Tropes that movies, etc. use that you hate.

[Owain Taggart]

I think the big barrier with romantic relationships in media is a reluctance to give characters a "happily ever after" trope, so will they/won't they creates simpler drama over having a couple endure.

The trouble with that is that when binging, those dynamics end up feeling highly exaggerated, and if if they wait too long and one of those characters ends up leaving the cast, then you've got nothing. As an example, that's pretty much exactly what happened in Murdoch Mysteries with George and Emily, where I felt they were a great couple. They kept prolonging the 'will they/won't they dynamic' until she had to leave the cast and lost their chance to solidify something great.

 

[Nerys Myk]

Maybe, don't RUN IT, stations I skip over.....OR suffer through the last horrifying 30 seconds while waiting for TOS to run on H&I. I stream Netflix, but there are limitations to every fomat, including streaming. (For example, Netflix films seem to be restricted to post-1960 and are almost all post-1980.)

Yeah, they aren't gonna tailor it to your likes and dislikes. They never have, even in the days when it was broadcast only. I never have a problem finding old movies.

 

[fireproof78]

The trouble with that is that when binging, those dynamics end up feeling highly exaggerated, and if if they wait too long and one of those characters ends up leaving the cast, then you've got nothing.

At the risk of sounding insensitive, but that's kind of real life, especially in young adulthood. These feelings and dynmaics feel incredibly intense and exaggerated, while the adults look on and go "I don't think that's going to go anywhere." It might be creatively unsatisfying but it feels closer to real life to me.

Now, unpopular opinion time, but I would prefer a little more realism in on screen relationships. I find that Hollywood tends to short change relationships and expects me to buy in by the end of a prescribed period (film, series, episode). And relationships just don't work like that so I find that strains at times my suspension of disbelief.

Yes, I know it's drama but sometime, a lot of times, realism is more satisfying in the nothing category than the "Oh, they finally did!"

 

[Owain Taggart]

At the risk of sounding insensitive, but that's kind of real life, especially in young adulthood. These feelings and dynmaics feel incredibly intense and exaggerated, while the adults look on and go "I don't think that's going to go anywhere." It might be creatively unsatisfying but it feels closer to real life to me.

Well, that may be true, but the scenario is not always realistic depending on their situation. In the case of Murdoch Mysteries, these are people trying to settle down. They're not exactly teenagers, but people approaching their midlives.

 

[fireproof78]

Well, that may be true, but the scenario is not always realistic depending on their situation. In the case of Murdoch Mysteries, these are people trying to settle down. They're not exactly teenagers, but people approaching their midlives.

There are always exceptions that pop up and some work better than others. For example, in MASH Hawkey and Margaret have the potential for a relationship and go back and forth several times, and end up sleeping together but it never goes further than that. The relationship becomes more amicalable and friendly over time.

It struck me as quite intriguing and engaging from a drama point of view. It can work depending on the story, but usually romances don't for me.

 

[the G-man]

There are always exceptions that pop up and some work better than others. For example, in MASH Hawkey and Margaret have the potential for a relationship and go back and forth several times, and end up sleeping together but it never goes further than that. The relationship becomes more amicalable and friendly over time.

And in that case, IIRC it was more a result of them thinking they were about to die than either having any interest in an actual relationship.

 

[fireproof78]

And in that case, IIRC it was more a result of them thinking they were about to die than either having any interest in an actual relationship.

Partially. There was a tension there as early on as Season 1, but even after that near death tryst there is still a relationship tension that hovers between romantic and platonic.

 

[Rowdy Roddy McDowall]

And in that case, IIRC it was more a result of them thinking they were about to die than either having any interest in an actual relationship.

In a similar situation from a much earlier episode, Trapper may have dallied with her first, during a commercial fade-out.

 

[Laura Cynthia Chambers]

How about characters that exist to be the butt of jokes - no development, just a everlasting punchline.

 

[Nerys Myk]

How about characters that exist to be the butt of jokes - no development, just a everlasting punchline.

Frank Burns?

 

[Commander Troi]

Now, unpopular opinion time, but I would prefer a little more realism in on screen relationships. I find that Hollywood tends to short change relationships and expects me to buy in by the end of a prescribed period (film, series, episode). And relationships just don't work like that so I find that strains at times my suspension of disbelief.

I think a lot of the problem with "will they/won't they" after they get together is that hardly anyone seems willing to write anything even vaguely resembling the ups and downs of a real relationship. I think the closest I ever saw was the original (UK) Coupling. Steve and Susan were pretty realistic and it still managed to be hysterically funny.

How about characters that exist to be the butt of jokes - no development, just a everlasting punchline.

I hate that. I remember being sooooo pissed at the Xena writers for doing that to Joxer (argueably the 3rd main character) while at the exact same time the writers on Angel were adding depth and nuance to Wesley.

 

[fireproof78]

Frank Burns?

Sad but true. Someday real life will be just slowed down enough for me to do a review of MASH and talking the tragedy of Burns is part of that analysis.

 

[USS Firefly]

while at the exact same time the writers on Angel were adding depth and nuance to Wesley.

Wesley is one of my favorite character written

 

[valkyrie013]

The oblivious rom com, where they are friends maybe, but the guy or girl is just clueless..
Now some have a decent reason, had a bad past, etc. but alot are just morons.. I mean I suck at seeing signs, but I'm not a complete moron like some of these main characters.
I do like when it doens't take all season to get together, want to see them together and see what happens.

A good example is Riker and Troi, the writers and berman didn't want them together so they can hook up with the alien of the week, but Jonathan and Marina done there best to keep there love for each other in the for front.
Wish they did get together in say season 3 or 4 and see how that works on ship.

 

[Laura Cynthia Chambers]

I guess you have to keep some characters open to romantic relationships; you can't have all the love interests be involved in relationships with other one-off characters, because for the characters you begin to identify with/know better, their relationship hits you different - as revealing something more about them, helping them grow as people.

@Owain Taggart I started a Murdoch Mysteries thread in this board if you want to discuss it more.

 

[Rowdy Roddy McDowall]

I hate that. I remember being sooooo pissed at the Xena writers for doing that to Joxer (arguably the 3rd main character) while at the exact same time the writers on Angel were adding depth and nuance to Wesley.

Probably because until he died, XENA was usually a comedy above all else, while ANGEL opted for drama-emphasis with quips.

Sad but true. Someday real life will be just slowed down enough for me to do a review of MASH and talking the tragedy of Burns is part of that analysis.

Larry Linville's Frank is occasionally humanized while Robert Duvall's Frank never was. Linville even had one episode end with Alan Alda and Mike Farrell took his side against the just-engaged Loretta Swit.

Years later, Hawkeye and Winchester bonded from time to time.....and once BJ, of all people, became their mutual villain.
Charles Winchester was so regularly the designated baddie that BJ, Margaret and Potter seemed to blast him even when he was arguably right.

The biggest tragedy was Radar not getting a permanent promotion.

 

[fireproof78]

Larry Linville's Frank is occasionally humanized while Robert Duvall's Frank never was. Linville even had one episode end with Alan Alda and Mike Farrell took his side against the just-engaged Loretta Swit.

Yes, and those moments are great.

Same with the little moments of respect towards Margaret from Hawkeye and Klinger in early seasons. They are few and far between, sadly, but I think Burns' story that he hints at is also unfortunately tragic.

Years later, Hawkeye and Winchester bonded from time to time.....and once BJ, of all people, became their mutual villain.
Charles Winchester was so regularly the designated baddie that BJ, Margaret and Potter seemed to blast him even when he was arguably right.

I think all of them take their turns being a "villian" in a different way. Winchester is definitely self-serving and arrogant but he has the skills to match it, so he becomes an equal rather than a punch line, even if the villain.

 

[Commander Troi]

Probably because until he died, XENA was usually a comedy above all else, while ANGEL opted for drama-emphasis with quips.

And that was fine and understandable in the comedies. But in the drama eps, he was still one-dimensional. He pulled them down from crosses for goodness sake!

 

[Richard Baker]

Gary Burghoff played Radar in both the movie and the series, in the film he was a very different character. Instead of an innocent from Iowa he was a rather sardonic loner.

 

[fireproof78]

Gary Burghoff played Radar in both the movie and the series, in the film he was a very different character. Instead of an innocent from Iowa he was a rather sardonic loner.

He's that way originally, then they took it a different direction.

Lots of adjustments made through season 1, including Spearchucker leaving, Ugly John leaving, and Radar becoming less off an operator who picks up nurses, to more innocent and naive.

From the film to the series Trapper and Hawkeye's specialities are switched, as Trapper was the thoracic expert.

Finally, a greater emphasis on a classic sitcom, vs. the more dramatic tone of the film.