The evolution of the To All the Boys I’ve Loved Before franchise, which began as a trilogy of young adult novels by Jenny Han, has transitioned into a sprawling cinematic universe that now centers on the youngest Covey sister, Kitty. Since its debut on Netflix, the spin-off series XO, Kitty has sought to blend the hallmarks of American teen dramedy with the aesthetic and narrative tropes of South Korean television dramas. However, with the release of the show’s third season in April 2026, the series has come under intense critical scrutiny regarding its handling of queer narrative arcs and the internal consistency of its established lore. While the show continues to achieve significant global viewership and represent a milestone for Asian and Pacific Islander (API) LGBTQ+ visibility, critics and audiences have noted a divergence in how the series treats queer romance compared to the foundational heterosexual relationships of the original trilogy.
The Narrative Foundation: The Lore of the Letters
To understand the current critical discourse surrounding XO, Kitty, one must look back at the "lore" established by the precursor films. In the original To All the Boys trilogy, protagonist Lara Jean Covey pens five secret letters to the boys she has loved throughout her life: Josh Sanderson, Kenny from camp, Peter Kavinsky, Lucas James, and John Ambrose McClaren. These letters were never intended for delivery; they served as a private emotional outlet, a way for Lara Jean to "exorcise" intense feelings.
The central conflict of the original story was triggered when these letters were mailed against Lara Jean’s wishes. This event catalyzed a series of transformative romantic encounters, most notably the "fake dating" trope with Peter Kavinsky, which eventually evolved into a long-term relationship spanning three films. The letters functioned as a "truth serum" for the narrative, forcing characters to confront feelings that had been suppressed. This mechanism established a precedent in the franchise: a letter sent is a catalyst for emotional reckoning and plot progression.
In the second season of XO, Kitty, the writers mirrored this lore for the youngest sister. Kitty Song Covey (played by Anna Cathcart), after arriving at the Korean Independent School of Seoul (KISS), experiences a profound romantic awakening. Moving beyond her initial interest in her long-distance boyfriend, Dae, Kitty develops feelings for her former rival, Yuri Han (played by Gia Kim). Following the family tradition, Kitty consigns these feelings to a goodbye letter, tucked away in her nightstand. As the lore dictates, the letter is eventually discovered and circulated among her peers during a school ski trip, leading to a public confession that disrupts multiple relationships.
Season 3 Chronology: The Erasure of the Confession
The third season of XO, Kitty picks up in the immediate aftermath of this exposure, but the narrative trajectory has shifted in a way that many observers find inconsistent with the franchise’s history. In the previous season’s finale, the revelation of the letter and a subsequent kiss between Kitty and Yuri seemed to set the stage for a complex exploration of their relationship. However, the third season largely avoids the fallout of these events.
As the season progresses, Yuri Han is preoccupied with a domestic crisis. A lawsuit has decimated her family’s financial standing, stripping her of the "chaebol" (wealthy heir) status she held in previous seasons. This subplot sees Yuri selling her personal belongings to pay for her tuition at KISS and receiving lessons on navigating a lower-income lifestyle from her former "beard" and friend, Dae. While this arc provides Yuri with significant character growth—transforming her from a perceived "spoiled rich girl" into a resilient, self-sufficient individual—it simultaneously isolates her from Kitty.
Critics have pointed out that throughout the third season’s ten-episode run, the letter—a device that historically forced Lara Jean’s suitors to engage in deep introspection—is treated as a "fever dream." Kitty and Yuri’s interactions are sparse and largely platonic. Despite Yuri’s relationship with her girlfriend, Juliana, ending early in the season, the narrative does not provide a space for Yuri and Kitty to process the letter or their shared kiss. This stands in stark contrast to the original films, where male characters like Peter Kavinsky and John Ambrose were afforded extensive screen time to interrogate the contents of the letters they received.
Supporting Data: Representation and Global Reach
Despite the narrative criticisms, XO, Kitty remains a powerhouse in terms of diversity metrics and global popularity. According to GLAAD’s 2024 "Where We Are on TV" report, there has been a significant 22-character increase in LGBTQ+ API representation on television, a trend heavily bolstered by this series. XO, Kitty features five primary LGBTQ+ API characters: Kitty, Yuri, Q (Anthony Keyvan), Jin (Joshua Hyunho Lee), and Praveena (Sasha Bhasin).
The show’s impact is amplified by Netflix’s global distribution. Upon its release in April 2026, Season 3 of XO, Kitty reportedly tallied 12.9 million views within its first week, ranking as the number-one show globally on the platform. These statistics suggest that XO, Kitty is likely the most-watched English-language television program featuring a predominantly API LGBTQ+ cast in history. The show also populates its background with queer couples in international school settings and Seoul’s nightlife, further normalizing queer presence in the K-Drama-inspired landscape.
Critical Analysis of Character Archetypes and Tropes
A recurring point of contention among cultural critics is the show’s treatment of secondary characters of color within its queer storylines. In the first two seasons, Juliana Porter (Regan Aliyah), the show’s primary Black female character, was frequently depicted as "irrational" for expressing jealousy or concern regarding the closeness between Yuri and Kitty. Critics argued that her concerns were factually justified by the narrative, yet she was positioned as an obstacle to be cleared.
In Season 3, this pattern appears to continue with the introduction of Marius (Sule Thelwell). Marius is characterized as a Black, queer antagonist who serves as a "disposable love interest." This trope—where a character of color is introduced to provide temporary conflict or romantic distraction for the leads before being sidelined—has sparked debate about the quality of the show’s representation. While the quantity of diverse characters is high, the depth and fairness of their narrative treatment remain under fire.
The Intersection of Western Dramas and K-Dramas
XO, Kitty occupies a unique space in the "Hallyu Wave" (the global surge of Korean culture). Traditionally, mainstream South Korean dramas have been slow to integrate prominent LGBTQ+ storylines, though recent years have seen a shift with titles like Nevertheless (2021) gaining traction. By adopting the K-Drama format—complete with slow-burn romances, high-stakes school drama, and stylized cinematography—XO, Kitty attempted to push the boundaries of the genre by centering a bisexual protagonist.
However, the third season’s decision to "silo" its queer leads has been interpreted by some as a retreat toward more conservative K-Drama tropes, where heterosexual pairings (like Kitty’s ongoing tension with other male characters) take precedence over the more "radical" queer developments of Season 2. The show’s struggle to balance these two cultural storytelling modes—the more sexually fluid and direct American teen drama versus the often chaste and trope-heavy K-Drama—is at the heart of its current identity crisis.
Official Responses and Broader Implications
While Netflix and the show’s creators have not issued formal rebuttals to the specific criticisms regarding "queer erasure," the promotional material for the season emphasized Yuri’s individual growth and the "found family" aspect of the KISS students. In interviews, cast members have often praised the show for its groundbreaking representation, focusing on the importance of seeing API characters in multifaceted roles.
The broader implication of this narrative shift is a growing conversation about the "curve" on which diverse media is graded. In the show’s early stages, many viewers and critics were willing to overlook writing inconsistencies in favor of the milestone representation it provided. However, as the franchise matures, there is an increasing demand for the same level of narrative rigor and "lore-adherence" for queer characters as is given to their heterosexual counterparts.
Conclusion: The Future of the Franchise
As XO, Kitty concludes its third season, the series finds itself at a crossroads. It has successfully maintained a massive global audience and contributed significantly to the visibility of API LGBTQ+ individuals. Yet, the perceived "de-prioritization" of the Kitty-Yuri relationship in Season 3 suggests a hesitation to fully commit to the queer storylines it initially teased.
For the franchise to maintain its integrity, future installments will likely need to address the "lore" of the letters more directly. If a letter in the To All the Boys universe is meant to be a life-changing catalyst, the narrative must allow its queer characters the space to experience that change. The actors, the audience, and the fans of the K-Drama genre who seek authentic representation are looking for a story that values the quality of its queer arcs as much as the quantity of its diverse cast. Whether XO, Kitty will bridge this gap in a potential fourth season remains a subject of intense speculation within the television industry.
