“Do Revenge” New Hit Netflix Highschool Comedy Swap Victims For A Change

Do Revenge is a hit Netflix high school comedy starring Camila Mendes and Maya Hawke. These two swear to take revenge on their enemies.

In Alfred Hitchcock’s 1951 suspense film Strangers on a Train, two would-be killers who are strangers to one another decide to switch their intended victims in order to allay any guilt-related questions. This idea is used in Jennifer Kaytin Robinson’s film Do Revenge, a grimy high school drama with a very “Gen Z” edge.

When Camila Mendes and Maya Hawke’s characters in Do Revenge start their senior year at Miami Beach’s prestigious Rosehill Country Day High School, they are both cunning strangers harbouring severe grudges against a few of their affluent classmates.

To be embraced by these affluent snobs, Drea (Camila Mendes) has struggled mightily, but her lover Max (Austin Abrams), Rosehill’s unquestioned golden boy, dumps her when a sex tape she sent him turns up online.

In the meantime, Eleanor (Maya Hawke) is moving in from out of town in an effort to retaliate against eccentric Carissa (Ava Capri) for labelling her a dangerous lesbian at summer school years back. After a chance encounter, Drea and Eleanor decide to combine their resources and, while refraining from real murder, set out to eliminate each other’s arch-enemy, in the hit Netflix movie.

Do Revenge pulls on a long tradition of irreverent teen films, in addition to its recognised homage to Alfred Hitchcock and the Patricia Highsmith book that served as the basis for that movie. In addition to referencing Veronica Mars, Cruel Intentions, and Fatal Attraction, the constantly funny screenplay also echoes Clueless’ extravagant sense of design and Heathers’ predatory thirst for revenge.

Do Revenge is far more than just sappy fanfiction for older, superior films. It exhibits a great awareness of adolescent life in the twenty-first century, from a closed-off microcosm of riches and status.

In the Netflix hit comedy Diversity, inclusion, and equality are visible on screen and play a critical and frequently explosive role in the complex story that is being played out in a neighbourhood where woke society is ferociously guarded over and constantly exploited.

Characters who are marginalised by the society include Drea and Eleanor. Despite claims to embrace their sexual orientation, ethnicity, or economic backgrounds, the system nonetheless treats them with contempt.

While never trying to exploit them, speaking directly to their viewers, or losing track of what is, a priority, a sharp-tongued, diabolically imaginative high school romcom about trying to stick it to ego-narcissistic people everywhere, Robinson and her Do Revenge co-writer Celeste Ballard teasingly and eloquently address these problems.

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