I got an hour and thirteen minutes through this one and was dismayed at where it was going, so I jumped on here to read the reviews. Yep, it goes where I feared, so I decided to cut my losses and not finish.

I thought this was going to be like most of the Lifetime movies where there's a mystery and the bad actors get theirs in the end. I guess it's debatable if the unhappy wife was a bad actor (I mean in terms of character, not literal acting abilities). In my opinion, she was horrible and her actions were not justified in the least.

I felt so sorry for her poor husband--a hardworking doctor who obviously paid all of the bills--while she kept the house and engaged in hobbies like yoga and furniture design. She's angry with him because he had a vasectomy without her knowledge. Last I checked, a man can do what he wants with HIS body. If she decided to get her tubes tied after those two kids, there's no way anyone would agree that the husband could weigh in on the decision--telling her to have another baby because HE wanted one. Would anyone agree he has that right? So what is the difference? Then she gets mad again because he had to cancel a getway with her due to work. The nerve of him, working hard to further his career and take care of his family! Sheez. He really deserved better.

They already had two young daughters, a huge house etc. But his wife was not satisfied as she wanted another baby. Easy for her to want another kid when she would not have to foot the bill.

In the early moments of "Tempting Fate," the expression "Double D" is used by the women to describe this phenomenon: "Divorced and Desperate." But a third category of "D" must be identified as essential to the theme of this film: "Diaper."

At age 42 and with two beautiful daughters, Gabby Cartwright still feels unfilled in life and has longings to produce another baby. But her callous husband Elliott decided to have a vasectomy without ever consulting her. The next thing we know, Gabby is doing a "tit for tat" when she sleeps one time with a social media tycoon named Matt Shaw. Gabby is surprised when she learns that you only have to do it once to become pregnant, even at her age.

The main thrust of the film was the ebb-and-flow in the relationship of Gabby and her husband. When Elliott learns that his wife is pregnant with another man's child, he moves out of the family home with one of the two daughters in tow. For her part, Gabby is thrilled to be pregnant, yet she is remorseful about placing the horns on Elliott. For all intents and purposes, Matt drops out of the film when he tells Gabby that that he has no interest in having children. At that moment, Gabby chooses not to tell him that she is pregnant with his child.

With the new baby on the way, the film is essentially over because Gabby had her wish fulfilled. The filmmakers struggle to pad the final quarter of the film with slow-paced dialogue and silly conflicts, such as Elliott returning to the dating scene. Even the delivery of little Henry seemed like a cliché hospital birth scene with Elliott comforting Gabby, who pops out the child with a couple of "pushes."

The overreach continues with an eye-popping ending that reunites all of the main characters for a grand, harmonious celebration of the modern notion of the "extended family." All is now well with no more jealousy, talk of divorce, the sale of the house, damage to the children's fragile psyches, or alimony payments. Somehow, the filmmakers want us to believe that there is no "baggage" from the chaotic events portrayed. The final moments are given over the joys of child-rearing in this iconic image: the full and dirty diaper of little Henry.