"I thought it was such a unique concept to play parents who happen to be super heroes and have a son who is going through puberty and starting high school"
About this Quote
There’s a very actorly kind of delight in Kelly Preston’s phrasing: the “unique concept” isn’t really the superheroes. It’s the domestic logistics. The hook is that the extraordinary is being smuggled into the most ordinary, humiliating, hormonally chaotic rite of passage imaginable: a kid hitting puberty and walking into high school like it’s a battlefield. Preston is telegraphing why the premise clicks for a mainstream audience: it promises spectacle, but it’s built on recognizable parental panic.
Her choice of “happen to be super heroes” is doing quiet work. It downplays the capes as almost incidental, like the real plot engine is family management: protecting a child, negotiating independence, trying to stay relevant as a parent while your kid is literally changing shape. Superpowers become a metaphor for the fantasy every parent entertains - that you could actually control outcomes - colliding with the truth that adolescence is the one crisis you can’t muscle through.
The intent feels promotional, sure, but it’s also a snapshot of early-2000s pop storytelling, when superhero narratives started laundering themselves through relatable life stages. Preston frames the concept as fresh because it shifts the genre’s emotional center from saving the world to surviving dinner, school dances, and the terror of your kid becoming their own person. The subtext: the biggest villain isn’t a mastermind; it’s growing up, and the helplessness that comes with watching it happen.
Her choice of “happen to be super heroes” is doing quiet work. It downplays the capes as almost incidental, like the real plot engine is family management: protecting a child, negotiating independence, trying to stay relevant as a parent while your kid is literally changing shape. Superpowers become a metaphor for the fantasy every parent entertains - that you could actually control outcomes - colliding with the truth that adolescence is the one crisis you can’t muscle through.
The intent feels promotional, sure, but it’s also a snapshot of early-2000s pop storytelling, when superhero narratives started laundering themselves through relatable life stages. Preston frames the concept as fresh because it shifts the genre’s emotional center from saving the world to surviving dinner, school dances, and the terror of your kid becoming their own person. The subtext: the biggest villain isn’t a mastermind; it’s growing up, and the helplessness that comes with watching it happen.
Quote Details
| Topic | Son |
|---|---|
| Source | Help us find the source |
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