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Scarlet likewise shows far more distress over Melanie's death at the end than Rhett breaking it off with her. Even her husband won't get away with making Scarlet cry. It's made quite clear that Melanie is utterly devoted to her. Since Ashley is off at war for most of Part 1, Melanie shares far more scenes with Scarlet. Gone with the Wind amps up Scarlet and Melanie's Pseudo-Romantic Friendship.(Bizarrely carries over to the Ninja Showdown kid's book.) Oddly out-of-place due to the gist of their past relationship being "We really, really don't like each other."
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The emotional peak of the movie is when Reed abandons Ben (specifically Ben) in a government facility to save himself from being experimented on. Instead, they dwelled on how Ben Grimm, friends with Reed since childhood, helped him reach the scholarship he'd always dreamed of, how Ben (and not Reed's parents) helped Reed move into the Baxter Foundation, how Reed could not consider deploying the teleporter without Ben there, the list goes on. The infamous Fantastic Four (2015) barely took the time to set up Reed and Sue as the iconic couple from the comics.It's so prominent that the movie's attempts to hint at a romance between Ender and classmate Petra barely even register. Ender's Game: There is a ridiculous amount of apparent romantic subtext between Ender and his sister Valentine, to the point that she's appearing in his mind games as the princess that he has to rescue from a castle, and she's the one that Graff turns to in order to convince Ender to return to the Battle School after he suffers a Heroic BSoD.Hell, the mere fact that the film ends with a battered and bruised John gently carrying an injured and unconscious Sam to safety in a Bridal Carry while she affectionately nuzzles his neck strongly implies that the two characters were originally intended as husband and wife in an earlier draft of the script, and the necessary re-editing to make them siblings was done pretty hastily.
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Furthermore, John and Sam's mutual character arc of overcoming their past estrangement following them having chosen different career paths is framed less like two siblings learning how to care about one another again and more like two embittered ex-spouses slowly falling back into love. Virtually every scene between the two characters implies a more romantic connection than a familial one, with their immature bickering when they first meet back up coming across as awkward flirting more than anything else. Doom: This movie suffers from this trope to a near-comical extent regarding John and Samantha Grimm, a Brother–Sister Team of fraternal twins who are the film's primary protagonists and serve as The Not-Love Interest to one another.