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« on: May 30, 2011, 06:40:33 PM »
Like Michael Stroka, and others, Donna McKechnie listened a bit too much to directors telling her to over-pronounce and over-emote. She's somewhat irritating to listen to for that reason. I don't buy that her 1897 stint was just a set-up for her return in 1969/70 though, because the 1897 stretch of story is far more interesting and thought-out than 1969/70.
I really enjoy more-worldy, jaded, cynical, revenge-driven Tim showing up in town again, dragging a semi-floosy with him whom he intends to throw at Trask, to give Trask the needed rope to hang himself. That's all the reason or explanation you need for Amanda. I enjoy her poor-soul-in-search-of-salvation act, I like how she sees through Gregory in half a second, and I like her report to Shaw about it...
As for Amanda and Quentin, DS is not about happy endings and nice people (like Beth) triumphing in the end.... and Q choosing to waste his second chance ast life obsessing on Amanda, someone he has zero in common with, has nothing to talk about with, with whom he just has a vague but overpowering romantic feeling, is entirely in keeping with the unfair world of DS. Partly, Amanda and Q get together to drive Beth over the edge, literally. Q does not appreciate those who care about him, and Q and Beth going off into the sunset just would not happen. If Q survives, Beth can't. There has to be tragedy, and Q must cause damage, or he's not Q.
Amanda in the 1969/70 limbo zone is insufferable.