Not to be confused with the early 2000s romantic comedy “How to Lose a Guy in 10 Days,” “Ginny & Georgia” actress Sara Waisglass and singer Chase Hudson team up in the new Tubi original, “How to Lose a Popularity Contest.”
“How to Lose a Popularity Contest,” released on the streaming service last Friday, follows overachiever Ellie and slacker Nate as they form an unlikely alliance to get Nate elected student body president and ultimately win back their respective exes.
Though the teen romance genre has seen endless renditions of the fake dating trope, “How to Lose a Popularity Contest” puts the idea of a mutually beneficial relationship (with ulterior motives) in the context of a presidential campaign. Instead of performative hand-holding in the lunchroom, the film provides knowing glances between Nate at the podium and Ellie in the audience during campaign events. With that being said, “How to Lose a Popularity Contest” does contain moments familiar to teen romance audiences that inevitably expose how the film falls short of its genre competitors.
For example, part of Ellie’s internal struggle stems from her mother’s passing, which leaves her single father to be the parent who provides her with words of wisdom when she needs them most. This plotline starkly resembles the father-daughter relationship between Lara Jean and her dad in the Netflix hit “To All the Boys I’ve Loved Before,” as Lara Jean, too, navigates the world of boys and dating without her mother. Even more, the council scene—a scene where characters come together, discuss their problems, and devise a plan—between campaign manager Ellie and presidential candidate Nate takes place at the bar of a diner-like restaurant, akin to the one where Lara Jean and her partner Peter Kavinsky have their council scene. That is to say, while the mere fact that these films share similarities isn’t a problem in itself, it highlights how the storytelling of the Tubi original lacks the Netflix film’s tenderness.
Waisglass’ committed portrayal of Ellie carries the film regardless, as she delivers her lines with a matter-of-fact bluntness that brings her character’s description as a “perfectionist overachiever” to life. But even then, Hudson’s Nate feels rather inauthentic, from his unnatural hand gestures to his general lack of emotional range—not to mention his line that includes the TikTok slang “no rizz.” The flatness of Hudson’s dialogue delivery becomes even more glaring when he’s opposite Waisglass, who offers a more nuanced performance during their shared vulnerable moments, where they start to open up about their respective insecurities.
Nevertheless, the set design and costuming do a great job in respect of character development. Ellie’s hyper-organized bedroom desk, harbouring neatly stacked notebooks and carefully aligned colored pens, illustrates her character’s Type A tendencies. Just as her unofficial school uniform—some variation of a plaid sweater vest layered over a collard shirt, paired with a pleated skirt and headband to match—nods to her studious personality. As for Nate, his attire shifts from an unbuttoned, untucked dress shirt to a formal suit and tie, indicating how he gradually takes his presidential campaign more seriously as the plot unfolds.
Regarding cinematography, the film attempts to evoke greater visual interest through camera movement, but unfortunately, it doesn’t always land. Such is evident in how pulling focus is used in one particular moment. Rather than functioning as a powerful way to amplify Ellie’s disorientation when she receives an impromptu shoutout from Nate at the podium, the changing depth of field instead focuses on Nate’s back as its stable subject, leaving Ellie nowhere to be found in the frame. As a result, the cinematic technique doesn’t add anything impactful to the narrative and reads as if it were deployed solely to showcase the film’s ability to execute it.
There is also a misstep in terms of soundtrack, most notably during the pool party scene, where Nate picks up Ellie and spins her around in celebration after she makes the winning shot in cup pong. The song choice and its lyrics, “You bring the love, love. I keep the fear at bay,” sound deeply emotional and, as a result, feel largely out of place given that the scene is essentially a group of rebellious teenagers playing a drinking game. What’s more, the two leads are nowhere near bringing the “love” to one another at this point in the film, seeing as they have yet even to kiss.
Overall, “How to Lose a Popularity Contest” struggles to stand out in its already overcrowded genre. Despite this, the film still offers some entertainment value, maintaining its posture to avoid being written off entirely.
“How to Lose a Popularity Contest” is now streaming on Tubi.
Featured Photo Credit: How To Lose A Popularity Contest | Tubi
Taylor Graham is a student at Columbia University, majoring in Film and Media Studies with a minor in Political Science. She has reported for numerous publications, including the Valencia Voice, Glitter Magazine, and Heritage Radio Network, and is currently the 150th Arts and Culture Editor for the Columbia Daily Spectator, one of the oldest college newspapers in the nation. With a passion for storytelling in the digital age, Taylor covers all things entertainment, from film and television to media and pop culture, interviewing professional actors, musicians, and content creators alike. When she’s not writing her next film review or feature story on an emerging artist, Taylor can be found playing tennis, reading literary fiction, or thrift shopping in NYC.