As I began watching Magic Mike XXL, a bigger, bolder, brasher sequel to the lackluster Magic Mike, it was impossible for me to fathom that the creative control for both films remained relatively similar. Tonally, the works are like night and day. There was one major switch, though, which may have unlocked the key to this particular installment’s delight. First-time director Gregory Jacobs’s vision in this film was markedly fresher and more entertaining than that of Steven Soderbergh’s, which was dreary and uneven. Though the stories remain the same (with the exception of the suffocating presences of Matthew McConaughey, Alex Pettyfer, and Cody Horn’s characters thankfully being removed), the themes and tones of the sequel are infinitely more effective. While Magic Mike hides realism in its hedonism, Magic Mike XXL chooses to relish in the cocaine-driven, head-empty drive of its characters. It doesn’t drag itself down with fears of consequences; rather, it lives in the moment and is all the better for it.

Magic Mike XXL picks up three years where the 2012 global sensation left off. Mike Lane (Channing Tatum) has rebranded and is now running furniture business. However, his “happy ending” from the first film isn’t all it's cracked up to be, as this business is both quietly failing and not nearly as invigorating as his old job. After Dallas (Matthew McConaughey) absconds from the group and leaves an M.C. spot open, Mike seizes the opportunity to salvage his financial woes and attends the annual Myrtle Beach stripping convention with his team. What results is a shocking twist of tales, with few narrative beats and extended sequences of these male entertainers just doing their job. 

This change may shock certain viewers, who may view this lack of narrative drive as vacant and meaningless. However, to view Magic Mike XXL as a lacking work simply because of its supposed lack of social commentary is to undercut its raw fervor. In fact, this sequel’s tackling of its subject matter is highly preferable and infinitely more substantive than the initial film. The first film leaves the viewer with a distinctly empty feeling by the end, which is often due to Soderbergh's confusing creative choices that fracture the viewing experience. On the other hand, Jacobs enthusiastically illustrates precisely what he wants to depict. For instance, after an encounter with Rome (Jada Pinkett Smith), we are greeted with a stunning, unashamedly passionate dance number. The camera gracefully transitions from stripper to stripper, keeping the tension primarily on the pleasure derived by unfettered feminine enjoyment. When we do receive that glorious final act of unbridled debauchery at Myrtle Beach, this film makes a joyous spectacle out of it by ensuring every sexually charged moment is filled with utmost sincerity and enthusiasm. 

This is something merely hinted at in the Soderbergh-driven original, but in Jacobs’s sequel, enjoyment is the focal point of every character's motivation. There is no person in Magic Mike XXL who is not accepted. It doesn’t matter what race they are, what their orientation is, or what their life choices are; warmth and acceptance overflows for every character. Unlike Steven Soderbergh's near dystopian vision of America, where every semblance of hope is shut down by the thunderingly loud hammer of reality banging on one's door, this film is hopeful about the future. It acknowledges that life isn't perfect. Unlike the uncharacteristically picture perfect ending of Magic Mike, this film’s ending accepts the ever-changing present – a present which is unrealistically optimistic, but comfortingly so. Who cares if life doesn't work out? There's nothing like the present, and in Magic Mike XXL, this tune rings loudly and sweetly.

It is remarkable just how unique this film is. Jettisoning the tonal quality of a preceding installment is incredibly bold, but bold is the driving force behind every motion of this star-studded picture. To be bold and brave, one must understand their audience. There's a line in the film, spoken by the multi-talented Donald Glover, which sums up the film's thesis: "All we have to do is listen and ask what they want." Too few franchises have given an audience what they've truly wanted. These chosen few make the conscious decision to not to appeal to the out-of-touch number-crunching executives sitting atop their multi-story glass encased tomb, and instead appeal to those who go to the theaters to be entertained. This film’s much-needed change of pace delivers on what the first completely dodges, which is a brilliancy we rarely see nowadays. However, Magic Mike XXL is not only the gold standard for sequels, but for spectacles everywhere. One can only hope that more films learn from this wondrous movie’s example and prioritize sheer enjoyment above all else.

8/10