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Donna is provided with a too-good-to-be-true hero (played by Jake Lacy) to soften and Hollywood-ize what would otherwise be a darker and perhaps more realistic denouement

This didn't bother me as much as it did you -- possibly because I'm a total softie, but I appreciated that the movie wisely shifted the protagonist's dilemma from whether to have the abortion, which was emotionally fraught but never in question, to whether to tell Max.

The fact that he was an almost stereotypically hunky romcom hero allowed her struggle to be internal -- it wasn't so much a question of whether she wanted to be with him, but how she felt with herself.

Bradford Richardson

Terrific analysis, Billy.

I'm thrilled the cliched, "Happy Ending," has evolved into a more mature expression of a Satisfying Ending for the story being told.

I haven't seen OBVIOUS CHILD.

For me, writing or going to see a Romantic Comedy is an inspiring, love-affirming, escapist experience.

I feel deceived when a film impersonates a Romantic Comedy then ends with a Dramatic punch in the face. There's no point in buying a ticket to escape to, reality.


JoshKsky: Well put, and I agree; it worked as a story development for this story, on its own terms. The next taboo frontier to cross would be to feature a woman, post-procedure, without a Perfect Guy on tap to make everything okay before the fadeout...

...and such a scenario might even work for Bradford: if the tone and story and character were set up in such a way that we really could see that protagonist as "happy" in the end (i.e. feeling at peace with her choices and ready for a future relationship).

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