Talk:Seddie/@comment-3180503-20150226061443/@comment-14284535-20150227004742

@Cartoonprincess - Yes, they do. And I do. Seddiers are not imagining things. The most pronounced difference is that there is less of an "ensemble" feel; it seems that DS mentally divides the characters into "Carly and Freddie" and "everybody else." When you look at his stories through the years, you really see it:

Both Carly and Freddie dream about dancing in Carly's place. Carly can't get Jake because he assumes she likes Freddie. When Sam dates, it appears like she ignores Freddie and Carly. Carly's cousins are like extreme versions of the Mrs. Benson and Freddie. Carly relies on Freddie's adulation. Carly thinks Freddie won't get picked on at school. Sam beats up Freddie for not liking Fred. Bad boys are bad for Carly.

And so on. Conversely, most of the best uses of Sam *as a non-antagonistic friend of both Carly and Freddie* come from virtually every other writer - but only when DS is not a co-writer. Take a look at your favourite Seddie moments and check the writers. Then look at the fairest handling of the ensemble as three friends. I come up with the best handling of Sam and Freddie (platonic or romantic) being by Steve Holland, Steve Molaro, Dicky Murphy (the biggest Seddier - and he's gone by season 2), Erick Goldberg and Peter Tibbals (gone after season 3) - followed often by Jake Farrow (good with Sam) and Arthur Gradstein (probably handles Freddie best). Andrew Hill Newman and Matt Fleckenstein handle the ensemble the best. All these writers handle all three mains with a richness that often is missing when the other writers get involved.

Heck, their writing tendencies even leak through DS's co-writing. Watch the stories by writer sometime.