Luckylyn

Platonic love triangles is something I hadn't considered. Now I'm remembering on My So Called Life when Angela was torn between her old best friend and her new friends. I do think with better writing a romantic triangle could be nuanced too. It's just that writers resort to lazy tropes instead of dealing with organic character development.

I remember before I broke up with General Hospital the Sonny/Brenda/Jax triangle was a good one the first time around. I could see how she'd fall for both guys. I appreciated on Veronica Mars that when Veronica was with Logan she was with him and when she was Duncan she was with him regardless of what feelings she had for both guys. I also liked that Duncan and Logan cared about each other and struggled to maintain their friendship despite loving the same woman. The only thing that made that triangle not totally work was that the actor who played Duncan wasn't that good. He was super bland. Penny Dreadful seems to have some intriguing things going on. I thought Ethan and Dorian would end up at odds over either Vanessa and/or Brona but then Ethan and Dorian ended up in bed with each other with Ethan still devoted to Vanessa and Brona in different ways. That's certainly a new way of handling the love triangle.

Looks like Durabont is finally going to make The Long Walk which is great, but seriously, no The Girl Who Loved Tom Gordon or Eyes of the Dragon. Why can't those movies get made? Is there no film maker interested?

I agree. If they have to do triangles, both options should be written so that viewers can understand why the person in the middle is torn.

Amantha's hostile reaction to the doctor trying to give her good news made it clear to me that she's like a solider always bracing for battle. She's ready to fight even when it isn't necessary. I think if everything was peacefully, she'd still be a ball of anger looking for a target. I don't know if she'd know what to do with herself if she didn't have that role as Daniel's warrior to cling to. It's understandable but I could see how living with her would be tough.

I consider the Moonlighting curse to be a myth because I don't think putting a couple together in a reasonable timetable automatically makes the couple and show less interesting. Poor writing was the death of Moonlighting. I think pulling will they or won't they bs for too long can hurt a show worse than letting the couple just be together. That's the reason I prefer Monica and Chandler on friends over Ross and Rachel. It's like writers lack creativity and think the only option is to keep a couple apart for contrived reasons or have them get together and break up over and over again. I loved Ross/Rachel in the beginning but was anti-shipping them by the end of the show. I think writers can lack creativity in how to keep a couple interesting once they get together and blame the Moonlighting curse as an excuse rather than admit their weaknesses as a writer. Another issue, is poorly written love triangles as if that's the only obstacle writers can think of for a pairing. It's so overdone.

A movie like Once is a musical to me, but I would understand why someone else wouldn't think of it that way. The distinction between a musical, and a movie that has musical numbers in it can be tricky. I think something like Dirty Dancing straddles that line because of how the dancing is integrated into the story.

I can totally seen the influence of Wet Hot American Summer in that trailer. That kind of ridiculousness could be fun to watch.

Liam Neeson in Love Actually is such a great dad. He takes his step son's crush seriously, and you can tell that as he grows up they will have the kind of relationship where he can tell his step father anything.

I have mixed feelings about that. On the one hand, her daughter had a scholarship to a great school that could really benefit her daughter's future. On the other hand having that daughter in that school didn't seem to bring out the best in her daughter and intensified Tea Leoni's influence over the child. Tea had zero respect for the mother and was encouraging the daughter to be disrespectful too. She took the child shopping without asking her mother's permission. She got her to lie about having a school project so she could stay over at Tea's house to watch movies and have a slumber party with her rich friends. Not only is she teaching the child to lie to her mother but having the child invite her friends to Tea's house instead of the child's own home I felt like it implied that the child's home wasn't good enough for the friends. Even when the mom quit, Tea made it clear to the daughter that they would still have contact through the school. Maybe if Tea hadn't been a factor the mom might have let her daughter keep the scholarship that Tea helped her get. I wouldn't want to owe a woman like Tea a favor and would not want my child anywhere near an adult who encouraged her to be disrespectful to her mother. Tea's involvement really affected the mom's perspective of how the fancy shcool affected her daughter. So losing the scholarship was terrible but getting the girl away from Tea's character was needed.

Angel was awesome and then Season 4 happened. I still am pissed at Whedon for punishing Charisma Carpenter for getting pregnant by turning her evil, raping the character by having a demon possess her body to have sex with a boy Cordy loved like a mother, putting her in coma, not allowing the character to deal with the emotional trauma of her possession, and then killing her off. They decided she was an appendage to Angel that could be discarded, and it hurt the show. Her character development didn't matter to Whedon at all. Killing off Cordelia and introducing Spike (which didn't have to be a bad thing but the writing didn't work for me as far as integrating Spike) were things the show couldn't recover from. My pissiness about the show is so well known that my sisters got me only seasons 1-3 as a Christmas present. There was a time when I thought HIMYM was one of the best shows ever and then the longer the show went on the worse it got. It was better written when they were in danger of cancellation. Once they were considered a hit the writers just stopped really letting the characters progress.

That's one of my favorite scenes. That's the first thing that comes to mind when I think about Pillow Talk. My favorite Doris Day movie is That Touch of Mink. I just adore Cary Grant in just about anything, and he and Doris had great chemistry. Plus, I love that scene where the guy (Tony Randall?) asks the secretary to take off her glasses and take her hair down and is disappointed she doesn't suddenly look glamorous just like he's scene in the movies. I love the willingness to play with cliches.

I really think that's a great point. I do think it's great that she's training so she can be physically fit for the part and think it's good that she's sharing that with fans who doubt her physical capability. Still, it's not enough to look the part. The writing hasn't been there for the character, and KC hasn't been able to elevate it with her performance. She doesn't seem to have any nuance (she hates him, she loves him, she's an addict, she's got her act together), and she plays what's on the page without finding a way to bring more into it.She's treated like a plot device who goes from one thing to another without much development in between to explain it, and she doesn't add layers so you can see multiple emotions in her face. That's what she needs to work on. I do think writing is the main issue, but KC isn't helping it either. It's possible with the right writing she'd be awesome, but she can't adjust poor writing with her performance. I think of an actor like GDL who played Ianto on Torchwood whose character was given very little writing but still managed to add that extra something to his performance so you could grow to love the character even if he isn't given the greatest writing is something KC should try to emulate. Give that man only one line in an episode, and he'll hold your attention. Plus, KC needs to work on the PR side of things and stop being defensive. Her feeling threatened is natural because her job is at stake, but she has to manage the fans better which may inspire them to have more patience while the writers try and figure out what to do with Laurel.

The person she blackmailed is now dead, and so, I think she'll get away with it.

I am totally watching that Saved by the Bell movie. I loved that show growing up. It's so cheesy but I don't care. I remember there was one episode where Lisa and Zack were dating and then the show never addresses it again. I'm dying to know if the movie will deal with the rumor that racist letters made them change their minds about Lisa/Zack.

House Party - Boys vs Girls Dance off

Neither Shae or Tyrion had time to think in that moment when they were both surprised to find the other in Tywinn's room. Shae either assumed Tyrion was there to harm her out of revenge, or she simply hated him for his harsh break up with her. It could be a combination of both. So she picked up a knife and at that point Tyrion reacts to protect himself. He wasn't there with the intention to harm her since he didn't even know she'd be there, and it's possible that if she hadn't picked up the knife things would have gone differently. She might have been able to talk her way out of the situation. There just didn't seem to be time for either of them to really consider options and both reacted on instinct to protect themselves. I think Shae and Tyrion could both claim self-defense in their actions. The thing that hurts the story for me is that it never made sense that Shae believed Tyrion's harsh words. Also the way she not only implicated Tyrion but Sansa who never did Shae wrong and Shae claimed to care about was something that didn't fit with what I'd seen before of the character. Did she care about Tyrion and Sansa at all or was it just a job? Was she coerced into her testimony and Tywinn's bed or did she make those choices freely not caring about the fact that she was condemning innocent Sansa too? She became a plot device. I feel like I was supposed to hate her and root for her death and so any nuance that could have lead up to it was avoided. I don't mind ambiguity, but I want continuity in character development.

Thanks for the info on Diggle Appreciation week. I posted some of my favorite Diggle gifs in the fan art thread.

That's an interesting list of possibilities. I think Cersei will pick the one that easiest for her to control. She'll want a puppet not a leader and so I think Lancel or Pycelle are likely choices.

The Best of Me - It looks like The Notebook 2: Electric Boogaloo. I will probably watch it a million times. Tammy -This looks really stupid in the best way.

I think Cersei suspected that Jaime would help Tyrion and that's why she seduced Jaime. She was trying to entice him to be loyal to her and abandon Tyrion. When she said "I choose you" I thought there was an unspoken, "Choose me over Tyrion."

That's an interesting article. It made some points I hadn't considered before. I don't think it's crazy to make an adult show as a spin off of a kid's show because kids grow up. The idea that Doctor Who fans as kids could grow up to be Torchwood fans makes sense to me. What I do think RTD messed up on is that his idea of what adult is could be incredibly juvenile.

What I like about Felicity is that she's not just the love interest? She has an integral place on the team regardless of whether or not she and Oliver ever get together. I hope the writers understand that and allow her to have a life outside of Oliver. I love that they've established a strong bond with Diggle and Felicity separate from Oliver. Now I want to see her have more connections. I wouldn't mind more interaction with Felicity and characters like Sara, Walter, Quentin, and Lyla. I worry sometimes that Felicity will become like Cordelia Chase on Angel where the writers seemed to forget she was her own person, with her own story arch, and bonds with people outside of Angel himself. Because once they changed their minds about Cordelia/Angel being an item they just discarded Cordy as if her only purpose was to be the love interest, and I don't want that happening to Felicity.