01-26-2017, 03:30 PM
(01-26-2017, 07:27 AM)jsgrimm45 Wrote: When we debate Diana and how and who has had her you can't inpart 10 years of mature growth in 3. Alway comes back to she never left wherever she was on her own, she never reach out to Adalind. So why not, she had the power she reach out to Adalind at the fome so she doesn't need to know where Adalind is to make connect.If we attempt to make sense of the ambiguity surrounding Diana, we’re looking at an exceptionally long dissertation that ends with ‘conclusions not verifiable’.
(01-26-2017, 06:02 AM)irukandji Wrote: Personally, I'm on her side. Nick and Adalind acting like teenagers in front of her shouldn't be fine with her.Adalind needs to consider the day Diana decides to make her feelings clear.
However, this is Grimm and the series has been known to ignore the obvious.
(01-26-2017, 02:12 PM)syscrash Wrote: Diana has never shown to be concerned about her surrounding. She has never been shown to effected by her situation. People are concerned about her as if she is a child. In a few months she will be a teenager. a few more she will be an adult. She is aging about a year a month. That means she will be twenty one after only being alive for two years.Your logical analysis of Diana as a viewer is not the way Adalind sees her. And really, it doesn’t matter how any of us see Diana, because everything Adalind does will be based on her view of Diana. And to Adalind, Diana is a child.
(01-26-2017, 02:34 PM)MarylikesGrimm Wrote: Diana was born between January 15-17, 2014 and March 19, 2014 since she born between "The Good Soldier" and "The Show Must Go On" so she is about 3 years old.I thought she was around three - based on time since birth. Diana was born in ‘Mommy Dearest’.
You and I can debate the pros and cons of Nick/Adalind/Diana into the next millennia, but neither opinion is going to change. Nor does it matter, because as far as the show is concerned it’s not about the characters’ natural progression, it’s about the story G&K want to write, and the characters be damned.
If G&K put Adalind and Diana in the loft and leave them there, it’s because they want Diana as a source of conflict while Nick & Adalind are cohabitating. The same way they want Juliette strategically placed in the tunnels to overhear Nick & Adalind playing house. It’s not about Diana’s well being or any other characters really. It about G&K contriving woe-is-me situations rather than utilizing the obvious.
And who knows, G&K may want Diana to love Nick just because he’s the central character/hero. If so, that not making sense won’t matter either.
"If my devils are to leave me, I am afraid my angels will take flight as well." Rainer Maria Rilke