Marx classically notes that the magical autonomy of the commodity form obscures the economic, social, and ideological relations that animate it in the process of its production: so, too, the mass cultural discourse of romance obscures, the way a fetish does, the relations between the hegemonic processes of collective life and what people typically imagine as love. People learn to identify with love the way they identify with commodities: the notions of personal autonomy, consent, choice, and fulfillment so powerful in love discourse seem to be the same as those promised by national capitalism. At the same time, romance is a vehicle for marketing heterosexuality as the very form of fantasy and also the normal context in which fantasy can be lived, but not in a generic way: the heteronormative love plot is at its most ideological when it produces subjects who believe that their love story expresses their true, nuanced, and unique feelings, their own personal destiny.
Lauren Berlant excerpted from Desire/Love