Thus, reflecting again their different views of gender. In one of the texts you studied, how was multiple storylines employed to convey the ideology of gender?
The story line follows the two after being paired on a blind date, Messer is shown as a laid back, 'playboy' with limited responsibility. In contrast, Berenson is depicted as a woman of success, whom is education and professional. As the development of the narrative progresses, audience's becomes more aware of the interrelated storylines, where the life's of the characters intersect to impact on one another. Through the use of codes and conventions to establish and develop character possibilities by the audience, the narrative progresses to show the contrasting storylines to meet.
The death of their mutual friend, left the two to work in collaboratively and look after a child together. The boisterous lifestyle of Messer and structured routines of Berenson are challenged when they are forced to cooperate and create a life for their new child where the implicit ideology of gender is shown through their interactions.
The two are made to connect despite their differences, however, the director employs the use of story arch's to display the perceived ideals of a family life and thus, informing the audience of how gender stereotypes have evolved. Explain how cause and effect propels a narrative. When they get home, Messer and Holly argue, but later they make up. Holly meets Sam Josh Lucas , Sophie's pediatrician, and finds herself attracted to him.
They arrange a date, which is cut short when Messer calls to tell Sam that Sophie has a high fever. Sam and Holly go to the hospital, and Messer sees Holly kiss Sam. As the two guardians continue to care for Sophie, they discover that raising a child is much more expensive than they had expected, and Holly can no longer afford to implement her plans to expand her business. Messer offers to invest in her company, and eventually Holly agrees.
To cement the new relationship, they decide to go on a date. They end up having sex and begin to develop feelings for each other. Their Child Protective Services caseworker, who has previously advised them against getting involved, tells them they must make a firm commitment either to stay together, or break up.
Anything in between would be bad for Sophie. Messer is offered a job in Phoenix, Arizona, and he seriously considers taking it up, as it has been his dream for several years, but doesn't discuss it with Holly. Holly is upset when she finds out and tells him to take the job, accusing him of looking for a way out of raising Sophie.
The sexual humor is pretty frequent while some surprising marijuana references become a lot more prominent than one might expect in a movie like this.
It's all enough to taint a picture that otherwise could have been some sweet little parental escapism. The Blu-Ray release is available as a stand-alone or as a combo pack along with the DVD and Digital Copy, so it remains the ultimate bargain buy for fans of the film.
Among the Blu-Ray extras are Deleted Scenes - Almost fifteen minutes of deleted footage is included on the Blu-Ray disc.
The scenes are, for the most part, disposable, including additional footage like a repeated gag where Messer keeps coming in contact with a little boy who picks his nose a lot. There is a pretty good sequence where Messer and Holly try to take Sophie home for the first time but after Holly realizes they don't have a car seat, she walks the baby home while Messer slowly drives alongside the two.
Another scene takes place in a hospital room where there's some tender dialog between Messer and Holly. The most disposable of all the footage, however, is a lengthy batch of "interview" clips with the neighborhood parents who are recording video messages for Sophie for when she's older.
There is also a semi-racy scene where Messer takes home a girl with the intentions of sleeping with her much to Holly's objection and before they can really go far, Holly interrupts them and makes Messer watch Sophie while she runs out to get the baby some medicine. Messer's date, who then first learns that he's a sort-of single dad, is turned on by this fact and the two continue to make out.
We later see Holly return as Messer's date leaves. A Survival Guide To Instant Parenting - The first of three featurettes focuses on the supporting cast well, basically all of the neighborhood parents plus Josh Duhamel talking about parenthood and their own individual experiences or suggestions for new parents, or parenting from the eyes of their character. The film's director and producer also join in to reflect on parenthood.
It doesn't have much by way of behind-the-scenes for the film, but it's a cute segment that fans of the film might enjoy scenes from the movie are also spliced into the montage of interview clips and some of the language from the film is heard in these clips.
The crew talk about working with Heigl and how her signing on to the film helped get the movie made. Katherine also shares about her experience with the movie and how the production of it coincided with her actually becoming a first-time mom in real life. This little featurette, which is also the last of the extras, is probably the closest thing here to a behind-the-scenes spot.
It focuses on Josh Duhamel in the role of Eric Messer, but also his relationship with the little triplet girls who played Sophie and how they really bonded with him on and off set. This one's the highlight of the extras. Instant family Katherine Heigl, Josh Duhamel and one of the Clagett triplets.
The next step is also a surprise, and here I must mention a major plot point or stop writing. You can skip to the end if you wish to avoid what the trailer has already given away - that Holly and Messer, as he prefers to be known, become instant parents when Peter and Alison die in a car crash. Their daughter Sophie who's just a year old is an orphan.
Holly and Messer are her guardians. A lawyer confirms it: they must step up or the kid goes into welfare. This much life and death is almost unheard of in romantic comedy, for obvious reasons. A child offers great potential for comedy, as comedians have known since Chaplin and Jackie Coogan made The Kid in , but less for romance. Rom-coms are about princesses and happy-ever-after, not nappies full of kaka.
In this case, we get both, which tells us the writers are after comedy first - at least for a while. I liked that: they have put everything in reverse order and that allows some reality into the story.
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