#me and shonda rhimes are in a fight | Explore Tumblr Posts and Blogs

calzona-ga · 3 years

Link

[Spoiler] talks with The Hollywood Reporter about his return to the ABC medical drama and why the surprising reunion with Chyler Leigh had to be filmed via green screen.

[This story contains spoilers from the April 1 "Breathe" episode of Grey's Anatomy.]

The magical beach on Grey's Anatomy just delivered a double surprise.

Viewers knew that Chyler Leigh would be returning to reprise her role as Meredith's younger half-sister, Lexie Grey, but she wasn't the only former star who came back on the show's magical beach. Eric Dane, in a surprise appearance, returned to reprise his role as Lexie's on-screen love interest, Mark Sloan.

Both Dane and Leigh appeared together on the beach as part of a central storyline as Meredith (Ellen Pompeo) continues to battle COVID-19. Dane and Leigh become the latest former stars to return to Grey's Anatomy this season, joining Patrick Dempsey (Derek) and T.R. Knight (George) as the Shonda Rhimes-produced ABC drama continues to focus on the impact of the pandemic on the medical community.

Dane and Leigh's Mark and Lexie appeared for the first time since the season eight finale. That episode featured Lexie telling Mark that they were meant to be as she died from injuries sustained in a plane crash. Mark, meanwhile, was killed off in the season nine premiere as Dane left the series to pursue TNT's The Last Ship.

Below, Dane talks with The Hollywood Reporter about providing closure to Mark and Lexie's love story, being part of Meredith's big storyline — she's now off the vent and breathing on her own — and why his reunion with Leigh had to be filmed via green screen.

What was the pitch to come back? Had you seen that Patrick Dempsey had come back and wonder if you were going to get a call?

No, I hadn't. I was in Shanghai, China, when Krista Vernoff reached out and said, "I have an idea." She texted me. I said, "Well, I'm in Shanghai, of all places. And I'd love to hear your idea. Give me a couple weeks to clear quarantine and I'll find you." And she says, "How would you feel about coming back? I don't know if you've seen what's going on, but Meredith is in this coma in a fever dream from covid. And she's seeing all her friends on a beach." And I said, "Well, that kind of makes sense. Yeah, sure, let's do it."

Was the pitch for both you and Chyler to return the same episode

Absolutely.

What was it like reuniting with Chyler after all these years?

It feels like I never left. It was very comfortable and very easy, and it was so nice to see a lot of the same faces with the crew. It's a role that always fit for me, like one of those great old t-shirts. And it was just like putting the t-shirt back on and hanging out on a beach for a couple days, and catching up with some old friends.

Did you actually film with Chyler? She's a regular on a show that films in Vancouver, which would have meant she had to quarantine in the middle of Supergirl production to film this.

Chyler was in Vancouver. So we had to work some magic. Chyler could get here but then she couldn't get back to Canada. There was some green screen. There was a lot of me and Ellen. And Ellen an eye line.

Were you bummed that the logistics didn't work out for you and Chyler physically share a scene together again after so long?

Yeah. I'm honestly bummed you even asked me that because I wanted to sell the myths of us actually being on screen together in person. But don't take it personally. It's OK, you're doing your job. But Ellen and I see each other every now and again, Justin [Chambers] and I see each other every now and again. I spent so much of my life with these guys. When you see them again, it's not a big, "Oh my God, what have you done?" It's like, nobody skips a beat. It's just, everything kind of fit. It fit then; it still fits.

What did you and Ellen talk about between takes?

We talked about kids, my 11-year-old just found Grey's Anatomy and she's asking me a lot of questions which are difficult to answer. We talked a lot about our kids finding this show, and how do we handle that. How do we police what they're able to watch? Are they of age? Is it appropriate? Some of it raises some questions that I'm not quite ready to answer yet. But I don't mind it because both my kids now want to be surgeons. And all their baby dolls they used to play with are now being cut open, and they're stitching up bananas. It's fun.

On-screen, the episode implies that Mark and Lexie wound up together in whatever this special beach is. Shonda Rhimes said back in back in season nine that killing off Mark was the only way for Mark and Lexie to really be together. In Lexie's last dying words, do you think Mark and Lexie were meant to be?

Absolutely. I mean, the line Meredith asks is, "So you guys are together." And I say, "I guess on your beach, we are." But I think Mark would have found Lexie no matter what. Whether it would have been on Meredith's beach or Lexie's beach, or anybody's beach, I think Mark would have found her.

Does this feel like you have closure with this character again? Did it feel like there was any lingering questions that you were really able to put a bow on this time?

I think it all came full circle. The one question I think that everybody was left with was, obviously Mark Sloan saying goodbye to Lexie and she said, "We're meant to be." And then Mark passes on, and we don't know what that meant. And now we know, Mark and Lexie are together in their parallel universe.

As an actor, do you feel like this is the closure that you maybe didn't quite get the first time?

Yeah. I always felt like there was closure. I've always trusted these writers and what they were doing as far as the overall story and the character's departures. They've always handled that really well. I guess the only people that weren't provided with closure was the audience. And I hope that this can do that for them.

Even though you didn't film in the same place, it really does feel that way.

Two-thousand miles of distance between us is not going to the chemistry that happens on screen between us. I know who I'm talking to, she knows who she's talking to. And that translates.

Mark spoke about always looking out for Callie (Sara Ramirez) and Arizona (Jessica Capshaw) and their daughter, Sofia. That felt like something special to be part of, too.

I can identify with that. I lost my father at a pretty early age and I always felt like he was looking out for me — still to this day, to a degree. So those words meant something to me, and I believe in them.

Ultimately, Mark and Lexie help Meredith fight to stay alive in her battle with covid. What does it mean to you to have been able to not only come back, but to do so in such a meaningful way?

It's a pretty poignant moment. I would think anybody speaking to anybody beyond the grave would probably provide the same advice. You get one lap in life, it's very important that you live every day to the fullest. You keep both feet in today, you stay present. And you're there for your loved ones.

Any regrets about not being able to reunite with Patrick Dempsey to bring McSteamy and McDreamy back together?

No. I love Patty. That wasn't the story. There were no regrets. I've never had regrets about anything on the show.

You said in a 2013 interview that you would have stayed on Grey's until the last episode but ultimately left because you couldn't pass up the role in The Last Ship. Looking back, any regrets about asking to leave?

No regrets. Look, Grey's Anatomy is a fantastic show and it provides a fantastic life. I'm an actor, I think it's very unnatural for any actor to play the same character for eight years. It's just counterintuitive to what I think I'm doing for a living and I think what my purpose is with my job. So, as much as I loved being there, and as much as I loved working with the people I was working with, playing Mark Sloan for 17 seasons just seemed like, I don't know, a little antithetical to what I'm supposed to be doing as an artist. And you get to a point where that's all anybody is going to see you as. And even with The Last Ship, I wasn't playing Mark Sloan, but I was playing a guy that certainly looked like Mark Sloan and had some of the same characteristics. And then I took a year off and said I need to mix things up here because I'm not finding any real joy in the work I'm doing. And then Euphoria came along and was very different and something I've never done. And it's going to challenge me and keep me engaged. And nobody is going to expect this out of me, so let's do it.

What's the status of season two?

Season two is going to be fantastic. I don't think principal photography has started yet, but I know we are prepping right now. I think mid-April we start shooting.

Is the plan still to get the show back on the air this year?

I believe so. We do take a long time filming it. And it's a gift to get that much time to shoot an hour of television. We take 30 days to shoot an episode sometimes, which is unheard of. When we were shooting Grey's in the early days, the 10-day episodes that we would get were unheard of. But 10 days and two units, people were like, wow, that's a luxury.

So to return to Grey's and get to spend a few days on the beach and not on set and in scrubs under the gun like the old days must have been a nice final memory of the show.

It was a great couple days on the beach with some old friends.

#grey's anatomy #eric dane #Mark Sloan #17x10 #THR #lexie grey #slexie

215 notes · View notes

helloitsbees · 3 years

Text

okay im stopping for the night but thoughts so far:

kate best girl, edwina ALSO best girl, if they fight over anthony in any way i’m dueling+killing him myself

glad that lady danbury is getting more depth! let her be messy and human, we need more of that from our nonromantic leads

eloise is going to snap and go on a Girlboss 2012-Feminist tirade at one of these balls and i WILL be muting it. she’s played very well by her actress but my god her entire Femininity Bad take is like ten years old at this point. find some intersectionality and then we’ll talk

there better not be any incest with the featherington heir. shonda rhimes do you hear me. i will not fucking stand for it. don’t give me any Clueless “not technically related” bullshit.

uhhhhh Gowns Bad still. why is there glitter everywhere.

#okay thats it GOODNIGHT #i do really like it so far

12 notes · View notes

bridgertown · 4 years

Text

How Bridgerton is poised to revolutionize romance on television

Lace up your corset and put up your dukes.

Words by Maureen Lee Lenker, November 13, 2020

It is a truth universally acknowledged that a Regency romance must be in want of glittering ballrooms, witty banter, a dashing leading man, and a piquant heroine.

Bridgerton, Netflix’s first scripted title with über-producer Shonda Rhimes’ Shondaland production company — under its headline-grabbing $150 million deal — has all of this in abundance. Not to mention a diverse cast that’s a far cry from the typical lily-white hues of Jane Austen adaptations and their ilk. Oh, and the narrator is a Regency-era Gossip Girl voiced by Julie Andrews. As showrunner Chris Van Dusen puts it, “It’s not your grandmother’s period [piece].”

Based on a series of romance novels by Julia Quinn — beginning with The Duke and I, which offers the season 1 blueprint — Bridgerton follows Daphne Bridgerton (Phoebe Dynevor), a debutante who’s thirsty for a love match. Buoyed (and slightly overprotected) by her family, including her marriage-obsessed mum, Violet (Ruth Gemmell), and her seven siblings, Daphne embarks on a fauxmance with Simon, the Duke of Hastings (Regé-Jean Page). “When we first meet her, she’s this young, naive woman who’s been in this little bubble and doesn’t know anything about love or sex,” says Dynevor.

Simon, meanwhile, is hell-bent on avoiding matrimony, as part of a vengeful vow he made to his execrable father. Page drew inspiration from the classic Romantic poet Lord Byron to craft a character who is part aesthete, part brooding enigma. “You have this beautiful, shadowy, broken, thoroughly complex man, who is as glamorous as we all wish we were on the outside,” notes Page. “But [he’s] trying to figure out who he is.”

It’s standard fare for Shondaland: men and women looking to find themselves within the social confines of their reality. This time it’s in a completely different world, one that shares the female-gaze ethos that often defines Shondaland series — think Grey’s Anatomy, Scandal, and more. Romance novels account for nearly a quarter of all fiction book sales, yet they’re rarely fodder for splashy screen adaptations. “I never thought this would happen to me,” Quinn says. “Nobody was adapting romance novels, and if somebody was going to do a period piece, they wanted to do another adaptation of Jane Austen or the Brontë sisters.”

That prestige gap between Austen and mass-market historical romance was something executive producer Betsy Beers admits she bumped up against when Rhimes first recommended the novels to her. “I didn’t take what the books were as seriously as I could’ve initially,” she says. “But there should be no pejorative association with romance novels. Nobody sneezes at suspense, at action, at true crime. These are just good stories about relationships, about emotional politics, about how you juggle duty, love, and lust.”

For Van Dusen, the 280-year evolution of romance writing was something to exploit. “I wanted to infuse everything with my own unique, modern lens,” he says. “The tone is very spirited and daring. Everything’s fresh and youthful. There’s a little effervescence to everything.”

That freshness manifests throughout — from the score, which features classical string arrangements of contemporary pop songs (Ariana Grande’s “thank u, next,” Shawn Mendes’ “In My Blood”), to the costumes (“Jane Austen loved her bonnets, but Bridgerton is a bonnet-free world,” quips Van Dusen). But nowhere is it more evident than in the casting.

The series looks like any Shondaland show: multi-hued and reflective of the world we live in. Romance novelists like Vanessa Riley and Diana Quincy are challenging the established narrative of who inhabited the 19th-century aristocracy. Austen herself featured a mixed-race heiress in her unfinished novel Sanditon. But such a cast is still dismayingly rare in period pieces.

Though the casting here is a far cry from the source material, Quinn wholeheartedly endorses it. “Bridgerton isn’t a history lesson; it’s a show for a modern audience,” she notes. There were, of course, people of color who existed in this time and place, but the show hands them more power than historical assumptions allow. It imagines a British aristocracy where Queen Charlotte (Golda Rosheuvel) is of mixed race (a fact some historians suggest there’s evidence for), thus elevating other people of color to dukedoms and positions of status. “It’s not color-blind casting,” explains Beers. “We try to imagine history and the world in the way we wanted to see it.”

It’s what allows Page to play the powerful, devastatingly handsome duke, a role that previously would have been the exclusive domain of white actors. For Page, who made his U.S. TV debut as Chicken George in the 2016 remake of Roots, it makes Bridgerton’s romantic narrative even more potent. “With color-conscious casting, I get to exist as a Black person in the world,” he says. “It doesn’t mean I’m a slave. It doesn’t mean we have to focus on trauma. It just means we get to focus on Black joy and humanity.”

That joy opens up another narrative component often left behind closed doors in period drama: intimacy. Typically, the Regency’s idea of sexual tension is the brush of a gloved hand, but in the world of Bridgerton, audiences find themselves in an opera singer’s boudoir within the first 10 minutes. “The sexiness and the steaminess was always going to be there,” says Van Dusen, adding that it’s core to the “education of Daphne Bridgerton.”

Dynevor echoes this, explaining that the show’s sex scenes, overseen by an intimacy coordinator, were as intricately choreographed as a fight sequence. But for Dynevor, it was a key part of Daphne’s arc, one that foregrounds her character’s wants above any objectified desirability. (What other Regency literary adaptations feature a heroine experimenting with self-pleasure at the suggestion of her suitor?)

“It’s not often you see sex [treated] in that way,” Dynevor reflects. “It wasn’t gratuitous. It was so essential in Daphne’s journey and sexual awakening. I love the fact that it is very much the female gaze.”

That gaze is the connective tissue between Shondaland and romance publishing, a match so fortuitous it could only end in happily ever after. “[The show] is not going to be so different from the experience of reading a romance novel,” Van Dusen concludes. “It’s sexy and a little dangerous and fun. It leaves you a little hot and bothered and breathless.” Fetch the fainting couch — and the remote.

Bridgerton hits Netflix on Dec. 25.

#long post #bridgerton #the bridgertons #bridgerton netflix #netflix #netflix bridgerton #daphne bridgerton #simon basset #julia quinn #ew #entertainment weekly #article

189 notes · View notes

annab-nana · 3 years

Text

omg i just saw this trend on tiktok earlier and i love how you brought it here and made it your own jo!! it’s adorable so thanks for tagging me @drewstarkeysbitchh so i can pass it on :)

rules: make before and after picrews of you in your favorite movies/tv shows and make up little backstories to go with them if you want! here is the link

i actually had a lot of fun with this and started with marvel movies but then threw in some tv shows as well :)

spider-man: homecoming: first, i’m just your regular midtown student who has spider like abilities which are kept a secret and then in the second picture, i just fought the vulture in the makeshift spider suit since tony took ours :( (basically i’m peter parker)

captain america: civil war: first, i’m an escaped hydra assassin who is friends with bucky and was laying low with him before cap came in. also i’ve always wanted to dye my hair a little darker though it’s already a dark brown so we’re doing it here to hide better i guess haha and secondly, it’s after the fight. i obviously was team cap and fought alongside bucky and the others. i stood between bucky and t’challa and got scratched and my hair got roughed up from the fight

thor ragnarok: first is me in my midgardian attire as i say goodbye to my father alongside my brothers loki and thor right when hela shows up and second is me in asgardian clothes as i make sure everyone boards the ship safely whilst also fighting hela’s army

greys anatomy: first i’ll be a spritely excited intern with hopes of becoming a pediatric surgeon and second i’ll be dead. no one survives this show. they either leave or die. i’m gonna die. idc how shonda will do it whether it be by plane crash, unknown illness, car crash, do your worst rhimes

the walking dead: first, i’d be your average college student who just found out that the “disease” has hit georgia and it’s only a matter of time before it sweeps south and second, i’ve been enduring it for a while and have learned to fend for myself and to not be too trusting of others since others are only looking out for themselves as well. also threw my hair up since a zombie grabbed mine once and almost bit me

tagging: @starryevermore @lonely-xplr @rebelemilu @dmonchld @socialanxiety-queen @mayraki @scandalousfemale and anyone who wants to! i promise it’s really fun so go for it :)

#tag #tagged #tag game

11 notes · View notes

justasparkwritings · 4 years

Text

Codename Cupid: Chapter 16

Previous: How Cricket Got Her Name

Pairing: Jeon Jungkook X Reader/OFC/You

Genre: Secret AgentAU, AgentAU, Government Agent AU

Rating: PG15

Word Count: 3.04K

Warnings: Swearing

Summary: Our lovely P.I. goes on the search for Min Yoongi, and stumbles into the identity of the mystery man with Taehyung.

(this is... rough? did not expect it to be so long...)

Missing Min Yoongi

Present Day

My sister always tells me she’s given me all she can, that she can’t help me past my one favor a year. It’s a ploy, a deception, a boldfaced lie she tells at work or anytime we’re in earshot of anyone else. Does she misuse her government clearance? Yes. Does she defy laws and challenge the ethical code? Yes. Has she ever gotten caught? No. You’d think the government would put more tabs on her, considering her sister is a registered and licensed PI, but no, no one seems to bat an eye.

Min Yoongi, Park Yoongi, Yoongi, is nonexistent. I barely understand what he did at Lee Enterprises, let alone how he ended up bedding Euna. He supposedly comes from no money, no name to build off of, nothing. His grades were fine, his college experience came and went with nary a note of youthful rebellion. Now, now that he’s no longer at Enterprises, I cannot fucking find him. Nothing on the web, nothing in the statewide system, nothing in the national system. No death certificates, no marriage licenses, nothing.

All I’ve got are his charges, well, Euna’s charges against him.

Cheating in the 1st degree, no proof, no photos or receipts or basic evidence of his behavior. She had nothing but her recollection of the fight they had, and minimal information on what led to the break up. From her manifesto, it seems that Yoongi was pulling away and she clung to him, claws drawing blood, trying to get him to stay. He didn’t, clearly. With only that to go off of, it’s no wonder I can’t find Min Yoongi, and I’m beginning to think that just maybe, Min Yoongi doesn’t exist. He’s her Snuffleupagus, and I’m starting to not believe.

While I’m unsure if Yoongi exists, I do know a person who does.

The man with Taehyung.

Spectacled and broad shouldered, quaffed hair and arms the size of tree trunks, this man exists. He goes to the gym regularly, religiously, makes his coffee at home, and frequents his local nursery. The man is obsessed with plants, it seems unhealthy. Multiple days a week he’s carrying one, or more, I have photos of him watering them, speaking to them… He tends to them with such care, such love, it’s mesmerizing. He goes to work, some corporation, and once a week meets Taehyung. They’re clearly pals, best friends, brothers. They laugh and eat and enjoy one another. It’s cute, their friendship date. Once in a while, Jimin joins them. The three laugh uproariously and often draw attention for their volume. The unidentified man doesn’t seem to understand how loud he is, his baritone resonating enough for me to hear.

I haven’t intentionally bumped into the three of them, yet, but I’ve stationed myself near enough to hear bits and pieces of their conversations. They never discuss work, only music they’re listening to, books they’re reading, podcasts, plants, general culture. Have I written down a few of the artists and podcasts they listen to? Yes. Do I feel dirty about it? Yes.

But it’s the job, and I tail them for a month before a package arrives. A package with my name on it, waiting outside my apartment door. It’s not addressed, no stamps or packing label. It’s new, not reused as a shipping box or gifted for the umpteenth time, no dingy tape sticking to its brown coating. The box is sitting, like it’s appeared out of thin air. A secure building is only as secure as the tenants make it, and I wouldn’t be surprised if the owner snuck in behind some dummy who didn’t see the harm in letting a potential rapist, stalker, murder, into the building. Taking the package inside, and as my blood continues to cool and chills run down my spine, I delicately open it.

I know, it could be a bomb. However, the only thought calming me down is the knowledge that my life has never once been a Shonda Rhimes production and thus, I’m not really worried this package is a bomb. Frankly, that’s far more sophisticated than any of the people I’ve worked for and gives them too much credit.

Inside, there are copious amounts of surveillance photos and a note, written in a script that I’ve seen before.

“That was your last warning / The line has been drawn and you’re bleeding / Next time, face to face is how we’ll be meeting”

Whoever heard of a stalker rhyming?

I bag the evidence to toss under my bed so Jungkook won’t find it and pull out my list of potential threats.

Check It Once, Check It Twice

William Daniels

Cheated on his wife of 5 years with a stewardess who flew almost exclusively on his flights (big shock)

Threatened to ban me from American Airlines - Jokes on him, I don’t fly American

Photos in the act & audio recordings

Wife divorced him immediately

He has to pay alimony out the nose

Lives in the area

Allanah McMahon

Arrested and tried for insider trading and embezzlement

Discovered who I was when I was subpoenaed to testify

Still in jail

My testimony added a few years to her sentence … oops

Cassie Harrington

Set up a Multi-Level Marketing scheme

Tried to hide out in Hawaii – but changed her Instagram to private after I’d already followed her

Ordered to pay back all the money she stole

On parole

Adam Gregory

Tried to run an illegal adoption agency for homosexual, non binary couples

Paid a fine and on parole – forbidden from creating any LLC’s or Incorporating

Brian Welch

Pissed that I found evidence of his partner cheating but turned him in on charges of possession of child pornography

In jail for kiddy porn and for threatening my life

His husband got everything despite the infidelity

You acquire quite detailed list of people who want to threaten your life on the daily, but then again, wasn’t it Audre Lorde who said “I’m deliberate and afraid of nothing?” I can’t be afraid. If I’m afraid, they have the power. They have the power to intimidate me, to run my life for me, to make my decisions. I will not back down because they got caught. But I will protect myself, I will keep my license for my gun up and go to the shooting range often. I will strengthen the locks and security of my apartment, and I will ask Jungkook to stay over more, or sleep at his.

I will not back down, not when Lee Euna has paid me what seems like the cost of tuition at Princeton for a year and wants answers. We signed a contract, didn’t we?

And who am I if my word is no longer worth anything?

Instead of harping on the sickening feeling that I’m being watched 24/7, I run through my plans for bumping into Taehyung and his friends. In the weeks that I’ve continued to follow him, he’s solidified Wednesday’s as his night for dinner with friends, and Thursdays as his cultural exploration. He goes to museum openings, concerts, movies, plays, clubs, all on Thursdays. While those nights are fun for me to watch and put on my expense account, it’s Wednesdays that I adore. I love following him from his house to the restaurants and am excited each week to see what he and his friends have chosen.

This week, it’s an authentic Mexican restaurant. Slipping my coat on, I give them a few minutes before following in.

The sound of mariachi welcomes me into the yellow painted restaurant. The furniture, dark mahogany against the vibrant walls, is full of people. I note the variety of sombreros, the different colors and patterns, the meanings hidden within the stitchwork. It’s not a large restaurant, but big enough to fit a few large groups of 7-10 people, and plenty of space for smaller groups such as the three men. The hostess asks if I want to sit at the bar, and I request a table near the men. Sitting a few feet away, I’m able to pick up their conversation easily. Instead of jotting it down, I hit record and let the metaphorical tape play.

“Oh, it wasn’t that bad!” The mystery man says.

“It was awful, Taehyungie couldn’t stop laughing, every time he hit the ball it went flying in the wrong direction,” Jimin says.

“I was trying so hard!” Taehyung laughed.

“That’s the problem, you were trying too hard,” The man tells him. “You’re too pure of heart.”

“I am not,” Taehyung shook his head.

“I know, you’ve experienced a lot, Tae,” Jimin says.

“Joon, here’s the question,” Taehyung says, and I’m momentarily distracted by the utterance of the name, Joon. “You get to pick next week, we heading back to that barbeque place?”

Jimin erupts in another fit of laughter, Taehyung following suit. It’s cute, watching them interact. I wonder if Jungkook has friends he does things like this with… those nights we aren’t together, if he has friends to spend his time with.

I wait until they’ve left to take a glance at the signed bill on their table, Taehyung Kim is scribbled, no evidence of the other men, and I’m about to bag evidence when I hear my name.

“Y/N?” Taehyung asks.

“Taehyung! That was you!” I smile.

“Have you been here the whole time?” Taehyung’s eyebrows express more than anyone’s I’ve ever seen.

“I, yeah. I wasn’t sure it was you and Jimin. I didn’t want to interrupt,” I tell him.

“Oh, you could’ve! Don’t worry about them, we’ve been friends a long time,” Taehyung smiles, it’s boxy and wide, the edges curling as his eyes soften.

I’ve already started my dance, a waltz to an even tempo and I’ve got the next five paces planned. “Who was that new guy?”

“Why, you single?” Taehyung smirks, his lips no longer joyful but devious.

“I just was curious,” I reply, “And no, I’m not single, remember?”

“Oh yes, yes, Jungkook,” Taehyung recalls with a nod.

“You, Jimin and that other guy, go way back?” I lead him, it’s easy to lead Taehyung, he’s pure of heart, the most honest intentions in his eyes.

“Mm, yes,” He continues smiling at me.

“Your dinner looked fun, I’ll definitely be coming back to this place,” I tell him. It’s true, maybe I will bring Jungkook by one night when I know these three men won’t be around.

“Yeah, we like it. We try a new restaurant every week. It’s a fun no work zone,” His arms are relaxed at his sides, one hand slipping slowly into his pocket, his cardigan open and glasses pressed close to his ebony eyes.

“I like that, no work zone,” I agree, I wish I had one of those.

“Yes, it helps clear the mind,” Taehyung tells me.

“Do the three of you work together?” I inquire.

“Kind of, we have a lot of the same shared interests,” he sidesteps.

I nod, the final step in our dance presenting itself. “Very cool, well I don’t want to keep you from Jimin and –

“Joon, yeah, very considerate of you. Maybe I’ll see you at the dog park again?” He asks.

“Oh god, I hope not, Maisie is a nightmare,” I laugh.

“Well have a good night, Y/N, take care!” He says as he walks out the door. I stand, watching, pretending to not notice how he gets in the car swiftly, not looking back.

Joon.

What kind of a name is Joon? If Taehyung and Jimin, and Jungkook, and Seokjin… and Yoongi, are all Korean, must Joon be short for something Korean?

Glancing at my phone, it’s only 8:30PM, if I hurry, I can get in another few hours of work before I’m overcome with exhaustion and anxiety. But what will I find?

Oh Joon

Kim Joon

Lee Joon

Joon-Ho

Joon-Hee

Joon-Hyuk

Joon-Ki

Joon-Tae

Joon-Young

Byung-Joon

Ha-Joon

Hee-Joon

Hyung-Joon

Jae-Joon

Kyung-Joon

Jae-Joon

Kyung-Joon

Yong-Joon

Nam-Joon

Joon-Su

Ye-Joon

Not to mention add in the top 5 Korean last names, and I’ve got hundreds of possibilities. Luckily, I can run the name against the address of the apartment building Taehyung picked Joon up from. Being a PI means I have access to the state databases, which gives me names and addresses. In the building, there’s one Joon, a Namjoon, Kim Namjoon. I pull the information before digging into my search.

Unlike the seemingly nonexistence of Min Yoongi, Kim Namjoon is present. Every search result yields a perfectly manicured article dating anywhere from the year of his birth to age sixteen, and then, much like everyone else on this case, the trail begins to run cold. Whatever happened to him during high school, still radiates through his file. Whether he’s shaken it or not, that’s the question.

No known career or job at all, his status as a prodigy in math, linguistics and rhetoric is astonishing. One of the highest IQ’s of recent memory, he’d mastered calculus by the time he was 8, besting PhD’s by 13, and then in a blaze of glory, disappearing by 16. He was studied, written about, documented, photographed, and somehow managed to be nominated for a Nobel Prize… how he accomplished all of that during puberty is beyond me. Not only does he accomplish that, but then, disappears completely, without a trace. How?

I’m ready to pack it in when someone steps into my office.

“I saw the light on,” She says.

“Ms. Lee, what do I owe this surprise visit?” I ask. This is the exact opposite of what I wanted to do tonight.

“I wanted to, to talk to you,” She takes a few steps forward, pausing to ask for unspoken permission.

“Please, sit. What did you want to talk to me about?” I lean back, hoping she can’t see the bags forming under my eyes or the tears from the yawn I’m stifling.

“I wanted to tell you about, about why I need you to find Min Yoongi,” Euna informs me. She’s dressed in what can only be described as winter white, and only as a cashmere sweatsuit. Never have I ever seen such glamor in my dingy office. I feel bad that she’s risking the integrity of her outfit by being here.

“Oh, okay,” I sit up and reach for a notebook. “Do you want me to write this down?”

“No, you don’t need to. We can just talk between women, between friends,” Euna’s voice is soft. The slack in her jaw, the demur manner in which her hands are placed on her lap, it’s evident she doesn’t know how to be girlfriends. Raised by her family, groomed to take over, friends was never a word in her vocabulary.

“I wanted you to know that I really saw a future with Yoongi,” She starts. “You know that place in your heart where you hold all your hopes?”

“Yes,” I say hesitantly.

Her eyes narrow in warning, “Do you have someone, someone who’s beginning to fill that space?”

“Um, yeah,” I reply.

“I thought that’s what Yoongi was. I thought we were, we were building something. Jun-Seo had Jimin, they thought they were building an illustrious future together, but one day he disappeared too.” She pinches the slight bridge of her nose, inhaling slowly to steady her nerves. “I don’t know what changed in our relationship. Yoongi didn’t want me anymore, he didn’t want to be around me, or with me at all. A switch flipped, like one day he realized he didn’t love me in the first place. I don’t know what happened, I don’t know why, but when your entire future is destroyed, do you stand back and watch it burn?”

“Do you want me to answer that?” I ask.

“Sure, what I did after that was terrible, but it was within reason. Everything I did was within reason. I tried to hold onto him, I did what I thought was right to get him to stay and he just, ran. Bolted, broke up with me on the phone like I’m Taylor Swift in 2012. Maybe I am,” Euna rolls her eyes, the comparison both too true and too terrifying. “At least Seokjin had the kindness to break up with me in person. But Yoongi? The coward! He knew I loved him. He knew I would carry his child, would marry him, would love him eternally and then some. I would’ve done anything for him. Even after he refused to go family dinners or go on trips with Seo and Jimin, after he started lying and cheating and stealing. He broke my heart, shattered it. If anyone is to blame for what happened after our relationship, it’s him.”

Interested peaked, I inquire “What happened?”

“It’s in my document,” She snaps.

“The handwritten one?” I clarify.

Rolling her delicate ebony irises, “Yes, of course.”

“The abortion, the embezzlement, insider trading?” I try to rattle off the accusations she’d detailed. Somewhere I had a list and had sorted them by man, but damn, there were a lot of them.

“Yes,” She snips.

“That’s all true?” I ask again. The look she gives me is unwarranted, this is the first time in months, nearly a year, that she has sat down with me and discussed the charges. I am well within my right as her Private Investigator to ask clarifying questions.

“Do you make a conscious decision to not believe your clients? Am I not paying you enough Y/N?” Euna snaps.

“I’m sorry,” I respond.

“I should go, I expect next week at our meeting you will have an update on the mystery man,” She stands.

“Yes, yes, I will,”

“Good, oh, there was a note under your door. I didn’t pick it up,” She turns and walks, stepping gingerly over the note. Scrambling behind her, I pick up the folded paper, and scrawled in crystal clear letters it reads:

Cricket, was driving past when I saw the light on. Why are you working? Come to mine when you’re done, it’s been three restless nights without you.

XO – Bunny

Fuck me, I love him.

Next: Cricket & Bunny Pt. 1

11 notes · View notes

alcalavicci · 4 years

Text

So there’s a really interesting interview with Deborah Pratt here. If you don’t want to pay for it, I’ll paste what I can below, but a few points first.

Deborah says she doesn’t know where Dean is, and says she misses him. I guess she hasn’t had contact with him since he left for NZ? And with Russ Tamblyn saying Dean’s hanging in there in answer to a recent Twitter question, that brings up more questions about his condition.

Deborah claims she came up with the idea of Quantum Leap, which I’ve never seen come up before. Also Don wanted to send Sam home?? I feel like she’s misremembering a lot of details/making herself seem better than she is.

“Theorizing that one could time travel within his own lifetime, Dr. Sam Beckett stepped into the Quantum Leap accelerator and vanished… He woke to find himself trapped in the past, facing mirror images that were not his own, and driven by an unknown force to change history for the better. His only guide on this journey is Al, an observer from his own time, who appears in the form of a hologram that only Sam can see and hear. And so Dr. Beckett finds himself leaping from life to life, striving to put right what once went wrong, and hoping each time tht his next leap will be the leap home…”

The premise of Quantum Leap succinctly and empathetically explained by a voice that spoke to viewers week to week, setting the scene at the opening of the episode. It is a voice that left an indelible print on the show, from its inception to its finale. This is the voice of its Head Writer. No, not Donald P. Bellisario, but a woman of color who was leaps ahead of her time – co-executive producer and uncredited co-creator, Deborah M. Pratt.

Deborah wrote or co-wrote 40 episodes of this sci-fi gem and her authorship of the show runs deep through its five seasons. Aside from the opening narration, Deborah is audible as the voice of Admiral Al Calavicci’s pocket computer, Ziggy. She also guest stars in the episode ‘A Portrait for Troian’ (S2, Ep11) as a grieving widow who hears the voice of her husband calling her.

Deeper still, Quantum Leap was a family affair. It was co-created with her husband at the time, Bellisario, and their daughter, also named Troian, appears as a little girl in ‘Another Mother’ (S2, Ep13, who can not only see Al, but also sees Sam as he really is, rather than as her recently divorced mom.

Prior to helming Quantum Leap, Deborah rose through the ranks as an actress, racing the screen in Happy Days, CHiPS, The Dean Martin Show and many more, and was also a writer on shows such as Airwolf and Magnum P.I. She is a five-time Emmy nominee, Golden Globe nominee and winner of countless other awards. She went on to produce CBS comedy cop show, Tequila and Bonetti, and then to co-create and produce the TV series adaptation of Sandra Bullock tech thriller, The Net. But Quantum Leap was Deborah’s brainchild – one which is emblazoned on the hearts of its faithful fans.

Deborah has since moved into directing, including on hit show Grey’s Anatomy (2020), but was generous with her time when spoke in late 2020 to leap back into the past.

It does seem that you were really ahead of your time as a female head writer and a showrunner in the ’90s, especially in science fiction TV. Was it hard for you to progress and to get Quantum Leap made?

“Usually women were relegated to comedy, very rarely was it drama or heavy drama. It’s changed, finally, with people like Shonda Rhimes (Grey’s Anatomy, Bridgerton, Scandal). But yes, I was a true pioneer, even though I don’t have a ‘created by’ credit, it was a ‘co-created by’ show – with Don. I brought him the original concept, and we were married, and he said ‘Let me just run with this. I can get it made.’ And to his credit, he understands how to tell a story to the audience. He simplified it in a way that you could welcome Quantum Leap into the world. But it was still a tough show to sell.

“I think we went back three times to pitch it to the network. It was complicated to explain. Brandon Tartikoff [the executive] said ‘It’s a great idea – It’s like nothing I’ve ever seen on TV. Let me think about it.’ Then he asked us to come back, ‘I want you to pitch it to me like I’m six years old, then pitch it to me like I’m 80 years old’ and finally he took it. Then even after the show first aired, they decided to introduce that opening where I tell the story. That was created to explain every week to a new viewer what was going on and it worked really well.”

On rewatch now, the best part of three decades later, the show feels groundbreaking in terms of the subjects you cover. Did you feel like you were pushing the envelope?

“I feel we got to do so much on that show. I remember when I did ‘Black on White on Fire’ [S3, Ep7], the networks in the South in the United States wouldn’t air it because it was a black/white relationship. Even though there is no scene where you see a black person and a white person being intimate.

You saw Sam, who was white, and the girl who was white, but because he was playing someone who was black, it was an issue. They wouldn’t air the show in the South. This was around 1992.

“It was challenging for sure. I think we pushed the limits.

“The beauty of the show too, was that it was about hope, which I see so little of on television today. Everything’s so dark, so mean, so vicious, bloody – how many people can you kill? How mean can you make your lead characters and antiheroes. I think it’s why I didn’t work as much afterwards. A) I was a woman, and B) a black woman. There weren’t any black female executive producers that I knew of in drama. I got to do The Net because it had a female lead, but that was almost ten years after Quantum Leap was created. Any show I brought in that had a black lead was never bought, or a female lead, was never bought.

“I remember I wrote a big action piece – like an Indiana Jones, but female-driven, feature film – and pitched it and the studio executive said, ‘Yeah, yeah, but when did the guy come and rescue her?’ And I said, ‘She doesn’t – she rescues him.’ The look on his face. I’ll never forget it as long as I live.”

The show darted around TV schedules, but the fans remained with it, and still to this day hold it dear to their hearts. Was that palpable at the time, or has that grown since?

“I think near the end of the first season, Harriet Margulies [Production Assistant on the show] found a chat room after an episode where people from across the country talked about it and it became the ‘watercooler.’ We were the first television show that had a chat room as a watercooler. Before that, it was literally you going into your office and standing around the watercooler and talking about movies or TV shows you were watching. Suddenly, it was online. So we started to go into the chat room and talk to people about what they liked and what they didn’t. Not necessarily telling them who we were, but that fan base is what kept us on the air because the network didn’t know what to do with us. There was no show like it, so they couldn’t like pair us with anybody.

“In the five years we were on, I think they moved the show six times and the fans still found it, they followed it, they watched it. That’s how we knew we had something unique and special. To this day, I’ll go into a meeting with a young executive who’ll go, ‘I have to tell you, I loved Quantum Leap. I used to watch it with my mom and dad’.”

Scott Bakula was such a great hero and heartthrob as Dr. Sam. What was he like to work with?

“He was so approachable, you know, in the sense that he had this great, easy acting style. He took chances and he was likeable – in a way that he could be a man’s man and a woman’s man at the same time. He’s really a brilliant actor. I am saddened by the fact that he has not had the opportunity to do movies in the way that could really have lifted his career. He’s had an incredibly successful television career. He’s a good actor. He’s a kind man. I’ve always admired him and felt like when we were working together, I had a friend that I loved to write for because he was always so giving and willing and wanting to take chances as an actor. So it was fun to go down to the trailer and say, ‘Guess what? You’re going to be pregnant this week’.

He does everything in the show from sing and dance to baseball, football, hopping over car bonnets to fights and martial arts. Did you know he had such a wide skill set from the outset, or did you write the challenges for him to rise to?

“I think we had conversations with him about that. I also knew that he had been on Broadway doing musicals. I knew he could sing and dance. When I wrote ‘Sea Bride’ [S2, Ep20], I wrote a tango number – that was unique for him. When Don knew that he could play the guitar… We asked Scott, ‘What do you want to do?’ And he said he wanted to do a musical and I think that’s how the ‘Catch a Falling Star’ episode [S2, Ep10] came about, which involves a performance of ‘Man of LaMancha’.”

Admiral Al Calavicci – he’s so much more than wisecracking and surface jokes or flirtation. There’s so much depth to his character. Was that fleshed out early on with an end to end journey for him in mind, or did his character evolve through the seasons?

“It was a little bit of both. Dean Stockwell had been on Broadway at five-years-old and had been a major child movie star. I remember when we wrote the show where Sam had the chance to save Al – ‘The Leap B4, Ep1] – he was so good in that. I’ll never forget how beautiful that was. And then in the very, very end, I love the fact that Sam did change history and Al ended up wih his beautiful wife with five kids.

“I remember once asking Dean, ‘Do you want us to write more drama for you? Big dramatic moments?’ And he said, ‘I want you to look at me right now. I want you to tell me what you see.’ And I said, ‘Well, your performance, the pain, fear and loss and all that, because you’re such an incredible actor.’ And he said ‘For me to perform that, I have to be it and live it. So don’t do too many.’

“He had that depth of acting talent. He is so good – Dean, wherever you are, I love you. I miss you.”

The episodes that follow later in the seasons involving celebrities – Sam as Elvis, Dr. Ruth, or Lee Harvey Oswald, was that kind of a direction that you always foresaw? It feels like a sea change as the show progressed.

“The stories were designed, for the most part, to be so, so simple in that they were everyday stories. They weren’t change-the-world stories. I think the biggest one was Lee Harvey Oswald, and maybe the one involving Marilyn Monroe – those were with people that could have had a ripple effect.

“But there were other little kisses with history in the show, but they were very hard to do. They ran into a child version of Donald Trump in a taxi cab, [‘It’s A Wonderful Leap’ – S4, Ep18], then they ran into a little boy who is supposed to be Michael Jackson – Sam teaches him to moonwalk [‘Camikazi Kid’ – S1, Ep8]. The first time I did a kiss with history was ‘Star-Crossed’ [S1, Ep3] – Sam meets up with the woman that left him at the altar and they’re at the Watergate Hotel. That was fun stuff.”

Sam managed to awkwardly kiss lots of ladies in that sense of ‘Oh God, they’re going to kiss me and I’ve got to be this person, what am I supposed to do.’

“We never, ever really discussed what happened to Sam. We didn’t want him to be encumbered by a relationship. But I didn’t get to kiss him. My husband wouldn’t leave the set on the episode I was in!”

Your move into directing – from your TV drama Cora Unashamed back in 2000, to Grey’s Anatomy just last year. Is that something you wanted to do sooner? Were there barriers prohibiting you?

“I was supposed to direct on Quantum Leap four times. Every time it was coming up, something would happen. The only women who directed on the show were two black women – Debi Allen [Fame, Everybody Hate Chris, Jane the Virgin] and the other was a woman named Anita Addison. They each did two shows.

I said, ‘If I’m not doing this, I want black women.’ There were no other black women. And it was a fight. I tried to get black women directors on the show, but I could never get them past.

Then when I went to do The Net, the studio blocked it. I give huge amounts of credit for executive producing to Shonda Rhimes and what she has been able to do. She did what I thought I was going to be able to do. She’s so talented and I’m such a fan of her and her shows. I’m looking forward to what she’s going to do on Netflix. And it was an honour to do Grey’s Anatomy because I’m a fan of the show and I’m really grateful to have that opportunity.”

Has there been progress in terms of female directors and filmmakers being given opportunities?

“It’s very hard for women because there aren’t a lot of women executives at the studios. There are more now. And so there is an evolution that’s happening, but it still feels slow. There were shows run by people I gave opportunities to back in the day, but when I said, “hey, I want to direct on your show,” the response was, “oh, there’s too much machismo. There’s too many male hormones around here. They’ll eat you alive.” And I went, “no, they won’t, you’ll protect me. How about if I do my job?” And that was only last year. But there are more opportunities. There are more women making decisions, but we have to do more because women’s stories and women’s voices are more than half the population – we need to hear those stories. The historic ones as well as the contemporary ones.”

Is there a leap that was your favourite overall? That you feel made you made your mark with?

“’The Color of Truth’ [S1, Ep7] touched so many people and it opened a dialogue. I remember we got a letter from a teacher who said she brought the VHS in and she played it to her class, up until Jesse [Sam as an ageing black chauffeur in ’50s Deep South] goes and sits down at the counter in the restaurant. Then she stopped it and asked the students what they thought happened next. They thought that he just ordered lunch. And then she played the rest and that hostility and the animosity he endures and the fact that he had to get up and leave really incensed these children. They had never heard of or experienced racism. They didn’t want to believe that it really happened. This is how history gets buried and why television is so powerful and important. It opened a conversation that she could not have necessarily had in her classroom, according to her, had she not brought that show in to share with her students.

“We had another letter that was very moving, and I want to say it might’ve been ‘The Leap Home’ [S2, Ep1-2]. There was a couple who wrote and said they had a child that was on a cancer ward and every Thursday the whole ward would watch Quantum Leap. Their child was dying and they had kind of given up and it was just time to help that child transition out of this world. They watched the show and she said, ‘We realized we gave up hope. When we watched the show, we realized we didn’t have to give up hope and we wanted to write to you. It’s now six months later and the crisis has passed. The cancer is in remission. Our child is up and going back to school. And we just want to thank you for reminding us that hope has its own power’.”

Its power and poignancy has never diminished. Though the final episode, ‘Mirror Image’ (S5, Ep22), with the caption saying Sam doesn’t get to go home, does leave a sucker punch.

“That was our last fight. Don was going to send him home. And I said, ‘You can’t, you can’t send him home. If you ever, ever, which we’ve not ever been able to get Universal to let us do it, want to do a movie… If you want to keep the story going, you have to leave Sam out there in the hearts of people, leaving people thinking he could leap into their lives’. And at first Don said, ‘No, no, we need to bring him home’. And I said, ‘Do not bring him home. Or you will end the show. If you leave the hope out there, that Sam is out there and he could leap into your life and make a difference’. You keep the show alive in the hearts and the minds of the fans. And I think I was right.”

The ending was poetic for me as a viewer, but your point about Sam still being out there – Is there a leap back to the future for Quantum Leap?

“I started writing a project called Time Child about Sammy Jo Fuller. I actually wrote a trilogy in Season 5 where Sam leapt back three times into the same family and the second time he leapt he ended up in bed with this character and conceived a child. Then the third time he leapt in, he met her at 10 years old – a girl named Sammy Jo Fuller. So in my vision, Sammy Jo Fuller grows up. I actually have Al say, ‘Sammy is in the future with me. We’re trying to bring you home.’ That was my set-up way back in 1993, in Season 5, to say someday, Sammy Jo being his daughter might take over….

“This was the ’90s. Women heroes didn’t exist really – other than comic books – Wonder Woman was there, Super Girl was there. But I set it up in the show that Sammy Jo was going to bring him home. Sadly, I have not been able to get Don and the studio to give me the green light for Time Child. It might happen someday.”

Right now, it feels like we need more shows that offer hope. Is there a place for a reboot on streaming platforms?

“Universal keep saying they want to bring it back. They’re not going to give it up to Netflix because they have [US streaming service] Peacock now and still have NBC. I personally think it should be on a full blown network. The hard part would be that it would have to be recast if there was a female version using my character Sammy Jo Fuller. Or if they just redid the show, it would be interesting in the sense that there was such an innocence about the show. I still believe that there is an audience out there that wants it, that longs for looking at the past through the eyes of somebody in the present. But who would that person be if you did the show now, what are those eyes like?

“We’re living in the time of COVID and suddenly you go back in time. How do you warn people that this is going to happen? How do you warn people about 9/11? How do you warn people about things in the future?

“I mean, one of the beauties of that innocence too, and I thought that was a great gift from Don to the concept, was that Sam’s memory as Swiss cheese – he didn’t remember things and that made it a lot easier, and Al was not allowed to tell him what was happening in the present. There’s a lot of detail woven into the mythology that allowed it to be innocent and in the moment of time travel. You didn’t have to drag the future back with you.”

Do you have an actress in mind to play Sammy Jo in a reboot?

“Oh my gosh, Jennifer Garner. I always felt she would be a great female Sam. She’s an ‘every woman.’ She’s funny. She does great drama. When I think of a female Sam or even Sammy Jo, I think Jennifer – in a heartbeat. She’s so great in Alias. That show just never stopped. You couldn’t take a breath. If I had to go younger, somebody that would have that kind of believable humour that you think could actually rescue you – maybe Jennifer Lawrence. She’s pretty formidable in that sense.”

“To bring Quantum Leap back. If they’re thinking about it, now’s the time to happen. Tell people to write to Universal! Write for the attention of Pearlena Igbokwe – if anyone can bring it back, she can do it. Write! Write to Pearlena – she’s the one that’ll make it happen. That’s how we stayed on the air for five and a half years. Fans unite and write!”

#quantum leap #article

11 notes · View notes

supercalime · 4 years

Text

Still Star-Crossed Commentary pt.1

As a very big fan of romeo and Juliet retellings, I became aware of this book a few years ago when I heard of the tv show adaptation that I never watched (I heard it got cancelled before it got a proper ending so I never checked it out) and anyway, now I finally have a copy and here are my comments for the first 2 parts. Hope y’all enjoy it!

Part 1 to 2

- I did not expect the Almost Shakespearean language, romanticizing everything in great Verona, thou shall...

- Oh gross. Juliet is still a child in this version

- Not me forgetting there was a prince of Verona trying to take care of everything

- It’s weird having the characters stating how fast everything went down in r&j. They met and died within A WEEK! WHAT THE FUCK

- I’m glad that the shonda rhimes show that lasted five seconds had mostly people of color playing the characters. Everyone here is so annoyingly white

- A female protagonist who doesn’t think she’s ugly? We love to see it

- I just realized this is a post-canon fix it fanfiction. I love it

- I am already very invested in Rosaline. I really like her

- Benvolio sword fights well and I think that’s very sexy of him

- Okay, I like the flirting. I ship it

- Benvolio, what the hell? It’s not rosalines fault all of your friends were idiots

- Oh slut-shaming too? Jesus christ benvolio

- Oh shit they are gonna be literal enemies to lovers

- The nurse is the best character. I never thought of how awful it would have been for a person in her situation, who basically raised the girl

- So Francesca is the worst

- I hope the rosaline x escalus thing doesn’t go anywhere. I don’t care about that ship at all

- Okay now Im really conflicted about escalus. Is he nice or bad? I get wanting to join the houses but still, there’s something fishy there

- I like Livia too. She’s so precious. I hope nothing bad happens to her.

- PARIS?????? WHAT THE FUCK

- I’m guessing rosalines plan to run away with Isabella won’t work, given we’re not even 100 pages in. Let’s see what happens

- I don’t care if it’s historically accurate, there’s too much slut-shaming and prude-shaming in this book. Pick a lane!

- Isabella! We were rooting for you! We were all rooting for you!

- Orlino can choke

- The prince is getting her drunk. Red flag! Red flag! Big ol’ red flag!

- Oh rosaline...

- Yep. I officially hate escalus. Fucking pig

#lety rambles #book commentary #still star crossed #melinda taub #romeo and juliet #shakespeare #william shakespeare #Verona #rosaline capulet #benvolio montague

9 notes · View notes

hobidreams · 4 years

Note

i watched bridgerton and tbh i can't believe it's getting sm hype when there is a literal marital rape scene in it and simon is still painted as the bad guy in the relationship when he was the victim ?? like truly if the same situation happened and the roles were reversed people would be calling it out like crazy so its a bit concerning that sm people are looking past it... and on top of that the racial elements that play into the rape scene and how its dealt with really doesnt sit right with me

yes! i hate the way they treated that scene. i felt like there was really no proper resolution to it and both parties acted like children 🙄 idk i just felt the entire pacing of the last few episodes were off. the fight wasn’t really handled well AT ALL. also i felt like Simon’s reason was built up so much that the resolution was way too easy... but at least he’s still more interesting than Daphne.

and on the racial element... i mean that’s been a topic of discussion re: the entire series. it doesn’t sit right with me either. i love that the series features black people in positions of power (the queen, Lady Danbury) and that Shonda Rhimes makes a fantastic effort in general to use lots of POC actors in her shows. but i think because Bridgerton is a period piece, i don’t really like how the show shoves the reality of the situation aside. yes, there were black aristocrats during the regency era, but that was incredibly rare when compared to the number of white nobles/gentry. English society was and still is DEEPLY racist and prejudiced against black people. by pretending that ‘everyone is equal here’ in the show by never mentioning race at all (except in that one moment where it was all like ‘the queen and king’s love is stronger than racism!’ which is like... wtf lol no???), it feels like the show is... ignoring the struggles that black people faced in that society/era instead of acknowledging the real and systematic discrimination against them. but i understand that they didn’t want to just use white actors for the entire cast, which would have been 🙄 as well. idk. as someone in an interracial relationship, there are nuances to that cultural negotiation between two worlds that just doesn’t exist in Daphne and Simon’s relationship. that feels unrealistic to me. i guess i feel that the show could have acknowledged race without making it a show *about* race, you know what i mean? at the end of the day, i just think of it as a separate world, ig. the world of Bridgerton is not meant to depict real history; it’s meant to be entertaining for a wide variety of people. which is disappointing to people like me, who derive half the pleasure from the real historical facts, but i understand i’m probably in the minority of viewers here 😅

#rain reply #dreamers #bridgerton

8 notes · View notes

calzona-ga · 3 years

Link

SPOILER ALERT: The story includes details about the April 1 episode of Grey’s Anatomy.

After a string of intense and heavy episodes marked by tragedy, including the deaths of DeLuca as well as Bailey’s mom, Grey’s Anatomy delivered a hopeful one-hour tonight. The biggest development came at the very end, when Meredith (Ellen Pompeo) was taken off the ventilator and was able to breathe on her own. She was “helped” by two old friends who tragically died nine years ago, her sister Lexie Grey (Chyler Leigh) and Mark Sloan (Eric Dane) who visited her on the beach and made the case why she needed to fight to live.

While Leigh’s return was revealed in the promo at the end of last episode, Dane’s appearance was kept a surprise as his Mark joined Meredith and Lexie on the beach. As the trio chatted, Mark shared that he talks to his daughter Sofia, as well as her moms, Callie and Arizona, all the time. Mark and Lexie also showed a lot of affection towards each other, and when Meredith asked if the two were still together, Mark said, “On your beach it looks like we are.”

While Meredith kept saying how much she loves it on the beach, Lexie and Mark talked about what they miss about being alive and urged her to choose life. “Don’t waste one single minute,” Mark said in their final conversation before Meredith was taken out of the coma, possibly ending the season-long beach motif, conceived by showrunner Krista Vernoff, which also featured visits from Patrick Dempsey’s Derek Shepherd and T.R. Knight’s George O’Malley.

Elsewhere in the episode, there were positive developments all-around. The two main medical cases had happy endings, including one where the doctors at Grey Sloan Memorial faced a Sophie’s Choice situation with one ventilator left and a mother and her daughter both in desperate need to be intubated. Teddy was on the mend, Owen and Koracick almost reconciled. And, along with Meredith’s successful reentry after she was taken off the machine, Winston proposes to Maggie at the end of the episode, and she said yes.

In an interview with Deadline, Dane spoke about how his Grey’s return came about. He took us behind the scenes of filming the beach scenes with Pompeo and Leigh, shared his take on Mark and Lexie’s relationship status and the duo’s pivotal role in giving Meredith strength to cling onto life when she is taken off the ventilator. He also discussed the remarkable longevity of Grey’s Anatomy and his return to production on his current series, HBO’s Euphoria.

DEADLINE: When and how did you get approached about returning to Grey’s Anatomy?

DANE: I was in Shanghai, filming a movie, a Chinese production for that market, a historical piece, and Krista reached out to me and said, hey, I’d like to talk to you about something, let me know when you have some time. I said well, I’m in Shanghai, China right now, let’s talk right when I get back. I don’t remember the timeline, I know I was in Shanghai in August. She explained to me what was happening in the story, and she said, we want to put Mark Sloan on the beach with Lexie Grey.

DEADLINE: What was your reaction? Did you like the idea?

DANE: Yeah, I thought it was a great idea. I thought it made sense, considering the circumstances.

DEADLINE: What do you mean?

DANE: I mean, if you’re ever going to bring Mark Sloan back, I guess with Meredith in a coma, it’s a good way for her to see him. So, it wasn’t a tough sell, and it made sense.

DEADLINE: Tell me about the filming of your scenes. You got to spend time with Ellen and Chyler, the crew. How was it going back into character, revisiting your past and reuniting with old friends?

DANE: It was like I’d never left. It was a great day at the beach. It was great to see some of the familiar faces and same crew members, and we didn’t skip a beat. I love those people. I spent a significant portion of my life with those people, I’d do just about anything for them.

DEADLINE: What did you, Ellen and Chyler chat about in-between takes?

DANE: Masks, Covid. I hadn’t seen Chyler in a while, but Ellen I stay in contact with, and just, how are the kids? Kids are good. Small talk. There wasn’t a lot of time in-between takes because of the protocols and how we had to set it up. So, once we got going, it was almost like a runaway train.

DEADLINE: And it was easy to go back into character?

DANE: Yeah. I mean, look, I created Mark Sloan. It was not that difficult for me to get back into character.

DEADLINE: What did you think about Mark and Lexie playing such an important role in giving Meredith a will to live and a reason to fight as she soon thereafter started to breathe on her own?

DANE: Well, Mark Sloan and Lexie Grey are embedded in the DNA of that show, and also literally, Lexie and Meredith share the same DNA. So, I think there’s a connectivity there and reminding her that, gone but not forgotten, we’re always around if you need us, and it’s too early for you to stay on the beach.

DEADLINE: And there was something comforting, I’m sure, in you reassuring fans that Mark is OK…

DANE: Sure. Absolutely. You see that everybody’s okay and happy; it allows you to want to come back for something.

DEADLINE: .. And that Mark also is watching over his daughter.

DANE: Yeah, whether she’s listening to me or not. You always have somebody looking over you. I lost my father at a very early age, and I feel like he’s watching over me in some capacity.

DEADLINE: When Meredith asked whether Mark and Lexie were together, you said “On your beach, we are”. What do you make of that, does it mean that they’re happily together in our imagination?

DANE: I didn’t dig too deep into that. I sort of took it as like, not in your imagination but the way you’re seeing it in your subconsciousness, wherever you are right now, whatever state of being you’re existing in this coma, fever dream, whatever it is, I guess that’s (Meredith’s) projection of perfection. Mark and Lexie are together forever, and I’m sure Mark and Lexie aren’t too bummed about it either.

DEADLINE: What is your vision of Mark and Lexie, how you think that their story continues in the afterlife?

DANE: Mark would’ve found Lexie. He would’ve found her eventually.

DEADLINE: Since you left Grey’s Anatomy, you did one successful series, The Last Ship, which ran for five seasons, and now you are on a second successful series, Euphoria. Meanwhile, Grey’s Anatomy is still going. How do explain the longevity of that show which continues to be going strong 17 seasons in?

DANE: Well, I think there’s a lot of factors but at its core it’s just a great show. People connect with the characters on that show. It seemed to have found a whole new generation of viewership. Shows typically will grow up with a generation, an audience, and eventually that audience will either outgrow that show or move onto something else. But with Grey’s, there’s always been an alchemy in that cast, a dynamic, a chemistry which keeps people showing up. The writing’s good. Krista, Shonda (Rhimes), Betsy (Beers) and now Debbie Allen’s exec producing the show. They’re so good at understanding the tone of that show and finding characters that people will invest in, and what that translates to is season 17.

DEADLINE: Is there anything you miss about Grey’s?

DANE: Well, I’ve maintained contact with a lot of the cast members. An answer somebody would give you, had they not, would’ve been I missed the people, but I’m still friends with all of them. So, there wasn’t really anything to miss.

DEADLINE: Are you going back into production on Euphoria soon?

DANE: In mid-April. We’re actually started now on Season 2. I think I don’t start shooting for a couple weeks, but we are. I’m sure we’re going to get this out as soon as we can. We’ve set a pretty high bar. I’m very proud of that show, everybody involved is very proud of that show.

#grey's anatomy #17x10 #eric dane #Mark Sloan #lexie grey #Chyler Leigh #deadline #Meredith Grey #Ellen Pompeo

59 notes · View notes