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Death and All His Friends (Grey's Anatomy)
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"Death and All His Friends"
Grey's Anatomy episode
Episode no.
Season 6
Episode 24
Directed by
Rob Corn
Written by
Shonda Rhimes
Original air date
May 20, 2010 (2010-05-20)
Running time
86 minutes
Guest appearance(s)
Michael O'Neill as Gary Clarke
Mandy Moore as Mary Portman
Nora Zehetner as Reed Adamson
Robert Baker as Charles Percy
Sarah Drew as April Kepner
Jesse Williams as Jackson Avery
Episode chronology
← Previous
"Sanctuary" Next →
"With You I'm Born Again"
Grey's Anatomy (season 6)
List of Grey's Anatomy episodes
"Death and All His Friends" is the season finale of the sixth season of the American television medical drama Grey's Anatomy, and the show's 126th episode overall. It was written by Shonda Rhimes and directed by Rob Corn. The episode was originally broadcast on the American Broadcasting Company (ABC) in the United States on May 20, 2010. The episode was the second part of the two-hour season six finale, the first being Sanctuary, and took place at the fictional Seattle Grace Hospital. The original episode broadcast in the United States had an audience of 16.13 million viewers and opened up to universal acclaim. The episode centers a shooting spree at the hospital by a former patient's husband Gary Clark (Michael O'Neill). The episode marked the last appearances for Nora Zehetner and Robert Baker as Dr. Reed Adamson and Dr. Charles Percy respectively as both the characters were killed in the shooting.
In the episode Cristina Yang (Sandra Oh) and Jackson Avery (Jesse Williams) try to save the life of Chief Derek Shepherd (Patrick Dempsey) who was shot by Gary Clark in front of Meredith Grey (Ellen Pompeo) as she waits outside the OR with April Kepner (Sarah Drew). Miranda Bailey (Chandra Wilson) tries to save Charles along with her patient Mary Portman (Mandy Moore), while Richard Webber (James Pickens, Jr.) tries to get into the hospital. Callie Torres (Sara Ramirez) and Arizona Robbins (Jessica Capshaw) are stuck on a floor with all the younger patients of the hospital, Mark Sloan (Eric Dane) and Lexie Grey (Chyler Leigh) try to save the life of Alex Karev (Justin Chambers) who was shot as well and Owen Hunt (Kevin McKidd) and Teddy Altman (Kim Raver) try to get their patient to safety.
Contents
[hide]
1 Plot
2 Production
3 Reception
3.1 Broadcast
3.2 Reviews
4 References
5 External links
Plot[edit]
The hospital is hit with an unprecedented crisis: a shooter is in the hospital, and there is a lockdown. Meanwhile, Dr. Meredith Grey (Ellen Pompeo) discovers that she is pregnant, and Dr. Owen Hunt (Kevin McKidd) must choose between Teddy and Cristina (Sandra Oh). The shooter kills Reed Adamson and wounds Dr. Alex Karev (Justin Chambers). Lexie (Chyler Leigh) and Mark (Eric Dane) find the latter and try to save him. Soon, it is revealed that the shooter, Gary Clark (whose wife was a patient at the hospital and later died), is looking for Dr. Derek Shepherd (Patrick Dempsey). At the end, he shoots Derek, which is witnessed by Meredith, Cristina, and April. With the crisis unfolding, each character is put through extreme trials and tribulations. Cristina is put under pressure to save Derek, who is seriously injured.
Meanwhile, Dr. Miranda Bailey (Chandra Wilson) and her patient Mary drag intern Charles Percy, who has been shot, through the hallway but when they get to the elevators, they are off. Bailey freaks out for a moment, then gathers herself and sits with Charles. When he asks if he was dying, she said yes. She tells him she and Mary are going to stay with him and that he isn't alone, with Charles dying soon thereafter. The shooter walks into the OR where Cristina and Jackson are trying to save Derek. Hunt shows up and Meredith tells him what was going on. He looks through the window and says she is doing fine but he'd go in to see what he could do to help. When Hunt goes inside, the audience is shown that Mr. Clark is in the room with a gun to Cristina's head, shouting at her to stop fixing Derek. Cristina and Avery refuse to stop working.
Mr. Clark tells Hunt that he'd shoot him first and then Cristina but he really only wanted to kill Derek. He believes this is retribution for his wife's death, which he believes is on Derek's hands. Meredith then comes into the room and tells Mr. Clark to shoot her. She explains that she is Lexie's sister, she is the closest thing Webber has to a daughter, and she is Derek's wife. He turns the gun toward Meredith, but Cristina says Meredith is pregnant. Hunt makes a move toward Mr. Clark and is shot, knocking him unconscious. Cristina and Avery then raise their hands and Avery tells Mr. Clark that Derek will die and he can watch it happen on the monitor. Derek flatlines and Meredith cries almost hysterically. Mr. Clark walks out.
Clark later comes across Lexie, who is bringing supplies to help Alex, and when he attempts to shoot her, the recently-arrived SWAT team wounds Clark. This gives time for Lexie to escape. Soon after, Webber walks through the halls of the hospital and finds several bodies. In a room, he finds Mr. Clark, who tells him he'd bought the gun at a superstore and bought extra ammo because it was on sale. Mr. Clark tells Webber he has one bullet left. He reveals that he planned on shooting Webber, then himself. Eventually, after Webber convinces Clark that his wife wouldn't want the shooting and would rather be reunited with him, Clark commits suicide as the SWAT team is directly out the door.
Meanwhile, in the operating room, Derek's heartbeat returns to normal, and everyone is relieved. Outside the hospital, Arizona and Callie reinstate their relationship when Callie says she doesn't want to have a baby if it means she can't be with Arizona. Arizona agrees to have a baby because she says that she doesn't want to stop Callie from being an excellent mother. Mark and Lexie show up at the other hospital. Alex is out of surgery. Lexie goes to Alex. Mark watches Lexie take Alex's hand. Meredith takes another look at her positive pregnancy test, and throws it out.[1]
Production[edit]
Mandy Moore guest starred in the episode as a patient of Miranda Bailey.
The episode was written by showrunner Shonda Rhimes and directed by Rob Corn. In an interview Rhimes told that the writing of the two-part season six finale, caused her struggle. She elaborated on this:
“ It hurt to write this finale. It literally hurt me. Because in order to write these episodes, I had to walk in the shoes of [the shooter]. I had to think like a shooter. A person who would shoot Reed and Alex and Charles. A person who would shoot Derek. By the time I finished writing part one, I was sick. And depressed. Because my McDreamy was lying on my beloved catwalk dying. Mer is screaming and he is dying. And, before you have me shot up with Thorazine and placed in a strait jacket, yes, I DO I know it’s only a TV show, I'm not insane, but dude…it felt too real. It felt WAY too real.[2] ”
TV Guide reported that Mandy Moore will check into Grey’s Anatomy’s two-hour season finale, adding, "She’ll play a patient named Mary as part of an explosive – and, of course, top secret – cliffhanger. Bailey – who’s having one hell of a season as a newly single gal – will be her doctor, but beyond that, details are being kept under heavily guarded wraps." The news was later confirmed by Entertainment Weekly which further reported, "Bailey – who’s having one hell of a season as a newly single gal – will be her doctor, but beyond that, details are being kept under heavily guarded wraps. She comes as part of a grand tradition of recognizable names as patients, usually quick, juicy roles like Sara Gilbert’s euthanized patient two weeks ago and Demi Lovato’s upcoming stretch as a schizophrenic. Moore did that other hospital show, Scrubs"[3]
It was also reported as veteran actor Michael O'Neill would reprise his role as the grief-stricken widower Gary Clark. O'Neill later in an interview said, "That role changed my career. It was probably the hardest job I've ever done, hardest work I've ever done. I had a tremendous resistance to it, and I almost turned the role down. I was so afraid of that being sensationalized, and I didn't want that in the world. I hadn't worked with Shonda Rhimes, and so I didn't know. I certainly knew she was a brilliant writer, but I didn't know what the intent was. We had a conversation about it. I said, 'You know what? Can I think about this and call you back tomorrow?' I called her back, and I said, 'Shonda, I just have to say it frightens me. It really frightens me.' She said, 'Michael, it frightens me too.' I thought, OK, we're at least starting at the same place. Her writing was so good. ... We saw the wound. We got to see the wound that drove him mad, and I think that was terribly important. It was important to show the fracture that brought this man to that desperate action."[4]
Reception[edit]
Broadcast[edit]
Death And All His Friends was originally broadcast on the American Broadcasting Company (ABC) in the United States on May 20, 2010. The episode was the second half of the two-hour season six finale, the other half being Sanctuary It had an audience in The United States of 16.13 million viewers (5.9/17 Nielsen rating in its 9:00 Eastern time-slot,[5].
Reviews[edit]
Sandra Oh (left) and Ellen Pompeo (right) garnered enormous praise for their performances as Cristina Yang and Meredith Grey
The episode opened up to universal acclaim with the television critics lauding the writing and performance of the entire cast as well. The performances of guest stars Mandy Moore and Michael O'Neill along with Ellen Pompeo, Sandra Oh, Chandra Wilson, Kevin McKidd, James Pickens, Jr. and Sarah Drew garnered most praise. Marsi from TVFanatic highly praised the episode and gave it five stars, and expressed that it may have been the best episode of the series, adding, "The writing and acting were absolutely stellar, and may lead to many Emmy nominations, but even more impressively, despite a killing spree, it remained distinctly Grey's. Some of the back-and-forths between the characters were truly memorable, and some of the developments so heartbreaking that we don't even know where to begin now. Seriously, the Season 6 finale left us laying awake afterward thinking about everything, a feeling we haven't had from Grey's in years and rarely achieved by any program."[6]
John Kubicek of BuddyTV also noted that the finale was the best episode, adding, "[It was] two of the best hours of television all year. It was certainly the best Grey's Anatomy has ever been, which is saying a lot since I'd written the show off for the past few years. No show does a big traumatic event like Grey's, and the shooter gave the show license for heightened drama with five major characters being shot over the two hours. It was emotional, expertly paced and had me in tears for most of the finale."[7] PopSugar called it "most intense episodes of Grey's I have ever seen" adding, "What a whopper of an episode! Can we talk about how gripping the scene is where Bailey and Percy are hiding from Mr. Clark. Then he turns around and gets Karev right in the chest. Seriously, I haven't been so shocked by a one-two shooting spree since Michael shot Ana Lucia and Libby in rapid succession on Lost.[8] Another review from BuddyTV called the finale "Game changing!" stating, "The finale that changes everything! You don‘t want to miss it! To her credit GA creator and writer-of-this-episode Shonda Rhimes pretty much delivered on her promise. I found myself with my heart in my mouth for the entire evening before finally being able to exhale as the credits rolled." The review lauded Ellen Pompeo and Sandra Oh adding, "The Twisted Sisters really were the showcase of the entire finale. Meredith, side-lined for much of the season, took center stage " even calling Oh's Cristina Yang a "rockstar".[9]
Entertainment Weekly wrote, "You’re still pondering how Grey’s can still be so damn good sometimes,"[10] further hugely praising the episode, "They did a bang-up job, it felt real in every way, thanks to some stellar performances and writing. And yet it maintained its Grey’sness thanks to some quieter moments, and plenty of witty exchanges to boot." Regarding the Bailey-Mary-Charles sequence the site wrote, "the action felt so real", but added, "But the most intense action was culminating in the OR with Cristina, April and Meredith had a nice moment sitting on the ground together, April sniffling and Meredith stonefaced. Kevin McKidd did some stellar acting as he interacted with them." Talking about Meredith's miscarriage he site added, "She saved Owen, though she did it while having a miscarriage — again, leave it to Grey’s to make this the least dramatic, most underplayed storyline of the night. (Brilliantly so.)"
Spoiler Junkie wrote highly of the episode Meredith Grey in particular saying, "In the most heart-wrenching moment of the entire two-hour season finale, Meredith bursts into the room, asking Clark to kill her. Eye for an eye, she says. She’s Lexie’s sister. She’s like a daughter to Dr. Weber. She’s the Chief’s wife." and noted that, "This was an amazing season finale, one of the best in the six seasons of Grey’s Anatomy. The second hour of the Grey’s Anatomy Season 6 season finale, Death and All His Friends, is even more intense than the first."[11] HitFix also lauded the episode and wrote, "In every sense, these two episodes where Shonda Rhimes, directors Stephen Cragg and Rob Corn, and the entire cast and crew of the show "Going For It". There was no opportunity for suspense, or tears, or anger, or horror, or some good old-fashioned monologuing left unexplored. Huge stakes, huge emotions, great performances from everybody Chandra Wilson and Sandra Oh were particularly great, as was Michael O'Neill as shooter Gary Clark. This was about as good as I've ever seen "Grey's." Episodes like these are what I point to when anyone asks me why I'm still watching [12]
The site also lauded Ellen Pompeo's character stating, "Meredith would suffer a miscarriage in the middle of patching up Owen Hunt's bullet wound - and be so hard-core, just as her best friend was next door in risking death to save Meredith's man, that she would just keep working even as blood dripped down her legs. A moment like that works only if everyone involved is 100% committed to the insanity of it, and here everyone was. They all went for it and came up with a riveting two hours of TV.[12] At the completion of the eleventh season Wired named the episode in its must watch list adding, "The show reaches its dramatic apex in a multi-episode arc about a deadly spree shooter who visits the hospital with a vendetta. The repercussions of this incident will echo through most of Season 7, and well into the future." The site also called Pompeo's ’Shoot Me. I’m Your Eye for an Eye.' the best scene from the entire series. [13]
References[edit]
Jump up ^ Pompeo, Ellen; Oh, Sandra; Chambers, Justin; Wilson, Chandra (2010-05-20), Death and All His Friends, retrieved 2017-03-21
Jump up ^ Rhimes, Shonda (May 20, 2010). "Shonda Rhimes on "Sanctuary" and "Death and All His Friends"...". Grey Matter. American Broadcasting Company. Archived from the original on May 5, 2012. Retrieved June 30, 2012.
Jump up ^ "Mandy Moore to guest star on 'Grey's Anatomy' finale". EW.com. 2010-04-09. Retrieved 2017-03-21.
Jump up ^ "Role Recall: Michael O'Neill Talks Saving Presidents on '24' and 'West Wing,' His Unforgettable 'Grey's' Arc, and Messing With Halle Berry's Mind on 'Extant'". Retrieved 2017-03-21.
Jump up ^ "TV By The Numbers by zap2it.com". TV By The Numbers by zap2it.com. Retrieved 2017-03-21.
Jump up ^ "Grey's Anatomy Season Finale Review: The Best Episode Yet?". TV Fanatic. 2010-05-21. Retrieved 2017-03-21.
Jump up ^ "Why the Season 6 Finale Was the Best 'Grey's Anatomy' Ever". Retrieved 2017-03-21.
Jump up ^ Entertainment. "Grey's Anatomy Rundown: Season Finale, "Sanctuary" and "Death and All His Friends"". POPSUGAR Entertainment. Retrieved 2017-03-21.
Jump up ^ "'Grey's Anatomy' Fan Columnist: The Game-Changing Finale". Retrieved 2017-03-21.
Jump up ^ "'Grey's Anatomy' finale: Remember where it all began...". EW.com. 2010-05-21. Retrieved 2017-03-21.
Jump up ^ "Grey’s Anatomy Season Finale Recap: "Sanctuary/Death and All His Friends"". Spoiler Junkie. 2010-05-21. Retrieved 2017-03-21.
^ Jump up to: a b http://www.hitfix.com/blogs/whats-alan-watching/posts/grey-s-anatomy-sanctuary-death-and-all-his-friends-first-person-shooter#Vx6rCTypJsVBmyri.99"
Jump up ^ Hudson, Laura. "WIRED Binge-Watching Guide: Grey’s Anatomy". WIRED. Retrieved 2017-03-21.
External links[edit]
"Death and All His Friends" on IMDb
"Death and All His Friends" at TV.com
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Grey's Anatomy episodes
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Season 3
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Season 12
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Season 13
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Soapbox
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about a raised platform. For other uses, see Soapbox (disambiguation). For the Wikipedia policy, see Wikipedia:NOTSOAPBOX.
"Soapboxing" in Chinatown, San Francisco
Man soapboxing in Speakers' Corner, Hyde Park, London
A soapbox is a raised platform on which one stands to make an impromptu speech, often about a political subject. The term originates from the days when speakers would elevate themselves by standing on a wooden crate originally used for shipment of soap or other dry goods from a manufacturer to a retail store.
The term is also used metaphorically to describe a person engaging in often flamboyant impromptu or unofficial public speaking, as in the phrases "He's on his soapbox", or "Get off your soapbox." Hyde Park, London is known for its Sunday soapbox orators, who have assembled at Speakers' Corner since 1872 to discuss religion, politics, and other topics. Blogs can be used as soapboxes within the context of the World Wide Web.
Contents
[hide]
1 History
1.1 Origins of the term
1.2 Contemporary soapboxing
2 Footnotes
3 Further reading
History[edit]
Origins of the term[edit]
Throughout the 19th Century and into the 20th, prior to the invention of corrugated fiberboard, manufacturers used wooden crates for the shipment of wholesale merchandise to retail establishments. Discarded containers of every size, well-constructed and sturdy, were readily available in most towns. These "soapboxes" made free and easily portable temporary platforms for street corner speakers attempting to be seen and heard at improvised "outdoor meetings," to which passersby would gather to hear often provocative speeches on religious or political themes.
The decades immediately preceding World War I have been called the "Golden Age of Soapbox Oratory."[1] Working people had little money to spend and tub-thumping public speakers pushing their social or political agendas provided a form of mass entertainment.[1] Radical political parties, intent on bringing what they perceived as an emancipatory message to the working class, were particularly intent upon making use of "street meetings," with their speeches and leaflets, to advance their specific message.
American political activists considered soapboxing a First Amendment right. Law enforcement authorities frequently viewed it as an impediment to the public right-of-way (New York City, October 1908).
Street-corner oratory could also present its share of problems. Chief among these was the policy of local law enforcement authorities, who sometimes saw in radical political discourse a form of incitement to crime and violence and a threat to public order. Additionally, large street corner crowds listening to "soapboxers" would often obstruct public walkways or spill into public streets, creating inconveniences to pedestrians or vehicular traffic alike. Consequently, local authorities would often attempt to restrict public oratory through licensing or prescriptive banning.
This conflict between dedicated political or religious partisans, on the one hand, and civil authorities intent upon the maintenance of public order, on the other, made soapboxing a matter of frequent public contention. Throughout its history, soapboxing has been tied to the right to speak. From the period 1907 to approximately 1916, the Industrial Workers of the World conducted dozens of free speech fights in the United States, particularly in the West and the Northwest, in order to protect or reclaim their right to soapbox. Many prominent socialists and other radicals cut their political teeth in these or similar free speech fights, including Seattle newspaper publisher Hermon Titus, Socialist Party of Washington leaders Alfred Wagenknecht and L.E. Katterfeld, IWW activist Elizabeth Gurley Flynn, and prominent syndicalist William Z. Foster.
Additional problems could be presented to street corner orators from rival political groups or hecklers.[2] A skilled and effective "soapboxer" had to be quick on his feet, figuratively and sometimes literally, having the ability to express political opinions with clarity, to have ready answers for common objections, to be able to deflect hostility with humor or satire, and to be able to face difficulty or danger with fortitude. Soapboxing proved to be what one historian has called "a hard, but nevertheless necessary, process in the development of revolutionary leaders."[2]
Contemporary soapboxing[edit]
During the 1960s, a Free Speech Movement was initiated on the Berkeley, California Campus over fund-raising at an intersection and other political freedoms, and the fight eventually spread to other college campuses across the United States.
In the 1992 UK General Election, the Conservative Party were widely expected to be defeated by Neil Kinnock's Labour Party. Tory leader John Major took his campaign into the streets, delivering many addresses from an upturned soapbox. This approach stood in contrast to the Labour Party's seemingly slicker campaign and it chimed with the electorate, along with hard-hitting negative campaign advertising focusing on the issue of Labour's approach to taxation. Major won in excess of 14 million votes, the highest popular vote for a political party in a British general election.
Footnotes[edit]
^ Jump up to: a b Raymond Challinor, The Origins of British Bolshevism. London: Croom Helm, 1977; pg. 36.
^ Jump up to: a b Challinor, The Origins of British Bolshevism, pg. 37.
Further reading[edit]
Look up soapbox in Wiktionary, the free dictionary.
Wikimedia Commons has media related to Soapbox.
Walker, Thomas U. (Winter–Spring 2006). "Mounting the Soapbox: Poetics, Rhetoric, and Laborlore at the Scene of Speaking". Western Folklore. 65 (1/2): 65–98. JSTOR 25474780. CS1 maint: Date format (link)
Trasciatti, Mary Anne (Spring 2013). "Athens or Anarchy? Soapbox Oratory and the Early Twentieth-Century American City". Buildings & Landscapes: Journal of the Vernacular Architecture Forum. pp. 43–68. JSTOR 10.5749/buildland.20.1.0043. Missing or empty |url= (help)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Soapbox&oldid=791469956"
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This page was last edited on 20 July 2017, at 13:38.
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