Anatomy of perfection: How James Anderson bowled one of England’s greatest ever overs – Telegraph.co.uk

Ball 6 dot ball

With left-hander Pant at the crease, Anderson now changes his angle of attack, going around the wicket. His assurance bowling around the wicket to left-handers is one small emblem of Andersons commitment to what the Japanese call kaizen: continuous improvement, seeing skill as not a static quality but something that can always be developed. Before turning 30, Anderson only went around the wicket to left-handers 20 per cent of the time; ever since, hes gone around the wicket to them 39 percent. The impact is reliably devastating: Anderson averages 17.7 around the wicket to left-handers in the last five years.

This delivery is full again, angled into Pant, who pushes it to mid-on. Ostensibly, it seems relatively unthreatening as the ball scarcely moves in the air. Yet, unbeknown to Pant, the ball has helped pave the way for his own demise. Three overs later, using the same angle of attack, Pant plays for the ball coming into him again.This time, Anderson's off cutter induces aleading edge from Pant, whichfalls safely into Roots hands at short cover, and Englands greatest ever Test wicket-taker has his 611th victim.

How many more can he get? Like Tom Brady, Anderson long ago rendered precedents moot. All we can be sure of is this: at the age of 38, in the continent that is the overseas fast bowlers graveyard, Anderson is still adding to his legend.

The rest is here:
Anatomy of perfection: How James Anderson bowled one of England's greatest ever overs - Telegraph.co.uk

What TVLine Is Thankful For in 2020: ‘Grey’s Anatomy,’ ‘Undoing,’ More – TVLine

There hasnt exactly been much to love about 2020. But weve gotta hand it to television: When we needed a distraction from this tense, anxious year (which wasoften), there was no shortage of small-screen gems to capture our attention.

With Thanksgiving just around the corner, Team TVLine is reflecting on the television moments for which were most grateful this year, from big surprises like that Greys Anatomy return to small details likeThe Undoings fabulous fashion.

In the list below, each member of our TVLine staff President/Editorial Director Michael Ausiello, Editor-in-Chief Matt Webb Mitovich, Managing Editor Kimberly Roots, Executive Editor Andy Swift, Senior Editor Dave Nemetz, West Coast Editor Vlada Gelman, News Editor Rebecca Iannucci, Staff Editor Ryan Schwartz and Weekend Editor Nick Caruso has singled out three things from the past year of TV that brought us some joy. (Or brought us bottomless heartache, in the case of Netflixs Haunting of Bly Manor.)

Our gratitude also extends to HBO Maxs recent (and cathartic!) Fresh Prince reunion, an endless string of Drag Race content, a terrific final year for the late, great Alex Trebek, and a Saturday Night Live impression thats thankfully heading into retirement.

Scroll through the list below to see all of our 2020 gratitude, then drop a comment with your thoughts! (And come back on Thursday to see what you, the TVLine readers, were thankful for this year.)

Excerpt from:
What TVLine Is Thankful For in 2020: 'Grey's Anatomy,' 'Undoing,' More - TVLine

‘Grey’s Anatomy’: The Friendship-Turned-Romance That Never Should Have Happened – Showbiz Cheat Sheet

What happens when you get controversialGreys Anatomycharacter Izzie Stevens who many fanshated and the iconic character George OMalley whose death stillhauntsfans?

It seems you get confusion. Some thought they made a cute adorable couple, while others thought the pairing was pointless and ruined the concept that men and women can just be friends.

Add to that drama involving the actorsT.R. Knight andKatherine Heiglboth surrounding the show, and you have a pretty interesting conversation on your hands. Izzie seemed to have a habit of strange romantic relationships. Almost like it was a running joke with the writers. OMalley was also married to Callie Torres, and Heigl strongly feels that her character would have respected thatbond.

Are OMalley and Stevens a pointless relationship that destroyed a good friendship, or was the randomness of their hook-up the point? The writers showed that, much like real-life, sometimes things just happen, and they dont need to have a point. And if the relationship was so meaningless, why are people discussing it all these years later?

Heigl was really excited about the idea when it was first pitched. I was really excited about it in the beginning because, obviously, I got to work more with my best friend, and thats awesome, Heigl explained toEntertainment Weeklyin 2010.

But when the relationship quickly fizzled out, she wondered what the point was. Even their couples nickname was awful When I found out our little nickname was Gizzie, I knew it was over, I was like, Were going to have to move on because thatsnothot. Thats not, like, Brangelina.'

Ratings had dipped a bit in Greys fourth season, and sometimes writers want to create some buzz. Knight and Heigl were good friends outside the show, and maybe the writers thought that would translate, but up to that point, Izzie and been somewhat of an uptight goodie-goodie, and it seemed strange. Heigl toldVanity Fairin a 2007 interview.

They really hurt somebody, and they didnt seem to be taking a lot of responsibility for it. It was a ratings ploy, she explained, It was absolutely something that shocked people it wasnt predictable, and people didnt see it coming.

RELATED: Greys Anatomy: Why Derek and Meredith Made Sense But Merluca Doesnt

Bustlelists them in the top 11Greys Anatomycouples you wanted to break up. AndVulture ranked every relationship on Greys Anatomy, and they ended up46th. Not high praise.

While conventional wisdom ranks their relationship as a mistake, theres still aReddit thread that argues the merits of their relationship. Also, when Katherine Heigl talks about her worst memories of the show, that does not even make thelist. So why all the hate?

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'Grey's Anatomy': The Friendship-Turned-Romance That Never Should Have Happened - Showbiz Cheat Sheet

‘Grey’s Anatomy’: Will Jackson and Jo Become a Real Thing? Some Fans Are Already Calling Them Their Favorite New Couple – Showbiz Cheat Sheet

A new romance has started to emerge during the first few episodes of Greys Anatomy in season 17 and fans are already divided. In the premiere, Jo Karev (Camilla Luddington) asked Jackson Avery (Jesse Williams) for a sexual favor that didnt go as planned. But by episode 3, the odd couple had officially hooked up. While some fans are already calling Jo and Jackson their favorite couple, others dont want to watch Jackson get attached to another doctor at Grey Sloan Memorial.

When season 17 premiered, fans knew that the staff at Grey Sloan would be in the middle of the COVID pandemic. However, showrunner Krista Vernoff didnt tease any new romances. When Jo asked Jackson for a hookup in the premiere even though they had never so much as flirted, it was a big shock to fans.

No one saw this coming, and Greys Anatomy fans took to Twitter to share their opinions on the controversial pairing. Many pointed out that they are tired of seeing Jackson jumping from woman to woman. At the same time, others believe that Jo isnt over her husband, Alex Karev (Justin Chambers).

Last season, Alex unexpectedly left Jo for his ex-wife Izzie Stevens (Katherine Heigl) when Justin Chambers exited the series. This did not sit well with fans because it went against everything he believed in. That one decision destroyed 16 seasons of character development for Alex and sent Jo on a cringeworthy path that many fans are having a hard time watching.

Anyone else think that Jackson & Jo getting together is weird asf or just me?? #GreysAnatomy, one fan wrote. Another added, I dont like it. EW!! Jackson & Jo. EW! #GreysAnatomy. A third fan stated, This Jackson and Jo sh*t is pure Trash. #GreysAnatomy.

In an interview with Cosmopolitan, Luddington discussed her character moving on from her ex-husband while looking back on her controversial season 16 storyline. She says that she wants whats best for Jo but admits her breakup with Alex was shocking.

It did feel like probably the only way that [Alex] would leave her, I couldnt really imagine another way, Luddington explained. So in order for them to break up, it, to me, did make sense, even though it was really shocking.

RELATED: Greys Anatomy Fans Have Strong Opinions On How Showrunners Are Dealing With Justin Chambers Mysterious Exit

Luddington explained that Jo and Alex loved each other for a long time, and there was a lot of good that came out of that relationship. As Jo continues to work on herself and her mental health, Luddington believes fans will see her slowly but surely come out of this stronger.

Luddington says that season 17 will see Jo face a lot of new challenges. She says her character will have moments when she doesnt want to go to work because she finds it really difficult, stressful, and depressing. Through her struggles, Luddington believes Jo is looking for comfort and friendship.

Even though some Greys Anatomy fans are already calling Jo and Jackson their favorite couple, Luddington believes this relationship is more of a seed of friendship right now.

RELATED: Greys Anatomy Star Debbie Allen Claims Season 17 Couldnt Be More Relevant

I think that Jo shouldnt jump into anything serious right now, Luddington revealed. But I think if something organically happens, Im down. I obviously live and breathe this character and just want her to be happy. So if thats with Jackson Avery, its with Jackson Avery. If its with someone else, its with someone else.

Luddington is rooting for Jo to move on and find her true lover, her person. She also wants her character to have a family. The actress believes that is something her character is craving, and she loves that idea.

So I would like to see her happy with a partner, whoever that is and maybe some kids, Luddington said.

New episodes of Greys Anatomy air Thursday nights on ABC.

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'Grey's Anatomy': Will Jackson and Jo Become a Real Thing? Some Fans Are Already Calling Them Their Favorite New Couple - Showbiz Cheat Sheet

‘Grey’s Anatomy’ Cast: Who is Alma ‘Mama’ Ortiz and Who Plays Her? – Newsweek

Grey's Anatomy Season 17 is in full swing, with a host of new cast members appearing as we meet this year's batch of interns. One of them distinguished themselves, however, by standing up to Tom Koracick (played by Gregg Germann) in a what that seems to hint at future romance between the intern and neurosurgeon.

When we were introduced to these interns on Grey's Anatomy Season 17, Episode 3, titled "My Happy Ending," (streaming now on the ABC website, app and Hulu), when we learned that among them was a mother and daughter pair who had the same surname, Ortiz.

This led Richard (James Pickens Jr.) to quip: "Two interns with the same name won't fly. Who's changing theirs?" This lead the older of the pair, Alma (Sara is the daughter), to become known as Mama Ortiz.

If you recognized the woman who played Mama Ortiz, Lisa Vidal, that is because she has been working in TV and film for 40 years. Her first role per IMDb was in a TV series titled Oye Willis, described by the New York Times at the time as: "A 10part dramatic series...about the experiences of a young Latino growing up in a barrio of New York." (The actress herself was born in Queens).

Single appearances followed in shows like Miami Vice, The Cosby Show and the ABC Afterschool Specials.

Grey's is not Vidal's first medical drama. Fans of the genre may recognize her as ER's Sandy Lopez, the firefighter who was the long-term girlfriend of long-running cast member Kerry Weaver (Laura Innes).

More recently, she starred in her biggest role to date, appearing in over 50 episodes of Gabrielle Union's BET show Being Mary Jane. She also had a role in ABC's recently canceled series The Baker and the Beauty.

She is also the sister of Christina Vidal, who a generation of kids will remember as the lead of Nickelodeon's Taina.

On Grey's however, she has already made plenty of fans by doing something that plenty of viewers would love to do: Give Koracick a piece of her mind, after he tried to discharge a patient to her care home as it was infested with COVID-19.

Whether they stay as sparring partners or develop something else remains to be seenthough the Entertainment Weekly review of the episode notes, "Mama Ortiz and Koracick are totally hooking up in the future. I'm calling it."

Grey's Anatomy Season 17 airs Thursdays at 9 p.m. ET / 8 p.m. CT on ABC.

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'Grey's Anatomy' Cast: Who is Alma 'Mama' Ortiz and Who Plays Her? - Newsweek

The Anatomy Of An Election Disinformation Campaign – WBUR

The anatomy of a disinformation campaign. How does a bad faith post get mistaken for the truth? We talk about how the tentacles of disinformation reach into millions of homes.

Nina Jankowicz, disinformation fellow at the Wilson Center, a nonpartisan think tank. Author of "How To Lose the Information War." (@wiczipedia)

Secretary Frank LaRose, Ohio Secretary of State. Republican. (@FrankLaRose)

New York Times: "Facing a Deluge of Misinformation, Colorado Takes the Offensive Against It" "Like so many modern election sagas, it started with a tweet. In 2019, Jena Griswold, the newly installed secretary of state in Colorado, saw a tweet falsely claiming that her states election system had been hacked, using a picture of voting equipment as evidence."

NPR: "Robocalls, Rumors And Emails: Last-Minute Election Disinformation Floods Voters" "Dirty tricks and disinformation have been used to intimidate and mislead voters for as long as there have been elections. But they have been especially pervasive this year as millions of Americans cast ballots in a chaotic and contentious election."

The Columbus Dispatch: "Secretary of state: Hacking, voter intimidation by Russia and Iran haven't affected Ohio" "Ohio Secretary of State Frank LaRose said the best way voters can respond to Iran and Russia meddling in U.S. elections is to cast a ballot."

New York Times: "Russia Poses Greater Election Threat Than Iran, Many U.S. Officials Say" "While senior Trump administration officials said this week that Iran has been actively interfering in the presidential election, many intelligence officials said they remained far more concerned about Russia, which in recent days has hacked into state and local computer networks in breaches that could allow Moscow broader access to American voting infrastructure."

ABC News: "Russia, Iran have obtained voter data in election interference campaign: DNI" "Senior national security officials alerted the American public Wednesday that Iran and Russia have both obtained voter data in their efforts to interfere in the 2020 U.S. election."

New York Times: "Twitter Will Turn Off Some Features to Fight Election Misinformation" "Twitter took steps on Friday to slow the way information flows on its network, even changing some of its most basic features, as alarm grows that lies and calls for violence will sweep through social media in the weeks surrounding the presidential election."

Washington Post: "FBI says it has nothing to add to Ratcliffes remarks about Hunter Biden, Russian disinformation" "The FBI notified Congress late Tuesday that it has nothing to add at this time to a statement made by President Trumps director of national intelligence disputing the idea that Russia orchestrated the discovery of a computer that may have belonged to Joe Bidens son."

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The Anatomy Of An Election Disinformation Campaign - WBUR

‘Run’ | Anatomy of a Scene – The New York Times

Hi, Im Aneesh Chaganty, and Im the co-writer and director of Run. O.K. So the scene thats playing out right now takes place in the second act of the movie. Without giving much away, the basic setup is this. So our daughter, played by newcomer Kiera Allen, has been locked in her room by her misaligned mother, played by veteran Sarah Paulson, and is convinced that she needs to escape. From a form standpoint, I think what youre about to watch is actually one of the few sequences that breaks the pattern of the films aesthetic. Much of the films style is sort of borrowed from the films of Hitchcock and Shyamalan, and those films dont just choose shots because one thing can happen in them. They designed frames where, like, four or five things can happen in them. So to borrow a page out of their book, I storyboarded every single frame of this movie by hand before we started shooting. You can actually compare the boards to the final film. Its all pretty identical. So right now, were watching Chloe, whos this super resourceful and smart and inventive girl, sort of MacGyver a solution out of her room. Chloe uses a wheelchair, so a solution that an able-bodied person might have come up with wont work for her. She has to overcome that with just sort of pure intelligence, and she does. Every single shot inside this room here is repeated from an earlier shot in the movie. I wanted to be super spare with the visuals of this movie and always design frames that could be repeated so that when things start to explode narratively, like right now, it would feel like real catharsis. [MUSIC PLAYING] So all of this was shot on a stage in Winnipeg. We basically created the entire second story of his house on a stage, and the first story and the outside what youre looking at now is all on-location. So now were kind of jumping into the single most complex shooting process of the entire film, where this whole sequence is about to stitch so many different skill sets and elements and shooting days into one. So she just kind of comes out onto her roof. Were landing on a shot of Kiera in a stage on a set where the roof is actually flat and the walls are tilted to the side. It looks sort of like a really cool its hard to describe, but just movie magic makes that work. So the cameras just tilted. Shes actually perfectly flat on the ground. Were just tilting her hair a little bit and occasionally blowing wind to the side. And thats her face pushing forward a little bit, and sort of a blue screen behind her. The next shot youre going to see is going to be from the side, and that is a stunt double. But it looks like Kiera because we face-replaced Kieras face onto it. And this shot sort of was actually the first shot that we did on day one of shooting. And we had to shoot it on day one, because we shot in Winnipeg, Canada, which is, like, the coldest place ever, and we had to shoot out our exteriors first before everything started snowing. We started shooting October 31st of 2018. By the way, the house was chosen because it just felt like when we saw it that it looked like it was, like you could put it on a movie poster and draw it out and put Sarah Paulsons face above it, and it just had the vibes of this old-school, Hitchcock house, so theres just like secrets inside of it and stuff. This is a shot on set, again, on this little fake, made roof. This is another shot on set. Obviously, we did not put Kiera on an actual roof with danger. But this whole sequence, we shot over multiple, multiple days. And she still has a bunch of water in her mouth that she swallowed from earlier. She plugs in a soldering iron, heats up the soldering iron, and puts the soldering iron to this glass in the cold, where it immediately starts to kind of crack because the heat is expanding it, and then immediately will spit out some water onto the glass, where it shatters the rest of it. This is actually a technique. One of my best friends dads is a glass blower, and taught me this over the phone. So thats the end of one of the biggest set pieces of the movie, which honestly tries to do what we were trying to do with this whole movie, which is take a normal house and turn every single element of that house into a massive Burj Khalifa-scale obstacle.

Excerpt from:
'Run' | Anatomy of a Scene - The New York Times

Anatomy of a Goal: Dynamo own goal gifts the Crew a draw – Massive Report

Welcome back to the Anatomy of a Goal, where each week we dissect one goal (or near goal) from Columbus Crew SCs previous match.

For match 19 of the 2020 MLS Season, we take a look at Victor Cabreras 67th minute own goal that gave the Crew a goal and led to a draw in Saturdays match against Houston Dynamo.

Here is a look at the own goal by the Dynamo defender.

Columbus took the field in Houston with Darlington Nagbe in the lineup for the first time since early September. While Nagbe completed nearly all of his passes, the Black & Gold showed the same road match rust that we have come to expect this season. A Memo Rodriguez goal in the first half gave the Dynamo a lead that carried until the 67th minute.

The game-tying goal begins with a Pedro Santos interception. Santos picks off the ball and sends a pass back toward Milton Valenzuela.

Valenzuela picks up Santos interception and slides the ball over to Artur to set up the offense.

Artur spies Harrison Afful, hidden underneath the on-screen advertisement, and hits a field-switching pass to the right back.

Afful takes a few touches toward the sideline and pays a pass forward to Luis Diaz.

Diaz crosses midfield and finds himself with four options. He can play a pass forward to Lucas Zelarayan, carry the ball toward the middle of the field, play a long diagonal back to Artur or drop a pass to Aidan Morris.

Diaz plays a safe pass back to Morris.

Morris carries forward and looks to make a pass back forward to Diaz, but has to get the ball around Darwin Ceren.

Ceren sticks a foot out and is able to get in the way of Morris pass to Diaz.

Luckily, Cerens interception deflects right to Harrison Afful.

Afful immediately hits a pass right to Morris.

Morris carries the ball forward and resets back to Artur.

Artur moves the ball forward and finds himself with three options. He can either play a pass forward to Zelarayan, hit a long diagonal to Santos or play a pass up to Valenzuela.

Artur makes the safe pass over to Valenzuela.

And Valenzuela makes a safe pass right back to Artur.

Artur picks up Valenzuelas pass and sends a long ball over to Jonathan Mensah who is open in the middle of the field.

Mensah finds Aidan Moors a dozen yards ahead of him.

Morris lets the ball roll ahead of him and hits a very good first touch pass forward to Afful.

Afful corrals Morris pass and carries it a few yards forward, where he hits a pass into the path of Diaz.

Diaz turns toward the goal and hits a low cross into the penalty box toward Krisztian Nemeth.

Maynor Figureoa is the first obstacle between Diazs cross and Nemeth.

The ball just edges past Figueroa as Cabrera gets between Nemeth and the ball.

Cabrera slides toward the ball in an attempt to clear it out of bounds. The Dynamo center back gets a touch on the ball, preventing Nemeth from getting on the end of the cross.

Fortunately for Columbus, Cabreras attempted clearance rockets toward the Houston goal.

Marko Maric gets his hand up but isnt able to react quickly enough as the ball soars past him . . .

. . . into the back of the net!

Findings:

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Anatomy of a Goal: Dynamo own goal gifts the Crew a draw - Massive Report

How Greys Anatomy Revolutionized Pop Culture and Why Its Not Done Yet – Variety

She might change her mind; she certainly has before. But midway through an interview, Ellen Pompeo casually drops the bomb that after more than 360 episodes, the upcoming 17th season of Greys Anatomy may be its last.

We dont know when the show is really ending yet, Pompeo says, answering a question that was not at all about when the show might end. But the truth is, this year could be it.

Pompeo has played Meredith Grey the superstar surgeon around whom Greys Anatomy revolves since its start. The show, created by Shonda Rhimes, premiered on ABC on March 27, 2005, and became an immediate, noisy hit. Since then, for a remarkably long time in Hollywood years, the drama has been among the most popular series on TV, even as the landscape of television has changed seismically. At its Season 2 ratings height, the program drew an average audience of 20 million viewers. And all these years later in a TV universe now divided by more than 500 scripted shows Greys ranks as the No. 1 drama among 18- to 34- year-olds and No. 2 among adults 18 to 49. In delayed, multiplatform viewing, Season 16 averaged 15 million viewers.

Strikingly, technology is such that teenagers who were born when the show premiered, and later binged Greys on Netflix, watch new episodes live with their parents. The series has spawned two successful spinoffs for ABC, Private Practice (which ran from 2007 to 2013) and Station 19 (which enters its fourth season this fall). Greys Anatomy has been licensed in more than 200 territories across the world, translated into more than 60 languages, and catapulted the careers of music artists from Ingrid Michaelson and Snow Patrol to Tegan and Sara and the Fray whose songs have played during key emotional sequences.

In its explosive initial success, Greys Anatomy was an insurgent force in popular culture. The Season 1 cast featured three Black actors Chandra Wilson, James Pickens Jr. and Isaiah Washington as doctors in positions of power at the Seattle hospital where the show is set, and Sandra Oh played the ambitious intern Cristina Yang, who would become Merediths best friend. For the women characters, the Greys approach to sex was defiant and joyful, starting in the pilot with Merediths one-night stand with Derek (Patrick Dempsey), who turned out to be one of her bosses at the hospital.

Rhimes presented these images to the world like they were no big deal, when in fact, nothing like Greys had ever been seen on network television. Krista Vernoff has been the Greys Anatomy showrunner since Season 14, as anointed by Rhimes, and was the head writer for the first seven seasons. She remembers the moment she realized how radical Greys was a medical show driven entirely by its characters instead of their surgeries as she watched an episode early in Season 1. My whole body was covered in chills, Vernoff recalls. I was like, Oh, we thought we were making a sweet little medical show and were making a revolution.

Gizelle Hernandez for Variety

Still, no one expected Greys Anatomy to become the longest-running primetime medical drama in TV history, outlasting MASH and ER, the previous record-holder. Since 2005, Greys has inspired countless women to become doctors, and along the way, its depiction of illness has even saved a few lives. The show has remained popular through three presidential administrations, the Great Recession, tectonic shifts in how people watch TV and two cultural reckonings one feminist, one anti-racist that demonstrate how ahead of its time Greys Anatomy has always been.

And theyre not done yet. When Season 17 premieres on Nov. 12, Greys Anatomy will tackle the subject of the coronavirus as experienced by the doctors at Grey Sloan Memorial, all while filming under strict COVID-19 protocols. The season is dedicated to frontline workers. And Pompeo, a producer on Greys whose Meredith has removed a live bomb from a patients body, was in a plane crash, was widowed after Derek died in a car accident, was beaten nearly to death by a patient and, in a separate incident, actually did die briefly after a ferry accident is intent on making the show top itself once again.

Im constantly fighting for the show as a whole to be as good as it can be. As a producer, I feel like I have permission to be able to do that, Pompeo says. I mean, this is the last year of my contract right now. I dont know that this is the last year? But it could very well could be.

Pompeo has been refreshingly transparent about her fight to become the highest-paid female actor on television, having detailed a few years ago how she negotiated a paycheck for more than $20 million a year. She clearly knows what shes doing with these frank pronouncements as well.

As Pompeo laughs over the phone from her car, she says in a near shout: Theres your sound bite! Theres your clickbait! ABCs on the phone!

The Greys Anatomy team led by Rhimes and executive producer Betsy Beers created the first season in a vacuum, because the show did not have an airdate. The 2004-05 season was a comeback year for ABC because Desperate Housewives and Lost, both of which debuted that fall, became phenomena not only ratings successes but also watercooler events.

But at Greys, Rhimes was getting noted to death by network president Steve McPherson. According to Vernoff, McPherson who resigned in 2010 under a cloud of sexual harassment allegations stonewalled with pushback every step of the way, as ABCs then- head of drama, Suzanne Patmore Gibbs, fought for the show. Vernoff was close with Patmore Gibbs, who died in 2018, and recalls her talking about her clashes with McPherson.

He just didnt get it; he didnt like it, Vernoff continues. Honestly, Im going to say, I dont think he liked the ambitious women having sex unapologetically.

Wilson, when she was cast as Miranda Bailey on Greys, was a New York theater actor (Caroline, or Change) relatively new to series television. But she was well aware of the networks issues. We took a creative break around the Christmas holiday, which to me meant Oh, were out of a job.

Gizelle Hernandez for Variety

Pompeo was frustrated: Once we finally got an airdate, two weeks before that airdate they wanted to change the title of the show to Complications.

In an email to Variety, McPherson disputed these assertions, saying, I made the original deal with Shonda. I developed Greys Anatomy at the studio. I picked it up at ABC. He praised Patmore Gibbs, and added, As for defaming me again and again, I dont know what to say other than its sad that anyone feels the need to spread lies about me.

Yet there was so little faith in the show that the writers were asked to clear out their offices when they finished the season. But to Vernoff, who had clicked right away with Rhimes, the early episodes had felt like a labor of love.

And it was worth the battle. We fought for the right for Meredith and Bailey to be whole human beings, with whole sex lives, and not a network TV idea of likable, Vernoff says. You might not have been likable, but now youre iconic.

As far as the medicine went, the cases were often ostentatious. Every kind of crazy accident that had ever caused terrible harm to any human ever, that was our homework at night, Vernoff says. It was up to Zoanne Clack, an emergency room doctor-turned-writer, to be a sounding board in the writers room. She began as the only doctor on staff during the first season, and is now an executive producer. What was interesting was that the writers dont have those boundaries because they dont know the rules, so they would come up with all of these scenarios, and my immediate thought was like, No way! Clack says. Then Id have to think about it and go, But could it?

When the program finally premiered on a Sunday night after Desperate Housewives to massive ratings, it was a shock to the cast and crew, given that they had shot the first season under a cloud, Pompeo says, adding, So the fact that the numbers were that huge the first time we aired was a big fk-you to
McPherson!

With Season 2 now a given, everything changed, Vernoff says: It was like a hurricane-force gale, and everyone was just trying to hold on. They had made 13 episodes for Season 1, airing nine of them and holding the final four for Season 2 Meredith finding out that Derek was actually married (to Addison, played by Kate Walsh) had felt like the perfect finale. But upon the writers return, Vernoff says, the feeling was Holy s. We have to make 22.

The entire cast mostly unknown actors like Katherine Heigl as the sunny Izzie Stevens, T.R. Knight as the chummy neurotic George OMalley, and Justin Chambers as the troubled, secretly vulnerable Alex Karev had become famous overnight. For Wilson, whose Bailey was the stern teacher the interns called the Nazi, it was a new experience. Folks were scared to talk to me, like in the store or in the Target people would just kind of leave me alone, she says. It was like, Whats going on?

According to Vernoff, Paparazzi were following the cast to work it was wild.

Gizelle Hernandez for Variety

The mid- to late-2000s were the height of glossy gossip magazines such as Us Weekly (and its copycats), as well as the inception of TMZ and Perez Hilton as celebrity-hounding, news-breaking forces that fueled (and soiled) the fame-industrial complex. The cast of Greys Anatomy was firmly in the sights of these new, often toxic forces in media.

Pompeo says the cast was so talented that it was all worth it but yes, the transition to stardom was hard for the group: At the time, it was just a real combination of exhaustion and stress and drama. Actors competing with each other and envious.

Heigl, Knight and Isaiah Washington all went through press cycles that made the show seem scandal-prone. To rehash it all now seems pointless; you can look it up. Washington was fired in June 2007. Knight and Heigl asked to be written out of the show preemptively, in Seasons 5 and 6, respectively.

Vernoff and the other writers were watching the internal messes unfold. They had to deal with how the fallout affected the shows plot, as when Washington was fired just as Burke, his character, was about to marry Cristina. When word comes down that an actor is leaving the show, and what youve got scripted is a wedding Vernoff trails off, laughing.

There was a lot of drama on-screen and drama off-screen, and young people navigating intense stardom for the first time in their lives, she continues. I think that a lot of those actors, if they could go back in time and talk to their younger selves, it would be a different thing. Everybodys grown and changed and evolved but it was an intense time.

Pompeo doesnt want to talk about what happened with individual actors from the show, because when she has in the past, it doesnt get received in the way in which I intend it to be. But she does make a point about the way television is produced. Nobody should be working 16 hours a day, 10 months a year nobody, she says. And its just causing people to be exhausted, pissed, sad, depressed. Its a really, really unhealthy model. And I hope post-COVID nobody ever goes back to 24 or 22 episodes a season.

Its why people get sick. Its why people have breakdowns. Its why actors fight! You want to get rid of a lot of bad behavior? Let people go home and sleep.

Debbie Allen would eventually be Pompeos savior in that regard, but that was years away. Allen an actor and a dancer began her directing career when she was on the 1980s TV series Fame as a natural progression because, she says, I was in charge of the musical numbers, and so many directors didnt really know how to shoot them. She went on to be a prolific director and producer, most notably overhauling NBCs A Different World after a tumultuous first season. As a fan of Greys Anatomy, Allen wanted to work on the show, and in Season 6, she was hired to direct. To prepare for it, Allen shadowed Wilson, who had been tapped to direct by executive producer-director Rob Corn. (He came to me and said, You should direct, says Wilson, who has now helmed 21 episodes. And I said, OK. Because I didnt know what else to say.)

Gizelle Hernandez for Variety

Directing that sixth-season episode led to Allens fruitful relationship with Greys. In Season 8, Rhimes wrote Allen into the show to play Catherine, a star surgeon, a love interest for Richard Webber (Pickens) and the mother of Jackson Avery (Jesse Williams). Ahead of Season 12 in 2015, Allen became the shows EP/director. Her duties included hiring all of the directors, weighing in on scripts and casting, and, as Allen puts it, minding that people feel good about themselves. Several years before the revived #MeToo movement would lead to calls for systemic changes behind the camera in Hollywood, Allen set a goal of hiring 50% women directors. She also increased the number of Black men who directed Greys during her first season as executive producer, among them Denzel Washington. (When she sold him on it, she recounts, he said to her, Im going to say yes, Debbie Allen.)

Pompeo and Allen are close. Allen began her new role the year after Dempsey left, at a time when we were really broken, Pompeo says. And so much of our problems were perpetuated by bad male management. Debbie came in at a time when we really, really needed a breath of fresh air, and some new positive energy.

Pompeo continues with a laugh: Debbie really brought in a spirit to the show that we had never seen we had never seen optimism! We had never seen celebration. We had never seen joy!

According to Pompeo, Allen began advocating for her to have more humane hours Fridays off (Pompeo: And I was like, What? What? Fridays off?) and for the show to shoot 12-hour days maximum, and ideally no more than 10 hours (Pompeo: And I was like, I love this woman.).

Allen speaks affectionately about her bond with Pompeo. Coming out of Boston, shes so earthy and real in a way that you might not know, Allen says. Theres a sisterhood between us I guess you would say its almost a Blackness that exists between us. And shes part of our tribe.

Allen has been a key member of the Greys Anatomy brain trust since Season 12, and two seasons later, Vernoff returned to run the show. Shed left at the end of Season 7, consulted on Private Practice for a few years, and then went to Showtimes Shameless for five seasons. As her contract was set to expire, Rhimes asked Vernoff to lunch, and told her she wanted her to take over. It felt like she was saying, Hey, our kid needs you, Vernoff says.

Before accepting the offer, Vernoff had to catch up on the show. She had always written Greys as a romantic comedy, and what she saw on-screen during her binge was dark as hell especially after Dereks death. If this show that you are currently making is the show that you want Greys Anatomy to be, she recalls telling Rhimes, I am, in fact, not the right writer for it. But Rhimes was insistent, saying it was time for a change after the mourning period for Derek.

Vanessa Delgado, who started as a production intern during the seventh season and has worked her way up to being lead editor and co-producer, says the shows trajectory shifted when Vernoff came back it was a return to the original, saucier tone of Greys. We changed the music completely, Delgado says. The dialogue felt lighter and more fun, and we were having fun again.

Gizelle Hernandez for Variety

That lightness will be difficult to maintain this year, of course, when, as Allen puts it, COVID is No. 1 on the call sheet right now.

Vernoff at first wondered whether Greys should ignore the coronavirus, thinking the audience comes to the show for relief. But the doctors in the writers room convinced her this wasnt the time for escapism, saying to her, This is the biggest medical story of our lifetime, and it is changing medicine permanently.

When theyve had doctors and nurses come speak with them this season, Vernoff says, they were different human beings than the people weve been talking to every year. And I want to honor that,
tonally. I just want to inspire people to take care of each other.

Pompeo, who is not shy about offering criticism, sounds positively enthusiastic: Ill say the pilot episode to this season girl, hold on.

What nobody thinks we can continue to do, we have done. Hold on. Thats all were going to say about that!

Pompeo has a few more months before she decides whether she wants to continue and as Rhimes and ABC have made clear in recent years, the show will likely end when she leaves. I dont take the decision lightly, Pompeo says. We employ a lot of people, and we have a huge platform. And Im very grateful for it.

You know, Im just weighing out creatively what can we do, she says. Im really, really, really excited about this season. Its probably going to be one of our best seasons ever. And I know that sounds nuts to say, but its really true.

Vernoff doesnt worry about the creative well drying up. Weve blown past so many potential endings to Greys Anatomy that I always assume it can go on forever, she says.

And Wilson knows how important Greys is to its audience, in that the characters have essentially become people who live in their house. As one of only three actors whove been on Greys since the beginning the other is James Pickens Jr. Wilson is in it until the end: In my mind, Bailey is there until the doors close, until the hospital burns down, until the last thing happens on Greys Anatomy. That is her entire arc.

Whenever the show does conclude, part of its legacy will be about the talent it launched into the world, beginning with Rhimes, who will soon release her first shows for Netflix, after her company, Shondaland, made a lucrative deal with the streamer in 2017.

But it will also be about the characters of Greys Anatomy mostly women and people of color who are trying to make the world a better place as they find friendship, love and community.

The show, at its core, brings people together, Pompeo says. And the fact that people can come together and watch the show, and think about things they may not have ordinarily thought about, or see things normalized and humanized in a way that a lot of people really need to see it helps you become a better human being. If this show has helped anybody become a better human being, then thats the legacy Id love to sit with.

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How Greys Anatomy Revolutionized Pop Culture and Why Its Not Done Yet - Variety

Monkey Dust and the Anatomy of a Tabloid Drug Scare Story – VICE UK

Screengrabs via North Wales Live, Stoke-on-TrentLive, Sky News, MailOnline and The Sun. Background: Pixabay

Newspapers distort the truth and dehumanise societys most vulnerable people when they report on drug scares, a new scientific study has found.

Public health experts at Liverpool John Moores University used the Monkey Dust epidemic in England during the summer of 2018 to pick apart how the media invokes the marmalade dropper drug scare story one that shocks Middle Englands newspaper readers into dropping their marmalade at breakfast in order to sell papers.

The study analysed 368 newspaper articles about the terrifying new drug in reality not one substance but a variety of potent, addictive synthetic cathinone stimulants such as MDPV and MDPHP that have been around for a while.

Researchers found that the media frenzy around Monkey Dust had all the inaccurate, hyped-up ingredients of a classic drug scare story: a brand new drug, more potent than any other, spreading to a town near you and with the power to transform people into violent sub-humans. It found that this kind of reporting not only exploited the poorest and sickest people in society for shock factor, but also made it harder for them to get help and put them in increased danger.

A swathe of 2018 newspaper reports, complete with lurid images, told readers that Monkey Dust was turning homeless people into zombie-like savages with superhuman powers. Vulnerable drug users were compared to the Incredible Hulk, while Stoke-on-Trent, the West Midlands city at the centre of the deluge of media reports, was like a scene from the Night of the Living Dead.

Monkey Dust originally the name of a satirical cartoon show in the early 2000s first appeared in a 2013 article in local Staffordshire newspaper The Sentinal about a murder case in which the perpetrator was alleged to be high on the drug known as monkey dust when he battered a man to death with a baseball bat. The drug was mentioned again in a couple of national papers in 2015, when a traveling salesman who chucked a cigarette through an elderly persons letter box and a robber dressed as Cruella de Vil were both said to be high on it.

But it was in the summer of 2018 that the Monkey Dust media feeding frenzy began. Sensationalist reports in the local and mainstream media including the BBC, Daily Mirror and The Telegraph began referring to the drug as evil, demon-like and abhorrent.

They were not sure what Monkey Dust actually was, but it was ten times stronger than coke, worse than heroin with cravings similar to meth. One local paper described it as the terrifying new street drug that turns users into zombies for just 2.

But drug users were not just zombies. According to many newspapers they were also cannibals. Alongside pictures of Hannibal Lecter, a series of articles suggested cannibalism was an effect of intoxication because it can make people who take it want to eat other peoples faces off.

Like escaped zoo animals, Monkey Dust users, newspapers said, were a highly unpredictable threat to the public who were unable to feel pain, deranged and could lash out at any time with unnatural strength. Sky News reported about a video showing one man, apparently high on the drug, leaping off the roof of a house onto a car, before getting straight up and attacking a police officer. They are just not of this world, said the Daily Mail.

Problem was, as VICE News reported at the time, and the study confirmed, the Great British Monkey Dust Panic while creating widespread clickbait alarm was not quite what it seemed.

The study found the media exaggerated the levels of use of the drug, its effects and the geographical extent of its use. Stories said people committed acts while high on Monkey Dust with little evidence they had taken it. The viral video of the man high on Monkey Dust jumping off a roof turned out to be from 2014, with no proof of what hed taken, while the line about the drug causing users to eat people had been cut and pasted from another, long ago debunked scare story from America.

Like most drug scare stories, from PCP and crystal meth to mephedrone and hippy crack, the study said local and national newspapers fed off each other. Once a false piece of information, or an outrageous quote was published, it spread across the media unchecked.

The media erroneously turned what was in reality a very localised story and a small group of disadvantaged people into a national threat. Far from plaguing the streets of the UK, Monkey Dust was largely confined to the Stoke area. Nevertheless the Daily Mail reported that all too many grim pockets of Britain were being transformed into the Incredible Hulk.

What most concerned the studys authors however was that drug scare stories such as the one about Monkey Dust have a direct, negative impact on societys most socially excluded people. Newspapers used anonymised photographs of homeless people and images of monsters to make drug users look a threat, instead of people struggling with serious problems.

Vulnerable groups were presented as the other and a group that should be excluded from city centre locations, said the study. People who use drugs were positioned as a drain on resources, through the pressures placed on public services, their perceived lack of economic contribution to society, and the negative effects of their physical presence in town centres as damaging to local economies.

Very few articles gave any explanation as to why people in Stoke-on-Trent might be getting high on drugs such as Monkey Dust, the study said. There was little mention of the austerity-fuelled social conditions, such as rising poverty and cuts to local services, that may have led to people becoming homeless and addicted to Monkey Dust in the first place, observed the study.

It might seem like harmless tabloid fun painting societys most socially excluded people as not of this world, but the study authors said these dehumanising stories have grave consequences. The study said that stigmatising drug users makes them less likely to seek help and means the authorities are less likely to give them it. Worse, it can put them in increased danger from members of the public and the police. In America, media myths about the power of drugs to make people superhuman have had a huge impact such as the killing by police of George Floyd in Minneapolis on the over-violent, and sometimes deadly, policing of drugs there.

The development of the meth zombie image in America, popularised by the use of dehumanising Faces of Meth mugshots, has been used to sew panic and injustice in communities, stigmatise the poor and hand down thousands of overly harsh sentences. The same can be said for crack in the US and for heroin in the UK. In Britain, the portrayal in the media of Spice users as inhuman zombies has made it easier for the public, police and the authorities to ignore why these people are taking drugs in such harmful way and for some to see them purely as objects of derision and disgust.

Media reporting has real life impact in that it can lead to increased police action, and in turn the further criminalisation of people who use drugs. It can have real life impact on the lived experiences of drug users by influencing public perceptions and attitudes, concluded the report.

It is important to change these narratives to prevent the negative effects of media reporting, and the need to ensure journalists report drug issues in ways that are better informed to prevent further harm to people who use drugs, and for policy makers to reconsider reactions to news media reporting that reproduce ineffective policy responses.

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Monkey Dust and the Anatomy of a Tabloid Drug Scare Story - VICE UK

Anatomy of a Killing by Ian Cobain review a death that casts new light on the Troubles – The Guardian

In certain parts of Northern Ireland in the late 1970s, a stranger arriving at the door could provoke panic, even terror. The town of Lisburn, near Belfast, was not such a place. Predominantly Protestant and home to many members of the Royal Ulster Constabulary (RUC), it had for the most part escaped the violence that had ravaged other parts of the province. Up until 1977, as Ian Cobain puts it, not a single member of the security forces had lost their life in Lisburn.

All that would change on the morning of Saturday, 22 April 1978, when Millar McAllister, a police photographer, opened the back door of his home in Woodland Park, having glimpsed a figure moving in his back garden. He was shot three times at close range, twice in the chest and the third time, as he was lying on the ground, in the head. In the silence that followed, the killer noticed McAllisters seven-year-old son, Alan, standing just inside the kitchen door, frozen to the spot. They stared at each other for a long moment until the boy started screaming. The stranger ran to a waiting car, the boys cries echoing in his head,

In Lost Lives, the vast book of historical record that chronologically documents every death in the Troubles, Millar McAllister is listed as victim number 2,017. The bare facts of his life are outlined thus: RUC, Protestant, 36, married, two children. In Anatomy of a Killing, Ian Cobain rescues him from the abyss of history, tracing the arc of his short life and contrasting it with the still ongoing, altogether more tangled, life of Harry Murray, his killer.

By reconstructing a single murder its planning, its ruthless execution and its protracted aftermath through in-depth interviews and the careful sifting of not always reliable evidence from official records, Cobain also casts new light on the culture of terrorist violence and state repression that defined Northern Ireland during 30 years of conflict.

Cobain is a seasoned, award-winning investigative journalist (most recently for the Guardian), who also sketches the social and historical context that spawned the Troubles. Throughout, his style is brisk and his tone level-headed, the violence he chronicles often evoked through spartan, but chillingly descriptive, detail. Of the aftermath of the IRA bombing of the La Mon hotel restaurant, which happened on 17 February 1978, just a few months before the murder of Millar McAllister, he writes: Twelve people, including three married couples, died in the blast. All were Protestant. The dead were so badly burned and shrivelled by the flames that firemen thought initially that some of them were children. Hell is in the details.

Amid such carnage, the death of an individual could pass all too swiftly into the anonymous realm of statistics, forgotten by all but family members and loved ones. Cobains book is, among other things, an act of reclamation. It is also, in its skilful telling, a tale of two ordinary lives converging with the inexorability of a Greek tragedy.

Millar McAllister joined the RUC in 1961, when the Troubles, as Cobain puts it, were barely visible on the horizon. He had two hobbies: photography and racing pigeons. The former provided him with a well-paid job; the second unwittingly led to his death. McAllister wrote a monthly column for Pigeon Racing News and Gazette under the byline The Copper, which was accompanied by his photograph. When an IRA suspect, who was being held at the Castlereagh interrogation centre in east Belfast, recognised McAllister from the photo, the word went out to find him. Soon afterwards, Harry Murray was dispatched with another young volunteer to carry out his execution.

In almost every way, Murray comes across as the polar opposite of the level-headed McAllister: impetuous, impressionable and instinctively rebellious. What they had in common is that they were both Protestants, Murray being one of the very few from his community to join the IRA. A few years before, he had been driven out of his home in loyalist Tigers Bay in Belfast by local paramilitaries. His transgression was to marry a Catholic. Having been resettled where his wife grew up in nationalist north Belfast, he grew increasingly sympathetic to the republican cause. Murray seems to have drifted into the ranks of the Provisionals much like, years before, he had enlisted on impulse with the Royal Air Force and served overseas. His military career ended abruptly after one too many breaches of discipline. I just couldnt take orders, he tells Cobain without irony.

What lingers longest is the awful mundanity of the events leading up to and after the killing

Murrays renegade life was not without principle, however. During his induction into the IRA, he claims to have told his recruiters there were two things he would not do: kneecappings and shooting Protestants just because they were Protestant. Like all IRA combatants, though, he regarded the RUC as the enemy in a just war, and, as Cobain discovers, remains remarkably free of remorse for the brutal taking of Millar McAllisters life. In 1983, while serving time for the killing, Murray would take part in an audacious IRA jailbreak from Long Kesh prison, shooting a prison officer in the leg before being wounded himself. On his recapture, he was set upon by prison officers who berated him as a turncoat bastard.

As with Patrick Radden Keefes recent book, Say Nothing, which uses the IRAs disappearance of Jean McConville in 1972 as the starting point for an illuminating exploration of the conflict, Anatomy of a Killing deftly merges history, social context and anecdotal testimony. Cobain explores the psychology of political violence, citing a study from 1978 which found that, rather than being the psychopaths of tabloid headlines, the IRAs political killers tended to be normal in intelligence and mental stability. He also suggests that vengeance may have been a crucial motivating factor for young men joining the Provisionals and, in Murrays case, it is clear that he has never forgiven his own community for the humiliation of his expulsion.

The immediate aftermath of the killing also makes for deeply unsettling reading. On information obtained from an IRA informer, Murray and his accomplices were arrested and taken to Castlereagh, where they were beaten and interrogated relentlessly by Special Branch men working in shifts. Anne, an IRA courier, confesses to her role and, Cobain writes, appears to have suffered a fairly complete physical and psychological breakdown.

The man she gave the gun to after the killing, Brian Maguire, whom Cobain describes as highly strung, was not an IRA member. He was interrogated non-stop for 12 hours and, the next morning, was found hanged in his cell. His death remains disputed. Among the revelations in Cobains book is testimony given at the time by another suspect called Phelim, which provides what Cobain calls an accurate description of the torture technique that became known as waterboarding when used by the CIA in the years after 9/11.

If there is much that is compelling in Anatomy of a Killing, what lingers longest is the awful mundanity of the events leading up to and after the killing. Cobain describes how, on that fateful morning, Anne calmly carried the gun from Belfast to Lisburn on a bus, and, having arrived early, went shopping for a birthday present for her brother. Just a few hours after he killed McAllister, Murray returned to Lisburn to play football on a pitch close to his victims home.

As the Troubles begin to fade into history and forgetting, it is in these incidental actions that the deep moral fracture caused by the conflict comes sharply and chillingly into focus. We would do well to remember how quickly violence can become almost normalised in a culture riven by intractable differences of identity and belonging.

Anatomy of a Killing: Life and Death on a Divided Island by Ian Cobain is published by Granta (18.99). To order a copy go to guardianbookshop.com. Delivery charges may apply

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Anatomy of a Killing by Ian Cobain review a death that casts new light on the Troubles - The Guardian

The Anatomy of a California Legislative Resolution – California Globe

In the California Legislature, Members of the Assembly and Senate can introduce three types of resolutions. What are the component parts of a resolution? In terms of its anatomy, a resolution contains the following provisions:

Legislative Session. At the top of each bill, the following language appears: California Legislature 2019-2020 Regular Session. The only two items that change would be the 2-year Legislative Session, and if there is an Extraordinary Session (also called a special session), rather than a Regular Session.

Resolution Number, which follows the words House Resolution, Senate Resolution, Assembly Concurrent Resolution, Senate Concurrent Resolution, Assembly Joint Resolution, and Senate Joint Resolution. The Assembly Chief Clerk or the Secretary of the Senate assigns the resolutions their numbers for each resolution introduced in its respective house of origin, usually in the order in which it was received at the Assembly or Senate Desk. This number remains the same throughout the legislative process, even when the measure is considered in the second house.

Author(s), as well as principal coauthors and coauthors. In the U.S. Congress and many state legislatures, the author of the bill is known and referred to as the sponsor. In the California Legislature, the author is the legislator who authors the resolution. The first line always lists the main author(s) who introduced the resolution. Below the first line lists any principal coauthor and the next line lists any coauthor. One list is used for the house of origin coauthors and another line below that is used for coauthors from the other house.

Date Introduced, as well as Date Amended, with the house making the amendment listed (i.e., the Senate or Assembly).

Resolution Title, which is a short phrase, also called the Relating clause because it begins with the phrase: Relative to . The title must encompass the subject matter contained in the resolution.

Legislative Counsels Digest, merely states what the resolution would do.

Digest Key, which contains only the fiscal committee key.

Resolution Text, which is the actual language of the resolution, containing Whereas and Resolved clauses. These are the provisions that make up the anatomy of a bill in the California Legislature.

Chris Micheli is a lobbyist with Aprea & Micheli, as well as an Adjunct Professor of Law at the University of the Pacific McGeorge School of Law.

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The Anatomy of a California Legislative Resolution - California Globe

Katherine Heigl recalls her controversial exit from Grey’s Anatomy – 9TheFIX

Katherine Heigl has reflected on her sudden exit from Grey's Anatomy.

The Firefly Lane actress, 42, admitted her departure could have been handled differently, but life is filled with momentary lapses in judgement.

"I don't think you get through life without any regrets," she told People of her time on the show. "But you can create some purpose from it."

READ MORE: What happened to Katherine Heigl?

In 2008, Katherine Heigl pulled out of the Emmys race for Grey's. At the time, she said she didn't deserve a nomination because the writing for her character wasn't good enough in Season 4.

"I did not feel that I was given the material this season to warrant an Emmy nomination and in an effort to maintain the integrity of the academy organisation, I withdrew my name from contention," she said in an official statement.

Heigl earned the unflattering title of being "difficult", and eventually left her role as Izzie Stevens in 2010.

"I know there's a better way to deal with those things than I did," she told the outlet. "I could have handled it with more grace."

READ MORE: Grey's Anatomy feud explainer: Katherine Heigl and Isaiah Washington

Heigl said that she didn't regret her decision to leave, but she did regret the "heightened drama" that unfolded upon her exit. The actress has subsequently learned how to prioritise self-care.

"If I'd known anything about meditation then, or had been talking to a therapist or someone to help me through some of the fear that I was steeped in, I think I would have been more calm in how I approached what boundaries I needed to create to thrive," she continued.

"I certainly regret not learning earlier how to manage my anxiety better. Living at that heightened level of anxiety ... created a defensiveness in me and wariness and assuming that people were against me. I let my mind run rampant without the tools to properly manage that."

Heigl recently shared her thoughts on Grey's storyline where her character reunited with Alex Karev (Justin Chambers).

"Wasn't he with someone?" Heigl told Entertainment Tonight on January 27, referencing Alex's wife Jo (Camilla Luddington). "Listen, isn't that an a---hole move?"

Celebrity throwback photos: Guess who!

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Katherine Heigl recalls her controversial exit from Grey's Anatomy - 9TheFIX

‘Promising Young Woman’ | Anatomy of a Scene – The New York Times

Hello, I am Emerald Fennell the writer and director of Promising Young Woman. But why are you wearing all that make up? Do you mind me asking? This scene comes in the first part of the movie where we see Cassandra played by Carey Mulligan in one of her nighttime activities. And she and Neil played by Christopher Mintz-Plasse have met at a club, or rather he has found her at a club and taken her home. I dont feel good. Could you get me a glass of water? Yeah, sure. And I think the thing about this scene is, is its a kind of subversion of a lot of scenes perhaps weve seen in romantic comedies the nerdy nice guy whos sort of not very confident with women, is maybe using alcohol as a cover for a slightly more nefarious activities. Hey! Hey. There you are. You fell asleep. And I think what is so beautifully played in this scene, really from both Carey and Chris is that youre seeing both how theyre communicating with each other and what their communicating to us, the audience. And so with Cassie by this point we know she isnt drunk, even if he doesnt. And there are few moments, a lot of the conversations with Carey were, at what point do we want to see that? No. Dont go. Stay. And equally when he comes back and thinks that shes passed out, that nice guy falls away. So theres this sense that he feels like hes putting in the work. So its this kind of subversion or perversion of what were kind of used to seeing when it comes to seduction in films and what people think is either appropriate or what they can get away with. Is that I need to go home. It was very important to me in this film that we see, really were seeing stuff that is just incredibly commonplace. I just thought you were Drunk? Yeah. Really drunk? That its not remotely unusual for not only for men to pick up girls who are very drunk and take that as a sort of green light, but also for them to talk almost exclusively in a monologue. High right now. I dont know what Im doing. I think you should go. But a second ago, you were determined for me to stay. You were pretty insistent actually. Im a nice guy. Are you? I thought we had a connection, I guess. A connection? O.K. What do I do for a living? Sorry, maybe that ones too hard. How old am I? How long have I lived in the city? What are my hobbies? Whats my name? So you often find when Cassie meets these men. She very deliberately does nothing to invite their advances at all. And so when you look at Chriss performance. What I said to him as I said to everyone in this movie, really was, this is your movie. Youre the romantic hero. Youre the nice guy. And this is youre falling in love moment. Because you feel such a connection to this girl because you like her hair, and shes wearing a leopard print skirt, and shes in your apartment. So this must be love. And it definitely isnt anything else. Im a nice guy. You keep saying that, but you are not as rare as you think. You know how I know? With Carey, whos just kind of supernaturally talented. It was about both being incredibly real and grounded in the moment and in her rage and all of that. But its also being aware of what once the turn happens, what Neil thinks is going to happen, and what we the audience think can happen.

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'Promising Young Woman' | Anatomy of a Scene - The New York Times

Anatomy Opens the Creaking Door to Haunted House Tales – WIRED

Haunted house stories are having a moment. It might be quarantine. Or it could be Netflix's faultits release of The Haunting of Bly Manor has reinvigorated the discourse about what makes a good haunted house story and whether or not Mike Flanagan, the horror director who, between Bly Manor and Hill House and Doctor Sleep seems to be veritably obsessed with them, really has what it takes to make one that feels both scary and fascinating.

Haunted houses are special because houses are special. They keep us safeuntil they don'tand are both entirely familiar to us and entirely unfamiliar, as anyone who's had to deal with serious home repairs could tell you. People have intimate relationships with the places where they live. And that's a powerful entry path for horror. Or, as the opening line of Kitty Horrorshow's 2016 video game Anatomy puts it, "In the psychology of the modern civilized human being, it is difficult to overstate the significance of the house."

Horrorshow's game starts with a tape player in an empty kitchen and a single cassette. When you put it in, the narration begins, a faux-academic exploration of what houses mean, why they're special, and, most important, how people might think of them anatomically. Is a kitchen a stomach? Is a living room a heart? In what ways are houses like us?

All of this occurs, by the way, in an empty, modern suburban home. Two bathrooms, two bedrooms, a little narrow set of stairs. One peculiarity of haunted house stories is that they're often period pieces. It's the distance, I think: Old ornate Victorian-style homes are familiar without being too familiar. We want to think about how scary houses can be without actually letting that horror fully inside. Anatomy, a small game released on itch.io for PC, refuses that distance. This could be the house you grew up in. Or one you rented, for a while, in college, a lonely, dull little home at the end of a lonely, dull little cul-de-sac. It might be a lot like the one you live in right now.

The voice in the tape continues: "But of all the structures mankind has invented for itself, there is little doubt that the house is that which it relies upon most completely for its continued survival."

Anatomy understands the haunted house story. It understands why houses are scary and fascinating, and why artists from Henry James to Shirley Jackson to Mike Flanagan have been so obsessed with them. And alongside scaring you, Anatomy also wants to teach you. It is, in some sense, an exercise in explaining the jokeits narration delves into what is so frightening about a haunted house. But it's an exercise that's so effective and so deeply dialed in to the core of human fears that even when you understand it, you're still unnerved.

Here's how it's played: You find that first tape, in the kitchen of an empty, dark house. Then a message onscreen tells you to find another tape, in another room. In this way you explore the house, gathering tapes, listening to this voice contrasted with the uneasy, shadowy presence of the house. A presence that grows, as the house becomes more and more alien, as it begins to feel like something is there. Or maybe it's just the house itself, broken the way Hill House was in Jackson's novel. Then, a question arises: Whose voice is it on those tapes?

More happens in Anatomy's short run time, but summarizing it here would be to the game's detriment. But know this: What makes Anatomy feel vital four years after its release is the sense that it wants to welcome you into horror at the same time as it plays with horror storytelling. It pushes you to think about why scary things are scary, what deeper psychology is at work when you're afraid of the dark room at the end of the hall or what might be behind that locked door.

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Anatomy Opens the Creaking Door to Haunted House Tales - WIRED

Katherine Heigl Says Being Labeled as Difficult Amid Greys Anatomy Feud Caused Severe Anxiety – Us Weekly

Sorry, not sorry. Katherine Heigl admitted that backlash about her behind-the-scenes reputation took a major toll on her mental health after her Greys Anatomy exit.

I may have said a couple of things you didnt like, but then that escalated to shes ungrateful, then that escalated to shes difficult, and that escalated to shes unprofessional,' the 27 Dresses star recalled in a recent interview with The Washington Post, published on Thursday, January 28. What is your definition of difficult? Somebody with an opinion that you dont like? Now, Im 42, and that st pisses me off.

Heigl played Dr. Izzie Stevens on the long-running ABC drama for six seasons before ultimately leaving the show in 2010. Two years prior, she raised eyebrows when she withdrew herself for Emmys consideration because she didnt think the material she was given during season 4 was worthy of a nomination. Her comments quickly sparked rumors of tension between her and Greys creator Shonda Rhimes, who said at the time that she was surprised but not insulted by Heigls statement.

At the time, I was just quickly told to shut the fk up. The more I said I was sorry, the more they wanted it, Heigl continued. The more terrified and scared I was of doing something wrong, the more I came across like I had really done something horribly wrong.

After leaving Greys Anatomy, Heigl put more focus into her film career. However, the whispers about her behavior caused a shunning within the industry and she noticed that her films started to make not quite as much money. During her darkest moments, her husband, Josh Kelley, was very worried about the state of her mental health.

If she said [some of it] today, shed be a hero, Kelley, 40, told the outlet. I cant imagine what all of that pressure did to her over the years. It would be hard for anybody to process that, especially when its unjust and a lot of its negative.

Heigl married the singer-songwriter in 2007 and they adopted daughter Naleigh, now 12, two years later. In 2012, they adopted daughter Adalaide, now 8, and welcomed son Joshua in December 2016. One year before giving birth to her son, the Firefly Lane star experienced an extreme uptick in anxiety.

I asked my mom and my husband to find me somewhere to go that could help me because I felt like I would rather be dead, she recalled. I didnt realize how much anxiety I was living with until I got so bad that I had to really seek help. You can do a lot of inner soul work, but Im a big fan of Zoloft.

While Rhimes, 51, has previously made shady comments about Heigl in the years since their rumored feud began, the Knocked Up star has seemingly put the bad blood behind her. On Wednesday, January 27, she told E! News Daily Pop that she would never say never to making an appearance on the medical drama. Despite the ups and downs her career has faced, Heigl is comfortable making bold choices and advocating for herself on set.

Ive grown into accepting that ambition is not a dirty word, she told The Washington Post. And that it doesnt make me less of a feminine, loving, nurturing woman to be ambitious and have big dreams and big goals. Its easier to be happy because I have a little more gentleness for myself.

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Katherine Heigl Says Being Labeled as Difficult Amid Greys Anatomy Feud Caused Severe Anxiety - Us Weekly

‘Grey’s Anatomy’ Alum and ‘Private Practice’ Star Kate Walsh Didn’t Inspire ‘The Sweetest Thing’ – Showbiz Cheat Sheet

Actor Kate Walsh, or Addison to fans of Greys Anatomy and Private Practice, isnt the inspiration for The Sweetest Thing. A remark she made on the movies DVD extras led people to believe her adventures with screenwriter Nancy Pimental inspired it. But thats not true.

A few years after playing the title character in Theres Something About Mary, Cameron Diaz signed on for The Sweetest Thing. The 2002 film follows her character, Christina Walters, as she meets a guy named Peter (Thomas Jane) who could be the one. She sets about tracking him down.

Soon she finds herself on a road trip with her best friend Courtney (Christina Applegate) to what they believe is the wedding of Peters brother, Roger (Jason Bateman).Finding Christinas potential soulmate isnt the only thing she and Courtney are doing. At the time they are on their road trip, theyre trying to encourage their friend Jane (Selma Blair) to start dating again after a breakup.

The Sweetest Thing opened to less than stellar reviews. But in the years since its developed cult status. Its considered by some to be the precursor to women-focused films such as Bridesmaids and Bad Moms.

RELATED: Former Greys Anatomy Star Kate Walsh Reunites With a Private Practice Co-Star What Is the Cast up to in 2020?

Pimental told Entertainment Weekly in 2018 how it came to be general knowledge that her friendship with Walsh served a the inspiration for The Sweetest Thing.

A camera crew came to her house to film a feature for the DVD. She chose a very tongue-in-cheek and ironic video about a day in the life of a bigshot screenwriter. Pimental called all of her actor friends over to help, including Walsh.

Kate had said in this thing that we were best friends and the movie was based on our friendship, Pimental said, noting they improvised everything.

Its so funny how people just said, Oh, well the part that Kate said must be true, she added. Now she and Walsh just laugh about it.

RELATED: Greys Anatomy Alum Kate Walsh Makes Iconic Tribute to Meredith and Dereks Reunion

Pimental set the record straight on the true inspiration. Before she wrote the movie shed been working at a restaurant with a tight-knit group of women.

We just ran in this pack where we were these waitresses, and there was always these write-ups about us in magazines, because the place was really popular and a lot of Saudi princes would go there, she said.

Pimental continued, saying they were owning their womanhood.

There was this group of girls and we were running around town and partying at these different clubs and just owning our womanhood, I guess, she said.

And thats where the inspiration for The Sweetest Thing came in.

I just thought, God, theres not an example of this sort of girl posse where were more like guys. Yeah, we decide if we want to give you a fake number or not kind of thing. There wasnt this empowerment, I guess, or this example of it, she said before adding, Thats really how it started.

Watch The Sweetest Thing on Hulu with a premium subscription or rent it on Amazon Prime.

RELATED:Patrick Dempsey Was Convinced Shonda Rhimes Didnt Want Him to Play Derek Shepherd When He Auditioned for Greys Anatomy

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Anatomy of a Goal: Zardes scores the first-round winner – Massive Report

Welcome back to the Anatomy of a Goal, where each week we dissect one goal (or near goal) from the Columbus Crews previous match.

For the first match of the 2020 MLS Cup Playoffs, we take a look at Gyasi Zardes 68th minute goal that gave the Crew a 3-1 lead and proved to be the game-winning goal against the New York Red Bulls on Saturday.

Here is a look at the goal from Columbuss striker.

The Black & Gold took the field against New York fresh off a two-week break before the start of the 2020 MLS Cup playoffs. With fresh legs and a first-choice lineup, the Crew quickly took control of the match. The Red Bulls pounced on an errant Harrison Afful clearance in the 23rd minute to take an early lead against the run of play, but Columbus quickly evened things up with a 26th minute penalty kick goal by Pedro Santos.

Columbus brought that same dominant energy to the early portions of the second half. Seconds after the halfs kickoff, Darlington Nagbe pounced on a Ryan Meara save to grab a 2-1 lead for the home team.

Zardes eventual game winner begins with a New York clearance. The cleared ball rolls toward Artur with his attacking teammates all in position to receive a quick pass on the counter-press. Derrick Etienne and Meara got tangled up following Etiennes pressure and Mearas clearance.

Artur steps to the ball, under pressure and can play an easy pass to Santos, a through pass to Zardes or a lofted pass forward to Lucas Zelarayan.

Meanwhile, Etienne and Meara are still tangled up.

Artur plays the safe pass around the referee to Santos.

Santos prepares to receive the ball under direct pressure from Kyle Duncan. The Crew winger has three options. He can redirect the ball around Duncan and cut toward the goal, a first-touch through pass to Zardes or a play first-touch pass forward to Zelarayan.

Santos spies Zelarayan and plays a quick, first-touch pass toward his teammate.

Zelarayan receives the pass from Santos and turns toward the New York goal.

Meara and Etienne have disentangled, allowing Meara to get back to his goal line and Etienne to shift to an offside attacking position.

Zelarayan continues forward with the ball while Zardes sets himself up for a back-post run.

Sean Davis steps to provide pressure leaving Zelarayan. The Crews playmaker can now attempt to beat Davis off the dribble, play a diagonal pass to Etienne who is now in an onside position or hit a through pass to Zardes.

Zelarayan spots Etienne and hits a simple pass his way. Zardes continues his back-post run.

Etienne easily receives the pass and takes a quick touch on the ball. All three other Columbus attackers have continued their runs: Zardes to the back post, Santos trailing him, and Zelarayan at the top of the 18-yard box.

The Red Bulls Jason Pendant steps to Etienne, leaving the winger with three options. He can attempt to beat Pendant off the dribble, hit a back-post cross to Zardes, try to thread the needle with a difficult pass on the ground to Zelarayan.

Etienne spots Zardes and hits a high, arcing cross his way.

Zardes eyes the cross and times his jump as Duncan attempts to cover the striker despite a three-inch height difference.

Zardes begins his jump as the ball drops toward his spot.

Duncan lunges toward Zardes as the Black & Golds striker prepares to hit a header on frame.

Zardes easily beats Duncan and heads the ball toward goal. Because of both Zardes and Mearas positioning, the ball will have to take a high, arcing path to the far post if Zardes hopes to beat the Red Bulls keeper.

The ball takes an arcing path toward the back post. Meara is caught at the front post and has to watch the ball fly over his head.

Meara can only watch as the ball finds its way to the far post . . .

. . . and into the back of the net!

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Anatomy of a Goal: Zardes scores the first-round winner - Massive Report

Anatomy of a K drama Scene: How Hyun Bin & Son Ye Jin’s last goodbyes in CLOY was overdramatic but oh so GOOD – PINKVILLA

*SPOILERS ALERT* In the latest edition of Anatomy of a K-drama Scene, we look at Hyun Bin and Son Ye-jin's last goodbyes in Crash Landing on You and how it was overdramatic yet a memorable 'romantic' moment for drama fans.

*SPOILERS ALERT* Crash Landing on You is amongst those once in a lifetime romantic dramas which managed to leave an inimitable mark in the hearts of viewers all across the globe. A big credit goes to the passionate chemistry shared between Hyun Bin and Son Ye-jin as star-crossed lovers. While Bin played Ri Jung-hyuk, a reserved North Korean captain, Ye-jin portrayed Yoon Se-ri, a South Korean chaebol heiress.

In today's edition of Anatomy of a K-drama Scene, we delve into the couple's last goodbyes before Jung-hyuk is taken back to North Korea. Fans remember how Se-ri was shot and in a critical condition while Jung-hyuk makes the heartbreaking decision to end his relationship with Se-ri. The reason being the big border difference which will always prove to be a hindrance and maybe prove to be even stronger than their love. He disregards Se-ri's tears even though it broke him personally. Along with his Company 5 unit; Pyo Chi-soo (Yang Kyun-won), Kim Joo-muk, (Yoo Su-bin), Keum Eun-dong (Tang Joon-sang), Park Kwang-beom (Lee Shin-young) and Jung Man-bok (Kim Young-min), Jung-hyuk crosses the border with handcuffs.

In an attempt to reconcile further with her estranged daughter, Han Jung-yun (Bang Eun-jin) informs Se-ri that the love of her life is leaving which prompts the latter to rush to say her final goodbye, in spite of being in recovery mode. As she reaches the border in the nick of time, Se-ri is shocked to see Jung-hyuk in handcuffs and yells out to him running. A scared Jung-hyuk yells at her to stop running or else her injuries will hurt further and in typical romantic hero style crosses the border to embrace Se-ri. With the North Korean and South Korean officers on high alert and with guns in the air, the main leads disregard all that and are in their own tiny universe.

While trying to assure Se-ri; who blames herself for his predicament, that he will be fine, Jung-hyuk says, "Nothing will happen. But even if something happens, it's not your fault. I have no regrets. You came into my life like a gift. I'm just grateful for that." Whilst apologising for breaking her heart with his cold demeanour, an emotional Se-ri asks if she will never meet Jung-hyuk again and what should she do if she misses him. "Just wait and pray desperately. You asked if you can meet someone you miss that way. You can. I love you," as Se-ri reciprocates, "I love you. I really do."

Upon watching the sequence, you would think it doesn't get more OTT levels of dramatic than this. However, you're reeled in immediately from the get-go to the theatrics of Jung-hyuk and Se-ri's love story. It had to be a big, bold goodbye as it included the 'border' storyline. You're hit right in the feels, anticipating if it actually is the end for what could have been an incredible romance for the ages. It's also in the subtlest of moments where Bin and Ye-jin's chemistry comes beaming through.

It's in the way Jung-hyuk doesn't care with the possibility of being shot when he runs towards Se-ri simply because he can't fathom to see her in pain. It's in the way Se-ri is in shambles trying to make sense of how they got there while feeling guilty for what is happening to Jung-hyuk. It's in the way everyone around them instantly understood that it was never about any secret mission but just two people in love but from two starkly different places.

There's a sense of viewers' delight in this scene because of its heartbreaking nature. If you've been invested in this couple for 15 episodes, you're promised a tissue box worth of tears for this sequence alone. It's also one of the many scenes which tell us why CLOY is as loved as it is. Also, we did get that eventual Jung-hyuk and Se-ri happy ending so everyone wins!

ALSO READ: Anatomy of a K drama Scene: Hyun Bin and Son Ye Jin's 'candle' Crash Landing on You moment is truly underrated

What did you think of Ri Jung-hyuk and Yoon Se-ri's last goodbyes sequences in Crash Landing on You? Loved it or hated it? Share your thoughts with Pinkvilla in the comments section below.

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Anatomy of a K drama Scene: How Hyun Bin & Son Ye Jin's last goodbyes in CLOY was overdramatic but oh so GOOD - PINKVILLA

‘Grey’s Anatomy’ Fans Are Applauding the Show’s Coronavirus Tribute Scene – Yahoo Lifestyle

Photo credit: ABC

From Harper's BAZAAR

[There are spoilers ahead for last night's episode of Grey's Anatomy. If you haven't watched the episode yet, return to this post at a later date!]

The doctors at Grey Sloan Memorial have been battling the coronavirus pandemic all season, but last night's episode dealt the fans the first really personal COVID-19 death of the year. Miranda Bailey's mom passed away from COVID-19 at the end of Thursday night's episode, in scene that can really only be described as a punch to the gut. After that, the show paid tribute to all the lives lost to COVID-19 this year, and fans are applauding that choice.

The assertion that those who have passed away during the coronavirus pandemic aren't just faceless statistics was present throughout the whole episode, and Bailey even talked about it in her voiceover. People should be remembered for the lives they lived and the people they loved, she said. So when the show transitioned into a scrolling list of names of those lost to the pandemic, fans were gutted, but appreciated the decision. It even made some Grey's fans angrier that there are still people in the real world that don't take coronavirus seriously. Here are some of their reactions.

Grey's has been handling the pandemic in a real (but tasteful) way all season. Last night's episode was a really good reminder of what's at stake right now. So stay home, mask up, and keep people safe! Miranda Bailey said so!

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'Grey's Anatomy' Fans Are Applauding the Show's Coronavirus Tribute Scene - Yahoo Lifestyle