The series resumes during the Covey family’s trip to Seoul, South Korea. It’s a chance for the three sisters – Lara Jean, Margot (Janel Parrish) and Kitty (Anna Cathcart) – to spend time together and get in touch with their mother’s culture. During the trip, their father (John Corbett) asks his daughters for their blessing as he thinks about proposing to Trina (Sarayu Blue), and they happily agree. The horizon is filled with possibilities, including Lara Jean’s hopes to follow Peter to Stanford. But possibilities are not certainties. When her first dream school changes her plans, Lara Jean is forced to understand not only what she wants from her relationship with Peter, but also what she wants for herself and her own college experience.
The playful ‘do they want to or not’ dynamic has been rocking the show ever since Lara Jean first learned that Peter had received her love letter. Even though he looks like he’s worn out a bit from the events of “Always and Forever,” the loving energy between stars Condor and Centineo sets the sparks flying. Centineo is somewhat sidelined with his own script when his distant father returns to the picture. This gives Condor’s character the space she needs to figure things out on her own. Condor goes through her character’s insecurities, hopes and fears quickly as an anxious mind would, always sometimes visualizing her boyfriend in the room with her talking through things even as she is anxious about her neighbor. SMS. Even after all this time, Lara Jean still has a hard time telling Peter the truth, a regular feature of romantic comedies, but the story is able to sell it and keep the romantic tension intact without getting too serious or ridiculous.
The visual style of director Michael Fimognari changes somewhat for the last hurray in history. In the second film, which Fimognari also directed, the narrative is divided into chapters, the titles of which were incorporated into the story as banners in the hallway of Lara Jean’s school. Now, it’s animated titles, which cut the flow of events slightly more than before. But there are also more eye-catching moments, like the opening scene at a Seoul cupcake shop designed to look like a hand-drawn decor. But Fimognari’s cinematography continues the bright, sunny aesthetic of the series, which is also reflected in the production design, like Covey’s predominantly white and tan contemporary-style home where much of the film takes place. Over the past three films, Lara Jean’s bedroom has always been a fun departure from Dr Covey’s neat and tidy home, and that continues to play a part in its story. He’s colorful with flowers painted on the wall behind his bed, strings of lights gently twinkle in the background, and sweaters scattered across the rug. It is the space she has for herself, the space where she can insist on what she has to do or say next and a space with which she can decide who to share it with.