Cobra Kai is filled with the old 1980s cinema silliness The Karate Kid was built upon, but pulls it off thanks to one specific character.
Cobra Kai has all the campy silliness of The Karate Kid and other 1980s flicks, but pulls it all off with the self-aware comments of one underrated character. Modern movies depend far more on logic than the breezy cinema of the 1980s. The fact that The Karate Kid's modern sequel series has brought back these quirky elements, however, is precisely what makes it so successfully nostalgic.
SCREENRANT VIDEO OF THE DAY Cobra Kai brought back Daniel LaRusso and his old high school rival Johnny Lawrence to battle it out - not on the mat, but with their own karate dojos. This became all the more complicated when old sensei like John Kreese and Terry Silver got involved, whose willingness to compromise their morality for the sake of children's karate hadn't diminished since their appearances in the Karate Kid movies.
This allowed Cobra Kai to be silly while still being fully self-aware. Amanda's character served as Cobra Kai tacitly acknowledging its outrageous story made little sense. Like breaking the fourth wall, it brought viewers in on the joke and ensured they did not take Cobra Kai's premise too seriously. Of course, as things became more extreme, Amanda's casual way of laughing at her husband's drama transformed into a rage, giving Cobra Kai a reason to tone things down again.
Cobra Kai Needed To Be Outrageous To Succeed Cobra Kai would not have needed a character like Amanda LaRusso if it had chosen to tone down the ludicrous elements of the Karate Kid franchise and bring the Daniel and Johnny Cobra Kai story into the real world. Had that been the case, however, it is unlikely that the series would have done so well. For many, movies like The Karate Kid represent a simpler time.
Of course, Cobra Kai still managed to do this with its own modern twist. By placing the old bad boy, Johnny Lawrence, center stage of the sequel, Cobra Kai looked at the concepts of redemption, blurring the black-and-white lines between good and evil that were often the norm of 1980s cinema. Then, by allowing characters like Amanda LaRusso to be aware that the events around her make no sense, modern audiences could enjoy the outrageousness just as much.
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