In 2004, two major-studio films were released that revolved around the rebellious teenage daughters of fictional presidents, making it a peculiar coincidence in the world of politics-inspired pop culture. “Chasing Liberty” and “First Daughter” followed the journeys of Anna Foster and Sam MacKenzie, respectively, as they broke free from their fathers’ control and found romance with undercover Secret Service agents. These films were part of a trend in the late 1990s and early 2000s, where frothy romantic comedies set in a political backdrop became popular, although they often lacked substantial political content. Politics served mainly as a justification for the overprotectiveness of the fathers in these movies, or as a source of interpersonal conflict in movies about royalty.
In contrast, “Red, White & Royal Blue,” a new film now streaming on Prime Video, draws inspiration from this era of politics-themed rom-coms but adds its own unique twists. The movie features Alexander Claremont-Diaz, the first son of the United States, a biracial, bisexual college student, who falls in love with Prince Henry Fox-Mountchristen-Windsor of Wales. To maintain diplomatic relations between the US and the UK, they must fake a friendship, leading to an unexpected romance. This film combines the elements of an odd-couple romantic comedy with the enemies-to-lovers trope, creating an enjoyable and meme-worthy experience. What sets it apart from its predecessors is its attempt to situate the love story within the high-stakes realm of contemporary politics. However, in the current geopolitical climate, this optimistic and lighthearted fantasy feels increasingly out of touch and uncomfortable.
“Red, White & Royal Blue” was directed by Matthew López and written by Ted Malawer, based on Casey McQuiston’s 2019 novel. When the book was released, it quickly gained a following on social media platforms like BookTok, where romance novels are celebrated. The appeal of the book is understandable: McQuiston began writing it during the 2016 presidential election, when many believed that a woman could become the US president. After the unexpected election of Donald Trump, McQuiston’s book, set in an alternate timeline where a woman did win, became an escapist delight for readers, particularly queer readers. The story presents a world where gay relationships flourish, and homophobia is condemned. Alex, the protagonist, not only has a supportive mother but also benefits from being the son of a Texas Democrat who embraces her child, helping her win reelection and turn her historically red state blue.
Throughout the film, Alex and Henry teach each other about their different life experiences, offering a glimpse into the worlds on either side of the Atlantic. Their relationship reflects the desire for representation and the longing to see oneself in positions of power and influence. Alex, an immigrant with a unique background, recognizes the value of being someone his father never had the opportunity to be. President Ellen Claremont, portrayed by Uma Thurman, represents the lean-in leadership that many Americans hoped for in 2016. She is a self-assured career woman who listens to her diverse staff members, an example of inclusive governance. The film tackles the competitive electoral landscape but ensures it remains fair. It conveys the message that a woman from Texas can win the presidency not once, but twice, with the support of her Mexican American husband and biracial children.
However, “Red, White & Royal Blue” struggles to navigate the limitations of its narrative in light of the current political climate. Two-party governance is no longer a stable electoral system, and violent rhetoric from national politicians has become disturbingly prevalent. The film portrays the Republican candidate as a middle-of-the-road conservative rather than a far-right Republican as in the book. This choice feels inadequate when considering the ongoing challenges posed by figures such as Donald Trump, Texas’ migration policies, and the rise of Governor Ron DeSantis. The hopeful and idealistic portrayal of the election process, reminiscent of “The West Wing,” feels out of place in this transformed era.
Henry’s disillusionment with royalty feels contrived in the context of the real Duke and Duchess of Sussex and the media frenzy surrounding them. Henry questions the relevance of royalty in the 21st century, but his sentiment seems disingenuous considering his title and the film’s expectation that viewers will be captivated by the institution. Nevertheless, the film succeeds in capturing the corny dynamics of youthful infatuation. Taylor Zakhar Perez and Nicholas Galitzine deliver endearing performances, bringing depth to their characters despite occasional weaknesses in the writing. Their portrayal of reluctant young lovers is charming, even when they make mistakes or express naivety. These scenes are delightful and offer a glimpse into what could be expected from future adaptations of popular books, such as Galitzine’s upcoming role alongside Anne Hathaway in “The Idea of You.”
It’s important to acknowledge that the world has changed, and some of the charm and appeal of those politics-inspired rom-coms from the early 2000s do not translate to today. “Red, White & Royal Blue” attempts to strike a balance between romance and contemporary politics, but it struggles to reconcile the lightheartedness of its premise with the complexities of the current geopolitical climate. Nonetheless, the film manages to capture the joy and silliness of youthful infatuation, offering a hopeful and optimistic narrative that will resonate with fans of the romance genre.
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