I enjoyed Set It Up, the mediocre romantic comedy premiering Friday on Netflix. Leads Zoey Deutch and Glen Powell are charmingly spunky; their castmate Lucy Liu is steely and entrancing; and Katie Silberman’s script finds a bit of verité in the harried lives of corporate assistants muddling through late-stage capitalism.

But I also don’t know what enjoying something on Netflix really means anymore. To be exact: I might know too much about my own seemingly personal preferences.

This week, New York published a lengthy and detailed view inside the streaming giant—revealing just how much thought goes into keeping viewers engaged, rather than simply selling users one cool show debuting this week. As the story by Josef Adalian explains, a customer’s viewing habits create a footprint of data that can identify and sometimes anticipate what they’ll be interested in next. He reports that Netflix has classified almost 2,000 taste “microclusters,” which offer the company a precise idea of what consumers are looking for—much more than the advertising-driven network TV model, which relies on age-, race-, and gender-based demographics. (Indeed, Adalian writes that sociopolitical demographics are “far less reliable . . . than a user’s past viewing history.” Netflix’s chief content officer, Ted Sarandos, says, “It’s just as likely that a 75-year-old man in Denmark likes Riverdale as my teenage kids.”) Black Mirror, the Emmy-winning anthology series, is offered up as an example; it hits viewers in both Cluster 56—“Dramas with a Dark Side”—and Cluster 290—“Supernatural/Extreme Worlds.”

Adalian’s story focuses on television, which is the bulk of Netflix’s output. But the streaming giant has turned its focus to churning out feature-length films, too. This year alone, Netflix plans to release 80 original films. It’s not immediately obvious why; films, it would seem, are less bingeable than serialized shows. But in theory, anyway, the feature film is a staple of subscription-cable networks like HBO—the old-world entertainment model Netflix is most similar to. And to a degree, the option to skip the theater and watch films at home has always been part of Netflix’s appeal, even as its film offerings have degraded in quality because studios have become cagier with distribution rights.

Set It Up might as well have If You Like 90s Rom-Coms emblazoned on the poster. Or maybe viewers will encounter it under “Fans of The Devil Wears Prada Also Like . . .” Perhaps a search for Rob Marshall’s 2002 adaptation of Chicago would instead yield this film, which shares two of the same stars (Liu and Taye Diggs). Or a maybe a search for Richard Linklater’s Everybody Wants Some!!, which also features both Deutch and Powell. Those two play executive assistants Harper and Charlie, who meet-cute as their respective bosses are melting down and decide to relieve the stress in their own lives by setting up their superiors. Liu’s and Diggs’s characters do hit it off, at first, but screwball hijinks ensue, because (obviously!) Harper and Charlie end up falling for each other.

A host of TV-comedy regulars pad the dual romances with mild-to-moderate comic stylings—Tituss Burgess, Pete Davidson, Meredith Hagner, Jon Rudnitsky—and the format cleaves so closely to romantic comedies of yore that even the song choices and sound cues are uncannily on brand. The opening montage, set to 1965 Motown classic “Nowhere to Run” by Martha and the Vandellas, primes the viewer for what’s to come so effectively that you might almost forget the American romantic comedy is a genre that barely survived the aughts.