In plain English, these are the morals from Episode 44:
It seems to me unusual that the fans of a show would not want to see their show rated number one, but in the circles I walked in, this is all I heard: surprise and dismay that Y&R had won for best writing. Why? Not because we don't have an allegiance to the show, but because we want a message sent loud and clear that what we're getting these days is not up-to-snuff with what we expect. It has been a dull year, and the writers ought to be told they can't rest on their laurels.
Anyway, amidst all of the talk, there was considerable speculation about how the Daytime Emmy decisions were made, whether it was fair, etc. I figured I had no idea one way or another, but that's never stopped me from just making something up for the sake of a good story--and that's how this story resulted.
Now all I have to do is find someone who can tell me why there's not a Daytime Emmy category for Best Parody Writing. Or do I just submit my name under Best Writing and go head to head with the real guys?
I've been thinking hard about how to get Katherine back into things and this story was sort of a stab at that. Although she doesn't appear directly here, my feeling is that one way to involve her is to put Phillip back onto the open market--since both Jill and Katherine feel a need to say what might happen to him. So the question was how to do that, and the obvious answer presented itself: to recognize the fact that Phillip really isn't in the best of care right now and needs to move to a new home. And that's how we got here.
Of course, there are these side benefits if Phillip moves in with Jill. The similarity of ages between Billy and Phillip, when the two are practically in an uncle/nephew relationship. And the fact that if Trisha hooked up with Ryan and Jill to Keith, Phillip would be related to Jill in two different ways.
I wanted to set up some reason for Sharon to steal Cassie. She's been fairly lusting after her as if she was about to become some kidnapper anyway. But I couldn't see her doing it without a really righteous reason, so I tried to figure out who should tell her the story (that wasn't hard--Tony was veritably exploding with the information) and how to get him to tell the story in a way that would give her moral justification to become a kidnapper.
Somehow just having her find out about the kid and take her in directly seemed too easy. It seems hinted that this is what's really going to happen on Y&R, and that the problem is going to be Nick's non-acceptance of the child. That seems lame to me, and I hope it's not what's really going to happen.
That's all for Episode 44's morals.
Don't miss Episode 45
and its morals!
If you missed any older episodes, see the index.
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Kent M. Pitman.
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