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Noah treasures his freedom, Howie yearns for a real fairytale ending. Why is the only acceptable climax in a romance a theatrical, over-the-top declaration of love? Why are preferences of non-monogamy, or a fear of commitment, so often deeply frowned upon? Pride and Prejudice is an excellent prototype for this particular story it lays the groundwork for a multitude of relationship dynamics, and its classic structure demands that the film question the familiar rom-com norms that the novel presents. The epicenter of the film lies in its characters’ sexualities, from discussions about the unique struggle of gay Asian invisibility to refreshingly candid conversations regarding the minutiae of their sex lives. Director Andrew Ahn has transformed a story deeply rooted in heteronormative standards and ideals into one about the gay experience. Of course, Fire Island comes with a notable twist. Meanwhile, Noah’s best friend Howie (Bowen Yang) falls into a too-good-to-be-true romance with Charlie (James Scully): Jane Bennet and Charles Bingley. There, he meets his sullen and irritable Darcy, Will (Conrad Ricamora), and the two engage in a delightful love-hate, will-they-won’t-they relationship.
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Fire Island loosely follows the structure of this oft-adapted source material, centering fun-loving and stubbornly independent Noah (mirroring the sharp and brazen Elizabeth Bennet) as he accompanies his friends to the country’s ultimate gay-hub, Fire Island. In voiceover, Noah (Joel Kim Booster) recites Pride and Prejudice’s first line, and even goes as far as to show us a copy of the book lying conspicuously on his bedside table. From its opening moment, Fire Island ensures its viewer is aware that it is a Jane Austen adaptation.