Word: subplots
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...helicopter - see you later, Amber, I got work to do - for a big lunch and a snorkel. And there amid the coral occurred a great, G-Rated Romance, Hollywood-style. (Fast-action "happiness montage" included.) They were destined to be together, you see, and besides we had a subplot to plumb: Jerri making her move (and her moves) on the king of the tribe that maybe needed a reason to keep her around. Very "To Catch a Thief," with maybe just a touch of "Pretty Woman." (Though the repartee was more like "Home Improvement." Sample conversation, on the way over...
...when she kept her "promise" and turned on Maralyn amid the glow of the torchlights? Quite possibly. But in the end, the overarching story held: Only the young survive. Because Tina's brush-off - not much softened by the little frownie face she put on her vote - was just subplot window dressing...
Defensively, Harvard played perhaps its best game of the season. An interesting subplot to this season has been the improvement of the defense from week to week as it tried to match the ability of the offense...
...interesting conundrum, the impracticality of having a character go mad. Bennett went through several drafts of Madness before he developed a subplot compelling enough to take the place of the king's personal tragedy in the second act of his play. A descent into insanity and a recovery from it are both dramatically tenable situations, but the state of madness itself leaves little room for engaging action. Hence the emphasis on affairs of state and the line of succession which fills the later parts of Bennett's playelements which were absent in his early drafts...
...bother carping about script lapses involving the crew (or an even sillier subplot of an upper-class twit on a yacht)? Humans are irrelevant to an effects extravaganza. The money shots come out of a computer or a studio tank. And though a storm is not a shark, the technical artistry plugs into a viewer's neurons to create a churning queasiness. You won't be moved. You will...