There’s some real life in the season 18 finale of Grey’s Anatomy, the longest-running medical series ever that continues to drag on from renewal to renewal going perpetually against the original plans of Ellen Pompeo, who complains every other day about the “permanent position” of Zalonian memory only to then be convinced to stay where she is by contracts more and more armored and more and more advantageous. Yet, in the 400th episode broadcast in Italy on Disney + which marks the end of the season, it’s a bit like Ellen peeping into Meredith’s head and heart, given that the protagonist is at a particularly interesting and difficult professional crossroads to unravel: still remaining tied to Gray Sloan Memorial or taking a leap in the dark by moving to a clinic in Minnesota ready to hire her?
It’s as if showrunner Krista Vernoff, who inherited the title from Shonda Rhimes, who has since migrated to Netflix, had decided to bring the person and the character together by having Meredith’s worry projected onto Ellen, who, as well as the protagonist, despite her efforts just can’t let go of the hospital that first trained her as a resident and then welcomed her as a doctor. Of the original freshman lineup of Grey’s Anatomyon the other hand, only she remained, ed it is now clear that without her the series would collapse on itself, given that it seems almost impossible to trace a character strong enough to replace her – not to mention that the name of the series is really linked to the surname of the protagonist, creating the same short circuit that Rai will have to face now that Don Matteo no longer has don Matteo in the cast, but don Massimo.
Despite the Meredith/Ellen professional crossroads it is, however, a pity even at this round Grey’s Anatomy has settled down without having enough courage to go further, hovering in the air like an airplane waiting for instructions from the control tower in order to finally land. New entries like Peter Gallagher and the return of are not enough Scott Speedman and Jesse Williams and Sarah Drew – namely Jackson Avery and April Kepner – to shake up the series. Beyond the (too many) subplots left pending, it would really be appropriate to understand in which direction it is more appropriate to go. The ratings are a justification up to a certain point: what should count, right now, is the self-respect that the series should have, as well as for itself, also for the public who continues to watch it out of habit, waiting for the executives have the courage to put a full stop.
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