2024’s “Mean Girls” Provides a Fresh Take on the Cult Classic

Initially released in 2004, “Mean Girls” is Tina Fey’s beloved and exaggerated tale of cliques, revenge, and self-discovery.

The newest spin on “Mean Girls” is just as much of a commentary on micro-trends as it is a Broadway adaptation. 

Initially released in 2004, “Mean Girls” is Tina Fey’s beloved and exaggerated tale of cliques, revenge, and self-discovery. Inspired by Rosalind Wiseman’s 2002 self-help book “Queen Bees and Wannabes,” “Mean Girls” has taken many forms over the last two decades: “Mean Girls,” the movie (2004), “Mean Girls,” the Broadway musical (2018), and “Mean Girls,” the adaptation of the musical (2024).

I like to proclaim myself a lover of sketch comedy – after all, I was raised to the tune of the theme song to “Saturday Night Live” (though I couldn’t fully comprehend the punch lines until I was much older). My initial discovery of 2004’s “Mean Girls” was driven solely by my admiration for the work of Tina Fey and Lorne Michaels. However, with each viewing, I fell more in love with this widely renowned “cult classic.” 

It was inevitable that I would also fall in love with the Broadway musical of the same name and essence, a production in which Tina Fey also had a hand. When a film adaptation of the musical was set to release, I was ecstatic. Jan. 12, 2024 had been on my calendar since the film’s 2020 announcement. It is after my three viewings since its release that I feel readily equipped to share my thoughts. 

Though the cameo of Lindsay Lohan in the latter half of the film was pleasant, I was far too busy marveling at the rest of the film’s casting choices. Reneé Rapp makes it difficult to remember who the story’s villain is, bringing previously unseen levels of charm and charisma to the role of Regina George. Rapp performed as Regina on Broadway from 2019-2020. Her vocals gave me chills every time I heard her sing. Her most powerful number, arguably, is “Someone Gets Hurt.”

Immediately following Rapp as a personal favorite is Avantika Vandanapu (Karen Shetty). Vandanapu brings a beautiful, airheaded energy to the role, supplemented by her powerful voice and dance ability. Her performance of “Sexy” shows just how much of a vocal powerhouse she truly is. 

Although I sing many praises for the cast, Angourie Rice’s portrayal of protagonist Cady Heron was left subject to my criticism. Her performance seems to cower in the shadows of the expressive and colorful Jaquel Spivey (Damian Hubbard) and Auli’i Cravalho (Janis Sarkisian). Spivey and Cravalho’s striking vocals during “Apex Predator” and “Revenge Party” set a difficult pace for Rice’s narrow vocal range to match. 

Even during the most mediocre moments of the film (the easy-to-spot “e.l.f.” & SeatGeek sponsorships), “Mean Girls” remained a showcase of the original film’s messages. Enhanced by montages reflecting the prominent influence of social media and technology, the film held up a mirror to the new age of “mean girls,” acting as a sign of the times. The narrative inclusion of social media did warrant some hard-to-watch moments that made me cringe, but none so intense that they took away from how much fun I had.

After multiple viewings, it still feels as though everything Tina Fey touches turns pink – the most fetch color.