There is some real life in the eighteenth season finale of Grey’s Anatomy, the longest-running medical series ever that continues to drag on from renewal to renewal, perpetually going against the original plans of Ellen Pompeo, who complains every other day about the “permanent job” of Zalonian memory only to be persuaded to stay where it is by contracts more and more armored and more and more advantageous. Yet, in the 400th episode broadcast in Italy on Disney + which marks the end of the season, it’s a bit like Ellen peeping into Meredith’s head and heart, given that the protagonist is at a particularly interesting and difficult professional crossroads: remain tied to the Gray Sloan Memorial or take a leap in the dark by moving to a clinic in Minnesota ready to hire her?
It’s as if showrunner Krista Vernoff, who inherited the title from Shonda Rhimes, who has since migrated to Netflix, had decided to bring the person and the character together so that Meredith’s worry was projected into Ellen, who, like the protagonist, despite her efforts just can’t let go of the hospital that first trained her as a resident and then welcomed her as a doctor. Of the original training of the freshmen of Grey’s Anatomyon the other hand, only she remained, and it is now clear that without her the series would collapse on itself, since it seems almost impossible to find a character strong enough to replace her – not to mention that the name of the series is linked to the surname of the protagonist, creating the same short circuit that Rai will have to face now that Don Matteo he no longer has don Matteo in the cast, but don Massimo.
Despite Meredith / Ellen’s professional crossroads it is, however, a shame that even on this round Grey’s Anatomy has settled down without having enough courage to push himself further, circling in the air like a plane waiting for instructions from the control tower to finally be able to land. New entries like Peter Gallagher and the return of Scott Speedman and Jesse Williams and Sarah Drew – aka Jackson Avery and April Kepner – to rock the series. Beyond the (too many) subplots left open, it would really be the case to understand in which direction it is more appropriate to go. The ratings are a justification up to a certain point: what should count, right now, is the self-love that the series should have, as well as for itself, also for the public who continue to watch it out of habit, waiting for the executives have the courage to put a point.
Katherine Heigl on Grey’s Anatomy: “Massacred for telling the truth”
Grey’s Anatomy: why Ellen Pompeo should stop complaining
Katherine Heigl breaks the silence: «What I think of Alex Karev’s abandonment in Grey’s Anatomy“
To receive the other cover of Vanity Fair (and much more), subscribe to Vanity Weekend.
Source: Vanity Fair
