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Season 3 of Netflix’s “XO, Kitty,” released April 2, marked a triumphant third iteration of a series that should be a generational classic. The latest season serves as a reminder for audiences to lean into the fun and enjoy some semi–unserious, drama–filled entertainment while also successfully engaging in very unexpected topics like societal class structures.
Jenny Han, creator and executive producer of the show, known for also creating “The Summer I Turned Pretty,” and “To All the Boys I’ve Loved Before,” has given us yet another marvelous gift in the form of “XO, Kitty.” The show, unlike the previous source material, is not an adaptation from one of Han’s books, but rather an entirely new creation. Season 3 specifically features technical television mastery, an engaging plot and valuable lessons to learn from.
The show is a spinoff from the “To All the Boys I’ve Loved Before,” centering around Lara Jean’s (Lana Condor) younger sister, Kitty (Anna Cathcart), who attends a boarding school in South Korea for her junior and senior years of high school. The first and second seasons were split by her first and second semester at the Korean Independent School of Seoul (KISS). The third season follows Kitty’s senior year, as she learns to navigate friendships, plans for the future and finally clarifies her romantic relationship with Min Ho (Sang Heon Lee) which has been slowly building for three seasons.
The relationships between the characters in “XO, Kitty” are complicated to say the least, with much overlap and drama. It can admittedly be confusing for the audience to follow at times. But the interwoven romantic plots allow the audience to stay connected to the large ensemble cast.
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Kitty creates what she calls her “Senior sunset list,” where she outlines all the things she wants to do before her senior year ends. The bright, colorful and fun aesthetic of the show pairs perfectly with an upbeat and playful soundtrack. It features masterful original scores by Jina Hyojin An and Shirley Song, K-pop hits like aespa’s “Whiplash” and throwbacks from “To All the Boys I’ve Loved Before” with Fletcher’s “On Fire Again.”
The brilliant camera choice of employing an extremely shallow depth of field throughout most of the shots effectively conveyed the relatability of characters, enhanced through the heartwarming performances of the actors. This sense of closeness to the characters is only intensified through the utterly embarrassing moments that the audience has to witness. For example, the audience is witness to all the mistakes Kitty makes while maneuvering through this “other world” that is Min Ho’s rich, glamorous and famous lifestyle.
Interestingly, despite the pure whimsical nature of “XO, Kitty,” the show addresses class relations as one of the main cruxes of the plot. In Kitty and Min Ho’s relationship, the difference in class puts a strain on the couple. This season, Min Ho navigates being a manager for Eunice’s (Ryu Han-bi) budding K-Pop career, under the guidance of his famous father Young Moon (Philippe Lee).
Kitty’s friend and former love interest/gay-awakening Yuri (Gia Kim) financially finds herself in her own troubles after her family lost all of their money in a lawsuit. Yuri learns to rely on herself, not her nepotism, and work hard to earn what she wants. Her hard work and talent eventually pays off and ends with her winning Seoul Fashion Week’s Designer Breakthrough Contest. Her work was titled “Riches to Rags” and featured Kitty and her friends as runway models. So, unfortunately, even “XO, Kitty” is not safe from neoliberal economic beliefs of “pulling yourself up by your bootstraps.” But Yuri at least learns it is a waste of time to try to appeal to the stuck–up upper class, and focuses on her own passions and aspirations.
The show also delves into the exploitative nature that comes along with stardom and fame through the character of Eunice. Her rise to fame as a K-pop artist led her to live with extreme anxiety that caused a decline in her mental health. Eunice realizes she does not want a life of riches and fame, but something quieter and simpler, and takes a step back from her budding K-Pop career, to the chagrin of Min Ho’s father. Young Moon advises Min Ho to force her to stick to her contract, but Min Ho, looking out for Eunice’s best interests, lets her go.
Even with all of the fanciful ridiculousness the show has to offer, easily the most unrealistic plot point was Kitty’s acceptance into New York University, who throughout the show had been struggling endlessly with her academics.
The season ends on somewhat of a cliff-hanger, with Min Ho and Kitty boarding a plane heading back to Portland, mimicking the ending of Season 1, but in very different circumstances this time around. And while the future in many ways remains uncertain for them both, they know they want each other to be in it.
Throughout Jenny Han’s work, there is always a theme of a character ‘not belonging’ or trying to fit into a world seemingly not made for them. “XO, Kitty” shows viewers that through a support group full of loving friends and family, taking on that challenge is not impossible. And through “XO, Kitty,” ideas of class struggles become mainstreamed in a way that I hope will make audiences more aware of these issues. “XO, Kitty” is effective on all fronts, addressing some hard hitting issues while remaining purely fanciful, playful and entertaining and shows a heartwarming portrayal of self-discovery.
If audiences take anything to heart from the season besides class consciousness, it should be to remember that, as Kitty says, “You are brilliant and so strong. And honestly, you’re a total baddie.”
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‘XO, Kitty’ Season 3 explores self-discovery and class consciousness – The Ithacan
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