been almost a month since its release, but still hear echoes of that hybrid shoot 'em up , survival and horror movie serial murderer who is Shonda Rhimes marked the end of the sixth season of Grey's Anatomy . And this is normal, because few times on TV has gotten way to manage stress so masterful, so much to provoke in the viewer a continuous feeling of anxiety and the 'fun' that entails. After the episode "Death and All His Friends", the mental and emotional exhaustion is huge. And at such manipulation of the viewer, I can only take my hat off and applaud Shonda. Bravo, bravo, bravo.
I've always said Grey's Anatomy has some of the most wealthy and complete by today. I have also stated on numerous occasions that this is due to the fact that the more risk with a character, more out of it will be removed.
Doctors of Grey's Anatomy are more than clichés. It is customary in the series that deals are made up of highly iconic and recognizable characters and relationships of opposites or very basic features that define their interaction with others. In Grey's Anatomy this does not happen in such an accused. All characters have one thing in common: they are self-centered, immature, behave like teenagers, "selfish and human, very human, that is, err on each step they take. Apart from this, and despite the care nuances of individual personalities, archetypes are not very sharp in the series. This is what I admire most about Ms. Rhimes, its ability to penetrate deeper into the characters than usual. And that is why, among other things, an end like the sixth season seems an exercise in narrative construction and exemplary character development. Not all TV producers are willing to bring their characters to the limits that Rhimes has been theirs. And many may see it as a simple exercise culebronesca narrative-and who knows, might even be right- but what I see is an emotional commitment to the characters, including a dissent and challenge to the standard that few authors take. Come on, that the evolution of Dr. House, compared with that of Meredith Grey, remains in its infancy. So clear.
In an interview after the premiere of the final, Shonda said their physical and emotional exhaustion after signing the script for "Sanctuary" and "Death and All His Friends." That is the commitment of the speaker-mixed with a little silly. Rhimes's involvement with his characters has been so great that has come to take its toll, and I stress, the woman is something drama queen, that's true. In his words removed also a great skill in handling detail at the time of writing. All at the end of the season is measured to the millimeter, the large domain of cause and effect, not only in the episode, but in the long term, is another of the strengths of the script. Paving the way for an end to these characteristics is not a complicated task. Just enter a conflict as opening up the disaster, and so did several episodes before the apparently 'pointless' story of Gary Clark, a name that will cost us forget. What is harder is to involve each and every one of the characters, taking into account developments over the series, and in particular of the season in a conflict that entry seems not to accommodate excessive introspection. No doubt Shonda gets it.
The sixth season of Grey's Anatomy has been perhaps the most uneven to date. The series has not experienced a drop in quality as many of his contemporaries, but it is true that his plots are more scattered and forgettable. Not to mention patients increasingly ridiculous and repetitive-Shonda, you should learn in this sense Nurse Jackie,
series makes great use of patients. However, this season has served to learn a little more to the characters without 'interference' caused by great dramas and tragedies. If you allow me the bold comparison, this season has been like Elephant by Gus Van Sant, only better, and that's not a dare, is social suicide in some circles. The 22 episodes prior to "Sanctuary" have brought us all the characters, including West-Mercy intruders, even taking us often to their home environments. Fear for the loss of many characters and has been magnified. It does not happen much with the intruders, at least in my case. The killing of Seattle Grace used to remove the template to two characters unbearable, Reed and Percy. By contrast, Avery Kepner and become fixed for next season, but not before trying them more attractive to the viewer. Again, bravo, Shonda, for taking full advantage of the situation.
"Sanctuary", the first part is the highlight of the double episode. The impact of the first gun shot Gary Clark in front of Reed confirms what we had been fearing for a while: it is just another day at Seattle Grace. But nobody expected what followed the shocking death of Reed. Too many moments that stand out. In fact, the two-hour episode is a collection of highlights, so I am forced to select only a few scenes. List them in separate paragraphs, because somehow worthy of special mention among the tirades for this entry:
1. Cristina and Callie cried at breakfast. Dramedy in its purest form, and one of the sources of Grey's Anatomy. And one of the great examples of what they are usually their teasers.
2. The shot Reed-yes, I had to repeat it, "and the strength of the top of your head hitting the ground.
3. The meeting in the elevator of Gary Clark and Christina. Perhaps the most brilliant of the whole episode, that Shonda would think after writing "fuck, what Hitchcock I am!" As I said, a perfect use of the characters. Cristina was most appropriate for this scene was as effective as possible.
4. Cristina: "I gotta admit, I hope you and Derek die, just a little bit". Shonda, la cachonda.
5. Gary Clark contra Miranda Bailey. A estas alturas, ya no hay uñas. Ver a Gary Clark sacando a Miranda a rastras de debajo de la cama es terrorífico. Verla mentir al asesino después de que este matase a Percy por decirle que es doctor lo es aún más.
6. El encuentro Clark-Shephard. A pesar de estar a punto de ser empañada por el discurso de turno en el que un personaje cuenta una historia sobre su pasado, la dilatada escena nos brinda algunos de los mejores momentos del episodio: Derek -y Shonda- exponiendo la esencia de la serie: "Please, look at me in the eye, I'm a human being. I make mistakes. I'm flawed. We all are "; Meredith and terror over the possible loss of one who loves, and especially speech on April oprahiano Kepner when confronted with Gary Clark. worthy of being transcribed:
7. Webber, powerless witness of the tragedy of "their" hospital via the police radio and Clark-final meeting with more examples of masterful integration of the frames of the characters in the events of the episode.
8. Miranda and his reaction to verify that the elevators do not work. Not so much for the interpretation of Chandra Wilson-I do not see Emmy, but the nomination would not surprise me, "but for what it means for us the discharge of tension at this point of the episode.
9. The happy ending to Arizona and Callie, one of the most emotional moments of the episode, and a pleasant surprise to find that a relationship takes hold we had considered finished.
10. And finally, how could it be otherwise, MEREDITH GREY.
- Meredith: Stop crying. Look, it Took me a long time to find him. A long time. And Even Then it Took me a long time to even know That I wanted him, to be married, His Wife To Be, To Have His kids. And Now That I realize That, he's lying on a table in there and my best friend's Hands Are His chest inside. You do get to cry about That.
- April Kepner: Reed was my best friend. She Died Today.
Rhimes used the biggest crisis in the history of Seattle Grace to talk about their characters, to take stock of your progress in six years, some less, and pave the way for more changes. Shonda admitted that the tragedy of Seattle Grace will affect all the characters and from the seventh season, none will be as it was. I know, is a promise hard to believe, but to me it is enough to wait for the seventh season of the series as rain in May. This, after six years, is a real achievement.
I've always said Grey's Anatomy has some of the most wealthy and complete by today. I have also stated on numerous occasions that this is due to the fact that the more risk with a character, more out of it will be removed.
Doctors of Grey's Anatomy are more than clichés. It is customary in the series that deals are made up of highly iconic and recognizable characters and relationships of opposites or very basic features that define their interaction with others. In Grey's Anatomy this does not happen in such an accused. All characters have one thing in common: they are self-centered, immature, behave like teenagers, "selfish and human, very human, that is, err on each step they take. Apart from this, and despite the care nuances of individual personalities, archetypes are not very sharp in the series. This is what I admire most about Ms. Rhimes, its ability to penetrate deeper into the characters than usual. And that is why, among other things, an end like the sixth season seems an exercise in narrative construction and exemplary character development. Not all TV producers are willing to bring their characters to the limits that Rhimes has been theirs. And many may see it as a simple exercise culebronesca narrative-and who knows, might even be right- but what I see is an emotional commitment to the characters, including a dissent and challenge to the standard that few authors take. Come on, that the evolution of Dr. House, compared with that of Meredith Grey, remains in its infancy. So clear. In an interview after the premiere of the final, Shonda said their physical and emotional exhaustion after signing the script for "Sanctuary" and "Death and All His Friends." That is the commitment of the speaker-mixed with a little silly. Rhimes's involvement with his characters has been so great that has come to take its toll, and I stress, the woman is something drama queen, that's true. In his words removed also a great skill in handling detail at the time of writing. All at the end of the season is measured to the millimeter, the large domain of cause and effect, not only in the episode, but in the long term, is another of the strengths of the script. Paving the way for an end to these characteristics is not a complicated task. Just enter a conflict as opening up the disaster, and so did several episodes before the apparently 'pointless' story of Gary Clark, a name that will cost us forget. What is harder is to involve each and every one of the characters, taking into account developments over the series, and in particular of the season in a conflict that entry seems not to accommodate excessive introspection. No doubt Shonda gets it.
The sixth season of Grey's Anatomy has been perhaps the most uneven to date. The series has not experienced a drop in quality as many of his contemporaries, but it is true that his plots are more scattered and forgettable. Not to mention patients increasingly ridiculous and repetitive-Shonda, you should learn in this sense Nurse Jackie,
series makes great use of patients. However, this season has served to learn a little more to the characters without 'interference' caused by great dramas and tragedies. If you allow me the bold comparison, this season has been like Elephant by Gus Van Sant, only better, and that's not a dare, is social suicide in some circles. The 22 episodes prior to "Sanctuary" have brought us all the characters, including West-Mercy intruders, even taking us often to their home environments. Fear for the loss of many characters and has been magnified. It does not happen much with the intruders, at least in my case. The killing of Seattle Grace used to remove the template to two characters unbearable, Reed and Percy. By contrast, Avery Kepner and become fixed for next season, but not before trying them more attractive to the viewer. Again, bravo, Shonda, for taking full advantage of the situation. "Sanctuary", the first part is the highlight of the double episode. The impact of the first gun shot Gary Clark in front of Reed confirms what we had been fearing for a while: it is just another day at Seattle Grace. But nobody expected what followed the shocking death of Reed. Too many moments that stand out. In fact, the two-hour episode is a collection of highlights, so I am forced to select only a few scenes. List them in separate paragraphs, because somehow worthy of special mention among the tirades for this entry:
1. Cristina and Callie cried at breakfast. Dramedy in its purest form, and one of the sources of Grey's Anatomy. And one of the great examples of what they are usually their teasers.
2. The shot Reed-yes, I had to repeat it, "and the strength of the top of your head hitting the ground.
3. The meeting in the elevator of Gary Clark and Christina. Perhaps the most brilliant of the whole episode, that Shonda would think after writing "fuck, what Hitchcock I am!" As I said, a perfect use of the characters. Cristina was most appropriate for this scene was as effective as possible.
4. Cristina: "I gotta admit, I hope you and Derek die, just a little bit". Shonda, la cachonda.
5. Gary Clark contra Miranda Bailey. A estas alturas, ya no hay uñas. Ver a Gary Clark sacando a Miranda a rastras de debajo de la cama es terrorífico. Verla mentir al asesino después de que este matase a Percy por decirle que es doctor lo es aún más.
6. El encuentro Clark-Shephard. A pesar de estar a punto de ser empañada por el discurso de turno en el que un personaje cuenta una historia sobre su pasado, la dilatada escena nos brinda algunos de los mejores momentos del episodio: Derek -y Shonda- exponiendo la esencia de la serie: "Please, look at me in the eye, I'm a human being. I make mistakes. I'm flawed. We all are "; Meredith and terror over the possible loss of one who loves, and especially speech on April oprahiano Kepner when confronted with Gary Clark. worthy of being transcribed:
" My name is April Kepner . I'm 28 years old. I Was Born in Ohio on April 23rd. I'm from Columbus, Ohio. My mom is a teacher and my dad is a farmer. Corn. I como corn. Their names Are Karen and Joe. I have three sisters! Libbie is first, I'm next. Then There's Kimmy, and Alice. I have not done anything yet ... I have not - I've barely Lived! I'm not finished yet! No one's loved me yet! Please! Please! I'm someone's child! I'm a person! I'm a person! "
7. Webber, powerless witness of the tragedy of "their" hospital via the police radio and Clark-final meeting with more examples of masterful integration of the frames of the characters in the events of the episode.
8. Miranda and his reaction to verify that the elevators do not work. Not so much for the interpretation of Chandra Wilson-I do not see Emmy, but the nomination would not surprise me, "but for what it means for us the discharge of tension at this point of the episode.
9. The happy ending to Arizona and Callie, one of the most emotional moments of the episode, and a pleasant surprise to find that a relationship takes hold we had considered finished.
10. And finally, how could it be otherwise, MEREDITH GREY.
- Meredith: Stop crying. Look, it Took me a long time to find him. A long time. And Even Then it Took me a long time to even know That I wanted him, to be married, His Wife To Be, To Have His kids. And Now That I realize That, he's lying on a table in there and my best friend's Hands Are His chest inside. You do get to cry about That.
- April Kepner: Reed was my best friend. She Died Today.
Rhimes used the biggest crisis in the history of Seattle Grace to talk about their characters, to take stock of your progress in six years, some less, and pave the way for more changes. Shonda admitted that the tragedy of Seattle Grace will affect all the characters and from the seventh season, none will be as it was. I know, is a promise hard to believe, but to me it is enough to wait for the seventh season of the series as rain in May. This, after six years, is a real achievement.
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