Archives for posts with tag: drama

The Blacklist - Season Pilot

Harry Lennix is pulling double duty this September. The 24 and Dollhouse alum is one of the stars of NBC’s highly anticipated new drama series The Blacklist, and he’s also starring in a new star-studded film called Mr. Sophistication, which is out today. BFTV connected with Harry recently to chat with him about both projects, and how he became the veteran character actor we’ve come to know and enjoy.

On The Blacklist, Harry plays FBI Assistant Director Harold Cooper, the boss of newbie agent Elizabeth Keen (Megan Boone, from Law & Order: Los Angeles), who has a past with the master criminal that Keen has to work with. “I was excited to be asked to be a part of it,” he told us. “First of all, it’s got a masterful actor in James Spader. Secondly, the dialogue and the storyline is intriguing. I was very exciting about it. It’s a cut above most of the material that we get.”

While he couldn’t reveal too much about the show NBC is banking on as its next big drama hit, Harry did give us one hint that’s already got us curious. “To a large extent, we’re finding out who these characters are and what they’re going to be doing,” he said, before he revealed, “The longest-standing relationship on the show [is] between James’s character and my character. I think that’s rife with potential and possibility, and I’m excited as everybody else.”

He thinks the relationships are what’s going to separate The Blacklist from your garden-variety crime show. “You’re interested in the characters,” he continued. “There’s a great combination between procedural drama and interpersonal relationships and I think it’s uniquely positioned in that way.”

Here’s the trailer for The Blacklist.

Harry is a TV veteran, who’s best known to audiences for roles like Islamic-American activist Walid Al-Rezani in the sixth season of 24 and former cop Boyd Langton in Dollhouse. He’s also appeared on shows like ER, House and Emily Owens M.D. But none of these are his favorite small-screen part. “My favorite show was Commander in Chief,” he said, naming the ABC political drama for which he earned an Image Award nomination in 2006. “I played the Chief of Staff. I had a blast doing it. In a lot of ways, I wish that show was still on. I think it was ahead of its time in a lot of ways, and I don’t think it was given its just due.”

Playing authority figures like an FBI Assistant Director or the White House Chief of Staff is something Harry is familiar with both in television and film; he also appeared as a general in Zack Snyder’s blockbuster Man of Steel earlier this year. Why does he think he keeps ending up in power? “I’m a tall fellow. I have a deep voice. I appear authoritative,” he theorized.

“Although in reality, in fairness to my career, I’ve played a number of parts. If you look at my work in feature films over the years, I’ve been in Spike Lee movies, [and] in my own film, I play a comedian who ruined his own career. I think that just the more popular films and TV series have me in more or less authoritative roles.”

1 of 2Next pagePhoto Credits: NBC

Mike O'Malley

Glee fans know Mike O’Malley as Kurt’s (Chris Colfer) father, a single dad who dated Finn’s (Cory Monteith) mother. O’Malley has a new show on NBC, Welcome to the Family, and when NBC presented the show to the Television Critics Association, O’Malley shared his thoughts on Monteith’s death and plans to appear in the Glee episode about Finn’s funeral.

“I hope to,” O’Malley said. “I’m here doing Welcome to the Family and we shoot one episode five days a week, but Burt is a very, very important role to me. It’s been a great, great part and I’ve said to all those guys I’ll work early in the morning, late at night, Saturdays, Sundays to participate in not only continuing to be on that show, but honoring Cory and his passing and that character. He is on the show my stepson so I certainly plan on being there, and they may possibly be shooting that episode in the time we’re on hiatus.”

Recalling his time with Monteith, O’Malley praised his work in a famous scene where Burt caught Finn using the F-word towards his son. “I had many of my scenes on Glee with either Chris Colfer or Cory Monteith,” O’Malley said. “I think that I had what was probably the toughest scene I’ve ever acted in my career as an actor opposite him when I had to throw him out of the house because his character Finn out of the house because of a slur that he used. It was remarkable to me when we were shooting that scene over and over again, the depth of emotion that he was able to portray, the sorrow, the shame.”

Since Monteith died, all of his Glee costars have spoke about his kindness and work ethic, O’Malley included. “Ever since I met him, he was the fictional quarterback on that show and he was the very real quarterback on that set. He was an incredibly warm guy, a guy who was welcoming to everyone who came on that show from the beginning through the new folks who came onto the show this past year. He was a very, very hard working actor. I just loved working with him. He was a great guy. I miss him very much.”

Glee returns this fall on Fox and look for Welcome to the Family on NBC.

Photo Credits: PR Photos


Raylan Givens can’t seem to catch a break. In this week’s Justified episode, crafted from a story idea co-written by none other than the legendary Elmore Leonard himself, that’s bad for Raylan but great for those of you scoring at home.

Six days ago, Raylan was turning Jody Adair (guest star Chris Chalk) – the guy he caught and stuffed in his trunk in the season premiere – over to his old friend the bail bondswoman. Once she’s got her prey, she moons over Raylan for a bit to her partner, but is shut up by the need to make a sudden pit stop. Once she’s gone, Jody explodes out of the back of her van, kills her partner, and then shoots her. This horrifies his apparent partner in crime (guest star Michael Gladis), who didn’t think anyone was going to die. You’re on the wrong show for that, dude.

In the present day, at the Marshals Office, Raylan and Art discuss how the Drew Thompson case is going nowhere. Art suggests that Raylan go talk to the former Harlan sheriff and then his father – two people our hero wants absolutely nothing to do with. On the road, Raylan gets a call from local law enforcement about his friend’s untimely death, and tells the deputy “I think I know who you’re looking for.”

Johnny Crowder (guest star David Meunier) is sleeping with Teri (guest star Cathy Baron) the working girl that he saved last week, but he knows it wasn’t Max that hit her. She pleads with him to leave it alone, but he’s able to figure out in thirty seconds that it was Colt, sending her into a panic. “He was tweaking, pissed off, asking about Ella Mae,” she tells him, which clues Johnny into the fact that Ella Mae is still alive.

Jody tells his still-complaining accomplice about his plan to come into a large sum of money, and is sitting across from him when said accomplice gets a call from the cops about how well he knows Raylan’s late friend. With that they know they need to get the heck out of there. The two of them decide to visit Jody’s ex-wife’s place, but they’re beaten there by Raylan, who meets Jackie Nevada (The Secret Circle star Shelley Hennig), who’s housesitting while Jody’s ex is at Dollywood with the kids. This being Justified, she’s far more than just a friendly civilian with an awkward name. Raylan susses out that she’s likely working him from the moment she gets into his car.

Elsewhere, Boyd is not looking forward to attending Napier’s fancy party, but Ava convinces him that it’s the best way for them to find which one of the rich old folks there could be Drew Thompson. The two of them awkwardly mingle, with Ava getting a tour and some career advice from the party’s hostess, and Boyd finding out everyone knows his name. It’s like Cheers with better decor!

1 of 2Next pagePhoto Credits: FX


The late 1990s, beginning with Kevin Williamson’s Scream, were populated by movies that were about young people taking horror movies too seriously or urban legends too seriously; these movies offered insight into young America by studying its consumption of media and commenting on its consumption of America, either arguing for or against the media’s influence on violent behavior. The CW’s new series, Cult, which premieres tonight at 9PM, is about people who take a TV show way too seriously. Cult stars Matt Davis, who got his start in the sequel to Urban Legend where he portrayed twin brothers, as Jeff, an ex-Washington Post reporter, who gets caught up in the mystery of the show-within-the-show, which is also named Cult, after his brother disappears following a freak-out in a public setting about the show coming after him. Jeff didn’t believe his younger brother, Nate, but he can’t ignore the fact that something weird happened.

Creator Rockne S. O’Bannon seems acutely aware of what he’s doing with Cult. A lot of Cult is a Meta/critical commentary on the audience watching, about its behavior and reaction towards a show, and where fandom becomes fanaticism. The show-within-the-show airs on The CW. The show-within-the-show uses the same design and music for its opening credits as the actual show we’re watching. In fact, the “Pilot” begins with a tense scene in which a cop is trying to track down the leader of the cult, only for the dramatic ending to be revealed as the end of the episode-within-the-episode. Horror movies were the focus in Scream. Urban legends were the focus in Urban Legend. Fan groups are the focus of Cult. Fan groups have gotten more press in the last decade, especially whenever a fan group sends goodies to a network in hopes the goodies will convince the executives not to cancel their favorite shows, or when Everwood fans rented a Ferris Wheel, or whenever a show launches online content for fans to consume and they spend hours figuring out what’s going on and how it’s related and get so pissed when it’s only tangential to the series. O’Bannon’s thesis about fan groups’ and the shows they love isn’t unclear, as unclear as the series’ signature line “Well, hey, these things just snap right off.” One character remarks that shows don’t go to air with executives, creators, etc., hoping for it to be a cult show because cult shows only become that after cancellation. Another character working for the show-within-the-show, Skye, is increasingly disturbed by the more intense fan sites she finds. Her producer ignores her concerns, so she takes to Jeff when he visits the set looking for answers about his brother. They become a team investigating Cult.

Cult captures the late 90s genre tone really well. Jeff spends plenty of time walking around his brother’s apartment, watching episodes of Cult to find clues about what happened to his brother. Jeff watches the show for the first time as he fills up his car’s gas tank. Billy Grimm, the fictional leader of the show, portrayed by Robert Knepper, talks directly to the viewer. Jeff shakes his head initially, but what he found superfluous and silly, what he dismissed as his brother’s needless obsession, becomes much more as he seeks to find meaning in Billy’s words about what happened to Nate. It’s like the characters in Scream or Urban Legend using movies and the legends to anticipate a killer. Early scenes between Jeff and Nate seem like a homage to 1998’s Disturbing Behavior, specifically the scene the night before Gavin’s changed, when he’s freaking out, and the next morning he’s dressed like a prep boy. Jeff finds a picture of Nate dressed like Billy and furrows his brow. There are mysteries begetting more mysteries, all starting with Nate. The deeper Jeff gets into it all, the more bizarre, and yet believable, it becomes.

What’s really going on in the show is only hinted at. “You’re Next” is the pilot, after all. Pilots are designed to hook its potential audience to come back and become the audience. Cult has a few hookable elements. First, there’s a mysterious executive producer who is the man behind the curtain, a mystery in the show that’s probably an actual mystery, a place where fanatics of the show meet and share messages, an absolutely jaw-dropping Lucy Hale look-alike who just looks absolutely dynamite in a mini-skirt and she also looks menacingly at people when they’re not looking at her while serving food and beverage at the fan place, an executive producer portrayed by Tom Amandes that may or may not be clueless, and so on. People can’t be trusted, because of the show. Jeff suddenly views everyone in his town much differently. Cult’s basically Disturbing Behavior-meets-Scream.

Perhaps there’s a reason the show feels so similar to movies made over a decade ago. O’Bannon’s pitch for Cult got rejected by The WB nearly seven years ago. O’Bannon probably had the idea in his head for over a decade. Josh Schwartz and Stephanie Savage are executive producers on the show. The duo are responsible for The Carrie Diaries and Gossip Girl on The CW. Schwartz made a name for himself with The O.C. Chuck was never highly rated but it was critically adored and beloved by fans. Schwartz and Savage could get a show that just shows leaves falling off trees for 41 minutes onto The CW’s primetime lineup.

Cult’s not going to blow your mind. Cult should appeal to a specific kind of fan base, the kind of fans weaned on late 90s horrors and thrillers, the kind of fans who’ve gotten obsessed with genre shows, or fans that really like The CW’s existing genre shows. Matt Davis is solid in any role he’s given. Davis grounds his characters, meaning they don’t get too high or low, and so he grounds the show in a way. What’s going on in Cult is complete nonsense. The CW is apparently so popular that gas stations put the channel on for customers to watch during the minute it takes for the gas tanks to fill. Its shows are so watched that half of a town is fanatical about it. Again, though, Cult can be fun for a certain type of fan, one predisposed to this kind of entertainment.

Other Thoughts:

-The CW is running promos for the show. The network’s twitter handle created hash tags for the show. The tag line for the show is: “Don’t watch this.” Only a small segment of the North American population watches The CW. The marketing department shouldn’t have told people not to watch the show. People see an ad for The CW and probably make a mental note not to watch it. The tag line may get some people to tune in that otherwise wouldn’t, but, still, it’s a bad idea.

-Tom Amandes plays Gary Carter, one of the producers of Cult. He’s listed as a guest star. I’d like for him to appear in as many episodes as possible. Amandes played the terrific Harold Abbott on TheWB’s Everwood. I’m surprised he’s not gotten more work since. Treat Williams is EVERYWHERE on TV these days. Where’s the love for Tom? Better yet: Lenkov needs to hire Amandes, keep Williams around, and have them solve a crime in 5-0. Okay, I’m done.

-I remember Robert Knepper from his arc on Heroes. I feel like he’s playing the same character on Cult. I’m also going to guess Billy Grimm is Steven Rae.


Revenge showed the sailboat Amanda at the bottom of the ocean way back in its September season premiere. The series did this in season one and the payoff in February was worth the wait. I insulted the show way more than I complimented it during season one, but the payoff to the shooting on the beach during the Fire and Ice party was impressive. It felt planned whereas every story in season two feels unplanned. Conrad’s going to run for governor? Of course he is. I may need to stop writing about the show when that storyline begins. The mystery about the sunken boat was the only plot thread I wanted untangled. The sunken boat story has been the only element of season two that had suspense and mystery. It took nearly six months and was not worth the wait.

I think Revenge is caught between two weird things in its second season. Whatever made a show work in its first season isn’t necessarily what the show’s writers want to repeat in its second season. Everwood and LOST had all-time great first seasons. I will tear up thinking about both, if I’m thinking about both for a long time. That’s how much those seasons mean to me. Revenge’s first season is far from a classic, but my opinion isn’t shared by the people who loved the first season of the show; so, naturally, they want what made the first season what it was. I’m still convinced half of the story choices in LOST’s second season were made to piss off fans. Anyway, Revenge is trying to stretch its narrative legs with the conspiracy Initiative plot, which isn’t going well at all, and it’s fleshing out the secondary characters more. I feel I can count on one hand the number of stories that were about Emily. Revenge is Emily’s show, but it has felt so much less her show through fourteen episodes. So, the show should return to what worked in season one. I didn’t like the show anyway in season one, but at least it had purpose.

Significant stuff happens in “Sacrifice.” Tragedy strikes, circumstances change, and plans get modified. Helen’s death is a temporary annoyance for the Graysons. Daniel’s learning how to be as horrible as his parents. Victoria and Conrad plan to frame Fake Amanda for the murder of Helen. Daniel objects because of Amanda’s Charlotte’s half-sister. Daniel, though, gives into the plan after less than a little bit of coaxing. His parents are old pros. They blamed a horrific plane crash on David Clarke without missing a posh party in the Hamptons. The Graysons play-act throughout the episode, especially when another Initiative member appears to investigate Helen’s disappearance. The Initiative plot has actual potential with the addition of the new guy, Trask, as portrayed by The Hour’s Burn Gorman. Gorman’s made it an art to not smile. He was terrific on The Hour, and terrific in his small role in The Dark Knight Rises. Gorman definitely adds a threatening presence to the show–a presence the show lacked with Helen Crowley.

Fake Amanda’s set-up to take the fall for the Graysons; however, Fake Amanda dies in Emily’s arms as the Amanda sailboat burns and sinks behind her. The tall, angry Ryan brother wanted to kill Fake Amanda and Jack for screwing up his deal with Conrad. Nick makes threats, waves his gun, make demands, but nothing happens until Jack and Fake Amanda try to escape. Conrad made Nick a new deal to get rid of Fake Amanda, get her laptop, and give it to him. Jack’s shot during the escape attempt. Fake Amanda stays on ship. Nick knocks her out. Emily eventually finds the boat. Nolan and Emily went to find her after Emily saw a picture with Nick’s head in the corner of the frame. Emily’s completely badass once on the boat. She basically kills Nick, the boat explodes, and she and Fake Amanda try to keep afloat on the life raft. Fake Amanda dies, though. Briefly the women’s close bond and friendship returns. No one will recall this except for me but I wrote a rather long thing about the sexual overtones between Emily and Amanda during Fake Amanda’s first episodes. I kept waiting for a reveal about their sexual relationship. There was something there, and that something returns in their final scene together. Emily cradles her, and they look like they’re going to kiss on the lips for the final time, like they used to, but they never did. Anyway, Fake Amanda dies, which strengthens Emily’s resolve for revenge.

Indeed, Emily needed a push to return to the revenge plan. The writers seemed like they fell in love with the Initiative and just went with it. Emily’s been trying to get close to the group. I mean, she should since they’re involved in her father’s demise. Emily hasn’t been pissed off in a long time. When she’s pissed off, Revenge is better. Jack’s life hangs in the balance, but he’ll live. The Graysons stand out on the upstairs balcony and celebrate their own brilliance in pointing Trask towards Fake Amanda. They don’t know she’s dead. I can’t see how Trask will be content with that. I can’t see how Fake Amanda’s death gets the Graysons off scot-free. The bad folk don’t succeed twice on night time soap-operas.

Meanwhile, Aiden spends time with Padma and talks Initiative issues with her. Padma tries to play hard-ball with Trask in telling him she won’t do what he, or they, want until she has proof that her father’s alive. I don’t remember what the result of the story was. I don’t know. I don’t care about all of The Initiative plot.

Revenge is trying to pull everything together, it seems. Certainly, the A story is the turn of the season. I remember what happened after the turn of episode fifteen last year, when the Fire and Ice mystery was resolved: Daniel turned heel, the narrative jumped forward, and the show sucked even more. Given the poor quality of the second season thus far, one hopes the final eight episodes of the season will be good.

Other Thoughts:

-Jack told Fake Amanda that she slept in. I threw my hands up in the air in exasperation. I understand characters need dialogue. Jack’s sleeping in line was a complete waste. He could’ve said so many different things. Maybe a comment about the beauty of the sea, the color of the sky, etc. Also, we’re to believe Nick didn’t make a single sound? He was holed up in a wall pretty much as Jack and Fake Amanda made love for many hours.

-Emily Vancamp’s grown into her role as badass ass kicker. She rocked it in her scene with Nick.

-Declan failed to fix the air conditioner in the bar. He had a line about time of death which was meant to mean something else to the audience given what was happening to Declan’s brother. I don’t think that line’s intent landed.

-New episodes of Revenge return on March 10.

-Mark B. Perry & Joe Fazzio wrote the episode. Stefan Schwartz directed it.

Photo Credits: American Broadcasting Companies, Inc. All rights reserved.


This week’s episode, aptly titled “Everybody Hates Hilter,” tackles the bleak fodder that is World War II. Of course, this being “Supernatural” and an episode penned by the deliciously weird Ben Edlund, it managed to pack some belly laughs and golden moments to lighten up fare stemming from one of the darkest moments in history.

After I initially watched the episode, I honestly was clueless as to what it was about or even what had happened. This was a windy, exposition-heavy episode that spanned decades, families and unearthed yet another near-extinct secret society. I watched it again and took more notes than Sammy in a lecture, so let’s dive in, shall we?

The episode opened at a secret Nazi camp in 1940s Belarus. The direction and staging of the cold open is a thing of beauty from the uniforms to the set design. Naturally, it all gets splattered with blood and guts as a monster so frightening, it makes friggin’ Nazis scream in terror invades their camp. The leader of this motley crew of racist murderers doesn’t try to exit through a secret trap door, but casts a spell instead.

As the monster rips a few more soldiers in half with gusto and bullets bounce off his chest like Superman, I realized that this opening is similar to that of last week’s with Henry Winchester’s creating a portal to the future. The monster has fierce face and body so muscular, it looks like it was carved out of rock. The Commandant spouts finishes his nefarious spell, and then vanishes along with a precious book in a magical, concealing fire.

In the present, in Lebanon, Kansas, the mysterious key from last week’s episode unlocks a forgotten bunker that holds all of the intel on the paranormal as it has been observed for a thousand years. Sam almost cries with joy as he finds the geek equivalent to Mecca-a giant library. While Sam devours all of the precious knowledge, Dean opts to test out the shower room. The boys, who have been virtually homeless since early for nearly two years, have their very own batcave. “You know damn well we could use a break. What if we finally got one?” Sam says.

The library set reminds me of Sunnydale High’s library in “Buffy The Vampire Slayer,” but the the Men of Letters are essentially American watchers, so it makes sense. A robe-wearing, sword-wielding Dean wonders just how relevant 70-year-old information could be, and Sam faceplants in the research to show him.

Elsewhere, a rabbi ventures into a facility to examine a mysterious collection. This scene is brilliantly shot, too. It focuses on the details, his use of white gloves, the mysterious bins, even the walls are strangely non-descript and clinical. Just when you’re trying to wonder what kind of government facility he’s in or if the rabbi outfit is just a cover, the camera pulls back to reveal that it’s just an ordinary city library. The old man, who we will later come to know as Isaac, finds what he has been looking for and desperately wants to hide it.

1 of 3Next pagePhoto Credits: The CW Network

David Meunier

Justified‘s Kentucky is full of memorable characters. Beyond the show’s phenomenal leads is an ensemble rich in talent. One of those excellent supporting actors is David Meunier, who’s become a mainstay as Boyd Crowder’s cousin and right-hand man, Johnny Crowder. BFTV recently checked in with David to learn more about the man behind Johnny and see what’s ahead for him in season four of Justified.

“Every day I go to work on Justified, I tell myself I’m glad I stuck with [acting],” said David, who first got involved in the craft while in college. “I think one of the things that really got me into it initially, I had all kinds of ideas of what I wanted to do, [and] acting would be the one thing that would allow me to do all of those things.”

Prior to assuming the role of Johnny Crowder, he did many different things – playing a soldier in 2008’s The Incredible Hulk, making an uncredited appearance in the third Pirates of the Caribbean movie in 2007, and landing a string of guest appearances on TV shows ranging from Monk to Criminal Minds.

Justified, however, has given David the best chance to stretch his acting muscles. He’s appeared in more than two dozen episodes of the FX original series, and unlike your average supporting character, audiences have seen Johnny change as his allegiances have shifted while he continues to hold on to any piece of Harlan County’s criminal enterprise that he can – even at great cost to himself.

“The character that I play has been really fun, and the evolution of Johnny,” David explained. “Season one I was running around as Bo Crowder’s right hand man, and that didn’t end very well. [Then] I’m getting more involved with my cousin, and now we’re in season four and I decide to make my own move independent of my cousin. There’s so many layers to Johnny [and] that’s always interesting to me. I’m always trying to weave more in there.”

Johnny was recently seen offering up Boyd to Dixie Mafia boss Wynn Duffy (guest star Jere Burns), which would seem to be an unwise move on his part. But considering that Johnny was already put into a wheelchair by Boyd, how much worse could things really get for him? “The ultimate price, I guess, could be paid. I could end up like Devil and get a bullet in my head. That’s the worst case scenario,” said David, who added that “They haven’t really told me how this is going to play out.”

1 of 2Next pagePhoto Credits: PR Photos

Grey's Anatomy

A few seasons ago, Meredith Grey proclaimed, “Change; We don’t like it, we fear it but we can’t stop it from coming. We either adapt to change or we get left behind.” During this week’s episode, appropriately titled “Bad Blood,” we witnessed the doctors of Seattle Grace struggle to deal with an unwelcome change in their once comfortable, familiar workplace.

Several new protocols have come into effect upon Dr. Cahill’s arrival, including cameras throughout the hospital, medical supply restrictions and uniform operating procedures; none of which impress Seattle Grace’s staff. But have no fear, Derek and April have a plan to save the hospital – as well as their beloved ER. Well, at least that’s what they think.

The two plan to pitch to doctors in various departments in order to save the ER. Before they even get to start, Derek gets called into surgery, leaving April alone to initiate the talks. Bad idea. April gets shut down by practically every doctor she talks to. Derek scolds her for talking more about the numbers rather than the importance of it all. He chats up a fellow doctor and shows her how it’s done (easy for you to do, McDreamy). But it turns out there’s one person Derek can’t persuade – Dr. Jeff Russell, who also turned April down earlier. In exchange for his support, Dr. Russell wants Derek’s parking spot, located right next to his own. Derek pulls the “I-clipped-your-sister’s-aneurysm” card, which gets passed right over. Guess that means it’s time to get a new spot, Derek.

Derek and April finally get the support they need and bring their results to Owen and Dr. Cahill, who have just completed a extensive surgery on an emergent patient. Dr. Cahill insists the two misunderstood what she said because the ER can’t (and won’t) be revived. Instead of getting the answer they hoped for, Owen, Derek and April are stunned to learn that Dr. Cahill is really just preparing the hospital for a suitable buyer, leaving the fate of Seattle Grace up in the air. How’s that for change?

Meanwhile, Owen and Dr. Cahill spent most of the episode in the OR, ironically, operating on an ER patient as opposed to number crunching. Jackson comes in and begins to bash Dr. Cahill but quickly regrets it after he realizes she’s right across from him. She lets it slip right off her back, explaining to Owen that “I’ll turn the hospital around, just like the 12 before this.” Owen learns that Dr. Cahill never received a thank you for any of the work she’s done in the past, so he takes the opportunity to inform the patient’s family after surgery that she’s the person to thank.

Cristina and her intern, Leah, treat a patient who desperately needs a blood transfusion. The problem? Their patient is a Jehovah’s Witness. Due to his beliefs, he’s unable to accept a blood transfusion. Instead, Cristina and Leah complete a bloodless aortic transsection, followed by an endovascular repair. After surgery, they inform the family that without a blood transfusion their patient’s chance of survival is very slim, but the family refuses to go against their beliefs. Cristina assures Leah that they have to respect the family’s wishes, which she can’t accept. Leah sneaks into the patient’s room and tries to switch out the bag with blood, but she’s caught by the camera and thrown off of Cristina’s service. Their patient eventually passes away.

Arizona, Alex and Callie are faced with a difficult teenage patient who went through two hip surgeries and refuses to get out of bed. When Alex and Callie’s methods fail, Arizona believes she’s the only one who will get through to her. After showing the patient her prostethic leg, Arizona is appalled when the girl gives her attitude. Arizona yanks the girl out of bed, forcing her to take her first steps.

Bailey, Richard and Meredith all participate in a skills lab. Bailey unleashes her hilarious competitive side on the two but stops when she sees Meredith is visibly preoccupied with something else. She follows Meredith outside, who’s convinced something is wrong with the baby. Bailey reassures Meredith the baby is just kicking. It’s a sigh of relief for the MerDer fans, who later get to see Derek feel Meredith’s stomach as the baby kicks again. Aww!

Richard insists to the instructor that he’d like to move forward with his own personal method, dubbed the “Webber Method,” for hernia repairs. The instructor denies his request, stating the hospital is changing the protocol to make the hospital more efficient; therefore quick, uniform hernia repairs are necessary. The instructor eventually gets so fed up with Richard’s nagging that he blurts “The patient’s don’t matter!” in front of the whole class. Awkward! He tries to backtrack, but it’s too little, too late. The damage has been done.

Who said change was a good thing?

What did you think of this week’s episode? What do you think will happen to Seattle Grace? Let us know below!

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