The MVP: Jordan Kristine Seamón’s Authentic Vulnerability in We Are Who We Are

Capturing the essence of a character amid an identity journey is no simple task; it necessitates a delicate balance of revealing the character’s true self while navigating the nuances of the “self” they portray to others. Seamón tows this line nimbly, letting the audience peek behind the curtain of Harper’s facade, while still allowing the character to discover themselves naturally. Seamón suffuses Harper with a quiet rebelliousness, capturing the delicate balance between vulnerability and strength as they confront familial rejection and the intricate layers of pain they endure on the quest for self-acceptance. Seamón’s ability to fill dialogue-free moments with emotion transforms slower narrative beats into poignant moments of self-discovery. Each glance towards the horizon, each silent pause, echoes the universal search for identity and belonging, transcending and complimenting the specificity of the character.

In contrast to Grazer’s bombastic performance as Fraser, Seamón prioritizes reflectiveness, imbuing Harper with a soft, quiet skepticism that holds Fraser accountable and tempers his frivolity. With Britney, played by Francesca Scorcese, Seamón gives Harper a light-hearted freedom, illuminating a more playful aspect of the character. Opposite Scott Mescudi (known to many as the rapper Kid Cudi) who plays Richard Polythress, Harper’s dad, Seamón imbues their character with a youthful vulnerability, capturing the essence of a child attempting to emulate their father. As Harper yearns for masculinity, the admiration they feel for their dad becomes more heartbreaking. When their relationship darkens, Seamón holds both the pain and admiration Harper feels for Richard with equal weight. This delicate interplay elevates the series, providing viewers with memorable, moving moments that linger long after the artistically unique credits roll.

However, while some aspects of the show’s exploration of weighty themes are profound, many others fall disappointingly flat. We Are Who We Are touches on significant issues such as imperialism and race, yet fails to delve into or meaningfully engage with either. Notably, it neglects to fully examine the intersection of Blackness and Queerness, particularly the queerphobia that Harper endures from their family. The show’s emphasis on Fraser often overshadows its characters of color, suggesting that the predominantly white creative team may lack the perspective necessary to address these complexities adequately.

Furthermore, akin to Guadagnino’s Call Me By Your Name, the series portrays troubling dynamics between children and adults that raise ethical concerns. While it acknowledges these dynamics, it fails to provide consequences for the adult characters’ behavior or the harm they inflict, leaving these issues largely unexamined. While I would like to believe that the creatives intentionally left these dynamics unexamined to comment on how in real life these situations often lack accountability for the adults involved, this interpretation becomes challenging to accept in light of Guadagnino’s continued support for Armie Hammer amidst serious allegations and his romanticization of predatory relationships in Call Me By Your Name. As a result, We Are Who We Are feels occasionally uncomfortable and problematic. Nonetheless, Seamón’s nuanced performance shines through the murkiness, consistently elevating the material and offering a counterbalance to the series’ shortcomings.

In the sixth episode of We Are Who We Are, an unexpected dance scene beautifully encapsulates Harper’s desire for liberation; Seamón’s free physicality stands in direct contrast to the creatively uncomfortable teenager we see at the beginning of the season. Later, in the final episode, this urgency for independence and joy intensifies as Harper reflects on the fleeting nature of their time on the military base and their relationship with Fraser. Seamón captures this drive, showcasing a character finally confident in their true identity despite the constraints imposed by their environment. These moments create a powerful narrative arc that underscores embracing one’s identity, even amid uncertainty and adversity.

Ultimately, it is Seamón’s remarkable performance that elevates We Are Who We Are into a touching showcase of youth and identity. Seamón’s portrayal has lingered in my mind since I first watched the series four years ago; their unique authenticity brings a rare depth to the role that remains unmatched in today’s television landscape. By immersing viewers in Harper’s journey, they created a character who feels deeply relatable and irreproducible. Seamón’s ability to convey a subtle performance of vulnerability and identity resonates deeply, leaving an indelible mark on the hearts of those who watch.

Joshua Harris (he/him) is a lover of television, independent film, and his two dogs. His work has appeared in Awards Radar, mxdwnTELEVISION, and more. He is an African-American Film Critics Association (AAFCA) member.

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