Eu amei a terceira temporada. Eu entendo as críticas que são válidas sobre a maneira como personagens negros e LGBTs são tratados, porém é notório que a motivação vem da frustração de muitas pessoas sobre o resultado do casal definitivo. A personagem continua sendo bissexual mesmo estando se relacionando com homem e isso não deixa de ser válido como uma descoberta importante para a Kitty enquanto identidade.

I've followed Kitty Song-Covey's journey from the beginning, but finishing the third season of XO Kitty was one of the most frustrating experiences I've had recently. What seemed like a journey of self-discovery and breaking clichés turned into a jumble of setbacks that, frankly, disrespect the growth we saw previously. My biggest pain lies in what they did with Kitty and Yuri. I spent the previous season thrilled by the series' courage in exploring Kitty's bisexuality organically. There was a tension, a connection of souls that defied the obvious. Seeing the third season treat this feeling as something disposable or "resolved" in shallow dialogues seemed like a huge disservice. There wasn't even the dignified ending that would have been necessary if the plan had actually been to make them just friends. Instead, the script simply erased the history of actions and affections "planted" throughout the seasons to force a familiar narrative without any logical sense. Everything seems to have been done with the lazy intention of clearing the way for conventional romance, reducing the sapphic connection to a misstep or a "transition plot." Regrettably, the series fell into the trap of using the **** narrative as a temporary springboard, sacrificing representation to return to a heteronormative comfort zone that Kitty had already overcome. This narrative inconsistency is not only bothersome but also breaks one of the main rules of writing that makes the season a complete amateur mistake: Chekhov's Principle. If you introduce an element—or a feeling—prominently at the beginning, it needs to have a function in the ending. The emotional "weapons" carried in the first and second seasons (the discovery of bisexuality, the rivalry transformed into affection, the implicit declarations, the mutual gestures of support and love) were removed from the wall without explanation. For this reason, I felt as if the writers hadn't watched the previous seasons. Also, characters who had evolved regressed to immature behaviors, while the male love interest was elevated to a figure representing perfection, a "Gary Sue" without any verifiable character arc. These are some of the problems that attest to how much the plot was distorted to validate the majority's ship, replacing solid constructions with empty narratives that don't truly add to the story. Furthermore, it's unacceptable to see Kitty become a supporting character in her own life. What I admired most about Kitty was her fierce independence. She traveled the world for an idea, but in this season, I felt she was reduced to an accessory in Minho's arc. It's irritating to see such a vibrant protagonist have her identity molded almost exclusively based on a male love interest. The showrunners seem to have forgotten that the driving force of the story is Kitty's individual evolution, not who she chooses to date in the end. By excessively focusing on "Mooncovey's" fanservice, the script stripped her of the agency and individuality that made her unique, transforming her into a piece **** K-drama that she herself used to subvert. As if the scenario wasn't disastrous enough, the disregard for ****, Black, and South Asian characters is the most critical point. Characters like Quincy and other members of the diverse cast were relegated to mere ornaments, disconnected from the main plot and devoid of any human complexity. They were reduced to superficiality and, worse, to the infamous stereotypes of betrayal, aggression, and vulgarity that these communities, especially LGBTQIA+, fought so hard to disassociate themselves from. Diversity, which previously seemed to be the central and progressive pillar of the work, became merely performative—a "background quota" while the focus returned to the usual standards. For me, this season was a major identity breakdown. Instead of daring to establish Kitty as an independent and complex bisexual young woman, the production chose the easiest and, consequently, the most uninspired path. It leaves a bitter taste of a story that had the potential to be revolutionary within the To All the Boys universe, but which chose to shrink before the most obvious expectations. It aimed to be a symbol of representation and self-identity only to become, in the end, just another empty cliché that underestimates the intelligence and heart of its audience.