[Warning: This post contains spoilers for the midseason finale of How to Get Away with Murder. Read at your own risk!]
How to Get Away with Murder finally gave us the answer we've been waiting for about Gabriel Maddox's (Rome Flynn) true identity, and naturally, it left us with even more questions than we started with.
It turns out, Gabriel isn't Annalise's (Viola Davis) son like many fans thought when the governor started throwing around threats about her past involvement in an adoption. Instead, he's Sam's (Tom Verica) son from his previous marriage, which Annalise broke up when she started having an affair with Sam all those years ago. Talk about a twist!
Gabriel also seems to know exactly who he is since he's got a birth certificate stating Vivian Maddox and Sam Keating are his parents. Said birth certificate is what led Frank (Charlie Weber) to the wedding to reveal his findings to Annalise (and aren't we all just so curious how he of all people knew about Gabriel in the first place?), who promptly slapped him for sharing that information. In her defense, she was super drunk by that point, having downed an entire flask of vodka at the wedding. Sadly, it looks like Annalise is officially off the wagon again.
Speaking of that wedding, go ahead and take a few seconds to revel in the intense Coliver feels the ceremony and Oliver's (Conrad Ricamora) romantic serenade undoubtedly gave you. Go ahead, revel.
Unfortunately, that's about as long as Connor (Jack Falahee) and Oliver will have to enjoy their newlywed status since Ronald Miller (John Hensley) was violently murdered in the snow outside their wedding venue. After discovering evidence connecting Ron to the murder of his father, Nate (Billy Brown) confronted Ron -- who we should note adamantly and pretty sincerely denied his involvement -- and pushed him to the ground. He then repeatedly beat Ron into a bloody mess, though he never delivered the fatal blow. That's where Bonnie (Liza Weil) found both of them. Having also realized Ron was likely the person who ordered Nate's father to be killed, she decided to finish the job and smothered poor Ron in the snow.
We did see Nate try to clean up the bloody snow and put Ron's body in a trunk, so there's a small chance his murder might not be immediately discovered. It's worth remembering, however, that there's probably a mountain of evidence pointing right to Nate for this crime, up to and including the fact that this crime bears a striking resemblance to the murder that got his father life in prison.
Meanwhile, a devastated Annalise was returning home to collapse on her living room floor when she heard someone lurking inside. Who else should it be but Gabriel Maddox, who swiped her keys at the church after he caught her drinking. Annalise revealed to him that she knew he was Sam's son, but in order to see Gabriel's reaction (and his explanation for all his shady behavior), you'll have to tune in when How to Get Away with Murder returns in 2019.
Personally, we're just dying to know if little Gabriel has figured out how his daddy really died. And if so, which lives he'll try to ruin with that information.
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Holy midseason finale, y'all! Station 19 continued the jaw-dropping tradition of TGIT shows ending the first half of their seasons on massive cliffhangers that leave us on the edge of our seats until the shows return in 2019. The Grey's Anatomy spin-off ended Thursday's episode with both Andy (Jaina Lee Ortiz) and Sullivan (Boris Kodjoe) in serious jeopardy.
Andy and her new captain were trapped in the aid car together for most of the episode's intense windstorm and were stuck after picking up a victim of a hit and run left in the same spot where Sullivan's wife died years before. As the two waited for dispatch to tell them what hospital was ready to take them and their victim, the aid car started to get blown away. With dispatch not answering, they decided to make a go for it blind, but the episode ended with the image of the aid car turned over a deep ravine and neither Andy or Sullivan visible in the wreckage.
Back at the station, everyone was enjoying Friendsgiving but emotions were mixed there as well. Maya (Danielle Savre) got her well-deserved promotion to lieutenant, but it means heading to another fire station, which has her feeling a lot of different ways. Elsewhere, Jack's (Grey Damon) PTSD from the skyscraper fire at the end of Season 1 is manifesting in aggressive and dangerous ways. Meanwhile, Vic (Barrett Doss) and Ripley's (Brett Tucker) affair blossomed to new depths, which will create a very murky situation in the second half of the season.
TV Guide talked to Station 19 showrunner Stacy McKee about what that cliffhanger means for the crew and what's next for our A-shift firefighters.
This midseason finale was sort of a crossover event with Grey's Anatomy. Considering how much drama's happening in the cliffhanger, will the winter premiere also pick up with a crossover? Some people need some medical attention.
Stacy McKee: Yeah, it's very possible that some medical attention will be needed. ... I don't think it will have that much of a crossover element in that way, but it will be a direct pick-up.
Who's going to have the hardest, toughest reaction to what's happened to Andy and Sullivan?
McKee: Oh my goodness, well, I mean definitely Pruitt (Miguel Sandoval) is going to be really thrown by everything that's happened because it's Andy. It's his kid, and he's also going to have to face some really tough decisions coming up, moving forward, professionally, because you know, it's possible that there might be a reason for -- we might have a captain opening.
I know you can't elaborate too much more on that, but let's say Sullivan makes it through this situation. Would this be something that could bring him more into the fold, like he's been wanting, or should we not be too optimistic about that?
McKee: I definitely think that when you go through something like this it can be very humbling, and it can definitely change your perspective. Not only on who you think you are, but on who the people around you are, and how maybe you want to interact with them. So yes, I think that an experience like this can be really transformative. It will definitely crack open somebody's walls.
Could this be something that would allow Maya to stay at Station 19 for a little bit longer?
McKee: It's definitely a possibility. There's also the possibility that she'll wind up having to go to [Station] 23 and not even be able to be around to sort of experience what's happening in the aftermath, and there could be some real difficulties there too.
Ripley and Vic are really blossoming into something, but he's a little bit concerned about his position of authority over her. How are you going to explore that going forward and deal with that delicate balance?
McKee: It's definitely a delicate balance. Both professionally, and I think emotionally, for the two of them. We've established that Ripley has had a number of romantic relationships prior. We said he's been married before and we've never really played that Vic has ever had a really deep, sort of moving relationship. It feels like the two of them really have such a sort of undeniable connection, which is sort of -- it's like magnets, you know? They're so attracted to one another, and they just keep finding themselves pulled toward one another. So we want to explore all the facets of that. I feel like that's a really exciting romance for us to see moving forward.
Jack is also dealing with some very some very intense issues. Who do you think has the best chance of getting through to him?
McKee: A couple of people have tried, and a number of people have noticed that something's a little off. I feel like so many people in the station have had the opportunity to see just a little different facet of Jack that they understand isn't quite right, or something is a little bit off. I feel moving forward, of course, the friendship between Jack and Dean (Okieriete Onaodowan) is something that I just love so much. I love watching how it's been growing this season. To me, Dean is a prime person to really be able to get through to Jack, but you also have to look at everyone else around. I mean, Pruitt has had basically a sort of fatherly mentor relationship with Jack, and so I think moving forward he'll probably stand a really good chance of at least trying to make sure that he's taken care of.
Jack has obviously a little bit of an adrenaline junkie, but he hasn't been reckless. So what is it about him that makes it so difficult for him to acknowledge that something's not right with himself?
McKee: Well, I think it goes back to some of the things we've learned about his past, even this season. The fact that he grew up really without a family and had to fend for himself a lot, and definitely had to sort of put up those protective walls, I think it's really hard for him to trust people, even though he craves having those deep connections, and having those people around him. It's hard for him to really open himself up and let those people in.
We've also been dealing with this Bailey and Ben separation. How are you going to balance that in the second half of the season, especially going back and forth between Grey's and Station 19?
McKee: The great thing about that is we're able to tell Ben's side of that story, and Grey's Anatomy is able to tell Bailey's side of that story. From the beginning of this season, it's something we've been working really closely [on] with Grey's in order to tell this story. We felt like we had these two amazing characters, and we really wanted to show both sides of the same coin, basically, from each of their perspectives.
Travis sort of finds out that his boyfriend isn't interested in getting married, and he pretends to be OK with it, but how are we gonna see that maybe test them going forward?
McKee: We will definitely see it test them. I think that look on Travis' face, that just says volumes. And we know that Travis is a person who completely believes in the idea of marriage. But I also think the fact that he still wears Michael's wedding ring, even if Grant says that that isn't a thing -- there's no way that you can really move forward with a really committed, serious relationship and have that not come into play somehow.
Even though we're only halfway through this season, you made a much more conscious effort to crossover with Grey's more, even if it's just events crossing over rather than people. How has that helped you expand this universe in Season 2?
McKee: Yeah, it's been really fun to play with things like that, you know? Because, I mean, we have it as part of the show that the hospital is just a few blocks away from the fire station. So for instance, with the finale, just the idea of being able to have a unifying event that's affecting the city of Seattle, and would of course affect the hospital in one way and affect Station 19 in another way, to me those are the sort of, I mean I'm such a fan first, that that's the kind of fan candy I love. So anywhere we can, and we will do it. Because to me that's just, it just enriches and widens the universe. I think it's so much fun.
What are you most excited for fans to get to see in the second half of the season?
McKee: Oh my gosh, there's so much! And there's so much I can't tell you. We are gonna have some more secret romances. We're gonna have some pretty amazing affairs, some of them perhaps ill-advised. There are gonna be some incredible incidents with such major heroics, I just, I'm bursting because they're gonna be so neat and cool. You know, there'll be some pretty unexpected things too. Who knows? There could be a proposal, there could be, someone might die. You know? We're gonna take big swings. It's gonna be juicy.
Can someone die in an even numbered season? That goes against the pattern.
McKee: Listen, nobody died Season 1. We're basically still in Season 1. This is Shondaland -- you know how that works.
Station 19 will return in 2019 on ABC.
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[Warning: This post contains spoilers from Grey's Anatomy's midseason finale titled "Blowin' in the Wind." Read at your own risk!]
Have you regained your composure yet? Grey's Anatomy delivered one gut-punching midseason finale complete with heartbreaking deaths, surprising reveals and a cliffhanger that left us wishing 2019 were already here.
In the midst of a major windstorm that sent an influx of patients to the emergency room, Grey Sloan's busy doctors tried their best to tend to each body on limited resources while also grappling with some major personal problems. Thursday's dramatic hour saw Deluca (Giacomo Gianniotti) reveal that he had no regrets about that steamy wedding kiss with Meredith (Ellen Pompeo), setting the wheels in motion for a potential romance. But Meredith's had a terrible week and thus is not in the right frame of mind to deal with his confession just yet. Plus, he may have to compete with Link (Chris Carmack) for Meredith's affections. According to the charming matchmaker Cece (Caroline Clay), the swoon-worthy Ortho God is the perfect guy for Meredith.
Meanwhile, Jackson (Jesse Williams) and Maggie (Kelly McCreary) made up after a huge blow out over Jackson's new friend, and Nico (Alex Landi) and Levi (Jake Borelli) took their courtship to the next level in one epically sweet moment. But the episode's biggest shocker came when Teddy (Kim Raver) finally dropped the big news to Owen (Kevin McKidd) that she's carrying his baby and wound up trapped in an elevator with him and Amelia (Caterina Scorsone). Now that's some major baby mama drama!
With one seriously awkward conversation on the horizon, we hit up Kevin McKidd, who directed the episode, to weigh in on Owen's dilemma, Meredith's potential love triangle and his proudest moment as a director thus far.
Congrats on directing another episode of Grey's Anatomy. Does it get easier each time you do it?
Kevin McKidd: Each episode has its challenges. I mean, this episode had a huge windstorm, so we had to figure out how to make that believable and capture that realistically. It never gets easy but definitely as I go forward and direct more, it's less daunting.
What is the biggest difference between directing your co-stars and acting alongside them?
McKidd: [With] directing, you are in charge of the whole thing. Whereas, when you're acting, you're just kind of staying in your own lane and making sure that your character's interacting believably with the other actors. When you're the director, you're kind of the boss in the sense that you have to get the whole tone of that episode moving in the same direction. So it's interesting, the shift between being just an actor on a show and also directing a show. Everybody's very sweet to me, very collaborative, and I feel very grateful for that. And I love doing both jobs. I think one of the things that makes me a decent director is the fact that I am an actor. I can relate to actors and help them, and to be of assistance to actors as opposed to telling them what to do.
In the episode, Teddy tells Owen--during surgery, no less--that she's pregnant. Could there have been a worse time for that reveal?
McKidd: I know! It's kind of a crazy time to spill the beans but you know, Teddy is in that place where she realizes this patient is unscathed and that makes her feel like maybe this is gonna be OK and I need to tell him. And then, as you see at the end of the episode, all the electricity goes out in the hospital because the storm has gotten so bad. Nobody knows what's going to happen in the midseason premiere.
I think it's especially complicated given that Teddy and Owen are best friends and he's wanted to be a father so badly. However, I don't think he ever imagined it happening in this way. So, where do they go from here?
McKidd: It's as complicated as it could possibly be and I don't think we quite know what they're gonna do. He's very much in a thing with Amelia. He and Amelia are back together and things are really working so it's very complicated, very tricky emotionally to know what to do. I don't know how Owen's gonna stay sane during all of this because it's everything he always wanted but in a package that doesn't quite work.
Right now he is committed to Amelia, but he obviously also has feelings for Teddy. Who do you think he's learning more toward, Amelia or Teddy?
McKidd: I think he and Amelia are very much on a path of being a couple. So I think it's gonna be very hard for him to tear himself away from that commitment. Once Owen makes a commitment, he tends to stand by it unless something really terrible happens. I think that's what we're gonna see but it's very conflicting too. It's very conflicting for Owen to know what to do and what is for the best and whether to listen to his heart or his head. He has history, very deep, long history with both of these people, so I think he feels very freaked out.
Elsewhere, Deluca admitted he has feelings for Meredith but she's unsure about him. Plus, matchmaker Cece hinted that Link could be the guy for her. Where do you stand on this? Are you Team Deluca or Link for Meredith?
McKidd: [Laughing] I don't know. I think Link's a really great character because he's so light and uncomplicated. But you know, Deluca speaks Italian which is pretty cool too. [laughs] I don't know. I don't think Owen really has any skin in that game. He has his own problems.
This episode hinted, especially that last scene in which Maggie reveals Catherine's diagnosis to Jackson after kissing him, that she and Jackson may not be over. So where do they stand in their relationship? What's the most important thing you wanted to convey in that scene?
McKidd: In that moment, I wanted to convey her deep feelings for him and concern for him and heartbreak for him. Even though they just had this huge fight. ... Sometimes fights can bring people closer together and create more understanding, and I think that's what we see. I really wanted that scene to be beautiful and elegant. When Kelly [McCreary] and Jesse [Williams] turned up to rehearse that scene... We have a pretty fast pace in the show and I remembered saying to them 'Listen, guys, really let's slow this down.' Because it's a huge scene. It's a huge moment. I know there's only a few lines in the scene, but it's actually nice to have a lot of time spent and I think it really got to a beautiful place.
Nico is the first openly gay surgeon on Grey's and in this episode shares a special moment with Levi. What did it mean for you to bring these two characters together onscreen and in such an epic way?
McKidd: I think that sequence in the breezeway where Levi essentially saves Nico's life and then they're trapped inside this ambulance together is one of the most beautiful scenes. The song we [found] for that scene, it just blows me away. I'm very proud of that scene on many levels. I think it's kind of a defining moment for our show. And I think Levi's coming out speech in that ambulance is really significant and powerful and important, especially in the times that we live in.
I think that moment is maybe the proudest I've felt in directing a show up until this point. There's something really powerful and really important about that scene, about that telling of that story between Levi and Nico. I love this idea of having all the crazy elements outside of the ambulance and the leaves and all the debris. But they're inside, they're safe in this bubble of the truth. The image of that felt very strong to me, just a comment about people's prejudices and outside pressures and how coming out in that way can be very hard, challenging for people.
In true Grey's fashion, the episode wrapped on a cliffhanger with multiple lives hanging in the balance and relationships left up in the air. What can fans expect in the second half of the season?
McKidd: The midseason finale leaves hanging a lot of cool stuff. We have Cece's life hanging in the balance. We've grown to love Cece. We've got Deluca and Meredith on the brink of really stepping into something together. I think that's gonna be fun to watch, to see how that plays out. And obviously, the Teddy, Owen and Amelia situation is so complicated. The audience has known about this pregnancy for quite some time but only now do Owen and Amelia discover it. So a lot of stuff that's been hidden is now in the light and it's gonna cause a lot of problems and a lot of issues.
Grey's Anatomy returns to ABC in 2019.
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