Well, the scene where Gary Busey is on deck when the main guns fire and wanders around in a daze with his ears bleeding is pretty good, too.
With all due respect, DCnDC, picking out dumb things people do in the prequel trilogy is like finding hay in a haystack.
There are plenty of gays and lesbians who don’t acknowledge or realize their orientation until after having sex with the opposite gender.
My contribution to the thread will be the early 7th Heaven episode in which 16-year-old, hot virgin Mary Camden, concerned about her skill as a kisser, asks her older brother to give her lessons – i.e., to make out with her. If it were a Joss Whedon or Seth McFarland show I might not have blinked, but this was the holiest show on network television.
Oh yeah, it’s far from conclusive. But if we’re looking for hints at Serena Southerlyn’s sexual orientation, it’s at least worth mentioning along with her reactions to gay rights cases. And I don’t even remember any scenes with her and Dr. Rogers, unless the medical examiner was testifying.
Wait, what?!! :eek:
My favourite one is in the movie “The Long Kiss Goodnight”. The characters are supposed to be walking around New Jersey but the big ole “Honest Ed’s” sign in downtown Toronto is shining brightly behind them. 
Yes and no. There were lots of great references in that movie that would mostly be funny only to folk fans. The fake album covers, for example, were beyond genius. Each of the three groups were loosely based on real acts.
The large group = The New Christy Minstrels.
Mitch and Mickey = Caesar and Cleo (i.e. Sonny and Cher in their very early days.)
The Folksman = At first you assume The Kingston Trio when all along it was Peter, Paul and Mary.
I never thought of The Godfather as particularly innocuous.
Or The Critic, for that matter.
Sorry, I was using the “otherwise unremarkable” definition of the word.
The succubus blowjob scene was completely in keeping with the tone of the movie, which was cynical and smart and had all sorts of sexual undertones going with it (Keymaster and Gate, anyone?) but what made it not work was the complete lack of a setup for it. I bet that setup is on the cutting room floor somewhere. They should probably have dumped the scene along with the setup.
That was creepy. Though as I recall I don’t know that she wanted a heavy makeout session…just sort of a primer in where to put her arms/position her face. It was still incredibly weird, though…
I don’t think that makes the roofer an asshole. Like he said, the money wasn’t worth the risk to him. All he did was pass on the job information to his friend. It’s his friend’s fault that the money was worth the risk. Unfortunately for the friend, he ended up getting killed.
But the point is, there was never any story specifically dealing with Serena’s private life, nor was there any story that implied either Arthur or Jack McCoy (or the detectives or medical examiner or anyone else) knew or cared about Serena’s sexuality. In fact, I’d bet that pretty much the only reason anyone remembers Serena at all is that 30 second exchange at the very end of the last episode she ever appeared in.
If she had asked, “Is this because I’m a bad actress?” and Arthur had said “Damn right!” it wouldn’t have been WTF at all.
No, because then they’d have been breaking the fourth wall, which L&O never did.
I thought they were based on Ian and Sylvia.
I remember hearing that the scene was going to get cut because it was OVERTLY sexual so the compromise was making it a dream sequence… which makes it even more jarring since a dream sequence seems out of place as well.
Am I the only one that doesn’t remember this scene at all?
The guys are shown to be working lots of overtime, catching tons of ghosts. The team is sleeping in the firehouse, Akroyd rolls off his cot during the dream.
Yes, you’re the only one.
“Hey man, you’ve had seven martinis. Give me your car keys.”
“I’m okay to drive.”
“Oh, okay then.”
At best, the roofer was callous. Real friends are supposed to look out for each other.
I think the roofer’s callousness depends on exactly what he told his friend, and what his friend’s circumstances were. If he told his friend, “Hey, I know about a job that’ll pay really well, but I’m not willing to take it because it’s for a mobster and I think it’s too risky for my taste,” he’s not responsible for his friend’s poor judgment. If he didn’t mention the mobster thing, he’s a jackass.
Well, prairie dog shit. Assuming you’re right (and I’m not accusing you of being wrong), then I’ve missed the clues all the times I’ve watched the film. I was never all that big a folkie, but thought I was familiar enough with the genre to get the inside stuff in a relatively major movie. Thanks for clearing it up for me.