US EditionIs ‘Materialists’ Broke Man Propaganda? Ending Sparks Mixed Fan Reactions
- The 2025 A24 romantic comedy Materialists, directed by Celine Song, stars Dakota Johnson as Lucy who must choose between her broke ex John and wealthy suitor Harry in a New York love triangle.
- Lucy, a data-driven Manhattan matchmaker who prioritizes marrying rich, faces a difficult choice shaped by themes of modern dating, class, and transactional relationships relevant to 2025.
- Lucy ultimately chooses John despite his lack of financial stability, prompting fan division with some calling the ending 'broke man propaganda' and others appreciating its critique of settling.
- Relationship experts advise deciding promptly in love triangles to avoid harm, emphasizing honesty, understanding motivation, and focusing on realistic outcomes rather than prolonged uncertainty.
- The film’s mixed critical and fan reaction highlights ongoing debates about love, money, and choice in modern dating, reflecting broader cultural conversations on these themes in 2025.
12 Articles
12 Articles
Sydney Morning Herald
‘They tap into desire, conflict and choice’: Why we can’t resist a love triangle
Materialists, a new Celine Song movie starring Pedro Pascal, Dakota Johnson and Chris Evans delves into the in-vogue love triangle relationship dynamic, featured in recent hits Challengers and Bridget Jones. Materialists is currently airing in Australian cinemas
Is ‘Materialists’ Broke Man Propaganda? Ending Sparks Mixed Fan Reactions
Fans are divided on the movie Materialists’ ending, leaving some to declare the film “broke man propaganda” —- and they’re refusing to fall for it. Warning: spoilers for Materialists below. The premise of the A24 film finds Dakota Johnson’s character, Lucy, choosing between two men: her ex John played by Chris Evans, or a potential new love match with Pedro Pascal‘s character, Harry. Lucy is a successful matchmaker who sees love as a business tr…
Everyone’s Getting Materialists Wrong
Celine Song’s Materialists arrives cloaked in a glossy rom-com exterior, but quickly reveals itself as something else entirely: a sharply subversive exploration of how love—like labour—has become transactional under neoliberal capitalism. If Past Lives was Song’s melancholic meditation on fate, Materialists is her incisive critique of choice, desire, and the illusion of romantic meritocracy. Because Materialists isn’t interested in fantasy, but …
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Bias Distribution
- 80% of the sources lean Left
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