Shonda Rhimes has been winning awards left and right recently! There was the Director’s Guild Diversity Award last year (which got all sorts of controversial press because of Shonda’s statement that she was “pissed off” that they even needed an award for such a thing) and recently the Sherry Lansing Leadership Award, which made headlines as Shonda broke the glass ceiling analogy by explaining that all the women who came before her cracked it first. Now she’s set to receive another award: The Paddy Chayesfsky Laurel Award for Television Writing Achievement (isn’t that a mouthful) from the Writer’s Guild of America.
Named after one of the most influential writers in entertainment history, the Paddy Chayefsky Laurel Award for Television Writing Achievement is the WGAW’s highest award for television writing, given to writers who have advanced the literature of television throughout the years and made outstanding contributions to the profession of the television writer. Past Television Laurel Award recipients include Steven Bochco, Susan Harris, Stephen J. Cannell, David Chase, Larry David, Diane English, Marshall Herskovitz & Ed Zwick, Joshua Brand & John Falsey, and, most recently, Garry Marshall.
See the names of those who have previously won this award? All white people. Only two women. Shonda will be the first black women, or woman of any color to receive this award — the guild’s “highest” award. That’s amazing. That’s inspiring. In a world where people of her gender and color are often marginalized, Shonda is not only making strides but giving opportunities to others who are pushed to the side. She’s showing us that you can have black leads and a diverse cast and dominate the ratings (competing even with football of all things). She’s providing complicated characters of varying colors who aren’t stereotypes but aren’t perfect either. And she’s writing (and/or producing) compelling television that has people tweeting and talking about episodes weeks after they air.
I love that she is getting all of this recognition and while Grey’s Anatomy is in its 11th season (!!), this should still be considered just the beginning of her career. I can see her name being attached to loads of TV shows, even if she’s not writing them, à la a lot of the other names on that list of Laurel Award recipients past.
Shonda’s not a perfect writer. There are think pieces all over the internet with regard to her characters and her writing style, but she hadn’t written TV before Grey’s Anatomy and all writing is a process. I think she is, more and more, realizing her brand and sees what’s working best for audiences and is adapting to it. Rhimes herself, in awards speeches she’s made, has mentioned how competitive she is, so receiving these awards means she’s only going to continue to grow and try to outdo herself. And I am excited to see what she’ll come up with next.
Check the press release here: Shonda Rhimes to Receive WGAW’s 2015 Paddy Chayefsky Laurel Award.
From what I’ve noticed of this season’s midseason finales, is that it’s been a rough one. Characters have died left and right, been fired, gone missing, etc — I’M SO WORRIED ABOUT ABUELA! — and a whole bunch of other trials that don’t even happen at season finales! But let’s check in with some of our new and returning characters of color this season. How are they doing as characters and how are their shows faring so far this season?
[a few midseason finale spoilers below, particularly Sleepy Hollow, Scandal and Jane the Virgin. Proceed at your own risk.]
Sleepy Hollow
They did what to who? #RIPBelovedCharacter
Over on Sleepy Hollow, it seems like Abbie (Nicole Beharie) has been getting the short end of the stick and fans are noticing. I’m three episodes behind, but from what I saw before I needed to catch up and what I’ve heard with regard to the over-inclusion of Katrina and the killing of Captain Irving (Orlando Jones), it seems that what we once loved about Sleepy Hollow is being written out of existence. (Killing Irving feels a bit like the Black Guy Dies First trope, honestly. Though John Cho’s character did die last season and he was also a major character. That felt more nuanced, however, and Orlando Jones was promoted to main cast and then killed off, so it certainly speaks to the typical horror trope. Le sigh.) Here’s hoping that Irving is magically resurrected and brings new life back to the show. Also, less Katrina. Hopefully this is mere sophomore slump and things will turn around, but if they don’t do it soon enough, it won’t make it to a season 3.
Gotham
Gotham’s downfall but the show’s saving grace?
One time slot later, Jada Pinkett-Smith has been owning things as Fish Mooney in Gotham City, but can she save an otherwise kinda dull show? I’m also three episodes behind on that one, but I’m not sure I have the desire to tune in again. Fish is the brightest (visually, and she’s definitely up there intellectually) and most interesting character on the show (Penguin holds about even in most fans opinions), so hopefully they give her enough to do. But I’m a little bored by Gotham so far.
Jane the Virgin
Sorry Sleepy Hollow, but if you continue the way you’re going, Jane the Virgin is going to get my Mondays at 9pm live-viewing points. It’s one of the best shows, new or old, on television now, flawlessly weaving from comedy to drama to mystery to melodrama in the blink of an eye without losing its momentum. Definitely the strongest writing of the season, especially for a new show. The Golden Globesrecently recognized nominated it for Best Comedy, as well as star Gina Rodriguez for Best Actress in a Comedy Series. I’m not holding my breath that they’ll win, but hey, miracles happen. My only concern for Jane (besides what happened to Abuela in the midseason finale — !! –) is how long can they stretch the premise? I can see the show going one strong season and maybe a season 2, but what are the plans for after she has the baby and for when she’s perhaps, no longer a virgin? Will the show just outlive it’s title? It seems that audiences have shown, with their lack of patience for will-they/won’t they, that they won’t be content to be strung along to wait for Jane to marry a suitor. So far, I’ve been no reason to not trust the creative team, but the concern is in the back of my mind. (Side note: After writing about Sleepy Hollow’s death above, I’ve realized that Zazz’s death was also “Black Guys Dies First”… ::sigh::)
The Flash
You’ve got a lot cut out for you, Iris, if you want us to love you as much as we love your dad. And to ship you with Barry, rather then the SnowBarry love that’s snowballing through Central City.
I love The Flash. I love Joe West, played by the impeccable Jesse L. Martin. He and Barry (Grant Gustin) have amazing father-son chemistry and usually at least once per episode, a scene between them pulls at your heart-strings. Iris (Candice Patton), on the other hand, has a little ways to go. Barry loves her — this is great for black women being presented as the love interest, especially since she’s not a black female stereotype. But is she too tame in the other direction? I don’t want a sassy black girl — been there, done that ad nauseam– but she’s a bit perfect in every way which makes her a little boring. She also never realized that her so-called best friend is in love with her and has super powers — makes her seem a little self-absorbed. Candice is lovely, I like her a lot, but I think her character needs to find her purpose a little more. We don’t want a Laurel situation…
Shondaland: Grey’s Anatomy, Scandal, How to Get Away with Murder
The ladies of Shondaland!
We already know that Shondaland Thursdays has been knocking it out of the park. And we already know that Shonda Rhimes’ shows have always been champions for diversity as well as color-blind casting (both purposely casting people of color as well as not limiting non-specific casting to only white actors). And this season has been no different. Meredith Grey has a black sister (Kelly McCreary) on Grey’s Anatomy (which I no longer watch outside of the 5 minutes before Scandal comes on)! Scandal’s Olivia is trying to get past her romantic hang ups and finally choosing herself — though it looks like someone else wants to choose her too and kidnapped her to have her. Meanwhile, Joe Morton continues to give the best monologues on television while being deliciously evil! And while we’re all here for Viola Davis (and her manipulative ways) and Alfie Enoch (and his perpetual confusion) being our lead actors, surprise audience interest perhaps goes to Oliver (Connor’s bf played by Conrad Ricamora) and Detective Bae (I mean Nate) played by Billy Brown. All three shows have Image Award nominations, while Viola alone will hold down Shondaland at this year’s Golden Globes (though award for best giraffe goes to Alfie) for How to Get Away With Murder. When we return from hiatus, I can only imagine where these shows will go!
black-ish
Say “hi” to several NAACP Image Awards
In the comedy arena, black-ish has been holding strong, being touted as ABC’s #1 new comedy this season (I think ABCs cancelled most of their other ones already…). It’s already snagged a few NAACP Image Award nominations for Best Comedy, Leading Actor and Actress in a Comedy, as well as some supporting actor and actress noms. The show is quickly finding it’s legs and allowing for more diverse conversations on race to happen on the show — my initial hesitance with it stemmed from a kind of one note portrayal of how black people should be (coming from Anthony Anderson’s character Andre), but I think as Dre learns that his family is still black no matter what they like to do or eat or play, hopefully America learns this lesson too. Shows like this are important in bringing different perspectives into the homes of those who may not (somehow) interact with black people on an even weekly basis. Plus, I am loving Tracee Ellis-Ross and young Marsai Martin is a scene stealer. She’s really going places. Keep a look out for a Black Girl Nerds podcast featuring some of the cast members of this show.
Brooklyn Nine-Nine
Look at this beautifully diverse cast! Brooklyn Nine-Nine has been holding it down on Sundays. I still think it’s a terrible time slot and foolish to split up the comedies on the network, but it’s a great show that has been giving more and more focus to the two Latinas (Amy [Melissa Fumero] and Rosa [Stephanie Beatriz]) and the black men (Terry [Terry Crews] and Captain Holt [Andre Brauer]). Just looking at the cast photo, it’s really wonderful to see that not only does the show realize you can have more than one black person at a time, you can ALSO have more than one Latina person at a time. Very few other shows (outside of Shondaland) realize that. Not that it couldn’t be even better with some Asian, Native American, Indian or Arab representation; but even without, it’s doing much better than a lot of shows even on this list in terms of a wider range of diverse characters. Though it wasn’t nominated this year, I am still incredibly proud of it winning the Golden Globe for best comedy last year. And Andre Brauer has been getting more and more kudos for his hilarity even while playing the incredibly staid character of Captain Holt– he’s even been nominated for an NAACP award this year.
Honorable Mentions:
Cristela (Cristela Alonzo) is holding steady with a full season pick up! I haven’t been watching it, but it the few tweets I’ve seen about it say that it’s still pretty funny. Though I suppose your mileage may vary.
Fresh Off the Boat hasn’t premiered yet, but it will soon add some Asian representation to the network landscape.
Not really a network TV show, but I must say I am getting more and more excited for The Minority Report — I mean The Nightly Show Starring Larry Wilmore. I’m still sad they can’t use the title Minority Report…http://www.youtube.com/watch?v=iX6xoYMNJfw
We Still Have Some Work To Do:
Gotta fight for better representation of your fello Latinos, Ted. I mean esse.
In less than stellar representation is Arrow (shame on you, one of my favorite shows this season!), for their portrayal of Latinos in one episode this season and for once again whitewashing R’as al Ghul (though your mileage may vary on whether having a brown person play this character benefits representation).
Sadly, John Cho’s Selfie was cancelled. I didn’t watch it, but the few who have are growing to love it before just as they watch it fall into the cancellation abyss. If you like, go #SaveSeflie over on Hulu! I must say that having an Asian-American get to play a romantic lead is awesome and hopefully Selfie’s downfall won’t stop future shows from casting Cho (or any other Asian actor) as their lead. I feel like this is how we all look at Katherine Heigl… State of Affairs was seriously underwhelming when I watched it, even Alfre Woodard (whose character is also named Constance) couldn’t compel me to watch episode 2 and its lukewarm reception leaves me wondering if it will survive its first 100 days on TV (I had to make a presidential joke, had to!).
That’s my TV midseason diversity check-in! I can’t watch everything on TV, so I may have missed some (didn’t a black character bite the dust on Agents of SHIELD? How’s Watson doing on Elementary or Michonne from The Walking Dead?) Some characters are on an upward swing, but others still have work to do. Either way, I am glad to see their faces and hope that there are more and more faces like theirs in seasons to come. The NAACP Image award television nominations had a lot of these actors (Viola, Gina, ), when last season they wouldn’t have had as many options, so there is some slow progress being made. The massive successes of especially How to Get Away With Murder and Jane the Virgin will hopefully finally show studios and networks that you can take a chance on people of color and unique storytelling and people will respond to it. What other shows have PoC in them and how have they been treated this midseason?
Check out the Post’s article on the PoC led dramas coming this fall. And a few are led by women! Numbers are getting better, but no where near where they need to be.
The link and a couple of quotes below.
With “Scandal” commanding $200,970 per 30-second advertising spot, it’s a cash cow.“The color Hollywood loves the most is green,” says Wilmore. “Shonda Rhimes really showed that you can have a black lead in your thriller and you can have a great show. She broke down that wall, and Hollywood follows success.”
Hollywood definitely follows the money. Hopefully these new shows prove to be great television as well. The problem we’ve faced in the past has not always been a lack of content (well, yes, this is the problem, but) sometimes the content put out there isn’t good. There are a lot of times people of color will watch a show featuring someone of their background and that will boost ratings, but ratings will drop off if they don’t consider the show good. It’s not just about representation in numbers, but representation in quality and content. Don’t just give us a show with a black person and say it’s diversity, the content has to be good as well.
Rina Mimoun, executive producer of “Red Band Society,” says that, because of the Rhimes effect, “people will open up their casting. There’s no reason not to.”
More and more producers are realizing this, but things still aren’t where they need to be. The Emmy’s certainly showed that with the small amount of PoC nominees and smaller winners (most weren’t even televised). Hopefully, with this new crop of PoC led shows, next year’s Emmy’s will feature more PoC nominees and winners (now that Breaking Bad is finally out of the race; and maybe Emmy voters will finally be over Modern Family).
(In addition to these current shows, let’s not forget Sleepy Hollow, also led by a black female–I don’t think the article mentioned it.)
via Minority actors land the lead roles in fall’s diverse TV lineup | New York Post.
I’m trying to blog more, I really am. But work-life and attempting to write scripty things has taken away my energy. Also my obsession with the show Arrow. BUT Fall is approaching and I wanted to take a look at the shows I’ll be watching this season.
Here’s TV Line’s full Fall Schedule.
And here’s mine! [Sept 13 edit, after I’ve watched several of these pilots, check out how and read reviews here.]
What should I be watching that’s not on here?
I’m most excited for The Flash, Arrow S3, and Brooklyn 99 S2, but of course my other returning shows bring me much joy as well. I’m watching the Nolan Batman trilogy as I type this–Batman Begins at the moment–so I’ll check out Gotham (hopefully it goes more the way of Arrow and less the way of Agents of SHIELD in maintaining my interest). I’m gonna check out Cristela (even though it’s a multi-cam comedy) because diversity needs a shot on television. black-ish also gets my views for that reason, but also just missing the existence of a black sitcom, and having a TV that might speak to my experiences as a black nerd (hopefully). How to Get Away with Murder should be very interesting. Shondaland Thursdays are in full effect–if only I still felt like watching Grey’s Anatomy. Sleepy Hollow and Castle are my Monday mainstays–hopefully I’ll still be able to blog about them come fall. New Girl and Mindy help BK99 fill the void of Parks not coming back till mid-season, but only just barely. Finally, I’ll check out Mulaney and Jane the Virgin, but those could go either way for me.
On September 6th, I’ll be at the Paley Center here in NY watching the FOX, ABC, and CW pilots, so I’ll have a bit of an early preview regarding those, with an audience no less! Should be fun! I’ll try to blog about the experience. I know some pilots are available already, but like I said, other concerns have taken precedence. I’m working on getting back to blogging as fall approaches, hopefully I can start posting more. [Edit: Full post with links to episode reviews here.]
If you’re following along, what fall shows are you most looking forward to watching? So far my schedule is 14 shows deep! That’s not including Key&Peele, Whose Line,The Tonight Show, The Daily Show, The Colbert Report…! Phew! I hope my DVR can handle it all! How packed is your primetime schedule?
Another Tatiana Maslany Emmy Nomination Snub — Vulture
Emmy nominations came out today and they’re extremely frustrating. I’ve never claimed to watch the most popular or hit shows on television, if I do, it’s usually after they’ve ended or the hype has gone down. I watch oddball stuff, the low-rated critical darling comedies (on NBC lol) and sci-fi/fantasy/action stuff (I’m binging Arrow, and I’m really enjoying it so far!). The shows I watch are hardly ever nominated. It’s not like I’m expecting Sleepy Hollow to win all the awards, I’m not. But Emmy noms make me wonder who is voting for the shows that get picked. Is it a representative sample of television watchers? Or just a bunch of old white men (and probably some women, which is good but not great) like every other prestigious committee?
We don’t really know who they are for some obvious reasons, but are there demographics available? I am thinking women are decently represented, especially with Orange is the New Black‘s nominations, and there are plenty of action loving men if HBO’s record breaking nominations are any indication. I’ve lost count of how many Game of Thrones received–this I am pleased with–but a lot of the people I know who watch Game of Thrones, also watch Orphan Black. There is a reason Sci-fi/Fantasy are so often lumped together when people list categories–fans one of often like stuff from the other. (Obviously not always, you usually pick one over the other–I’m more Fantasy than sci-fi myself.)
So who is voting for Game of Thrones but has no interest in Orphan Black? Who is voting for fantastic women on Netflix but isn’t interested in one fantastic woman playing many fantastic women on BBC America?I get that there are many other considerations to voting, people’s personal interests and whatever the For Your Consideration choice was, but for a second year in a row, an amazing actress was overlooked. And that doesn’t count the mainstream snubs: I don’t even watch The Good Wife and I think it was snubbed for a best drama nomination.
I wish we knew more about these voters. Where are they coming from? What makes them decide the way they do? Do we need an upgrade of the entire system? Like many things, I kind of imagine they haven’t changed the way they do things, or include people, in ages. Have they widened their net of voters in this ever expanding age of television? They need more sci-fi watchers, more fantasy watchers, more young people, more people who will vote for Amy Poehler to finally win that comedy award she so achingly deserves (they’ve got this year and next to recognize. She might get another show immediately, but she deserves it for Parks so, so much). There’s more television happening than ever before and it’s not being looked at by the Emmy committee. There are more networks, more internet voices coming to play in the big leagues; have we included voters to represent those new voices that these new networks and new shows are trying to bring to the forefront? The Emmy pool just tells me that the efforts being made to bring diversity to the screen isn’t being made in the voting pool.
Maybe we need a category for science fiction, since it’s the most snubbed TV genre that I can think of. Maybe I am wrong or misinformed, but the selections aren’t showing the true pool of talent on television and isn’t that what the Emmy’s are for*?
*The answer is probably actually all about money. So everything I said means nothing. Except, the Good Wife is a hit show on the “number one network,” you know some hefty money is involved there. Ok, I’m done rambling about Emmy snubs now.
Check out the full nomination list here: http://www.thewrap.com/emmy-awards-nominees-nominations-emmys/
Shonda Rhimes is ABC’s biggest money maker right now. She’s been re-upped through 2018 and nearly all her shows get greenlit without much effort or fuss. Scandal is one of television’s hottest shows right now and Grey’s Anatomy has been 10 years strong, so it makes sense to keep that legacy going. And of course, if Grey’s starts to falter and Scandal has a tentative “end date,” then ABC wants to get some Shonda shows in there that could overlap and continue the dynasty. This fall, Thursdays become Shondalnd Thursdays. In addition to Grey’s Anatomy and Scandal, Shonda Rhimes’ new show, starring Viola Davis–How to Get Away with Murder–will premiere in the 10pm slot. Talk about a strong lead in. We know just from the Shonda brand that it will be highly watched, highly talked about, and will get ABC the Thursday ratings they want for the first few weeks at least.
But can she sustain it? Doing two shows at a time has got to be rough. The last time Shonda Rhimes had three shows on the air–no one remembers Off the Map, in conjunction with Grey’s Anatomy and Private Practice? Exactly, that’s what happens when you have three shows on the air. Grey’s was in it’s seventh season and Private Practice in what became it’s second to last. Three shows is draining. Three shows is stretching yourself thin. Three shows is hoping you can trust the people in charge of your other shows with the characters, with the storylines. And while there are shows with big names attached spread across multiple shows (Dick Wolf (L&O), Jerry Bruckheimer), they don’t have the showrunner, creator, creative input that Shonda has. So we’ll see how well each show does with Shonda spreading herself across them like this.
My biggest example of a highly involved creator trying three shows at once is 2002 Joss Whedon.
It’s almost like he’s saying, “Shonda, beware!”
As he was entering Buffy the Vampire Slayer‘s seventh season and Angel’s fourth season, Firefly came out. Cult hit that it (and the other two shows as well) was, that was a rough year for Whedonites. Yes, there were other factors to Firefly’s cancel (cough*FOX executive meddling*cough), but season 7 of Buffy and Angel’s 4th are some of the most contested seasons among fans. There’s a lot of dislike in the character development, storyline speed and progress, and just a general division among fans about whether or not they’re the weakest seasons in the bunch. Firefly was cancelled after 13 episodes (well, more like 10?), it became Buffy’s last season, and Angel’s second to last. In addition to all the other pressures that caused each show to go through it’s personal rough patch, it could not have helped that Joss had to concern himself with all three shows, in some way. Focusing on Firefly doesn’t mean that he could have completely ignored showrunner responsibilities for Angel and Buffy. That kind of stretching takes a toll on the showrunner and the shows.
I hope this doesn’t happen to Shonda. Both Grey’s (simply due to it’s length) and Scandal already have many fans once in love with the shows expressing apprehension about the coming seasons. Grey’s is losing a major, fan favorite character. Scandal’s struggled with White House saturation. With these cracks in the armor, can Shonda risk dividing her attention to another show? Only time, and ratings, will tell.
Joe Morton Mid Monologue
Tonight is the #Scandal season finale! I haven’t been recapping Scandal lately (busyness–I often don’t get home to watch it live, then had things to do Friday morning, no writing time–and my recap style fit more when the show was a tad bit more serial) but doesn’t mean I’m not still watching it. I’ll watch the finale as soon as I get home late tonight, but ahead of the episode, the internet is giving us loads of Scandal content to get us through the day.
These two links, both from Vulture, are different takes on Shonda Rhimes’ Scandal monologues. One is a monologue generator that I haven’t gotten to play with yet (but Shonda Rhimes has: )
and the other is breakdowns of 4 monologues from this season, by Joe Morton, Bellamy Young, Kate Burton, and Jeff Perry. These are fun games but also very useful for me.
Earlier this year I was writing a Scandal spec script for a TV writing class I was taking. I got pretty far, but Scandal fatigue and adding other things to my writing interests put it on hold for a while. But something I was struggling with was figuring out how and where and who to give a brilliant Scandal monologue to. It’s hard work. The obvious choice would be Joe Morton’s character Eli, but he wasn’t quite giving me one. And I was so focused on trying to give him one (because he is my favorite character on the show) that I ruled out everyone else and I think I was suffering for that.
He could still get the monologue, but now I have a new idea! Use the Vulture Scandal Monologue generator! Obviously not to take whatever I get when I play, but I think the generator breaks down the monologues from the show in ways that would be beneficial to me looking at my spec and including one. It starts off with themes and goes from there. Once I break down the theme of my episode (another aspect I was struggling with–Shonda is very theme heavy in her episodes and it’s always good to know what yours is, but I haven’t broken down the theme to go with the plot of my episode), I can use this generator to get a monologue for it.
Sometimes you have to know how to use the fun of the internet to actually do work and understand things that were giving you trouble. I can’t wait to try it. If you use it, comment with your monologue!
I think another brilliant thing I just came up with could be to use all those Buzzfeed quizzes to learn more about your characters, just take them in their voice and use the end result as a way to understand your characters more. Or maybe your character wouldn’t take a Buzzfeed quiz. That’s telling too!
This week’s episode started off with a bang. Well, two bangs. Olivia and Fitz meet up and “review the numbers” then have an all out RAGING fight. All with poor Jake awkwardly chatting with the Secret Service right outside the door. I loved the fight and it was about time Olivia stood up for herself. Fitz is getting more and more ridiculous with the things he says and the things he demands from the people around him, especially the women. He doesn’t appreciate Olivia for what she brings to the table, what she wants, what she needs and Liv finally let him know. He didn’t really do anything in the rest of the episode that told me he was adjusting or changing, so we’ll see if this is just his character and the way the writers are going to continue to write him or if this is leading to a character development arc. Because Fitz, of all the characters on the show, needs the most character development in order for fans to continue to like him or believe that Olivia loves this man. (You may say, but Quinn needs some character development too! No, Quinn needs to die.) I suppose, in lack of a Papa Pope Speech of the Week, we can give Kerry some serious award noms for her part in the fight. She really did tell him about himself and that not everything is about him. I almost forgot to look for Kerry’s baby bump!
Some of the episode flashes back to the California governor’s mansion 14 years ago. Andrew Nichols, in the present, owns to some prescription drug use that someone is planting to use against the Grant campaign. But back in 2000, it was Mellie who took the pills. She was feeling sick and tired of her life, unable to look at Fitz or even touch him, scared that her kid wasn’t his and really feeling overwhelmed. Nichols finds her and stays up all night to make sure she makes it through and boy does he fall hard. But Mellie has a backbone and resists his charms, despite everyone kind of understanding and knowing where Fitz is headed in terms of his own marital screw-ups. But two wrongs don’t make a right, until the present day, when Mellie couldn’t take it anymore. Nichols certainly gets to touch the First Lady (and with Mellie’s hair like it was, she looked so great!) and he did it once, so he decides to do it again–this time the painting of Jackie O he was admiring before he had another first lady to admire. Fitz is already pissed about Jake being “a fox in his hen house” so it’ll be interesting to see what conniption he experiences when he finds out his other “loyal” “trusted” friend is a fox. Even with how he dismisses Mellie, he wants to have his cake and eat it too, he doesn’t want her to do anything he doesn’t want. Fitz’ control issues are spiraling out of control and I believe it’s all because he found out about Defiance. And he started drinking.
Speaking of spiraling (weak transition, I know), poor Jake. He’s been command for over a month now, but B6-13 let him get settled before delivering the whammy. He gets a suitcase of mysterious files, all of the nations secrets. With very daunting words like “protect the republic.” Jake doesn’t seem like he was ready for this; he’s seeing how lonely it is at the top. The suitcase clearly stated that he was to act with no interference from the executive branch and to stay a step ahead of the president, etc, etc. He thought he was going in with Fitz by his side, but between Olivia and the weight of his office, his buddy is getting farther and farther away and the weight is getting heavier. I know many of us certainly loved the scene where he uses his “boyfriend of Olivia Pope key” to demand some real food in the house and to go take a shower. But the seams are more visible and the pressure will get to him more and more, I am sure.
Well, I suppose at least Jake isn’t James. James is about to shake right out of his skin, he really wasn’t made for this covert ops, behind his husband’s back stuff. The littlest sound is setting him off and his meeting with David under the bridge (or wherever that seemed to be) made me laugh at how cliche it was for a secret meeting between “spies.” He’s not ready for B6-13.
And neither is Quinn (I’m really killing these transitions aren’t I ;-)). Quinn makes me more and more angry as the season progresses. She wants to find her own way? So go back to being the girl you were before you were Quinn. Olivia and Huck made you Quinn and if you want express your independence, why not go back to whatever your name was before (you make me so angry I’ve chosen to forget what your real name is)? Don’t pull a gun on the person who’s best suited to save your life when the time comes. She walked into Jake’s office cocky as I don’t know what, but you got caught on your first go round by Olivia. Not Rowan, not Charlie, but Olivia, who isn’t exactly covert ops material herself (she’d be in the command station doling out orders). You didn’t even try to hide when spying on Rowan and someone is going to get fed up with you and kill you. And the entire audience is going to cheer with glee (we’re all still kind of on Huck’s side about the torture thing–he just went a little too far with the licking). Huck kinda made me nervous though, bringing Olivia coffee like he was. Who knew what could have been in that coffee, considering his background. But it was apology coffee. Not for hurting Quinn, but for Olivia’s anger about it. Huck doesn’t let his desire for an apology stop him from telling Olivia about himself and herself. “You should have never given me someone to love. Monsters eat people, Liv. It;s what we do.” Oh Huck. It’s so telling about how he sees himself and his relationship with Olivia. And he loved Quinn. He took her under his wing and loved her and she went betrayed the master (if we’re sticking with Huck’s puppy metaphor), so he had to take a couple bites out of her for that. I wish he’d gotten a couple of more bites in.
Finally, I sat on my last post for about a week, hoping to unleash my theory about Adnan Salif working with Mama Pope and they reveal it the very next episode! I still KNEW IT! I really wonder what they’re up to, though. Adnan has now gotten her way into the Grant campaign camp, despite Cyrus knowing how criminal she is, and it was Mama’s idea? What’s the plan? And how will it interact with Eli’s plan to destroy Fitz? No way Maya wants Fitz to continue being president (certainly not without some damage somewhere), he knows about her and was the man who pulled her trigger. But if she does something to destroy Fitz, how does that play with Eli’s plan? Will they end up working on the same team somehow? What dangerous red strings of fate are being intertwined as we hurtle toward the end of the season?
It’s Scandal Thursday! I’m working on last week’s Scandal post just ahead of tonight’s episode, but here’s a list of some of the reasons why I was distracted from writing it last week. I’ll name some more in my post when I finally get to rewatching last week’s episode.
Check it out! 14 Things You Do After Watching ‘Scandal’ on Thursday Night – Atlanta Black Star.
Spec Inspiration: How to Raise the Stakes by Challenging a Character’s Identity
Make the character prove his point. Once your character’s identity has been challenged, make him or her prove that the challenge is incorrect.
This idea might help me with my Scandal spec. I’ve been struggling with giving Olivia more to do. She has some role in the major plots of the episode, sure, but a lot of that is easily delegated. I’m struggling with her wanting something, more than “to clear his name” or whatever the case may be. But this helps.
I’ve been trying to find a way to explore Olivia’s relationship with both Fitz and her dad and by using this idea, I can have one refer/label her relationship with the other, then have her rebel against the idea. Haven’t figured out which way yet.
Shonda used this herself, when she had Cyrus question Fitz’ “balls.” Fitz went off and proved himself and went back to Cyrus asking, “How presidential are my balls now, Cy?” The audience loved it, but it also gave Fitz something to do, something to want in that episode. I need to use it with this one.
More spec updates soon! Once I stop distracting myself with other blog thoughts (new blog coming soon lol).
via How to Raise the Stakes by Challenging a Character’s Identity [Read to Write Stories]
