fandomhigh | It's Actually Not That Complicated; Tuesday, Second Period, 09/13.

"Unfortunately," never one for too much preamble or even more talking than was strictly necessary, despite what the lectures in this particular class may suggest, Rosa was apparently going to get right into it today, "we don't have the time to cover every entry in the Nancy Meyers filmography for this class, which is fine. It'll give you some lesser known gems to discover in your free time. We're mostly going to be hitting the highlights. 1987's Baby Boom was not directed by Meyers, but it was directed by her then-husband and co-writer Charles Shyer, and it's the horror story," Rosa, no, "of a woman whose life is completely upended by one of her cousins dying and leave her kid to her."

And therefor there reason why so many of Rosa's family members have received death threats if they even so much as think about dying.

"But she makes the most of it, and she makes it work, in a charmingly humorous way. This particular movie can be seen as the first big example of what many Nancy Meyers movies to follow would feature: you have your career-woman protagonist that doesn't have to settle for giving up her ambitions and talents, as well as the start of the lush, New England inspired interiors that she became known for. It also sparked a professional relationship between Meyers and the film's star, Diane Keaton, who would then go on to be in four more of Meyers' movie. The message itself, of finding that work-like balance, was a very popular theme in the time period as well, and many critics, right so, mark this movie as turning point in the way this particular balance was portrayed.

"And," she added, "like Private Benjamin that we watched last week, it, too, spawned a television series. So....we're going to watch some of it, and then we're going to discuss: career and family. Can you have both? And also, should it be illegal for cousins to die and leave you with your babies?"

That last one, of course, what rhetorical. Everyone knew the answer was clearly yes.

But Rosa did have a lot of cousins. It was a legitimate fear.

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Like you've just been given a surprise baby!

The life of super-yuppie J.C. is thrown into turmoil when she inherits a baby from a distant relative.

Is this clearly the best in the lineup of other 80s powersuit feminisms films out there, and, if not, how does it feel to be so wrong? Time to discuss the movies themes and messages of being a career woman who can have it all, even when you were pretty sure you didn't want it all in the first place.

Bonus points for mentioning that kitchen, although that's jumping a little bit ahead in the curriculum.

No one will ever convince Rosa that this is not a horror movie.

Not only did she have a lot of cousins, but she had several sister, and don't even get her started on nieces and nephews.