HBO is known for head-turning, risqué shows that are must-see television. The Sunday night block of Sex in the City and Six Feet Under is still fondly remembered as water-cooler fodder back when people went to offices and actually had shared water coolers. On the other hand, HBO Max is clearly trying to set itself apart from its predecessor as content for a younger adult audience who adopted chord-cutting from the get go, but Love Life shows its still finding its voice. The show is quite sweet, and has a killer premise, but ultimately feels a bit behind the times in a post #MeToo (and still fighting for women’s equality) world. That said, the HBO Max original has been picked up by multiple outlets abroad, and is likely to return, giving it time to blossom into something special and unique, particularly with romantic comedy masters like Paul Feig executive producing.

Here’s a breakdown of what screenwriters can learn from a show possibly poised to bloom.

4. A Good Backstory
Here is where Love Life could perhaps use the most development next season. We know very little about Darby beyond surface level facts. She’s a child of divorce, but this doesn’t seem to have that much effect on her view on love… yet. She really loves art and photography, but her goals here are slightly nebulous; hence she ends up often stuck as an assistant and putting the needs of others before her own. This makes a challenging character to write to, as one wonders what drives her, other than a need to just find someone. But, hey, that’s most of the universe. If Darby can continue to develop in season two, even though she might not be the focus, a good show could blossom into a great show. 

5. Men As A Cautionary Tale
While each episode portrays a different relationship, Darby does have a pattern of losing herself in men. Anna Kendrick told NPR earlier this year, “I feel like that’s a really common experience for young women; to feel like they’ve become an extension of another person and not their own entity.” This seems to happen to Darby more often than not. She even calls herself a “people pleaser.” While relatable, perhaps next season viewers could look forward to a feminist take, giving more agency to heroes on both sides, as this season some men on the show felt a lot like cautionary tales as opposed to viable love interests. 

Final Takeaway: Ultimately, Anna Kendrick remains infinitely likeable even when buoy-ing a character not given as much agency as other women in recent modern day rom-coms. Her journey remains watchable in large thanks to Kendrick’s chops, and the incredible charm of many of her supporting men, whether they are an intended cautionary tale or not. Hope certainly blooms eternal; both in and for the show—something we could all use a little more of; that, and love.