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voidsteffy · 2 years

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2,10, and 23 for the salty asks <3

omg i think you're gonna regret asking me, because this is so long 😬

2. Are there any popular fandom OTPs you only BroTP?*

Nancy Drew - Bess and Odette. She barely knew the lady! Give my queen some recovery period from her *ehm* HUNDRED YEARS OF TRAUMA before wanting to jump the bones of the body she's possessing RNM - It's weird, but Max and Anatsa. I could never picture them, even as a fling. TVD - Jeremy and Bonnie. when they were together, it was actually an illegal ship y'all. Jeremy was 16, and Bonnie was 18-19. I really wished they'd just bonded as a human connection to Elena and not... yk, ghost-shagged each other Gilmore Girls - LANE AND ZACH. where did they even come from? out of thin air that's where. Lane deserved her happy ending with Dave Rygalski and I will die on this hill. Teen Wolf - (brace yourself) Lydia and Parrish. Malia and Parrish. Melissa and Argent. wtf? at this point I'm pretty sure Jeff Davis just played chits and picked his ships randomly. All of Parrish's ships are ew (that's just his luck unfortunately) and Melissa with Peter would have been the best choice are you kidding me? ARGENT AND MELISSA'S KIDS WERE TOGETHER, and not even fwb-together. like SOULMATE together! Grey's Anatomy - Addison and Alex. They couldn't cash in major potential there. She was the right amount of bitchy to get him off his macho ass. Not everyone has to sleep with everyone Miss Shonda! Also, Teddy and Owen. They're best as friends, because (i hate to admit this) Teddy was right in s18 (was it 19, i think it was 19?) when she told Link to stay away from Jo because marrying best friends and then hating them in marriage is sad.

10. Most disliked arc? Why?

RNM - Again, the Max-Anatsa storyline. It's like, again, they played chits with who she should be with. My Max is not the one-night stand kinda guy (which I'm proud of, representation of my soul) and him sleeping with Anatsa and then just dropping her is WACKY. Isobel and Anatsa were so much better, and had good development Nancy Drew - Park's arc. The writers had the potential in their very hands and chucked it themselves. Park as the ISM/FHK would have made so much sense, it would have been the best direction for his appearance. TVD - The entire Alaric x Caroline thing. HATED THAT. HATED THAT the way Ashley Ippolito hates Nate Jacobs. He's like 15 years older than her and IS HER BEST FRIEND'S STEPDAD. And the Alaric and Stefan pissing contest for Caroline. Dear writers you didn't give Caroline Forbes the Elle Woods arc she deserved to put her in this dump of a situation! Gilmore Girls - Married Dean cheating thing. "He's MY Dean" Rory honey go touch some grass and juggle some balls. He's fucking married and as your mother once said "Solidarity Sister". Lindsey wasn't all that bad, and she definitely deserved better than being cheated on at the age of 19. Teen Wolf - Argent and Melissa. Explained above. Notice how in the movie, Argent and Melissa didn't really have any romantic/close scene without a third wheel (thank God)? It's like Jeff Davis finally realized that oh shit, aren't their respective kids the main reason this all started? Grey's Anatomy - Jackson and Maggie. Just— NO.

23. Unpopular character you love?

Nancy Drew - everyone loves everyone in this one. so I can't really say anything divergent RNM - i think we love everyone right? TVD - VIncent Griffith (does he count? idk but I love his humor and badassery). Oh, and also Valerie Tulle. She was sweet while she lasted wasn't she? I honestly saw more in Stellerie than in Steroline (why you booing me when I'm right!) Gilmore Girls - Lindsey. Just because her taste in music is different from Rory and Jess's, doesn't mean she's not a good human. She tried so much to keep her marriage afloat, and I've never seen her be rude like Rory to Shane. Grey's Anatomy - Sam Bello (basically foetus Liz Ortecho) because she's the sweetest most bubbly thing after firecrackers in honey.

thanks for the ask man, omg i love being salty

#manu answers

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poebrey · 2 years

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rating the remaining Greys cast because I can:

Weber - a constant, went through as many ups and downs as his pseudo-step-daughter Meredith

Bailey - love that she’s found her own way to do her thing and ngaf because she of all people does not need to be giving 150% all the time

Owen - 0, ten seasons and has not learned a single thing, brings down every relationship he’s in, irritating in a way that can only be brought about by self-importance

Teddy - 2, 3 if she’s by Owen because she looks better by proximity. not a single time when she’s been on the show has her ass been helpful, girl waiting on the sidelines for a loser, unimpressive, should’ve stayed a guest star

Amelia - 5, I don’t like her but I respect her and that’s good enough. has had some great moments, but in general it’s been a long time and she still doesn’t vibe right- but the bulk of her character happened on a spin-off that I did not watch so this is biased

Jo - 7 (sometimes 8) people discount her so much but she has worked those storylines (even the ones based off of wildly fabricated stories). Growth, stands up for herself, laughed when her abusive husband died, nicu crew, very consistently there as a character, one of the closest to meshing with the original cast and that shows she can hold her own

Maggie - 8 (sometimes 7) love her and does an an amazing job at being Mer’s half-sister, is devastatingly terrible with relationships, like why did she date her basically-step-brother. Great doctor, great sister bc she found out she had one and then was helping raise those little kids like five seconds later, bad girlfriend - she’s not unlucky in love she needs therapy, amazing perfectionist, hope Zola learns what to do and what not to do from her ass bc she perpetually gives off a skipped a grade, had no friends vibe

Link -1 I don’t like him and not because I don’t like him with Jo, but that adds a -2. Another unimpressive character except he looks like a GI joe toy and has a name like a videogame character so it’s hard to take him seriously. Genuinely forget about him half the time, having a kid with Amelia gives both of them a -1

New MAGYK - desperately needed, cast was getting a little stale and pasty (coincidentally after Shonda left) - Simone is clearly the center, love that for her and she deserves it, Jules and Blue need a little development, Baby Shep, Yasuda, and Griffith are running circles around them and I *know* that’s the writing because I’ve seen Harry’s work and I know damn well Reign wouldn’t have lasted as long as it did if it’s lead wasn’t compelling. Giving them a 9 for potential, nothing better than a bunch of losers moving in together and they’ve been collectively and individually solid, even the least developed Jules and her fundy-hippie childhood

Helm - technically not there and I’m giving her a 6 because she needs to raise her standards both in romance by going after attainable women and in life by not wasting that medical degree

Negl giving that other resident a 6.5 (higher than Helm) because he had some incredibly memorable scenes but I can’t even remember his name and there’s a reason his whole crew got a send off and it wasn’t via hospital shooting turned final destination movie but just anticlimactic restructuring (though peep which ones they kept? This show was getting #ffffff for a while). Also cannot believe they had him break up with one of the hottest people on the show and gave that person no development in the meantime????

#greys anatomy #grey’s anatomy #these are my half assed opinions and no I did not rate Weber and Bailey #if I forgot anyone they are very forgettable

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newssplashy · 6 years

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LOS ANGELES — Shonda Rhimes achieved almost everything a television producer could hope for during her long run at ABC. She made herself into not only one of the most prolific writer-producers in the business, but also a mogul, as the founder and head of the Shondaland production company. ABC filled its entire Thursday night lineup with shows created or produced by her — a body of work that includes “Grey’s Anatomy,” “Scandal” and “How to Get Away With Murder” — but Rhimes was restless.

Now, after signing a multiyear, nine-figure deal with Netflix, Rhimes will try to match or top her network success in the wide-open expanse of streaming, free of time slots, commercial interruptions, and restrictions on language and content.

In an interview at a NeueHouse work space here — during which she laid out her Netflix plans for the first time — Rhimes sounded confident that she will deliver something unexpected.

“Everybody thinks that there’s a ‘Shondaland show,'” Rhimes said. “No. There’s a Shondaland show that we made for ABC. Now I can’t wait to show everybody what a Shondaland show is that we make for the world.”

Netflix’s courtship of Rhimes began, in earnest, in the late fall of 2016. At the time, she had more than a year to go on her ABC contract, so she did not tell anyone at the network about the breakfast she had planned with Ted Sarandos, the chief content officer of Netflix.

With her agent, Chris Silbermann of ICM Partners, in tow, Rhimes and Sarandos took a table in the back of Republique, a casual restaurant on South La Brea Avenue. During the sit-down, Rhimes was frank with Sarandos about how she viewed her next act.

“I said, ‘I’m not going to make you a second ‘Grey’s Anatomy,'” Rhimes said. “That was one of the first things I said. And he said, ‘I’m not interested in you making a second ‘Grey’s Anatomy.'”

Word of the breakfast made its way to The Hollywood Reporter — but the brief item that ran soon afterward in the trade publication’s Power Dining column failed to identify Rhimes correctly: “Netflix’s Ted Sarandos and wife Nicole Avant ate breakfast with ICM Partners’ Chris Silbermann at Republique,” the item read.

“I was like, ‘For once, bias is working in my favor!'” Rhimes said. “Nicole and I are both black women. We couldn’t look more not alike. But somebody decided that’s who that must be. And it saved me a whole lot of trouble.”

Last August, Netflix and Rhimes had an agreement for a contract with a base salary of around $150 million, with incentives that could kick the producer’s earnings much higher, according to two people with knowledge of the deal.

The news of a streaming company’s successful wooing of a major network producer hit Hollywood like an earthquake. As Dana Walden, co-chief executive of the Fox Television Group, described it this year, “That sent a message to the entire talent community: There’s a new template in town. For any uber-premium creator, the value has gone up 10 times.”

— Eight Shows (One About a Grifter)

Rhimes, 48, is among the select few television producers whose work has helped define a cultural moment. In the ‘80s, there was Steven Bochco, with “Hill Street Blues” and “L.A. Law.” Next came David E. Kelley, of “Ally McBeal” and “The Practice” fame. And then there was Rhimes, who made her mark during what would turn out to be the last years of appointment television viewing.

The producer and director J.J. Abrams, who has known Rhimes for several years, said she brought something distinctive to network programming.

“The thing that you can’t deny is her characters are surprising, her characters are vulnerable, her characters are ambitious, her characters are broken, and her characters are involved in situations that are shocking and stressful,” Abrams said. “She is able to tell real stories in ways that feel relatable.”

Rhimes said she had two principal goals for her time at Netflix. One is to come up with shows that are more expansive than her ABC fare. The other is to turn Shondaland into an enduring company that will live within Netflix in the same way that Marvel exists inside the Walt Disney Company.

“It would be really amazing to me at some point down the line — not now — if somebody said, ‘There was a Shonda for Shondaland?'” Rhimes said. “It needs to be bigger than me.”

In the days after signing the deal, she was enthusiastic about the creative freedom Netflix had promised her, but found herself with an immediate problem: She had no idea what she was going to write.

“It wasn’t like I had a treasure trove of ideas in the back of my head that I’d been hiding and saving,” she said. “So the panic overtook me for a while.”

Abrams had sympathy for his friend’s plight. “You can have all the success in the world, but none of it matters when you’re there alone with the blank computer screen,” he said.

Over the next few months, Rhimes tended her continuing ABC work and scouted material that could be a fit for Netflix. But she still had no clue about what, exactly, she would throw herself into as a writer-producer.

“In October,” she said, “because of who I am, I was like: ‘Why don’t I have a show yet? I should have a show all written and ready to go. I should have eight episodes all written.'”

Sarandos reassured her: You just started, take a breath. Colleagues said there was no way Rhimes could go deep into something new when she still had to wrap up the seventh and final season of “Scandal.”

She flirted with a sci-fi project — “I’m obsessed with that, but it hasn’t cracked yet” — while warding off the well-meaning but irksome questions from people curious about her Netflix plans. After Memorial Day, she escaped the noise of Los Angeles for the quiet of Arizona.

“I was trying to meditate, which I can’t do,” Rhimes said.

That was when she came upon an article in New York magazine about a fashionable young grifter, Anna Delvey, who swanned about New York with a beautiful crowd — only to end up in Rikers Island on charges of grand larceny.

“I knew exactly what the show was,” Rhimes said, “which is a very clear indicator.”

She bought the rights to the story, by a New York magazine staff writer, Jessica Pressler, and started writing almost immediately.

“I felt comfortable,” she said. “I slept differently.”

Betsy Beers, Rhimes’ producing partner since 2002, said she could tell Rhimes was onto something.

“What I heard was the excitement,” Beers said. “What I wait for is a tone in her voice — you hear this level of excitement in her voice, where she can’t stop talking about it.”

In addition to the show about the grifter, Rhimes has seven other series in the works at Netflix, ranging from period dramas to a documentary.

— An adaptation of a group of lush romance novels set in Regency England — the Bridgerton Series, by Julia Quinn — that the “Scandal” veteran Chris Van Dusen will turn into a dramatic series.

— A series based on “Reset,” a book by former tech executive Ellen Pao about sexism in Silicon Valley. Rhimes said she was likely to write this one.

— “The Warmth of Other Suns,” the award-winning 2010 nonfiction book by Isabel Wilkerson on the flight of African-Americans from the Jim Crow South to the North and the West. It will be adapted by actress and playwright Anna Deavere Smith.

— “Pico & Sepulveda,” a series set in Mexican California during the 1840s.

— An upstairs-downstairs series called “The Residence,” based on the 2015 nonfiction book of the same title, by Kate Andersen Brower, about the private lives of U.S. presidents, their families and White House staff.

— “Sunshine Scouts,” a series that Rhimes described as a “darkly comic, ironic, twisty show about some foul-mouthed teenage girls who are trapped at the end of the world.” The writer and director Jill Alexander will be in charge of this one.

— “Hot Chocolate Nutcracker,” a documentary centered on dancer and choreographer Debbie Allen and her reimagining of the holiday ballet.

— The Shondaland Dream

Rhimes said the idea of building out Shondaland had been with her for some time. She stressed that she had not grown bored with the work she had been doing for ABC — far from it — but she found that she was able to solve crises that once occupied a week of her time in 30 minutes flat. She added that she remained proud of her ABC shows and the spotlight they threw on characters who had gone underrepresented in Hollywood.

“We created a brand and an audience for ABC that they did not necessarily have before, which was a certain kind of woman,” Rhimes said. “I literally remember when we started, them saying that no woman is going to watch a woman who is this ‘not nice’ and this sexually active and this competitive.

“I really hate the phrase ‘smart, strong women,’ but the ‘smart, strong women’ thing really exploded with the shows we made,” she continued. “And people followed along in a way that felt really good for network television.”

In contrast with her fellow super producer Ryan Murphy, who had talks with Amazon and Fox, his studio at the time, before he decamped to Netflix, Rhimes knew exactly where she wanted to achieve her Shondaland dream: Netflix.

Sarandos was eager to sign her not only because he was a fan of her work but because of something he noticed in Netflix’s closely guarded data. “More than half” of Netflix’s 124 million paying subscribers have sampled one of the Shondaland shows available on the streaming service, he said in an interview.

As Rhimes works to develop her lineup, her production company is on its way to a new location: Raleigh Studios, in Hollywood, about a mile from the Netflix headquarters. While checking out the property, Rhimes and a group of her Shondaland colleagues spent a while staring at a framed photograph on the wall of the United Artists founders Charlie Chaplin, Mary Pickford, Douglas Fairbanks and D.W. Griffith. Given Rhimes’ ambitions for the company, which she sees as a 21st-century incarnation of that artist-driven studio, she considered it a good portent.

“We have this whole dream,” she said. “There’s going to be a row of offices, and we’re all going to be working on our scripts at the same time. And everyone is going to come out of their offices and scream about how bad their script is: ‘Does anyone know what I’m supposed to do for Act 5?’ And everyone is going to drink Scotch and then run back to work.”

“I don’t think that’s what’s actually going to happen,” Rhimes continued. “But it does feel really good to know that it does feel like a very United Artists, creative kind of place.”

This article originally appeared in The New York Times.

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