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Archives 2024

Why I’m Not Celebrating Thanksgiving This Year

I have a confession to make—a dirty little secret that I can no longer keep a secret. I’m Indigenous and I’ve always celebrated Thanksgiving. There, I said it! If you’re wondering why this is such a big deal, know that Indigenous people have a very fraught relationship with Thanksgiving. Why? It’s no secret that Native American people long predated European settlers in North America, and the so-called “peaceful” dinner between the pilgrims and the Natives is one that has been greatly exaggerated. For many in the Indigenous community, the annual holiday actually serves as a harmful reminder of how their land was stolen from them during colonization, how many of their people were killed, and how their culture was almost entirely stripped from them. One can understand why Native people today don’t want to break bread and eat turkey: What, in fact, is there to be thankful for?

This year, however, I’m finally choosing not to be thankful, too.

Growing up on Nipissing First Nation—my traditional territory in northern Ontario, Canada—my family always celebrated Thanksgiving. My mom is one of 18 siblings, and our annual tradition would be to gather as a big, crazy, Ojibwe family for a Thanksgiving meal at our grandmother Leda’s house, which served as the meeting spot for the whole motley crew. Given the sheer volume of people, I remember often eating Thanksgiving dinner on the ground, sitting cross-legged among my many cousins (seats at the table are reserved for the elders, obviously—they also got first pass at the food). On the menu would be all the traditional Thanksgiving dishes: turkey, mashed potatoes, turnip, boiled carrots, huge pots of gravy. One year, my dad even cooked a 40-pound turkey for the entire family, a record. But there would always be some Indigenous flavor on tap, too: instead of dinner rolls, we had my auntie Joanie’s epic bannock. Moose meat pies were also omnipresent, though I never partook in that dish. (I’m a Native who doesn’t enjoy wild meat—a sin!).

Because Thanksgiving was something that our family always registered, I never thought twice about how ironic it was: a bunch of Indigenous people basically celebrating the history of their own suffering. Doubly ironic: When I grew older and moved to the U.S., my family, who followed the Canadian calendar and had celebrated the Thanksgiving in October, often had to re-do it for me when I came home in November. When I finally learned about the problematic history of Thanksgiving, the holiday had become so routine in our family that I didn’t bother to question it. Even after my grandmother Leda passed on, and our family stopped having these gigantic feasts—at some point, they just became impossible to organize—my parents, my sister, and I still continued celebrating it. It became a pattern, something we just did. It was mostly always about the food, because who doesn’t want to induce a Tryptophan coma? I still drool at the thought.

This year, however, I am approaching the holiday differently. For one, my family is in Canada while I’m in New York, so celebrating it with them would mean flying across the country. I have also realized that I actively don’t want to celebrate Thanksgiving. I’ve spent far too long being passive about things that I don’t feel right about.

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The 5 Best Moments from Saturday Night Live’s 50th Anniversary Episode

I’ve been waking up on Sunday morning to watch a streaming (or, back in the day, TiVoed) episode of last night’s Saturday Night Live since I was in middle school. It’s a ritual I’ve come to depend on, even when the episode in question is a little lighter on laughs than one might hope for. Last night’s 50th-anniversary episode of the late-night show, though, delivered on almost all fronts; sure, there were occasional flat moments–please, God, let “brat summer” jokes fade gracefully away now that it’s officially fall–but with the 2024 presidential election just weeks away, it’s nice to see the SNL cast’s familiar faces and actually be able to laugh a bit about the hellscape that is American politics right now.

Below, find the 5 best moments from the first episode of SNL Season 50:

Maya Rudolph reprising her role as Kamala Harris

Do coconut-tree jokes feel a little stale at this point? Yes. But honestly, Maya Rudolph could roll in reciting a ‘90s-era SNL punchline like “Schweddy Balls” and I’d still be thrilled to see her. Plus, Jim Gaffigan as Harris’s running mate Tim Walz was weirdly perfect, as was Bowen Yang’s take on J.D. Vance; Andy Samberg’s Doug Emhoff wasn’t quite as dead-on, but again, Andy Samberg doing anything is inherently funny to me, so I can forgive it.

Jean Smart’s opening monologue

Stroke of Genius: How 34-Year-Old Flora Yukhnovich’s 21st-Century Spin on Rococo Turned Her Into an Art-World Phenomenon

On an otherwise unremarkable day in the spring of 2017, Flora Yukhnovich, a 27-year-old master of fine art student with no distinct technique, no discernible profile, and no particular prospects, climbed the Wallace Collection’s grand marble staircase and came down again, an hour or so later, fixed on the aesthetic that would make her the pre-eminent British painter of her generation. There, in among the Gouthière clocks and Jean Ducrollay snuffboxes, she’d come face-to-face with Jean-Honoré Fragonard’s The Swing, the inescapable French fancy that distills the 18th-century rococo movement’s frivolity and flirtatiousness into a titillating trio of figures: a Marie Antoinette-esque coquette, suspended aloft in billowing blush-silk skirts; her bewigged, cuckolded husband, lurking in the shadows of an Arcadian forest; and her ancien régime paramour, reaching for her as she suggestively sends a ballet-pink slipper flying towards him in the velvet undergrowth.

“It felt like all these strands that I’d been looking at came together,” Yukhnovich tells me today of the 25-by-31-inch canvas, which has, in the centuries since a licentious French baron commissioned it, been reproduced everywhere from Disney’s Frozen to a fridge magnet on Etsy. She’s perching on a rickety folding stool in her southeast London studio, her head tilted in a way that brings out her own resemblance to one of Fragonard’s subjects: copper hair, heart-shaped face, ivory skin, Cupid’s-bow lips. Until that point, she says, she’d spent her MFA indulging her “light-hearted curiosity” about the froufrou via Spode’s Blue Italian porcelain and aughts Cath Kidston wallpapers, and feeling vaguely ashamed about it. (Tricky to imagine her teen idols, Lucian Freud and Frank Auerbach, studying Sèvres’s elephant-head vases with any degree of seriousness.) But with The Swing in her mind’s eye, she suddenly “got the bit between my teeth”—and began to query how and why decorative had come to mean downmarket, the ladylike inherently lowbrow.

Four years later, Tu Vas me Faire Rougir (You’re Going to Make me Blush)—one of three Permanent Rose-daubed reinterpretations of Fragonard she painted for her graduate show—sold at Christie’s for £1,902,000, making her, in the space of a gavel stroke, a bonafide blue-chip artist. Gradually, she expanded her remit beyond Fragonard to encompass other rococo masterpieces—Giovanni Battista Tiepolo’s celestial allegories, Nicolas Lancret’s rural idylls—exposing the ways in which they had shaped fashionable conceptions of the “coded feminine,” both then and now. See 2020’s Warm, Wet N’ Wild, which repositions Katy Perry’s maraschino-topped “California Gurls” video in the fruity, fecund context of Watteau’s fête galantes. It sold to a private collector, by way of Sotheby’s, for £2,697,000 in 2022.

All the Easter Eggs to Look Out For at the Victoria and Albert Museum’s New Taylor Swift Exhibition

If you happen to find yourself at London’s Victoria & Albert Museum this summer, don’t be surprised if you see flocks of Swifties, dressed in their Eras tour costumes and wearing stacks upon stacks of friendship bracelets, rushing through the cavernous halls of the South Kensington institution. The reason? “Taylor Swift: Songbook Trail,” a new free exhibition which sees 16 of the 14-time Grammy-winning pop powerhouse’s most memorable looks—from across her music videos, tours, album covers, red-carpet appearances, and all 11 eras—go on display alongside instruments, awards, and storyboards from her personal archive, some of which have never been seen before.

Crucially, though, this isn’t one of the V&A’s standalone exhibitions, but one for which installations are dotted around the entire museum itself, with each showcase opening up a fascinating dialogue with the building’s architecture and permanent objects, and sending visitors on a thrilling treasure hunt as they wind past Renaissance sculptures, medieval tapestries, and 18th-century paintings in search of the next Swiftian curio. Each of the 13 stops—designed to be non-chronological, like the Eras tour before it—features fittingly theatrical displays crafted by Tom Piper, best known for his work for the Royal Shakespeare Company, as well as for surrounding the Tower of London with poppies, while Kate Bailey, the museum’s senior curator for theater and performance, has overseen the whole project, seeding in Easter eggs and ensuring each chapter builds on our understanding of this often-mythical-seeming figure.

While Taylor herself wasn’t involved in selecting the items on show, Bailey says her archive was incredibly generous in giving her free reign, so much so that one of the main challenges was editing down her picks to just one or two garments per era. There was also the matter of timing—turning the exhibition around in only a few months, so that it could both incorporate The Tortured Poets Department era and coincide with the second leg of the Eras tour in London—and the need for collaboration. “This is something which has actually involved the whole museum,” she tells me. “I’ve been working with colleagues across different departments and engaging curators in different galleries to open up these historical spaces. And that was challenging because, in many cases, these were things we’d never done before.” Her goal, she says, was to create something that, “like Taylor’s shows, combines spectacle with that feeling of intimacy.”

The first stop on the tour is a case in point. Enter the museum through the grand archway on Cromwell Road, turn left, and make your way up two flights of stairs to the first era: Lover. Here, you’ll find the silk Versace shirt and loafers Taylor sported in her self-directed music video for “The Man” in 2020, alongside the wig and facial hair which transformed her into a millionaire playboy, her director’s chair from the set, the best-director VMA she scooped for her efforts, and a loop of the video itself.

30 of the Best Thanksgiving TV Episodes of All Time

Ah, early, pre-scammer scandal Grey’s. Was there ever a better show about a group of inexplicably attractive young doctors sharing a house in Seattle? In this episode, Izzie (Katherine Heigl) relatably stresses over making Thanksgiving absolutely perfect while her roommates hide out at the hospital to avoid her mounting anxiety; plus, we get to watch sweet George (T.R. Knight) being very bad at shooting a turkey.

Ahead of Her Maiden Saturday Night Live Hosting Gig, 21 Vintage Pictures of the Indomitable Jean Smart
15 Thoughts I Had Listening to Harlequin

Little Monsters are currently being fed. Not only does Lady Gaga have a starring role in the upcoming Joker: Folie à Deux, in which she plays Harley Quinn opposite Joaquin Phoenix’s Joker, but she has also just released a concept album in honor of the film. Titled Harlequin, the surprise record, made up of songs featured in the movie, was produced entirely by Gaga and her fiancé, Michael Polansky.

So, to celebrate the new release, who better than a serious Gaga stan (moi) to react to the album in real time? Below, my 15 takeaways from Harlequin.

1. Before we dive in, it’s worth setting up Gaga’s role in Joker a little bit. She plays Lee Quinzel, a deranged fan of the Joker’s who falls in love with him. A press release has described the movie as an “exploration of the raw, emotional complexity of a woman who thrives in chaos, a genre-defying force who cannot be contained.” I am predicting that the music will delve into this twisted love story—the tale of two lonely souls uniting. But who knows!

With ‘I’ll Be There,’ Jin Transforms From Pop Star to Full-On Rock Star

For members of the BTS Army, June 2025—when all seven members of the acclaimed Korean boy band will finally reunite after serving in the military—can’t come quickly enough. Yet with “I’ll Be There,” a new single from Jin (who completed his service over the summer), the fandom has something else to celebrate.

Like former boy-bander Harry Styles before him, Jin appears to be shifting from pop into the world of rock. As a ’90s baby, it’s no surprise that he has a soft spot for the genre: a playlist of his favorite songs on Spotify includes “Iris” by The Goo Goo Dolls (as well as selections from The Fray and Styles himself); and prior to enlisting in 2022, the singer released his debut single, “The Astronaut,” co-written with one of his music mentors, Coldplay’s Chris Martin.

Two years later, Jin’s latest single—released ahead of his debut solo album, Happy, out on November 15—continues that trajectory. If with “The Astronaut,” he penned a love letter to his fans (whom he described as his “universe”), in “I’ll Be There,” Jin doubles down on his devotion.

As the singer exclusively tells Vogue, “I’m excited to be back and I hope my fans love this song as much as I do.” We’re sure they will: While the track’s lyrics are mostly sung in Korean, Jin’s emotions sit right at the surface, especially when he urges, in one catchy chorus: “I swear I will always sing for you. Sing for you, I’ll be there for you.” The song’s closing message is just as heartfelt, with the singer pleading in Korean that should his fans ever feel sad or alone and need to lean on someone, he will “always be there.” The outro, meanwhile, recalls the catchy rhythmic clapping in Anna Kendrick’s hit 2013 song “Cups” from Pitch Perfect.

The accompanying music video shows Jin busking with his band in a parking lot, imagining the BTS star as a humble, up-and-coming talent. In reality, of course, he has already entered the stratosphere.