What bums me out about that plot is that it really isn’t one the writers just tossed out casually. We argued about what the issue would be. After I wrote it, I passed it to our editor, and she came back with some tough criticism. Where she will often just correct my spelling or grammar, this time she told me that my initial take was turning the widow into the stereotypical weeping woman, with the uncle as the voice of reason. We wanted it to be more complex than that, with both sides bringing their own baggage to one of those “Neither of these choices are exactly right” issues; the wife is grieving and afraid to lose the baby, the brother is grieving and desperate to give the baby the chance his brother didn’t have. The editor and I actually stayed late working on revisions to that one, and we were proud of how it turned out.
Then we heard it voiced over and realized that I hadn’t been specific enough in my VO comments (which the writers place on every line), and when I’d written “angry and frustrated”, I’d been thinking of a West Wing kind of way, and what I got was an actor yelling “My BAAAAAAABEEEEE!!!” because she thought she was supposed to be more overwrought than I’d intended. It came out like bad soap opera, but it wasn’t a major enough plot to do a retake on the voicework, so in it went. That’s also on me: I’m a newb writer, and I didn’t make my VO comments detailed enough. With better delivery, I think the plot would have felt stronger.