The first narrative baton-passing we're going to see is the end of the business with Leah slowly developing into Lizzie's years of struggling at school because she can't actually see well and is lost, angered, depressed and confused because she can't cute her way to success like she can at home. We see a little girl who was taught to trade on her looks convincing herself she's ugly and unlovable because she can't do that any longer. She, on the other hand, does not see herself as expecting to be given a free pass because she looks nice; since she doesn't want to admit that she's the problem, she tells herself that her teachers are finks because they expect actual effort from her and don't care if she's cute or not.
The second one takes longer and is less damaging to the person at the center of the shitstorm. This is because when Elly's plan to become a civic activist gets hijacked by Radcliffe, she's got enough forward momentum going to be a sort of spear carrier for community groups doing some minor good. Instead of being the saviour of the arts, the committees she joined get a reliable workhorse, only too ready to go the extra mile because she can't not do things. Her reluctance to relax and enjoy her life because she thinks that's sinful is the engine that drives any number of minor civic improvements.
John and Mike, on the other hand, seem to hit the ground running because they have no business to wrap up before they can transition from comic stereotypes to the flawed but sympathetic people we see. John is still the same man who seems to have assumed adult responsibilities too soon in life and Mike is still the same deluded clod who thinks that he's cooler, smarter and more respected than he actually ever is.