First chair and 3 more great ‘Grey’s Anatomy’ moments this week

25 Sep 2015 | Author: | No comments yet »

First Listen: Hear Betsy Beers and Jason George chat about the Grey’s Anatomy season 12 premiere.

Each week, executive producer Betsy Beers goes behind the scenes of Grey’s Anatomy, Scandal, and How to Get Away with Murder in her podcast, Shondaland Revealed — and each week, EW will have an exclusive first listen of the latest episode.Look for the Shonda moments — the moments that shock you, twist a show on its head, and so rattle you that you check to make sure what you just saw wasn’t some kind of mistake. The EP appeared on Jimmy Kimmel Live! and gave the host a sneak peek into her packed days — she had just edited the fifth episodes of Grey’s and Scandal — and shared that she was terrified to appear on the late-night talk show.

Grey’s Anatomy and Scandal, Rhimes’s most successful shows, had their fair share of them, and now many others (specifically: Empire and the upcoming Quantico) have adopted similar strategies. Challenged by her sister to say yes and to have more fun with her life, Rhimes has penned a memoir, The Year of Yes, in which she decided to “say yes to every terrifying thing that comes my way.” Kimmel’s show was the terrifying thing to come her way. The pontiff arrived just in time to bless Shondaland, TV’s Garden of Eden, where things are handled and murders are gotten away with and dreams are McDreamed. Ben Warren) talking about what it’s like for Miranda Bailey to compete for chief, witnessing real-life surgery up close, and what his ideal superpower would be. Giving the commencement speech at Dartmouth and accepting a guest spot on The Mindy Project were other things Rhimes accepted that ordinarily would have “scared the bejesus” out of her.

You cannot win an Emmy for roles that are simply not there.” She’s a crusader, not for simply diversifying the TV landscape she paints so colorfully in, but for normalizing the experiences of those who are so often marginalized, whose stories aren’t told. Nowalk’s story of Annalise Keating (Emmy Award winner Viola Davis) and her Scooby Doo gang of law students solving mysteries and covering up a homicide was one of the best and most addictive shows last season. She’s refused to oblige by Hollywood convention, and in her doggedness—which could just as easily be characterized as tenaciousness—created a new mandate for television. There were revelations about Annalise’s sexuality, a killer’s reveal, and one gasp-inducing WTF mystery in the fleeting seconds of the episode that flew past the limits of 40 minutes of storytelling.

Meredith Grey, as frustrating and complicated a lead female character as there’s ever been, and therefore whose journey has been among the most gratifying to travel. She is a gladiator in a white suit who can bring the world’s highest powers to bended knee, but who does it without betraying her conscience—and managing that latter feat among the guiltless power players of Washington, D.C., to boot. With the introduction of Famke Janssen as fellow attorney and onetime lover Eve Rothlow (who left the relationship embittered and burned), the show can now better explore Annalise as a manipulator and user. There were times in its fourth season when Scandal sacrificed some of its magic — particularly the interaction between Olivia and her gladiators — for myriad tangential subplots. feels more in control of its plots, at least at this juncture.

They are each surrounded by a merry band of fools—all vulnerable, confused, and empowered in their own right—and encounter more unbelievable situations each week than a normal human endures in a lifetime. But hard work bears the fruits of the labor, which explains the ecclesiastical daze you can typically find Shondaland’s visitors in each Friday morning: Blissed out, puffy eyed from crying, and all the better for having worshipped at the altar of St. In a flash forward, we see the shadowy exterior of a mansion belonging to Annalise’s clients, a brother and sister suspected of killing their parents. We hear two gunshots, before seeing Wes run outside and sees Annalise with a bloody stomach, lying in a pool of her own blood, breath shallow and eyes anime big.

But I promise, you’re about to find out that everything has changed.” It’s a meta question to begin a show now in its second decade, a show that has seen every calamity and fever-dreamed misfortune occupy a storyline, from strangers who became impaled on the same pole to the man whose bladder was being occupied by a fish that swam up his urine stream into his urethra to, in the premiere, teenage girlfriends who attempted suicide by jumping in front of a train. Typically when a long-running TV show reaches this time in its run, its attempts at topping itself become off-puttingly outlandish, but Grey’s is pleasantly settled in its familiarity. Having a little pressure taken off of it as the most aggressively batshit TV show on television now that Empire is around, premiered with a more confident and measured episode. She’s Anne Hathaway in this Princess Diaries scenario, a common girl who rose into royalty, and there’s a Julie Andrews, too. “I know you can’t save her life, Olivia.

Elsewhere, Portia de Rossi is doing her best acting yet on this show, dressing down Bellamy Young’s Mellie Grant, whose hair is reaching new stratospheres. But it’s all about Olivia and Fitz, who are finally together and having lots and lots of TV sex just racy enough to make my mom definitely change the channel in embarrassment. Two, potentially, as a last-second shot of what is to come in two months shows Viola Davis bleeding on the floor, possibly murdered herself. (But absolutely not murdered because Viola Davis is the star of this show and the biggest miracle to ever happen to television.) There’s promise in the seeds planted in this season two.

There’s still messiness to the show—the HIV storyline is so Shonda Rhimes and still so problematic—but by the time Annalise puts her party wig on and takes tequila shots at the rave in the end, we’re still on board. You cringe a lot when you watch a Shonda Rhimes show—maybe there’s too much blood, maybe the characters are making grave mistakes, or maybe the writing has veered too much towards cheesy. But it’s the way her series jolt your eyes open—to the world that’s really outside, not just the one we normally see on our TVs, and maybe even to yourself—that makes Shonda Rhimes our holy one.

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