Best TV Couple #5: Liz Parker & Max Evans

Liz (Shiri Appleby) and Max (Jason Behr) were the definition of cute on short lived Roswell.

"September 23rd. Journal entry one. I'm Liz Parker and five days ago, I died. After that, things got a little weird."

Break out the Lifehouse music.

Ever since third grade, solid student Max Evans had loved future biologist/valedictorian Liz Parker. It is during sophomore year of high school that their lives change forever. When the bullet went off and sent her spiraling down on the ground of Crashdown Cafe, he didn't hesitate, racing over to perform an astonishing miracle. He rips open her dress uniform and pleads with Liz to look at him, haunted wisps of Sarah McLachlan's "Fear" describes "never ending hunger." An abrupt soul-stirring connection forms as Max and Liz join eyes and parted breaths. He presses a glowing palm on the wound, healing the girl moments from death. Afterwards, the exchanged looks between the two are filled with raw vulnerability and guttural yearning.

One of the top moments of the entire series.

"You broke the bottle when you fell and spilled ketchup on yourself. Don't tell anyone. Please."

The next day, in the high school bandroom, Max confesses to Liz that he, Isabel, and Michael are aliens that survived the infamous 1947 crash. They were kept alive in incubation pods, coming out at age six, adopted by respective families. By saving Liz's life, Max put his entire secret life at risk. She is the first human to be told. Eventually, Maria and Alex join into the privileged knowledge circle, helping them at every turn.

Liz is inexplicably drawn to Max, eyeing him in a wondrous, doe-eyed way, waiting to purposely bump into him after classes or send a cherry coke to his table at the Crashdown-- her alien themed family owned restaurant. Is she pining because he saved her life? Or has something more fantastical happened to lure her into the complicated web of good old-fashioned teenage angst?

Maybe a soaring combination of the two.

Despite the obvious attraction, Max doesn't believe they can be together. In the meantime, memorable moments: Max letting Liz say a final goodbye to her grandmother and hugging her in front of the Crashdown (season one, episode four, "Leaving Normal"), Max asks to read Liz's recovered journal and she respectfully declines (season one, episode five, "The Missing"), Max keeps Liz warm by mending the Jeep roof (season one, episode six "285 South"), and Liz comes to Max's bedroom window for the first time and clumsily falls into his arms. Later, he puts the found symbol amulet around her neck and they share an endearing look (season one, episode seven, "River Dog").

After pent up turmoil and teasing attraction, in season one, episode eight's "Heat Wave," Max and Liz finally kiss on her rooftop among the pretty stringed lights and telescope.  And it was well worth the wait.

For remainder of season one, they break up and get back together. Their little bubble is burst by more complex situations like Tess and Nasedo, Agent Pierce, and the true destiny revelation from his birth mother.

It sucked because Liz and Max spilled their guts on an abandoned bus, including beautifully exchanged "I love you."

In "Destiny," a hurt Liz runs off and Max is refrained from following her.

Studious lovebirds always make time for a kiss between books.

Roswell's second season was a harder pill to swallow. Max tries desperately to win Liz back, throwing down his supposed destiny for her. He has come a long way from being a shy, reclusive boy blending into the background. Liz almost caves until Future Max comes in episode five's tearjerker, "The End of the World."  She has to make present Max fall out of love with her and each scene is more painful than the last. Her final act-- pretending to sleep with Kyle-- is the volatile blow to Max's heart. She is beyond despair at her sacrifice. Future Max cheers her dwindled spirits with a dance to Sheryl Crow's "I Shall Believe," spinning and spinning her around until he disappears.

Max is hostile to Liz and doesn't believe for a minute that she slept with Kyle. Liz continues to lie. Things reach a boiling point in "Meet The Dupes." He lashes out at everyone and gullibly buys into Isabel and Michael's doppelgangers, leaving with them to New York City to face the council, Tess in tow. Yet it is Ava (Tess's dupe), that tells Liz that she has a special power thanks to Max's healing. When Max is about to be assassinated in "Max in the City," Liz is able to teleport via through their strong connection and save his life. Max returns and visits Liz. He thanks her and thinks they can try to be friends. Again, he asks if she was with Kyle. Sadly, she slightly (reluctantly even) nods her head.

Max tries to move on with Tess and Liz attempts something with Maria's cousin, Sean Deluca. Max and Liz remain friends, having a few sweet moments. In episode twelve's "We Are Family," Max tells Liz to travel the world and know that he'll always be with her. They hug. In episode fifteen's "Viva Las Vegas," while Liz and Max share a dance, she is almost tempted to confess all. In episode sixteen's "Heart of Mine (before it ends terribly)," Liz asks Max to be her prom date.

Then Tess destroyed everything. Again.

In "A Roswell Christmas Carol," Max comes to the Christmas program and sits next to Liz.

The third and final season-- which moved to UPN-- is weird. Max and Liz are embodying Bonnie and Clyde, robbing a convenience store trying to recover a spaceship so that he could go to Antar, find Tess, and bring his son to earth. While they are back together, with plentiful steamy make out sessions missing from the innocence of season one and the heartbreaking sadness of season two, there are underlying issues. Max's selfishness, Jeff Parker's overprotective father ire, and Liz's developing powers are catalysts driving them apart. On top of that, Max's parents find out that their kids are not human.

Future Max and his prophecy be damned! Liz and Max are husband and life anyway.

In the end, Max and Liz graduate from high school, get married, and likely live happily ever after.

Fans still deserve a film-- not a reboot. Plus, there were so much story to tell. And Liz and Max never had a love scene. 

At a time the WB network was desperately trying to market fresh young faces in an ad campaign marketing to teenagers, Jason Behr and Shiri Appleby's kismet factor struck gold. While Melinda Metz's original book series described Max Evans with blond hair and blue eyes, Behr's unique features had that otherworldliness-- piercing hazel eyes, luscious dark hair, and noticeable outer ears. He played the right keys on Max's fear, naivety, and awkwardness. Whereas Appleby was the appropriate Liz Parker, the belle of the show, whose genuine smiles lit up a scene, especially when glancing over at her beloved. They made a person believe that true love conquered everything.

Best TV Couple #6: Khadijah James & Terrance "Scooter" Williams

Before Gina Prince-Blythewood delivered Love and Basketball, on Yvette Lee Bowser's Living Single, first grade kickball champs, Khadijah James (Queen Latifah, right) and Terrance "Scooter" Williams (Cress Williams) had a on/off relationship.

From the moment, Terrance "Scooter" Williams stepped off the elevator of Flavor Magazine and slyly snuck up behind hard working editor/founder, Khadijah James, the sparks were shooting off like rocket launchers in Living Single's season one, episode nine, "Just Friends." With a gorgeous smile, Scooter covers Khadijah's eyes with his hands, asking the childish game, "guess who?"  When she sees her old friend, she screams and jumps on him, engaging in a humorous spin hug. It is a genuine start to friends becoming so much more.

Khadijah and Scooter's first kiss was a scorcher.

Now Khadijah is an important character in pop culture history. In addition to her unique name, she was a refreshing, sassy, voluptuous woman wearing the best HBCU sweatshirts. Her hairstyles ranged from classic sleek to box braids. Most importantly, she owned Flavor Magazine. Her baby is longest, steadiest relationship. She is always seen with a nameless computer at the office and at home, determined to meet deadlines even if a star cover falls through. Unlike Sex and the City's Carrie Bradshaw (the overpaid sex columnist with the MAC), Khadijah lived in a realistic version of New York City. Sure, she couldn't afford an expensive Manhattan bachelorette pad with extravagant shoes sitting in her closet. She called a brownstone in Brooklyn home, splitting the rent alongside her goofy cousin, Sinclaire and bougie best friend, Regine. Her other best friend, lawyer Maxine Shaw, lived nearby and came by everyday for food and gossip.

On the other hand, Scooter is a busy record producer, traveling around the world scouting for talent. He is a confident, self assured man, often knowing what he wants and taking the initiative to get it. However, he has admired Khadijah for a long time and never acted on his feelings.

In season two, episode two's "I Love This Game," Scooter trains Khadijah against her old high school opponent, Denise Hatcher.

They wind up with a hilarious case of the smooches.

On the visit to NYC to search for emerging musicians and see his old gal pal, Scooter makes the first move, seductively confessing to Khadijah. She hadn't thought of him romantically. Until, he laid down the melty, swoon inducing kisses. They spent the night at the office reacquainting in a different fashion. Later, he buys her an opened, first class airline ticket to Los Angeles. She declines the offer to fly out with him, but keeps the ticket. Sadly, she doesn't use it.

In season one finale's "What's Next," Khadijah has been dating Alonzo, a kind, attentive teacher who asks her to move in with him. Scooter returns, hiding behind a massive flower bouquet, eager to pick up where they left off. Torn Khadijah likes them both for different reasons. She chooses to pursue Scooter.

Season two, episode eight's "Trick Or Trust," explored underlying problems in Scooter and Khadijah's relationship-- a lack of faith. He puts her doubts to rest with, "you're all the woman I need."

During the second season, Khadijah and Scooter's relationship deepens. The best friends are the perfect match. Cute with plenty of loving PDA, he gets a job as director of artist relations of a local record label and she stays devoted to Flavor. In fact, she is so devoted to Flavor, Scooter often feels neglected. Eventually, he receives an offer to tour with a new group and wants her approval.

Yet, this time, he doesn't ask her to come along, knowing that she is committed to the magazine.

Scooter's sudden marriage proposal is a striking whim.

Khadijah accepts anyway.

In season three, episode nine's "Baby, I'm Back...Again," after apologizing for not keeping communication, Scooter proposes to Khadijah. Whilst planning their wedding, the two realize the relationship isn't ready to take the leap. They decide to remain friends.

In the fifth and final season, Scooter and Khadijah run into each other at a retreat, realizing that they're still in love. They end together.

Scooter has said that a boomerang symbolizes his relationship with Khadijah. 

Queen Latifah and Cress Williams are great as the lovable, cheeks pinching cute couple Khadijah and Scooter. Their chemistry was downright irresistible and pleasing as these two ordinary characters, best friends who are the loves of each other's lives. It was also a real significant mirroring of couples who fall in love over time and stay in love despite long distances. They're definitely one of the best positive representations of black love on television.

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.