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Romance deals in fantasy.
These texts play sometimes gently, sometimes rough with the stakes of a not-quite-forbidden but slightly taboo affair.
And all ask a different version of what if?
Such is the premise of Susannah GrantsLonely Planet, which hit Netflix this past week.
Katherine, like HathawaysIdea of Youcharacter, Solene (remember Solene?
Shes there to getworkdone; isnt anyone else?
This immediately annoys Lily.
Doesnt he want to play charades?
Doesnt he want to talk to writers about their books?
Isnt he going to ask how her writing is going?
No he has to make deals!
And to his dismay, no one respects that.
In fact, the other writers seem todismissprivate equity; have youheardof something soabsurd?
They bond over what is not quite isolation or even loneliness, but a shared evasiveness and pessimism.
This is seen as the more dignified path compared to Lilys incessant partying and networking and dancing.
As a singular fling under extenuating circumstances, their courtship is hardly buyable.
Neither of these characters leaves the other with much to think about, let alone love.
Theres no danger or energy to their affair; the whole film is surprisingly stakes-less.
They dont really care whether they end up together.
And neither do we.
