TELEVISION Grace Ko (CAS ’27) commends humor-horror combination in ‘Widow’s Bay. ’ B2
FILM ‘It Ends’ steers the horror genre toward real-life anxieties, says Brad Derfner (CAS ’27). B4
MUSIC Juan Almanza (CAS ’29) praises powerful punch packed in collaborative album ‘ii.’ B6
SEPTEMBER 4, 2026
‘Camp Miasma’ Is Horror Like Never Before Jane Schoenbrun’s queer comedy-horror reinvents the genre it pokes fun at in a bloody bash. B3 Caroline Woodward
Senior Audience Engagement Editor
ILLUSTRATION BY ANISH RAJA/THE HOYA
APPLE INC./IMDB
Grace Ko (CAS ’27) finds a skillful combination of comedy and horror in the somewhat simplistic tropes of “Widow’s Bay.”
TELEVISION
‘Widow’s Bay’ Introduces Wonderful Wackiness to Horror
Grace Ko
Deputy Guide Editor
Who knew a nightmare could just be a town in Cape Cod? Apple TV’s latest offering, “Widow’s Bay,” is an absolute blast of comedy and horror. Its first season introduces us to the apparently normal island town of Widow’s Bay — or, as the hopeful mayor Tom Loftis (Matthew Rhys) likes to call it, “the next Martha’s Vineyard.” However, it’s soon clear that there is something deeply wrong with the island, and it’s up to Loftis and his crew at the town hall to figure out what exactly the evil lurking on the island is. Created by Katie Dippold, who helped write the comedy classic “Parks and Recreation,” “Widow’s Bay” is an undeniable gem. It’s as if the stories of Stephen King came alive in the universe of “Parks and Recreation,” creating a unique tone that’s hard to find in comedy television these days. “Widow’s Bay” is particularly great at flipping classic horror tropes. One of the many standout episodes from its first season is a 36-minute slasher flick where Patricia Moyer (Kate O’Flynn), assistant to the mayor, runs
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from the ancient killer, the Boogeyman (physically portrayed by Airon Armstrong). The episode features Moyer running down dark and damp streets, crashing into homes as the Boogeyman silently stalks behind her. There’s a madness to the horror when Moyer ridiculously dons a pink T-shirt and knee-length fur boots. The episode’s end — a montage of Moyer brandishing a gun to an incapacitated Boogeyman all the way to the furnace where he is cremated — epitomizes the show’s exceptional horror-comedy fusion. The cast of colorful characters that fills out Widow’s Bay’s population makes each episode unique. Loftis, played by the very talented and underrated Rhys, is an overly eager mayor who seems to be the voice of reason, at least until he himself gets tangled up in the madness of the town in an amazing arc throughout the season, which features a massive mushroom trip and an undead mayor from the 18th century who curses him out. Next to him is Moyer, an awkward-but-confident office worker who shines throughout the season. O’Flynn is absolutely hilarious, and the Moyer-centered episodes are standouts because of her amazing performance.
Loftis’ team in the office are also all shades of quirky, like Dale (Jeff Hiller), whose biggest moment as a DJ with no Spotify Premium is a whimsical mess, and Rosemary (Dale Dickey), whose 10-minute monologue regarding the town’s history in the show’s penultimate episode perfectly encapsulates the show’s dry humor. It’s this group of very strong characters — all played by actors who seem to love the material of the show — that elevate the show’s already very strong script. Beyond its well-balanced cocktail of comedy, horror and mystery, “Widow’s Bay” has a lot of heart. A central conflict is that of the island’s curse. Believed to be an old wives’ tale to some and an absolute truth to others, the curse prevents anyone born on the island from ever leaving the island, or else they will die. Despite the warnings, Loftis tries to deny the supernatural aspect of the island because his son was born on the island. There’s an intense love there that serves as a compelling emotional backbone of the story. It’s a sweet and heartbreaking narrative that only adds to the intrigue of the show. Still, “Widow’s Bay” is arguably quite simple. It’s a story about a town full of wacky
characters that results in many chaotic and comedic situations — there have been many shows with this premise before. Additionally, the mystery of the island is much more straightforward than the many Reddit threads may have you believe. What ultimately makes “Widow’s Bay” stand out despite this is its commitment to the simple basics. While characters may stem from simple comedy tropes, the show continues to build these characters, fully investing in and fleshing out their faults and complexities. It lays clear clues for its mystery, so that each reveal is a realistic full-circle moment for that particular narrative thread. In a world of television where shock is often favored over cohesive narratives, “Widow’s Bay” sticks to building a strong foundation first before introducing the crazy antics that eventually become key to forming a show’s unique identity. While it may not be the most innovative or crazy story of the modern era, what makes “Widow’s Bay” one of the more interesting offerings from television is its full investment in making its viewers laugh and fall in love with the story and characters of its world.
THEHOYA.COM | FRIDAY, SEPTEMBER 4, 2026
RYAN PLUMMER/IMDB
For Caroline Woodward (CAS ’27), the dreamlike strangeness of “Teenage Sex and Death at Camp Miasma” is deliciously, charmingly novel.
FILM
‘Teenage Sex and Death at Camp Miasma’ Pushes Boundaries on Horror, Parody Genres
Caroline Woodward
Senior Audience Engagement Editor
When trying to succinctly review a movie like “Teenage Sex and Death at Camp Miasma,” there is no good place to start. On one level, the title, a mouthful in and of itself, is fairly apt. There is sex. There is most definitely death. It all happens at a camp. Yet, the movie is so much more than your average campground slasher. In fact, it is far and away from any movie I have ever seen, breaking the bounds of genre, story and moviemaking itself. This movie is an homage, a parody and a commentary on years of horror history. The entirely meta tale breaks down the genre from which it builds something newer, fresher and altogether more queer — in both senses of the word — in its place. At the same time, it is something entirely and refreshingly unique, sensual and strange. The film follows up-and-coming director Kris (Hannah Einbinder), a queer woman who is tasked with rebooting the in-universe infamous “Camp Miasma” series. Kris is an intel-
lectual. She is intimately aware of both the technical and academic sides of filmmaking, commenting slyly on a split-diopter shoot and the problematic aspects of the previous “Camp Miasma” movies, like explicit transphobia. She is also, clearly, a superfan of the series — a common experience for many real-life fans of older films that come from a generation which operates under entirely different rules. In an attempt to resuscitate the dead series, Kris seeks out the elusive actress who portrayed the “final girl” in the first “Camp Miasma” movie, Billy Presley (Gillian Anderson). Billy lives on the abandoned and isolated set of the original “Camp Miasma” movie, a dreamy setting made to feel practically unreal through the film’s use of painted watercolored backgrounds. The two women connect over their shared search for intimacy and pleasure, which Kris in particular struggles with. Their connection, interactions and search to understand Camp Miasma — the place, the series and the murderous villain of Little Death (Jack Haven), whose existence may be more real than the movies make it seem — lead to
FRIDAY, SEPTEMBER 4, 2026 | THEHOYA.COM
a wildly gory and cathartic third act that left me utterly breathless. Hannah Einbinder, of “Hacks” fame, brings Kris to life, creating a charmingly awkward portrayal of the young, eager yet timid director. Her vulnerability and subtle hilarity truly sell the film’s message of self-acceptance and embracing the parts of oneself that society may deem gross. Gillian Anderson almost perfectly captures the other, older, wiser half of this leading duo with a natural Southern twang and an inviting presence. Anderson’s Billy left some to be desired in terms of exposition and backstory, but what appeared on screen was more than enough to understand the role she was meant to play. The script, while not extraordinary, is by no means bad or distracting — it is simply a fairly unimportant element in this overall wild ride. The film’s ultimate magic is Jane Schoenbrun’s direction and clearly translated vision. Schoenbrun has a remarkable ability to fully transport viewers to both the world of her films and to a very specific emotional state, somewhere between dreaming and reality.
Her direction is transfixing and hypnotizing, leaving a long-lasting impact on viewers. I still vividly remember the mix of stomach-churning anxiety, discomfort and sadness I felt while walking out of her previous film, “I Saw the TV Glow,” which touches on similar themes, such as the cultural power of media and the harsh reality of self-acceptance as a gender non-conforming person. In contrast to her other work, which bordered on the nightmare end of the dreamlike spectrum, “Teenage Sex and Death at Camp Miasma” is bright, intimate and ultimately hopeful. This film is funny. It’s biting in its commentary, aware of the ridiculous aspects of modern film culture and highly critical of them. But it is also utterly reverent in its appreciation of the slasher genre, horror movies of the past and, most crucially, the impact they have on young creatives. To me, this film is a blip. A wonderful, bloody, creative, sensual, candy-colored blip. I am not sure if something like this will be made again, at least not in the near future and certainly not with as much grace in its third act. With its temporary and ephemeral tone, “Teenage Sex and Death at Camp Miasma” feels more like a dream than a movie at several points. The story is strange, making it a bit hard to follow at times. I can see it being highly frustrating for those not willing to buy into its premise and downright unenjoyable for certain audiences. “Teenage Sex and Death at Camp Miasma” is not for everyone — but for those it strikes a chord with, whether you are a classic horror fan, a queer person searching for themselves on screen or someone excited by cinema in general, you are in for a deliciously gory treat.
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NEON/IMDB
Despite a minuscule budget, “It Ends” awes with its literalization of the horrors of post-grad life, says Brad Derfner (CAS ’27).
FILM
‘It Ends’: Alex Ullom Turns Post-Graduate Uncertainty Into a Ride of Existential Horror Brad Derfner Guide Columnist
I first watched “It Ends” during its initial limited release on the Letterboxd Video Store in December 2025, where the groundswell of online support led indie distributor Neon to take a risk and pick up the film. Since then, I have seen the film twice more, which has only made the dialogue and dynamics between the four characters stand out more, even as the film’s limitations became more noticeable. Made on a shoestring “micro-budget” of $150,000, “It Ends” is my favorite directorial debut of the year so far, largely because director Alexander Ullom understands that the people within the car are vastly more interesting than any cliche horror film entity lurking in the woods. For the entirety of the film’s compact 89-minute runtime, the film follows four friends — James (Phinehas Yoon), Day (Akira Jackson),
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Fisher (Noah Toth) and Tyler (Mitchell Cole) — who embark on a late-night drive for food before turning onto a forest drive that becomes an endless road. Beneath a supernatural-thriller surface, Ullom crafts an innately “Gen Z” story about four college graduates struggling with the uncertainty of post-graduate life. After turning onto this never-ending road, the friends quickly discover the entrance has closed behind them and that stopping the car for too long attracts hordes of crazed strangers from the woods. Other contrived rules reveal themselves as the story progresses, including that the gas tank never empties, the characters never feel hungry or tired, and injuries magically heal. Throughout the first act, “It Ends” operates as a conventional horror film. Once James chooses to leave the car, however, the film shifts to a notably lighter tone, letting the horror fade into the background in favor of a hangout comedy
focused on conversation and camaraderie. From this perspective, the film often feels like a hidden Richard Linklater movie rather than a traditional horror movie. Much like Linklater’s classics, such as “Dazed and Confused” and “Everybody Wants Some!!,” the film’s greatest successes are when it perfectly captures conversations between young people who are stuck at a crossroads in their lives. Jokes like Day complaining she was about to download the classic mobile game “Subway Surfers” right before they turned onto the road, while she and Fisher create memes about the road itself, work so naturally. However, these scenes work only because the performances are just as natural as the script itself. In an August 20 Q&A I attended at AMC The Grove 14 in Los Angeles, Ullom explained he posted open casting calls on social media to find actors who could work off the dialogue and expand on what was on the page. Yoon, Jackson
and Toth, in particular, speak with the ease of people who have known each other for years, making the viewer feel like another friend in the car. Cole’s performance as Tyler is noticeably awkward, but that could be a deliberate choice, since he was away from the group for the last year. However, one choice regarding Tyler that cannot be explained away so easily is how early he is written out of the film. After driving thousands of miles, Tyler chooses to exit the car and stay behind in the forest, leaving the other three characters to continue on. This decision makes sense within the story and sets the psychological stakes, but Ullom doesn’t give the audience much time to care for Tyler before cutting him out. Truthfully, the dynamic of the gang only becomes more interesting after his departure. Tyler’s exit still establishes the film’s central idea — that their lives after graduation have no obvious next destination. James’ insistence that he has to work a “boring” job with high pay and Day’s plans to move back in with her family while she gets on the “ZipRecruiter grind” contribute to this theme. Ullom’s road is less a horror tactic and more a literalization of this post-grad uncertainty. The characters can drive forward forever on the road without knowing its destination — or even if there is a destination at all. Even with this strong theme, “It Ends” lacks technical consistency with its minuscule budget. The entire movie takes place in or just outside of the same car and, by the third watch, the repetition definitely begins to take a toll. Some driving scenes around the middle also reveal limitations, especially when the trees outside the windows seem to stutter unnaturally. These issues, however, do little to take away from what Ullom does best here. No matter where the box office gross ends up, “It Ends” has clearly established Ullom as a young filmmaker to watch. Neon is backing his next feature, “4 X 4: The Event,” which should be considerably larger and includes Sophia Lillis, Dylan Minnette, Jacob Tremblay, Jaden Smith and returning “It Ends” star Cole. It’s easy to see why the studio would want a bet on Ullom’s future.
THEHOYA.COM | FRIDAY, SEPTEMBER 4, 2026
FILM
Rom-Coms May Have Found Their Revival in ‘Finding Emily’ Eliana Kut
Deputy Guide Editor
Rom-coms might finally be back. If they’re not, I hope “Finding Emily” will be the movie that initiates that renaissance. With its limited advertising, I thought “Finding Emily” would either have a small theatrical or digital release. However, I was pleasantly surprised to watch “Finding Emily” in a full theater with a supportive audience, and I hope prospective viewers won’t miss the chance to experience that as well. The plot centers on Owen Brompton (Spike Fearn), a sound engineer and musician, and Emily Raine (Angourie Rice), a psychology student at the University of Manchester. The two meet after Owen falls for a girl but doesn’t get her correct phone number. Emily agrees to help him find her, but only to further her own thesis research on the effects of love. Before long, their search for the elusive and similarly named “Emily” (Sadie Soverall) takes an unexpected path, and both Brompton and Raine have to confront their initiative as well as their feelings. While I didn’t have extremely high expectations going into the movie, mostly
because of my disappointment in other recently released rom-coms, I left with my confidence restored that a modern rom-com can be fun, honest and spirited. Familiar tropes finally felt fresh, and the plot didn’t feel redundant. My main gripe with modern rom-coms (and some older ones as well) is an overly intense focus on the romantic parts of a film, without fully utilizing the comedic side essential to an effective rom-com. “Finding Emily” lets its characters slowly fall in love in a way that feels natural, without introducing random and avoidable romantic conflict to move the plot along. The comedic aspects that are then presented become even stronger and fully shine. I found myself laughing and smiling ear-to-ear throughout the film because of its witty dialogue and hilarious situations. A well-written film, however, can still feel lifeless without its actors. Fearn and Rice’s chemistry felt real and unforced, while supporting characters felt naturally placed and were brimming with personality. Unlike many rom-coms, the supporting cast play meaningful roles and aren’t there just to make the film look like it contained more than the two main characters. I can’t go without mentioning a few of my favorite aspects of the film that made me truly
ON YOUR RADAR
fall in love with it. The soundtrack was fun, combining well-known songs, indie pieces and original songs to make for effective needle drops throughout. The resulting effect was nostalgic and comforting in a genre that often tries to be modern through the misplaced inclusion of recent hits. Scenes featuring live bands felt like they came straight from a 2000s rom-com and a charming post-credit scene did much to solidify the film as a new classic of the genre. However, the film wasn’t totally cringefree, and there were moments that reminded me that this delightful British rom-com still has its flaws. But a sweet, feel-good movie is rarely perfect in a cinematic sense. This leads
FOCUS FEATURES/IMDB
“Finding Emily” does the nostalgic genre justice, says Eliana Kut (CAS ’29).
By Eliza Doty
THIS WEEK’S THEME: Out and About On Labor Day in DC
FRESHFARM MARKET
NATIONALS GAME
Before the cool fall months roll in, head into town to take advantage of summer produce offerings. FRESHFARM’s CityCenterDC Market runs from 11 a.m. to 2 p.m. every Tuesday through Oct. 27. Local farmers and vendors fill in at The Park to sell their seasonal produce, on-the-go bites and beverages, giving you plenty of reason to venture downtown.
Before the semester gets too busy, make your way to Navy Yard to root for the Nationals. The team takes on the Los Angeles Dodgers on Sept. 4-6. Grab a few friends and enjoy a hot dog and America’s favorite pastime — a game of baseball. Tickets start at $20.
@FRESHFARMDC/INSTAGRAM
@NATIONALS/INSTAGRAM
DC JAZZ FEST
AMERICA’S PRESIDENTS
Music lovers can head down to The Wharf for the annual Washington, D.C. Jazz Festival running from Sept. 5-6. The event will host both newer artists and established acts, such as Grammy Award-winning singer Dee Dee Bridgewater. Whether you’re eager to hear the trumpets or the soloists, you can visit the festival’s website for tickets, which start at $29.
Though you may have already visited the iconic National Portrait Gallery, its permanent “America’s Presidents” exhibit was recently refreshed for the nation’s 250th anniversary. It now features new portraits of presidents, primary documents from the nation’s history and many new mediums of audio and visual media. Admission is free. @DCJAZZFEST/INSTAGRAM
FRIDAY, SEPTEMBER 4, 2026 | THEHOYA.COM
to what I believe can be a rom-com’s make-orbreak factor: rewatchability. To test “Finding Emily” on this, I rewatched it the next day. I did so on a whim, but my findings were as I had hoped and somewhat expected. I still enjoyed the film and, while my second viewing felt slightly less exciting, it didn’t dilute my original thoughts and feelings about it. If you are looking for a cute, buzzy movie that will provide you with a good laugh and hope for a sweetly awkward romance, look no further than “Finding Emily.” It’s a film full of life and fun that doesn’t take itself too seriously. As for me, I’m looking forward to another rewatch, though it probably won’t take place quite so soon this time.
@NATIONALPORTRAITGALLERY/INSTAGRAM
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MUSIC
Denzel Curry’s, Kenneth Blume’s ‘ii’ Is a Punchy, Shiny Gem
Juan Almanza Deputy Guide Editor
Time and time again, Denzel Curry has proven himself to be one of the most consistent and creative artists, and “ii,” his most recent collaboration with producer extraordinaire Kenneth Blume (formerly known as Kenny Beats), might be his strongest effort to date. When the project was announced, I initially assumed that it would be a continuation of his previous collaboration with Blume, “UNLOCKED,” which saw Curry spitting aggressive bars reminiscent of 2019’s “ZUU” over some bass-heavy, boom bap beats. However, what emerged from the masterful “ii” is a surprising yet innovative left turn. It’s a turn I should have seen coming, especially after Kenneth Blume announced he’d be leaving behind his old “Kenny Beats” moniker to continue under his full name. Along with this turn came increased collaborations between him and several other big names in the music scene, including legendary rock band Weezer and the electronic duo Fcukers on their newest album “Ö.” At the same time, Curry has continued his forays beyond the hip-hop scene, accompanying metal band Knocked Loose on their “Hive Mind” tour, aptly named after the song the two artists created together. Fittingly, “ii” is rich with production that channels the sample-heavy, bombastic melodies of MF DOOM. Even with those influences, “ii” strikes its own identity with Curry’s slick flows that traverse the eccentricity of the project’s sound. The seventh track on the album, “COLD NIGHT IN HELL,” is hands-down my favorite cut from this project. It’s so good I couldn’t help but start this review with it, as its lo-fi and laid-
back beat allows for the ferocity of Curry’s pen to shine through. Though there are cuts in this album that are definitely more aggressive, none are “colder” than “COLD NIGHT IN HELL,” as Curry addresses an anonymous opponent, noting that said opponent is “just hidin’ from the fact that you a fuckboy.” It’s hard to describe without listening to the track itself, but Curry strolls line through line with nefarious intent; it’s a sinister listen, to say the least. Coming in full force as well is JPEGMAFIA, who features on the second track, “EVIL GRIN.” After his earlier album this year, “EXPERIMENTAL RAP,” fell a little short by JPEGMAFIA standards, he seemed determined on this track to make up for it. This isn’t JPEGMAFIA’s first time working with Curry either — their 2024 song “JPEGULTRA!” was one of my favorite songs of that year — and they once again prove themselves to be experts at trading verses. This is a similarly villainous song as JPEGMAFIA raps that “Me and Zel-Tron get it poppin,” over a beat that sounds like an old supervillain theme reminiscent of MF DOOM’s earlier works. Everyone, including myself, is once again asking when the collaboration tape is dropping. “DIFFERENCE” featuring Yebba is a technical feat, tightly weaving a bouncy and dense guitar sample alongside Curry’s frantic rap. It feels like it shouldn’t be anything other than overwhelming, but Curry finds pocket after pocket to make it feel seamless. Yebba’s guest vocals help complement the lo-fi and booming beat with some similarly fuzzy and addictive vocal chops. Her voice is silky and contrasts Curry’s faster stylings well.
For all the punches this album packs, it’s surprisingly short, coming in at only 24 minutes long. However, this is much preferable to the lackluster hip hop projects that have been released as of late that overstay their welcome during their runtime (I’m looking at you, Ken Carson). 24 minutes of non-stop quality makes for an accessible and concise statement from Denzel Curry and Kenneth Blume, once again establishing their status as a masterclass duo.
Almost thankfully, “ii” doesn’t feel like a continuation of “UNLOCKED,” but rather an evolution of both of the artists’ respective sounds. Extra flowers must be given to Kenneth Blume, whose current work spans across genres yet maintains its quality and puts him in the greatest of all time (GOAT) conversation, if you ask me. Anyone who has a spare half hour of time should pay extra attention to “ii,” if not for its technical feats and achievements, then for its bouncy, fun and at times sinister tracks that never fall short of making one’s head bob.
@DENZELCURRYPH/INSTAGRAM
The collaborative “ii” is a fun, technical masterpiece, says Juan Almanza (CAS ’29).
FILM
‘Tony’ Springs Alive in a Singular, Beautiful Snapshot Grace Ko
Deputy Guide Editor
Biopics are hard to love. In a world of movies like “Bohemian Rhapsody” and “Michael,” the genre has developed a reputation for inconsistency and nostalgia-bait. They are often overly ambitious and unwieldy, attempting to explore 50 or more years of life in a single film and often with nothing new to say about their subject of study. Amid this precedent, “Tony” is a very welcome and wonderful surprise. Focused on arguably one of the most famous culinary figures in the United States, “Tony” explores the life of a young Anthony Bourdain (Dominic Sessa) in his first summer in Provincetown, Mass. It’s this incredibly honed-in focus on Bourdain’s early life and career that makes “Tony” a unique biopic and, above all, a great movie. Directed by Matt Johnson, one of the creatives behind indie-favorite “Nirvanna the Band the Show the Movie,” “Tony” reflects much of the standard Johnson-
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isms that ultimately make his work notable and recognizable. The dialogue is sharp, teetering between charming and endearingly pretentious, particularly through the film’s titular character. Sessa’s Bourdain, who repeatedly insists on being called “Tony” at the beginning of the film, is scrappy, annoying and, at moments, hard to love. We see him stumble constantly yet get back up each time. Sessa embodies this almost quietly, but all the more effectively, exuding a tolling and relatable internal chaos and insecurity. The film’s Bourdain is far from the Bourdain we are familiar with, making him an all-the-more compelling character. “Tony” imagines Bourdain simply as the subject of a coming-of-age film, a fresh take in a world of biopics that often take their subject as almost a mythical or magical figure. The audience, therefore, can connect with Bourdain through the familiar experience of growing up. In this manner, the whole film ends up feeling like a memory. The lighting is soft and gorgeous, with warm yellows, dark
reds and blues coloring the film’s shots. A wonderful part of “Tony” is how cohesive its lighting and costuming are, as the colors of the characters’ clothes complement the colors of the scene seamlessly. It’s a small detail that makes the film even more beautiful. Provincetown truly comes alive in “Tony,” and you can’t help but get as enraptured in its atmosphere as Bourdain does in this film. “Tony” is certainly slow. Every moment adds to one another such that scenes are individually impactful, building up slowly so that at the end, you can feel the impact of all those moments together, all at once. It’s a pace that is both detrimental and effective, as there are scenes that seem directionless, leading some moments to feel meandering. Yet, when the film explodes, it explodes. That is particularly true with Sal’s (Leo Woodall) character, one of Bourdain’s first connections in Provincetown. At the end of his storyline, Sal ends up leaving his business partner Ciro’s (Antonio Banderas)
kitchen in a fit of rage. Ciro’s unnervingly calm refusal to fight back leaves a mark among the many other little chapters in the film. It’s a moment of humanity fueled almost solely by action and Banderas and Woodall’s wonderfully dynamic performances. The characters barely say anything, but you feel the rage, the understanding and the unspoken history between them. It was a moment where you could really feel the spark of the film. Ultimately, that’s what makes “Tony” such a great experience: Beyond the mythicism and admiration that surrounds Bourdain, “Tony” is interested in his imperfections, in what shapes a character — in what shapes a human being. Growing up hurts, but “Tony” shows how, amid those moments of life punching you and beating you down, both literally and metaphorically, there persist loud moments of happiness that forever change you — moments that lead you to new roads you never thought to venture into, yet now have become absolutely everything.
THEHOYA.COM | FRIDAY, SEPTEMBER 4, 2026
TELEVISION
‘Not Suitable for Work’ Was Almost the Sitcom We Needed Aarushi Maskara Hoya Staff Writer
When I first heard that Mindy Kaling’s “Not Suitable for Work” was being advertised as a Gen Z version of “Friends,” I was sold. As someone who has watched “Friends” an embarrassing number of times, the idea of another group of 20-somethings living across the hall from each other in New York City seemed perfect. “Not Suitable for Work” follows five driven young adults living in an apartment building in Murray Hill: aspiring celebrity stylist Abby (Avantika Vandanapu), investment banking analysts AJ (Ella Hunt) and Davis (Will Angus), production assistant Josh (Jack Martin) and aspiring actor Kel (Nicholas Duvernay). Abby and AJ live across the hall from the three guys, and their professional problems and romantic disasters gradually begin to overlap. One of the best dynamics is that of Abby and Kel. Their chemistry feels natural, but more importantly, they understand each other’s creative ambitions in a way their friends do not. Kel temporarily moving in with Abby and AJ was probably the most enjoyable time of the show. It forced the three characters together and gave us a glimpse of their potential friend group. Kel’s character arc was also satisfying — he gradually began to enjoy teaching, despite initially using it to pay the bills while struggling to secure an acting gig. On the other hand, AJ’s workplace storyline is an example of watching a smart person take an objectively terrible risk. After starting her new job as an investment banking analyst, AJ becomes
involved with her boss, Bill (Jay Ellis), forcing her to balance her feelings for him with her career. While this storyline is fun to watch, it doesn’t completely make sense for her character. AJ is established as intensely ambitious and obsessed with succeeding at work, making it difficult to understand why she would risk her reputation and career for a man who will not even acknowledge that they are dating. Still, watching these characters make bad decisions is part of what keeps the show entertaining. The show also seems determined to make AJ look aggressively unfashionable. I understand what the costumes are trying to communicate: AJ is the nerdier, more corporate character next to Abby, a literal stylist. At times, though, it feels like the wardrobe is trying so hard to put her into the “awkward smart girl” box that it becomes distracting. Abby fares much better. Her wardrobe was one of my favorite details in the series, especially the subtle incorporation of Indian designers and influences. She wears clothes from New Delhibased Indian designers, but these costuming choices are never a dramatic plot point about Abby’s Indianness but rather a natural part of her identity. This detail was refreshing, especially considering Kaling’s previous projects’ treatment of the “self-hating” Indian stereotype. Abby feels different because she never tries to prove herself to be either completely American or completely Indian. Rather, Abby is a powerfully realistic depiction of Indian American identity. The male characters are also enjoyable yet fall prey to stereotypes, such as Davis, who plays an exaggerated caricature of a finance bro. As a student in the McDonough School of Business
(MSB), I found him especially funny because I know versions of him. On the other hand, Josh is probably the most forgettable of the five, but that is also part of the strength of an ensemble comedy: not every character needs to carry equal weight right away. His relationship with his coworker Elena never adds much beyond making him slightly less selfabsorbed, and he only really becomes interesting once the show develops his dynamic with AJ. For the most part, the show is funny, cozy and easy to watch. “Not Suitable for Work” is not a heavily plot-driven show, nor is it intended to be. The humor is quick and punchy, and a lot of the appeal comes from simply watching these characters live their lives. The simplicity is part of what makes the show work. That being said, I believe a true ensemble comedy needs time to work. It needs throwaway episodes and running jokes that are not funny until they become a bit. It needs time to develop characters who are stereotypes (like Davis) who slowly expand out of that box.
Sitcoms like “Friends” and “Modern Family” have more than 20 episodes per season to let their characters marinate and slowly develop relationships that did not immediately serve the plot. “Not Suitable for Work” only has nine episodes to introduce five main characters, establish their careers, build romances and turn a group of neighbors into a proper friend group. The group is still very much in its early stages, which is why the duration of the show’s first season is so important to build rapport. Unfortunately, “Not Suitable for Work” won’t get the time to prove itself, with Hulu canceling the show before a second season could be made. I’m still holding out hope that another network picks it up because I refuse to accept that nine episodes is all we get. “Not Suitable for Work” has not become our generation’s “Friends” yet. But if we had another 15 episodes, it might get close.
WARNER BROS. TELEVISION/IMDB
Mindy Kaling’s show deserves more time to develop, says Aarushi Maskara (MSB ’28).
FILM
‘Coyote vs. Acme’ Is a Testament to the Power of Film Eliana Kut
Deputy Guide Editor
A sweet movie about cartoons with ironic ties to not-so-fictional corporations wasn’t quite what I expected to make me cry on a Sunday night. “Coyote vs. Acme,” a live-action film where Looney Tunes cartoons co-exist with the rest of the world, deftly explores the seemingly unrelated topics of friendship, animal testing and mega-corporations. The film follows the infamous Wile E. Coyote as he uses various gadgets and contraptions (all made by Acme, a mega-corporation) in an attempt to finally catch the Road Runner (voiced by Eric Bauza). After many gadget failures, Coyote decides to sue Acme with the help of lawyer Kevin Avery (Will Forte). As it becomes increasingly obvious that Acme is hiding something much darker about the nature of their products, it is up to our two unexpected protagonists to save the day. It’s a brave and witty film meant to appeal to both younger and adult audiences, skillfully weaving its plot and humor elements together. Its comedic timing relies heavily on ridiculous circumstances and cartoonishly funny dialogue, but it does so in a way reminiscent of older Looney Tunes cartoons. Every non-cartoon actor also plays into that genre of comedy. Kevin Avery is a
failing lawyer, but that trait is overplayed to give him a cartoonish edge. Buddy Crane (John Cena) is especially molded this way to fit the haughty lawyer stereotype as Acme Corporation’s lawyer. The animations were charming and kept both the entire theater and me bursting with laughter at the hilarious and ironic gags. Within a movie about taking down an evil corporation is a beautiful lesson about the power of never giving up. Tears were most definitely shed as the film dove into the more complicated, conflicting relationship between Coyote and the Road Runner. However, much of that emotional conflict also comes from the parallels between the Acme Corporation and Warner Bros. as corporations attempting to shelve and dismiss cartoons. It’s difficult to discuss “Coyote vs. Acme” without also mentioning the legal battles surrounding its production and distribution. While “Coyote vs. Acme” was originally planned for release in 2023, Warner Bros. claimed a $30 million tax loss in its stead. After opening the film to other distributors, Warner Bros. refused all offers until Ketchup Entertainment acquired the rights in 2025. The film feels like a direct jab at Warner Bros. as the Acme Corporation seeks to manipulate its classic cartoon characters for personal gain. In fact, the opening title displays the Warner Bros. logo with an asterisk that, when enlarged, jokingly reads that it is owned by Acme. Coyote’s
FRIDAY, SEPTEMBER 4, 2026 | THEHOYA.COM
perseverance feels eerily similar to the film creators’ attempts to release it amid heavy pushback. Beyond the legal and dramatic aspects of the film’s plot and creation, it is still a heartwarming tale about the strength of friendship and creativity. Filmed on location in Albuquerque, N.M., it is also beautifully shot, with sweeping landscapes and intense action scenes. There truly isn’t a boring moment, and “Coyote vs. Acme” allowed me to feel like I can still enjoy cartoons even though I am no longer a little kid. If there is one thing that I could say about films like “Coyote vs. Acme,” it is that they need
our support and attention in local theaters. “Coyote vs. Acme” is fun and heartwarmingly entertaining, and its “Who Framed Roger Rabbit”esque nature deserves every bit of applause. Not every movie needs to be extremely intricate and dramatic to be effective, and films like these will have you appreciating the beauty and charm of what could be called a movie for kids. A wonderful testament to the power of film and animation, “Coyote vs. Acme” is a sweetly emotional rollercoaster that deserves the theatrical release it has finally achieved.
KETCHUP ENTERTAINMENT/IMDB
“Coyote vs. Acme” is a fun, surprisingly thoughtful film for all ages, Eliana Kut (CAS ’29).
| B7
CROSSWORD
By Luke Landegger
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ACROSS
1. With 68-Across, “What rocks!” 5. Part of the head that (usually) supports hair growth 10. Used a bubble stick, say 14. Double-reed instrument 15. Set aside, possibly indefinitely 16. Kraft steak sauce 17. A heavy one might have more than 15 credits 19. “Bro” 20. Stir up 21. MTV prize that Lady Gaga once accepted in a meat dress 22. Like 2024 and 2028 23. Secretly loop in 25. Colors featured in the Georgetown fight song 28. Greets, like a 30-Across 30. Hobbes, in “Calvin and Hobbes” 31. French fashion magazine 32. Spicy snack sticks (the Trader Joe’s version is better) 35. Annual barbecue on the last day of NSO (and what you should say if you see our mascot around campus!) 42. 2024 film “Emilia ___” 43. “___ of Green Gables” 44. German military attack, with blitz 47. Where to find Coffee Republic and Insomnia Cookies 50. Georgetown founder whose lap you’ve probably already sat on 53. Innovation exec 54. Pals in Paris 55. 31-Across in the United States 56. “Oops!... ___ It Again” 58. Capital of Italia 59. Meetup due to two right swipes 63. First place? 64. They’re the prices to play 65. Where you might effectuate a coup 66. Medicine portion 67. Make fun of 68. See 1-Across 48. Most foxy 49. Letters at the end of a Reddit post 50. “Morbius” actor Leto 51. Animal whose three of five remaining species are critically endangered 52. Hertz ___-Car 57. Bad day for Caesar 60. First word of Iowa’s capital 61. What many democratic socialists would like to do to the rich 62. Touchdown stat?
THEHOYA.COM | FRIDAY, SEPTEMBER 4, 2026