Trinidad and Tobago’s Carnival is known for its vibrant costumes and satirical portrayals, and this year’s Ole Mas competition was no exception. Laverne Smith, now a two-time J’ouvert Queen, cleverly tapped into the controversy surrounding Jamaican dancehall star Beenie Man’s infamous dismissal of Trinidadian street food to secure her crown. Her portrayal, “I Not in d Doubles Comess, But Ah Want Ah Job at Double Palm,” playfully mocked the backlash that erupted when Beenie Man declared, “Dogs don’t eat doubles.” With two palm leaves in hand, Smith blended humour and social commentary, embodying the wit and creativity that define Ole Mas.
“I didn’t want to bash Beenie Man because I do love him, but I felt angry with his comments,” Smith explained after her victory. “If you understand mas, you know its double entendre—so you get the doubles and Double Palm.” She highlighted Double Palm as one of the country’s fastest-growing businesses, using her portrayal to merge cultural relevance with comedic relief. Her win marks a significant moment in the competition’s history, as she successfully defended her 2024 title.
While Smith’s performance captivated audiences, the competition saw a notable decline in spectator turnout, reflecting a trend from recent years. However, participation surged, with 23 registered competitors—up from 15 in 2024—proving that the art form remains a vital part of Carnival. Among the standout portrayals was Richard Montano’s “Dee-Pee-Pee Not Charging De Cop,” which secured him the title of Jouvert King. His act, a pointed critique of suspended Commissioner of Police Erla Harewood-Christopher, featured an LED-powered effigy and intricate automation, a display that he had meticulously engineered over a week.
Beyond the top winners, the competition was rich with politically charged and humorous portrayals. Margaret Montano took home the Most Humorous award with her piece, “This is Ah State of Emergency,” a witty take on the country’s ongoing social struggles, while Eugene Norville and Phillip Montano’s “Keith Step Down, Hand D Reigns to Young” addressed leadership tensions within the government. Despite dwindling audiences, the increase in competitors suggests a renewed interest in preserving the cultural tradition of Ole Mas, and as Smith pointed out, more initiatives should encourage young people to embrace this form of artistic expression.
With Carnival 2025 now in the books, Smith’s back-to-back triumph reinforces the power of satire in Trinidad and Tobago’s festival landscape. Her ability to turn a viral controversy into an award-winning portrayal highlights the ingenuity that keeps Ole Mas alive, proving that, in Carnival, no moment—nor double scandal—is off-limits.
