I unashamedly love Grey’s Anatomy. I totally accept that it is melodramatic and hyperbolic featuring increasingly improbable scenarios and set-pieces, but that doesn’t lessen my adoration of the show in the slightest.
Grey’s Anatomy’s strength lies in the writing, enabling a total and utter suspension of disbelief no matter how ridiculous the narrative. Indeed, the series, in its more Meta moments, often draws attention to the sheer amount of drama that the residents of the hospital have endured. The writers’ know that the events of the series are entirely detached from reality in their sheer volume (train crash, bridge collapse, plane crash, hospital shooter to name but a few) and as a result, ensure that their characters are developed and complex enough for the viewer to feel invested in.
Grey’s Anatomy is at its strongest when it is portraying female comradery and friendship and much discussion has been focused on the friendship between Christina and Meredith in the show’s earlier seasons. The latest season has seen the show becoming ever more overtly feminist in its stance and approach with the female surgeons at the hospital noting, and applauding, the fact that all of the department heads of surgery were women. Similarly the show has taken a furthered explicit approach to the subject of race, which whilst addressed in earlier seasons, has been done so more notably now – featuring discussions on privilege and lack of dependent on ethnicity.
The series has gone through several changes to its ensemble cast, and whilst some have been better received than others, the majority have seamlessly fit in with the original cast members. Now running into its twelfth season, the show has served to cement creator Shonda Rhimes’ creative control on TV (she also created Scandal and produced How to Get Away with Murder the latter of which was awarded the accolade of producing the first black woman to win an Emmy for best actress in a TV drama).