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Demi Lovato Debuts Anti-Trump Ballad at Billboard Music Awards — Watch - TVLine
RELATED STORIES En Vogue Performs 'Free Your Mind' at Billboard Music Awards -- Watch Brandy Returns to Billboard Awards With New (And Old!) Music -- Watch Demi Lovato took a powerful stand against President Donald Trump during the Billboard Music Awards on W…
Demi Lovato took a powerful stand against President Donald Trump during the Billboard Music Awards on Wednesday with the debut performance of her politically charged single “Commander in Chief.” After leaking online several days earlier, “Commander in Chief” was formally released on Wednesday morning, just hours before Lovato performed it at the Billboard Music Awards. The track speaks directly to Trump, repeating in its chorus, “Commander in Chief, honestly, if I did the things you do, I couldn’t sleep. Seriously, do you even know the truth? We’re in a state of crisis, people are dying, while you line your pockets deep, Commander in Chief. How does it feel to still be able to breathe?” Watch video of Lovato’s performance below: Confira a performance da Demi Lovato apresentando no #BBMAs pela primeira vez a música #CommanderInChief, uma crítica direta aos polos políticos que estão negando sua autoridade para ajudar no momento que estamos vivendo. pic.twitter.com/so40QtXCii — ESC (@portalescutai) October 15, 2020 Lovato has been nominated for four Billboard Music Awards during her career: Top Social Media Artist (2016 and 2018), Top Female Artist (2018) and Top Dance/Electronic Song for “No Promises” (2018), the last of which she shared with collaborator Cheat Codes. Wednesday’s semi-virtual ceremony, based at Los Angeles’ Dolby Theatre, welcomed Kelly Clarkson back as host for the third year in a row; the new queen of daytime also opened the show with a performance of “Higher Love.” Other highly anticipated 2020 Billboard Music Awards performers include Alicia Keys, Bad Bunny, Brandy, BTS, Doja Cat, En Vogue, Garth Brooks, John Legend, Kane Brown, Khalid, Luke Combs, Post Malone, Saint Jhn, Sia, Swae Lee and Tyla Yaweh. Official video of “Commander in Chief” will be added when it becomes available. In the meantime, grade Lovato’s performance below, then drop a comment with your full review of this major BBMAs moment.
'The Prom' On Netflix: First Look — Meryl Streep & More Cast Photos - TVLine
Meryl Streep is a dancing queen once again in these first-look photos from Netflix’s adaptation of Broadway’s The Prom. Netflix on Wednesday released four new stills from the Ryan Murphy-produced musical, which premieres on Friday, Dec. 11. The official synop…
Meryl Streep is a dancing queen once again in these first-look photos from Netflix’s adaptation of Broadway’s The Prom. Netflix on Wednesday released four new stills from the Ryan Murphy-produced musical, which premieres on Friday, Dec. 11. The official synopsis is as follows: “Dee Dee Allen and Barry Glickman are New York City stage stars with a crisis on their hands: their expensive new Broadway show is a major flop that has suddenly flatlined their careers. Meanwhile, in small-town Indiana, high school student Emma Nolan is experiencing a very different kind of heartbreak: despite the support of the high school principal, the head of the PTA has banned her from attending the prom with her girlfriend, Alyssa.” “When Dee Dee and Barry decide that Emma’s predicament is the perfect cause to help resurrect their public images, they hit the road with Angie and Trent, another pair of cynical actors looking for a professional lift,” the synopsis continues. “But when their self-absorbed celebrity activism unexpectedly backfires, the foursome find their own lives upended as they rally to give Emma a night where she can truly celebrate who she is.” The Prom stars Streep as Dee Dee, James Corden as Barry, Jo Ellen Pellman as Emma, Ariana DeBose as Emma’s girlfriend Alyssa, Keegan-Michael Key as their principal, Kerry Washington as the head of the PTA, Nicole Kidman as Angie and Andrew Rannells as Trent. Additional cast members include Tracey Ullman, Kevin Chamberlin, Mary Kay Place, Logan Riley, Nico Greetham, Sofia Deler, and Nathaniel J. Potvin. The original Broadway production of The Prom ran from November 2018 to August 2019. Scroll down to see more photos from Netflix’s adaptation, then drop a comment with your thoughts.
Emmys' Most Memorable Moments: Historical Wins, Speeches, Controversy - TVLine
Whereas the Academy Awards will always have Adele Dazeem, “You like me!” and Sacheen Littlefeather to remember, the Primetime Emmy Award telecasts have delivered memorable TV moments as…
Whereas the Academy Awards will always have Adele Dazeem, “You like me!” and Sacheen Littlefeather to remember, the Primetime Emmy Award telecasts have delivered memorable TV moments as well. Will this year’s virtual, pandemic-era “ceremony” serve up anything to rival Kirstie Alley celebrating “the big one,” or Bryan Cranston’s Kissing Bandit? With dozens of presenter and winners at the mercy of their live streams/home WiFi, it just might! Now more than seven decades old, the Primetime Emmys have gotten emotional with historical wins, heartfelt tributes to fallen stars, and even the occasional on-stage question-popping and they have brought the funny (even if by threatening to asphyxiate a beloved TV icon). Acceptance speeches have left us a bit befuddled, in stitches or, as noted above, blushing. Bookending the awarding of assorted accolades, there have been production numbers and comedic/”comedic” bits that had us grinning… or audibly groaning. Though maybe nothing on the Emmys has ever measured “up” to the Oscars’ quite infamous Rob Lowe/Snow White bit, phew. What can we expect from this year’s Primetime Emmy Awards telecast? Tune into ABC on Sunday, Sept. 20 and find out! But until then, review our rundown of some of the Primetime Emmys’ most memorable moments, pressing play on handy video links where available, and then chime in with the memories that will always stick with you.
'Big Brother' All-Stars Recap: [Spoiler] Evicted, Joins Season 22 Jury - TVLine
RELATED STORIES No, SEAL Team Won't Fight Pandemic: 'We Want to Give People an Escape' Mom's Allison Janney Shares First Look at Anna Faris-Less Season 8 A previous Big Brother champion and a onetime runner-up both faced eviction on Thursday night, capping a …
A previous Big Brother champion and a onetime runner-up both faced eviction on Thursday night, capping a week in the All-Stars house that found things getting, dare I say, exciting? With Daniele as Head of Household, and the Committee alliance in power once again, it seemed this week could be the last one for either David or Kevin, both of whom have been constant, easy targets for the Committee all summer. But after David saved himself with his BB Basement power, and Da’Vonne used the Power of Veto on Kevin, Dani was left to name not one, but two replacement nominees. Thus, BB14 winner Ian and BB20 runner-up Tyler landed on the block ahead of Thursday’s eviction. Would it have been more interesting if Dani replaced Kevin with a pawn from her own alliance? Yes. Would it have been really, really interesting if that pawn were Christmas, who presumably would have used her BB Basement power to stay off the block, forcing Dani to nominate a fifth person in one week? You bet. But in a season where legitimate gameplay and bold moves have been hard to come by, I’ll settle for Dani’s chaotic HOH reign. Read on for the highlights of Thursday’s episode: THE STRATEGY| After the veto ceremony, Nicole is in tears over Ian’s nomination, and she tells him she’s going to campaign for him to stay… which is easier said than done. Despite her best efforts to convince the Committee that keeping Ian is the better move, they shoot her down. Daniele flat-out tells Nicole that the Committee wants Tyler to stay, and Nicole needs to vote accordingly; later, when Nicole suggests to Memphis and Cody that she wants to vote in Ian’s favor — if only to keep her alliance that doesn’t include Ian a secret — they practically laugh her off the BB property. Publicly, Nicole continues to weep in bed over the idea of Ian leaving. Privately, in the Diary Room, she asserts that “now is the time” to get Tyler out and blow up the Committee. Meanwhile, Ian grows increasingly frustrated with Dani’s decision to nominate him, especially as she grows increasingly cagey about her potential tiebreaker vote. Finally, he bluntly tells Dani that “I don’t hate you; I’m just disappointed in you” for putting him up against Tyler. “You shouldn’t make this mistake on your third time playing,” he adds, and reader, I gasped. THE EVICTION| When eviction time rolls around, the first seven votes shake out exactly how you’d expect: Da’Vonne, Kevin and David all vote to oust Tyler, while the others — Christmas, Enzo, Cody and Memphis — all vote for Ian to leave. It all comes down to Nicole here… and through tears, she votes to evict Ian, stating that it’s “the hardest thing I’ve ever had to do.” And with that, Ian becomes the season’s first jury member, by a vote of 5-3. (The first time he’s ever been evicted, no less!) Despite the circumstances under which he left the house, Ian doesn’t seem to hold any grudges; he says he doesn’t feel betrayed by anyone in particular, nor would he pick a different strategy if he could do it all over again. In fact, when he sees his goodbye messages, he’s thrilled to learn the Committee — particularly Nicole — masterminded his eviction. “For a while, I thought I was just getting ganged up on by lousy players,” Ian admits to Julie Chen-Moonves. “But to see that it’s just a good plan and they got me — that’s awesome. Good for them. Kudos.” THE HOH COMPETITION| For the second week in a row, the Head of Household competition extends past the broadcast’s runtime, leaving us to wait until Sunday’s episode to see who wins. (Houseguests need only put together a fairly simple puzzle this time around, rather than hang onto the side of a drenched billboard.) But perhaps more interesting than this competition is who’s not playing in it: Despite her BB Basement power, which would have allowed her to compete for HOH two weeks in a row, Dani has opted not to use her power this week and watches from the sidelines. OK, your turn! How do you feel about Ian’s eviction? And who do you want to see win Head of Household this week? Hit the comments below!
[VIDEO] 'The Umbrella Academy': Season 2 Trailer for Netflix Series - TVLine
RELATED STORIES The Umbrella Academy Season 2 Poster Invites You to Hunt for Easter Eggs The Umbrella Academy: See 12 New Photos From Timey-Wimey Season 2 The Umbrella Academy is almost back, and it’s bringing new meaning to the words “time jump.” Netflix on …
The Umbrella Academy is almost back, and it’s bringing new meaning to the words “time jump.” Netflix on Wednesday released a full-length trailer for the comic book adaptation’s sophomore run, dropping on Friday, July 31 with all 10 episodes. As teased in the video above, Season 2 will find Sir Reginald’s children scattered across a three-year period in Dallas, Texas, as a result of Number Five using his powers to escape from Vanya’s 2019 apocalypse. Now, with some of the siblings having built completely new lives while stuck in the past — way back in the 1960s! — they must find a way to reunite, stop doomsday and return to the present timeline. (Meanwhile, Swedish assassins are also involved, because this family doesn’t have quite enough on its plate yet.) In addition to returning cast members Ellen Page (Vanya), Tom Hopper (Luther), David Castañeda (Diego), Emmy Raver-Lampman (Allison), Robert Sheehan (Klaus), Aidan Gallagher (Number Five) and Justin H. Min (Ben), Season 2 features three new cast additions: Yusuf Gatewood (The Originals) as Raymond, a born leader with smarts and confidence; Marin Ireland (Homeland) as fearless Texas mom Sissy; and Ritu Arya (Humans) as the unpredictable and mischievous Lila. Check out the full trailer embedded above, then hit the comments with your hopes for Season 2!
Penn Badgley: In Wake of Predatory Allegations Against Chris D'Elia, YOU Reached Out to His Teen Co-Star - TVLine
RELATED STORIES Whitney Cummings on Chris D'Elia's Alleged Harassment of Underage Girls: 'I'm Devastated and Enraged' 'YOU' Renewed for Season 3 — Find Out Which Characters Are Returning in 2021 Penn Badgley has addressed the “disturbing” allegations leveled …
Penn Badgley has addressed the “disturbing” allegations leveled against YOU co-star Chris D’Elia, who has been accused of soliciting underage girls. D’Elia, whose TV credits also include Undateable and The Good Doctor, most recently had a role in Season 2 of the Netflix series as Henderson, a beloved comedian who is secretly a pedophile. In real life, multiple women have come forward to say that D’Elia preyed on them, some of whom were minors at the time. Learning of the claims made “did affect me deeply. I was very troubled by it. I am very troubled by it,” Badgley told the Los Angeles Times. “I know that, if there’s anything we need to do in this age, it’s to believe women.” Badgley also worried that YOU‘s ongoing narrative, one that regularly trades on toxic masculinity, in any way fosters such behavior. “The idea that a show like ours would indirectly, unwittingly be a haven for people who are abusive is disturbing. It’s very disturbing,” he said. “What does it take to change that? Because it’s not just [about] vetting individuals. There needs to be a change in culture and attitude so that that kind of behavior is so clearly reprehensible, it’s so clearly, like, anti-human.” Badgley also shared that the producers of YOU reached out to Jenna Ortega, the 17-year-old actress who shared scenes with D’Elia in Season 2, after the initial allegations emerged earlier this month. “The first thing our producers did was reach out to Jenna… just to make sure she felt safe. We can feel safe and sound there,” he said. “So, as far as our show is concerned… there’s only so much we can take responsibility for. And I say ‘we’ pretty broadly, because we’re all doing different things. I’m, at the end of the day, an actor, and I don’t have a lot to do with a lot of this stuff. But I do think, in the future, I would like that to change, personally.” Shortly after the allegations surfaced, D’Elia issued a statement to TMZ, which in part read, “I know I have said and done things that might have offended people during my career, but I have never knowingly pursued any underage women at any point. All of my relationships have been both legal and consensual and I have never met or exchanged any inappropriate photos with the people who have tweeted about me.” Three days later, Whitney Cummings spoke out and condemned the actions of her onetime Whitney co-star, who was subsequently dropped by both his agent and his manager.
'Zoey's Extraordinary Playlist' Recap Season 1 Finale — [Spoiler] Kiss - TVLine
RELATED STORIES Lauren Graham's Zoey's Playlist Return in Potential Season 2 May Require 'Some Tricky Maneuvering' Zoey's Extraordinary Playlist Season 2: Showrunner Is 'Cautiously Optimistic' About Renewal Prospects Warning: The following contains spoilers f…
Warning: The following contains spoilers for Sunday’s Zoey’s Extraordinary Playlist finale. Proceed at your own risk! Zoey’s Extraordinary Playlist wrapped up its freshman season on Sunday with a finale that was very big on tears and full of music that went on… and on… and on. In fact, the episode’s final act was a seven-minute musical number shot in one continuous take as the camera weaved through Mitch’s wake. The impressive “American Pie” performance, featuring the show’s entire cast, capped an emotional season ender, in which Zoey said a heartbreaking goodbye to her father… and potentially opened her heart to BFF Max, whom she finally kissed. Below, showrunner Austin Winsberg breaks down the making of the musical oner and teases how Zoey’s grief will complicate her relationships with both Max and Simon. TVLINE | There were a lot of really poignant musical numbers, especially in regards to the storyline with Mitch. What were you looking for in the song choices for this episode?First and foremost, I didn’t want it all to be so sad that people felt like we were bludgeoning them or hitting them hard over the head. [Laughs] There were some concerns along the way that if we had too many sad songs and too many numbers in a row that felt really, really depressing that it was gonna become one-note or gonna feel like torture porn or something. When my father passed away, a hospice worker came to our house at four o’clock in the afternoon and said, “Your dad is going to die today,” and then left. We were left to our own devices to figure out what to do. The next eight hours in my house were spent with friends and family members and people coming over to kind of say their last goodbyes. Initially, I had imagined this final episode as the entire episode taking place at the vigil before [Mitch] died. As we were breaking it, it was just relentlessly sad, and it was hard to make the episode feel either active or also an episode that felt like the rest of our show, and I still wanted it to feel like our show. So when we got away from that idea somewhat, I found, hopefully, a balance where I could still show some of the lightness and carry through with the love triangle and stuff with Joan and other parts of the story, and create some comedy and levity in the show, and then kind of relegate the sadder portions of it to the second half of the episode. “Lullaby (Goodnight, My Angel)” is a Billy Joel song that I’ve loved for a long time, and it’s a song I’ve always loved for my kids. I always knew that I wanted there to be a goodbye song with David and Emily and the baby, and that song, I knew from the beginning, was what I wanted. But that’s a really sad song. So I knew that I couldn’t do too much sadness with the song stuff after that. Then when we had this idea for “American Pie” and to do an entire act that’s just a song, that idea happened really early on, actually. I was talking with our producing director Adam Davidson in Episode 2, and we were talking about what are some fun ways we can do musical numbers in the show, and Adam said, “What if we did an entire act that was all one song?” I loved that idea, and we realized that that could be really satisfying, if the final act of the season was all one number. There’s not a lot of songs that are long enough that can kind of make that work and felt tonally appropriate. “American Pie” happens to be my father’s favorite song. When I thought of that song, and also the concept of the day the music died, it felt very much like what Zoey would be feeling, because so much of the light and the love and the music came from her father. So it felt poignant, and also felt like something that could be a big finale where you could get everybody together and everybody’s singing. Because the show is a musical, too, I was looking for, “What’s our big musical finale for the season?” It felt like that checked a lot of boxes. TVLINE | How difficult was it to find a song that would also fit every character in that final act? I was so impressed with how well the lyrics matched up to the characters at certain points.[Laughs] Thank you. Most numbers in the show — maybe all the numbers in the show — it’s important to me that they, basically, lyrically match up with what’s going on story wise. That either they’re revealing something about the character or moving the plot forward. And that number actually does sort of break some of what we call the Zoe-ality rules in the show, because I consider it more of like a tone poem than the literal thing of Zoey seeing a person singing the song in the moment. And also, we never have songs take place over a period of time. They always happen either in the blink of an eye or over the course of the two minutes of the song that we’re doing. This song takes place over hours at the wake… I agree that there are definitely moments where they are very much paralleling what’s going on in their life. I remember the first time I listened to it in my car like, “Oh, that could work for Simon, that could work for Mo.” I was happy about those moments where it actually did work, and then there’s other moments where it maybe doesn’t link up exactly, but I felt like the emotion behind it was what linked up, and so I was kind of OK with it not being lyrically perfect. TVLINE | How difficult was it to pull off, technically? And what went into the process of putting it together?Incredibly difficult. It was definitely an all-hands-on-deck process. It started with Mandy Moore and I, our choreographer, the way it always starts, with her and I talking about what we want it to feel like, what’s happening in the number. We always knew it was going to be a trade-off from person to person to person. I had kind of designated on the page, for the most part — this might have shifted a little bit — who was singing what. So we worked out how it would work and who would sing it. And then it was about Mandy going off and figuring out, both on set and in the rehearsal studio, what that actual passing of the torch would look like. Then we had our director Jon Turteltaub working with us on it, and then we brought in Brad Crosbie, who was our steadicam operator, because so much of it is about the camera movement and the framing. Then it became a dance amongst a lot of different departments, because we had 75 extras in that scene that had to all move in a certain way and move from room to room. We start off with 75 people in the house in the beginning, and only four people in the house at the end. We had to work with our set dressers and our production designers, because we had to make sure that the catering looked a certain way, but then also in one shot the catering is all on the dining room table, and then in the next shot, it’s supposed to be an hour and a half later, [and] there is no food on the table. And with our lighting department because it had to go from day to night. So there were so many departments that were all working in conjunction with each other to create the effect of it and to make it all work in this seamless seven-minute shot that, really, was almost like doing a piece of live theater in that space. Thankfully, we had the opportunity there, where we don’t always have the opportunity, to rehearse it multiple times. It was really created over a two-week period, while we were doing a whole bunch of other stuff, and if memory serves, we might have been able to take one hiatus day just to work on all the logistics of that number. TVLINE | Do you recall how many takes it took until you guys got it perfectly?Believe it or not, we’ve got it right on take six. Because we were so well rehearsed and had done it so many times leading up to it, we only ended up doing seven takes. We all felt great about take six, and then we did one more take just to make sure, in case there were any problems will take six. TVLINE | And is it a true oner? There’s no tricky editing?No. The interior of the house is on a soundstage, and the exterior of the house, we shot outside and brought in some of the rain. So the only edit is from the outside of the house to get inside the house. But the second you are inside the house, there is not a cut. TVLINE | The number also ends on this very poignant and kind of different note with Zoey singing acapella by herself. Why did you decide to end the finale on that moment?This show is about Zoey, and I wanted to be with her, alone, for that final piece of it. I always like any opportunity for Zoey to sing, and because we’re in a more non-literal place there, I felt like we’re just sort of experiencing what she’s feeling, and I really wanted the season to end on the lyric, “The day the music died.” It felt poignant to me that that would be coming from her, and also to know that we’re on this journey with her. When we pull back on this family at the end, it’s also kind of like a glimpse into Season 2 and what’s next, because how does this group of people who’ve had this loved one that’s meant so much to them, how do they move on? And what does life look like when tragedy strikes, after a trauma in a family? So to kind of leave them all alone in the room, especially on the couch, with that empty space on the couch, which was the space where he sat so much of the season… I just remember there was a very specific space on the couch where my dad always was. The moment when he was no longer there, and yet that couch was still there, was so resonant for me and was such a very powerful image for me that I just wanted to kind of live in that and be with Zoey for the end of that. TVLINE | There were also some developments on the love triangle front. What exactly has changed for Zoey when it comes to her feelings for Max?Over the course of the last several episodes of the show, Max has really found his own confidence and his own strength. I know that there were a lot of ‘shippers and Team Max fans who liked the Max who was sweet and there for Zoey, but some of it was at the expense of his own agency. It was important for him to get some distance from Zoey and find something that he was good at. He really put himself out there by the middle of the season, doing the big flash mob and professing his love for her, and for her not to really confess it back, and for her to also have feelings for Simon, was hard for him. So he needed to create his own space and find his own success outside of Zoey to gain his own confidence, and by Episode 12, when she gets him the job back and he says that he doesn’t want it back, he really is into this idea of looking forward. I think that she’s grown frustrated over the course of the season with Simon spending a lot of time looking backwards and living in the past. And the idea of Max being this confident character who’s really excited about the future and really excited about what’s to come, that just stirs something in Zoey, and she’s able to see that on top of being this guy who was there for her and really does love and care for her, he also is asserting his own strength and independence and she finds that attractive. That’s one of the things that helps her see him in another light beyond just the friend light that she’s put him in up until now. TVLINE | She also still connects with Simon on a very deep level. We even see her tell her dad, somewhat good-naturedly, that the engaged guy at work now likes her. So where does that leave Zoey’s heart when it comes to the two men in her life?I definitely wanted to keep it open-ended going into Season 2, and I didn’t want it to be definitive that she had made a choice for one or the other. I still wanted to put on the table that these are both good guys, who are both viable in their own way. The fact that she’s seeing Max in a more romantic light, but also with Simon coming back in Episode 12 and he’s actually starting his own personal growth and working on himself, it’s going to continue to create different options and challenges for Season 2. I didn’t want to go completely Team Max or Team Simon by the end. But there’s still, hopefully, some questions about what’s going to happen, and certainly with the death of her father, that’s also going to impact where she is at, emotionally, and what she’s going to be ready for leading up to Season 2. Zoey’s fans, what did you think of the season ender? Grade it below, then hit the comments!
'Homeland' Finale: Carrie's Daughter Franny — Scene Cut From Season 8 - TVLine
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Sunday’s Homeland series finale was initially supposed to kick off with the return of a pivotal character, but the combination of budget overruns and an 11th hour appeal from Claire Danes led to the scene’s demise. Showrunner Alex Gansa tells TVLine that an earlier version of the swan song included a sequence wherein Danes’ Claire reunites with estranged daughter Franny. “There was a very significant Carrie/Franny scene that opened the finale at one point,” the EP reveals, before adding that the scene ended up getting excised for “two big reasons.” The first “reason is we had gone so far over budget this season,” Gansa explains. “One of the battles that you have making television shows is how much you’re spending on every episode. And we just couldn’t [financially] fit it in.” And the second reason, per Gansa, involved Homeland leading lady/exec producer Danes. “Claire felt very strongly that Carrie had made the decision to leave Franny behind in Season 7,” he says. “So we resolved that by having [Carrie grab a] photograph of Franny instead of [having a] scene.” For more on Homeland’s last episode ever, read my comprehensive post mortem Q&A with Gansa, as well as Dave Nemetz’s full recap of the episode.
Grey's Anatomy Boss on What Would've Happened in the Original (and Now Scrapped) Season 16 Finale - TVLine
Grey’s Anatomy boss Krista Vernoff is not revealing what would’ve happened in the ABC drama’s original, now-jettisoned-due-to-COVID-19 Season 16 finale
Grey’s Anatomy boss Krista Vernoff is not revealing what would’ve happened in the ABC drama’s original, now-jettisoned-due-to-COVID-19 Season 16 finale, but clues — if not outright spoilers — are about to leak. And you’ll never guess where. (Or maybe you will!) As Vernoff tells TVLine, hints about the ill-fated Grey’s finale will be embedded in this season’s final two episodes of companion series Station 19, set to air in early May. Unlike Grey’s, which shut down production with four episodes left to shoot, Station 19 was able to complete its current season before the coronavirus pandemic brought scripted television to a standstill. “Ironically, when fans watch Episode 15 and 16 of Station 19, they will probably have a feeling of some of what we had planned for [the original Grey’s finale],” says Vernoff, who runs both shows. In an effort to minimize the spoilage, and also protect those Grey’s storylines that will be folded into Season 17, Vernoff adds that she edited a little bit of the Grey’s content out of Station 19. “This is the strangest thing any of us have ever experienced in our lifetimes,” she says of the COVID-19 crisis. “And, creatively, it is presenting unique challenges, for sure.” Luckily, the cliffhanger-rich Episode 21 — aka the makeshift finale that aired Thursday night (read recap) and the last installment that the show was able to shoot before the work stoppage — functioned well as a season-ender. “From the minute we read the script for 21,” Vernoff notes, “it — coincidentally — felt like a season finale.”