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They began walking together—first to the park, then along the river trail. Argos walked between them like a furry chaperone, occasionally glancing up with what Elena could swear was a smirk. Samir talked about his own dog, a geriatric beagle named Pippin who had died the previous winter. “I didn’t know how to be alone,” he admitted. “Pippin was my reason for coming home.”

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Consider the 1997 classic As Good as It Gets . Jack Nicholson’s misanthropic Melvin Udall throws the neighbor’s small dog, Verdell, down a garbage chute. His redemption arc is not measured by grand romantic gestures toward Helen Hunt’s Carol, but by his gradual, grudging acceptance of the dog. He learns to walk Verdell, feed him, and finally, love him. In the film’s logic, Carol cannot love Melvin until Melvin loves the dog. The dog represents the vulnerable, routine-loving part of Carol’s heart. By caring for the animal, Melvin proves he is capable of caring for the woman. They began walking together—first to the park, then