"I like people who are still actively creating in their life, who aren't set, I don't feel like I'm set. And I don't have any baggage, for better or worse. I don't have any plants or pets or kids. I can lock the door and go. I need to be with somebody for whom that's okay"
About this Quote
There’s a bracing honesty in Dana Delany’s version of romance: it’s not the fairy-tale merger of two lives, it’s a compatibility test for motion. She frames attraction around “actively creating,” treating creativity less like a job description than a temperament - a refusal to calcify. The line “I don’t feel like I’m set” is doing double duty: it’s an artistic credo and a quiet protest against the expectation that women, especially in midlife, should present themselves as “settled” in the domesticated sense.
“Baggage” lands with a deliberately provocative bluntness. In celebrity culture it can read as a glib brag, but she complicates it with “for better or worse,” admitting the trade-off: freedom purchased with a certain loneliness, or at least the absence of the standard markers that make a life legible to other people. The inventory - “plants or pets or kids” - is comic in its escalation, deflating sentimentality while revealing how thoroughly adulthood gets measured by caretaking. She’s not rejecting care; she’s rejecting automatic obligation.
“I can lock the door and go” is the quote’s engine. It’s cinematic, almost a scene: the sudden call, the packed bag, the clean exit. Underneath is the need to be chosen without being domesticated, to have a relationship that doesn’t treat independence as a phase to grow out of. The final sentence is the boundary, not the apology: she’s not asking permission to be unencumbered; she’s looking for someone mature enough to want her anyway.
“Baggage” lands with a deliberately provocative bluntness. In celebrity culture it can read as a glib brag, but she complicates it with “for better or worse,” admitting the trade-off: freedom purchased with a certain loneliness, or at least the absence of the standard markers that make a life legible to other people. The inventory - “plants or pets or kids” - is comic in its escalation, deflating sentimentality while revealing how thoroughly adulthood gets measured by caretaking. She’s not rejecting care; she’s rejecting automatic obligation.
“I can lock the door and go” is the quote’s engine. It’s cinematic, almost a scene: the sudden call, the packed bag, the clean exit. Underneath is the need to be chosen without being domesticated, to have a relationship that doesn’t treat independence as a phase to grow out of. The final sentence is the boundary, not the apology: she’s not asking permission to be unencumbered; she’s looking for someone mature enough to want her anyway.
Quote Details
| Topic | Relationship |
|---|---|
| Source | Help us find the source |
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