ET/PT.[via: TVLine] Of course.”Grey’s Anatomy airs Thursdays at 8 p.m. She very well could be killed off, but we still hope she’ll depart without meeting a grisly end. Avery (Jesse Williams) reveal that he has been trying to get in touch with Edwards, and she isn’t responding.That wouldn’t be so alarming if it were the only strange thing taking place, but we also see her rolling a dangerous patient down the hall. In it, we see Dr. Whatever is going on, it’s enough to warrant Dr. Bailey (Chandra Wilson) calling a Code Orange.There has been speculation that Hinton is leaving “Grey’s Anatomy” ever since she nabbed a role in an HBO drama. Edwards (Jerrika Hinton). Previous teasers made it clear something was wrong at the hospital, and that’s compounded in the latest clip. Posted May 10, 2017 by Stephanie Topacio LongThere’s trouble coming to “Grey’s Anatomy,” and while that’s par for the course, it looks like one at least one Grey Sloan doctor’s life may be in immediate danger.ABC released a new sneak peek Wednesday via TVLine ahead of Episode 23, “True Colors,” and it’s looking more and more like we should be worrying about the safety of Dr. Either way, the question might not be answered for a while — we’ve been promised a huge cliffhanger in the season finale.



That McCarthy is already busting out her scowl and suit for the episode is no surprise, but it’s a treat nonetheless.The actress will be joined by musical guest Haim when she hosts on May 13. “SNL” released a new promo for the episode Thursday, and it features McCarthy transforming into the White House press secretary, set to the show tune “I Feel Pretty.” Unfortunately, we don’t get to watch the whole complicated process, but it’s still amusing to see McCarthy sit down in the makeup chair as herself and emerge as a surprisingly jovial version of Spicer.The current “SNL” season has been full of hilarious impersonations of political figures. Big-name stars like McCarthy and Alec Baldwin have seriously committed to their respective roles, returning frequently as Spicer and President Donald Trump. ET. Posted May 10, 2017 by Stephanie Topacio LongThings are about to get Spicey once again on “Saturday Night Live.”Melissa McCarthy is set to host the late-night sketch comedy series on May 13, so naturally she’s bringing back her hilarious Sean Spicer impression. “SNL” airs live on both coasts on Saturdays at 11:35 p.m.



The retired athlete underwent some serious Hollywood makeup magic to go from one-time People’s Sexiest Man Alive awardee to battle-worn medieval man.Beckham’s temporary look is on full display in the clip. As we can see in a new clip released by Warner Bros. He is none too impressed with the future king at first — but he probably soon comes to regret his insults.The scene shows Beckham’s prosthetic scars, but Beckham offered a even better look in a photo he posted on Instagram in late March.Rough day at the office @kingarthurmovie @guyritchieA post shared by David Beckham (@davidbeckham) on Mar 28, 2017 at 6:59am PDTHow’s that for a transformation?”King Arthur: Legend of the Sword” opens May 12. Tuesday, he barely looks like himself. With a face full of scars and yellowed teeth, he watches as Arthur (Charlie Hunnam) approaches the stone to attempt to pull out the sword Excalibur. Posted May 10, 2017 by Stephanie Topacio LongA familiar face in “King Arthur: Legend of the Sword” looks decidedly unfamiliar.Soccer star David Beckham makes his acting debut in the film, but if you didn’t know to look for him, you might miss him altogether.



It’s like “Groundhog Day” with automatic weapons and, despite a modest box office haul, has gained a sizable cult following. So I’m like, I’ve got to make the movie so I don’t have to tell the story over and over again. I constantly find myself telling the story. I might produce it, like with ‘Bourne,’ but for me to direct a sequel, it’s got to be better than the original,” Liman explained. We normally never do a sequel. But while I was talking to the wonderfully talented filmmaker about his new film, we had to ask about a potential sequel to “Edge of Tomorrow,” his jaw-dropping 2014 sci-fi masterpiece that starred Tom Cruise as a cowardly grunt who, thanks to some alien goop, relives the same bloody beachside battle over and over and over again. Screenwriter Christopher McQuarrie has spoken about returning to the alien-infested well, and so we had to ask about the status of the sequel.”Chris and I came up with a great story that I love. And ‘Swingers,’ I was telling the story before I made it, ‘The Wall’ I’m telling the story before I make it. The movies I end up making are the ones that I am compelled to tell over and over again with words first.”As I was leaving the room I asked if everyone, including Cruise and Emily Blunt (who is absolutely terrific in the first film), would be returning, and he said yes. I just like telling the story. Posted May 10, 2017 by Drew TaylorDirector Doug Liman’s latest film, the incredibly tense wartime thriller “The Wall,” opens this weekend and is very much worth checking out. “And we’ve got a story that passes the litmus test for me of how I decide whether or not I’ll make a movie which is every one of my friends knows the story of this movie because I’ve told it at every dinner party. It’s so cool and so funny and so sharp and wicked. Then, he said, “It’s going to be really cool.” Cannot wait.If you need your Liman fix, “The Wall” is in theaters this week.



And I can see where the end point is. Posted May 10, 2017 by Kelly WooOlivia Pope is about to fix her final “Scandal.”Sources tell TV Line that the drama’s seventh season will be its last and ABC is expected to make the announcement at their upfront advertising presentation next week. Those figures are down from its peak, when it averaged 12 million viewers.Creator Shonda Rhimes has previously said she never envisioned the show having as long of a shelf life as “Grey’s Anatomy.”
“I feel like there is a finite amount of ‘Scandal’ to be told,” Rhimes told NPR. Neither the network nor Shondaland productions commented on the report.In season 6, which has two more weeks before the finale, the show has been averaging 5.7 million viewers and a 1.5 rating in the 18-49 demographic. “So I know what the end of ‘Scandal’ will be, and I feel really good about that. And I don’t think I’m going to change that.”



Did friends and relatives say, “Hey! I think anything else is kind of a fool’s errand. You mentioned “ambitious,” and you guys were certainly ambitious with this one. It’s such an interesting road map you guys follow in the season.It’s always a tricky thing, right? I just got this one. I just feel lucky that they’re willing to hang out with us, and they were all so cool, man. I think it’s really difficult to try and guess what the audience might want, or not want, or expect, or not expect.I think all you can really do is trust your own gut and know what you want. When you call Angela Bassett up, and it’s like, “Would you want to do our TV show?” That’s just like, “We hope she says yes!” She was our first call. Him eating chicken, them not getting served in a restaurant, that’s all stuff that they told me. So that all happened to my dad. Tell me what it means to you guys to be able to write and comment on the modern romantic and dating dynamics, but also, include a certain almost sweet and old-fashioned sensibility to a lot of the stories you tell.Yeah, I like that. Like, be angrier? We’re not Pollyannas, we’re not naive, I think. It definitely wasn’t, “Let’s make the show more like Season 1.” It was “Let’s make it different than Season 1,” if anything.You definitely accomplished that while still keeping the spirit of the show.Tell me about figuring out where you wanted to go. Or do you know, and have connections and friends in mind, that you want to bring in as stories are being written?It’s a little of both, right? We always thought that story was really funny and it came out great. As far as the romantic aspect goes, man, Aziz and Alessandra [Matronardi] do such a great job pulling those scenes together. So it’s kind of balancing those things, and putting comedy in, putting fun character interactions in the show.It’s a balance, where you have the sort of beats that you want to get across, and ideas you want to get across, and emotions you want to say, but at the same time, let’s also have Arnold do something silly, or have the Jabbawockeez in the show, or have some hard comedy also.Tell me a little bit about the cultural issues that are at the core of your show, and have been at the top of the list of our cultural conversation over the past few months, often in a very heated and polarizing kind of way. I think one of the reasons we work well together is that we both work really hard and we’re obsessive. We’re trying our best to make a funny show, and I hope that it’s not incongruous.I think that’s just our personalities. We were really inspired by these classic Italian films by Antonioni and Fellini and De Sica, and the sort of lyricism and emotion expressed in those films, if we could capture one iota in our show as an homage to those films, that would be amazing.You and Aziz have a good, long working history together, and these things evolve over time. The way our show is kind of laid out is that it’s lightly serialized, and this is one thing we kind of took forward from Season 1. People’s lives I was curious about, or felt some empathy towards. It’s not the jokiest show in the world. I’m hoping that we can make a show that isn’t necessarily like that. His parents — his dad is so funny. What seems to be something people are talking about, or something that made us angry, or something that’s impacted us?Then we just start talking about, it could literally be one word. We went pretty wild with stuff. Are you guys out there just going through the usual casting paces? I think we’re getting better as writers and directors and performers, and everyone on the show is getting better, because we’re learning, and we’re getting better at working with each other, and our aspirations are higher.I think one of the things that we do best is that we push each other. It’s just, those are the lengths we thought those stories were told best in. How are you looking at the series as a whole?One day at a time, man. Was there a new evolution in your work together, or a new dynamic that emerged?I like to think that we are growing together. So that always was a small one that made us laugh.Your show feels so personal from the first season. Frankly, we’re writing and directing a show, and to us, our ambition should be as great as people making films were 50 years ago. You’ve got things that are around 20 minutes, you’ve got things that go an hour. It’s the day after the election, and this guy who made bigoted comments about the Muslim ban has just been elected president, and I’m the director of this episode, and I have to tell the actor, “Hey man, when you say, ‘Hurry up, terrorist,’ can you do that more angry? Yeah, we just feel fortunate that they came to hang out.Are you already brimming with ideas for more seasons? We thought of all these options, and montages, and different scenes we were coming up with, it just didn’t feel right for the episode. Some of these amazing guest stars are people we know, and then other people we’re just calling and hoping. That’s a big part of the show. And it turns out that was just the warmup.The critically hailed streaming series dials its signature style up even further in the second season debuting May 12th — everything from an extended European location, highly stylized nods to international masters of cinema, and a heart-melting love story that sneaks up on Aziz Ansari’s Dev throughout the season.Executive producer Alan Yang, who co-created the series with Ansari — the two shared an Emmy victory for Outstanding Writing for a Comedy Series — joined Moviefone to discuss the wildly ambitious new directions.Moviefone: There’s a point where you’re making the first season of the show where it’s just you guys making the show that you want to make and want to see, and then you put it out there and you get the response, and then you come back to make a second season. I think that’s definitely part of Aziz’s charm as a performer. It’s really an insane story. What’s happened to us? That episode was written, conceived and written, entirely before, definitely before Donald Trump was elected president, probably before he was a serious candidate, and definitely before he called for a ban of all Muslim immigrants.It was a really intense moment, and, in fact, the day after he got elected, we were shooting that episode. Posted May 10, 2017 by Scott HuverFew TV comedy series have as much to say about romance, multiculturalism, generation gaps, and friendship with as much immediacy and as many laughs as “Master of None” did in its first season on Netflix. We didn’t really have a backup.Yeah, watching these performers, Angela and John Legend and all these people. This is just our taste. Typically there’s one usually about Dev’s relationship, and our secondary story about what he’s doing in his career. What do we want Dev, the character, to be feeling while this episode takes place?” It’s like building a building: You’re putting pieces here and there and hopefully meeting out the larger story at the proper pace for the audience.And always finding those funny moments as much as the true storytelling, character, and the tone that you’re going for. You put them up on index cards on a board and just figure out, “Okay, how would this feel? Neither of us are the kind of person to say, “That’s good enough.” If anything, it’s one of us telling the other, I think we can do better, and let’s keep working on this. It’s like a mom who just gave birth, and they hand her the baby, like, “How about the next one?” It’s like, “I just got this one, man. There is a story that’s not necessarily my story, but is very loosely based on my dad. We were thrilled with the reception the first season got, and I’m so happy that people saw the show, and some people responded positively.Yeah, Season 2 was just like, “How can we make this bigger, better, more ambitious, different, more beautiful, more emotional, funnier, more interesting, more thought-provoking?” All of that stuff. Let me chill for a second with this one.” The show also should be something that is fun and entertaining to watch. What would the pace be like? I hope that’s borne out in the show.Was there any one particular storyline or episode that, for you, had an extra special resonance in that, you’re kind of telling, this is my story?There’s so many that I just love. So I think it was extra special for them to see it portrayed on screen in a relatively high-budget way.Once again, you have some amazing guest stars that come in and deliver some pretty special performances. We didn’t go in saying, we’re going to mess with the length. If we’re lucky enough to get that call to think about a third season, we’ll cross that bridge then. We like how the episode exists right now, and it doesn’t directly address him, nor should it, because it wasn’t conceived in that way, and I think it stands on its own.So many of the stories are really filtered through a very romantic prism. But I always laugh when people ask that question. We don’t see it as, like, an art project that is sort of insulated against the audience. Clem Cheung, the actor who portrays Peter, and Kelvin are both really funny in it. I think we tried to do the same thing we did the first season, which is, trust our instincts, and just try to make the show that we would want to see. What’s made us really emotional, or impacted us in the last month, the last year, and what are we interested in? I like to think that there’s definitely some funny stuff this year that will be surprising to people.One of the things that I find really compelling about the show is how you really take advantage of the fact that you’re a streaming series, and you play with the form — this season in particular — so much, wether it be use of subtitles, use of color, or the length of episodes. So once we sort of hammered those out and the very sort of rough beats of that story, we laid those all out.We also started talking about what the topics for the year might be. I haven’t even told him about it. But we thought about it. I think one of the things you might be referring to is the episode about religion, which touches on Islam and Aziz’s family and a variety of topics. That actually was us, right?”Yeah, oh absolutely. I’ve been asked about this a couple times, where people comment on, “Man, a lot of comedy is angry and negative and bitter and pessimistic,” and we’re used to the stereotype of comedians being these really depressed people. Then you go through the work of, “Okay, is this a one-off? I know I personally am just a pretty optimistic, happy person. There is an overarching story for the season, but we always want to leave room for these episodes that are digressive or that are experiments, formal experiments, content experiments, where we can pursue any idea or emotion or concept that we find interesting.We never want to be locked into like, “Well, the overall plot for this season is going to determine what’s in every episode.” I think part of the show’s charm, if it has any, is that every episode can be something unexpected and can be a surprise.So at the very beginning of the year, Aziz and I got together and we talked about what the bigger, overarching stories for the season would be. We have such funny actors on the show, including Eric Wareheim, Lena Waithe, Kelvin Yu. Frankly, a lot of those are other people’s stories this year. Was there any effect on you, creatively, based on what you knew the audience had responded to in the first season?Alan Yang: Honestly, not really. You still keep it consistently funny, which is, I imagine, part of the trick of it all.Yang: Yeah, I’m glad you thought it was funny. Or does this fit into the larger story?”And then, once you figure out the episodes you want to do, you kind of lay them out. I think it’s very fun to watch these characters interact.Yeah, we’re not afraid to go for a big joke here and there. Tell me about indulging in the freedoms, but also making sure that you’re using those freedoms to a proper purpose.Yeah, I’m so glad you picked up on that. So what was the fun of your collaboration, particularly this time around? There’s a card that says religion on it, and then we just start talking about it, and try to figure out if there’s a narrative that makes sense in the context of our characters. Can you do that more angrily?” It’s a strange moment.And we talked about whether we’d change that episode to directly address Trump, because it seemed so topical — and almost coincidental, a horrible coincidence that the United States has just elected this guy president. So let’s watch some of those films, let’s learn lessons, let’s watch stuff, and take pictures of the frames on our cameras, and text them to each other, and talk about different aspects of filmmaking that we didn’t necessarily have an education in before.We’re kind of learning on our own, and trying to be autodidacts, and really push each other. One of the first scenes up, eight o’clock in the morning, it was a flashback where the Dev character, after 9/11, is crossing the street, and a driver wants him to hurry up, and screams, hurry up terrorist, at him.So it’s just such a weird, fraught moment in the show already. We try to keep the comedy character-based as much as possible. Tell me where you were in production as these conversations were heating up socially, and how they might have affected what you were producing as far as the show goes.Yeah. Recently, we’ve been watching more and more of these classic films and learning from them. And I think, obviously, we want to follow whatever our creative instincts are, and we like to be ambitious, we like to experiment, as you said, but I think we always keep the audience in mind also.I’d like to think that the show’s also entertaining and fun to watch, in addition to being interesting and challenging whenever possible. Figuring out the narrative through-line, while also being able to go off to explore certain corners of characters’ lives. We talked about how the length would range tremendously. They did such a great job. Pretty much everything that happens in the parents episode that happens to Brian’s family, happened to my family. Or are you taking this minute to regroup and gather strength? It’s not completely factual, of course, it’s exaggerated completely.Yeah, there’s a storyline about the Brian character’s dad, Peter, and his adventures in the dating world. I don’t think Aziz is a particularly depressed, angry person either. One day at a time.



Like us on Facebook. Fix it all @FBIpic.twitter.com/gqBnx83ZNV
— Jonathan (@JAG1Prod) May 10, 2017@prattprattpratt Don’t forget Janet Snakehole pic.twitter.com/dr3WqrfsFY
— Paige Owens (@paigeowens7) May 10, 2017@prattprattpratt This has never been more true pic.twitter.com/6MxlX79Nh7
— sophie (@sophiajinx) May 10, 2017@prattprattpratt HAHAHA YES! pic.twitter.com/NOhxaekE4F
— Rachel Wilson (@RachelWilson94_) May 10, 2017
Sigh. Pratt is currently starring in “Guardians of the Galaxy Vol. Want more stuff like this? Posted May 10, 2017 by Gina CarboneCrisis averted, everyone. Burt Macklin is here to save the day.Chris Pratt offered up his “Parks and Recreation” character’s alter ego as a replacement for FBI Director James Comey, who was just fired by President Trump.Just lemme know pic.twitter.com/KQEqH8aGrX
— chris pratt (@prattprattpratt) May 10, 2017CALL HIM TODAY.FBI Special Agent Burt Tyrannosaurus Macklin was one of Andy Dwyer’s various alter egos — including Johnny Karate, who would make a great Secretary of Defense — and Andy broke out Macklin whenever a particular set of law enforcement skills were required.Pratt’s fans are fully on board with Macklin jumping into the mix, offering more pop culture solutions to our modern woes:@prattprattpratt This summer, Burt Macklin teams up with Michael Scarn in the hotly anticipated sequel to Threat Level Midnight; Threat Level Twelve o’Two 💥 pic.twitter.com/O6CcNftuna
— Bear Parker (@Bearskopff) May 10, 2017@prattprattpratt Fix it, Macklin. We miss “Parks and Recreation” so much. He can save us all! 2″ but we would not say no to any number of “Parks and Rec” spinoffs, starring Pratt or really anyone. We need Burt Macklin.



Deadpool, Donald and FX — the perfect fit for the Merc with the Mouth! With the success of Legion, we’re looking forward to again partnering with Marvel Television to create a series that is bold, striking and entirely original.”Here’s more, from Marvel TV chief Jeph Loeb:”How much more fun could this be? Ryan Reynolds has yet to comment on the news, but it would be very meta Deadpool to have the film version of Wade Wilson at least make some cameos in the FXX animated series.Want more stuff like this? The network ordered 10 episodes for the first season, to premiere in 2018. Posted May 10, 2017 by Gina CarboneMarvel is putting maximum effort into “Deadpool,” giving the character an animated adult action-comedy on FXX.”Atlanta” creators Donald Glover (also the new Lando Calrissian) and Stephen Glover will be showrunners of the still untitled Marvel Television/FX Productions/ABC Signature Studios co-production. We’re thrilled that our relationship with FX that started with Legion continues with what is sure to be a groundbreaking show in adult animation.”We’ll have to stay tuned for further details. (Meanwhile, on the film front, “Deadpool 2” is expected to arrive in theaters June 1, 2018.)Here’s a statement from Nick Grad, president of Original Programming, FX Networks and FX Productions (via TVLine):”Donald Glover is an incredibly gifted and versatile artist who’ll bring the untitled Marvel’s Deadpool series to life with the same intense, singular vision as his breakout hit Atlanta. Like us on Facebook.



But after making $650 million across about 13 years, his fortune seems to have fallen down a mysterious rabbit hole, leading to management suits and counter-suits. From his perspective, his managers mishandled his money, accusing them of “self-dealing and gross misconduct.” From their perspective, his spending was just out of control, and they even suggested he get a mental examination for his “compulsive spending disorder.”The Hollywood Reporter piece reads like the beginning of a book (it will probably become one), starting from an afternoon in October 2012 when Jake Bloom and Joel Mandel left their offices to visit the home of their client, Johnny Depp, to give him the bad news that he was no longer going to be able to cover his $2 million in monthly bills.Here’s an excerpt of the report from there:”Without a fire sale, Depp — then arguably the biggest star in Hollywood and certainly one of the best paid, thanks to the Pirates of the Caribbean franchise — would never be able to meet his obligations. (All declined to comment; while Bloom has not been fired, he has had no contact with Depp for months.)”The story goes into great detail from there. Right? The Mandels seek a court declaration that “Depp is responsible for his own financial waste”; Depp’s side wants them to pay him millions, claiming they served as lawyers as well as accountants and therefore — if Depp’s interpretation of a California statute is correct — had no right to a percentage of his earnings without a proper contract.The lawsuits, along with multiple interviews conducted by THR, indicate that Depp’s capricious behavior and poor decision-making placed him in a serious financial bind, which paved the way for the rupture with his closest advisers. Not the $3.6 million he paid annually for his 40-person staff. And not the hundreds of thousands of dollars he paid to sustain his ex-partner, Vanessa Paradis, and their children, Lily-Rose and Jack.Mandel dug into his briefcase for a one-page summary he had prepared, but Depp waved it away. Not the payments on his portfolio of real estate around the world. Depp also co-stars in the star-studded “Murder on the Orient Express” and has the role of Gellert Grindelwald in the “Fantastic Beasts” sequel, so he should be able to make plenty of new money in the next few years.Want more stuff like this? Everyone seems to have an opinion on the life of this man they don’t know, or at least an opinion on how they would spend that kind of money, if they were ever fortunate enough to have it to waste.”Pirates of the Caribbean: Dead Men Tell No Tales” comes out May 26. Like us on Facebook. The bright light that had bathed it when they arrived was fading and would soon give way to night.That exchange, the start of an increasingly fraught relationship between the star and his team, would culminate in the 2016 firing of Mandel and Depp’s longtime agent, United Talent Agency’s Tracey Jacobs, along with a $25 million lawsuit filed Jan. Just a couple of hours after going live on May 10, THR’s piece already has close to 200 comments. 13 by Depp against the Mandels’ TMG, accusing them of fraud and mismanagement, among other things.TMG has since countersued, alleging that Depp, now 53, failed to pay its commission on his income from the upcoming Pirates of the Caribbean: Dead Men Tell No Tales and painting a portrait of an out-of-control movie star, reeling from a nasty split from Heard and used to spending freely, including $30,000 a month on wine. The city stretched before them. Still, after three hours, the actor agreed to a compromise: He would sell his beloved Amphitrite, the yacht he had bought for $10 million and spent $8 million renovating, where he’d hosted such friends as Brad Pitt and Angelina Jolie.With his consent in place, Bloom and Mandel said their goodbyes, stepped out of the house and breathed a sigh of relief. But it’s his money to spend how he wants. Not the $350,000 he laid out each month to maintain his 156-foot yacht. A new in-depth report from The Hollywood Reporter delves into the “insane story” of this “star in crisis.”We’ve already seen breakdowns of Depp’s alleged spending habits, and the millions he has paid for wild things. Not the impulse purchases such as the three Leonor Fini paintings he had bought from a Manhattan gallery (the first two for $320,000, the third as a $245,000 gift for then-girlfriend Amber Heard). Posted May 10, 2017 by Gina CarboneJohnny Depp can’t have spent all of that money on rum.



Like us on Facebook. “I mean, in classic ‘Once Upon a Time’ style, there is a twist… this Sunday, May 14 on ABC. and it serves all of the characters very well.” Discussing the Black Fairy’s curse, and the Final Battle with Emma Swan, Goodwin teased, “What broke the very first season’s curse was a kiss — very pure, unromantic true love expressed between mother and son. The married co-stars have yet to speak publicly on that, but we’ll probably get official word from them, and ABC, after the finale.At this point, Season 7 looks like a lock, but that won’t be official until ABC Entertainment President Channing Dungey announces the network’s 2017-2018 primetime schedule, which she’ll do on Tuesday, May 16.Ginnifer Goodwin told TVLine that the showrunners “found a magical way to make it go either way,” in case there wasn’t a Season 7 renewal. They won’t forget about him, will they?The “Once Upon a Time” two-hour finale airs from 8 to 10 p.m. Posted May 10, 2017 by Gina CarboneAt least Josh Dallas is being realistic about the “Once Upon a Time” Season 6 finale. Here are a bunch of photos from ABC to tease “The Final Battle.”Want more stuff like this? We know that will be the last time Jennifer Morrison’s Emma Swan will be a series regular, and there have been rumors that it will also be the end for Josh Dallas and Ginnifer Goodwin (Snow White) as well. I feel is categorically bigger.” Josh Dallas added, “It’s going to be a showdown of epic proportions.”The “Once” showrunners told Entertainment Weekly the finale leaves characters like Emma and Regina in “a satisfying place.” But here’s the real talk Josh Dallas gave TVLine:”You can’t please everybody. Oncers are passionate about the show, but also divided on many points, and it’s highly unlikely that they will all be satisfied with how “The Final Battle” leaves the core characters before the “transition” of Season 7.However, even with his realist hat on, Dallas (aka Prince Charming) told TVLine he thinks “most people” will be happy with the May 14 two-part finale. The love that it takes in the finale… I think that some people will be happy and some people will be angry and upset.” But since “each character gets something that the fans should be happy with, that each character deserves,” he added, “I think most people will be [happy].”Do you think “each character” includes Baby Neal?



1 choice to be a judge. But Ryan Seacrest is not one to turn down his 9 millionth job, and he’s already working at ABC now, so he’s apparently in.TMZ also said they heard ABC is considering a once-a-week format for the show, with results from voting to be shown the following week (kind of like the current format of “Dancing With the Stars”?).Whatever happens, Kelly Clarkson is pretty much the perfect choice as judge. They said she’s not only interested, her team is already looking to clear her schedule for filming. She wouldn’t crush any spirits, unlike Simon Cowell.Want more stuff like this? Like us on Facebook. She’s a bridge from the original “American Idol” to the new one, she knows this world better than anyone, she knows what will be expected from stars when they leave, and she’s honest but fair and very sweet. Posted May 10, 2017 by Gina CarboneSome people wait a lifetime for a moment like this, but Kelly Clarkson only had to wait about 15 years to go from “American Idol” Season 1 winner to potential Season 16 judge.ABC is relaunching “American Idol” for a 2018 premiere, and TMZ says Clarkson is the network’s No. TMZ said Disney World in Florida and possibly Disneyland in California will be home base for auditions, instead of having the judges travel from city to city.Ryan Seacrest is “almost certainly” going to host again, TMZ reports, which is a different tune from the last reports that said he wouldn’t be able to do it unless filming was in New York, where he’ll be shooting “Live” with Kelly Ripa.



I’m not sure if the Sanctuary attack will carry over into the second episode. 1) Rick and Carl at the gas station as cold open
2) ASZ scenes as flashback when Rick says they’re attacking today (and saying goodbye to Michonne)
3) Hilltop/Kingdom/Sanctuary scenes as flashbacks when they preparing
4) Rick leads the attack
5) Carl leads the remainder of the herd from 7.09
6) Explosions
7) The Sanctuary attack
The plan is to attack the Saviors and trap them inside of the sanctuary using the herd. They linked to more photos of Rick and Carl.”The Walking Dead” Season 8 premieres in October.Want more stuff like this? The Internet saves all, though, and a Redditorposted the image along with more spoiler details on the premiere.It’s not that much of a spoiler, though, since “The Walking Dead” comic has reached All Out War, and Issue 115 includes Rick and company heading to the Sanctuary — not that the comic and TV are always on the same page when it comes to storylines, and the details are likely to change again.***MORE BIG SPOILERS AHEAD***If you want more rumored — just rumored — spoilers, here’s a premiere rundown from Reddit, with details from The Spoiling Dead Fans:According to TSDF, the premiere episode will showcase Rick and Carl’s relationship, pay homage to the opening scene of the show, and features the first battle between the Allied Forces and the Saviors. They haven’t finished shooting the premiere but there are already images of Carl and Rick shooting their scenes, most of everything else has been at the studio or other interior work. We’d do the same if we got to hang out with Andrew “Rick Grimes” Lincoln, plus and Jeremy Palko, who plays Hilltop resident Andy.Newman posted the photo to Instagram, then deleted it when he or someone else noticed the spoiler details that they are standing in the Sanctuary, which gives away the plot point that Team Rick brings the fight to Negan in the big 100th episode, aka the premiere. Huzzah!The photo in question isn’t a major spoiler if you follow “The Walking Dead” comic books, but it does reveal a detail that The Powers That Be would probably prefer to keep a surprise until they are ready to reveal it, either in the premiere episode itself or at least in an official trailer/clip.But we can’t blame actor Daniel Newman — who plays Daniel, a soldier in The Kingdom — for being excited enough to post the photo. Posted May 10, 2017 by Gina Carbone”The Walking Dead” Season 8 is barely a week into filming and we already have our first “Oops, I guess I shouldn’t have posted that?” photo from set. Like us on Facebook.



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— Quwn (@geekychicrules) May 10, 2017#SleepyHollow deserves this cancelation. (@oswlads) May 10, 2017To all my sisters who REFUSED to support a show who treated Black women like trash😘#SleepyHollowIsOverPartypic.twitter.com/YiZ8lm6Eb7
— Justine Carter (@Ravenbaby71) May 10, 2017An Abbie-less #SleepyHollow was like trying to do a Scully-less X-Files. #SleepyHollowisOverPartypic.twitter.com/gFXRRgO167
— KoKoLupa (@KokoLupa) May 10, 2017yall so ignorant yall didn’t even listen to “The Big Star” say this let alone the fans. (@sneetchstar) May 10, 2017Me sleeping tonight knowing that #SleepyHollow has finally been cancelled after doing Nicole dirty #SleepyHollowIsOverPartypic.twitter.com/b6rUkNtPyv
— Wren 👩🏽‍🎨 (@blueskyglow) May 10, 2017cc: @sleepywriters maybe next time you won’t take beautiful, strong and smart lead characters and reduce them. MY SKIN IS CLEAR. They had a winning formula in S1 and changed everything to satisfy their sexist and racist agenda. Like us on Facebook. After S1 no one running Sleepy Hollow actually UNDERSTOOD the show. pic.twitter.com/WNvD1BrIsR
— Kirsten (@Bothsides_now) May 10, 2017Now Nicole Beharie and Tom Mison can hopefully be in that romcom they deserve now 😍#SleepyHollowIsOverParty#SleepyHollowpic.twitter.com/7rs6KGJ3cb
— Call me Trish (@thebettyneptune) May 10, 2017#SleepyHollow should be remembered as a cautionary tale about how to kill your own creation
— Kim B. I HAVE 20/20 VISION. But ratings dipped from there, especially in the drastically different Season 4, which struggled to maintain 2 million viewers a week. Posted May 10, 2017 by Gina CarboneFox has canceled “Sleepy Hollow” after four seasons, and Twitter is throwing a party. According to TVLine, it came on May 9.Fans seem to love the cast, but not how the show treated the characters, and now look forward to better for the stars involved. Some fans — really former fans — are downright gleeful, still fuming from the show’s major changes, especially killing off co-lead character Abbie Mills (played by Nicole Beharie) in the Season 3 finale. The #sleepyhollowisoverparty is justice for Abbie/Nicole.Tom Mison led the series as Ichabod Crane, and his chemistry with Nicole Beharie helped put the series on fans’s radars back in 2013, giving the premiere 10 million viewers , averaging around 7 million for the 13 episode season. #SleepyHollowIsOverParty
— Mary Jane (@FullBloomSnakes) May 10, 2017″Sleepy Hollow” was the second cancellation from Fox this week, after “Rosewood.”Want more stuff like this? It gave me #AbbieMills, but decided her story wasn’t worth telling. Here are some reactions to the news:#SleepyHollow has finally been cancelled. #sleepyhollow#sleepyhollowisoverpartypic.twitter.com/GLXluCPeKD
— Darla B 🌪 (@OriginalDBubble) May 10, 2017#SleepyHollow has been cancelled pic.twitter.com/mWpWau1E6i
— maëzikeen. MY CROPS ARE THRIVING. — cbrownjc (@cbrownjc) May 10, 2017SleepyHollow was my favorite show. The Season 4 finale aired on March 31, and viewers seemed to be expecting a cancellation notice from Fox. Glad U Gone.



What is it that makes a hit of the book the publisher pays the huge advance on? More generally, whether it’s your editor relationship or no, publishers do more for authors they like. Try to get an agent? That’s usually more powerful than seeing an ad or reading a professional review. For authors who are worried about whether they’re doing enough to market   (or if they’re doing the right things), it’s best to consider it a long game. The ones who compete best are typically prolific and succeed financially by having a considerable amount of product on the market, usually one or more series. I’d say there’s more attention paid to making good business decisions. (An agent can play a role in getting marketing support from the publisher!) At some point, money usually speaks loudest, and authors go with the publisher that pays the highest advance, which then can help ensure sufficient attention. (For people curious about this, I have a free 30-minute discussion that gets a little tech oriented.)
Brand-name writers with instant recognizability in the market should and will be marketed differently than the debut novelist who doesn’t have any name recognition with readers. One thing I’ve noticed about many breakout authors, though, is that we’re rarely seeing an overnight success. As longtime readers know, writer Kristen Tsetsi   is the host of a regular   author Q&A at this site, 5 On, that asks 5 questions about writing and 5 questions about publishing. People who think traditional publishing will die underestimate how difficult it is for a successful author, who has built her career on that system, to go about the process in a different way, with a different team. But here’s the other side of the argument: most Big Five publishers, after your book has been out three months, they’re done with you. It’s that old cliche: luck is what happens when preparedness meets opportunity. Interviews on daytime talk shows? The former is likely to have a more mass-market, advertising-driven approach; the latter should probably use more high-touch and targeted approaches (whether to independent booksellers, book clubs, librarians, specific blogs and online communities, etc). For example, the ebook royalty rate isn’t negotiable for now because every single author with a decent agent has a clause that says as soon as another author at the same house receives a higher rate, they’ll get the higher rate, too. (Here’s my post on evaluating small presses.)
People scoff at debut authors who want to negotiate with publishers over, for example, conditions related to film rights: “It’s your first novel. They also know why things might not be negotiable. They have to be continually drumming up support, or demanding attention. You need to figure out if you’re an “A” title, “B” title, or something further down the ladder. I think the most recent one we’ve seen is Girl on the Train, and that was released over two years ago. Unfortunately, the books that agents and editors fall in love with and champion—and that receive superlative marketing support—are   about   as likely to sink as those books that   receive little support. But the rights won’t revert to the author, who might want to find his/her own way to make it available. But you don’t hear about the failures; everyone would prefer to forget them. You won’t find many “small” presses. Kristen: Authors published by a Big Five publisher are often responsible for much of their own marketing and publicity, and chances are slim that their novel will be the one that takes off and veritably markets itself. If you become someone your editor doesn’t like—if you become the “difficult” author—that may dampen their enthusiasm, and thus their motivation to talk you up to the rest of the company. Don’t even worry about film rights and just be happy to have a publisher. While there   are books that have tried to break it all down into a formula—what are the universal qualities of a bestseller?—the results are disappointing. How does a publisher decide which books they’ll devote full marketing energy (assuming the author isn’t a known entity), and does their active promotion determine which book will become a title everyone has heard of? That’s an investment and risk on the side of the   publisher, since it requires doing a print run of books that may not sell as expected, plus all books are returnable by bookstores at any point for a full refund. Why does this happen—that is, how does it benefit the publishing company? It’s up to the editor to relay their enthusiasm for your book to the sales and marketing team. A Big Five publisher does not have time to take a customized approach to every title on its list; as you say, only a few get the attention they truly deserve, and it tends to be based on who received the highest advance, because that’s where the most risk resides. Query Amazon’s traditional imprint? Have three books and a following before you start thinking about film rights.” However, debut novels are optioned: Melanie Raab’s The Trap,   Michael Hodges’s The Puller,   Kathryn Stockett’s The Help. Because authors get so concerned about seeing their print book in stores—it’s the “dream” and offers validation of their status—they’re unfortunately blind to the truth of the industry: Physical bookstore sales aren’t where most trade books sell; they constitute maybe 30-40% of sales. For more information on book marketing and publicity, check out these posts   by Jane:

Book Marketing 101
Book Marketing Resources for Authors: The Best of 2016
3 Things Your Traditional Publisher Is Unlikely to Do Focus on building your immediate network; in-person local and regional touch points help lead to national opportunities over time. While I had some success earlier on with marketing (podcasts, WNPR, local TV, newspapers), those features and/or interviews did nothing at all   to sell the self-published book I was promoting at the time. But it’s not the publisher who pulls the book. Early on, authors need to figure out where they’re at in the publisher’s pecking order, preferably after signing the contract. So far, I haven’t addressed the subjective issue of quality or how certain books excite people more than others. Because it could happen, then, however unlikely it may be, shouldn’t each contract be approached with that potential in mind? When you find out, do that.”
I tried explaining the combination of commercial appeal, word of mouth, and luck, but I don’t think he believed me. Also, publishers more actively go after deadbeat authors for advances when no manuscript is delivered. [A title everyone knows about.] How did Eat, Pray, Love become a hit? Your relationship with your editor, and how much of a champion that editor is for your book inside the publishing house, well, that can be just as huge. Rather than trying to cast the widest net possible, focus on those people who are loyal and devoted to your work and can help spread the word. The approach may be more thoughtful and customized. A smaller press may have more time and bandwidth to spend with you both prior to launch and after, in order to find the audience. Next time you’re in a chain bookstore, study carefully the front-of-store tables and look at the publishers. Authors with a track record—who represent reliable, ongoing income to the publisher—do have the ability to make demands or threaten to walk away, switch publishers, go to Amazon Publishing, self-publish, etc. That speaks volumes. If you’re easy to work with, they’ll be more inclined to work with you. Do they not even try—do they just make the book available for sale on Amazon or available through Ingram, and call it a day? Buying enough copies to call it a New York Times bestseller and doing TV commercials? One of the complaints I’ve heard and read about traditional publishers is that if they buy the book, sell it for a year, and determine it isn’t doing well, they’ll pull it from stores. That doesn’t mean the author’s or publisher’s books will sit on the shelf of most (or even a few) bricks-and-mortar bookstores in the country—just that the book can look and appear like any other when viewed in an industry database. But the truth is that unless you’re a highly desirable author, or unless you have an agent who is able to leverage their influence on your behalf, sometimes you have to accept terms that are less than satisfying. When you’re playing that kind of game, the Big Five publishers have a huge advantage—their sales teams pitch books for placement at bookstore accounts, big-box stores, specialty retailers, and so on. Is it the marketing that pushes a book into everyone’s hands, or is it really just that perfect, unpredictable, magical combination? The 25% ebook royalty rate is not negotiable, no matter who you are. Readers are their focus and they know how to ensure their books rank well and are visible on Amazon. That can help an author better understand where to find their readers and to be smarter about finding and targeting them, whether online or offline. (You can browse them here.)
Recently, Kristen sent me questions related to book marketing that she wanted answered, but didn’t know the right   person to ask. The great marketing advantage (and curse) for   today’s author is the incredible social graph and reading   behavior available to them: that is, the   online breadcrumb trail left by people as they buy books, review them, tag them, and talk about them with each other. About the last question: What inspired it was a conversation my husband and I had after I told him I had no idea what to do with what I’m writing once I’m finished. Editors and agents are exposed to thousands of projects every year, so they have a sense for when something special or different comes through. As I reviewed them, I decided that I myself might be the right person to address them. An author publishing with Random House might have a better reason to at least hope for a Today Show or NPR interview, sure, but obviously most Big Five authors aren’t interviewed on the Today Show or NPR. You won’t hear back from the publicist or marketing team unless your book has gained traction and the publisher sees an opportunity to build further sales and attention. That’s why the rights aren’t reverting to the author. It has to be the   right book at the right time with   the right attention. So, my husband asked, “How does a Jonathan Franzen book become a Jonathan Franzen book? You can’t do everything, but you can focus your energies on what’s sustainable over a long period of time and what helps nurture readers who will evangelize on your behalf. You’re not going find Jonathan Franzen–style indie authors out there, taking five or more years between books—not any making a living. Word of mouth is more likely to be sparked through cultivated relationships, directly with readers, as well as with influencers, rather than through efforts that involve mass outreach or loose targeting, where you don’t have any   idea of who you’re reaching or if they even care. This is where having an agent is invaluable, because they know from experience where and when a publisher is willing to negotiate. All things inaccessible to the tiny writer? If their response is tepid, this is not the time to strut, make demands, or pout and ask, “What have you done for me lately?” Publishers are more inclined to help authors who can first help themselves. My rule of thumb is always “Assume everything is negotiable.” However, in every industry, there are some things that basically are not negotiable, especially if you have little or no leverage over the publisher. Partly I think it depends on the author’s personality and how they’re best complemented by the publisher, and maybe even who their agent is. But it’s interesting that we really haven’t seen that happen; most authors develop a close relationship with their editor, whom they’re loath to separate from. That way, when the publisher calls on the buyer at Barnes & Noble, they can say, “The author has this fabulous thing planned, and it’ll help sell books because…”
If you wait on your publisher to do stuff or tell you their plans, you may be waiting a very long time. Does a larger publisher sell their books for them to store accounts? Or, if your publisher is truly dropping the ball, and you need someone to hold their feet to the fire, talk to your agent—they should have a good idea of what can be reasonably asked for, and when, and how to make a request that maintains a good working relationship. Agent Donald Maass, in his various fiction writing books, tries to discuss why some books capture people’s imaginations, and result in tremendous word of mouth (“You must read this book!”), while others—most others, in fact—receive a more tepid response. But those failures were necessary to produce a work that would wildly succeed. What steps did publishers take to make that happen? Where the playing field is not even is when we look at how print books get sold and purchased in advance of publication, then stocked on physical store shelves. Do authors have any more negotiating room these days simply because there are so many publishing options available? It sounds like your husband must be an engineer or a programmer, but we’re talking about something that’s distinctly unquantifiable. We tend to hear about and focus on the successes, but it’s important to understand that the New York Times bestselling novel   by a relatively unknown author that suddenly everyone knows and talks about is pretty rare. Self-publish? When considering a small press, you should figure out how their books get sold into stores. I distinctly remember a couple years ago hearing about a debut novel by a high-profile editor who worked in New York publishing, and it received   all this pre-publication attention and publicity, as you would expect. We can take this partly as a comfort: writing and storytelling aren’t so formulaic and by-the-numbers that you can engineer a bestselling title. Retailers such as Barnes & Noble commit to purchasing hundreds or thousands of copies of book, prior to knowing how successful it will be, and their commitment is based on how persuasive the publisher’s sales pitch is. It’s that the retailers return stock that doesn’t sell quickly enough or they stop ordering it. Jane: Much depends on what we mean when we talk about a “small press with decent distribution channels.”
First, and most critical to understand, is that the playing field is more or less even when it comes to retail distribution, or what I might call “availability.” Any self-publishing author, and any small press, can make their books available to be ordered or purchased in the same retailers as a Big Five publisher if they’re willing to use print-on-demand technology. So is it worth the trade-off? But it completely fizzled. (See Nora Roberts.) Furthermore, well-established authors always have an agent who is probably not enthusiastic about seeing their clients divest themselves of traditional publishing. Query smaller (university) presses directly? When high-earning authors do part ways with their publisher, it’s often because of editorial restructures that affect how their work is handled, marketed, or championed. After the book’s launch, within that three-month window after release, if positive things happen, whether on purpose or by accident, the publisher will revisit the situation and decide if more investment would bring greater rewards. You can’t measure them by New York Times bestseller appearances, because that list is biased against lower priced ebooks that   sell primarily on Amazon—but indie authors may end up earning far   more money than a traditional author. If your advance isn’t much of a risk (let’s say $20,000 or below), then you may be better off with a small press if they offer more personalized marketing attention or support, or better and more informed reach to your particular readership. What, then, is the benefit of publishing with a major house versus publishing with a small press with decent distribution channels? But to talk about that bookstore space for a moment: a year of availability on a shelf is probably too generous! I also wondered whether an individual small press or self-published author, absent publishing house funding, could replicate what publishers do—contact these people, get this kind of interview, make a video, etc. So it is possible for an author who is not initially “A” list material to quickly become the focus of the marketing department if they break out in some way. Those publishers have paid for that placement. You have to be in front of your audience pretty consistently as an indie author, with new stuff to offer, at least once a year if not several times per year. Favorable (lower) pricing and promotions also encourage people to take a chance on a new or unknown author. Stores can only stock so many books; the shelves continually have to be cleared, to make room for new titles or old titles that backlist well—there always has to be room for evergreen bestsellers such as What to Expect When You’re Expecting. And is there a way around it? (As novelist and marketer MJ Rose often likes to say, no one buys a book they haven’t heard of.) When lightning strikes—as it did in the case of a self-published book such as The Martian—you can’t replicate that process, step by step, to create another success just like it. My thanks to Kristen for sparking what I think is an important—and I hope useful—discussion. So they jump to another house. If anything, it happens less than before, given ongoing consolidation and risk aversion among publishers. When publishers invest a lot in a little-known author’s advance, it’s usually because they think they’ve got something amazing—it sets off their “quality” or “commercial appeal” radar. I recently browsed the Publishers Marketplace deals database for major deals for debut authors ($500,000 advance and higher), and most of the books and authors I had never heard of. This is why word of mouth—the recommendation of someone you trust—is so often talked about. Is there a formula? Thus,   in a strange turn of events, I am running an interview with myself at my own site. That’s not a deal breaker (and the majority of all book sales are through Amazon any way!), but for authors who place a great deal of importance on seeing their book stocked in physical retail stores, then the bigger your publisher, the more muscle they probably have to get that nationwide store distribution, and possibly pay for displays or other merchandising during your book’s launch. WHAT WORKS? But all of that did make me wonder about the overall effectiveness of any marketing. Because whatever you were doing didn’t work. If your book doesn’t establish itself as a decent seller in that timeframe, it will be marked, fairly or not, for return. Little-known   or early-career authors don’t have any more negotiating room than they did before. Publishers do still fight over manuscripts from “hot” authors and you still see agents taking projects to auction, with advances being paid that may never earn out because of over-exuberance. You have to take the role of proactive author especially when you’re not an A title, and let the publisher know what you’ll be doing to support your book, many months in advance of publication—before those sales calls happen. It’s part of their job to get the biggest sales commitment possible in advance of publication. In most cases, that author has labored for years on projects that failed or were mediocre in their reception. Is it ads in the New York Times? You’ll find that Big Five and mid-size houses or strong independent houses (such as Sourcebooks or Chronicle) dominate. Do publishers (typically) fight for manuscripts these days if they’re not written by someone well-known, or could they take or leave most authors? So a Big Five author is more likely to see a cookie-cutter approach to their book’s launch unless they’re an “A” title (one of the most important titles that season) or otherwise selected for special treatment. Imagine that! Or is it strictly a matter of good luck and word of mouth when a novel becomes the novel everyone is talking about, making the possibility of this happening the same for a Big Five author as it is for even a self-published author? And how do publishers decide which books—excluding those by famous people, and specifically fiction (nonfiction seems like an easier sell)—will get the larger advances and the subsequent marketing push? Positive reviews and media appearances help, too, but for someone who is an unknown in the market, it usually requires many instances of exposure—the old “seven impressions” rule—for someone to remember and then make a purchase. That said, editors and agents can also be out of touch with what pleases the average reader, and here   50 Shades of Grey   is always trotted out as the stereotypical example. I’ve mentioned the role of the advance earlier—that’s a significant factor, but not the only factor. If you present them with your plan—what you can accomplish on your own without their help—they will often look for ways to amplify what you are doing, and combine forces. Do they have their own sales team? So indie authors compete in a different way, and their visibility is different, too. To ameliorate that, an agent can say, “We know you’re not going to budge on the ebook royalty rate, but that means you need to do better on these   other terms.”
It never hurts to ask for what you want, to ask “Can you do better?” and to get an explanation for why your requests aren’t reasonable or standard. The other 60-70% are happening through online retail—primarily Amazon, whether in print or ebook form. This feels like many questions, but I think the TL;DR version is probably, “Is a book’s success all luck, even if ‘luck’ includes hitting the right subject matter at the right time, or is it marketing—and can an indie author in any way compete with a publisher?”
I don’t want to make it sound like a crapshoot, but to some extent, yes, we’re talking about something that is unpredictable and perhaps magical. So, you need two things: a great book that   inspires readers   to evangelize for it and press it into the hands of friends and family, and some amount of marketing to   help get the ball rolling. Professional indie authors effectively   compete with traditional authors, in every way, but they have a   different approach, since they mainly reach their readers online, don’t devote much energy to the physical bookstore market, and mostly eschew mainstream media coverage and reviews. And this is not to dispute the issue or throw a tantrum, but to be prepared and set your expectations accordingly. It’s not logistically complicated or expensive. There’s not one   answer to that question. It’s different skill set that’s required and it’s a different kind of career. Granting ebook rights along with print: it will be demanded. Maybe four to six months? You can read John Scalzi on this to get a sense of what I mean.



on ABC.Want more stuff like this? There’s an amazing cliffhanger that will have everybody thinking, ‘Wow, where is this going?!'” She added that they’ll “plant more seeds that fuel the fire for what is going to happen next season.”Allen added, in a separate EW interview, “I think Season 14 is going to be spectacular. You should be worried. We’ll see. Like us on Facebook. There’s cause for worry. Posted May 9, 2017 by Gina CarboneThe “Grey’s Anatomy” Season 13 finale will be “very on fire.” Literally? It really is shocking. It was delicious. Hmm…”Grey’s Anatomy” airs Thursdays at 8 p.m. It’s pretty dark and very good.”We’re excited to see the cliffhangers, and what they mean for Season 14, but it’s the relationship stuff with Mer, Riggs, and Jolex that really has us curious.Before we get to the finale, we have one more episode to get through, “True Colors,” which airs May 11 with this synopsis: “The doctors of Grey Sloan encounter a difficult case involving a dangerous patient. Episode 24, “Ring of Fire” (hint, hint?) airs Thursday, May 18 with this synopsis: “The doctors’ lives are at risk after a dangerous patient escapes the hospital room. There were so many gasps of horror and surprise at the table read. We’re planting some seeds that you won’t see coming, but you will be waiting to see how it’s all going to play out.” Show creator Shonda Rhimes is the one who teased, to EW, “Debbie Allen and I like to say that the episode is on fire. Meanwhile, Owen receives life-changing news that pushes Amelia to step up to support him, and Alex attends a medical conference after making a shocking discovery.”Jo’s hubby, comin’ in hot? It was just so much fun.” A while back, Kevin McKidd (Owen Hunt) told TVLine the finale would be “pretty dramatic and pretty intense. It’s a pretty exciting episode that’s very on fire.”Kelly McCreary (Maggie Pierce) previously teased the “event” of the finale, telling EW, “It’s a great big event that will keep everyone on the edge of their seats. Alex must make a hard choice in his relationship with Jo while Meredith has some big news for Nathan that brings things to a turning point.”Executive producer Debbie Allen (Catherine Avery) directed the finale, and she told Entertainment Weekly, “There’s actually two events going on at the same time that are pretty big that affect the entire hospital community. That’s the only way we’re going to describe it.