Hayley Kiyoko’s Girls Like Girls delivers a visually nostalgic but narratively underwhelming sapphic teen romance that fails to match the cultural resonance of her 2015 breakout hit. The film, released in 2024, leans heavily on Tumblr-era aesthetics and queer iconography but struggles with predictable dialogue and a meandering plot, according to critics and audience reactions. While Kiyoko’s star power and the film’s LGBTQ+ themes generate buzz, its execution risks overshadowing the very representation it aims to celebrate.
For queer audiences who grew up with Kiyoko’s anthemic 2015 single—Girls Like Girls, a track that became a defining moment in queer pop culture—the film’s release has been met with both anticipation and skepticism. The music video alone, which has amassed 163 million views on YouTube, symbolized a cultural shift in visibility for sapphic relationships. Yet the film’s critical reception suggests it may not live up to the emotional weight of its source material.
With queer storytelling in Hollywood evolving rapidly—from Chappell Roan’s rise in music to audiences demanding deeper narratives—Girls Like Girls faces scrutiny over whether it’s a missed opportunity for meaningful representation or a nostalgic throwback with heart but little substance.
What’s the Cultural Context Behind Girls Like Girls?
Kiyoko’s 2015 single Girls Like Girls arrived in a pivotal moment for queer visibility. Just two days after the U.S. Supreme Court’s landmark Obergefell v. Hodges ruling legalizing same-sex marriage nationwide, Kiyoko’s anthem—with its defiant lyrics, “Girls like girls like boys do, nothing new”—became an instant queer anthem. The accompanying music video, featuring a sapphic teen romance, spread like wildfire on Tumblr, a platform that had already become a digital safe haven for LGBTQ+ youth navigating identity in the pre-social media era.
“The video wasn’t just a song—it was a moment of collective recognition,” says Dr. Elena Martinez, a cultural studies professor at USC specializing in queer media. “For many, it was the first time seeing sapphic relationships portrayed in mainstream pop culture without shame or stereotypes.” The video’s 163 million views reflect its enduring impact, though its cultural resonance now extends beyond nostalgia into a broader conversation about representation in film and music.
Fast-forward to 2024, and Kiyoko’s directorial debut arrives at a time when queer storytelling in Hollywood is both more visible and more scrutinized. Films like _The Lesbian_ and _Fire Island have pushed boundaries, while artists like Chappell Roan and Renéé Rapp have redefined queer pop music. Against this backdrop, Girls Like Girls risks being seen as a safe, if well-intentioned, retread rather than a bold new chapter.
Why Critics Are Calling It a “Predictable Yawn-A-Thon”
Early reviews of Girls Like Girls paint a picture of a film that’s visually engaging but narratively lacking. RogerEbert.com describes it as “a love letter to Tumblr aesthetics that forgets to tell a compelling story,” while Vulture calls it “a missed opportunity for meaningful queer storytelling.”
The film’s plot follows a high school senior, played by Kiyoko herself, navigating a sapphic romance amid the pressures of graduation and self-discovery. Critics highlight several key issues:
- Predictable Dialogue: Lines like “You’re my person” and “I’ve never felt this way before” are described as clichéd, even for a teen romance.
- Meandering Pacing: The film’s runtime (1 hour, 42 minutes) feels bloated, with scenes dragging rather than building tension.
- Missed Emotional Depth: While the film’s LGBTQ+ themes are handled with care, reviewers note a lack of nuance in addressing real-world struggles like family rejection or school bullying.
“The film’s biggest sin isn’t its lack of heart—it’s its lack of ambition,” says IndieWire’s David Ehrlich. “It plays it safe when queer cinema today demands boldness.”
How Does Girls Like Girls Compare to Other Queer Teen Romances?
To understand where Girls Like Girls stands, it’s worth comparing it to recent sapphic films that have resonated more deeply with audiences:
| Film | Release Year | Director | Critical Reception | Cultural Impact |
|---|---|---|---|---|
| Booksmart | 2019 | Olivia Wilde | 93% on Rotten Tomatoes; praised for humor and heart | Redefined queer teen comedy; became a cultural touchstone for Gen Z |
| The Half of It | 2020 | Alice Wu | 96% on Rotten Tomatoes; celebrated for emotional authenticity | Highlighted the lack of sapphic representation in YA literature |
| Fire Island | 2022 | Andrew Ahn | 95% on Rotten Tomatoes; lauded for LGBTQ+ ensemble cast | Brought queer joy to mainstream audiences |
| Girls Like Girls | 2024 | Hayley Kiyoko | 58% on Rotten Tomatoes (as of June 2024); mixed reviews | Nostalgic appeal but criticized for safe storytelling |
Girls Like Girls shares DNA with these films in its focus on queer teen romance, but where Booksmart and The Half of It deliver sharp wit and emotional stakes, Kiyoko’s debut leans into familiarity. “It’s not a bad film—it’s just not a great one,” says TheWrap’s critic. “In a landscape where queer stories are finally getting the attention they deserve, this feels like a step backward.”
Who Is Hayley Kiyoko, and What Does This Film Mean for Her Legacy?
Hayley Kiyoko’s journey from Disney Channel star to queer icon is a story of reinvention. Born in 1991, she rose to fame as a child actress before pivoting to music with her 2015 debut single, which became an anthem for LGBTQ+ youth. Her engagement to former _The Bachelor_ contestant Becca Tilley in 2023 further cemented her status as a figurehead for sapphic representation.
Yet her directorial debut arrives at a crossroads. While Kiyoko’s star power ensures the film gets attention, its critical reception suggests she may have underestimated the expectations placed on her as a queer creator. “Hayley has always been a voice for her community,” says music journalist Alex Petridis. “But directing isn’t just about passion—it’s about craft. This film shows she’s still finding her footing.”
For fans who see her as a “lesbian Jesus”—a term popularized by her devoted audience—Girls Like Girls may feel like a letdown. But Kiyoko’s influence extends beyond her own work; she’s part of a generation of queer artists pushing boundaries in music, film, and fashion. As The New York Times notes, her impact lies not just in what she creates but in what she inspires.
What’s Next for Queer Cinema and Hayley Kiyoko?
The release of Girls Like Girls coincides with a broader reckoning in Hollywood about representation. Studios are increasingly investing in LGBTQ+ stories, but the bar for quality is rising. Films like _Bottoms and _The Lesbian have proven that audiences crave more than just surface-level diversity—they want depth, complexity, and authenticity.
For Kiyoko, the challenge now is to build on her cultural legacy. Her next steps aren’t yet clear, but industry insiders suggest she’s exploring more ambitious projects. “This film is a footnote, not a statement,” says a producer close to the project. “The real Hayley Kiyoko is still waiting to be seen.”
In the meantime, Girls Like Girls serves as a reminder: representation matters, but it’s not enough to simply include queer stories—those stories must also be compelling. For now, fans are left wondering whether Kiyoko’s next project will rise to the occasion.
Key Takeaways
- Cultural Impact: The film’s title and music video reference Kiyoko’s 2015 anthem, which became a queer milestone with 163M YouTube views.
- Critical Reception: Mixed reviews highlight predictable dialogue and meandering pacing, with critics calling it a “nostalgic throwback” rather than bold storytelling.
- Comparative Analysis: Unlike recent sapphic hits like Booksmart or Fire Island, Girls Like Girls lacks emotional depth and sharp writing.
- Legacy at Stake: Kiyoko’s directorial debut risks overshadowing her status as a queer icon, with fans and critics expecting more ambition.
- Industry Context: The film’s release coincides with Hollywood’s push for LGBTQ+ representation, raising the bar for quality in queer cinema.
What’s next? Hayley Kiyoko has not yet announced her next project, but industry sources suggest she’s in early discussions for a more ambitious film or TV series. For now, audiences are encouraged to share their thoughts in the comments below or on social media using #GirlsLikeGirlsFilm. Will this be a one-time misstep, or the beginning of a stronger creative chapter?