What happens when your friends no longer have your back? For one thing, TV sitcom theme songs would be in need of some serious rewrites. (Let’s face it, “I Won’t Be There For You” just doesn’t have the same nice ring to it.)
But for the most part, it leaves you feeling completely betrayed and alone — something that our dear Miranda Bailey became all too familiar with this week as Grey’s Anatomy delved into the aftermath of her recent medical faux pas. The show also gave us a nibble of the storyline we’ve been waiting to come to fruition since the beginning of the season. That’s right — I’m talking about Alex admitting his feelings for Jo. Granted, he told Cristina not Jo herself, but baby steps, people! Now on to the recap!
The Curious Case of Miranda Bailey: Our beloved doctor has certainly seen better days, hasn’t she? Not only was she forced to give an elaborate play-by-play of her surgeries to the CDC, but, on top of that, she was being treated like a piranha by all of her co-workers, who — until now — she had considered to be her closest friends. They wouldn’t even allow her access to her patients’ files for fear that she would tamper with evidence. (Do they think she’s Dexter Morgan? Cut the woman some slack!) But Chandra Wilson deserves mad props for bringing such raw emotions to her character. Seeing Bailey so alone and secluded was truly heartbreaking, showing fans a completely different side to the no-nonsense, rock star surgeon we’ve grown to love all these years.
When the CDC concluded its investigation they discovered that even though Bailey did, in fact, have a staph infection, the real culprits were the defective surgical gloves they started using during the whole Pegasus era. This means Bailey will eventually be reinstated and live to scrub-in another day… but the damage has already been done. She still feels guilty for the death of her two — or by episode’s end, three — patients. Plus she feels completely betrayed by Richard, whom she heard throw her under the bus earlier. Granted, he only said those things in order to get a patient into surgery, but whether she understood that or not, she was still hurt that he didn’t stand by her — like she stood by him during his affair and multiple drunken surgeries. (And I wonder where my growing distrust in hospitals comes from?)
In the end, she pretty much ripped the ex-Chief a new one, so it’s safe to say that their relationship is in some serious jeopardy.
Pointing the (Severed) Finger: While many of our doctors attended to multiple severed fingers of a family reunion tug-of-war game gone awry, April was busy pointing her still-intact finger at Avery for de-virginizing her, which ultimately contributed to her breakup with Matthew.
But as I was screaming at my television about April’s nonsensical complaints (I mean, it’s Avery for crying out loud! The guy’s a freaking dreamboat. Stop complaining!), Avery was having none of it. He told her that even though he’s sorry that she’s hurting right now, he will never regret them being together. It was a sweet moment that held a glimmer of hope for some steamy make-up sex, but Matthew came in and ruined it all by wanting to get back together. Ugh!
Plus side: that means Avery is still on the market since intern Stephanie was nowhere to be found. Call me?
S**t Happens: Meredith has decided she’s going to have the baby naturally and completely drug-free, but she wants Cristina in the room to keep Derek from giving her something if he sees her in too much pain. (Men, what jerks, right?) But Cristina doesn’t want any part of this miraculous event. Why? Because Meredith will probably poop on the table and she just really doesn’t want to see that. In the end, she ended up giving in and agreeing because that’s what “Persons” do for each other — kinda like the girl form of the Bro Code. (Side note: the scene between Alex, Meredith, and Cristina all talking about poop was possibly the funniest/grossest thing I’ve ever seen on this show in a long time. I needed it.)
Pillow Talk: After months and months of waiting, we’re finally starting to make a little headway on the whole Alex-Jo front. He finally admitted out loud to Cristina (during an adorable pillow talk session, might I add) that he’s in love with Jo. Naturally, Cristina already knew that since she knows all, but this relationship might already be over before it began. For one, she’s moving in with her boyfriend, and for another, she’s completely pissed at Alex for telling Jason (though I prefer his nickname: Chest Peckwell) details about her rough childhood — something she had apparently not opened up to him about yet. You’re going to need a big, romantic gesture to get out of this one, Karev.
But theirs might not be the only relationship in turmoil. Cristina opened up to Alex about her concerns regarding Owen. She thinks she’s going to lose him — maybe not today, maybe not tomorrow, but sometime down the line it’s going to happen. And why? For the same reason that drove them apart in the first place: children. His attachment to Ethan — who is becoming more and more like an orphan with each passing week — grows stronger everyday, which could mean big problems for our favorite on-again, off-again couple. It’s just a matter of when.
So what did you think of this week’s episode? Did you find the poop talk as amusing as I did? Did you think Bailey had a right to lash into Richard like that or did she go too far? Is there any hope for Alex/Jo and Owen/Cristina? Sound off on your dissections and opinions in the comments below!
Follow Kelly on Twitter @KellyBean0415
More:'Grey's Anatomy' Recap: How Much Kleenex Did You Use?'Grey's Anatomy': Meredith and Derek's Baby Is A...'Grey's Anatomy' Scoop: Sarah Drew Talks April's Future
From Our Partners15 Nude Photo Scandals (vh1)33 Child Stars: Where Are They Now? (Celebuzz)
In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.