Episode 35 Morals

In plain English, these are the morals from Episode 35:

Private Eye's Private Part Taken

What is going on with Paul's injury? We saw so little about this that the mystery becomes "what is the setup for the mystery?" rather than "what is going to happen with the mystery?" I find such mysteries tedious.

This also pokes some fun at the horrendous and serious breach of protocol that occurred when the writers rewrote history on the Nina/Cole storyline about whether Nina ever slept with Cole at the cabin he'd rented.

Victor Blind To The Gift of Which He's Partaken

I saw it on the newsgroup, but I couldn't believe it until I looked: It's true--the actress who plays Victoria never seems to blink! Spooky. Maybe she can be taught to pretend to blink periodically?

Two Part Company Over One's Refusal to Take Face Saving Offer

This is yet another attempt to keep alive the memory of Michelle Stafford, who should really own this part. The new Phyllis's acting abilities seem fine, but she doesn't belong in this part. She should have been given a part of her own. She is a very different and meaner character and that kind of personality change on a character, especially when unmotivated, is very disconcerting.

By the way, there is actually precedent for confusing characters who've gone away with their actor personas. David Kimble asked the plastic surgeon to make him look like David Hasslehoff, who had formerly played a character on Y&R.

And what's going to happen to the videotape, the valentine's photos, and all that other useful evidence of Phyllis that's been laying around. Will it be re-shot with the new Phyllis, or is it simply unavailable as part of the plot? I suspect the latter. What a shame.

Cricket Takes Exception To Mary's Part Achin'

This was partly just for fun. These two stubborn and invasive characters remind me of the abstract concepts of the "unstoppable force" and the "impenetrable barrier". Only one can prevail, but which? I wondered what would happen if they met full force. The creation of a paradox as a get-out seemed somehow appropriate.

But, of course, this is also trying to highlight how frustrating it is for the audience when the "get out" is just a matter of suddenly rewriting history mid-storyline.

That's all for Episode 35's morals. Don't miss Episode 36 and its morals!
If you missed any older episodes, see the index.