If you’ve spent any time on BookTok or lurking in the young adult contemporary circles over the last few years, you’ve definitely seen the cover of A Show for Two. It’s got that soft, cinematic vibe that suggests a standard "fake dating" trope or maybe a lighthearted romp through high school theater. But honestly? That is not what this book is.
When Tashie Bhuiyan released this in 2022, it felt like a love letter to everyone who ever felt "stuck" in their hometown while dreaming of something bigger. It’s loosely inspired by the author’s own life—specifically that wild time she actually met a celebrity in high school—which gives the whole narrative a layer of authenticity you don't always find in celebrity-romance subgenres. Most people pick it up for the "movie star undercover at a private school" hook, but they stay for the messy, complicated depiction of a Bangladeshi-American girl trying to navigate her relationship with a father who doesn't understand her.
It’s real. It’s loud. It’s kind of heartbreaking.
The Core of A Show for Two: It's Not Just About the Boy
The plot kicks off with Mina Rahman. She’s ambitious. She’s a filmmaker. She’s also desperate to get out of New York City and head to a prestigious film program in California. To do that, she needs to win a film competition. Enter Emmitt Ramos. He’s a world-famous indie film star who decides to go undercover at Mina’s high school to research a role.
Mina makes a deal with him: she’ll help him stay undercover if he stars in her short film.
On paper, it sounds like a classic rom-com setup. You’ve seen this in StarStruck or Notting Hill. But Bhuiyan flips the script by making the romance secondary to Mina’s internal struggle. You see, Mina isn't just looking for a boyfriend; she’s looking for a way to prove her worth to a family that views her passion for art as a distraction from a "stable" future. This tension is palpable. If you’ve ever sat at a dinner table feeling like a stranger to your own parents because your dreams don't align with their expectations, this book will probably make you cry.
Why the "Indie Film" Aesthetic Matters
The book isn't just about movies; it’s built like one. Mina views the world through a lens. She talks about lighting, framing, and the "beats" of a scene. This isn't just a quirky character trait. It’s a defense mechanism. By turning her life into a production, she can distance herself from the pain of her reality.
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Bhuiyan is incredibly specific about the filmmaking process. We aren't just told Mina is a director; we see her struggling with scouted locations, dealing with flaky actors, and obsessing over the editing bay. It’s an "expert" look at the amateur film scene that feels grounded. You get the sense that the author spent a lot of time researching—or living—the grind of student production.
And then there’s Emmitt.
He’s not your typical "bad boy" or "perfect gentleman" trope. He’s a kid who was thrust into the spotlight way too early and is now trying to figure out if he even likes acting or if he just likes being seen. His chemistry with Mina works because they both want to be perceived as something other than what they currently are. It’s a match made in identity crises.
The Reality of the "Hidden Celebrity" Trope
Let’s be honest. The idea of a global superstar attending a regular high school without being noticed is... a stretch. Usually, this is where YA novels lose their grip on reality. However, A Show for Two handles this with a surprising amount of logic.
Emmitt isn't a Marvel superhero. He’s an indie darling. Think along the lines of a Timothée Chalamet or a Paul Mescal right before they hit the absolute stratosphere. He’s recognizable to people who care about film, but he’s not necessarily someone every 16-year-old in a New York private school is going to mob on sight. Plus, the book leans into the "urban legend" aspect of it. People whisper, they speculate, but they don't always believe it's actually him.
This groundedness is what keeps the story from floating away into pure fantasy.
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Representation That Doesn't Feel Like a Checklist
One of the most praised aspects of this novel is the representation of the Bangladeshi-American experience. Mina’s culture isn't a "plot point" or a "problem" to be solved—it’s just her life. The food, the language, the expectations, and the specific brand of guilt that comes with being a child of immigrants are all woven into the prose seamlessly.
There’s a specific scene involving a "Sweet Sixteen" that is so culturally nuanced it stays with you long after you close the book. It highlights the divide between Mina’s public persona at school and her private life at home. It’s a struggle for agency.
Honestly, the relationship between Mina and her father is the true "antagonist" of the story, even though he’s not a villain. He’s just a man who loves his daughter in a way that feels like a cage to her. It’s a complex, nuanced portrayal of familial love that is often missing from lighter YA romances.
Addressing the Common Criticisms
No book is perfect. If you read the reviews on Goodreads or StoryGraph, you’ll see some readers complain about Mina’s personality. She’s stubborn. She’s often selfish. She makes some really questionable decisions regarding her friends and her sister.
But isn't that what being seventeen is?
If Mina were a perfect, selfless protagonist, the story wouldn't have any stakes. Her growth comes from realizing that she’s been so focused on her "escape" that she’s been hurting the people standing right next to her. The "show" she puts on isn't just for the film competition; it’s for everyone in her life. Seeing that mask slip is the most satisfying part of the journey.
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What Most People Get Wrong About the Ending
Without giving away spoilers, some people find the ending of A Show for Two a bit polarizing. It’s not your standard "happily ever after" where everything is tied up with a neat little bow. It’s realistic.
It acknowledges that one summer or one movie isn't going to fix years of family trauma or career anxiety. It’s a "happy for now" ending that respects the characters' growth. It suggests that while the "show" might be over, the real work of living is just beginning.
Key Takeaways for New Readers
If you’re planning on diving into this one, here’s the reality of what to expect:
- Emotional Weight: It’s heavier than the cover suggests. Bring tissues for the family stuff.
- NYC Vibes: The setting is practically a character. It captures the frantic, beautiful energy of Queens and Manhattan perfectly.
- Slow Burn: The romance takes its time. It’s built on shared goals and mutual respect rather than just "love at first sight."
- Sibling Dynamics: The relationship between Mina and her sister, Anisa, is one of the best-written parts of the book. It’s a portrayal of sisterly support that feels incredibly genuine.
Moving Forward with Tashie Bhuiyan’s Work
If you finish this and find yourself wanting more, Bhuiyan’s debut, Counting Down with You, offers a similar level of emotional depth and cultural richness. However, A Show for Two shows a clear evolution in her writing style—it’s sharper, more cynical in some places, and ultimately more hopeful in others.
For those looking to explore the themes of the book further, start by looking into the history of South Asian representation in YA literature. Authors like Samira Ahmed and Sabina Khan are doing similar work, breaking down the barriers of what "contemporary romance" looks like for people of color.
If you're a writer yourself, pay attention to how Bhuiyan uses "the lens" as a metaphor for Mina’s perspective. It’s a masterclass in using a character’s hobby to deepen their psychological profile. Don't just give your character a job; make that job the way they see the world.
The best way to experience this story is to go in expecting a character study disguised as a rom-com. It’s a story about the masks we wear, the movies we make of our own lives, and what happens when the camera stops rolling and we have to face the person in the mirror.
To get the most out of your reading experience, pair the book with a re-watch of some classic indie coming-of-age films like Lady Bird or The Edge of Seventeen. You’ll see the DNA of those stories reflected in Mina’s journey, providing a richer context for her cinematic obsession. Once you've finished the book, consider researching the "Auteur Theory" in filmmaking—it will give you a whole new perspective on why Mina feels the need to control every single frame of her life.