Love Stinks in Pop Culture

What are the best love stories in pop culture, today?

New Year’s Eve? Gack.
Crazy, Stupid, Love? About cheating and divorce.
Just Go With It? Adam Sandler. It’s a love of childish humor.
Breaking Dawn? There we have it.

And before you start going on about, “This is a Twilight bashing post” I’m going to stop you right there.

Yes, it is.

But it’s much more than that.

The concept of love in a movie has been whittled down into this poor excuse for a relationship that is the Twilight saga. And before that, it was a Nicholas Sparks book adapted into a film.

Step 1: Two pretty white people fall in love.
Step 2: One dies.
Step 3: Advertise with a stupid reused poster of two people kissing with the guy holding the cheeks of the girl. (Rain optional)
Step 4: Profit

So, my coworker, who is 10 years younger than I am (damn kids, kidding), asked me, “What was the love story of your day?” Meaning “What did girls and adult females consider the pinnacle of romance back when dinosaurs roamed the Earth and phones had mangled fifty foot long cords.”

I thought about it and here’s what I came up with, looking at it generationally (20 year period) from 1978 through 1998. I would have been between the ages of three and 23 during this period.

General Hospital (1978) Luke and Laura
As a kid, I remember two big romantic to dos in the world. Luke and Laura being married and Charles and Diana. Since we are talking about impacting television, readers, or movie goers, I think Luke and Laura win out in that category. However, like Twilight, the beginning of this supercouple involves a bad relationship… including a drunken Luke raping Laura. While Twilight never moves toward sexual assault, there is a case for an abusive relationship.

Empire Strikes Back (1980) Geeks in love?
Well, every preteen in 1983 made the jump to hyper-puberty when Carrie Fisher showed up in the gold bikini on Jabba the Hutt’s party barge, but three years before, romance filled the galaxy as Han and Leia pouted. The already sexual tension filled storyline between the two characters, which kicked off in the first movie, mixed with Irvin Kershner’s direction pretty much set the stage for romance among the stars as Han and Leia smooched in the bowels of a space slug aboard the Millennium Falcon and led to one of the greatest improved lines of all, “I know.”

Why does that work? It seems kind of cocky and prick worthy, which IS Han Solo, but watch that scene directly after the scenes in the Falcon, and in the corridors of Echo Base on Hoth. Han is pretty much saying, “You love me. Why won’t you admit that I am an OK guy and that we could be good together?”

When Leia says, “I love you,” Han could easily say to her, “I love you, too.” He doesn’t. Why? Because he acknowledges that she has taken that step into the abyss and torn down the wall between their feelings. She’s confirming his statement to her back on Hoth about, “…because of the way you feel about me.” This isn’t goodbye. He gets that she gets it and let’s her know that he understands and welcomes what she is saying, not just because of the circumstance they are in at the moment.

Brat Pack Invasion (1984-89) The combination of John Huges and Cameron Crowe
This one spans almost five years, five films, two directors, and 20 plus actors. Probably the biggest comparison can make to teen love and angst comes in the form of Sixteen Candles, Pretty in Pink, The Breakfast Club, Some Kind of Wonderful and Say Anything. Even though some people often think Say Anything is a John Hughes movie, because of the cast and subject matter, it has nothing to do with Hughes. It’s actually a bit darker in tone because of the plotline involving John Mahoney going to jail. It still follows some of the formula that John Hughes mined for 80s movie gold and it’s still awesome 23 years later.

Whether it be Claire and Bender, Duckie and Andie and Blaine, Samantha and Jake, Watts and Keith and Amanda, or Diane and Lloyd, the history of love and heartbreak is as universal as Shakespeare or even the triangle of Jacob and Bella and Edward. (gack.)

But teen girls everywhere hearted Jake Ryan and Lloyd Dobler. They wanted to be with bad boy John Bender and even sort of pulled for Keith to stop going after Amanda Jones and choose the tomboyish drummer, Watts, who may have resembled them in a way.

John Hughes and Cameron Crowe wrote dialogue that normal teenagers didn’t use out loud but their thoughts mirrored what the characters said on film. It would be another ten years before that kind of sentiment was expressed through scripts spoken by high school kids.

Then there’s this: The ultimate expression of love for millions of guys hurt by the girl they love.

Phantom of the Opera (1986) She chose wrong!
My own wife thinks that Christine should have gone with the Phantom. Of course, she loves Twilight, too.  Well, a lot of women and girls loved the Andrew Lloyd Webber adaptation of the Gaston Leroux novel. Though anyone with any kind of theatrical training loathes how this became the standard for musical theater) High School and College Freshman drama geeks who dedicated their lives, or at least an entire wall in their bedrooms, to POTO were worse than Hipsters or Gleeks are today.

Beauty and the Beast (1987-1990) Television Series with Linda Hamilton and Ron Pearlman.
RON FREAKING PERLMAN! Female audiences swooned over the prosthetic faced enhanced Perlman as Vincent. He looked like a cross between the lead singer for Europe and the transformed Michael Jackson at the beginning of Thriller. Of course, that’s understandable because the makeup for both was done by Rick Baker. The relationship between the two transcended looks and worlds and Vincent was probably better looking Fabio in most rights.

Sadly, the show suffered the loss of Linda Hamilton in season three, at her desire. Hey, she didn’t pull a David Caruso. The following year she went full throttle into stardom, reprising her role as Sarah Conner in T2.

Disney Strikes Back (1989-1993)  Four movies that made you fall in love all over again
The Classic era of Disney animated features is speckled with a rich lineup.  Snow White, Cinderella, The Lady and the Tramp, and Sleeping Beauty all had strong romantic themes to them.  We've all, at least, attempted to push a meatball across the plate with our nose or slurped up a single noodle between us and our significant other at one time or another.  But it would be 30 years before the notion of a strong romantic storyline would grace the cels of a Disney animated film.  The Little Mermaid, Beauty and the Beast, Aladdin, and The Lion King all had the same things in common; strong female characters, a love story, and Oscar winning songs by Alan Menken, collaborating first with Howard Ashmen then Tim Rice after Ashmen's death in 1991. 

The themes in those three movies resonated for adults as much as they did in children and made Disney the animation powerhouse to beat,until a little company called Pixar animated a few toys.  It also didn't hurt to have some of the top R&B Soul and Pop Music artists record your main theme song.  This was a trend that started with Beauty and the Beast and continued through Tarzan.  Each year becoming a little more ridiculous as they trotted out past their prime pop stars from the 80s like Phil Collins and Michael Bolton.  Sadly, Michael Bolton's best work since then was in an SNL Digital Short called "Jack Sparrow".  Regardless, love was in the air but the heavy handed love song from The Lion King, while extremely popular, its place in the film is a bit lost as the love story between Simba and Nala is a minor one.  That's probably why "The Circle of Life" was also a big hit from the soundtrack, unlike previous years which only had one song on Top 40 radio.

***UPDATE***
The Wonder Years (1988-1993) Kevin Arnold and Winnie Cooper
I can't believe I forgot this one.   I almost pulled an Entertainment Weekly.  The world of puberty told through the eyes of Kevin Arnold by one of the Sticky Bandits.  The first episode set all the groundwork you needed for romance history.  That one girl in the neighborhood.  The one that was always there, geeky and awkward.  She comes back after one summer and she's transformed into the goddess of your dreams.  Then, you know how it goes, you make plans to get some of that and you envision her dead Vietnam Vet brother protecting her from likes of you.

Kevin and Winnie's was one of those tv romances that worked because it was sweet and innocent.  The show worked because it was life for all of us who grew up with them. It was the romantic equivalent of A Christmas Story for me. 

Unfortunately, YouTube won't let me embed this but it's a great compendium of Kevin and Winnie moments.

My So-Called Life (1994) Angela and Jordan
My friend actually called me on this one.  How could I forget it?  Sad to say, a lot of people did miss this bright spot in the tv spectrum.   It was cancelled before it's time and while it was on par with the WB Explosion a few years later, in terms of pop culture impact, it was too dark for ABC and mainstream programming.

The relationship between Angela and Jordan was one of those troubled teen romances that was a great parallel for how kids acted in the real world.  The dialogue was smart and the angst was almost Shakespearean in nature.  While their relationship wasn't the main focus on the show, it was probably one of the most memorable aspects of it.

***END UPDATE***

Titanic (1997)  The biggest thing that went down wasn't the ship...
Unfortunately, this is probably the single biggest impact on romantic film or television of any age group during my cross section of life. In fact, the biggest thing in this film isn’t the historical account of the ship hitting the iceberg or its sinking, it’s the imagined love story between a lady of status and a third class passenger.

I say, “Unfortunately” because, for how big a film it was, the footprint is almost clichéd and tacky when you think back about it. I mean, no one thought skinny ties and ugly sweaters were enough to give kids the eyeroll treatment of us when we first wore them. But looking back you have to cringe at the notion that we left the house thinking we looked cool in pegged jeans and mullets. The emo generation probably think that loving Celine Dion’s song is the biggest crime against music since Kanye West interrupted Taylor Swift’s acceptance speech. And, if I didn’t agree with Kanye in some small way, I’d think it was too, even though I own the Titanic soundtrack.

Let’s face it, it’s a tacky love song and almost an overly melodramatic chick flick, 15 years later. Holy Crap?!?! My wife’s niece wasn’t even alive when this film came out. Gawd, I’m old. Shut the blinds, I don’t want to see the light!

The WB Years (1997, 1998) The second coming of John Hughes for television
As a little upstart network, far down the depth chart of the television dial, The WB cranked up the competition with the big four by populating its lineup with smarty-smart teeny bopper dialogue from maverick's like Joss Whedon and Kevin Williamson. Having a self deprecating and self aware outlook on teen life and romance, they wrote smart dialogue for shows like Buffy the Vampire Slayer and Dawson’s Creek.

Much like John Hughes, 15 years before them, Joss’ and Kevin’s characters spoke differently than the average real life teen but their take on relationships were a lot more real and acceptable than Stephanie Meyer. Not saying they were any less abusive. It’s not every day that a girl loses her virginity to a hundred year old vampire who then wants to torture and kill her and her friends. But, it’s a better metaphor for giving into peer pressure and sexual urges only to find that what you’ve built up as the end all, be all of human existence turns out to be a monster who doesn’t share your sentiment after the deed is done. Whether or not you have to kill that boy in order to save the world is beside the point.

Dawson grew up with the Nick at Nite version (my generation’s version) of parents and his life was far from realistic but like John Hughes’ characters, everyone rooted for Joey Potter and sometimes Jen Lindley. After all, it was the typical Ginger and Mary Ann contrast of female characters. You want Ginger for sex, but you want to settle down with Mary Ann. Just like girls WANTED John Bender for sex, but wanted Brian Johnson for a loyal and dependable husband figure.

But there is still the eyeroll factor when you look back at the early WB teen romance shows and realize that “I’ll Be” was the “In Your Eyes” of the first season finale and the pinnacle of love songs in which to express your true feelings to.  It was also the soundtrack for episode promos with that raspy voice over that wasn't Don LaFontaine

I weep for the young today.  Why? 

This



New Moon Over My Dead Body

Shhh. Don’t tell my wife the new Twilight movie is out. Actually, she already knows and has known for months. Much to my dismay.

I’m not going to get into every little issue I have with the whole saga. Simply put, I’m not a fan but can appreciate its existence in the genre of sappy teen romance novels. Although, with New Moon opening up November 20th I have only this to say. Michael Corvin makes Jacob Black look like Teen Wolf….Too. That’s right. I pulled out a Jason Bateman reference for that one. Hell, I give Jon Gries more props as a werewolf. Go figure that one out. I’ll give you a hint. Jacob’s nards haven’t dropped enough yet to compare with Jon Gries’ characterization. Oh, I know Entertainment Weekly is just chomping at the slipper to churn out a list of best Werewolves on screen. It will most likely feature an over ranked Taylor Lautner near the top of the list. In fact I almost cringe at the obligatory connections between Lautner’s portrayal and accompanying clips and or tributes with Warren Zevon’s “Werewolves of London.” The folks at EW having been failing miserably at capturing a good list of anything lately. In my ranking you have, in no particular order, Lon Chaney, Jr., Seth Green, Jon Gries, MJF, Bill Stone, Jack Nicholson, Scott Speedman, David Naughton, and even Everett McGill from Silver Bullet above Jacob Black. He might make the list but I c

Ok, all of this goofy emo sparkly vampire crap aside, let’s get right to the point of this post. Going to see New Moon. Yeah, I admit, I will probably have to go watch it in the theater. My wife, who hates to go to the movies, will most likely insist on it. However, I will give her props, she won’t go see it the first few weeks which gives me time to cowboy up before having to firmly remove my manhood and stow it in her purse. She’s got Vampire Bill from the Sookie Stackhouse novels to keep her going for awhile.

You know, not to belabor a point but it is so ironic that my wife used to criticize me for watching Buffy the Vampire Slayer. It was while we were first dating circa Season Four. She caught me watching it one night and went into this whole geek/nerd/dork diatribe. Yeah….then she started watching it and was fawning all over Spike. Still, she has moved beyond William the Bloody for Edward the Shimmering and now Jacob the Furry.

Back to the point. Apart from not really caring for the subject matter, I treat the cinema like a church. When I go, I want dead center seating, up out of the way of people and absolute quiet. I want to be able to detach my consciousness from everyday life and just be in the moment. There is nothing more infuriating then the following. If this is you, resign yourself from the human race and go live with the animals.

1. You sit behind me and use my chair as a personal knee and or foot rest. Leave me the hell alone and stop breathing while you are at it.
2. You see a darkened theater as an excuse to text someone. Put the phone away. I don’t that damn glow from your screen interfering with my vegetative state.
3. You leave your ringer on and in turn answer the phone when it does ring. You have ample warnings and at least a half hour of previews, commercials, PSA clips and theater produced dos and don’ts to turn it off. If you don’t want to turn it off, fine, put it on vibrate if you think you are so important. And don’t answer it and carry on a conversation. If you accidentally leave your ringer or phone on, immediately do whatever it is that makes your call go to voice mail and then rectify the problem.
4. You’re the guy who thinks he’s going to be funny and shout something at the screen. This isn’t Seinfeld, this isn’t MST3k, this is a theater and should be treated as such.
5. Kids, I know it’s hard but STFU. I admit I’ve been just as bad but I’m old and cranky now and I’ve seen the error of my ways. Sit down, shut up, and pull up your damn pants.
6. Pick up your damn garbage. I nearly stepped out of my Nike’s.
7. This one is for the ushers and attendants. Don’t be walking in during the film to go check on something. Nothing used to burn me up more than to have some red vested slack come be bopping in and cross IN FRONT OF THE SCREEN to go check on a thermostat or something. It’ll keep. Unless the bloody theater is on fire, nothing bad is going to happen.
8. You, down in front. Lose the sombrero, asshole.
9. Don’t whisper something about the film like trivia or potential plot points. I only did this once for bragging rights. I whispered to a friend of mine once, “You watch. Bruce Willis is actually dead.” Ruined the whole damn thing for her.
10. You sit next to me in a theater of about three people. Go find your own space. Unless it gets crowded I maintain the empty seat between rule. Which is why if I have to sit at the end of the aisle, I always take the first seat inward. That gives me the option to move to the aisle when everything is settled.
11. As a bonus, I used to love getting popcorn and drinks and candy when I would go to the movies. The prices are now way too expensive. However, if you got the money to buy the food, at least have the manners to not crumple bags and crunch and munch on chips or candy during quiet moments. Wait for an explosion. And don’t do that stupid thing with the straw when it rubs on the lid making that screeching noise.

Like I said, my wife is no big fan of movie theaters and the prospect of having to sit up close and personal with a bunch of teeny boppers, exhibiting more than three of the above bad habits, is about as fun as a root canal done by a guy with a lazy eye and a degree from a Central American Dental Academy. She would probably be happy waiting for it to come to OnDemand or DVD.

Going to see the new Twilight movie ought to be less fun for me. I really disliked the first one. And I’m not even talking about the plot as much as I am talking about how bad the film was overall. The conceptualization of how the action takes place…like the sped up running and sparkle motion really let me down in the 21st century realm of movie making. New film, new director, better execution, maybe. Granted that still doesn’t make up for the piss poor vampire world series taking place. WTF (Mandatory Internet Slang quota reached twice, now) was that all about? My wife is convinced that if I read the books I’ll appreciate the subject matter more. I doubt that. She’s already read me passages from the last book and I really don’t feel any urge to go and read the first ones.

The Boy Who Read: Part Three

The Boy Who Read Part Three… I promise this is the last one…maybe.

In Parts One and Two I went on at length about my dislike of reading as a child and my newfound addiction in the form of the Harry Potter novels. While I might have made it clear as to why I decided to read the sixth and seventh novels before seeing Half Blood Prince on film. I never really revisited the entire series as subject of debate. I will say that I have spanked that 24 year old that treated the novels and the overall series as childish and unnerving. If anything, J.K. Rowling has relit the pilot light of inspiration in me to continue writing and perhaps make a more concerted effort to finish a piece of work. Of course, commitment to a diet holds about as much weight. With this I offer five things I love about the Harry Potter series and two things I dislike. I won’t go so far as say hate because I went into the books knowing how it ended so a lot of guesswork was taken out of one of the ‘dislikes.’

1. My first ‘love’ associated with the books comes from a background of loving language. I never met a pun or rhyme I didn’t like. Rowling has a firm grasp of etymology and linguistics which really delighted me in her usage throughout the series. The names of characters, locations, and objects such spells have this very soothing shape to them. Whether this can be attributed to her being English or just a lover of good study is beyond me. Looking at Tolkien or Lewis as standards in British Popular Literature, Rowling has earned her spot alongside some of the better writers in her use of language. I always looked at George Lucas’ use of language to create names for characters in the Star Wars universe as my own personal standard of yumminess, being primarily a fan of film and visual media, but Rowling now takes that mantle.
   
2. My second ‘love’ of the books is the way in which she treats the reader. While the books are written in the third person perspective primarily associated with what is happening to Harry, it kind of invites the reader into the story as a first person narrative. I attribute this to an understanding her audience, a kid who can identify with the main characters and the adults who live vicariously through their children or their own childhood. I also believe this to be attributed to her style of writing, specifically her descriptiveness of the action and environment. It is very to imagine the locations and looks of the characters through her descriptions. My biggest hang up with reading is my imagination, which oddly enough is probably more refined than any other trait I possess. I can think of something ten times more horrible under my bed than what could actually be there when I was a kid. Jaws and The Blair Witch Project are favorites because of this acuity of my mind’s eye. Another great thing about how Rowling treats the audience is that she is great at tying things together without letting the reader feel like they’ve tread upon old ground. There are paragraphs and passages in the last books that reference action that took place in the first or second book and it felt like new information when I read it.
   
3. Love number three is the story which is accessible to everyone. Remember, I was a skeptic. I admit, when the books first came out, I was totally against the idea of this school for wizards and witches setting. My gold standard for fantasy or science fiction has been either been based on Star Wars or JRR Tolkien. The idea of trying to fit a story about school and childhood into a medieval style or modern British world made me want to hear nails on chalkboards nonstop as an alternative. The fact that adults were gobbling up the books as much, if not more than, kids was disconcerting to me. Then, as time went by I started to soften a little. I had to admit from a cultural standpoint that this was a positive thing for kids. We were at a point where there was a definite shift from books to more visual media had occurred and then along comes these books that gets kids reading again. Not to mention, families are spending time together reading and discussing the books. It was a small check in the win column for family values. Of course, then the fundamentalist groups get in the way and start shouting “Satanic” and “Occult” and it sours the experience.
   
   As I let the fad, which by now had become a pop culture juggernaut, start to play out and plateau, I picked up the first book and was immediately sucked into it. A friend recently quoted C.S. Lewis to me regarding my change of heart. “When I became a man I put away childish things, including the fear of childishness and the desire to be very grown up.” I never realized that I had already boiled down that beautiful quote years ago into, “I may get older, but I’ll never grow up.” I forgot that somewhere along the way. Once I allowed myself to accept the story for what it was, I was able to enjoy it. As the books progressed, the story matured as did the writer, I believe.
   
4. My fourth love of the series is its hero structure and quest motifs. The story plays on the levels of the hero’s quest without relying on the standard convention of allegory on the surface. Yes, there are definite overtones of love vs. hate, family vs. solidarity, and good vs. evil, but it’s the subtext that really drives the action. By all accounts Harry Potter should not have lived until the age of two. Every step of the way he has someone there to help him. His mother’s love shields him and saves him as a baby. Dumbledore provides him with the tools to solve a lot of his problems. His friends sacrifice themselves time and time again for him to succeed.
   
   In all seriousness, Harry Potter hardly takes a stand and fights back until the end of book two and that was after he was given help in the form of the Sorting Hat from which he pulled Gryffindor’s sword. From then on he still has other people doing things to advance his march towards victory until well into the last two books. But what is really going on here, besides the Christ like referencing is that Harry isn’t alone in his quest even though he is pretty much an orphan. Yes, the Dursley’s provide basic food and shelter but he is emotionally on his own for a decade. It’s not only the prophecy, but the willingness by nearly everyone to believe in him that gives him the strength to be victorious. There comes a point in Deathly Hallows when it finally clicks for Harry. Until this point, he’s never asked to be a hero. He’s a mediocre student but he has the potential to be much more, a leader. A great leader is someone who does the job without asking for it. The first hints to this are in Order of the Phoenix when he forms Dumbledore’s Army. But the realization to Harry’s need to be a leader happens when he buries Dobby.
   

   
   Get Not a Horcrux on various items
   From Mongo Angry! Mongo Smash! the store.

   You can say that it happens when Dumbledore entrusts Harry with the task of finding and destroying Horcruxes, but Harry still hasn’t taken on the position of leader. He knows what needs to be done, but he doesn’t understand how to do it. He’s just following orders. You could also point out that when Harry continues to force Dumbledore to drink the potion in the cave to retrieve the locket has taken on the role of leader, but at that point he is still following orders as well. But after he buries Dobby he sees the power of sacrifice in the name of the cause. So much so that he himself has to do it as well in order to save himself and everyone around him. As he stands in the great hall overlooking the dead and wounded, he sees his friends lying there. In his mind, he struggles with the thought that they are there because of him and he accepts his fate and is prepared to die. It’s a leap of faith and he takes it. Yet, he still does not face death alone. He surrounds himself with fallen loved ones and accepts that he needs help from others, especially adults.
   
   The greatest lesson to be taught isn’t just the nature of love and good conquers hate and evil. It’s all about the journey. Voldemort is so obsessed with making things happen in order to become the most powerful, the he neglects to see the fine print. He rushes off into battle without first looking at the playing field. That’s why he loses. Harry only acts once he has enough information to secure his upper hand. This is another milestone for the boy who was willing to go off after Sirius when he thought him a killer and Voldemort when he returned. Over the course of the series, Harry follows in his father’s footsteps of arrogance and entitlement but learns to curb his temper and allow things to take their course. Thus, knowledge and defense become Harry’s greatest weapons over Voldemort. Yes, he was recognized as the master of the Elder Wand but if Voldemort had known that, he would have chose to dispose of Potter in some other fashion. Harry lets Voldemort destroy himself.
   
5. Love Number Five is Rowling’s decision to not play it safe. In children’s literature, much like the upbringing of children these days there has been an inherent decision to not let kids fail. This is my biggest pet peeve against our society as it stands today. My kid falls down a lot and I tell her to get back up. Now, if she’s really hurt, I go get her, but she fails at the age of two. She doesn’t like it but she is starting to understand it. For a story aimed at kids, there is a reluctance to take a chance and push the boundaries in regards to the safety of your characters. Happy endings come with little sacrifice in some stories. But Rowling isn’t afraid to kill her characters, regardless of their popularity or overall goodness. Apart from the killing of Harry’s parents, no other major character shockingly dies until Cedric Diggory in the fourth book. I don’t count the other deaths in between because they are either peripheral or not as intricately tied to an emotional attachment. Having Wormtail kill Cedric, a teenager proves that this is no longer just a children’s story. People die in violent and tragic ways and by the time we reach book seven, the gloves are off in terms of who is safe and who is cursed.

Now, unfortunately, my two dislikes.

1. Number one is Rowling’s use of Deus ex Machina. In the first book, Harry survives the Quirrell’s assault because he was protected by his Mother’s love. Albeit a stylized salvation, to simply end a climax by saying he was burned by love is pretty much phoning it in by my thoughts. In book two, Harry is first saved by Fawkes the phoenix when he blinds the basilisk and delivers the sorting hat which produces Gryffindor’s sword. Then he saves a dying Harry by producing tears that have healing abilities. Here Rowling has built into the early part of the story the significance of Fawkes and his abilities but even so, it still stands to serve as a “Just in time” salvation. As the books progress, the usage lessens or at least is subtle in its application which could account for the maturing tone of the novels over time.
   
2. My other dislike is Rowling’s attention to detail. To say that she is overly descriptive sounds wrong. Her world is fully realized and her intention in moving the story from point A to point B is sound. However, over time you begin to build up an attachment with certain characters who either become important in terms of development of story or just because they accentuate the action in the right spot.
   
   Case in point, Lupin and Tonks. Remus was a childhood friend of James and Sirius. He is an important part of Harry’s life in the third book but he stays out of Goblet of Fire. He comes back as part of books five and six but then only pops in and out of the story at certain moments in book seven to either deliver news or be sent away as a coward by Harry. He is regarded as a master duelist, yet he is hardly referenced at all in the Battle of Hogwarts except for whom he was fighting and that he died. The same goes for Tonks who has the same amount of action and is ultimately killed. Preference over character appearances aside, it’s the assumption of how both characters died that gets me. Both of them are seen sparsely during the battle and they are both killed off page. He get no real explanation other than the assumption that they were killed by their duelers. We get this passage about Fred dying and being placed in an alcove away from battle, but nothing about Lupin or Tonks. And what about Cho Chang and Lavendar Brown, did they survive? Accoding to the book, it's unclear, although Rowling states in an interview that Cho married a muggle. But what about Lavender? She was being attacked by Greyback and then Trewlaney smacked him in the head with a crystal ball. Did she survive? It seemed as if Rowling had too much going on and some to a footnote or explained afterwards. You see a lot of this over saturation of characters in television shows when cast members are continually added to an ensemble, creating a traffic jam of plotlines.
   
   Also, right after they escape the Ministry, there is a lot of story downtime during the search for Horcruxes in book seven. It especially drags after Ron leaves. Now, the one great thing about books over movies is the ability to take a story and shape and progress it without rushing towards the end. Look at Stephen King’s Dark Tower series. He builds and builds up action from the beginning to the end of book three. Then in book four, he stops it all to tell you another story from the past. It’s a kind of bait and switch tactic that works on paper but can drive someone mad if they’ve built up momentum in their reading. You hit that wall and your eyes nearly fly right off the page.
   
   Additionally, her ability to create a romantic development between characters seems to be a weak point. For the life of me I couldn’t resolve Harry’s affection for Ginny. It just seemed forced. Hermione and Ron’s affections are easy because they are rooted in conflict and that is a natural attraction but the payoff happens abruptly in the last chapters of book seven. I guess you can deduce that Ron’s compassion for the House Elves working in the kitchen is what spark the move for Hermione to eat his face off, but it didn’t read very well and it kind of broke my reading momentum. I hate having to go back and reread something once I've got a steady pace going.

For now, though, my head is not burning any longer. I have decided to take a small break in order to attend to other things that have been put on hold while I dive head first into the world of reading. I don’t think I will abandon it all together like I have in the past. I will probably make a more concerted effort to read something other than a magazine article. Just for a little while though, I need to enter a 12 step program and get myself clean. My wife is into book four of the Twilight series and even though she’s clipping along at a good pace, she seems perturbed at things that have happened in the fourth book. She has described in great detail the chemistry between these two characters and it really moves her. However, she is pissed. There is all this build up towards a payoff only to have the consummation of those desires be relegated to being alluded to and mentioned afterwards. It sounds as the author is great at setting the scene but can’t actually commit to writing about the icky stuff. I have my own thoughts on why, but I won’t get into a discussion about it here. I watched the movie and I feel as if I just watched a bad high school production of Into the Woods. My wife says the movie didn’t do the book justice. I think the producers and director went for marketing the film towards the OC and The Hills demographic and disregarded a lot of the text because they couldn’t keep the attention of the audience, otherwise.So, there you have it. I’m done. There is no more left to write. The Boy Who Read has grown up and is looking forward to the next good book. I’ve been given some suggestions and I will take them to heart. For now, the book is closed.