
Why we should all be thankful for ‘Grey’s Anatomy’
We should all be thankful for shows like “Grey’s Anatomy,” and we shouldn’t discount the power of television and film to explore diverse experiences.
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We should all be thankful for shows like “Grey’s Anatomy,” and we shouldn’t discount the power of television and film to explore diverse experiences.
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This week, “Grey’s Anatomy” continued to uplift survivors’ stories through its characters, by highlighting the physical toll of emotional labor.
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Last week, Shonda Rhimes’ Thursday night (#TGIT) series “Grey’s Anatomy” and “How to Get Away with Murder” returned with gutting plots.
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Both “Grey’s Anatomy” and “How to Get Away with Murder” dove right back into where they left off from their winter finales.
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This week’s episodes are the midseason finales for both “Grey’s Anatomy” and “How to Get Away with Murder,” and while both shows leave us with Earth-shattering cliffhangers, neither disappoints in terms of drama.
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The grass is greener on the “Grey’s” side than it is on that of “Murder,” but there are still lofty trails ahead for all the residents of Shondaland.
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As they reach the midpoint in their seasons, it’s near-inevitable that “Grey’s Anatomy” and “How to Get Away with Murder” would hit lulls in their respective dramatic climbs.
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Both “Grey’s Anatomy” and “How to Get Away with Murder” focused on unresolved conflicts this week: “Grey’s” between siblings and “Murder” between lover
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“You have no children, you don’t know what it feels like to lose them,” Soraya screams, calling to the audience to recognize that not only did Annalise recently lose Wes, she also lost her baby in-utero years ago.
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Both “Grey’s Anatomy” and “How to Get Away with Murder” seem to be going through shifts in focus: the former from trauma to joy, the latter in drama to justice.
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