The bakery owner’s luxurious Santa Barbara house seems difficult to afford; her divorce from a lawyer and successful bakery offer possible explanations.
The unrealistic house is defended as wish fulfillment, comparable to impossible John Wick action.
A modern version could make Jane a wealthy bakery mogul with social-media reach and worldwide sales.
Open shelving looks good but creates dust, maintenance and storage problems.
The large vegetable garden would require frequent workers and protection from wildlife.
The original divorce and Jake’s decision to marry Agness seem puzzling given his chemistry with Jane.
Agness’s own affair and Pedro not being Jake’s son make audiences less sympathetic to her and less troubled by Jake leaving.
Harley would probably tell his fiancée immediately about the hotel encounter; disagreement concerns whether he would relish gossip or disclose it sensitively.
Jake ought to notice the open video-chat screen before exposing himself.
The hairless body double is visibly inconsistent with Baldwin’s body hair.
Chocolate croissants are usually square, unlike the rolled pastries here.
Croissant dough normally requires advance preparation rather than immediate late-night baking.
Already-prepared dough could explain the short preparation time.
The dough seems handled too much, which might toughen it; this is qualified as nonexpert opinion.
The adult children are implausibly jobless, available, and eager to climb into bed together.
Baldwin’s briefly mentioned presence and Adam’s loser-like characterization; Bill Murray is proposed as Adam, then questioned because Jane might need to care for him.
The youngest son’s constant grin seems unnerving rather than natural.
Tommy Lee Jones could play a blue-collar contractor; Dustin Hoffman offers a Kramer vs. Kramer callback but is judged too odd and insufficiently competitive romantically.
Small visual details establish Jane’s loneliness without exposition.
Streep’s beauty, flattering lighting and relaxed happy performance; Meyers writes successful, easygoing women rather than rigid rom-com stereotypes.
The hostile glamorous second wife and tiger tattoo work comically; FitzGerald is more recognizable after Succession but has little characterization here.
Streep still looking great without much apparent surgery is praised; her anti-surgery reputation is explicitly uncertain.
Croque monsieur leads, chocolate croissants are another choice, with lavender ice cream and chocolate cake also tempting; lavender ice cream receives a dissent.
