The Art of Being “Extra”: Netflix’s Best of the Best Redefines the Collegiate Coming-of-Age Musical

“To be extra is to be human.” This central, high-octane mantra serves as the heartbeat for Netflix’s latest cinematic offering, Best of the Best. Directed by Lena Khan, the film is a vibrant, soul-affirming exploration of friendship, ambition, and the high-stakes world of competitive Bollywood-fusion dance. By blending the razor-sharp political satire of screenwriter Hasan Minhaj with the classic, comforting beats of collegiate drama, Best of the Best stands as a quintessential modern coming-of-age story that manages to be both culturally specific and universally resonant.

The Core Narrative: A Friendship Forged in Fire (and Drones)

The film centers on the journey of Maya and Anjali, two brilliant computer science freshmen at UCLA who find their lifelong bond pushed to its absolute limits. Played with magnetic chemistry by Maitreyi Ramakrishnan (Never Have I Ever) and Priyanka Kedia (Disclosure Day), the duo arrives at university with significant dance pedigree but a steep learning curve regarding their own overlapping ambitions.

The story kicks off at a high-school dance competition, where the headstrong Maya attempts a high-concept, high-risk maneuver that ends in a catastrophic failure—and an iconic viral moment. The incident, colloquially dubbed the “Drone Strike” by the online community, haunts the pair as they transition to the collegiate stage. For Maya, it is a scar of overconfidence; for Anjali, it is a source of anxiety. Their arrival at UCLA is meant to be a fresh start, but the digital shadow of their high-school disaster follows them, forcing them to navigate not just the rigors of academia, but the unforgiving spotlight of the dance circuit.

Chronology of a Campus Conflict

The film’s pacing is meticulously crafted, mirroring the frenetic energy of a university semester. Upon arriving at the sun-drenched UCLA campus, the audience is treated to a vivid portrayal of the modern student experience: late-night coding sessions, bustling dorm life, and the relentless pressure of extracurricular excellence.

The tension escalates when the girls join the university’s elite dance squad, led by the graduating captain, Ronak (Ankur Rathee). Ronak, a character who embodies the “play-it-safe” mentality often seen in collegiate dramas, immediately clashes with Maya’s fiery, experimental ingenuity. As the season progresses, the film chronicles the shifting dynamic between the two leads. Maya is driven by a desperate need to prove herself, often at the expense of her team’s cohesion, while Anjali finds herself caught in the crossfire.

As the national competition looms, the narrative takes a sharp turn into the complexities of "pretty privilege" and social perception. Anjali, often seen as the more malleable of the two, begins to eclipse Maya in the eyes of the leadership, leading to a rift that tests the bedrock of their friendship. The film’s final act builds toward a crescendo of performance and personal reckoning, where both protagonists must decide whether their individual shine is worth the cost of their partnership.

Production Design and Aesthetic Sophistication

Beyond the script, Best of the Best distinguishes itself through a high level of technical craft. Production designer Henry Dunn and costume designer Elisabeth Vastola have transformed the UCLA campus into a living, breathing social ecosystem. The film’s visual language is a masterclass in balance; it treats the college environment as a concrete reality while allowing the dance sequences to erupt into kaleidoscopic, magical performances.

Vastola’s costume work deserves specific mention for its nuanced approach to South Asian identity. The designs avoid the common traps of costume-pageant shorthand, instead opting for a blend of exquisite, contemporary streetwear and themed competition gear that feels authentic to the characters’ dual-life experience as modern students and heritage-conscious performers.

Cinematographer Adam Carboni utilizes a glowing, warm palette that captures the golden hour of youth, occasionally punctuating the film with neon-soaked night scenes that give the musical numbers a pulsating, music-video quality. Editor Phillip J. Bartell keeps the scale of the film generous without allowing it to feel cluttered, ensuring that the dance numbers—ranging from high-energy fusion sets to intimate, character-driven choreography—remain the focal point of the viewer’s attention.

Supporting Roles and Cultural Context

The film’s ensemble cast provides the necessary weight to ground its more whimsical elements. Hasan Minhaj himself steps into the role of a faculty advisor, bridging the gap between student life and institutional expectations. His presence, alongside the veteran authority of Janina Gavankar and a spirited, well-earned cameo from Lilly Singh, anchors the film in a sense of community.

The film does not attempt to be a definitive encyclopedia of Bollywood history, nor does it claim to be a documentary. Instead, it leans on universal truths. As noted by critics, the film’s "emotional choreography" is what allows it to transcend the typical tropes of the genre. By addressing the "dual-screen lifestyle"—the constant digital performance that defines the modern collegiate experience—Minhaj and co-writer Prashanth Venkataramanujam have created a story that feels fundamentally "of the moment."

The Implications of "Being Extra"

The film’s central thesis—that being "extra" is an essential component of the human experience—is more than just a tagline; it is a commentary on the pressure placed on young women of color to be perfect. Through Maya’s inability to "dim her shine" and Anjali’s struggle to find her own voice, the film explores the toxicity of the "perfect student" myth.

The narrative arc suggests that true growth comes not from suppression, but from the messy, public, and often embarrassing process of trial and error. The "Drone Strike" incident at the beginning of the film serves as a vital metaphor: our failures do not define us, but they do provide the raw material for our most enduring stories.

Final Assessment and Verdict

Best of the Best is a rare triumph in the streaming era—a film that is optimized for repeat viewings, with a runtime and structure that feel as rhythmic and satisfying as the music driving its plot. While the ending may lean toward the conventional, the journey to get there is so infused with heart, wit, and visual splendor that the viewer is unlikely to mind.

It is a film that captures the fleeting, intense, and often contradictory nature of friendship in your twenties. It manages to be a popcorn-friendly comedy while simultaneously interrogating the digital culture that shapes our modern identities. For anyone looking for a film that feels like a warm embrace—or a high-energy dance party—Best of the Best is a mandatory addition to the queue.

Grade: B+

Best of the Best is currently streaming on Netflix.