The dexter of timelines.

[…] I always felt that the triumph of Britta as a character was that she was the only ”real” person, stuck on Gilligan’s island, and ironically being punished by it. Sometimes we would cross the line. I did find myself telling the writer’s room here and there, ”let’s not make her a dumb blonde, she’s a high school dropout and she’s computer illiterate and she’s a late bloomer because she’s lived a fuller live, but there’s a difference between that and an airhead.” If we made her an airhead, it was an accident, or an isolated instance of us being too tempted by a funny joke. Troy was an airhead. Britta was a work of art. She was a post post feminist masterpiece and a televised work of art. If I do say so myself.