A romance quickly develops, then ebbs and flows as a tidal wave of complications creates misunderstandings between the two-and there are plenty as Andrews floods the story with several secondary characters and subplots. But he’s attracted to Greer, and she to him. Seuss’ Bartholomew Cubbins in the hat-wearing department: he’s also co-owner of a local motel, a realtor, grocery store and boat repair shop owner, and town engineer) is skeptical about the benefits of having a film crew invade the town, and he’s definitely against Greer’s plans for the historic structure. Mayor Eb Thibadeaux (who apparently emulates Dr. The area also features an old ramshackle building along the waterfront that’s perfect for the final scene-so long as Greer can secure permission to blow the erstwhile Cypress Key Casino to smithereens. Economically stagnant Cypress Key has seen better days, and Greer assumes its citizens will jump at the opportunity to make some quick cash and spotlight their town. Although the script for his latest movie is vague and ever changing, Greer finds him the perfect location, a small dot on the map along Florida’s Gulf Coast fraught with heat, humidity, palmetto bugs, and little else. Following an incident involving a fire on her previous job, the location scout/manager is hoping to redeem herself working for Hollywood’s newest golden boy, director Bryce Levy. Greer’s personal life is a mess, and her professional one is no laughing matter, either.
Any culture that lavishes praise on ‘authenticity’ to the extent that ours does will be beset by worries regarding ‘fakery’.Bestseller Andrews introduces Greer Hennessy, a third-generation worker in the film industry, whose difficult background and current job trigger a flood of problems. The human face, the standard for emotional truth, is also the basis for emojis and Facebook ‘reactions’, now an entire system of signification capable of conveying considerable meaning, but one from which the promise of authentic or immediate emotion has been lost. TikTok is awash with apparently ‘authentic’ clips of humorous reactions (often based on pranks), the comments on which are preoccupied with whether or not the interaction is ‘real’. It is an infernal riddle of digital culture that ‘authenticity’ is constantly breeding its opposite: the ‘spontaneous’ event that proves to be no such thing, the ‘surprise’ that turns out to be staged, the emotional outburst that has been practised.
The quest for authentic joy or shock – or best of all, joy and shock at the same time – which drives reaction content endows the human face with a communicative magic that words cannot match.
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