My reaction to *Elle*—a prequel to the *Legally Blonde* films—mirrors my reaction to the originals: it is a light, trivial comedy that is easy to watch but just as easy to forget. The franchise owes its strength to Elle Woods, a charming character memorably brought to life by Reese Witherspoon; I am pleased to say that Lexi Minetree proves more than capable of recreating and sustaining Woods’s endearing appeal (I will refer to her by her surname throughout this review to distinguish her from the series title).
Minetree nails that distinctive crying sound, that accent that is both funny and sweet, and the entire personality that blends intelligence with a somewhat ditzy demeanor. She even makes it believable that this teenage Woods could naturally evolve into the version played by Witherspoon a few years later. The casting choice is spot-on.
Creator: Laura Kittrell
Stars: Lexi Minetree, June Diane Raphael, Tom Everett Scott
What I am not convinced by is the very existence of this series, which depicts the life of a 16-year-old Woods in 1995. Did we really need the backstory of this bubbly blonde? Is it necessary to expand or inflate the story of practically every character in this streaming era? Woods is a fun, likable person, but the two *Legally Blonde* movies were enough. In fact, the high point was reached with the first film, and subsequent expansions—both the movie sequel and this series—seem largely unnecessary. One often gets the impression that *Elle* was tied to *Legally Blonde* primarily for brand recognition. Many people already know *Legally Blonde*, virtually guaranteeing that a sizable audience will hit play on July 1st. Others will get to know Woods—and, by extension, the two films—thereby expanding the fan base for both the character and the franchise.
Eventually, more Elle Woods admirers will line up for tickets to the third *Legally Blonde* installment. In that sense, *Elle* is a sound business investment. Unfortunately—and predictably—it is not a strong artistic project. It is riddled with the usual teen-movie clichés: an unwelcoming high school, mean girls, a teenage protagonist torn between two suitors, unlikely friendships between students who wouldn't normally sit together even at recess, and an unpopular or "uncool" character who eventually wins over their detractors. Some scenes seem directly "influenced" by the first *Legally Blonde* movie.
The bland Rainier West High School not only calls to mind Harvard Law School, but students at both institutions initially view Woods as a "Malibu Barbie" from another, pink-hued planet. In *Legally Blonde*, Woods wants Warner to propose, marry her, and pay attention to her. Yet, she gradually begins to develop feelings for Emmett. Something similar happens with young Woods in *Elle*: she seeks the affection of Miles (Jacob Moskovitz) but gradually starts to develop feelings for Dustin (Zac Looker) as well. If you’re wondering whether there are courtroom scenes here too, I’ll simply nod without going into further detail. Remember how Woods was tricked into wearing a costume to a party in *Legally Blonde*? Brace yourself for a similar incident—one that, in a way, also explains why Woods handled the situation so well in that earlier film.
There are some conflicts that steer the series into more serious territory—such as when two best friends argue because one neglects her "tour guide duties" toward the other, or when a clash erupts between mother and daughter. However, *Elle* is so committed to its lighthearted, neon-bright aesthetic that it resolves these issues with a mere wave of the hand, downplaying their significance. It doesn't even allow Woods to show imperfections or the kind of unappealing desperation that might arise from being so preoccupied with winning the approval of her Seattle friends that she ignores those in Los Angeles. Her cheerful, optimistic personality is likable but predictable.
*Elle* rarely explores new nuances, and moments that promise something fresh are immediately sidelined in favor of the familiar. I also hated the sequence of events in the penultimate episode, which undoes Woods’s hard work and turns her back into a villain in the eyes of her Seattle colleagues. I didn't know whether I was angrier at the ignorant characters or at the writers for coming up with such a flimsy excuse to justify a plot obstacle.
With lines like "Reading books is for people who can't afford a TV" and "My head is a Gemini and the rest of my body is a Cancer," *Elle* certainly has its funny moments. Just look at the ca
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