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aion-rsa · 3 years

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Jurassic World Camp Cretaceous Season 3 Easter Eggs and References

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This article contains spoilers for Jurassic World Camp Cretaceous Season 3.

The third season of the Netflix and DreamWorks animated series Jurassic World Camp Cretaceous pits the teenaged main characters against the Scorpius rex, a hybrid dinosaur like nothing they’ve ever dealt with before. They successfully defeat her, while simultaneously thwarting an attempt by Dr. Henry Wu to retrieve his research on the hybrids and dealing with the emotional impact of leaving their new found family.

This season has a good amount of references to the rest of the franchise, like we have come to expect from the show, and in the final seconds teases the possibility of a fourth season. Here are some notable Easter eggs and other references to the Jurassic World and Jurassic Park canon.

The Helicopter

In Camp Cretaceous season 1, which took place concurrently with Jurassic World, we saw Simon Masrani’s helicopter crash into the aviary from the point of view of our camp fam, instead of Owen Grady and Claire Dearing (Chris Pratt and Bryce Dallas Howard) as shown in the movie. Season three of Camp Cretaceous continues to show us events from the movies from another perspective, as the story overlaps with the beginning of Fallen Kingdom.

Yes, it’s been six months since the Jurassic World incident stranded our group of teenagers on the island, as we find out from the pilot of one of the helicopters that arrive near the end of the season. Unfortunately, they aren’t the rescue team the kids have been hoping for. They’ve come to find the remains of the Indominus rex and extract DNA.

Camp Cretaceous Reveals the Real Monsters of Jurassic World

By Jennifer Lee Rossman

Jurassic World Camp Cretaceous Season 2 Ending Explained

By Jennifer Lee Rossman

In one harrowing scene, Rexy the Tyrannosaurus pursues a man dangling from one of the helicopters. He gets away, but his relief is short-lived when the park mosasaur leaps out of the water and devours him. If that scene gives you a sense of déjà vu, that’s because it takes place in the opening minutes of Fallen Kingdom, only this time we get to see it from the perspective of Darius, Brooklynn, and Yaz. Even though we didn’t see them in the movie, these kids were never far from the action. (And may have even caused it in this particular instance; Rexy was only in that area because she had been chasing after the kids.)

While that may be the most obvious connection to the timeline of the movies, the rest of the season has its fair share of references and homages.

Scorpius rex

Last season, the kids discovered a mysterious experiment known only as E750, which escaped her cryogenic chamber during the cliffhanger finale. This season, we get to meet her: Scorpius rex, an unstable and unpredictable hybrid made by none other than Dr. Henry Wu (played by BD Wong in the movies and voiced by Greg Chun in Camp Cretaceous).

She’s big, she’s bad, she’s covered in poisonous spikes, and she may be the most dangerous dinosaur on the island. Oh, and did I mention she can reproduce asexually?

Just like in Jurassic Park, when it is revealed that the dinosaurs can change their sex thanks to the frog DNA the scientists used to fill in the sequence gaps, our terrifying tree climbing friend Scorpius has developed the ability to produce offspring all on her own. (You go, girl. You’re a modern woman, you can juggle being a single mother and having a career screwing up ecosystems!)

Blue

Dr. Wu isn’t the only character from the movies who makes an appearance in this season of Camp Cretaceous. Blue, the sole member of the Velociraptor pack to survive the Jurassic World incident, crosses paths with the kids a few times.

Blue previously battled the Indominus rex in Jurassic World, and later takes on the Indoraptor near the end of Fallen Kingdom, but it turns out those weren’t her only experiences fighting hybrid dinosaurs. While I wouldn’t say she and the campers necessarily trust one another, Darius does save her life when she becomes trapped under a vehicle, and there is an uneasy alliance after that. Sort of an “enemy of my enemy” situation, with them having a similar goal to defeat the Scorpius rexes. (Scorpiuses rex?)

It would also appear that Blue and the other raptors, along with their trainer Owen Grady (Chris Pratt), might have been a little bit famous before the fall of the park, at least in dinosaur nerd circles. How else would Darius know how to mimic the nonverbal signals used by Owen to communicate with the raptors?

The Kitchen

While trying to get a compass back from the Compsognathus that stole it, the kids stumble upon the original Jurassic Park, which is rumored to be either haunted or cursed by the spirit of John Hammond (Richard Attenborough). And of course, no visit to Jurassic Park is complete without a trip to the visitor center. Nature has taken over the iconic building where we first met Mr. DNA, and where the first of many dramatic showdowns between Tyrannosaurus and Velociraptor marked the dénouement of the first film. Ferns and vines have turned the center into something resembling a greenhouse, and the Compies have built nests on old scaffolding and near the atrium ceiling.

And then, of course, there’s the kitchen.

When one of the Scorpius girls follows the kids into the visitor center’s kitchen, you can’t help but be reminded of Tim and Lex (Joseph Mazzello and Ariana Richards) hiding from the raptors in the first Jurassic Park movie. References to that scene abound, most noticeably the dinosaur’s breath fogging up the round window in the door, but this isn’t just an Easter egg hunt. Rather, the scene parallels the original to show the differences between the clever raptors and the… not so clever Scorpius.

The original raptors are careful, methodical, as they stalk John Hammond’s grandchildren through the kitchen. They move with a purpose that shows us just how intelligent they are.

Scorpius Rex, on the other hand, can’t open the door handle and chooses instead to just bash through it like the chaotic neutral she is. Less of an apex predator and more of a panicking cat with a balloon static electricity’d to her butt, Scorpius is still dangerous, perhaps even more so because she is unpredictable.

At the end of the scene, in one final blink and you’ll miss it nod to the original, an instantly recognizable soup ladle is one of several kitchen utensils sent flying through the air. The season ends with most of the storylines wrapped up and the kids seemingly on their way to safety on a boat headed for Costa Rica. Except… remember the door handle in the kitchen? Turns out, boats have the same handles, and one of them is jiggling in that distinctive raptor way.

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Do we have a stowaway? We’ll find out if we get a fourth season.

Jurassic World Camp Cretaceous season 3 is available to stream on Netflix now.

The post Jurassic World Camp Cretaceous Season 3 Easter Eggs and References appeared first on Den of Geek.

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theresidentnews · 3 years

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FOX ANNOUNCES WINTER PREMIERE DATES FOR NEW AND RETURNING SERIES

NEW COMEDY SERIES "CALL ME KAT," STARRING EMMY AWARD NOMINEE MAYIM BIALIK, AND EXECUTIVE-PRODUCED BY JIM PARSONS, AND THE FINAL SEASON OF HIT COMEDY "LAST MAN STANDING," STARRING TIM ALLEN, TO DEBUT FOLLOWING "NFL ON FOX" DOUBLEHEADER, SUNDAY, JANUARY 3, BEFORE THEIR TIME PERIOD PREMIERES ON THURSDAY, JANUARY 7

NEW UNSCRIPTED GUESSING-GAME SERIES "THE MASKED DANCER" TO PREMIERE SUNDAY, DECEMBER 27, FOLLOWING "NFL ON FOX" DOUBLEHEADER; TIME PERIOD PREMIERE SET FOR WEDNESDAY, JANUARY 6

"THE RESIDENT" AND "PRODIGAL SON" BEGIN NEW SEASONS TUESDAY, JANUARY 12, FOR A NIGHT OF SAVING LIVES AND SOLVING MURDERS

MONDAYS COME TO THE RESCUE, AS "9-1-1" AND "9-1-1: LONE STAR" SPRING INTO ACTION, AIRING BACK-TO BACK FOR THE FIRST TIME, BEGINNING MONDAY, JANUARY 18

All-New Season of Gordon Ramsay's HELL'S KITCHEN to Premiere Thursday, January 7

FOX is announcing premiere dates for THE MASKED DANCER (Dec. 27), CALL ME KAT (Jan. 3), LAST MAN STANDING (Jan. 3), HELL'S KITCHEN (Jan. 7), THE RESIDENT (Jan. 12), PRODIGAL SON (Jan. 12), 9-1-1 (Jan. 18), and 9-1-1: LONE STAR (Jan. 18).

This December, FOX takes TV's #1 show and adds a little twist. Based on the smash hit FOX series THE MASKED SINGER and inspired by a popular segment featured on "The Ellen DeGeneres Show," all-new celebrity competition series THE MASKED DANCER will have a special premiere Sunday, Dec. 27 (8:00-9:00 PM ET/5:00-6:00 PM PT, Live to all Time Zones), before having its time period premiere Wednesday, Jan. 6 (8:00-9:00 PM ET/PT). Hosted by comedian/actor Craig Robinson ("Ghosted," "The Office") and featuring celebrity panelists Ken Jeong (THE MASKED SINGER, I CAN SEE YOUR VOICE), world-famous choreographer and singer Paula Abdul, actor and the former "Giraffe" Mask on THE MASKED SINGER Brian Austin Green and actress and singer Ashley Tisdale, THE MASKED DANCER will feature celebrity contestants shaking their tail feathers, while covered from head-to-toe in elaborate costumes and face masks, leaving audiences to guess their identities. Costumed celebrities will be joined on stage by masked partners and back-up dancers, as they perform a series of dances together; spanning from hip-hop to salsa, jazz to tap dancing and more. When it comes to dance styles, the sky is the limit. Each week, a series of clues will be sprinkled throughout packages, costumes and routines, leading the panelists one step closer to figuring out which famous faces are freestyling behind the masks. Between all of the celebrity competitors on the show, they've amassed more than 38 million albums sold worldwide, 20 Emmy(R) Award wins, 20 Grammy(R) Award nominations, 10 World Dancing titles, five New York Times Best-Selling Author titles, four Olympic gold medals and three Broadway show appearances. THE MASKED DANCER is produced by FOX Alternative Entertainment and Warner Bros. Unscripted & Alternative Television and is based on the South Korean format, THE MASKED SINGER, created by Mun Hwa Broadcasting Corp and distributed by MBC America. James Breen, Craig Plestis, Daniel Martin and Ellen DeGeneres are executive producers of the series. Breen will serve as showrunner.

New comedy CALL ME KAT, starring Emmy Award nominee Mayim Bialik ("The Big Bang Theory"), and executive-produced by Bialik, Emmy Award-nominated producer Jim Parsons ("The Big Bang Theory," "The Boys in the Band") and Darlene Hunt ("The Big C"), will have a special series premiere Sunday, Jan. 3 (8:00-8:30 PM ET/PT), following the NFL ON FOX doubleheader. The series then makes its time period premiere Thursday, Jan. 7 (9:00-9:30 PM ET/PT). Based on the BBC UK original series "Miranda," CALL ME KAT stars Bialik as a woman who struggles every day against society and her mother to prove that she can still live a happy and fulfilling life despite still being single at 39. Which is why she recently spent her entire savings to open a cat café in Louisville, Kentucky. It was expected of KAT (Bialik) to be married with kids by now, but for many reasons, she's still single - and totally fine with it. Of course, Kat's mother, SHEILA (Emmy Award winner and Golden Globe nominee Swoosie Kurtz, "Mike & Molly," "Sisters"), views her daughter's single-hood as her own personal failure, but Kat remains determined to live a fulfilling life, and charts her own course to happiness. Working alongside Kat at the café are RANDI (Kyla Pratt, "One on One"), a confident millennial and self-proclaimed "non" cat person; and PHIL (Emmy Award winner Leslie Jordan, "The Cool Kids," "Will & Grace"), who recently broke up with his longtime partner. Although Kat celebrates her independence, her single-forever plans may begin to veer off-course, when her former crush and good friend, MAX (Cheyenne Jackson, "American Horror Story," "30 Rock"), returns to town and takes a job as a bartender at the piano bar across the street, working with his friend, CARTER (Julian Gant, "Good Girls"). CALL ME KAT is produced by That's Wonderful Productions!, Sad Clown Productions and BBC Studios' Los Angeles production arm in association with Warner Bros. Television and FOX Entertainment. Darlene Hunt is the executive producer and showrunner. Additionally, Jim Parsons, Todd Spiewak (That's Wonderful Productions!), Mayim Bialik (Sad Clown Productions), Miranda Hart, Angie Stephenson (BBC Studios) and Beth McCarthy-Miller also serve as executive producers. McCarthy-Miller directed the series premiere.

Entering its ninth and final season, hit comedy LAST MAN STANDING will have a special season premiere Sunday, Jan. 3 (8:30-9:00 PM ET/PT), following the series premiere of CALL ME KAT. LAST MAN STANDING makes its time period premiere Thursday, Jan. 7 (9:30-10:00 PM ET/PT). The series stars Tim Allen as MIKE BAXTER, a happily married father of three daughters, who finds himself the odd man out in a home dominated by women. The series also stars Nancy Travis, Amanda Fuller, Molly McCook, Christoph Sanders, Jordan Masterson, Jonathan Adams, Krista Marie Yu and Hector Elizondo. After the events of the eighth season finale, during which Kristin (Fuller) went into labor with her baby daughter, while Mandy (McCook) was pregnant with her first child, the series will jump ahead into the near future, when Mike and his wife, Vanessa (Travis), will contemplate their own future, including Mike's imminent retirement from his lifelong job at Outdoor Man - and who could be his successor. LAST MAN STANDING is produced by 20th Television. The series was created by Jack Burditt. Kevin Abbott, Matt Berry, Kevin Hench, Ed Yeager, Tim Allen, Marty Adelstein, Shawn Levy, Becky Clements, Richard Baker, Rick Messina, Pat Bullard, Mike Teverbaugh, Linda Teverbaugh and John Amodeo are executive producers. Abbott serves as the series' showrunner.

Also on Thursday, Jan. 7 (8:00-9:00 PM ET/PT), hit culinary competition series HELL'S KITCHEN returns for its 19th season in a flashy new setting, as Chef Gordon Ramsay takes the show to Las Vegas, the city that's home to the world's first Gordon Ramsay HELL'S KITCHEN restaurant at Caesars Palace. For the first time ever, 16 aspiring chefs from around the country will roll the dice and head to Sin City in the hopes of winning big. Each week, the competition will get hotter as the chefs are put through rigorous culinary challenges - reaping high stakes rewards and punishments, all with a Sin City flare. But only those who possess the right combination of ingredients will continue in the competition, until one is named winner. At stake is a life-changing grand prize, including a Head Chef position at Gordon Ramsay HELL'S KITCHEN Lake Tahoe at Harvey's Hotel and Casino, and the title of HELL'S KITCHEN winner. HELL'S KITCHEN is produced by ITV Entertainment in association with A. Smith & Co. Productions, Inc. Gordon Ramsay, Arthur Smith, Kent Weed, Kenny Rosen and Bernie Schaeffer serve as executive producers.

Season Four of THE RESIDENT, premiering Tuesday, Jan. 12 (8:00-9:00 PM ET/PT), continues to shine a light on the daily heroism of today's health care workers. The provocative medical drama follows the doctors and nurses at Chastain Memorial Hospital, as they face personal and professional challenges and fight for their patients' health. The new season picks up as DR. CONRAD HAWKINS (Matt Czuchry) and NURSE PRACTIONER NICOLETTE NEVIN (Emily VanCamp) tie the knot in an intimate and beautiful wedding, strengthening their already powerful bond. Meanwhile, Chastain is transitioning from private to public hospital, causing the hero doctors to fight to fix the broken machine from the inside. DR. RANDOLPH BELL (Bruce Greenwood) finds himself mining his own past to find his estranged former stepson, elite plastic surgeon DR. JAKE WONG (guest star Conrad Ricamora). Bell attempts to bring Dr. Wong to Chastain to increase the number of world-class surgeries at the hospital and to repair their complicated past. Additionally, as star surgical resident DR. MINA OKAFOR (Shaunette Renée Wilson) and her brilliant mentor, DR. AJ AUSTIN (Emmy Award nominee Malcolm-Jamal Warner), grow closer than ever, they must learn to maintain a professional relationship within the walls of the hospital. The series also stars Manish Dayal, Jane Leeves and Morris Chestnut. THE RESIDENT is produced by 20th Television. Todd Harthan, Andrew Chapman, Peter Elkoff, Amy Holden Jones, Rob Corn, Antoine Fuqua and Oly Obst are executive producers.

From executive producer Greg Berlanti, Season Two of PRODIGAL SON premieres on Tuesday, Jan. 12 (9:00-10:00 PM ET/PT). PRODIGAL SON follows MALCOLM BRIGHT (Tom Payne), a criminal profiler with a rare talent for getting inside the minds of killers. He learned how they think because his father, DR. MARTIN WHITLY (Michael Sheen), was a notorious serial killer known as "The Surgeon." Now he's using his twisted genius to help the NYPD solve their most puzzling murders. Bright's team, led by his longtime mentor, NYPD Lieutenant GIL ARROYO (Lou Diamond Phillips), includes Detectives DANI POWELL (Aurora Perrineau), JT TARMEL (Frank Harts) and medical examiner DR. EDRISA TANAKA (Keiko Agena). Season Two picks up with Bright's personal life in disarray after the shocking actions of his sister, AINSLEY (Halston Sage), in the Season One finale. Now, he must "take care" of her and protect his mother, JESSICA WHITLY (Bellamy Young), from a secret that could tear the family apart all over again. Further complicating matters, Martin seeks to deepen his relationship with Bright, his "prodigal son," but forging this bond leads to shocking twists and revelations. PRODIGAL SON is produced by Berlanti Productions in association with Warner Bros. Television and FOX Entertainment. Chris Fedak and Sam Sklaver created the series, and are executive producers, showrunners and writers on the show. Greg Berlanti and Sarah Schechter also serve as executive producers.

FOX's #1 drama, 9-1-1, and last season's #1 new scripted series, 9-1-1: LONE STAR, will have their back-to-back season premieres on Monday, Jan. 18. Creators Ryan Murphy, Brad Falchuk and Tim Minear reenergize the procedural drama with 9-1-1 and the first extension of its universe, 9-1-1: LONE STAR, set in Austin, TX. Both series explore the high-pressure experiences of police officers, firefighters and dispatchers who are thrust into the most frightening, shocking and heart-stopping situations. These emergency responders must try to balance saving those who are at their most vulnerable with solving the problems in their own lives. The fourth season premiere of 9-1-1 (8:00-9:00 PM ET/PT) kicks off with another jaw-dropping signature disaster that only Los Angeles' finest and fearless first responders can handle. After a devastating 8.0 earthquake and coastal tsunami wreaked havoc in the city, what could possibly be next? Meanwhile, among the chaos, Athena (Angela Bassett) is determined to put her physical and emotional injuries behind her and jump back into the job, as Maddie (Jennifer Love Hewitt) and Chimney (Kenneth Choi) prepare for the birth of their baby, and Buck (Oliver Stark) delves into his past to help deal with his present. The series also stars Peter Krause, Aisha Hinds, Ryan Guzman, Rockmund Dunbar, John Harlan Kim, Corinne Massiah, Marcanthonee Reis and Gavin McHugh. 9-1-1 is produced by 20th Television in association with Ryan Murphy Television and Brad Falchuk Teley-Vision. Ryan Murphy, Brad Falchuk and Tim Minear are creators and executive producers. Alexis Martin Woodall, Bradley Buecker, John J. Gray, Kristen Reidel, Angela Bassett and Peter Krause are executive producers. Minear and Reidel serve as co-showrunners on the series. Buecker directed the series premiere and continues to direct episodes of the series.

Actress Gina Torres ("Suits," "Pearson," "Firefly") joins Season Two of 9-1-1: LONE STAR (9:00-10:00 PM ET/PT) as Captain TOMMY VEGA. But even as CPT. OWEN STRAND (Rob Lowe) welcomes Vega to the 126, he must face the unexpected arrival of his ex-wife, Gwyneth (recurring guest star Lisa Edelstein, "House"), who visits Austin to check on their firefighter son, T.K. (Ronen Rubinstein), following the injuries he sustained at the end of last season. All of this occurs as the rescue squad must deal with an emergency that the Texas capital has never encountered before. The series also stars Jim Parrack, Sierra McClain, Natacha Karam, Brian Michael Smith, Rafael Silva and Julian Works. 9-1-1: LONE STAR is produced by 20th Television in association with Ryan Murphy Television and Brad Falchuk Teley-Vision. Ryan Murphy, Brad Falchuk and Tim Minear are creators and executive producers. Alexis Martin Woodall, Bradley Buecker, Rashad Raisani, John J. Gray, Angela Bassett and Rob Lowe are executive producers. Minear and Raisani serve as co-showrunners on the series. Buecker directed the series premiere and continues to direct episodes of the series.

Catch up on all shows with On Demand, FOX NOW and Hulu. Episodes are available to watch On Demand for customers of AT&T TV, Cox, DIRECTV, DISH, Spectrum, Sling TV, Verizon FiOS, XFINITY, YouTube TV and many more. Fans also can stream episodes on FOX NOW and Hulu.

FOX WINTER 2020-2021 PREMIERE DATES RECAP (Times for All-New Episodes are ET/PT Except as Noted)

Sunday, Dec. 27: 8:00-9:00 PM ET/5:00-6:00 PM PT Live to all time zones THE MASKED DANCER (Series Premiere)

Sunday, Jan. 3: 8:00-8:30 PM CALL ME KAT (Series Premiere) 8:30-9:00 PM LAST MAN STANDING (Final Season Premiere) 9:00-9:30 PM THE SIMPSONS (Special Time) 9:30-10:00 PM BLESS THE HARTS (Special Time)

Wednesday, Jan. 6 8:00-9:00 PM THE MASKED DANCER (Time Period Premiere)

Thursdays, beginning Jan. 7: 8:00-9:00 PM HELL'S KITCHEN (Season Premiere) 9:00-9:30 PM CALL ME KAT (Time Period Premiere) 9:30-10:00 PM LAST MAN STANDING (Time Period Premiere)

Tuesdays, beginning Jan. 12: 8:00-9:00 PM THE RESIDENT (Season Premiere) 9:00-10:00 PM PRODIGAL SON (Season Premiere)

Mondays, beginning Jan. 18: 8:00-9:00 PM 9-1-1 (Season Premiere) 9:00-10:00 PM 9-1-1: LONE STAR (Season Premiere)

[EDITOR'S NOTE 1: Additional schedule details to be announced.]

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calzona-ga · 4 years

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SPOILER ALERT: The story includes details about the season-finale episode of ABC’s Grey’s Anatomy. While it wasn’t the planned ending, tonight’s Season 16 finale of ABC’s Grey’s Anatomy, written by Mark Driscoll and Tameson Duffy and directed by Deborah Pratt, was fitting. Indeed, this season was cut short due to the halting of production in response to the COVID-19 pandemic.

You can’t be the longest-running medical drama on television without overcoming some challenges, and Grey’s already has proved its ability to pivot when the unexpected happens. The production shutdown was is the second major curveball for the show this season after original cast member Justin Chambers’ abrupt exit. No word on whether the four unproduced episodes from Season 16 will roll over to the next season. But this episode, titled “Put on a Happy Face,” had enough to tide us over until Season 17.

Let’s start on a positive highlight. After Richard (James Pickens Jr.) experienced hallucinations as well as a very intense and very public breakdown, fans feared that they might be losing another veteran Grey/Sloane surgeon. Determined not to accept his Alzheimer’s diagnosis, Meredith Grey (Ellen Pompeo) and Andrew DeLuca (Giacomo Gianniotti) worked around the clock to pinpoint the problem, with DeLuca coming through with a game-changing discovery: His dementia was a result of cobalt poisoning from a hip replacement surgery.

Not a hard fix. Dr. Link (Chris Carmack) was brought in to remove the cobalt, and it appears that Webber is on the road to recovery with his health. However, his marriage to Catherine is not out of the danger zone. Turns out the hallucinations had nothing to do with his marital discord. “Did you stand by me while I was being fired? You buy my hospital to humiliate me, or is that my mind playing tricks, too,” Webber contends before sternly kicking Catherine out of the room.

Meanwhile, DeLuca, who has been exhibiting erratic behavior and angry outbursts all season, isn’t able to bask in his incredible catch. Instead, has a breakdown of his own — signaling that it might be time to address his bipolar disorder-like symptoms, which are similar to his father’s.

DeLuca and Grey have become quite the medical duo this season but still couldn’t figure out how to make their romantic relationship work. It’s unclear where that will land next season as a new contender entered midseason — and he goes by the name of Dr. Cormac Hayes (Richard Flood). The two seem to have a connection, though it appears to be on a friendly level at this point (Hayes was a present sent to Meredith by “her person” Cristina Yang). Could this be the next Grey’s love triangle?

Elsewhere, Amelia Shepherd (Caterina Scorsone) finally had her baby! And she opted not to have an epidural because she’s an addict, and the epidural has fentanyl in it. While baby daddy Link wasn’t able to be present during the birth (he was performing the surgery on Webber), she had fellow “pregnancy club” sister Miranda Bailey (Chandra Wilson) by her side. The two share a tender moment when Bailey hops on the bed to support Amelia as she is giving birth, calling back to the time when late George O’Malley (T. R. Knight) did the same for Bailey during her labor back in Season 2.

Alas, not everyone got a happy ending. Owen Hunt (Kevin McKidd) and Teddy Altman (Kim Raver) were set to walk down the aisle, but Teddy needed her one last go-round with Tom Koracick (Greg Germann). Unbeknownst to her, she somehow recorded it and sent it to Owen, who had to endure the embarrassment of hearing it while in the OR surrounded by his colleagues. The wedding eventually is postponed, with Owen giving the excuse that he was pulled into surgery last-minute. In typical Grey’s fashion, there is never a wedding without drama.

Deadline spoke with Grey’s Anatomy showrunner Krista Vernoff, who unpacked the final episode, hinted at what’s to come next season and revealed what storylines she wished they were able to air this season. She also weighed in on the fan reactions to Alex Karev’s controversial exit.

DEADLINE: The Season 16 ender wasn’t what was expected, but like you said in your tweet, it was very satisfying, and a fitting Grey’s ending. How do you plan on carrying over the storyline to next season, or is there a plan to carry over the storyline from the last four episodes to next season? KRISTA VERNOFF: I have not formulated that plan yet. In about four weeks, I’m going to get in a room with the writers, and we’re going to talk about all of it. I know that a lot us are having brainstorms since we have so much time at home. A lot of us are texting each other, and going, “Oh, what if we did this? What if we do that?” So I have a feeling that their stories are going to change some, from what we had planned, and that we’ll repurpose some of what we had written and use it in the early episodes of Season 17.

DEADLINE: The production shut down was the second major curveball for the show, after Justin Chambers’ exit. What were your thoughts on the reaction to his exit?VERNOFF: Well, you know, I haven’t been commenting on this much, but I just did an Instagram Live where I said that, so, I’ll say it to you too. I believe that there would’ve been at least as big an outcry if we had killed that character off-camera, and those were our choices. It was kill the character off-camera, or come up with some believable way that he gets his happily ever after, and some of the fans have posited, ‘well he could have just been off-screen in Seattle like April Kepner, but then you’ve got an actress on the show who doesn’t get to do any of the fun, sexy, playful thrill that we’re known for, then you penalize the actors who are staying on the show by limiting what you could do creatively with them. So I was really proud of that episode. I think Elisabeth Finch did an extraordinary job with a nearly impossible task.

That episode made me cry. It made me laugh. I felt really deeply. I felt satisfaction, and I will say that I have received a great many comments from fans who felt the same way, but the angry people are always the loudest ones.

I wasn’t surprised by the fan reaction, but I know it would’ve been equally angry if I had killed him — so it was like, these are your choices, and I felt really happy with what we chose.

DEADLINE: The fact that you didn’t kill the character off also leaves the door open that we might see them in the future. So is there any chance of [Justin Chambers] or Katherine Heigl, ever coming back? VERNOFF: When I left the show in Season 7, people asked me if there was any chance of me ever coming back, and I was smart enough to say, “Never say never.” Here I am, so who knows?

DEADLINE: Jo was able to accept Alex’s decision in a short amount of time and come to terms with everything. Did that have anything to do with her character’s stint in the psychiatric hospital, at the beginning of the season? VERNOFF: Yes. Jo had had such a dramatic, emotional, painful arc, the second half of Season 15. None of the writers, frankly, none of us wanted to see her go back down into a hole. One of the things about the way the character was written off is that she had a lot of time to wonder, and to fear the worst, and I have found in life that when you have a lot of time to wonder and fear the worst, then when you get an answer, even if it’s terrible news, it feels better than not knowing. And it helps you move on, more quickly.

DEADLINE: I want to just touch on Richard’s illness. Is it safe to say that he’s out of the danger zone? Also, did his illness contribute to anything that had to do with his relationship with Catherine? And what can we expect from that couple in the future?We’ll start with the illness — is he in the safe zone now that they’ve caught it early and treated it? VERNOFF: Yes, and I thought that that was one of the most amazing things about this diagnosis was that the cobalt poisoning thing is real and it really can cause all of those symptoms. It can cause dementia-like symptoms. It can cause Parkinson’s-like symptoms — tremors, hallucinations — and the amazing thing about it is that once you diagnose it, and you get the leaky hip out of your body, you can recover, totally. That felt, just as the storyteller, an amazing thing because it let us give Jim Pickens this really rich, rich material, without us having to permanently disable his character. I think that that was an amazing ride for the fans, because the outcry of we’re showing symptoms that don’t feel like they have cures.

There’s not really a cure for Parkinson’s. There’s not a cure for Alzheimer’s. So I know everyone was in a panic, and so, we got to tell this really satisfying story, and we got to let people know that sometimes, there’s another diagnosis for those symptoms, which we found fascinating, as a group of writers who write medicine, that it’s so rare to see something this satisfying.

DEADLINE: Did the symptoms from the cobalt poisoning have anything to do with his attitude toward Catherine? What’s in store for them? Can we still hold out hope for that couple? VERNOFF: I think you can always hold out hope for any couple on Grey’s Anatomy. You never know where it’s going, and I think that the way we designed this was that the fracture, the real fracture in Catherine and Richard’s relationship predated the cobalt poisoning.

So the way we imagined it was that, with the depression, everyone thought it was related to his divorce, and it was actually a symptom of cobalt poisoning. And then the tremors were a symptom of cobalt poisoning, and then the hallucinations, so that when he forgave her, he forgave her in a hallucination. And when he was well, he remembered the actual events from his life, for which he has not yet forgiven her. The reason that I hold out most for that couple is that Catherine rediscovered her deep and profound love for Richard when she almost lost him. I think that that may enable her to apologize in the way that Richard will need to hear.

DEADLINE: Speaking of forgiveness, in true Grey’s fashion, there’s never a wedding without any drama, as we saw with Teddy and Owen. We’ve seen their relationship woes throughout the series, and this season felt like they were going to finally get it together and find each other and have their happy ending. Why haven’t they quite found that happy ending, and can Owen forgive Teddy? VERNOFF: I think that those are questions that we will have to explore in Season 17. I will say that of all the storylines that were left hanging, that is the one that I was the most disappointed about. Actually, there were two: I’m disappointed that I cannot give Teddy — we had an episode coming up where we were able to better articulate and better understand what’s prompting Teddy’s behavior, and we don’t get to air it. Who knows, maybe it’s going to change between now and when we’ll actually shoot it for Season 17, but I feel for Kim Raver. The amount of standing is high, and we’ve left her in a strange place. It’s compelling, and why? Your question is big. Why? Why would she sabotage — why, when she was finally getting her happy ending, did she sabotage it? I think it’s the super-rich area personally.

And then the other story that I was really disappointed that we couldn’t complete — and I will tell you that I haven’t told this to anyone else, but we did a story where there as a victim of human trafficking, like two episodes ago, and DeLuca we got recognized it but he was in such a mentally compromised, manic state that nobody listened to him and the girl left. We had an episode where she comes back, and I am really sad that we can’t air that episode this season because it felt important to offer that kind of hope to people who are living that experience. I may still complete that story next season.

DEADLINE: I want to touch on DeLuca, who has gone through this really rocky journey with Meredith this season. Although they haven’t really been able to figure out their personal relationship, they’ve proven to be a great medical team. What can you tease about this couple? Last season, we talked about Meredith being ready for love. What can we tease about this couple in the future? Is somebody else going to throw a wrench in everything? Somebody by the name of Hayes? VERNOFF: There is hope for Meredith and DeLuca, and I think that there is hope for Meredith and Hayes. I will be fascinated to see how that storytelling emerges in season 17 because this story played in a way that I didn’t picture. You know, you write a thing, and then the actors play it, and then it gets all put together, and then you know what the story is. You don’t know how it’s going to play when you write it. It’s been amazing for me to watch this story this season. I feel like Giacomo has been so compelling, and DeLuca has risen so much, and simultaneously, Hayes has been really compelling and feels very much like Meredith’s equal. At this point, I’, not even sure which couple I’m rooting for, and that’s always an exciting thing.

DEADLINE: Yeah. We love our love triangles on Grey’s. VERNOFF: Yeah. Yeah.

DEADLINE: One couple might have found their happy ending, it seems, is Amelia and Link. The birth of the baby was such a nice ending to a season full of ups and downs. Was that one thing you were excited about? To see Amelia who had her complications with her first pregnancy, and this one turned out fine. VERNOFF: Yeah. I love that story and I am so grateful that … we got to air it this season. It would’ve been really a bummer if we hadn’t made it there, this season. So, that was just luck and I’m grateful that it was in that episode. I love that scene where Bailey gets in the bed with Amelia, and we call back to when George got in the bed with Bailey and it’s just so beautiful. It was pitched by Meg Mooney, who’s been with the show for 15 years. It made me cry when she pitched it, and it makes me cry every time I watch it. I, like everyone else, at this point really am loving Link and Amelia, and I was so happy. That ending for them felt so hard won this season.

DEADLINE: Is the next season being envisioned as the final season since it’s the second of the two-year pickup, or are you guys having conversations about potentially more seasons? VERNOFF: You know, what I always say to this question, is my answer again today, and that is: I will not start planning the end of Grey’s Anatomy until Shonda [Rhimes] and Ellen and ABC all sit down together, tell me that this really the end this time. The truth is those conversations might be being had if we weren’t dealing with a global pandemic, but everyone’s gone home, and I suspect we’ll start talking about that in a month, or two.

DEADLINE: Speaking of this global pandemic, obviously Grey’s is known for taking things that are happening in the world, and incorporating it into the series. Are there any plans to reflect on this current pandemic on the show for next season? VERNOFF: I haven’t had a minute yet to sit with the writers and talk about it. So, we’re all at home, and we’re on hiatus, but in about four weeks, we’ll gather, and we’ll talk about it. I have a hard time imagining that we don’t have to acknowledge this massive thing that we’ve all gone through, in our fictional world, too, but I have no idea how. I don’t know what it’s going to look like.

DEADLINE: Station 19 — we still have more episodes coming with that series. Are we going to see any of the Grey’s characters in the final couple of episodes? VERNOFF: Yes. Happily, yes, you are. The Grey’s characters are all over the last two episodes of Station 19. So, that is a really nice treat for the fans, too. Many of our Grey’s characters are in Episodes 15 or 16 on Station 19.

#grey's anatomy #krista vernoff #deadline #scoop

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addictedtostorytelling · 5 years

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Do you have any favorite lines from ER? I saw your favorite episodes gifset

hey, @amidalas-shadow!

fun question! i am a sucker for er dialogue, so i have many, many favorite lines.

i put a bunch of ‘em under the “read more.”

_____

inspirational lines

“you set the tone.”—david morgenstern, mark greene, and john carter (at various points throughout the series)

jc: “i thought i was gonna be sick. i’m sorry.”mg: “don’t ever say you’re sorry. see, there’s two kinds of doctors: there’s the kind that gets rid of their feelings, and the kind that keeps them. if you’re gonna keep your feelings, you’re gonna get sick from time to time. that’s just how it works… people come in here, and they’re sick and dying and bleeding, and they need our help. helping them is more important than how we feel.”jc: (nods)mg: “—but it’s still a pain the ass sometimes.”—john carter and mark greene, episode 01x01 “24 hours”

ch: “i just wanna be happy—and i’m so afraid i never will be.”dr: “you will. you will.”—carol hathaway and doug ross, episode 01x25 “everything old is new again”

jc: “it’s not that i dislike surgery. it’s been incredibly challenging. the training has been excellent. you are a wonderful surgeon and a fine teacher.”da: “get to the point, doctor.”jc: “i admire surgeons and surgery, but it’s not the type of medicine i want to practice. i can be a competent surgeon; i can learn the techniques, the mechanics. but i’ll never be a great surgeon. dr. anspaugh, i can be a great doctor—a doctor who spends time with his patients, who’s there for them. i’m good at it. really good. i can make a difference in people’s lives. don’t make me give that up. please don’t make me waste it.”—john carter and donald anspaugh, episode 03x22 “one more for the road”

lk: “i thought we were saving her.”jc: “no. we were giving her her only chance.”lk: “that’s not good enough.”jc: “it has to be.”lk: “no, it doesn’t.”jc: “some patients get to you more than others, i know. but when you do everything that you can—sometimes even more than you thought you could—you gotta walk away knowing you fought the good fight. you fought the good fight, lucy. tomorrow you’ll fight another one.”—lucy knight and john carter, episode 05x08 “the good fight”

ch: “i have to go find out.”lk: “find out what?”ch: “if [doug’s] still in love with me—because i’m still in love with him. i am. i’ve been in love with him since i was twenty-three years old. he’s everything to me. he’s my life. i feel complete when i’m with him, and i feel empty when we’re apart. he’s the father of my children, and he’s my soulmate.”—carol hathaway and luka kovac, episode 06x21 “such sweet sorrow”

“forget superman; i’ll take mark greene.”—abby lockhart, episode 08x20 “the letter”

“be generous—with your time, with your love, with your life… be generous, always.”—mark greene, episode 08x21 “on the beach”

gp: “what’s up, frank?”fm: “you know, i always believed that nothing ever really changed. i’m old enough that i know that there’s always gonna be trouble—war, taxes; bad guys now are pretty much the same as bad guys have always been. but that’s not how i feel today. i feel like the world’s getting worse and worse and worse, and what we’re watching is the slow, steady descent of the human race.”gp: “no. no, i don’t buy that. i think that, um, today was just a rough day for the home team.”—greg pratt and frank martin, episode 13x01 “bloodline”

“you know, nine years ago, i had—my marriage was over, my mother was in a mental institution for the seventh or tenth time—i don’t know—and i drank a lot. a lot. and i had reached this—you know what? i—one morning, i woke up in this apartment, and i had no idea how i got there, next to some guy i didn’t even remember meeting, and he was going through my stuff, looking for money so he and his buddy could get a fix. so i ran out of there, and i went downstairs, and i tried to get a cab, but i had no idea where i was, and it was five o’clock in the morning, and there were no cars on the street, so i just—i just sat down on a stoop, and i just—i waited for something to happen. and at that moment, i’m telling you, i knew—i mean, i was positive!—that happiness was something i was never going to find. i’m just trying to tell you that things can change. they can get better. even if you don’t see it, they can.”—abby lockhart, episode 13x14 “murmurs of the heart”

sad lines

“a man came in today. he sat there and watched his wife die, and he helped her to die, because she was in so much pain, and he loved her. but we didn’t have that kind of marriage, did we, al? we didn’t love, we didn’t cherish, we didn’t respect, and now you’ve killed me!”—jeanie boulet, episode 03x05 “ghosts”

“doug? i don’t want to wake up alone tomorrow.”—carol hathaway, episode 05x15 “the storm,” pt. ii

“he’s still my baby, peter. i’m supposed to take care of him. i feel like somewhere, sometime, he’s going to be sad or cold or scared. who’s taking care of him? who’s being his mother?”—jackie robbins, episode 08x01 “four corners”

ec: “your brother believed me when i told him he’d get better—it didn’t matter where he was, how he felt, what the doctor said. i told him he’d get better. he died believing me.”jc: “no, he was pretending for you—that was another one of our secrets. i was supposed to not let you be sad. i was supposed to make you forget. to make you happy. he made me promise to make you happy. i’m sorry, mom.”—eleanor carter and john carter, episode 08x14 “a simple twist of fate”

“kem? they’re gonna come down and take us to our new room soon, and when they come, they’re gonna take the baby, and we’re never gonna see him again. i don’t know what the right thing is to say. i don’t know what the right thing to do is. it was an accident! it was nothing that you did wrong. it was nothing that we did wrong. it just happened. i love you, and i wanna spend the rest of my life with you, but we have to say goodbye to our son now. i have to help you to do that, and i don’t know how to do that. please help me. please.”—john carter, episode 10x21 “midnight”

funny lines

mp: “are you married?”sl: “no, i’m a doctor.”—male patient and susan lewis, episode 01x01 “24 hours”

“what can i say about mark greene that hasn’t already been said? i think everybody knows how he overcame adversity as a child of quakers, his years in exile, his political writings and limericks, his mod period with the turtlenecks, his blue period, and of course his ruthless march to power and the silencing of his rivals.”—doug ross, episode 02x03 “do one, teach one, kill one”

“you are wedges. the wedge is the most primitive tool known to man. that is you. you think you know what you’re doing. believe me: you don’t. breakfast with your senior surgical resident, dr. benton, will begin in fifteen minutes. dr. benton is an intern’s worst nightmare. he’s smarter than you, he never eats, he never sleeps, and he reads every medical journal, no matter how obscure. he is the antichrist, beelzebub, lucifer—a devourer of wedges! you will go to sleep at night wishing plague and pestilence on his unborn children, and you will wake up every morning praying for his approval. you won’t get it. welcome to hell, ladies and gentlemen.”—dr. melvoin, episode 03x01 “dr. carter, i presume”

sidebar: if any of my followers from the csi fandom are reading this, dr. melvoin is played by wallace langham, aka david hodges, so imagine the above spectacular rant being delivered in his voice. also, bonus points ‘cause he’s talking about “wedges.”

sl: “first of all, i order a manhattan, straight up, two cherries. he orders a ‘fruity yet selfless’ glass of carbernet.” mg: “what does that even mean?” sl: “i have no idea! then he talks for forty-five minutes about his ex-girlfriend, whose name also happens to be susan: how much he loved her, how much he wanted to marry her, how he wanted to father her five or six children—and, by the way, do i want children? do i want five or six children?” mg: “okay, tad could be worse.” sl: “i’m not even there yet, mark. i look over, and he has this drop of red wine hanging from his nose.” mg: “what?” sl: “you heard me! this puny, little blob, just hanging there. so of course, i cannot take my eyes off of it! is it gonna fall? is it gonna hang there all night? is his skin going to absorb it?” mg: “how did it get there?” sl: “mark!”mg: “no, really! how did you get your nose that far down into a wineglass? what, was he smelling it, or—?” sl: “mark, please!”mg: “okay, what happened?”sl: “i went to the bathroom and snuck out the window.”mg: “you’re kidding.”sl: “nope.”mg: “wow.”—susan lewis and mark greene, episode 03x02 “let the games begin”

kw: “did you even take the hippocratic oath?!”rr: “i had my fingers crossed.”—kerry weaver and robert romano, episode 07x03 “mars attacks”

sw: “don’t touch me!”nr: “try not to move. i’m a doctor. you may have broken your ankle.” sw: “if you’re a doctor, i want a second opinion.”nr: (to abby) “okay, dr. lockhart, would you care to give a second opinion?”al: (to snotty woman) “sure. your ankle may be broken—and you’re a bitch.”—snotty woman on l platform, neela rasgotra, and abby lockhart, episode 12x02 “nobody’s baby”

_____

there are probably tons of others, too.

if you ever want any of these moments—or any others from the show—giffed, lemme know, okay?

thanks for the question!

#answered #amidalas-shadow #asks: er #er #nbc er #let's talk shop

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bucreviews · 4 years

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Endgame style Steven Universe credits

If I were to actually make this into a video, how do you feel about this as an order?

I’ve list the actual Endgame credit first, then the Steven Universe credit that would appear in their place with who, or what, would appear on screen in brackets.

Not sure I’d be able to do the signatures at the end though.

DON CHEADLE - MATTHEW MOY (LARS BARRIGA)

PAUL RUDD - KATE MICUCCI (SADIE MILLER)

BENEDICT CUMBERBATCH - ERICA LUTTRELL (SAPPHIRE)

CHADWICK BOSEMAN - CHARLYNE YI (RUBY)

BRIE LARSON - KIMBERLY BROOKS (JASPER)

TOM HOLLAND - JENNIFER PAZ (LAPIS LAZULI)

KAREN GILLAN - ZACH STEE (RONALDO FRYMAN)

ZOE SALDANA - BILLY MERRITT (MR. FRYMAN)

EVANGELINE LILLY - ATTICUS SHAFFER (PEE DEE FRYMAN)

TESSA THOMPSON - JOEL HODGSON (MAYOR BILL DEWEY)

RENE RUSSO - LAMAR ABRAMS (BUCK DEWEY)

ELIZABETH OLSEN - REAGAN GOMEZ-PRESTON (JENNY)

ANTHONY MACKIE - BRIAN POSEHN (SOUR CREAM)

SEBASTIAN STAN - SINBAD (MR SMILEY)

TOM HIDDLESTON - BRIAN GEORGE (MR. FROWNEY)

DANAI GURIRA - LISA HANNIGAN (BLUE DIAMOND)

BENEDICT WONG - PATTI LUPONE (YELLOW DIAMOND)

POM KLEMENTIEFF - RITA RANI AHUJA (ALEXANDRITE)

DAVE BAUTISTA - SHONIQUA SHANDAI (SUNSTONE)

LETITIA WRIGHT - TOKS OLAGUNDOYE (NANEFUA)

JOHN SLATTERY - ALASTAIR JAMES (RAINBOW QUARTZ)

TILDA SWINTON - NATASHA LYONNE (SMOKY QUARTZ)

JON FAVREAU - MARTHA HIGAREDA (TOPAZ)

HAYLEY ATWELL -MARY ELIZABETH MCGLYNN (DR PRIYANKA MAHESWARAN)

NATALIE PORTMANS -AMY SEDARIS (DEFENSE ZIRCON)

MARISA TOMEI - DELLA SABA (AQUAMARINE)

TAIKA WAITITI - KATHY FISHER (FLUORITE)

ANGELA BASSETT - ERICA LUTTRELL (PADPARADSCHA)

MICHAEL DOUGLAS - ENUKA OKUMA (RHODONITE)

MICHELLE PFEIFFER - AIMEE MANN (OPAL)

WILLIAM HURT - NICKI MINAJ (SUGILITE)

COBIE SMULDER - ALEXIA KHADIME (SARDONYX)

SEAN GUNN, WINSTON DUKE, LINDA CARDELLINI - KATE FLANNERY, CHRIS JAI ALEX, IAN JONES-QUARTEY (BEACH CITY)

MAXIMILIANO HERNÁNDEZ, FRANK GRILLO, HIROYUKI SANADA - JACKIE BUSCARINO, CRISPIN FREEMAN, CHRISTINE PEDI (KINDERGARTEN)

TOM VAUGHAN-LAWLOR, JAMES D'ARCY, JACOB BATALON - GODFREY, ANDREW KISHINO, JON WURSTER (CRYSTAL TEMPLE)

FEATURING VIN DIESEL AS GROOT - FEATURING DEE BRADLEY BAKER AS LION

BRADLEY COOPER AS ROCKET - SHELBY RABARA AS PERIDOT

WITH GWYNETH PALTROW - WITH AJ MICHALKA (STEVONNIE)

WITH ROBERT REDFORD - WITH EUGENE CORDERO (JAMIE)

WITH JOSH BROLIN AS THANOS - WITH CHRISTINE EBERSOLE AS WHITE DIAMOND

WITH CHRIS PRATT - WITH UZO ADUBA (BISMUTH)

AND SAMUEL L. JACKSON AS NICK FURY - AND SUSAN EGAN AS ROSE QUARTZ

JEREMY RENNER - GRACE ROLEK (CONNIE MAHESWARAN)

SCARLETT JOHANSSON - TOM SCHARPLING (GREG UNIVERSE)

CHRIS HEMSWORTH - ESTELLE (GARNET)

MARK RUFFALO - MICHAELA DIETZ (AMETHYST)

CHRIS EVANS - DEEDEE MAGNO (PEARL)

ROBERT DOWNEY JR. - ZACH CALLISON (STEVEN UNIVERSE)

#steven universe #Cartoon network #Endgame #endgame end credits

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tvserieshub · 5 years

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The Day I Will Never Forget: ER 10 Year Anniversary of Series Finale

It’s one of those days that I can’t forget that had changed my television world forever. (more…)

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fortheloveofer · 6 years

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Dr. John Carter, Dr. Greg Pratt, Dr. Jing-Mei Chen, and Dr. Elizabeth Corday

#noah wyle #mekhi phifer #ming na wen #alex kingston

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mikijamcf · 2 years

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Happy 47th Birthday to Mekhi Phifer (born Dec 29, 1974).

His more notable roles have been as Dr. Greg Pratt on NBC's long-running medical drama ER and “Lem” on Soul Food (1997), “Mitch in Paid In Full (2002) and had a co-starring role opposite Eminem as “future” in the feature film 8 Mile (2002).

He was a recurring cast member on the Fox crime show Lie to Me in the role of Ben Reynolds before season three, and also starred as CIA agent Rex Matheson in Torchwood: Miracle Day.

In 1994, Phifer attended an open-casting call for director Spike Lee's Clockers, beating over a thousand others to get the lead role as a narcotics dealer embroiled in a murder cover-up.

He followed that role with another in the comedy spoof feature High School High (which also starred his former wife Malinda Williams) and continued by co-starring in the horror film I Still Know What You Did Last Summer, starring Jennifer Love Hewitt and Freddie Prinze Jr..

Phifer is an owner of a number of Athlete's Foot athletic shoe-store franchises in California.

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lboogie1906 · 2 years

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Mekhi Phifer (born December 29, 1974) is an actor. He portrayed Dr. Greg Pratt on ER, he was nominated twice for an NAACP Image Award, and had a co-starring role opposite Eminem in the film 8 Mile. He was a recurring cast member on Lie to Me in the role of Ben Reynolds before season three and starred as CIA agent Rex Matheson in Torchwood: Miracle Day. He attended an open-casting call for director Spike Lee's Clockers, beating over a thousand others. He followed that role with another in the comedy spoof feature High School High and continued by co-starring in the horror film I Still Know What You Did Last Summer. He starred in the film Paid in Full. His television credits include the movies The Tuskegee Airmen, Subway Stories: Tales from the Underground, and Brian's Song. He received additional notice for his performance on an alternative take on the Carmen legend with the movie Carmen: A Hip Hopera. He had a recurring guest role in Homicide: Life on the Street and guest-starred in New York Undercover. He earned an NAACP Image Award nomination for the TV movie, A Lesson Before Dying. He began a guest-starring arc on Lie to Me. Among his other big-screen credits are Soul Food, The Biography of Spud Webb, Hell's Kitchen, NYC, Tears of a Clown, O, and Uninvited Guest. He appeared in Impostor. He is mentioned in the Grammy- and Academy Award-winning song "Lose Yourself". He starred in Torchwood: Miracle Day. He starred on Broadway in Stick Fly. He starred as Agent Collins in the fourth season of White Collar. He made a guest appearance on the sitcom series Husbands in its second season. He joined the TV series Frequency as a series regular. #africanhistory365 #africanexcellence https://www.instagram.com/p/CYENekNrPijdIjLs2U8mH-yxNVT1HGl6wY1WHg0/?utm_medium=tumblr

#africanhistory365 #africanexcellence

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vintagedylanesque · 6 years

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ER - Saison 14 [2007-2008]

AKA la grève des scénaristes. Aussi bien en coulisses qu'à l'écran.

Revenons dix ans en arrière et cette drôle d'année que fut la saison 2007/2008 où la plupart des programmes furent raccourcies ou modifiés par la grève des scénaristes. J'étais en terminale au lycée et je venais d'avoir Internet à domicile.

Ne le dites pas à la police mais cette 14ème saison fut la première de #ER que j'avais pu télécharger et suivre semaine après semaine (tout comme la 4ème de #TheOffice et la 1ère de #BreakingBad). Tout ça m'avait même amener à ouvrir mon blog, DylanesqueTV.

Et même avant la grève, c'était le bordel en coulisses. Goran Višnjić était présent au photoshoot promo mais a fini par ne revenir que ponctuellement. NBC menaçait d'une annulation. Et très vite, malgré les efforts de la S13, la panne d'inspiration est devenu flagrante.

14.01 The War Comes Home

Je suis fatigué par les season premiere où tout le monde s'active pour sauver un médecin blessé par un cliffangher à la con. Le suspense autour de Neela est artificiel et n'aide pas à faire démarrer la saison sur les chapeaux de roues.

Surtout que, même si Moretti a beau répéter à quel point c'est le chaos, jamais le chaos n'est vraiment retranscrit et tout le monde prend le temps de faire des monologues et de longues pauses. Même avec Joe Sachs au scénar, la crédibilité médicale de la série en prend un coup.

On sent que les mecs essayent de faire une métaphore filée avec la guerre mais dans ce cas, faîtes-nous vibrer un minimum ! C'est le souci avec Moretti : plein de bonnes idées en théorie mais quand il s'agit de les exécuter, y a plus personne.

Alors quels espoirs nous laisse cet épisode purement pratique et sans éclats ? Celui de la camaraderie entre les membres d'un cast resserré (ça n'avait pas été autant le cas depuis la 2ème saison). Celui d'un trio Abby/Morris/Pratt qui a les cartes en main pour donner le ton...

14.02 In a Different Light

Contrairement à ce que le titre indique, on a rien d'original à se mettre sous la dent mais au bout de treize ans, il y a de quoi être satisfait par une poignée de cas médicaux rondement menés et des "vétérans" de plus en plus attachants.

Si Pratt avait demandé une promotion à Anspaugh il y a deux saisons, j'aurais dit "no way boulet". Alors que là, l'idée me semble tout à fait crédible. Pour l'instant, Moretti réussit sa mission : faire ressortir le meilleur du personnel des urgences.

Le dernier bon gros boulet reste Tony. Son séjour aux soins intensifs aurait été l'occasion de mieux découvrir ce département. Au lieu de ça, il se prend pour un pédiatre (ou Oncle Jessie) et on a un nouveau remake de Doug Saison 1 avec Miles Heizer (#Parenthood).

C'est aussi le départ précipité de Hope alors que moi, j'aurais été scénariste, j'aurais promu Busy Phillips au cast principal. Quel bêtise de la remplacer par Gil McKinney, le très très oubliable Dr Paul Grady (qui va rester jusqu'à la fin dans mon indifférence total).

Si vous vous demandiez ce que fait Sam, sachez qu'elle a changé de couleur de cheveux (j'approuve) et qu'elle fait du speed dating. Linda Cardellini encaisse le chèque et, comme nous, elle semble s'être fait une raison...

14.03 Officer Down

Voilà à quoi sert ce rewatch : avoir d'excellentes surprises en redécouvrant de très bons épisodes dissimulés dans de très médiocres saisons. Ce Morris-centric a la saveur du #ER vintage et vise étonnamment juste.

Archie n'a plus une once de gimmick en lui, c'est désormais un personnage vivant et crédible. Avec des états d'âmes à taille humaine plutôt que du drama qui bagien dans le soap. La route a été longue mais ça y est, on dirait bien qu'il donne le ton...

Et cette rédemption exemplaire a été rendu possible par Scott Grimes, son charisme tout simple et son humanité qui avaient déjà fait de lui l'un des visages les plus inoubliables de #BandofBrothers.

Ca faisait longtemps qu'on avait pas eu des scènes de réa aussi éprouvantes et bien réalisés et une discussion sur les différentes facettes du métier de policier, du manque de budget au racisme. Avec en bonus, la valeur sûr Mimi Kennedy (#DharmaandGreg #Mom).

Avant le fiasco Moretti, Abby récupère enfin la place qu'elle mérite et Maura Tierney fait ce qu'elle sait faire. Si seulement elle avait plus de temps d'antenne que Stamos...

Même si Phifer est toujours aussi médiocre, Pratt poursuit lui aussi sa rédemption et soigne intelligemment un jeune atteint de boulimie. Il est bien aidé par Bettina (Gina Ravera). Qui aurait cru que je m'intéresserais un jour à la vie amoureuse de Greg Pratt ?

Comme ce sera souvent le cas dans cette saison, c'est donc Neela qui hérite du plus insignifiant : elle joue la baby-sitteuse, fait du yoga avec Dubenko et semble évoluer dans une autre série qui fait tâche, surtout quand le reste est si solide.

14.04 Gravity

De manière ultra paresseuse, on exploite le long historique d'Abby pour créer du drama forcé. Mari absent + bébé malade = rechute vers l'alcoolisme. Même si Maura Tierney excelle dans ce registre, son personnage mérite mieux que ça...

Et mis à part une Sam plutôt bien utilisé et un traitement sur la longueur du parcours de Chaz (le frère gay de Pratt), cet épisode se déroule sans être ni bon ni mauvais, juste moyen. Et le juste moyen est l'ennemi du passionnant.

Peut-être qu'on doit prendre l'histoire de l'esthéticienne qui veut rajeunir le personnel comme une métaphore des scénaristes qui galèrent à faire du neuf avec du vieux ?

14.05 Under the Influence

Si ce n'était que les cheveux, ça irait encore... Mais la rechute est traitée avec zéro subtilité et un sous-texte peu raccord avec le parcours d'Abby : sans son homme, elle est complètement perdue...

Son homme apparaît justement pendant quelques secondes dans une scène où rarement l'utilisation du split-screen avait été aussi gratuite et inutile. Je ne suis pas contre les expérimentations dans #ER mais là c'est clairement de la branlette...

Peu étonnant pour un épisode qui se termine sur un Morris se masturbant dans une ambulance après avoir passé l'épisode à résister à l'envie de tromper sa petite amie. Il n'y a pas que Abby qui rechute. La saison commence doucement mais tristement à mériter sa mauvaise réputation.

Seul bon point de l'arc d'Abby : utiliser Janet Coburn comme sponsor.

Et en parlant de vétéran de la 1ère saison, c'est la dernière apparition du Dr Kayson qui vient grommeler face à l'arrogance de Tony. La série veut qu'on soit du côté de Tony, j'étais du côté de Kayson. Je ne supporte plus les boulets arrogants dans #ER et les mimiques de Stamos.

Comme si tout ça ne suffisait pas, je vous présente deux nouveaux récurrents bien nazes : Harold, l'interne de 19 ans qui bave devant Neela et Julia, l'aumonière jouée par Reiko Aylesworth et devant laquelle Tony bave.

Mon chemin de croix commence pour de vrai là.

14.06 The Test

Deux trucs m'empêchent d'être trop dur avec cet épisode très moyen : la présence de Mae Whitman (qui aurait dû être la fille de Maura Tierney dans #Parenthood) et d'une belle chanson de Wilco au montage final. On se raccroche à ce qu'on peut.

Car pour le reste, la spirale infernale d'Abby se poursuit en pilotage automatique. Les scénaristes avaient 2 choix avec le départ de Luka : faire d'Abby celle qui gère les urgences ou lui offrir du misery porn qui saborde toute son ascension...

Alors qui gère les urgences ? Et bien plutôt que de faire entièrement confiance à Pratt, on fait à nouveau intervenir un personnage éphémère et écrit sur un bout de serviette : le Dr Skye Wexler jouée par une Kari Matchett intérimaire.

Mais où est le Dr Moretti, celui qui devait mener la barque ? En compagnie de son fils névrosé qui semble atteint de... bipolarité. La maladie qui aura tant servi de matière à drama pour Abby revient comme un gimmick réchauffé pour se débarrasser d'une guest-star. C'est navrant.

Heureusement qu'on a des personnages aussi charismatiques qu'Harold Zelinski et sa relation mentor/élève avec Neela, digne de celle formée par Benton et Carter à la belle époque....

14.07 Blackout

#ER aura sauté le requin un paquet de fois en finissant toujours par trouver rédemption à mes yeux. Mais elle était rarement tombé aussi bas qu'en sacrifiant Abby sur l'autel du soap artificiel. Rien à sauver dans ce truc signé David Zabel.

Enfin si, on peut toujours se raccrocher au talent de Maura Tierney qui sait tout jouer, que ce soit la Abby bourré ou la Abby misérable. Mais ce n'est pas une raison pour malmener autant un personnage qui a su rester aussi finement écrit pendant huit ans. C'est honteux.

Surtout que c'est un prétexte pour se débarrasser bêtement de Moretti. Bah oui, Tucci est une guest qui coûte cher et plutôt que de soigner sa sortie, on le sacrifie lui aussi. Tout ça pour mieux faire revenir Luka, le sauveur qui sortira la pauvre Abby du pétrin.

Et au fait, tu fous quoi Neela pendant que ta meilleure amie dont tu connais l'alcoolisme est complètement torchée ? Rien. Tu es trop occupée à jouer les mentors pour Harold dont chaque apparition me donne envie d'arrêter le rewatch.

Et croyez-vous que les pannes de courant causés par la canicule servent le récit comme c'était le cas dans "Chicago Heat" (1.06) ou "Power" (5.20) ? Non, ça sert juste d'excuse à Christopher Chulack pour surligner bien maladroitement la détresse d'Abby...

"Blackout" rentre donc direct dans le panthéon des pires épisodes de la série et la saison va passer le reste de son temps à essayer de réparer ces conneries. En attendant, on va devoir subir l'une des romances les plus soporifiques de #ER, à savoir Tony et l'aumonière...

Les mecs ont perdus la bible de la série et il n'y a plus qu'avec Pratt et Morris que la cohérence est de mise. Ce qui amène Chuny à les comparer à Greene et Ross. Du méta tristement ironique au vu de l'état de la série.

14.08 Coming Home

"Bonjour je m'appelle David Zabel, je vais prendre votre personnage favori, lui faire perdre ses amis, devenir un mauvais médecin et puis je la sauverais avec le pouvoir de l'amour. Mais ça prendre toute une saison."

Oui je sais, on a déjà fait le coup du médecin traumatisé qui traverse une crise existentielle avec Mark en S4 et Carter en S6 et même si j'ai pas le talent de Woodward pour écrire des arcs du début à la fin, je vais faire de mon mieux et vous rendre super tristes !!!

Mais pour pas que vous soyez trop tristes, je vais faire des b-stories un peu rigolotes comme Morris qui se bat pour un gros fromage ou Bébé Docteur qui essaye de se faire dépuceler lol

Et comme il faut lui donner un peu de relief à Bébé Docteur, j'ai copié la fois où Carter manquait sa cérémonie des diplômes pour rester avec son patient. Sauf que là, Harold, il loupe sa chance de perdre sa virginité donc. Trop doux-amer !

Je vais aussi nous débarrasser du Dr Moretti parce qu'il était trop sérieux et que Stanley Tucci, il nous coûte trop cher. Mais avant qu'il dégage, je vais lui inventer un fils bipolaire parce que John Wells il aime bien ça comme maladie.

De toute façon, on a la chance d'avoir la grande star de télé John Stamos. Avec sa copine aumonière, il part faire un road-trip pour récupérer sa fille en pleine crise d'ado. C'est comme les trucs avec Sam et Alex mais en plus long parce que John est une star je vous dis.

Je sais, dis comme ça, ça a l'air nul mais regardez mon Goran, il a l'air tout content. Même si j'ai jamais réussi à lui écrire un truc correct, il sourit donc tout va bien, je suis le meilleur showrunner !”

14.09 Skye’s the Limit

Même si le sujet avait été bien traitée à l'époque de Kerry, c'est pas con d'installer une femme à la tête des urgences et d'en profiter pour aborder le sexisme au travail. Mais pour que ça ait de l'impact, il faut un vrai personnage.

Et Skye Wexler n'est qu'un gimmick. Une guest que l'on fait venir pour remplacer un autre guest et qui, après cette introduction féministe, ne sera relégué qu'à des intrigues de cul avec Dubenko où Kari Matchett sera à moitié nue mais rarement à s'occuper de patients.

Elle permet au moins de se faire à l'idée d'un Pratt chef des urgences. Et cet épisode à nouveau très médiocre donne la part belle à Sam qui est un chouette personnage quand elle n'est pas submergé dans des intrigues amoureuses ou familiales à la con.

Je peux pas en dire autant de Tony. Au boulot, c'est une copie bas de gamme de Doug. À la maison, c'est Oncle Jesse qui organise des pyjama parties. Et on aurait pu croire que la 1ère opération solo de Neela serait l'occasion de parler d'autre chose que de la virginité d'Harold..

Il y a pas si longtemps, face à ce genre d'épisodes moyens, on pouvait compter sur Abby. Mais non, le sabordage continue et cette fois, on ajoute une lourde cuillère de dispute conjugal qui dessert aussi bien Abby qu'un Luka réduit au rôle de mari en colère.

14.10 300 Patients

John Wells revient réaliser ce qui est non seulement un 300ème épisode raté mais aussi le pire épisode de Noël de la série. Après avoir sauté requins et hélicos, #ER "jumps the camel" et s'étale dans une dégoulinade de guimauve.

La course aux 300 patients est non seulement stupide d'un point de vue médical/professionnel mais il n'est même pas exploité correctement puisqu'au final, on a même pas l'excitation d'un bal de patients en tout genres. Comme le chameau, c'est juste un gimmick de plus.

Enfin si, il y a au moins un cas médical, pris en charge par Pratt, le seul médecin responsable et adulte au County actuellement. Il s'agit de Peter Fonda qui renoue avec son fils trisomique et même si c'est noyé derrière le reste, c'est tout de même sacrément émouvant.

Bien plus que les trèèès longs passages où Abby finit par tout avouer à Luka. Putain les gars, c'est le 300ème épisode. Il s'appelle "300 Patients". Pourquoi nous refiler 15 minutes de drama domestique ? Maura, je veux la voir en blouse blanche s'il vous plaît.

J'ai eu un soupçon d'espoir concernant Sam qui était sur la pente remontante, envisageait du changement dans sa vie et... et est en train de flirter avec Tony Gates. Coller deux personnages médiocres ensemble, voilà l'idée du siècle proposé par cet épisode événement...

Ça mais aussi Harold qui veut peloter les fesses de Neela, l’aumônière qui fait du préchi-précha pendant de longs montages sur fond de violons et un tas de blagues qui tombent à plat. Je vais peut-être revoir "When Night Meets Day" pour me rincer les yeux...

14.11 Status Quo

En l'absence des problèmes conjugaux d'Abby, #ER peut se recentrer sur des thèmes qu'elle maîtrisent mieux : le Sida, le conflit irakien et les conséquences d'un viol. Avec la visite bienvenue d'une vieille amie...

Huit ans plus tard, le retour de Jeannie Boulet permet de revenir sur le traitement du HIV, ses avancées et ses limites. De réaliser que Pratt est devenu un excellent médecin. Et qu'à part Haleh et Chuny, le County n'est plus tout à fait le même...

Bonne idée aussi de faire revenir Reggie (Cress Williams) pour avoir un autre point de vue sur le combat de Jeannie. Combat d'autant plus tragique quand il touche son fils adoptif. Comme l'expliquait Kem dans la 10ème saison, le Sida est toujours mal compris.

Petit miracle : on a DEUX cas médicaux bien écrits ! Quand ils ne sont pas occupés à flirter, Tony et Sam soignent Beth (Rachel Boston),une vétérante d'Irak enceinte suite à un viol et qui veut garder l'enfant pour ne pas avoir à retourner sur le terrain, auprès de son agresseur.

Pour bien désamorcer le drama, on doit quand même subir une nouvelle b-story "comique" en compagnie d'Harold, le fléau absolu. Ici, il drague la cousine de Neela puis fait la gueule quand elle refuse ses avances. La toxicité masculine tourné en dérision pour un résultat navrant.

N'empêche, "Status Quo" est ce que #ER aura offert de plus solide depuis "Officer Down" et achève de faire de Pratt un titulaire crédible et attachant tout en préparant le bal nostalgique de la dernière saison.

14.12 Believe the Unseen

Il était temps de stopper la spirale infernale d'Abby qui entraînait la série dans les tréfonds du mélo. La revoir porter la blouse et reprendre le contrôle fait beaucoup de bien et Maura Tierney peut à nouveau porter un épisode moyen sur ses épaules.

Sa jeune patiente atteint de troubles de la vue était très attachante et c'est toujours chouette de voir Lorraine Toussaint, ici dans le rôle d'une mère de famille d'accueil débordée. Heureux qu'Abby puisse retrouver de sa superbe pour sa dernière ligne droite.

Et merci de vous souvenir enfin de l'amitié qu'elle partage avec Neela et qui a fait les beaux jours de la 11ème saison. Neela dont le stage en orthopédie n'est qu'une excuse pour parler à nouveau cul avec Harold et faire... du hockey sur glace.

14.13 Atonement

Dernier épisode filmé avant la grève des scénaristes, il a bien failli marquer la fin de la série. Déjà que c'est pas vraiment un bon épisode mais alors, comme series finale, ça aurait été la honte.

La seule chose digne qu'on nous propose, c'est l'excellent Jonathan Banks dans la peau d'un ancien "bourreau" qui cherche rédemption auprès des familles de ses "victimes". Une belle étude de foi où l’aumônière est enfin utilisé correctement et Pratt continue ses efforts.

Grosse ironie en tout cas d'aborder l'euthanasie alors que la série est sur défibrillateur. Car l'autre moitié de l'épisode, on le passe avec les chirurgiens et orthos qui s'affrontent au hockey et enchaînent les blagues grasses autour d'une Neela qui ne ressemble plus à rien.

Alors qu'elle savait à une époque manier le changement de ton, #ER navigue à l'arrache entre gros mélo et farces potaches. Le pire, c'est que malgré les promesses de la 13ème saison et de "Officer Down", Morris est revenu à la case départ...

Ah et sinon, je trouvais que Tony était pas assez le cousin pauvre de Doug Ross donc merci de nous refaire à l'identique mais sans aucun charisme l'histoire d'amour la plus culte de la série.

Quand je pense que, si la série avait vraiment été annulée là, l'une des dernières scènes aurait été les plus mauvais personnages en train de chiller dans un sauna. (ce que vous voyez ci-dessous sont de véritables captures d'écrans de l'épisode sans aucun trucage)

14.14 Owner of a Broken Heart

Après trois mois en stand-by, #ER est ressorti de la grève des scénaristes avec encore moins d'inspiration. Ce n'est pas que mes attentes étaient au plus haut mais merde quoi, un putain de clip-show ???

Si je suis très content d'avoir une bonne dose d'Amy Aquino, on n'avait vraiment pas besoin de refaire le point sur le mariage d'Abby et Luka en invoquant des flashbacks qui ne font que nous rappeler à quel point la série était mieux avant...

Ça ne nous raconte rien de nouveau ni sur l'amour ni sur l'alcoolisme et surtout pas sur Abby. Et c'est mélange maladroitement à d'autres idées douteuses comme un très long gag autour d'une étude de Morris ou la relation "torride" entre Tony et Sam (l'ennui total).

C'est aussi la première apparition de David Lyons dans la peau du Dr Simon Brenner. Avant qu'il ne devienne un personnage honorable lors de la 15ème saison, l'australien est pour l'instant le plus atroce médecin ayant travaillé au County...

Pour vous résumer le truc, Brenner est 1) australien 2) il couche avec plein de femmes 3) il ne suit pas les règles Et... Et c'est tout. Et c'est aussi affreux sur le papier qu'à l'écran.

N'empêche, cet épisode très médiocre reste mémorable pour moi car (pas de chance) c'était la première fois que j'écrivais une review de #ER ! C'était il y a 10 ans et ça nous rajeunit pas : http://goo.gl/mp792T

14.15 ...As the Day She Was Born

#ER aura su ruiner puis réhabiliter de nombreux personnages. Mais Neela a été tellement malmenée depuis deux saisons que les dommages semblent irréparables et, malgré tous les efforts de cet épisode, elle ne m'intéresse absolument plus.

Il était grand temps de terminer l'arc d'Harold mais si seulement ce temps avait été pris pour bosser sur sa relation mentor/élève avec Dubenko, leur dialogue final aurait eu un semblant d'impact. Là, tout sonnait faux et un réchauffé de la dynamique Benton/Carter...

Les scénaristes ne semblent avoir rien à foutre de la carrière de chirurgienne de Neela. C'est juste un décor pour en faire la Meredith Grey du County et qu'elle enchaîne lamentations sur son célibat et relations toxiques (hier Gates et Harold, demain Brenner).

Depuis la reprise post-grève, c'est le 2ème épisode qui s'ouvre avec une scène faussement sexy de très mauvais goût (ici, Neela qui se balade nue dans un rêve totalement gratuit). On sent que NBC a dit : "plus sexy sinon vous êtes finis". C'est lamentable...

Je pense aussi qu'il y avait moins paresseux pour rendre intéressante la relation entre Pratt et Bettina que la menace d'un cancer. Gina Ravera est excellente, son personnage avait été bien écrit jusque là, c'est un nouveau sursaut de soap pour noyer toute finesse.

Dans la rubrique "que sont-ils venus faire dans cette galère", on aperçoit Aida Turturro (#TheSopranos) dans le rôle d'une patiente de Neela et Frances Conroy (#SFU) dans celui de la grand-mère de Sarah. Passer de Ruth Fisher à un arc tout naze avec Tony Gates, c'est violent.

Notons aussi que rarement un épisode d'#ER aussi été aussi peu rythmé et soporifique. Et que la gueule de Luka et Abby sur leur photo de vacances est la même que la mienne en cette deuxième moitié de saison minable...

14.16 Truth Will Out

Il y a un peu de mieux puisqu'il suffisait tout simplement de replonger Abby dans la médecine et d'offrir à Neela autre chose que de l'eau de rose. En fait, il y a un peu de mieux parce qu'il y a des patients. C'est quand même pas compliqué.

Bien sûr, le sens du rythme a disparu et #ER ne peut s'empêcher de parasiter son propos avec des b-plots navrantes, du genre un triangle amoureux entre Dubenko, Brenner et Skye. Kari Matchett s'en va comme elle est venu : dans le vide scénaristique le plus total.

Brenner, c'est juste l'enfer pour l'instant. On est sur un niveau d'impro même pas osé avec Clemente ou Moretti. Tiens en fait, c'est le neveu d'Anspaugh ! Tiens en fait, il flirte avec Skye ! Et puis non avec Neela. C'est un médecin génial mais en fait c'est une imposture. Etc..

Au sujet de Luka, je suis partagé. D'un côté, je trouve que son dialogue avec Hal Holbrook (dans son rôle habituel du vieux ronchon plein de sagesse) permet de bien refermer la saga Kovac en respectant son background. D'un autre, c'est un peu tard et semble presque hors-sujet.

14.17 Under Pressure

Faut se lever de bonne heure pour nous montrer une prise d'otage originale à la télé. #ER ne cherche donc pas l'originalité mais réussit plutôt bien l'exercice. C'est juste dommage d'avoir besoin d'action et de flingues pour réveiller notre attention.

C'est loin d'être aussi prenant que "The Long Way Around" (3.15) mais Josh Stewart est convaincant dans le rôle du preneur d'otage et c'est une très bonne occasion de redonner autre chose à jouer à Scott Grimes que du gag.

Stephen Cragg en fait toujours des caisses derrière la caméra et nous fait une intro absolument dégueulasse et totalement gratuite. Mais au moins, il ne se loupe pas sur la conclusion, glaçante comme il faut et sans aucun effet superflu.

Avant, j'aurais été plus exigent avec ce genre d'épisode ÉVÉNEMENT misant tout sur le suspense mais franchement, tout est plus excitant que la naissance du couple Tony/Sam, les problèmes du couple Abby/Luka et l'affreux Brenner.

14.18 Tandem Repeats

Comme toujours, c'est en se re-focalisant sur des cas médicaux intéressants que #ER retrouve son charme. Ici, sans éclats, on reprend plaisir à suivre la garde d'Abby, les émois de Neela et même la vie privée de Pratt. Mieux vaut tard que jamais ?

Après "ER Confidential" [1.09] et "Next of Kin" [9.09], la série poursuit son travail plutôt adroit autour du genre et de la transsexualité. La patiente d'Abby a besoin d'un don d'organe à cause de phéromones toxiques mais son père refuse d'accepter sa transition et de l'aider.

L'arc d'Aida Turturro se termine dans l'émotion, la relation Pratt/Bettina reste étonnement convaincante et les conséquences de la prise d'otages sur Morris sont bien traités.

Par contre, Brenner est si affreux que j'ai même plus envie de croire à sa rédemption en 15ème saison. Le plus gênant, c'est qu'on essaye à la fois de nous le vendre comme prédateur sexuel et comme sex symbol trop cool. Un mélange entre Dennis Reynolds et Dr McSteamy. Un mélange insupportable.

14.19 The Chicago Way

Un season finale qui se charge de clôturer un chapitre et de soigner plus ou moins adroitement la sortie de trois personnages historiques. Dommage qu'il ne puisse pas se retenir d'un dernier cliffangher couillon. Mais bon. C'est le dernier.

Commençons par Pratt qui est le plus heureux des hommes et, grâce au boulot fait sur lui cette saison, on est heureux avec lui. Bien sûr, être heureux dans #ER, ça veut dire mourir. Mekhi Phifer voulait se tirer, les scénaristes n'ont pas résisté à la facilité.

Alors en guise de coup de destin, David Zabel s'est creusé la tête : après cancer, schizophrène au couteau, hélico et mine dans le désert, la nouvelle victime du County (ne bossez jamais là-bas) sera achevé par la mafia et une ambulance qui explose...

Au moins, ça nous vaut une apparition sympathique de Steve Buscemi (un pléonasme) et ça fera un season premiere plutôt émouvant si mes souvenirs sont bons. Et puis un cliffangher sans Alex ou montage final moisi, ça se fête !

Préparation du départ d'Abby également et, pour l'occasion, retour express de Moretti. On se rappelle donc à quel point cet arc aura été un long enfer et on est soulagé de la réconciliation du couple parce qu'on en pouvait plus...

Même que pour être honnête, l'envie d'ailleurs d'Abby a été plutôt bien amené sur la toute fin de saison et que, juste avant l'explosion de l'ambulance, sa marche printanière m'a vraiment ému. Mais pas autant que le 15.03, son véritable adieu. Allez reste encore un peu Abby...

Et puis il y a le départ, définitif cette fois, de Luka. Là aussi, son mini-arc avec Hal Holbrook aura été salvateur même si un peu bâclé. Sans le coup de poing dans la gueule de Moretti, on se serait presque séparé sur une bonne note avec le croate.

Et comme il y avait du soleil dans cet épisode et qu'il y a du soleil dehors, je vais rester apaisé et ne pas évoquer les coucheries Neela/Brenner. Restons sur ce sentiment de grand ménage de printemps qui annonce un dernier renouveau.

Pas la peine non plus de vous rabâcher les ratés de ce qui reste bien la pire saison de #ER, vous avez vécu le calvaire avec moi soit en direct en 2008, soit sur ce thread. Merci d'avoir tenu le coup.

Le top 3 épisodes est très simple :

14.03 Officer Down

14.11 Status Quo

14.18 Tandem Repeats

Vous pouvez ne voir ou revoir que ceux-là et peut-être le season finale pour le fun.

Faire un Worst 5 est impossible mais sachez qu'entre le 14.04/14.10 et le 14.13/14.15, la série offre sa pire version possible. Si vous ne voulez pas trop que votre coeur fan d'Abby souffre et que vous n'êtes pas fan de hockey sur glace, évitez-les absolument.

Bref. On y est presque les amis.

#er #urgences #tv show #nbc #rewatch

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porlockstompf · 6 years

Text

READING DE NACHT READING 2017

my favourite books of the year

my overall favourite book of the year:

david keenan “this is memorial device” [faber & faber] (2017)

POST-CYBERPUNKSTOMPF:

01 nick harkaway "gnomon" (2017) 02 kim stanley robinson "new york 2140" (2017) 03 m john harrison "you should come with me" (2017) 04 gardner dozois (ed) "the year's best science fiction: thirty-fourth annual collection" (2017) 05 james morrow "the asylum of dr. caligari" (2017)

06 annalee newitz "autonomous" (2017) 07 cory doctorow "walkaway" (2017) 08 dave hutchinson "acadia" (2017) + dave hutchinson "slow companions" (2017) 09 ed finn (ed) visions, ventures, escape velocities: a collection of space futures" (2017) 10 bryan thomas schmidt (ed) "infinite stars" (2017)

11 allan kaster "the year's top hard science fiction stories" (2017) 12 nina allen "the rift" (2017) 13 charles stross "the delirium brief" (2017) 14 simon morden "at the speed of light" (2017) 15 ada palmer "seven surrenders" (2017) & "the will to battle" (2017)

16 yoon ha lee "raven stratagem" (2017) 17 john joseph adams (ed) "cosmic powers" (2017) 18 mur lafferty "six wakes" (2017) 19 taiyo fujii "orbital cloud" (2017) 20 andrew bannister "creation machine" (2016) + andrew bannister "iron gods" (2017)

21 gareth l powell "entropic angel & other stories" (2017) 22 ann leckie "provenance" (2017) 23 monica louzon (ed) "catalysts, explorers & secret keepers: women of sf" 24 ian mconald "wolf moon" (2017) 25 neal stephenson & nicole galland "the rise & fall of d.o.d.o." (2017)

26 adam roberts "the real-town murders" (2017) 27 tim pratt "the wrong stars" (2017) 28 jim c. hines "terminal alliance" (2017) 29 charles stross "the empire games" (2017) 30 james s.a. corey "persepolis rising" (2017) + james s.a. corey "strange dogs" (2017)

31 allen steele "avengers of the moon (captain future)" (2017) 32 neal asher "infinity engine [transformation III]" (2017) 33 jason m. hough "injection burn" (2017) + jason m. hough "escape velocity" (2017) 34 donna scott (ed) "best of british science fiction 2016"/una mccormack "star of the sea" (2016) 35 david marusek "upon this rock"/john scalzi "collapsing empire" (2017)

& a couple of re-readings: richard k. morgan "takeshi kovacs trilogy" in view of the coming netflix series and colin harvey "damage time" (2010) ... no further reason needed!

STOMPF KLASSIK:

01 matthew mcintosh "the mystery.doc" (2017)

02 sébastien roger "les désordres du monde. walter benjamin à port-bou" (2017) 03 laurent binet "hhhh" (2012) 04 + laurent binet "the 7th function of language" (2017) 05 jean echenoz "special envoy" (2017)

06 paul stanbridge "forbidden line" (2016) 07 ryu murakami "tokyo decadence (2016) 08 aifric campbell "the semantics of murder" (2008) 09 mark vernon "darker with the day" (2017) 10 magnus mills "the forensic records society" (2017)

GEDÄCHTNISSTOMPF:

01 mckenzie wark "general intellects: 25 thinkers for the 21st century" (2017) 02 claude lefort "wat is politiek?" (2016) 03 ger groot & sam ijsseling "dankbaar en aandachtig" (2013) 04 martin heidegger "beiträge zur philosophie (vom ereignis)" (2003) 05 hannah arendt "totalitarisme" (2014)

06 daniel birnbaum & kim west "life on sirius: the situationist international & the exhibition of art" (2016) 07 ger groot "de geest is uit de fles" (2017) 08 sean gaston "the impossible mourning of jacques derrida" (2006) 09 bas heijne "onbehagen: nieuw licht op de beschaafde mens" (2016) 10 giorgio colli "ecrits sur nietzsche" (2017)

11 frédéric neyrat "échapper à l'horreur" (2017) 12 slavoj zizek "against the double blackmail, refugees, terror & other troubles with the neighbours" (2017) 13 henning mankell "quicksand" (2016) 14 jacques rancière "en quel temps vivons-nous? conversations avec eric hazan" (2017) 15 alain badiou "je vous sais si nombreux... " (2017)

16 alain badou & jean-luc nancy "la tradition allemande dans la philosophie" (2017) 17 tom mccarthy "typewriters bombs jellyfish [essays]" (2017) 18 valeria luiselli "tell me how it ends: an essay in 40 questions" (2017) 19 fredric jameson "raymond chandler: the detections of totality" (2016) 20 umberto eco "chronicles of a liquid society" (2017)

POLARSTOMPF:

01 chris petit "pale horse riding" (2017) + chris petit "the butchers of berlin" (2016) + chris petit "the human pool" (2002) + chris petit "the psalm killer" (1996)

02 john le carré "a legacy of spies" (2017) 03 david hewson "sleep baby sleep" (2017) 04 mick herron "slow horses" (2010) + mick herron "dead lions" (2013) + mick herron "the list" (2015) + mick herron "real tigers" (2016) + mick herron "spook street" (2017) 05 jussi adler-olsen "the scarred woman" (2017)

06 jo nesbo "the thirst" (2017) 07 ben fergusson "the spring of kasper meier" (2014) 08 e.o. chirovici "the book of mirrors" (2017) 09 toni coppers "de zaak magritte" (2017) 10 james r. tuck "mama tried (crime fiction inspired by outlaw country music)" (2016)

YOUNGADULTSTOMPF:

01 philip pullman "la belle sauvage" (2017)

PLATTERSTOMPF:

01 cosey fanni tutti "art sex music" (2017) 02 david keenan "this is memorial device" (2017) 03 joanne demers "drone and apocalypse" (2015) 04 + joanne demers "listening through the noise" (2010) 05 robert barry "the music of the future" (2017)

06 richard cabut & andrew gallix (eds) "punk is dead: modernity killed every night" (2017) 07 butt gavin, kodwo eshun, & mark fisher (eds) "post punk then and now" (2016)" 08 sandra garrido "why are we attracted to sad music" (2016) 09 tomas serrien "klank: een filsofie van de muzikale ervaring" (2017) 10 marlies de munck "waarom chopin de regen niet wilde horen" (2017)

11 daniel warner "live wires" (2017) 12 will carruthers "playing the bass with three left hands" (2016) 13 steve hanley "the big midweek-life inside the fall (2016) 14 tex perkins "tex" (2017) 15 mark lanegan "i am the wolf" (2017)

17 simon reynolds "shock & awe" (2016) 18 andrew o'neill "a history of heavy metal" (2017) 19 bryan ray turcotte "the fucked up reader" (2007) 10 bob batchelor (ed) "literary cash" (2017) 20 simon webb "a 1970s teenager. from bell-bottoms to disco dancing" (2013)

both bell-bottoms and disco dancing can be had @ muntpunt !

POESISSTOMPF:

01 jonty tiplady "zam bonk dip" (2010) 02 murray lachlan young "how freakin' zeitgeist are you?" (2017)

BILDERSTOMPF:

01 peter-andré bloch "sils-maria - "l'île bienheureuse" pour nietzsche" (2017)

02 willem vanhuyse "atlas van de imaginaire verklaringen: het complete handboek vor de 'patafysicus'" (2017) 03 reinhard kleist "nick cave: mercy on me" (2017) 04 william gibson "archangel (a graphic novel)" (2017) 05 a. uderzo, didier conrad & jean-yves ferri "astérix et la transitalique" (2017)

WISSENSCHAFTSTOMPF:

01 thibault damour & mathieu burniat "mysteries of the quantum universe" (2017) 02 brian cox & jeff forshaw "universal: a journey through the cosmos" (2017)

HUMOURSTOMPF:

01 james acaster "james acaster's classic scrapes" (2017)

02 chris wade “the story of derek and clive” (2017)

CYCLOSTOMPF:

01 frederik bakelandt "grinta! de bergen: 10 legendarsche wielercols" (2017)

02 lucien van impe & filip osselaer "de dag dat ik de tour verloor" (2017) 03 jonas heyerick & jelle vermeersch "bahamontes #17-#20" (2017) 04 frank strack "the hardmen: legends of the cycling gods" (2017) 05 matthias m. r. declercq "de val" (2017)

… tsundoku !

may your home be safe from tigers, leroy, x HNY!

the TBR pile grew with...

lászló krasznahorkai "the world goes on" (2017) samanta schweblin "fever dream" (2017)

peter mark, peter helman & penny snyder (eds) "the mountains in art history" (2017)

alvin lucier (ed) "eight lectures on experimental music" (2017) rhian e jones & eli davies "under my thumb: songs that hate women and the women who love them" (2017)

arne dahl "watching you" (2017) philip kerr "prussian blue" (2017) antti tuomainen "the man who died" (2017) jon michelet "the frozen women" (2017) nicolás obregón "blue light yokohama" (2017)

alex lamb "exodus" (2017) c robert cargill "sea of rust" (2017) chris brookmyre "places in the darkness" (2017) d nolan clark "forgotten worlds" & "forbidden suns" (2017) dan moren "the caledonian gambit" (2017) elizabeth moon "cold welcome" (2017) ferrett steinmetz "the uploaded" (2017) greg egan "dichronauts" (2017) ian whates "the ion raider" (2017) jaine fenn "the martian job" (2017) jamie sawyer "pariah" (2017)

jeff noon "a man of shadows" (2017) joe m mcdermott "the fortress at the end of time" (2017) joe zieja "communication failure" (2017) john kessel "the moon and the other" (2017) john meaney "destructor function" (2017) jonathan strahan (ed) "best sf &f of the year vol 11" & "infinity wars" (2017) kameron hurley "the stars are legion" (2017) kay kenyon "at the table of wolves" (2017) malka older "null states" (2017) marina j. lostetter "noumenon" (2017)

martha wells "all systems red" (2017) neil clark (ed) "galactic empires" & "more human than human" (2017) paul mcauley "austral" (2017) r.e. stearns "barbary station" (2017) robert kroese "last iota" (2017) sage walker "the man in a tree" (2017) stephen baxter "obelisk" (2017) + stephen baxter "the massacre of mankind" (2017) sulari gentill "crossing the lines" (2017) the justified ancients of mu mu “2023 a trilogy” (2017) wendy n. wagner "an oath of dogs" (2017)

#rewind 2017

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