Sara Ramirez kicks the Grey’s Anatomy “Musical Event’s” ass. Refuses to take names.
By Alex Cranz
Every once in a while a television show asks you to make a leap. They ask you to come along with them on a journey that will take you (and usually them) well out of established comfort zones.
Grey’s Anatomy is no stranger to this. In the past they’ve asked us to join them as they put bombs in chests, drowned the lead character and put her through her paces in the afterlife, shot up the supporting characters and embarked on some vigorous ghost sex.
Three out of four times they succeeded (ghost sex is pretty damn hard to swallow), but I don’t think they’ve ever done something quite as risky as a musical.
And a tv show forgoing its usual format to have a musical episode is always asking us to make that journey. Xena, Buffy, Scrubs and Chicago Hope have all asked us to journey away from established territory into a world of songs (and sometimes awkward dance).
Tonight Grey’s Anatomy asked the same of us. And the core of their musical? What motivated each instance of music? A love story. A love story between lesbians.
That doesn’t happen very often. Lesbians have maybe three musicals they can look to for anything resembling realistic relationships between women in and out of love. They have a 40-minute episode of Xena that flirts with romance, but is more about repairing a friendship. They have the flamboyant break-up in Rent. And they have a really wretched British musical based on the women in prison show Bad Girls. That’s it. The poor ladies don’t get a Phantom or a Damn, Yankees or an Into the Woods (I have just listed three of my favorite musicals).
Until tonight, there was no love song that so perfectly and eloquently illuminated the trials of a lesbian in love. Then Sara Ramirez belted out The Story and as someone on twitter so eloquently put it, “Callie woke Callie up,” and then she accepted Arizona’s marriage proposal.
Was it all a little disjointed? Yes. I strongly suspect a LOT got excised from the episode. Plots came and went and didn’t even sit down to chat with us. Things moved so quickly, we never really got a chance to wallow in the characters’ grief. Were there still some really fantastic and real moments? Yes. Sara Ramirez had better be one step closer to an EGOT after this. Chandra Wilson, Kevin McKidd and Jessica Capshaw also were consistently perfect.
Capshaw was especially delightful. Arizona is always the perky and confident one, and here she was in absolute shock and then completely adrift. When her hands picked up that baby and she lit up and turned back into normal Arizona I almost forgave the show for making sure that baby survived.
Shondra Rimes I had ten dollars riding on that baby’s death. You lost me ten dollars. Also? That baby? Ugly as sin. She’s gonna have all kinds of crazy problems.
It was nice for Mark and Arizona to finally have it out and I’ll be super pissed if that major conflict is now neatly resolved. Be messy, Grey’s Anatomy!
So yeah, Grey’s Anatomy asked us to follow them into scary territory tonight. I went, and went willingly. I had a hat, brought my MP3 player, and even chipped in on gas. The port had something to do with it, but whatever. The two little lesbians got their big episode and it was all gooey and sentimental and Ellen Pompeo’s Meredith had a hilarious and marginally sad breakdown in an elevator. That’ll learn her to be jealous! NEVER AGAIN.
And some other junk happened too. Whatev’s. Like we care about 84.3% of those characters.
And you? Did you make the journey, or did you fly out of the windshield and run far away?