People We Meet on Vacation, the highly anticipated adaptation of Emily Henry’s bestseller, arrived on Netflix in early 2026 to win over romance fans. The production, which premiered on the platform in January, follows the twelve-year friendship between travel writer Poppy (Emily Bader) and teacher Alex (Tom Blyth), but introduces significant changes compared to the original material. The film’s relevance stems precisely from this transition, which attempts to capture the essence of the book while adapting to the cinematic language, a challenge that always sparks debate among fans. In this way, the work tries to establish itself as a new rom-com classic for this generation.
The plot, which in the book is narrated entirely from Poppy’s perspective, jumps between twelve years of summer vacations the two friends shared. However, to fit the movie format, the production had to condense the story, removing some trips and combining important plot points. As a result, fans see a faster-paced narrative, which swaps the final trip to Palm Springs for a setting in Barcelona, significantly altering the characters’ emotional climax. This decision, while practical, changes the tone of self-discovery that marked the literary work.
Changes in Essence: From Internal Drama to Visual Humor
Despite keeping the core of the story, the film prioritizes moments of physical humor and comedic situations, in contrast with the introspective depth of the book. While the original narrative explores Poppy’s fears and therapy in detail, the adaptation opts for scenes like a messy sandwich in the car or an awkward conversation with her parents, played by Molly Shannon and Alan Ruck. In this way, the main character loses part of her internal journey of self-discovery, which only resurfaces in her big final speech to Alex.
Another crucial difference lies in the treatment of external relationships. In the book, Poppy and Alex’s partners take a backseat, as the main conflict is the fear of risking the friendship. On the other hand, the film creates more defined love triangles, using the boyfriends and girlfriends as explicit obstacles. This choice, common in romantic comedies, simplifies the protagonists’ motivation, which in the original material was more complex and psychological. Still, the chemistry between Emily Bader and Tom Blyth is undeniable and carries the screen, making the audience root for the slow-burn romance between them.
The conclusion maintains the essence: Poppy goes to Ohio to declare her love. However, the film amplifies the romantic gesture with a comedic chase through the streets, where the character has to run after Alex, who is wearing headphones. The emotional speech, taken directly from the book, about finding a home in the loved one, remains moving. The final scene, which shows the couple building a life together in New York, offers a satisfying ending. Therefore, despite the alterations, the film is a fun addition to Netflix’s catalog, but may leave book readers wanting to revisit the pages to find the deeper layers of Emily Henry’s story.
