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      in Movies

      With ‘The Kissing Booth 3,’ Joey King Closes a Chapter of Her Life

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      The actress started on the Netflix movies when she was 17 and grew along with her high school character, Elle: “I went through a lot of important life moments in her shoes.”In hindsight, it’s somewhat of a miracle that “The Kissing Booth 3” got made in the first place.Not because the 2018 “The Kissing Booth” was initially a stand-alone film — before the summery rom-com, about a high schooler who falls for her best friend’s brother, became an unexpected hit on Netflix. And not because of the pandemic; this final chapter was shot earlier, in 2019, at the same time as “The Kissing Booth 2.”With workdays that included wrestling in massive inflatable sumo suits, shooting a montage at a water park and racing go-karts in Mario Kart-like costumes, it’s remarkable that Joey King and her colleagues, who had a ball in the process, were able to focus enough to get the job done.“If you put us in a room and you expect us to get much done that’s productive, it’s going to be hard,” King, the franchise’s 22-year-old star, said in a video call. “We’re like 12-year-old boys.”The trilogy’s final film, which begins streaming Wednesday, follows Elle, King’s character, through her last summer before college as she juggles dating her boyfriend, Noah (Jacob Elordi), and checking off the aforementioned antics with her friend Lee (Joel Courtney) in a last-ditch effort to complete their childhood bucket list.One of her next projects has a different vibe: King described “The Princess,” which she’s shooting this summer in Bulgaria, as an action movie, “‘The Raid: Redemption’ meets Rapunzel.” She sat down for a video interview (energetic as ever, it’s worth noting, at 6 a.m. local time) to discuss the end of the series that has defined this phase of her career and how Elle’s coming of age has mirrored her own. These are edited excerpts from the conversation.What was it like shooting the last two films back to back?Actually, we shot them at the same time — meaning in one day, we’d be shooting scenes from both movies. It was so confusing.How did you keep everything straight?I can’t give myself that kind of credit, because I didn’t. I knew exactly what I was doing every day, but when I was on set and my director [Vince Marcello] would come over and say a note or something, I was like, “Wait, are we in Movie 3 right now?” He’s like, “No, we’re still in Movie 2.” It’s not like they were very similar, because their story lines do take crazy different turns. But it was kind of fun to marry them together.King filmed “The Kissing Booth 3,” above, and the previous film in the trilogy at the same time. “It was so confusing,” she said.Marcos Cruz/NetflixWas this film — along with “The Kissing Booth 2” — the first project you executive produced?It is, which was lovely. I’ve been putting my hand more into producing lately; I’m actually producing “The Princess” as well. But it was really special for me to start on those movies since I’ve been with them for such a long time.I’m a bit of a sponge. On set, it was more of me absorbing stuff from Vince and being like, “So why did we make that decision?” Just asking more questions. He was so willing to be even more collaborative with me and ask my opinion. I felt like I had a voice on set, but my voice really did come in on the back half of filming. I had a lot of say on what the final product was, and I also am very heavily involved in the marketing process. I’m very passionate about both of those things, and I feel like I am one of the target audiences. It’s fun to be able to have a say in something that I would want to watch at the end of the day.At the heart of these movies is a coming-of-age story. Did you find similarities to your own experiences at this stage of your life?I’ve always felt very connected to Elle. I remember receiving the script for the first movie. I called my team, and I said, “When can I audition for this? I want this so bad.” And they were like, “You don’t have to audition for it; it’s an offer.” If I had had to audition for it, I would have done anything to get that job.So when I started playing Elle, I felt like [she] and I were very, very similar. Her vibe, her sense of humor; I felt very in tune with it. And same thing goes for the second and third movie, if not more so — I went through a lot of important life moments in her shoes.King with Jacob Elordi in the final film in the series. King said, “I went through a lot of important life moments in her shoes.”Marcos Cruz/NetflixHow do you feel you’ve changed since then?I have changed so much. It’s actually quite unbelievable to me. I never thought I was going to change as a person, and I was so wrong. That’s the beauty of being young. My perspective on life changed — my perspective on family, on relationships, on career. So that’s why, when I feel like I’ve really gone through so much with Elle, it’s because I have changed so much as a person and learned so much.In what ways?I became a little bit more present. I started meditating. I found a very incredible relationship [the director and producer Steven Piet]. Obviously I’ve always loved my family, but I have found a deeper appreciation for them. And career stuff, too: I started becoming more zeroed in on exactly what I wanted to do and how much I didn’t want to do certain things. And that was really interesting, just to feel a little more empowered in my own abilities to make decisions. I’m actually quite an indecisive person. If you take me to a restaurant, I have no idea what I want. And that’s even if we decide where we should go. But when it comes to my career, my brain switches over to a decisive mode. That’s a new development for me.You’ve had such a range of roles at this point — “The Kissing Booth” is very different from “The Act.” [King was nominated for an Emmy for her performance in the Hulu true-crime drama, as a young woman convicted of killing her mother.] When you talk about narrowing down what you want to do, do you hope to keep that sort of variety? Or do you prefer certain roles?I personally love to keep a wider range, and I never really have a specific “this is what I want to do next.” I want to keep excited about it. I love the fact that they [“The Kissing Booth” and “The Act”] were polar opposites. And I’m hoping that people are excited to see me in different kinds of roles, because I very carefully decided that this is what I want to do.This was, as far as we know for now, the final “Kissing Booth.” But if the opportunity arose, can you see yourself returning to Elle and this story in the future?I started these movies when I was 17. We were just like, we hope people like it — if anyone even sees it. Little did we know what a big impact this would have. I’ve never tired of playing Elle. It’s so fun. Watching this story be wrapped up so nicely in like a beautiful bow, I think it would be a little hard to come back after that. We made this ending exactly what I think it needed to be. Selfishly, do I want to play Elle again? Absolutely. But I think that the story is on its final chapter. More

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      in Television

      How Disney is Chipping Away at Netflix's Dominance

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      The cracks are showing in Netflix’s worldwide dominance.Netflix is still king of streaming video, but audiences are slowly shifting toward new rivals, namely the Walt Disney Company’s Disney+, according to research from Parrot Analytics.Netflix’s share of worldwide demand interest — a measure, created by Parrot, of the popularity of shows and a key barometer of how many new subscribers a streaming service is likely to attract — fell below 50 percent for the first time in the second quarter of the year.The company’s “lack of new hit original programming and the increased competition from other streamers is going to ultimately have a negative impact on subscriber growth and retention,” Parrot said in a news release before Netflix announced its quarterly earnings on Tuesday.Netflix said it had attracted 1.5 million new subscribers in the second quarter of the year, beating the low bar it had set when it told Wall Street that it anticipated adding just one million.The company said it expected to add about 3.5 million new subscribers in the third quarter, lower than the approximately 5.5 million that investors were expecting. Netflix shares fell as much as 4 percent in after-hours trading on Tuesday before bouncing back a little.The company now has 209 million subscribers, but it lost 430,000 in the United States and Canada, its most lucrative region, over the period. It now has 73.9 million subscribers in that market, with about 66 million in the United States.In a letter to shareholders, Netflix said that “Covid-related production delays in 2020 have led to a lighter first-half-of-2021 slate.” Netflix relies on creating as many different shows and films for as many different audiences as possible, and the pandemic upset that formula, forcing the shutdown of productions around the world.Traditional media players have started to consolidate, again, potentially setting off another race for talent, studio space and production resources. In May, Discovery announced that it would buy WarnerMedia from AT&T, creating the second-largest media giant, behind Disney and ahead of Netflix. Less than two weeks later, Amazon announced that it would buy Metro-Goldwyn-Mayer, home to the James Bond franchise, for $8.45 billion, a price many analysts considered rich.In the earnings call after the report, Reed Hastings, Netflix’s co-chief executive, said he didn’t think it made sense for Netflix to jump into the consolidation game. He even offered his own analysis of some of the industry’s biggest deals, including Disney’s acquisition of the bulk of Rupert Murdoch’s 21st Century Fox.“Certainly Disney buying Fox helps Disney become more of a general entertainment service rather than just a kids and family,” he said. “Time Warner-Discovery — if that goes through — that helps some, but it’s not as significant, I would say, as Disney-Fox.”Mr. Hastings’s co-chief executive, Ted Sarandos, offered a sharper critique of these megadeals. “When are they one and one equals three? Or one and one equals four?” he asked. “Versus what most of them tend to be, which is one and one equals two.”Netflix has downplayed competition concerns even as newer entrants have chipped away at its long-held grip. Disney+ more than doubled its share of demand interest in the second quarter compared with a year earlier, and Amazon Prime Video, AppleTV+ and HBO Max are also gaining, according to Parrot.In its letter to shareholders, Netflix said the industry overall was “still very much in the early days” of the transition from traditional pay television to streaming.“We are confident that we have a long runway for growth,” it said. “As we improve our service, our goal is to continue to increase our share of screen time in the U.S. and around the world.”Mr. Hastings said competition would further stoke streaming across all companies.“As you get new competition in, you get validation — more reasons to get a smart TV or unlimited broadband,” he said. “So for at least the next several years, the growth story of streaming as a whole is very intact.”But Netflix hasn’t seen any impact from the “secular competition,” Mr. Hastings said, referring to Disney or HBO. “So that gives us comfort,” he added.Netflix, he said, is really competing against traditional television, and the “shakeout” won’t happen until streaming makes up the majority of viewing. He cited the latest study from Nielsen, which showed that streaming accounts for about 26 percent of television viewing in the United States, with Netflix making up about 6 percent. Disney+ is far behind at 1 percent.In other words: If Disney+ is hurting us, we haven’t seen it.The argument that Netflix has been competing with regular television and other streamers for a long time overlooks the fact that new rivals like Disney+ and AppleTV+ are much cheaper than Netflix (and subscription television). And although those services produce far fewer originals than Netflix, they appear to be getting more bang for their buck.In the second quarter, Disney+ got a big boost of demand interest from “The Falcon and the Winter Soldier,” a series based on the Marvel Cinematic Universe, which has thoroughly dominated the box office in recent years. “Loki,” another Marvel spinoff, also helped, according to Parrot.Amazon Prime Video got a boost in the period with “Invincible,” an animated superhero series for adults. And AppleTV+ attracted new customers with three originals: “Mosquito Coast,” a drama based on the 1981 novel; “For All Mankind,” a sci-fi series; and “Mythic Quest,” a comedy series that takes place in a game developer studio.Speaking of, Netflix said this month that it planned to jump into video games. It has hired a gaming executive, Mike Verdu, formerly of Electronic Arts and Facebook, to oversee its development of new games. It’s a potentially significant move for the company, which hasn’t strayed far from its formula of television series and films.The company called gaming a “new content category” that will be a “multiyear effort” and said it would be included as part of a subscribers’ existing plans at no extra cost. Games will first appear on its mobile app, an environment that already allows for interactivity. The vast majority of Netflix’s customers watch on big-screen televisions.Gaming isn’t meant to be a stand-alone or a separate element within Netflix. “Think of it as making the core service better,” Mr. Hastings said. “Really, we’re a one-product company with a bunch of supporting elements.” More

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      in Television

      With ‘Younger’ and ‘The Bold Type’ Ending, Will TV Turn the Page?

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      Series have long depicted media jobs as glitzy and aspirational. But with several such shows wrapping up as much of the news and publishing business craters, is this the end of an era?Joanna Coles published her first magazine at 11 and mailed a copy to Queen Elizabeth. She received a letter of thanks and a royal request for further issues. “It was all the encouragement I needed,” Coles said. More

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      in Movies

      The Best Movies and TV Shows Coming to Amazon, HBO Max, Hulu and More in April

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      Every month, streaming services add movies and TV shows to its library. Here are our picks for some of April’s most promising new titles.(Note: Streaming services occasionally change schedules without giving notice. For more recommendations on what to stream, sign up for our twice-weekly Watching newsletter here.)Ann Skelly in “The Nevers.”Keith Bernstein/HBONew to HBO Max‘Exterminate All the Brutes’Starts streaming: Apr. 7The filmmaker Raoul Peck, perhaps best-known for his Oscar-nominated 2016 documentary “I Am Not Your Negro,” tackles his most ambitious project yet with the four-part cinematic essay “Exterminate All the Brutes,” based in part on Sven Lindqvist’s book of the same name about Europe’s domination of Africa and in part on the scholarly work of the historian and Indigenous rights activist Roxanne Dunbar-Ortiz and the Haitian anthropologist Michel-Rolph Trouillot. Relying on a mix of clips from old movies and new dramatizations of historical incidents — all overlaid with the director’s discursive narration — Peck considers how pop culture and the literary canon have shaped the narratives around Indigenous people and their colonial invaders. Equal parts informative and provocative, this project is aimed at changing the way viewers think about who history’s heroes and villains are.‘The Nevers’Starts streaming: Apr. 11There’s a bit of steampunk and a lot of X-Men-like energy in “The Nevers,” a semi-comic action-adventure series created by Joss Whedon, the man behind “Buffy the Vampire Slayer” and “Firefly.” Whedon’s contributions have been downplayed by HBO’s promotional departments, in part because he left the production in the middle of its first season — and perhaps because of recent accusations of mental abuse from his past employees. Nevertheless, “The Nevers,” set in Victorian Britain, very much feels like one of his shows, with its alternately angsty and witty characters. Laura Donnelly plays Amalia True, a superhero who leads a team of strange and powerful women referred to by London aristocrats as “the touched.” As the ladies tackle supernatural phenomena, they also clash with an establishment that wants to keep them marginalized, because of what they can do and because of who they are.‘Mare of Easttown’Starts streaming: Apr. 18Kate Winslet plays a dogged small-town Pennsylvania police detective with a messy home life in “Mare of Easttown,” a crime drama created by Brad Ingelsby, a screenwriter of the films “Out of the Furnace” and “The Way Back.” As with Ingelsby’s movies, this mini-series uses a pulpy premise — a murder mystery — as an entry point to a complex and absorbing study of a place at once familiar and unique. The director Craig Zobel and a top-shelf cast (including Jean Smart as the heroine’s opinionated mother and Julianne Nicholson as her former high school basketball teammate) capture the limitations and comforts of a community where everyone knows each other’s painful secrets. The gray tones and the procedural plot resemble those of a grim European cop show, but the performances and dialogue exhibit a lot of vitality.Also arriving:Apr. 1“Made for Love”Apr. 13“Our Towns”Apr. 15“Infinity Train” Season 4Apr. 16“Mortal Kombat”Supposed Sasquatch footprints, as seen in “Sasquatch.”HuluNew to Hulu‘WeWork: Or the Making and Breaking of a $47 Billion Unicorn’Starts streaming: Apr. 2Like many stories about cutting-edge business ideas, the saga of the real-estate-sharing company WeWork ultimately comes down to the disconnect between its bosses’ public ideals and the ugly practical realities of making money. Directed by Jed Rothstein, “WeWork: Or the Making and Breaking of a $47 Billion Unicorn” features a wealth of insider interviews and behind-the-scenes footage, all describing a start-up that began by touting a clever solution to the modern urban problem of overpriced office space but then tried to evolve into an entire unwieldy lifestyle brand. Rothstein’s film focuses mainly on the charismatic co-founder Adam Neumann, and how Neumann and his fellow execs were spending like billionaires while misrepresenting — even to their faithful employees — what was really happening.‘Sasquatch’Starts streaming: Apr. 20The journalist David Holthouse has spent much of his career investigating odd American subcultures, spending time with people whose lives have revolved around drugs, violence or the arcane. In the three-part docu-series “Sasquatch,” Holthouse heads into Northern California’s so-called Emerald Triangle — one of the most storied cannabis-growing regions of the world — to look into a legend he heard decades ago, about a trio of farmers who were dismembered by the infamous cryptid known as Bigfoot. The director Joshua Rofé follows Holthouse into the wild as he interviews locals who are enthusiastic about both marijuana and the paranormal. The stories they unearth are partly about eerie phenomena and partly about the very real dangers of a community teeming with crime.Also arriving:Apr. 3“Hysterical”Apr. 8“Glaad Media Awards”Apr. 9“The Standard”Apr. 12“Spontaneous”Apr. 15“Younger” Season 7Apr. 16“Fly Like a Girl”“Songbird”Apr. 21“Cruel Summer”Apr. 22“Greta Thunberg: A Year to Change the World”Apr. 25“Wild Mountain Thyme”Apr. 28“The Handmaid’s Tale” Season 4From left, Deborah Ayorinde, Melody Hurd, Shahadi Wright and Ashley Thomas in “Them.”Amazon StudiosNew to Amazon‘Them’Starts streaming: Apr. 9The first season of the new horror anthology series “Them” has the subtitle “Covenant,” referring to the rules for residents of a middle-class suburban subdivision in the early 1950s. Deborah Ayorinde and Ashley Thomas play a married couple with two young daughters, who move from North Carolina to an all-white neighborhood in Los Angeles looking for their piece of the American dream. They meet open hostility from their new neighbors (including the local housewives’ cruel ringleader, played by Alison Pill), while also being haunted by strange supernatural forces. Created by Little Marvin and produced by Lena Waithe, “Them” uses the discomfiting facts of racial discrimination to unsettle the audience, even before the nonhuman monsters arrive.Also arriving:Apr. 2“Moment of Truth”Apr. 16“Frank of Ireland”Apr. 30“Without Remorse”Justin Theroux and Melissa George in “The Mosquito Coast.”Apple TV+.New to Apple TV+‘The Mosquito Coast’Starts streaming: Apr. 30Justin Theroux is both a producer and the star of the mini-series “The Mosquito Coast,” an adaptation of an acclaimed 1981 novel by his uncle Paul Theroux. The show’s co-writers Neil Cross and Tom Bissell, with the director Rupert Wyatt, have updated the story to the 21st century, but its still about the idealistic and eccentric inventor Allie Fox, who hates modern technology as much as he detests American materialism. Chasing his dreams — and dodging the federal authorities — Allie packs his family onto a rickety boat and floats them down to Latin America, where he plans to live off the land. The TV version deviates sometimes significantly from the book, but its heart is the same: a rich portrait of a brilliant madman, and of the people he’s dragged into his delusions.Also arriving:Apr. 2“Doug Unplugs” More

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      in Television

      ‘Kid 90’ and the Days When Even Wild TV Teens Had Privacy

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      A documentary from Soleil Moon Frye, star of “Punky Brewster,” and a reunion of “The Real World” remind us that Gen X didn’t curate themselves for mass consumption.Sometimes I remember the clunky devices of my youth — the boxy Polaroid cameras, the bricklike car phones, the shrill answering machines, the pagers that could be made to spell an angular, all-caps “BOOBS.” This was the personal tech of the early-to-mid-1990s, in the years before AOL Instant Messenger provided an internet on-ramp, which means it was pretty much the last time an American teenager could behave with some expectation of privacy.Still, camcorders existed back then and Soleil Moon Frye, the child star of “Punky Brewster,” rarely turned hers off. In “Kid 90,” a documentary now streaming on Hulu, an adult, manicured Moon Frye — filmed in the kind of all-white room usually associated with near-death experiences — revisits her endless home movies, as well as related ephemera: diaries, voice mail messages and photographs. If you are a young Gen Xer or an old millennial, “Kid 90” may provide the uncanny and not entirely welcome experience of having your childhood returned to you — the syntax, the celebrities, the fashions that haven’t come back around (the backward baseball cap, the vest as a bustier). Revisiting your youth culture when your own youth has mostly fled is an exercise in estrangement and mild humiliation, like running into your therapist at Victoria’s Secret.In the 1980s sitcom “Punky Brewster,” Moon Frye starred as a girl being raised by a foster father.Gene Arias/NBC/NBCU Photo Bank via Getty ImagesBefore I clicked play, I asked an editor how many drinks I might need to make it through the documentary. “A 40 of Mickey’s malt liquor,” she wrote.The early ’90s also reappear on “The Real World Homecoming: New York,” a Paramount + show that reunites the cast members from the first season of MTV’s flagship unscripted series. Seven people, strangers no more, return to the New York loft (well, one is waylaid by a positive Covid-19 test) where their teen and 20-something lives were taped for a few months in 1992. It wasn’t the first reality show, but its wild popularity and subsequent franchise profoundly influenced what came after. “We didn’t know what it was going to be,” the journalist and activist Kevin Powell, one of the original roommates, says in the first episode of “Homecoming.” “We were just ourselves.”To watch the series and the documentary is to dilate, helplessly, on what has changed (or not) in the past 30 or so years. It’s to realize that Moon Frye, by cheerfully surveilling her own life, and those first Real Worlders, by agreeing to the constant presence of producers and cameras, were the harbingers of today’s culture, in which self-image is shaped in the expectation of a lens and personhood collates with brand identity.“The Real World Homecoming: New York” reunited the cast of the hit reality show, which premiered on MTV in 1992; from left, Norman Korpi, Kevin Powell, Julie Gentry and Heather B. Gardner, with Andre Comeau looking on.Danielle Levitt/MTVMoon Frye seems to have known every other child star in Los Angeles and its outlying counties: Sara Gilbert, Emmanuel Lewis, Brian Austin Green, Mark-Paul Gosselaar, Joey Lawrence, Jenny Lewis (hilarious) and at least a dozen more. These were children valued less for who they were and more for the fandom and ads they could generate, the tickets they could sell. Today, that’s everyone with an Instagram account, potentially.“Kid 90” also reminds us that until pretty recently, the dumb things teenagers wore and the dumber things they did and said didn’t have an afterlife, because there were few ways to record them and even fewer ways to disseminate those recordings. A crucial aspect of adolescence is performance — trying on different outfits and identities — and seeing if they feel OK. (The comedy of adolescence is that it’s practice for adulthood. The tragedy is that adolescents practice on one another.)I was a teenager in the ’90s, and I’m unutterably grateful that my own mortifications — lines like, “I’m not a feminist, I’m really more like a humanist,” and a grunge-adjacent look that my high school bestie still calls the Lumberjack Sexpot — persist only on the bloopers reel in my head. Until young adults achieve some reasonable sense of self (and style), why get the internet involved?When Moon Frye moved to New York, she fell in with a group of skaters, some of whom were in the movie “Kids.”Soleil Moon Frye/HuluThe kids in “Kid 90” are filmed during their off hours: poolside, at house parties, high on mushrooms in a field somewhere. They sometimes perform for the camera — winking, pontificating, flashing a don’t-tell-mom pack of cigarettes — but they perform confident that almost no one will ever see it. “We never thought, ‘Oh, well, she’s going to use that in a way that’s going to come back and haunt us,’” Gosselaar says in the documentary.Back in 1992, those “Real World” participants knew that MTV would eventually air the footage, but not how that footage would be organized. They didn’t know that the producers would fabricate a will-they-or-won’t-they story line for Julie Gentry and Eric Nies, or that Kevin Powell would be edited to seem like a “politically angry Black man,” as he said in a recent interview. “We all thought it was a documentary about seven artists,” Rebecca Blasband says in “Homecoming.” If she and her loftmates didn’t act entirely naturally, they don’t seem to have spent the series trying to build a marketable brand.The producers and editors did the building for them, giving each a type (naïf, himbo, rock god, firebrand), which the cast members then spent years trying to live up to — or live down. “I had this notoriety, but I had no idea how to utilize it,” Gentry says in “Homecoming.”Moon Frye as a teenager; she is now appearing in a “Punky Brewster” reboot on Peacock.Soleil Moon Frye/HuluMoon Frye seems to have also struggled with her image and with how the industry treated her when her body began to diverge from Punky’s. In an agonizing section of the documentary, she talks about going through puberty, developing breasts and being seen, at 13 and 14 years old, only for bimbo-esque roles. Peers called her Punky Boobster.“It’s hard when you’ve got boobs and you can’t work in this business,” a teenage Moon Frye says. “I just want people to see me for the person I am inside.” Here’s a thought: What if the business is the problem and not children’s bodies?She wanted serious roles, so at 15, she had breast reduction surgery. But the serious roles never came. After years in the entertainment wilderness, she is now starring in a “Punky Brewster” reboot, now streaming on Peacock. “Kid 90” presents this comeback as a chirpy capstone, but it feels darker. The documentary honors a slew of friends who didn’t make it to their 40s (including Jonathan Brandis and Justin Pierce, a star of the movie “Kids”) and mentions the addictions suffered by those who did. Some of that pain must have originated in the space between what the industry (and the fans) told these actors they had to be and who they felt they were. Maybe Moon Frye is Punky once more because “the business” wouldn’t let her be anyone else.I was, unconvincingly, so many people as a teenager — a rebel, a sophisticate, a drama nerd, a go-getter, a witch. I could try on a persona for size and then return it, tags on. There was no social media then and no one wanted me on any reality series, so I never had to curate a self before I had one. But I did stupid things for love. What would I have done for likes? What would that have made me?Like Moon Frye and a lot of girls with big feelings and poetic inclinations, I kept diaries as a teenager. I’ve never gone back and read them. Why? I’m afraid that I might be embarrassed by my younger self or that she might be embarrassed by boring, wine-mom me. But I hope we’d get along. And then we could take a kiss-face selfie together, filter it, Facetune it, post it with some cute caption and watch the little hearts roll in. More