Tag Archives: Sequel

The Peter Kavinsky “Problem”: How building an Internet Boyfriend threatens the sequels to To All The Boys I’ve Loved Before

BABW_NewCircleLogo

To All The Boys I’ve Loved Before is neither the first nor the last teen romantic comedy launched by Netflix this year: it was preceded by The Kissing Booth, and it will be followed next weekend by Sierra Burgess Is A Loser, with all three films sharing an interest in reclaiming a genre that has been increasingly marginalized by major studios.

But whereas The Kissing Booth is an ideological garbage fire that was rightfully criticized for its wonky gender politics (and, on a personal note, a distinct lack of quality control beyond that), To All The Boys I’ve Loved Before has elevated Netflix’s “Teen Rom-Com Renaissance” while still replicating the “viral” success of The Kissing Booth that signaled the demand for the genre. By the metric of views of “Cast Content” on YouTube—generated by various magazines and websites that pivoted to video in recent years, along with Netflix itself—the story of Lara Jean Song Covey’s letters and her fake relationship with Peter Kavinsky is generating just as much social chatter as its predecessor, but with closer attention to cinematic style and a far less problematic take on teenage romance. The result has been an almost overwhelming response to the film across social media, as Peter Kavinsky (and by extension actor Noah Centineo) became the internet’s boyfriend, and Netflix has the watercooler media that the film’s target demos will carry with them into the school year.

But for any of this to happen, the film itself needs to create moments that fans want to GIF, and a story that leaves them with an emotional reaction that convinces them to take to social media to change their profile pictures, post their edits, and reorient their online existence around this story and the people involved. And that story owes a lot to the Jenny Han book on which the movie is based, and I do think that the film would be generating a significant response even if it would have just taken the story as it was told and brought these characters to life in the capable and charming hands of Centineo and Lana Condor, who doesn’t get enough credit for her work as Lara Jean. But as I discovered when I dove down the To All The Boys I’ve Loved Before rabbit hole over the past two weeks, writer Sofia Alvarez and the film’s producers made a series of conscious choices when adapting the book that engineered the story to maximize this type of response.

They’re also choices that I’d argue make it almost impossible to adapt the rest of the series as it was written.

Continue reading

Advertisements

2 Comments

Filed under Netflix

Refresh, Not Reboot: Thoughts on Jurassic World

JurassicWorldGate

When Zach and Gray, two brothers from Wisconsin, arrive to Jurassic World, they briefly check into their hotel room. They’re VIPs, there at the behest of their aunt Claire, and her assistant gives them something important—wristbands, to signal their VIP status.

Although the film never actually explores this, my mind immediately turned to Disney’s MagicBand system, a new way for offering a more personal experience at DisneyParks. Your MagicBand opens your hotel room, pays for your meals, and at some restaurants it can even inform the host that you’re the person walking up to the podium, and inform them where you’ve been seated for that particular meal.

It’s unlikely that the MagicBand system was operational enough during the production of Jurassic World for it to be integrated directly into the film, but it’s a perfect technology for understanding its strategy. The MagicBand system has a complicated relationship with control: by giving the park guest a greater ease of control over their experience—fewer keys, no need to carry cash, fast pass access, etc.—it also gives Disney the data necessarily to control the park as a whole. They know how you move between rides, they know what type of people spend in what patterns, and they can design the parks in ways that support this.

In the film itself, this is how Jurassic World tracks and controls its dinosaurs, but that particular comparison is a dead end. Instead, watching the film I was struck by how much it feels like the result of the filmmakers tapping into market research from people of my generation who grew up with Jurassic Park as a formative filmgoing experience. We are the “visitors” to Jurassic World, and Colin Trevorrow’s film never lets us forget it—there is no hiding the line drawn between theme park guests and moviegoers, and of the need to create “new attractions” because we’re just not satisfied with what we had before. It’s a toothless critique given that the effects-laden film in front of us fully gives into the evolution of blockbuster filmmaking, but it is nonetheless a potent one in how it works overtime to tell us not to get distracted by the shiny objects. It takes the things for which we are—purportedly—nostalgic, wraps them up in things that are shiny and new, and then systematically pushes us to wish they could just be back to normal again.

And, at least for me and much of the audience I saw it with, it worked like a charm.

Continue reading

1 Comment

Filed under Cinema, Movies