It's a shame, then, that Borte eventually places an increasingly prominent emphasis on elements of a decidedly melodramatic nature, as the various characters slow - but - surely find themselves confronted with problems and concerns of a decidedly soap opera-esque nature (ie the son
grapples with his homosexuality, the daughter embarks on an affair with a married man, etc).
Aaron
grapples with burgeoning feelings of
homosexuality, which, heartbreakingly, are not reciprocated by the straight Thomas and are bone - shatteringly rejected by his friends, who try to beat being gay out of him.