Best TV Couple #7: Tammy Layne Winslow & Jonathan Randall

One of Springfield, Illinois's biggest taboos-- Jonathan and Tammy fought hard to be together.

With the elicit pairing of cousins Tammy Layne Winslow and Jonathan Randall, short-lived Guiding Light had something daring yet special. Their young forbidden love built from an angry, rebellious teen seeking revenge on the mother that had abandoned him and the one person who could blow out the fuse raging inside.

Jonathan's mission to destroy Reva Shayne and the rest of her goodie family backfired. First, he cruelly seduced Tammy, masquerading as "J.B.," a sweet talking motorcycle riding drug dealer. With him, Tammy was shooting pool, drinking beers, and inviting the tall, handsome stranger over for heavy make out sessions. After Tammy loses her virginity to him, her mother Cassie bursts inside the hotel room and tells her all about J.B. and Jonathan Randall. Tammy, completely crushed to have been deceived, confronts the resident bad boy. At every turn, he taunts and intimidates her, making her feel utterly worthless.

Guilt stricken Reva forces Jonathan to spend time with her, get to know her inside and out. In the meantime, Alfred Randall, his abusive adopted father sweeps into town, planting seeds of doubt into Jonathan, belittling him and shattering his dwindled self esteem. Alfred goes by Nate and uses maneuvers that Jonathan inflicts on Tammy-- that the more powerful aggressor uses shame to make the weaker stay mentally, emotionally, and physically defenseless and under their thumb.

Jonathan ushers Tammy onto his motorcycle. They head towards her reception where they have the most fun ever.

Tammy starts dating Sandy (the guy who posed as Reva's long lost son and left Jonathan for dead on a cliff). She and Jonathan grow close. They are neighbors. When Tammy's room is on fire, Jonathan bursts in and saves her life, receiving burns in the process. He scoffs at her thankfulness, but is obviously touched by her gesture.

Once everyone discovers that Nate is Alfred, hell breaks loose. Tammy is kidnapped and Jonathan exchanges his life for hers. Nate pushes him inti the water and Tammy dives in, saving him from drowning-- the same fate his adopted mother had suffered.

In addition to having three songs that define their transition (Kaci Brown's "Unbelievable," Marc Broussard's "Hope For Me Yet," and Brian Siewert's "Can You Love Me (With the Lights On)"), the locket exchange is a wonderful touch. Tammy often wears a gold, heart shaped locket that was gifted from her adopted father, Richard Winslow (Jonathan's biological father). She gives it to Jonathan to remind him that he has a good heart. He gives it back, having carried it around with him. Over time, she leaves it again for him.

By fall, Sandy and Tammy are engaged. Yet, she has strong residual feelings for Jonathan, often fingering the gold locket, yearning for the taboo through flashbacks and pure romanticist imagination. Jonathan inherits Outskirts Bar from Nate. As he plans to burn it down, Tammy enters and forces him to change paths, to prove Nate wrong, and make something of himself.

Tammy loses against temptation, confessing her feelings to Jonathan in the barn. Their kisses grow hot and heavy. Sandy sees this and gets electrocuted. Tammy, guilty and hurt, makes a promise to stay committed to Sandy, breaking Jonathan's heart to smithereens. Still, he doesn't let up, knowing that they're meant to be together.

Through it all, after a disastrous wedding that shouldn't have happened, Jonathan and Tammy become a couple, battling perception of the people, their respective families (especially hypocritical Cassie), crazed Sandy, and paint the town red. They have faced so much-- Jonathan's past and Tammy's shame.

They didn't have much, but love was more than enough.

The last year was tough. After Tammy dumps Jonathan for having known about Sandy's marriage, Jonathan has a drunken one night stand with spoiled, rotten Lizzie Spaulding, broke Tammy's heart again once discovering that he fathered Lizzie's baby, and endlessly had to deal with Alan Spaulding (Lizzie's overbearing, arrogant monster of a grandfather). At the Beacon, Jonathan and Tammy then lived with Lizzie (who suddenly developed feelings for Jonathan and sabotaged them), Jonathan soon married Lizzie and moved in with her alone. Though they were still seeing each other on the sly, Tammy sadly seemed like the other woman. Eventually, they broke it off-- Jonathan wanting to make it work with Lizzie and their baby Sarah and Tammy needing to move on with him.

However, during the Shayne-Lewis Christmas party, Tammy and Jonathan rekindled their flames inside the beloved barn and continued trysts.

Eventually, Jonathan divorces Lizzie and proposes to Tammy-- his one true love. They have a small intimate wedding. Cassie acts as witness, having finally accepting Jonathan and Tammy's relationship at last. Their night is a beautiful montage of love, the final shot resting on their euphoric sleeping faces and clasped wedding rings, a symbolic journey drawing to tender close.

Jealous Lizzie wasn't going to stand for it. She plotted with Alan to destroy them, setting up Jonathan to meet her and arranging sweet revenge. Tammy got wind of the danger and headed straight to the location. As Jonathan waited for Lizzie, a car plowed towards him. Suddenly, Tammy rushed forth out of nowhere and took the fatal hit.

Jonathan and Tammy's compelling love story wouldn't have been possible without the raw, cataclysmic chemistry between their portrayers, Tom Pelphrey and Stephanie Gatschet. They vividly conveyed expressions of young hope and rebellion. The artistry of their body language (eye looks, hand touches, kisses, etc) revealed significant sorrow, love, affection, and acceptance-- all the facets of Jonathan and Tammy's incredibly tragic romance.

Best TV Couple #8: Hollywood Desonier & Violet Bordelon

Vi (Tina Lifford) and Hollywood (Omar Dorsey) are the best thing happening in St. Joe.

Queen Sugar's Violet 'Vi" Bordelon and Hollywood Desonier's relationship is not a no strings attached agreement nor a silly cougar having fun with her younger squeeze. Vi is the town's infamous piemaker and Hollywood is a retired rig worker, having come into riches after a colossal explosion almost killed him and his crew. While Roberta--the resident vixen always on the hunt on fresh blood-- took a shine to the handsome, bald gentleman, Vi wasn't taking chances. She kept her man close and pushed enemies far away. Hollywood only had eyes for Vi anyway, paying no attention to Roberta or any other woman shamelessly flirting with him. And Vi adored this new lease on life, on the love Hollywood granted her and her loved ones.

Butterfly kisses between lovers.

Hollywood and Vi are sweeter than sugary iced lemonade on a hot summer day. They had been through much together, having rescued Blue from a perilous predicament involving his drug addicted mother while his father was imprisoned. Along with her older brother Ernest, Vi and Hollywood raised the child, giving him the love needed to survive and thrive. After Ernest passed away, Vi stayed strong and diligent, fully embracing the matriarch role of the Bordelon family.

Unlike most television dramas, Queen Sugar doesn't let ageism become a crucial factor. Sure, Hollywood is much younger with a bright future ahead, possibly children if he wanted. For Vi, he has given up on the thought of having them. He simply loves her and cannot wait to get married. On the other hand, Vi is a vivacious sixty-year-old woman handling business affairs and conducting a steamy romance. Her wig assortments are fire and her fashionable outfits evoke confidence. It is not surprising that someone like Hollywood-- a man of fine, appreciate taste-- could fall head over heels. There have been minor incidents with women believing Vi is Hollwood's mother (most recently season three, episode three's "Your Distant Destiny" during Hollywood's high school reunion). Hollywood and Vi both take down haters with wholesome respectability and a hint of snarky clapback.

Vi learns all about LeeAnne in a heartbreaking scene.

Unfortunately, in the beginning, Hollywood hadn't disclosed his entire biography, withholding his first wife, LeeAnne. At Vi's splendidly decorated outdoor party for Hollywood, LeeAnne stumbles on to the scene calling out for Hollywood and their baby. It turns out LeeAnne (who was off her medication) miscarried their child and became mentally ill, unable to cope with the loss. Hollywood has stayed married to her so that she could have medical insurance.

It took a while for devastated Vi to forgive Hollywood, much less speak to him. She played the silent card. He persistently continued getting through.

Eventually, they grow close again, Vi's walls opening the floodgates of trust, knowing that Hollywood is too good of a man to lose despite the heavy white lie. Once the explosion happens, fears takes allegiance. When he steps off the van-- alive and unharmed-- she leashes herself into his arms and refuses to let go.

They are reunited. Hollywood quits the rig for Vi. Of course, she is surprised and hopes he has thought it through.

In season two, episode sixteen's "Dream Variations," Hollywood proposes and Vi accepts.

Don't mess with Viwood (or is it Hollet?).

After a horrific domestic abuse relationship that temporarily damaged her mentality and spirit, Vi refuses to allow men any control. Her independence is valuable because she remembers when she didn't have it, when she couldn't be free to candidly speak her mind. The unexpected lupus diagnosis is not deterring her from achieving big dreams either. She is determined to open her own pie shop. At times, this frustrates Hollywood. He wants to give her the world-- fund the pie shop, get her a transporter truck. He wants to hold her at the dizzy spells, be the rock to hold. Lately, she has been dismissing his aide, including announcing not wanting to be Miss Violet Bordelon-Desonier. Every turn, appears a new beast to strike, a new wound to Hollywood's pride.

As Hollywood and Vi's romance continues unfolding, will Hollywood truly be enough for Vi? And will there be a wedding at all?

In the meantime, Tina Lifford and Omar Dorsey are beautiful. Each poignant episode, among the sadness and pain that surrounds them, Lifford and Dorsey bring viewers these two layered characters who would do anything for the other, fighting for love, fighting for their family. They are absolutely stunning in their portrayals. Next to Blue Bordelon, Hollywood and Vi uplift everyone with positive energy, thoughtful wisdom, and divine encouragement.

Best TV Couple #9: Rochelle Tingman and Julius Rock

Rochelle (Tichina Arnold) and Julius (Terry Crews) were an honest depiction of how black children were raised if both parents stayed together. 

The ghetto is no place to raise children.

In 1982, Julius and Rochelle Rock move to a large house in Bedstuy Brooklyn-- not necessarily a luxury suite, but it beats the projects (or in Chris's words "government experimentation"). Julius takes in the cost of every last thing including wasted food. Rochelle often boasts of him having two jobs. In addition to happiness for what he has given her and the children, what his sacrifice has allotted them (sleep included), she is obviously proud of his efforts.

Julius and Rochelle may have their spats. In the end, they always make an effort to compromise.

Julius and Rochelle were the heart and soul, the foundation of Everybody Hates Chris. They have a partnership that is all too familiar, like something seen from ordinary, everyday experience. Rochelle's reactions are over the top exaggerations whereas Julius is a calmer rationale. He rarely raises his voice even as she can scream and holler with the best of them.

During the time of drugs implanted into communities and high crime rate, Julius and Rochelle cared about each other and their children, of being present in all steps of their lives, not allowing any negative interference to stand in the way. Sure, the children were tempted, lured by finicky desires of childhood wants. Julius and Rochelle, however, provided a nurturing environment inside the home. While unable to protect from outside forces, Julius and Rochelle instilled positive values and showed a healthy, balanced love. In the black community, a black father that wasn't absent and a black mother that showed interest changed black family media perception.

We cannot dismiss the violence (belt whoopings and such), but the affection and care lingered in every scene.

The important thing too is Julius and Rochelle's relationship-- their romance.

Julius didn't have to think twice-- much less look at Rochelle's wig cap.

Sure, Julius doesn't buy Rochelle sentimental Hallmark cards (instead keeping a box of many cards bought at a flat rate underneath the bed ) or take her out to fine dining. The wealth of romance lies in the little details, the true acts that matter most. In fact, it is a more believable, more impactful authenticity of real life struggles-- raising three children, keeping bills paid on time, making sure food is stocked, and staying married. For example, in episode one, season five's "Everybody Hates Fat Mikes," Julius's work is on strike and he stays home. Once the children compliment him on his good meals and housecleaning skills, Rochelle feels useless. To make her happy, Julius gets the children to mess up the house. Or in season one episode seventeen's"Everybody Hates Funerals," Julius doesn't get between Rochelle and her overly critical mother. After she releases her pent up frustration, having been sad and miserable over her father's death, he comes into the room with her favorite addiction.

Julius brings Rochelle her beloved Turtles (chocolate covered peanut caramel cluster things).

She reveals her first delight since her father unexpectedly passed away. So adorable.

Everybody Hates Chris deserved more than 4 seasons. Its abrupt departure took away a solid, humorous show with two talented actors as loving, committed parental units. Underrated (and under-rewarded) Terry Crews and Tichina Arnold bounced off each other in a realistic sensibility, yin to yang. Rochelle's defensive attitude can be dismissed as aggressive and stereotypical, but Arnold gives Rochelle's sassy feistiness and comforting warmth, embodying truly believable portrait of a mother and wife supporting home and family. Meanwhile, Crews (seen mostly as over masculine in other roles) has a nice change of pace as an attentive father, hardworking breadwinner, and thoughtful husband.

Without Arnold and Crews, Everybody Hates Chris certainly would have been lacking heartfelt genuineness to Julius and Rochelle.

Best TV Couple #10: EJ Dimera & Samantha Brady

Like sand through the hourglass, Days of Our Lives had something priceless with supercouple EJ (James Scott) and Samantha (Alison Sweeney). 

Problematic, misunderstood Samantha Gene Brady, who once kidnapped her little sister to sell her on the black market, had major disasters in the relationship department. Every man preferred her perfect older sister, Carrie or wanted Samantha to change into something like her-- a flawless goodie two shoes. Yet Samantha, fiery, passionate, and temperamental, needed a man on her level, a man who put her above the world. That man finally entered the picture, moving across the hall from her in May 2006.

That man was EJ Dimera.

At the time, the tall, British EJ posed as EJ Wells, a wealthy race car driver extraordinaire, with those melty hazel eyes pining sweetly on Samantha-- oblivious to her own beauty. He gave an attentive ear, offered quirky half smiles, and ushered compliments aplenty.

Samantha and EJ's dance in the abandoned house was such a highlight in their early history.

This earlier buzzing with EJ poised as the bee surrounded by the Samantha's rosebud nectar was a delicious, charming wooing-- slow and bittersweet as a tender friendship bubbled with underlying desire and need. Most memorable scenes: a certain rooftop flirtation, the sultry dance on the pier that granted them a first place prize; they're caught in the rain, find an abandoned house, change into dry clothes, and dance to old time music.

Things changed once revealed that EJ was a Dimera-- a family of ruthless, sadistic origin-- Samantha no longer wanted to befriend him. The Wells kindness turned into key Dimera traits: sneaky, narcissistic, and manipulative, demonstating an air of power and arrogance. EJ vowed to have her and nothing would stand in his way. Unfortunately, that was Lucas. After another failed shot with Austin (who returned to Carrie), Samantha moved on with Lucas (who had just broken up with Carrie) in a very ridiculous attempt to move forward. It was a pathetic, unbelievable ruse considering that Lucas had always wanted Carrie and Samantha was a pity choice for him.

For a while, EJ and Samantha play a teasing cat and mouse game. Things, however, worsen on a horrific night when EJ coerces Samantha into car sex. The scene is awful, horrifying. After all, Samantha was a rape survivor, having her first time experience being assaulted (by a man who wanted Carrie). EJ's "deal" with Samantha was a red stain on the fanbase-- the first man beguiled by Samantha would destroy her in this one heinous act.

In a scandalous past lives tale, Santo (who looks surprisingly like his grandson EJ) and Colleen (who looks just like great niece Samantha) fall in love. They spoke through letters and shared Gaelic tongue, their rendezvouses the stuff of romantic depth.   

For months, EJ taunted Samantha after discovering her pregnancy. He hounded her furthermore, threatening to destroy her misguided happiness with Lucas. However, over the coarse of late 2007, he started easing little by little out of the influence of his evil father, Stefano Dimera. EJ's heart still pined only for Samantha. In the meantime, EJ and Samantha find out about Santo Dimera (EJ's grandfather) and Colleen Brady (Samantha's great aunt), reading bittersweet letters between an Irish novice and an Italian married businessman. To end the Dimera/Brady feud, reluctant pawns EJ and Samantha were later hitched-- the first of three times-- this first being entitled "The Black Wedding." At the alter, EJ is shot, then hospitalized, and temporarily paralyzed. Samantha wills his spirit to fight and stay strong. Although she softens towards him, she stays committed to Lucas despite the attraction growing hot and troublesome.

Soon EJ renounces his father, Lucas is arrested for shooting EJ (which years later turned out not to be true), and EJ, Samantha, Johnny, and Ali are forced into witness protection. At the safehouse, the two are drawn together, forming a tender makeshift family-- one of EJ's greatest wishes and perhaps Samantha's deep down inside. Despite everything that had happened between the two, EJ and Samantha were the same-- imperfect, selfish, conniving, and passionate.

Yet Samantha would deny this for years.

Seemingly recreating the Colleen and Santo romance, EJ and Samantha pen beautiful letters to each other while Samantha is in prison. Poignant and authentic-- EJ and Samantha are at a sad, vulnerable place. And it makes all the more special that they're in despair together, finding comfort in language and longing. Once Samantha is free and clear, she and EJ make up for lost time in one of my favorite love scenes of theirs. 

When reflecting on the dynamic pairing of EJ and Samantha-- discounting the horrible car scene, dreadful interlopers Lucas, Nicole, and Rafe, Samantha hiding her pregnancy, EJ kidnapping his own daughter, Samantha shooting a sleeping EJ in the head and leaving him to die, never ending custody battles, EJ cheating on Samantha with the babysitter-- the best parts are defined at them being their true selves with each other. One has to put the lopsided writing aside, not look on dastardly soap opera agendas being pushed front and center. EJ and Samantha were on the road to supercouple longevity, but the most extreme shifts continued coming onto their paths-- an avalanche here, a giant boulder there. In the moments where they were truly happy, no secrets on route to humiliating revelation, is a true gem.

A Dimera in love with a Brady? Oh yes. It happened.

EJ comes from a rich, spoiled background whereas Samantha grew up lacking a sense of worth. He felt entitled to anything he wanted. Perhaps Samantha's rejection was his greatest challenge. This man could have had any woman, any woman on earth. He wanted Samantha. Viewers who grew alongside her remembered a sad, disfigured past. For starters, bullied constantly for her weight, she had a troubled adolescence. While the men she coveted most yearned for slender girls with confidence and goodness, Samantha schemed to be noticed, to be loved. Before EJ came into town, she had desperately wished for someone to accept her. By the end of a rather tumultuous journey, EJ had found her. Years later, he earned her heart and trust.

Other fascinating highlights include EJ taking Will under his wing (EJ loves every part of Samantha and that means her first born despite him shooting him at "The Black Wedding"), Samantha running off with EJ after the big disaster, EJ and Samantha taking over Dimera Enterprises, fronting the company together, and replacing the living room Dimera portrait with the two of them, and EJ kissing his father's ring in order to free Samantha from prison. Plus, they're many love scenes (some very kinky, naughty, and risqué) were off the charts-- spicing up the afternoon with the most lecherous display of foreplay. 

The last EJ and Samantha reboot, leading up to the tragic end, was indeed pleasantly mixed. With EJ devoted to his lady love, Samantha and their children, he proposes again (and EJ always had the most sentimental proposals). Samantha accepts.

EJ and Samantha agree to renew their vows.

EJ suffered a mediocre death by a day player, leaving his dearest wife and three children (two were biologically his and he loved Ali as she were his own). Samantha had found EJ on the ground injured, dating back to countless times of finding him that way. As she tries attending to the gunshot wound, she begs him to open his eyes, to live. He does as she commands, opening those adoring eyes, thanking her for granting him love and family. Their final kiss tore many apart. After song and dance, they end ala Shakespearean-- the reformed devilish man and his vixen bride having only a half filled cup of happiness.

As for Samantha, she comes and goes back to Salem. It's just not the same. Perhaps never will be.

James Scott and Alison Sweeney left an unfulfilled mark on the fictional town of Salem, Illinois. Their electrifying sparks ignited each time they were allowed to share the small screen together. Whether EJ and Samantha were kindred friends, volatile enemies, or passionate lovers, Scott and Sweeney played the beats to their appropriate rhythms (those intense eye stares, the subtle hand caresses, the infamous almost kisses, the snark), setting daytime ablaze with a raw, intense heat that other couples couldn't match.

Best TV Couple #11: Shana Elmsford and Anthony Julian

Anthony-- the keeper of Shana's heart-- was also a good friend to her and the band.

Truly, truly outrageous Jem and the Holograms was way ahead of its time. Most cartoons (DuckTales, Thundercats, Talespin, Rescue Rangers, Darkwing Duck) starred talking animals and others (Transformers, G.I. Joe, Teenage Mutant Ninja Turtles, Spiderman, X-Men) featured mainly white human characters. For a cartoon to have supporting black roles that were not ambiguous or tokens was pretty revolutionary. To include a black love story between a black woman and a black man was unheard of.  

Shana and Anthony's first meeting.

Fresh on the pop circuit, Jem and the Holograms needed a director for their first music video. They were introduced to tall, dark, and handsome Anthony Julian at a swanky yacht soiree. Immediately, he fell for Shana Elmsford, the band's gorgeous, purple-haired original drummer/fashion designer, taking her under his wing to discuss ideas together in season one, episode two's "Disaster." They became closer and closer-- him holding her close after the "Twilight In Paris" music video incident.

Shana and Anthony kiss.

Anthony became the second major boyfriend on the hit series. Steady and loyal with a caressing brown hand on Shana's pink blushed cheek, he always called her "beautiful-" a great adjective to describe a woman often doubting her strengths and talent. It seemed like a fourth wall breaking, a deliberate reaching out to every brown girl watching the pop culture phenomenon, letting them know that like Shana, they too were "beautiful" in a society that rarely told them so.

Anthony and Shana kept professional on everything. On the set of the Starbright film, villainous Eric Raymond took over the production and Anthony-- who was directing the feature-- quit.  Devastated Shana and the girls soon followed suit, leaving Eric to finish his bad work with The Misfits. Eventually, the creative team headed by Anthony decided to start a lower budget film (with many declining pay)-- which landed Jem a Best Leading Actress Oscar nomination. However, in "Culture Clash," everyone including Shana, weren't sold on Anthony's eclectic idea of having their latest music video integrated with odd performance artist, Fitzgerald Beck. Shana-- along with the others-- let Anthony know that they weren't sold on the new direction.

When Shana believes her friends have deserted her, Anthony lends sweet consolation.

In "The Talent Search," a two parter, at a recording session, Shana is dissatisfied with playing drums until Anthony comes in, springing great news. He suggested her as a designer for a star actress. Anthony obviously holds ample clout in the industry. On word of mouth (and likely her huge double win at the Fashion Show), his campaigning and praise of his girlfriend gets her a rare opportunity to shine. Although reserved and doubtful, Shana temporarily leaves the band to pursue her fashion career dreams. Anthony gives Shana emotional support, believing in her abilities, respecting whichever decision she chooses to make.

Unfortunately, the actress is a real diva-- screaming at Shana to redo outfits already designed and put together, ripping up Shana's sketches in a monstrous matter, and begging Shana to sabotage her worth so that other actresses wearing her clothes wouldn't outshine her. It took Shana ample time to stand up and tell the woman to take a hike.

At the end of Shana's decision, Anthony is there to offer advice and a hug. Shana returns to the band and is excited to play her guitar as new member Raya takes up drums.

In season two, episode 19's "Mardi Gras," the band is treated to one of the biggest events in New Orleans. While a pirate is fixated on Shana, she has a special locket....

Revealing.....

Anthony inside. So while Jem and the Holograms travel far and wide, Shana is devoted to her man.

Awful, disastrous film reboot aside, Shana and Anthony were invested in achieving their respective dreams whilst committed to each other. Compared to the complicated Jerrica/Rio/Jem/Riot quadruple and boy juggling Kimber, Shana's long running relationship was a quality depiction of love on the animated series, especially pleasing to a little black girl unused to seeing black women thriving in career and romance-- on a cartoon no less!

A big props to the animators that drew them-- Shana with her lively brown eyes, warm brown skin, and purple afro and Anthony with his low cut 'fro (perhaps a nod to Afro Sheen), trimmed mustache, and darker brown hued skin (which showed that brown came in shades). This was so important.

Actors T. K. Carter and Cindy McGee gave these characters their incredible voices. Carter's smooth resonance could become sympathetic, sincere, and romantic while McGee shared Shana's vulnerability, passion, determination, and strength. They pushed them to full blackness (meaning you knew by listening that these characters were not only black on exterior but they sounded black) and that still means the world today.

Best TV Couple #12: Willow Rosenberg & Tara Maclay

On WB/CW's Buffy the Vampire Slayer, Willow (Alyson Hannigan, right) and Tara (Amber Benson, left) found magic together.

Buffy the Vampire Slayer's Willow Rosenberg had two beloved pairings-- both individuals making significant contributions on her relationship journey. With laid back, sweet natured, werewolf boyfriend, Daniel "Oz" Osbourne, Willow had a complicated first love. Whereas Tara Maclay granted Willow an honest, humbling, unexpected love. Willow and Tara's undeniable similarities including a strong connection to the Wiccan world offered one of television's first portrayals of women falling in love.

As Willow and Tara perform more powerful spells together, their bond becomes deeper, sensual.

In the beginning, Willow was the shy, bubbling computer nerd with the biggest unrequited crush on childhood best friend, Xander Harris. As the most resourceful and reliable Scooby Doo member with Buffy in charge and Giles providing the knowledge, Willow's intellect often helped save the day. Meanwhile, she had always been a magic novice, dabbling, eventually growing strong enough to uninvite vampires to everyone's homes, restore Angel's soul, and levitate pencils.

Willow's character changed so much with Tara. And Tara changed alongside Willow.

Willow dated Oz in season two and had a minor separation from him (due to being caught with a case of stolen smooches with Xander). They resumed, consummating in season three's Graduation Day Part II. However, in season four, Oz's wolfy nature became a catastrophe, especially once in contact with another she-wolf. He left to find himself, to find a way of reining in the beast.  It left college freshman Willow devastated. She focused on a better acquaintance with magic (with some humorous snafus along the way) and Tara, an awkward, soft spoken girl-- Willow's former persona.

Willow and Tara gave the sweetest hugs.

Doppelgänger, a humorous season three episode, often comes to mind.

"I think I'm a little gay."

Perhaps alternate universe Willow revealed Willow's true path.

From the time of Tara's introduction in season four's tenth episode, Hush, something simmered on the surface, an unchartered territory in the Buffyverse. Sunnydale had been hit silent by The Gentleman. Without words, Tara, watching Willow struggle to move the heavy vending machine against the door, takes her hand. In complete silence, they perform the difficult telekinesis spell together. In that moment of joined hands, breathes synced, eyes concentrated on the other, a new chapter was born.

All the Scoobs know that Willow is powerful, remarkable, but Tara tells her that she's special. And Tara sees Willow in a way one else can.

Willow and Tara's love story explored honesty, betrayal, and loss.

In Willow and Tara's blossoming romance, they were growing confident, maturing as individual characters. Willow became a self assured witch of phenomenal ability strengthened by Tara's generous heart. Tara, whose noticeable stammer and quiet docility lessened, spoke her mind and defended those in need.

Once adult situations arose (the death of Buffy's mother, Tara's brainwashing by Glory, and Buffy's sacrifice), the girls were faced with tough situations of grief, fear, and tragedy all while still young. At the start of season six, Willow and Tara are living in the Summers house raising Dawn (who just adores them). By this time, Willow's been casting serious spells, very strong ones. This worries Tara. Willow's magic addiction is a foray into her descent into darkness. Tara can separate herself from her talents, but Willow is so consumed that she couldn't last a week without. They then breakup.

Seeing Red, behind episodes The Body and The Gift, is a solid tearjerker. Willow and Tara have reconciled and Tara Benson's name is in the opening credits. Yet it wasn't meant to be. The biggest twist: Oz was the monster in Willow's world. With Tara, Willow herself became the monster, eventually becoming one of Buffy's saddest unfortunate Big Bads.

Willow and Tara, one of television's best female pairings couldn't have happened without Alyson Hannigan and Amber Benson. They were sublime as these two characters falling in love in such a surprisingly organic way. Their unforgettable chemistry was real and searing, like something out a witchy fairytale Alphonse Mucha would illustrate. They weren't overtly sexualized as lesbians usually are depicted in media. In fact, they had this humble sexiness that was private, intimate. Plus, exceptional Benson bullied for her weight deserved all the praise. Her terrific Tara complemented with Hannigan well.

Best TV Couple #13: Vivian Smith and Philip Banks

Philip Banks (the late James Avery) and Vivian Smith-Banks were rich with wealth and down-to-earth parents to their children, Hilary, Carlton, and Ashley. 

No need to apologize if only one Vivian Smith-Banks exists in your memories. The big switcheroo never happened. Things ended on the note of Janet Hubert's brilliant turn as Vivian the apple of Philip Banks' eye on NBC's hit sitcom, The Fresh Prince of Bel Air.

Phil and Viv always turned up at the mansion.

Vivian kept Phil on his toes-- literally! After all, they did become engaged on Soul Train. A former dancer turned PhD holding professor, she was confident, brazen, stylish, classy, sophisticated, and kind. A civil rights activist Philip, an uptight, astute, intelligent lawyer turned judge, always let a stern guard down at the turn of Vivian's persuasive sweet talk.

They were two peas in a pod, having this syncroncity that made perfect sense. As they raised their three different children together alongside their nephew, their strengths as parents shown through. The warm, loving protectiveness of these two was exceptional in television because although wealthy and busy with a black Butler, they made time for their children-- listening to problems, delivering advice, consoling them. Most importantly, Vivian and Philip didn't allow their schedules to get in the way of their love. They just clicked.

Vivian always knew the way to Philip's heart.

The Fresh Prince of Bel Air's fourth season began with a new Vivian. In an age of no Google, it was natural to assume that Hubert had died or had found another acting gig. As it turned out, Hubert had been fired. Stories blamed it on pregnancy. Many swirling rumors, however, named colorism the true foe. If Hubert's impending motherhood were the case why had the show introduced a new character? Furthermore, why not politely write out Viv as opposed to finding a lighter skinned actress to come into the role? To add further fuel to the fire, at most reunions of the show, Hubert is always left out.

New Vivian, no longer a strong, intelligent dark skinned black woman, became a light skinned docile shell, lacking humor and depth of her predecessor. The fiery, tit for tat chemistry with Phil disappeared. And the children walked all over her as though she were a pathetic excuse for a doormat.

Thus, only the first three seasons matter to most fans.

Back in those funny, essential days, Hubert's Vivian with Philip was a remarkable romance to watch, especially to someone close to her complexion. She was the beauty to emulate. And Philip couldn't resist her wit and charm.