in the final scene.
The story centers on identity and the meaning of individuality through Mansu’s mission to maintain his job and, by extension, his relevance. By blurring the lines between various moments of reality and collapsing them into a single moment through superimposition, Chan-wook visually represents the questions and fears surrounding what it means to be human and an individual. The filming itself also takes place from various unique angles. For example, shots from a low angle, looking up at Man-su as he attempts to kill his rivals, offer another literal representation of his momentary power. By contrast, the rest of the film’s shots show him from above eye level. Though he may have moments of power, the neutral but slightly overpowering angle is intentional in that it illustrates how Man-su’s domination is merely a conditional status.
While the cinematography of “No Other Choice” is visually exhilarating, I found the film’s themes and plot even more compelling given their incredible relevance today. For one, the film’s title serves as a question that echoes throughout the film and is overtly underscored by several characters who reference it. Chan-wook does not place the blame on Man-su for his crimes; in fact, he acknowledges that Man-su truly seems to have “no other choice.” Though Man-su
might realistically not have had to kill the men, the pressures of capitalism seem to coerce him, making his murders inevitable. Somehow, Man-su maintains composure despite his descent into violence. However, his moral status remains ambivalent even at the end of the movie, as both he and his family come out victorious, hinting at a conclusion that praises dire actions if our situations are inescapable. Yet the ending also suggests irony: Man-su finds himself
the only human in a factory full of machines. Now that he has successfully gotten rid of his human rivals, he must deal with the ominous growth of mechanical ones.
“No Other Choice” has much to offer in its visuals, performances and nuanced messages. Chan-wook has once again created a riveting film that will appeal to most audiences. I highly recommend the movie to anyone interested in exploring morality, identity and what these ideals mean to us today.
Mauro Mazzariello Hoya Staff Writer
Nothing says the start of a new year like the reminder that you might not have had a New Year’s kiss, and Valentine’s Day is just around the gloomy corner. Woah, I may need a journal instead of this staff position.
… Well, I have four distinct journals now (thank you, Santa), and, as pessimistic as I tend to be, I couldn’t resist the appeal of Will Arnett and Laura Dern in a quietly powerful performance that makes the audience reconsider how it views marriage and married couples. Bradley Cooper’s (COL ’97) “Is This Thing On?” is the claustrophobic vision of one man trying to figure out where his marriage went wrong and how to move through the minefield of divorce.
Will Arnett plays Alex Novak, who can best be described as a finance bro, as he does not do a lick of work for the two-hour runtime
and only states he “works in finance” at the seemingly unavoidable end of his marriage to his wife, Tess (Laura Dern). There are no “Marriage Story” levels of drama or broken china, just two adults who no longer feel close to each either, their distance a quiet yet ever-expanding abyss that has grown too great for them to overcome. While Alex shares amicable custody of their two children, Felix and Jude, he also has an unprecedented amount of time on his hands. So, one night after dropping Tess off at a train station and sharing an edible with her, Alex ventures into a stoned person’s worst nightmare: a comedy club. Despite the anxiety I felt watching him step up on stage, Alex turns out to have a natural and honest charm that begins to win over his audience. He isn’t as much telling jokes as relating the harder parts of his life to a sympathetic audience, and it’s hard not to smile at his humor. Comedy becomes a form of therapy for Alex, a way for him to process the 26 years of his relationship that disappeared in the
blink of an eye. The movie, if a little heavyhanded at times, lets viewers know that Alex is a loving father and husband who just went wrong somewhere back down the line. The narrative, while primarily focused on Alex, also takes time to examine Tess and her tribulations amid the divorce. A former Olympic volleyball player, she also struggles to find a new identity.
The film’s emotional weight is carried almost solely on the backs of Arnett and Dern, aided by in-your-face camera angles that force the viewer to confront every emotion on screen. Each word traded between the two actors carries the weight of things left unsaid infused with hurtladen love. Whether together on screen or separately fighting their own battles of identity, Alex and Tess feel deeply relatable and like people you want to root for, making me wish I had money on the line.
While the crux of this movie is Arnett and Dern, Cooper and Andra Day make appearances as slightly one-dimensional yet hilarious best friends to the married couple.
Cooper plays Balls, a floundering actor who is constantly higher than even Willie Nelson would be on a weekday. Balls is not a good guy, and there is no deep emotional character arc that hooks the viewer, but Cooper’s humorously annoying portrayal makes any scene with him in it a pleasure. Day plays Christine, Balls’ wife and Alex’s No. 1 hater. Christine falls into the same lackluster development trap as Balls, losing the limelight to Alex and Tess, but Day’s performance is still commendable.
Throughout the movie, I couldn’t help but be reminded of the television series “The Marvelous Mrs. Maisel,” in which a woman tries stand-up comedy after being left by her husband. “Is This Thing On?” aims for something very similar in this regard, but the emotional depth is what makes it such a refreshing (but emotionally taxing) watch. It is a raw and dynamic performance that might not go down in the annals of cinema history but is definitely worth two hours of your time — or maybe not. I’ve never been married or divorced, so who am I to say?
Close opposite
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9. “It’s over!”
By Jackson Roberts
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9. Coach Eric Taylor’s wife on “Friday Night Lights”
13. Comedian Nancherla
14. Flute instruments of “The Legend of Zelda” fame
16. Section in The Hoya responsible for illustrations, page layouts and more
17. South Dakota mount
18. Understand and interrupt are poetic examples
20. The Hoya section on A5
21. Alaskan island chain
23. Earth’s solid surface
24. Put out, as fire
28. The Hoya’s long-form investigative unit
30. Location of many a study abroad program last semester, locally
31. Rivian’s R1S and Tesla’s Model S
32. Found before man or can
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37. The Hoya’s arts and entertainment section
42. Guarantee
43. Entity needing oxygen
44. Steed of Don Quixote
46. The Hoya section producing the Editorial
49. Put in another demand for
53. Weasel-like animals
55. The Hoya section for news about Cooley or Halaifonua
56. Dubai and Sharjah, for two
57. Healthful drinks
58. Experts busy in Apr.
59. Madrileña Mrs.
60. Curry of the NBA’s Warriors
10. Unknown writer, for short
11. American fashion designer Jacobs
12. “Ahhhhh . . .”
13. Lovelace of computer fame
15. Horned animals of the savanna, for short
19. Song or melody
22. 6 pt. plays in football
23. Liquids after evaporation
25. French composer of “The Gymnopédies”
26. Four letter Oklahoma city
27. Resident of Copenhagen
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35. Beethoven’s Symphony no. 3
36. Paints over
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39. Hemingways
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46. Crude-shipping grp.
47. Circumstance pair
48. Figure skater Malinin
50. Kitchen sink annoyance
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54. Admin. of U.S. retirement benefits