Have you been enjoying the songs since GA has returned from hiatus? If so, we’re in for a lot more 80s covers!
ABC’s Grey’s Anatomy has always been a launch pad for new music, and now the veteran medical drama has embarked on a new tune: modern covers of 1980s hits.
And, according to Rhimes and music supervisor Alex Patsavas, the remainder of Grey’s Anatomy‘s 10th season will feature only music from the ’80s Covers project.
“Shonda had this idea back in the fall, and we started to talk about songs she knew would make sense with the story,” Patsavas tells The Hollywood Reporter. “We started with a couple of songs that she was interested in seeing if there were great modern interpretations for. But at some point along the way, she felt strongly that the way to tell the story in the second half of the season was to use modern interpretations of her favorite songs of the ’80s and the songs she felt would tell the story the best.”
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Both Shonda Rhimes and Betsy Beers were recent recipients of The Directors Guild of America’s Diversity Award. However, it’s Rhimes that has expressed an understandable and interesting opinion about it. Check it out!
Shonda Rhimes, the creator of Scandal, Grey’s Anatomy, and Private Practice, is one of the most powerful forces in television. And she doesn’t mince words when something is bothering her.
Her latest beef? The Diversity Award that she and Scandal Executive Producer Betsy Beers were given at the Directors Guild of America Awards Saturday night in Los Angeles.
“When I heard I was getting a Diversity Award, I was really, truly, profoundly honored. I began to get calls from Variety, The Hollywood Reporter, etc., and I was asked to comment on the award. Asked how good I felt about the award. Asked if it made me feel like I was doing the right thing. Asked if it had been a struggle making diversity happen on my cast and crews. While I’m still really and truly profoundly honored to receive this award, but I was also a little pissed off,” Rhimes said. “So was Betsy. So over many, many, many bottles of wine we discussed this.”
“We’re a little pissed off because there still needs to be an award. Like, there’s such a lack of people hiring women and minorities that when someone does it on a regular basis, they are given an award.”
To read this article in full, please click the source link below!
Time has released an interesting article on the reality of abortion featuring some of Shonda Rhimes’ thoughts and ideas on the matter. Check it out.
We here at Grey’s Gabble would like to extend a heartfelt belated Happy Birthday to one of the most creative masterminds of this era, Shonda Rhimes! Her birthday was January 13th!
Happy 44th, Shonda! Pretty cool that she and Patrick Dempsey share a birthdate. And he’s a whole 4 years older than she is!
Show-runner, Shonda Rhimes, is set to be presented with the Television Showmanship Award by The International Cinematographers Guild!
LOS ANGELES, Jan. 7, 2014 — Shonda Rhimes, creator, writer and producer of the hit TV series Grey’s Anatomy, Private Practice and Scandal, will be presented with the 2014 Television Showmanship Award at the International Cinematographers Guild’s (IATSE Local 600) 51st annual Publicists Awards Luncheon on Friday, February 28, at The Beverly Wilshire Hotel.
“Shonda Rhimes is quickly becoming one of most honored and recognized creators and producers in television history,” said Henri Bollinger, Awards Committee Chairman. “Her multi-faceted career and the success she has already achieved defines the very essence of showmanship.”
ICG President Steven Poster ASC added, “Shonda has carved a unique position for herself in the entertainment industry with her creativity and tremendous output of great work. As a fan and as president I’m delighted that she has been selected to receive this award.”
Her many honors include the Producers Guild of America 2007 Producer of the Year Award; the 2007 Golden Globe for Outstanding Television Drama; the 2007 Lucy Award for Excellence in Television from Women in Film; the NAACP Image Award for Outstanding Writing in a Dramatic Series in consecutive years 2007 – 2011, as well as five wins for Outstanding Drama Series during those same years; the 2006 Writers Guild Award for Best New Series; in addition to Emmy nominations for Outstanding Drama Series and Writing for a Drama Series.
The Directors Guild of America will honor Shonda Rhimes and Betsy Beers of Shondaland with the Guild’s 2014 Diversity Award at the 66th Annual DGA Awards in January.
Rhimes was the 2013 winner of the NAACP Image Award for Outstanding Drama Series with Scandal, also receiving a nomination for Outstanding Writing for a Drama Series. Rhimes was the recipient of the 2012 GLAAD Golden Gate Award; 2010 RAINN Hope Award; and a 2009 GLSEN Respect Awards Honoree.
Additionally she received the Television Academy Honors award in 2010 and 2011 for Private Practice as well as the Prism Award for Outstanding Writing for a Drama Series in 2011. Rhimes has twice been included in Time Magazine’s list of the 100 most influential people along with Fortune Magazine’s “50 Most Powerful Women in Business,” Variety’s “Power of Women” and Glamour Magazine’s “Women of the Year.” In 2013, she was appointed by President Obama to serve as Trustee for the John F. Kennedy Center for the Performing Arts.”
Aside from her success with network television, Rhimes wrote the feature film Princess Diaries 2: A Royal Engagement, released in August 2004 by Disney. Additionally, her original script, Crossroads, was released in 2002 by Paramount. She co-wrote Introducing Dorothy Dandridge, produced by HBO, which was nominated for numerous awards, and for which Halle Berry won a Golden Globe and an Emmy for Best Actress in a miniseries.
Past honorees of the Television Showman of the Year Award include Steven Bochco, Jerry Bruckheimer, Marcy Carsey, Chris Carter, Chris McCumber, Ted Harbert, Bob Hope, David E. Kelley, Norman Lear, Caryn Mandabach, Garry Marshall, Les Moonves, Peter Roth, Fred Silverman, Aaron Spelling, Nina Tassler, Grant Tinker, Jeff Wachtel and Tom Werner.
More than 800 industry leaders are expected to attend the awards luncheon.
Other awards to be presented include the Motion Picture Showmanship Award, which this year will go to Lionsgate Motion Picture Group Co-Chairmen Rob Friedman and Patrick Wachsberger; the Lifetime Achievement Award; the President’s Award; the Les Mason Award, the highest honor given to a publicist; the Bob Yeager Award, which goes to a publicist in recognition of outstanding community service; and the Maxwell Weinberg Showmanship Awards for outstanding publicity campaigns of 2008 in films and television.
Congrats, Shonda! You’ve earned it!
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Earlier this year, a New York Times Magazine profile of the showrunner Shonda Rhimes (“Scandal,” “Grey’s Anatomy”) included a line that made me think she was even more than the talented and savvy TV writer she’s already shown herself to be: “Rhimes observes that people, even the ones who like ‘Scandal,’ describe it as ‘ridiculous,’ which she can live with, or a ‘guilty pleasure,’ which she ardently despises.” I despise it, too. If there’s a contemporary idiom that puzzles and irritates me in equal measure, “guilty pleasure” is it. I object to neither the pleasure, nor the guilt; it’s the modifying of one by the other that works my nerves, the awkward attempt to elevate as well as denigrate the object to which the phrase is typically assigned.
Guilty pleasures refer to cultural artifacts with mass appeal—genre novels, catchy pop songs, domestic action movies (foreign action “films,” no matter how awful, tend to get a pass), TV shows other than “Breaking Bad” and “The Wire”—that bring with them an easy enjoyment without any pretense to edification. What’s even more perverse is that these so-called “guilty pleasures” never involve actual transgression: the bland escapades of Bridget Jones are a guilty pleasure; the depraved orgies of the Marquis de Sade are not.
Before the term became a pop-cultural epithet, the moralism made more sense. For Aristotle, the pleasure associated with honorable action was virtue, whereas the pleasure associated with “evil action” was vice—a genuine mix of guilt and pleasure by another name. Aristotle and Plato believed that the higher orders of pleasure entailed an expenditure of intellectual effort. Kant took the idea further in his “Critique of Judgment,” distinguishing between “the agreeable,” “the beautiful,” and “the good.” One is pleased by the beautiful; the good is held in the highest esteem, whereas the agreeable merely gratifies. A guilty pleasure ever since has contained this element of gratification—of a need that’s met, almost despite oneself, rather than a pleasure one freely chooses. The mind that chooses is disembodied, abstract, and therefore pure; the body that needs is demanding, material, and messy—in other words, not to be trusted. When “guilty pleasure” first appeared in the New York Times, in 1860, it was used to describe a brothel.
The term appeared only a handful of times in the paper of record until the late nineteen-nineties, when it started coming up in its contemporary incarnation again and again, at the tail end of the culture wars. (According to the online Times archives, “guilty pleasure” shows up approximately a twelve hundred and sixty times—twelve hundred and forty-seven of those since 1996.) In some ways, the timing seems strange; the guilty pleasure was becoming a part of the cultural vocabulary right around the time cultural distinctions were ceasing to matter. But maybe it was precisely because those distinctions were becoming moot that people felt emboldened to use it. The guilty pleasure could then function as a signalling mechanism, an indicator that one takes pleasure in something but knows (the knowingness is key) that one really shouldn’t. Once distinctions were blurred, you could announce a love for pop culture that, in an earlier era, you would have been too ashamed to admit.
Laura Frost, a professor of literary studies at the New School, told me she had entertained using “Guilty Pleasure” as a title for her recent book, “The Problem of Pleasure,” which is about the troubled relationship between pleasure and Modernism, but she found that it didn’t quite capture what she had found in her research. “Guilty pleasure was not something that came up much,” she said, especially during the interwar years. Modernists distinguished between pleasure that was too easy and the difficulties of real art, yet they were so invested in dismissing easy pleasure that they could feel righteous in their preferences. Frost says pleasure for the Modernists wasn’t so much guilty as “sneaky”: “They would bring it into their work, but it’s disavowed.” Aldous Huxley, for instance, expended several passages in “Brave New World” describing the dangerous sensuality of “the feelies” and the many zippers on a seductress’s white acetate sailor suit. “He can’t resist,” Frost said. “He knows that stuff is compelling and funny and titillating.”