Sounds a bit like something from Brokeback Mountain -- but it's actually the title of a Lost episode.
For the longest time I knew, in a sort of general, like I know about Uzbekistan, sort of way, that television episodes have titles. I, of course, never knew what any of those titles were (except for "The Trouble With Tribbles"). But with the advent of DVD suddenly I know all sorts of titles (like Hush, and Once More With Feeling).
SPOILERS FOR 1ST SEASON OF LOST (UP TO EPISODE 21)
Twisp and Catsby.
DEFINITELY SPOILERS NOW -- BUT ONLY FOR THE FIRST SEASON BECAUSE I LIVE IN THE CENTRAL TIME ZONE AND HATE TV
Something I find interesting about Lost is that so many of the characters actually have daddy issues and yet the writers still manage to make each of their problems, and thus the characters, feel distinctive. Here's my "daddy issues" count:
Dr. Jack -- kicked dad out of medicine, driving the old man into a suicidal Australian drunken stupor.
Sawyer -- watched father shoot wife, then self, then grew up to be the kind of guy that made other dads do that, and killed the wrong guy to avenge his father.
Walt -- has freaky powers that terrified his adoptive dad and now his birth dad is taking over even though he has no desire to be a father.
Michael -- having problems with suddenly becoming a full-time father to Dark Phoenix.
Jin -- is embarassed by the poverty and simplicity of his own father.
Sun -- father is an over-protective psycho gangster corporate type, but she doesn't know it -- character arc for season two??
Locke -- sacrificed his spiritual son on the island in order to satisfy a harsh and demanding God -- and still hasn't received any answers.
And I think the only reason the other characters don't have daddy issues is because we haven't heard about their daddies yet (pay special attention to Kate in this regard).
It's amazing how much drama you can mine out of the same problem. Or maybe it's just Tolstoy's maxim in action: happy families are all alike but unhappy families are all fucked up in their own distinctive way. Er, to paraphrase that is.
Another thing I noted is how... melodramatic it all is -- and it works perfectly for me. Often characters I write include personal issues that are more mundane, issues that are more realistic (or at least more common).
But I suspect my approach undermines the tension. We're watching fiction. We expect things to be hyped up and more intense than our normal problems. Our connection to the material comes from being able to see reflections of our own problems in the grandiose spectacle of the fictional characters' lives.