I don’t think Charlize Theron actually went on a killing spree to prepare for her role in Monster. Nor do I think Jim Carrey travelled to the town of Whoville to research the yuletide customs of those indomitable Whos (especially those of the diminutive Cindy-Lou, who, let’s face it, is creepier than Linda Blair in The Exorcist). So why should we crucify poor li’l Annie Wilson for drawing from her own experiences (and those of the people she encounters) to work her dramatic muscle?
I recognize Ethan’s point. Reducing one person’s tragedy to fodder for a classroom exercise is insensitive. That being said, it’s only one otherwise forgettable classroom exercise. Unless Annie decides to make it the basis for a one-person off-Broadway musical, I don’t think Rhonda even needs to know. No harm, no foul.
Speaking of harm and foul, the demise (again) of Silver and Dixon’s relationship is imminent and I, for one, couldn’t be more crestfallen. That Silver’s just plum crazy! Amazingly so. Obsessive types got a bad rap in the first run of the series with Emily Valentine waxing insanity all over the Walsh residence. But I think the show could have a lot of fun with mentally unstable characters this time round. If Silver’s entire body isn’t covered in inked Dixon effigies by season’s end, I’ll consider this an opportunity dropped.
If this is the last episode in which we hear her delightful Cockney accent, I’ll also think the show cut short of realizing its potential. And there would be context for it, too! What a time for West Beverly to stage — for their third production of the semester — Mary Poppins. I can see the marquee now: “(no first name) Silver is Bert the Chimneysweep”! From Broadway to The Strand, critics will be heard remarking, “Why did Bert have the name “˜Dixon’ tattooed on his forehead?”
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