![]() But to do so, contestants must first get engaged. The ultimate goal for the Positano-lover and her cohort is to find love (sight unseen), and then advance out of the pods and see their match. No one on the show has ever said, “I hate Positano,” or, “I love to vacation among sewer rats.” But she is worried, making sure a man she can’t see finds her acceptable. I’m not entirely sure what she’s worried about. She hopes that the person on the other side of the wall also shares a favorable view of the luxurious Italian beach town on the Amalfi coast. “Positano is my favorite place,” one of the female contestants this season yells in her windowless couch room. There, they talk to their prospective matches, every interaction filmed, in the hope that they’ll find love through conversation. This year, as the show has done for the past three seasons, contestants - men and women separated by sex but united by their search for love - still enter “pods,” small rooms with a Wayfair-looking sofa and a shared wall. ![]() ![]() It’s not an “experiment,” it’s not about love, and - like the international moppets who got sucked into Wonka’s chocolate pipes or exploded into something huge and blue - it’s only an opportunity to experience humiliation, destruction, and dashed dreams. Like a golden ticket from eccentric chocolatier Willy Wonka to “visit” his factory, the fourth season of Netflix’s Love Is Blind is not what it pretends to be.
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