them to the girls written about by Dylan Thomas: "There was always one pretty and pert [Ethel], and always one in glasses [Dot]." Banks-Smith adds that theirs was "a symbiotic relationship in which the pretty one looks even prettier by contrast and the plain one is popular by proxy. Which is not to say it is not a real and enduring friendship." Their bickering and personality differences were often used for comic effect; however, in episode 248 of the show, scriptwriter Colin Brake notes that viewers were shown a different side to Ethel and Dot's friendship in the soaps second two-hander episode. The episode aired in July 1987 and featured just the two old ladies. Brake has described the episode as a "mini-play about nostalgia and growing old", adding that "some viewers found it too unusual, but many others were charmed by the change of pace". According to Brake, the episode gave Franklin and Brown the opportunity to show the sadness behind the often comical characters of Ethel and Dot. The episode was written by Charlie Humphreys and directed by Mike Gibbon, a future producer of the show. Author Christine Geraghty has used the episode as an example of the fact that "female conversation is the backbone to traditional soap". Author Dorothy Hobson has discussed the use of older female characters in British soap opera as a means of providing comedy. She compares Ethel and Dot's function in EastEnders to the trio of Ena Sharples, Minnie Caldwell and Martha Longhurst from Coronation Street with regard to providing humour. She has noted that following Ethel's retirement from the serial, the production team at EastEnders attempted to replicate Dot and Ethel's friendship by introducing a number of "'friends' to fulfill the same function of a female friend for Dot and the series." An example of this was the character Lilly Mattock (Barbara Keogh) who appeared between 1998 and 1999. The author goes on to note that Ethel's role in Dot's narrative was difficult to replace because "far from being complete stereotypes, their relationships depend on them being long-standing friends with the ability to share stories and reminisce. For the characters to 'work', there is a need for unspoken intimacy and a shared knowledge for each other's lives. They carry the internal knowledge of the narratives and share that knowledge with the audience." Brown has spoken about the "wonderful rapport" she had with