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There’s a universality to certain stories that ensures that every generation gets its own versions of them. These fundamental narratives can be adapted and shaped to the time in which they are told; the evolve as the culture around them does.

George Bernard Shaw’s “Pygmalion” has become one of those universal stories in the century-plus since it first landed in 1913. The tale of one upper-class person shaping another, lower-class person to fit appropriately into the former’s world is one that has been told again and again. The former (almost always a man) brings the latter (almost always a woman) into their own social stratum – often at the expense of the latter’s dignity and/or personal identity.

1999’s “She’s All That” was the high school rom-com version of that tale for late 20th century moviegoers, a film that landed in the midst of a spate of teen-oriented cinematic fare. The BMOC takes a wager in which he is to turn the school’s lowliest of the social low into the prom queen and hijinks ensue.

Now imagine that, only gender-flipped.

Published in Movies

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