Body parts on TV: Anatomy of a trend

In case you hadn't noticed, there are an awful lot of lady parts being discussed on broadcast TV these days. And they aren't the only ones exposed the male anatomy is explicitly mentioned on prime time as well, markedly more than even a few years ago.

So says a new study from the conservative watchdog group the Parents Television Council that tracks the number of times the words "vagina" and "penis" are spoken in dramas, comedies, TV movies and reality shows.

The research found that in just nine fall episodes of CBS' hit sitcom "2 Broke Girls," characters said the word "vagina" more times than anyone did on broadcast TV across all networks in an entire season a decade ago.

In fact, the anatomical term gets tossed around eight times more frequently on TV now than it did during the 2001-2002 season, which served as a benchmark. The word "penis" was used nearly four times as often in a recent season as it was in the relatively tame early 2000s.

With tallies for individual series, the study cites CBS' "2 Broke Girls" and "Two and a Half Men," NBC's "The Office" and "30 Rock," Fox's "American Dad" and "Family Guy," and ABC's "Grey's Anatomy" as those that invoke the words most frequently.

"It's a broader reflection of the progression of raunch," said Tim Winter, president of the PTC, which took up the study after TV critics and industry watchers noticed the trend. "So many shows and networks seem to think they need it to be funny or successful."

Although the mini-study wasn't timed to the current U.S. Supreme Court deliberations about broadcast standards, it may add fuel to the fire for those arguing against relaxing the existing rules about profanity, sex and nudity on TV.

The Supreme Court, which started debating the issue early this year, has regularly ruled in favor of free speech claims. But justices have spoken publicly about the need to retain Federal Communications Commission guidelines about what can be aired on NBC, CBS, ABC, Fox and the CW.

At the heart of the court case is "fleeting profanity" that was uttered during live awards shows on Fox and a partially visible bare bum shown on an ABC drama. There's no firm date on when the court will issue a judgment, but it's expected within the next month or two.

"Broadcast networks say they have to compete against cable and that's why they're pushing the envelope like this," Winter said. "They're forgetting that they're broadcast networks that use public airwaves and go out to every single person who has a TV."

Read more here:
Body parts on TV: Anatomy of a trend

The Anatomy of Media Bias: Trayvon Martin, Mike Daisey, and the Press

Julian Sanchez -- Research Fellow, Cato Institute

Like many folks who had seen and been moved by Mike Daisey's powerful monologue "The Agony and the Ecstasy of Steve Jobs," I was profoundly disappointed by the recent revelation that he had not only fabricated some of the work's key scenes, but lied to the journalists and fact checkers at This American Life to prevent them from discovering the deception. There's no point, at this stage, in adding another condemnation to the chorus, but I do want to highlight a pair of sharp pieces by Slate's Daniel Engberger and The Economist's Erica Grieder, responding to the common claim that Daisey's narrative was, as the saying goes, "fake but accurate."

While most commentary on the story has rightly rejected Daisey's invocation of "artistic license" to excuse the use of falsified anecdotes in a work of purported nonfiction, much of it includes the obligatory caveat that Daisey's larger point, the essential picture he paints of labor practices at Chinese suppliers like Foxconn, is true. So, for instance, in his performance, Daisey recounts how in a few hours of interviews outside just a couple of Foxconn plants, he encountered numerous underage workers--girls as young as 12 and 13 years old. Under pressure, he retreated to the claim that he'd spoken (in English) with one girl who identified herself as being 13, and seen several others who "looked young." The translator who accompanied Daisey on these interviews--the one he'd lied to prevent journalists from contacting--denies that there was even the one, and insists that she'd remember if there had been. Now, you don't get a gig as an English translator in China without staying on the good side of the Chinese government, so she might have her own incentive to downplay anything that reflects badly on the labor situation there--but all things considered, I'm inclined to agree with Ira Glass that her account comes across as much more credible than Daisey's.

Suppose we think Daisey probably did just make up this encounter. It's still undeniably the case that there have been underage workers employed by Apple suppliers: The company itself reports identifying 91 in an audit conducted in 2010, the year Daisey visited China. Thus, some argue, even if Daisey lied, the more important thing is that his dramatization reflected the underlying truth in an emotionally resonant way.

I agree with Engberger and Grieder that this line of argument is wrong, and that Daisey's pseudo-anecdote is substantively misleading when you consider what it's really meant to show. Nobody disputes that the number of underaged workers employed by Apple suppliers is greater than zero. But in the context of Foxconn's 300,000-strong workforce, in a country where (as the report suggests) parents are willing to procure fake IDs to help children obtain a coveted factory job, it's also probably not realistic to expect that this would never happen. The real question is whether Apple is making a good faith effort to enforce some screening procedures, identify and correct failures in the process when they occur, and so on.

Daisey's anecdote implicitly makes the far stronger claim that Apple is egregiously, culpably negligent here: Child labor is so prevalent that you scarcely need audits to find cases. Rather, a visitor standing at the gates of any randomly selected factory for a few hours will readily encounter numerous 12- and 13-year old kids who don't seem the least bit concerned about openly acknowledging their ages. Under those circumstances, as Daisey suggests, it would be hard to believe Apple wasn't well aware of, and deliberately winking at, a systemic indifference to the law.

If the point of the monologue were just to provoke an emotional reaction in the audience, as an artistic end in itself, maybe this wouldn't matter. But the monologue is explicitly and forcefully pitched as a call to both consumer activism and political action. In that context, it actually matters what the magnitude of this problem is, relative to others we might focus our time and energy on, and whether Apple is being especially irresponsible, relative to any number of other companies I might give my money to instead.

Those of you who recall the headline are probably wondering what this could possibly have to do with the tragic case of Trayvon Martin. I'll outsource the full rundown to Mother Jones, but the quick version is this:

In itself, that's a matter of news judgment that could probably be defended. But I want to suggest that the disparity here may have something to do with whether one thinks institutional racism remains a serious problem in the United States. Conservatives often seem to think it isn't, and that if anything, the real problem is how often spurious charges of white racism are deployed by their political opponents, while liberals more often tend toward the opposite view. Maybe both groups are drawing justified inferences from the data they're seeing.

Like child labor, institutionalized racism -- in the form of quiet bias as opposed to overt proclamations of white supremacy -- can be hard to detect and quantify rigorously. In both cases, the people closest to the problem have strong incentives to obscure and deny it. So people tend to fall back on what psychologists call the Availability Heuristic, a rule of thumb that says the frequency of an event should correspond to how quickly you can think of examples of it. We automatically pluralize anecdotes into data. Like much of our cognitive toolkit, it often misfires in the age of modern media--it's why people tend to be irrationally concerned with extremely rare threats, like child abduction by strangers, that draw disproportionate media attention.

Follow this link:
The Anatomy of Media Bias: Trayvon Martin, Mike Daisey, and the Press

Anatomy of a Media Bias: Trayvon Martin, Mike Daisey, and Us

Julian Sanchez -- Research Fellow, Cato Institute

Like many folks who had seen and been moved by Mike Daisey's powerful monologue "The Agony and the Ecstasy of Steve Jobs," I was profoundly disappointed by the recent revelation that he had not only fabricated some of the work's key scenes, but lied to the journalists and fact checkers at This American Life to prevent them from discovering the deception. There's no point, at this stage, in adding another condemnation to the chorus, but I do want to highlight a pair of sharp pieces by Slate's Daniel Engberger and The Economist's Erica Grieder, responding to the common claim that Daisey's narrative was, as the saying goes, "fake but accurate."

While most commentary on the story has rightly rejected Daisey's invocation of "artistic license" to excuse the use of falsified anecdotes in a work of purported nonfiction, much of it includes the obligatory caveat that Daisey's larger point, the essential picture he paints of labor practices at Chinese suppliers like Foxconn, is true. So, for instance, in his performance, Daisey recounts how in a few hours of interviews outside just a couple of Foxconn plants, he encountered numerous underage workers--girls as young as 12 and 13 years old. Under pressure, he retreated to the claim that he'd spoken (in English) with one girl who identified herself as being 13, and seen several others who "looked young." The translator who accompanied Daisey on these interviews--the one he'd lied to prevent journalists from contacting--denies that there was even the one, and insists that she'd remember if there had been. Now, you don't get a gig as an English translator in China without staying on the good side of the Chinese government, so she might have her own incentive to downplay anything that reflects badly on the labor situation there--but all things considered, I'm inclined to agree with Ira Glass that her account comes across as much more credible than Daisey's.

Suppose we think Daisey probably did just make up this encounter. It's still undeniably the case that there have been underage workers employed by Apple suppliers: The company itself reports identifying 91 in an audit conducted in 2010, the year Daisey visited China. Thus, some argue, even if Daisey lied, the more important thing is that his dramatization reflected the underlying truth in an emotionally resonant way.

I agree with Engberger and Grieder that this line of argument is wrong, and that Daisey's pseudo-anecdote is substantively misleading when you consider what it's really meant to show. Nobody disputes that the number of underaged workers employed by Apple suppliers is greater than zero. But in the context of Foxconn's 300,000-strong workforce, in a country where (as the report suggests) parents are willing to procure fake IDs to help children obtain a coveted factory job, it's also probably not realistic to expect that this would never happen. The real question is whether Apple is making a good faith effort to enforce some screening procedures, identify and correct failures in the process when they occur, and so on.

Daisey's anecdote implicitly makes the far stronger claim that Apple is egregiously, culpably negligent here: Child labor is so prevalent that you scarcely need audits to find cases. Rather, a visitor standing at the gates of any randomly selected factory for a few hours will readily encounter numerous 12- and 13-year old kids who don't seem the least bit concerned about openly acknowledging their ages. Under those circumstances, as Daisey suggests, it would be hard to believe Apple wasn't well aware of, and deliberately winking at, a systemic indifference to the law.

If the point of the monologue were just to provoke an emotional reaction in the audience, as an artistic end in itself, maybe this wouldn't matter. But the monologue is explicitly and forcefully pitched as a call to both consumer activism and political action. In that context, it actually matters what the magnitude of this problem is, relative to others we might focus our time and energy on, and whether Apple is being especially irresponsible, relative to any number of other companies I might give my money to instead.

Those of you who recall the headline are probably wondering what this could possibly have to do with the tragic case of Trayvon Martin. I'll outsource the full rundown to Mother Jones, but the quick version is this:

In itself, that's a matter of news judgment that could probably be defended. But I want to suggest that the disparity here may have something to do with whether one thinks institutional racism remains a serious problem in the United States. Conservatives often seem to think it isn't, and that if anything, the real problem is how often spurious charges of white racism are deployed by their political opponents, while liberals more often tend toward the opposite view. Maybe both groups are drawing justified inferences from the data they're seeing.

Like child labor, institutionalized racism -- in the form of quiet bias as opposed to overt proclamations of white supremacy -- can be hard to detect and quantify rigorously. In both cases, the people closest to the problem have strong incentives to obscure and deny it. So people tend to fall back on what psychologists call the Availability Heuristic, a rule of thumb that says the frequency of an event should correspond to how quickly you can think of examples of it. We automatically pluralize anecdotes into data. Like much of our cognitive toolkit, it often misfires in the age of modern media--it's why people tend to be irrationally concerned with extremely rare threats, like child abduction by strangers, that draw disproportionate media attention.

Read more:
Anatomy of a Media Bias: Trayvon Martin, Mike Daisey, and Us

Anatomy of a heat wave

OTTAWA A warm, dry winter set up conditions to turn a warm spell into a March heat wave like nothing Ottawa has ever seen.

The heat came from the south of us, but weve had south winds before in March, and the temperature has never risen past 17 C.

On Tuesday it reached 25.1, continuing the weeks pattern of smashing records by eight or nine degrees each day. The old record was 14.6 C, in 1995.

Even David Phillips, who has published 24 weather trivia calendars with 365 daily weather anecdotes each, has seen nothing like this.

Summer has arrived here, not spring, he said.

He has a point. Ottawas average high temperature for June is 23.6 C. Yes, June.

The first ingredient in our heat wave: The wind. For day after day after day, its been southerly air, he said.

Normally we get north winds coming in to jostle the southern airstream. Not this year: By his count, Tuesday was the thirteenth straight day of air from down south.

Its just standing its ground, kind of a monotonous situation.

This kind of heat cannot be produced in Canada at this time. It has to come from the United States.

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Anatomy of a heat wave

Parents Television Council study: Anatomy of a trend

In case you hadn't noticed, there are an awful lot of lady parts being discussed on broadcast TV these days. And they aren't the only ones exposed the male anatomy is explicitly mentioned on prime time as well, markedly more than even a few years ago.

So says a new study from the conservative watchdog group the Parents Television Council that tracks the number of times the words "vagina" and "penis" are spoken in dramas, comedies, TV movies and reality shows.

The research found that in just nine fall episodes of CBS' hit sitcom "2 Broke Girls," characters said the word "vagina" more times than anyone did on broadcast TV across all networks in an entire season a decade ago.

In fact, the anatomical term gets tossed around eight times more frequently on TV now than it did during the 2001-2002 season, which served as a benchmark. The word "penis" was used nearly four times as often in a recent season as it was in the relatively tame early 2000s.

With tallies for individual series, the study cites CBS' "2 Broke Girls" and "Two and a Half Men," NBC's "The Office" and "30 Rock," Fox's "American Dad" and "Family Guy," and ABC's "Grey's Anatomy" as those that invoke the words most frequently.

"It's a broader reflection of the progression of raunch," said Tim Winter, president of the PTC, which took up the study after TV critics and industry watchers noticed the trend. "So many shows and networks seem to think they need it to be funny or successful."

Although the mini-study wasn't timed to the current U.S. Supreme Court deliberations about broadcast standards, it may add fuel to the fire for those arguing against relaxing the existing rules about profanity, sex and nudity on TV.

The Supreme Court, which started debating the issue early this year, has regularly ruled in favor of free speech claims. But justices have spoken publicly about the need to retain Federal Communications Commission guidelines about what can be aired on NBC, CBS, ABC, Fox and the CW.

At the heart of the court case is "fleeting profanity" that was uttered during live awards shows on Fox and a partially visible bare bum shown on an ABC drama. There's no firm date on when the court will issue a judgment, but it's expected within the next month or two.

"Broadcast networks say they have to compete against cable and that's why they're pushing the envelope like this," Winter said. "They're forgetting that they're broadcast networks that use public airwaves and go out to every single person who has a TV."

Go here to read the rest:
Parents Television Council study: Anatomy of a trend

Anatomy of an ACA Lie – Health Stew – Boston.com

Most good lies have a kernel of truth in them, giving them undeserved credibility. Here's a great example of a lie intended to scare senior citizens into opposing both the Affordable Care Act (aka: ACA/ObamaCare) and President Obama as well.

Last week, I spoke to the GE Oldtimers Association, a luncheon group of about 50 older gents (and a few women) who are retired managers and engineers from the GE jet engine plant in Lynn, Massachusetts. They meet at Anjelica's Restaurant in Middleton, MA. They are nice, smart, informed, and attentive. They had lots of questions about the ACA, and we had a great discussion.

Near the end, some of them asked me about unsolicited emails they were getting claiming that the ACA, beginning in 2013, would impose on them a new Medicare tax of 3.8% when they sold their homes. Now, I knew that the ACA creates a new 3.8% Medicare tax on unearned income in excess of $200,000 for individuals and $250,000 for couples. But a tax on principal residences? It didn't sound right. Rather than guess, I asked them to send me the email and I would check it out.

So here's the email (addresses deleted -- but notice the date, really recent):

From: --- Sent: Sunday, March 11, 2012 10:30 PM To: --- Subject: If you own a home-- Sent from my iPhone Begin forwarded message:

sorry I hate passing this stuff on but its pretty good

Subject: If you own a home--

If you own a home, Please read this. THIS WILL BLOW YOU AWAY !!!!!

The National Association of REALTORS is all over this and working to get it repealed, before it takes effect. But, I am very pleased we aren't the only ones who know about this ploy to steal billions from unsuspecting homeowners. How many REALTORS do you think will vote Democratic in 2012?

Did you know that if you sell your house after 2012 you will pay a 3.8% sales tax on it? That's $3,800 on a $100,000 home, etc. When did this happen? It's in the health care bill and goes into effect in 2013.

Link:
Anatomy of an ACA Lie - Health Stew - Boston.com

'Grey's Anatomy' Cast Makes Music for Actors Fund

The cast and creator of ABC's Grey's Anatomy went from the fictional hospital of Seattle Grace to the stage at UCLA's Royce Hall on Sunday, staging a live benefit concert for the Actors Fund.

Featuring cast members Sara Ramirez, Chandra Wilson, Kevin McKidd, Justin Chambers, Jessica Capshaw, James Pickens Jr., Sarah Drew, Kim Raver, Sandra Oh and Eric Dane, the two-hour, nearly sold-out event featured 11 songs, including tracks from its March 2011 musical episode "Song Beneath the Song."

During the light-hearted show, a spirited Oh (Cristina) acted as a de-facto emcee and introduced segments of the evening that served to shed light on how the medical drama came to feature a musical episode as well as how music serves as a character on the Shonda Rhimes show.

STORY: Shonda Rhimes Talks 'Grey's Anatomy's' Live Musical Benefit

"In the end, it was the iTunes revenue that pushed the ABC suits over the top," McKidd (Owen) joked, leading into a cover of "How We Operate," a track he performed in an audition of sorts pitching the musical episode's concept.

Highlights included Capshaw (Arizona) and Raver (Teddy) introducing a clip taking viewers back to Izzie and Denny's dramatic scene in the season two finale that played first without music, and later, as an example of what not to do, backed by Darth Vader's theme from Star Wars. Ultimately, that's where the drama opted to use Snow Patrol's "Chasing Cars," which has become one of the series' signature moments.

Co-star Dane (Mark), meanwhile, provided a comedic injection, taking nearly every opportunity he could to make a play to sing during the fund-raiser. (Neither he nor Oh performed.)

STORY: 'Grey's Anatomy' Musical Episode: What the Critics Are Saying

Acknowledging that the musical endeavor wasn't exactly a critical (and sometimes fan) favorite, the cast took turns reading feedback about the episode that was both positive and negative in a playful round that culminated with Pickens (Richard) suggesting the series make a second attempt at a musical episode -- in season 13.

Grey's music supervisor Alexandra Patsavas, meanwhile, explained that music is treated as if it's another character on the series, noting she's tasked with combing clubs and the Internet for up-and-coming artists, sometimes reviewing as many as 500 CDs a week. (FIve-hundred and one if you count the one Dane pitched Sunday, she noted with a laugh.)

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'Grey's Anatomy' Cast Makes Music for Actors Fund

Anatomy of Success: Genetic Research Develops Tools for Studying Diseases, Improving Regenerative Treatment

Newswise MANHATTAN, KAN. -- Research from a Kansas State University professor may make it easier to recover after spinal cord injury or to study neurological disorders.

Mark Weiss, professor of anatomy and physiology, is researching genetic models for spinal cord injury or diseases such as Parkinson's disease. He is developing technology that can advance cellular therapy and regenerative medicine -- a type of research that can greatly improve animal and human health.

"We're trying to build tools, trying to build models that will have broad applications," Weiss said. "So if you're interested in neural differentiation or if you're interested in response after an injury, we're trying to come up with cell lines that will teach us, help us to solve a medical mystery."

Weiss' research team has perfected a technique to use stem cells to study targeted genetic modifications. They are among a handful of laboratories in the world using these types of models for disease. The research is an important step in the field of functional genomics, which focuses on understanding the functions and roles of these genes in disease.

The researchers are creating several tools to study functional genomics. One such tool involves developing new ways to use fluorescent transporters, which make it easier to study proteins and their functions. These fluorescent transporters can be especially helpful when studying neurological disorders such as Parkinson's disease, stroke and spinal cord injury.

"People who have spinal cord injury do not experience a lot of regeneration," Weiss said. "It is one of the problems of the nervous system -- it is not great at regenerating itself like other tissues."

The researchers want to discover a way to help this regenerative process kick in. By studying signals from fluorescing cells, they can understand how neural stem cells are reactivated.

"We want to try and make these genetic markers, and then we can test different kinds of treatment to see how they assist in the regenerative process," Weiss said.

Weiss' stem cell research has appeared in two recent journals: Stem Cells and Development and the Journal of Assisted Reproduction and Genetics. His research has been funded by the National Institutes of Health and university funds, including the Johnson Cancer Research Center.

Weiss' seven-member research team includes a visiting professor, two full-time researchers, a graduate student and three undergraduates. He has also been collaborating with researchers from the University of Kansas Medical Center.

Excerpt from:
Anatomy of Success: Genetic Research Develops Tools for Studying Diseases, Improving Regenerative Treatment

Preminger's 'Anatomy of a Murder' still a killer study of the justice system

Otto Preminger's 1959 "Anatomy of a Murder," just released on DVD (Criterion Collection, Blu-ray $39.95, DVD $29.95, not rated), becomes one of the great courtroom dramas by systematically undermining most of the pleasures and reassurances that the genre provides.

Though Preminger, the son of a prosperous Viennese lawyer who had been a public prosecutor during the waning days of the Austro-Hungarian empire, portrays the workings of the legal system with respect and even reverence, the film does not perform the genre's usual function of returning a sense of order and security to a community that has been thrown into chaos by a violent, anti-social act.

Instead, Preminger deftly and undemonstratively evokes the shortcomings of the system, its failure to account for aspects of human behavior that defy rationality, that contradict self-interest and confound tidy chains of cause and effect.

Rather than bringing the truth to light, expunging evil and making the world sensible and readable again, the trial in "Anatomy of a Murder" leads to a verdict but not to a resolution. The fundamental mysteries - who did what to whom and why - remain open.

This worldview belongs less to Perry Mason than to Michelangelo Antonioni, whose more aggressively open-ended "L'Avventura" would scandalize the movie world a year later.

Based on a best-selling novel by Robert Traver (the pseudonym of John D. Voelker, a justice on the Michigan Supreme Court ) and set and largely

Paul Biegler (James Stewart), a district attorney who was turned out of office after a decade, is hired by the cocksure lieutenant to mount an insanity defense, based on Manion's claim that was in the grip of an "irresistible impulse" when he methodically shot the man who attacked his wife.

But even as Biegler argues his case, sparring with a hotshot state's attorney (George C. Scott), slips and discrepancies emerge, suggesting that Manion is not all that impulsive, his wife not all that pure and the victim not all that nefarious.

The courtroom sequences alone take up the length of an average movie in "Anatomy of a Murder," which luxuriates in its 160-minute running time, accumulating a dense welter of novelistic details: the supremely self-controlled Biegler's taste for the spontaneity of jazz (the score was composed by Duke Ellington, who also makes a cameo appearance); Manion's dandyish ivory-barreled cigarette holder; Laura's taste in lacy undergarments.

The film is full of scenes of smart people sizing up one another and verbal exchanges that suggest chess games more than conversations, including a turn on the witness stand by Kathryn Grant. Throughout, Preminger maintains a studiously neutral perspective, framing most scenes as balanced two-shots and allowing dialogue sequences to play out uninflected by confrontational cross-cutting.

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Preminger's 'Anatomy of a Murder' still a killer study of the justice system

The Grey’s Anatomy Cast Gets Musical Again During Lighthearted Benefit

Sara Ramirez

The doctors of Grey's Anatomy are not finished singing.

Many of the ABC drama's cast gathered Sunday night at UCLA's Royce Hall to belt out tunes that were featured in last year's musical episode, "Song Beneath the Song." Although the episode was quite serious a pregnant Callie (Sara Ramirez) flew through a car windshield and hallucinated her co-workers singing as they desperately tried to save her life Sunday's "The Songs Beneath the Show" event, benefitting the Actors Fund, was a lighthearted affair.

Anatomy of Shonda Rhimes, the busiest woman in Hollywood

Sandra Oh and Eric Dane acted as emcees for the night, though Dane desperately wanted to join in on the action. Apparently, he can't sing a lick, but that didn't stop him from trying to jam out on a guitar and even slipping Grey's music supervisor Alexandra Patsavas his demo, which she promptly tossed.

Ramirez, Kevin McKidd and Chandra Wilson opened the show with Snow Patrol's "Chasing Cars," which was followed by renditions of Get Set Go's "Wait," Jesus Jackson's "Running on Sunshine" and The Fray's "How to Save a Life" sung by cast members Sarah Drew, Kim Raver, James Pickens Jr., Justin Chambers and a pregnant Jessica Capshaw. Chambers also brought out his three daughters to sing "Young Folks" from Peter, Bjorn & John, which was not featured in the musical episode.

Everything you need to know about the Grey's Anatomy musical episode

Following a special performance by Ingrid Michaelson, Oh then asked the crowd if Grey's should do another musical. Though the rowdy crowd begged for more, the cast decided to read fan comments that both praised and panned the show's previous effort. The cast decided it would be a while before they'd try it again. "Maybe Season 13," they joked.

Grey's Anatomy airs Thursdays at 9/8c on ABC.

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The Grey’s Anatomy Cast Gets Musical Again During Lighthearted Benefit

Anatomy of a murder: Nanaimo’s Kelvin Purdy says he's not a killer

NANAIMO Convicted murderer Kelvin Kingsbury Purdy still tallies up the days as they pass him by, now 3,017 into his life sentence.

Purdy, 44, stabbed his estranged wife to death in a Nanaimo laneway on Dec. 12, 2003, and has been in custody ever since, although he has always professed his innocence.

Repeated attempts to have his second-degree murder conviction overturned culminated in the recent dismissal of his leave to appeal in the Supreme Court of Canada.

Yet Purdy, buoyed by prospective representation by a group of Toronto legal professionals distinguished for their work in wrongful conviction reversals, says he is moving forward to the final step in the appellate process, which is a review of his case by the Ministry of the Attorney General.

Such a review is not currently underway.

"They can overturn a decision, he can grant an exoneration, he can grant a new trial. It's kind of like the final say in the whole thing," said Purdy, reached by telephone last week at Pacific Institution in Abbotsford, where he is imprisoned with no parole eligibility for another 11 years.

Denise Alanzo Purdy, Kelvin's 30-year-old wife from whom he had separated some months prior, was taking her usual route to the bus stop for work on the morning of the crime.

The young mother, an immigrant from the Dominican Republic, worked at Nanaimo's Longlake Chateau where she tailored and shopped for the retirement facility's 123 residents and was praised for her constant smile, infinite patience and great humour.

At approximately 6:15 a.m., Denise was confronted by Purdy in a dark alley off of Lasalle Road in the north end of the city, the courts found.

As she tried to flee, the left-handed Purdy chased and began stabbing her, leaving many of the 21 fatal wounds on her left side, evidence at trial showed.

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Anatomy of a murder: Nanaimo’s Kelvin Purdy says he's not a killer

Grey's Anatomy: The Songs Beneath the Show , With Eric Dane, Sandra Oh, Sara Ramirez, Chandra Wilson, Offered March 18

Grey's Anatomy: The Songs Beneath the Show, With Eric Dane, Sandra Oh, Sara Ramirez, Chandra Wilson, Offered March 18

By Andrew Gans 18 Mar 2012

On March 18 cast members from the ABC hit "Grey's Anatomy" offer Grey's Anatomy: The Songs Beneath the Show at Royce Hall on the UCLA campus.

The 8 PM live musical celebration benefits The Actors Fund.

Scheduled to appear are Jessica Capshaw, Justin Chambers, Eric Dane, Sarah Drew, Chyler Leigh, Kevin McKidd, Sandra Oh, Jim Pickens, Jr., Sara Ramirez, Kim Raver and Chandra Wilson. Ingrid Michaelson will make a special guest appearance.

The actors, according to press notes, will "perform selected songs from last season's 'Musical Event,' as well as additional music from the 'Grey's Anatomy' songbook. This evening of song and story will examine the way music has always been an integral part of the storytelling on 'Grey's,' and will provide fans with a rare behind the scenes glimpse at how the show is put together."

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Grey's Anatomy: The Songs Beneath the Show , With Eric Dane, Sandra Oh, Sara Ramirez, Chandra Wilson, Offered March 18

Apologies from Italy









My sincere apologies for the lack of postings and emails, and a special thanks to all of those who have so generously sent in recommendations for places to visit. I am still on the road in Italy with only intermittent internet access and days filled to the brim with museums, churches, anatomical theatres, ossuaries and reliquaries. As a teaser, here are a few of the things Evan Michelson and I have been encountering on our trip thus far. Evan has been posting more details than I; you can find them here. I will post more--with details, I promise!-- very soon upon my return!

Click on images to see larger versions.

Source:
http://morbidanatomy.blogspot.com/feeds/posts/default?alt=rss

'Grey's Anatomy' Recap: Cristina Learns the Truth About Owen

S8E17: I've said it before and I'll say it again: the problem with Grey's Anatomy is that it's overly repetitive. The same characters go through the same type of problems in the same type of storylines week after week after week. And while it can sometimes be good to go with what works, the show has drastically lost that unique edge it once had and segued into a realm of predictability.

And while the characters are each suffering through their own sets of personal baggage, nothing is ever really accomplished. Whatever was a problem last week, is a problem this week and the week after that. Whether Derek's arguing with Meredith or Cristina's marriage is crumbling, nothing ever significantly changes enough to help drive the plot forward. What happened to the quirky catch phrases, forbidden love scandals, and impressive wow-factors we all grew to love? If Grey's doesn't up the surprise element soon, the foundation of this once solid show could potentially crumble, leaving nothing but a massive pile of "boring" in its wake.

"We can create problems where none exist." - Meredith Derek, who is clearly suffering from a case of amnesia, suggests that Meredith go back to working with him in neurology. If you recall, Meredith was removed from Derek's service earlier in the season after she was caught tampering with his Alzheimer's clinical trial. But sure, giving it another try sounds like a great idea.

Meredith agrees to assist in Derek's next surgery, which involves removing a cyst from a patient's brain. However, in the middle of the procedure, Derek is called away, leaving Lexie and Meredith to perform the procedure themselves. Everything's fine until Lexie spots a small tumor in the patients brain. And while they know they should get Derek's approval before removing it, Meredith instructs Lexie to take it out anyway, to save the patient from needing an extra surgery in the future. Of course, Derek is furious when he finds out since it was done without his or the patient's consent, however, Meredith assures him there was no harm done and everything's going to be fine. But it turns out she couldn't be more wrong. When the patient wakes up, she's unable to speak. Lexie accidentally damaged something in the brain while removing the tumor and the damage is irreversible. And while this unfortunate tragedy doesn't unhinge Mer-Der's relationship, it does make Derek realize (once again) that working with Meredith isn't a good idea. So we're right back to where we started with these two.

"Should Karev really be hooking up with the intern mom?" - Callie Callie is convinced there's definitely something going on between Alex Karev and intern Morgan, whose preemie baby is still struggling to stay alive. And while Alex remains in complete denial about it, there's definitely an interest there, at least on Morgan's part. And it doesn't seem like Alex is all that opposed to the idea, despite his constant protests. We all know he can't help but fall for a woman in need. Let's just hope this time things won't end in such heartache.

Meanwhile, Avery develops a new potential love interest as well. With his mother, Catherine Avery, back for a visit, Avery gets introduced to her assistant, who insists on spending the entire day by his side. And though Avery initially shows no interest in showing her around, the two of them eventually hit it off and hook up for a steamy rendezvous in the on call room (finally, that room gets some attention again). Perhaps this will help him in his attempt to get over his feelings for Lexie.

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'Grey's Anatomy' Recap: Cristina Learns the Truth About Owen

'Grey's Anatomy' recap: Flirting with Trouble

Image credit: Vivian Zink/ABC

SAYING GOODBYECristina and nurse Emily helped guest star James Avery make an important decision regarding his husband

First order of business: Your regular recapper extraordinaire, Tanner Stranksy, is out. So you're stuck with me for the duration of this recap. But I implore you to not pull the plug (pun intended) just yet. In last night's "One Step Too Far" several of the doctors caught the flirting bug. There's always a steady amount of flirting and sexploits -- it is Seattle Grace, the land of the dreamy doctors, after all -- but some pushed the boundaries. And as Meredith pointed out in her voiceover, "our intentions are always pure, but we also have the drive to push boundaries. So we're in danger of taking things too far." So let's dive right in...

Picking up where she left off a few weeks ago, Cristina was growing ever suspicious of Owen. And as a viewer, I still couldn't decide where I thought this was going. I hoped that Owen wasn't cheating, but the end of the last new episode, it really seemed as thought Cristina might be right. Matters were only made worse by the presence of hot nurse Emily (Summer Glau). Her public flirting with Owen only made Cristina's paranoia grow.Cristina remained tense the entire episode, until she couldn't hold in her suspicious any longer: "Can you stop screwing my husband?" she yelled at Emily. Only, it turns out Emily was just flirting to get through her day. She has a boyfriend, and was never involved with Hunt. Both Cristina and I let out a sigh of relief.

But instead of easing our fears, the Grey's writers decided to drop a huge bomb in the last few seconds of the episode. And instead of burying it on the last page of the recap, we're going to talk about it now: Owen did cheat on Cristina, just not with Emily. Cristina finally worked up the nerve to tell Owen how she'd been feeling, but he didn't want to have the argument with her. She confessed she'd accused Emily of some extracurricular activity, but was relieved to hear that he "loves [her] so much that it hurts." At first, I was moved by his seemingly romantic gesture. Then, he reworded it: "It hurts to love you."

Owen admitted his transgressions. Fade to black. And we're all left in the lurch until a new Grey's -- at least two weeks away -- wondering what's going to happen next. Obviously, the biggest question is whom did he cheat with? My gut reaction is Teddy. They have history. But she's been so mad at him following Henry's death, it doesn't seem as likely. So unless it's a newbie, I'm fresh out of guesses. Share you thoughts on the mystery mistress in the comments.

NEXT: James Avery guest stars, and Debbie Allen returns...

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'Grey's Anatomy' recap: Flirting with Trouble

Anatomy Of A Dunk Clip: Gerald Green

Photo by Crossett Library Bennington College on Flickr

I cant stop watching this Gerald Green dunk from five days ago in a game against the Houston Rockets:

Theres simply no question that its a great dunk, just as impressive as Blake Griffins shoryukenof Kendrick Perkins, but different. In fact, these two dunks expose the dual nature of the dunk itself: on one hand, it can be a tremendously physical, assaultive act and on the other hand it can be fluid and quasi-balletic. In much the way that some running backs crush linemen to get yardage while others juke and spin their way up the field, so some dunkers smash and others soar.

But what keeps me coming back to this particular dunk again and again is not precisely the dunk itself, but rather the totality of the clip. The above clip illustrates why a great in-game dunk clip is the gift that keeps on giving. Let me take you back, as I often seem to do, to Greek tragedy. A huge part of the way the plays of Sophocles, Euripides, and Aeschylus work is through the tension between the audiences understanding of the play and the characters inability to understand the play from within it. For example, we as the audience know that Oedipus has killed his father and married his mother but he does not, and so our enjoyment of the play comes from Oedipus understanding gradually reaching the same level as our own.

In the flow of the game, Greens dunk is barely comprehensible. It happens so fast that were left only with the understanding that something kind of incredible just happened. As we watch the replay, or watch the clip again and again on YouTube, we can now see it and know whats going to happen and so we get to enjoy the blossoming understanding of those who are just reacting to the moment. As you watch it again, take a look at the setup as the break evolves with MarShon Brooks leading it:

This is a pretty typical two-on-one fast break. Brooks sees Green coming up the other side of the floor and makes the smart play by throwing it up for him. At this point, were already expecting a dunktheres a clear path to the basket and Green is a terrific leaperbut most of the time this results in a straightforward two-handed dunk or, more likely, a basic one-handed jam.

But instead, Green jumps higher than really seems possible and delivers the windmill, turning this picayune fast break into something incredible. Take a moment to appreciate these two stills, which are separated by only a frame:

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Anatomy Of A Dunk Clip: Gerald Green

Grey's Anatomy Recap: "One Step Too Far"

The doctors of Seattle Grace have the most dysfunctional relationships.

Case in point, in this week's episode of Grey's Anatomy we learned that Owen did, in fact, cheat, Derek and Meredith truly can't work together and Catherine Avery is as seductive as a cougar, except she goes after older men like the Chief. Here are the five most dysfunctional relationships from Thursday's episode: (We'd normally call this top moments, but Owen cheating on Cristina could never be labeled that.)

1. Cristina and Owen: Cristina freaks out when hubby Owen doesn't come home one night, calling the hospital to see if he's there, then eventually heading down there herself. When she does finally find him, she uses the old excuse that she brought him coffee except she doesn't actually have any on her. She spends the rest of the hour snipping at Emily (Summer Glau), which culminates in her telling the nurse not to sleep with her husband. Guess what? Owen didn't sleep with Emily, but he did cheat on Cristina, which he admits in the closing moments of the episode.

2. Alex and Morgan: It's Jane Doe 2.0. Alex and Morgan are spending far too much time together, with the heart patient/intern/new mom slowly but surely turning into Rebecca (Elizabeth Reaser). Meredith even worries Morgan will fall for him, go crazy and then pee on Mer's couch.

3. Meredith and Derek: As if they didn't learn this lesson when Meredith tampered with the clinical trial, Derek enlists Meredith to work on his service again. However, when he leaves the OR during surgery, Meredith suggests to Lexie that they remove the patient's tumor, which renders her unable to form words once she wakes up from the anesthesia. Good job, Grey sisters!

4. Catherine Avery and the Chief: She knows the Chief is married, yet she still shamelessly flirts with him, and he joins in on the fun and even says yes to her invitation to a fancy function. Feeling guilty, he decides not to join her so he can spend time with Adele.

5. Jackson and Catherine's spy: So self involved, Jackson doesn't even realize that the visiting Dr. Hotness, as Mark calls her, is actually Catherine's spy to dig up dirt on her son. They actually do begin to hit it off and eventually hook up, but let's be real: he's just using her. He totally still loves Lexie, right?

What did you think of this week's episode of Grey's Anatomy? Hit the comments with your thoughts.

The doctors of Seattle Grace have the most dysfunctional relationships.

Case in point, in this week's episode of Grey's Anatomy we learned that Owen did, in fact, cheat, Derek and Meredith truly can't work together and Catherine Avery is as seductive as a cougar, except she goes after older men like the Chief. Here are the five most dysfunctional relationships from Thursday's episode: (We'd normally call this top moments, but... read more

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Grey's Anatomy Recap: "One Step Too Far"

Anatomy of Shonda Rhimes, the Busiest Woman in Hollywood

Ellen Pompeo, Shonda Rhimes, Kate Walsh

Shonda Rhimes truly is a busy lady. Not only does she executive-produce two shows on the air Grey's Anatomy and Private Practice but her new political drama Scandal premieres next month, and she's got a period piece in contention at ABC. And while there's speculation her load could lighten should Grey's or Private fail to be renewed, Rhimes assures us that's not likely. TVGuide.com caught up with the showrunner for an uncensored look at everything on her plate, including actors' contracts, Private's move to Tuesdays and her upcoming projects.

You have two shows on the air with a third premiering next month and a fourth in development. What does a typical day look like? Shonda Rhimes: It's busy, but oddly enough, with Grey's in Season 8, Private in Season 5, and Scandal wrapped for the season, I feel like I've learned my job well enough that I hope that's it not too taxing. It's mentally taxing, but somehow I feel like I've finally figured it out and hit a stride where everything clicks the way it should.

At the beginning of this production year on Grey's, there was some uncertainty about which actors would be continuing. How did it feel heading into what could have been the final season of Grey's Anatomy, or did you not even think of it that way? Rhimes: No, the network has not allowed me to think of it as being the final season of Grey's Anatomy. That wasn't even a concern for me. I know that Grey's is going to live on past this season. So whether or not I feel like it could, it's going to.

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Will the next season be similar to what we've seen the last eight years or are you planning any major changes? Rhimes: Honestly, I really don't know. I feel committed to staying with the show as long as it feels interesting. I have some interesting ideas.

Was it difficult writing episodes not knowing who might or might not be returning? Or did you just charge ahead like you would during a normal season? Rhimes: No, we definitely didn't approach it the way I approach a normal season. But I like the challenge and that's been one of the things that's always been fun about getting to do this show; trying to figure out what the next challenge is going to be every season. This season the challenge was that we didn't know how the season was going to end. So in a way, it forced us to be creative in a different way. You want to keep it fresh after eight years and we were able to do that because we had this new problem to contend with.

The biggest question, obviously, is Ellen Pompeo and Patrick Dempsey. Do you have a back-up plan should they decide not to return? Rhimes: I can't even begin to address that concept.

There are a lot of major milestones coming up, things fans have been waiting a long time for. First, the McMansion. How long have you been waiting for that moment when it would finally be finished? Rhimes: I don't know if it's as big a moment for me as it's turned out to be for the fans. There were many times where we were like, "Oh, we should finish the house now." And it felt like we don't want to spend time dealing with the story of the house. There was a lot of that in some veins and then there were some moments in which it just didn't feel quite right. It does feel right to deal with it and talk about it and have it be done at the end of Season 8 when Meredith is graduating from being a resident.

Catch up on Grey's Anatomy with our episode recaps

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Anatomy of Shonda Rhimes, the Busiest Woman in Hollywood

Anatomy of a Sunset

Story published: 03-14-2012 Print Article E-mail Story to a Friend

Anatomy of a Sunset

By Lacy Hilliard

Freelance writer/photographer

The silhouette cast by the setting sun paints everything it touches in abstract perfection. To gaze upon the sky at sunset is to feel the presence of something larger than ourselves. From fiery red to gentle purple, the discovery of the history behind the setting sun is fascinating.

Native Americans regarded sunset as the most sacred of hours. Many ceremonies were set to be performed at this blessed hour. Taoism teaches that sunset is the time when one is most likely to achieve Zen or absolute enlightenment. The Aztecs believed that sunset brought a blessing of fertility.

The colors of the sunset are determined be the wavelength of light provided by the sun and the disbursement of molecules in the atmosphere. Red and orange are the most common colors experienced at sunset because they have the longest wavelengths of any visible light. The intensity of these colors is determined by the amount of molecular activity taking place in the atmosphere; more molecular activity works to scatter the weakest wavelengths (blue and violet) away from our eyes and intensify the orange and red hues, less activity makes for a clearer violet tinted sunset.

An appreciation for the sunset is something human beings have shared from the beginning of time. In a world where it often seems difficult to agree on anything, the setting of the sun proves that beauty is universal.

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Anatomy of a Sunset

"Grey's Anatomy," Live and Singing

Grey's Anatomy

Several members of the "Grey's Anatomy" cast will sing at Royce Hall on Sunday, March 18.

When"Grey's Anatomy" first debuted back in 2005, it was presented as a medical drama. Stories of a hospital, and the people who work there, and love there, and the patients they love and treat.

It wasn't sold as a musical extravaganza a la "Smash" or "Glee"or, yep,"CopRock"(c'mon -- "Cop Rock"! Miss that show). But history, and thousands of CD racks, tell the further story; "Grey's" is very much associated with the pleasures of song, both via its best-selling soundtracks and the tunes the characters have actually sung on the show itself.

Now several cast members will be gathering together at Royce Hall on Sunday,March 18.They won't be in their scrubs (at least we expect not); they'll be gussied up and ready to belt a few showstoppers. "Grey's Anatomy:The Songs Beneath the Show"won't round up nearly every member in the large, multi-year cast, but look at the stellar performers set to show:Jessica Capshaw, Sandra Oh, and Sara Ramirez, who we wish would be singing somewhere in our immediate vicinity nearly every hour of the day.

Several other actors are set to show, and here's the reason why:They'll be raising money for TheActors Fund, which is a really good and important fund to support, least of all because we live in an actor-heavy community. The reasons are manifold.

The VIPticket is $250, and that nets you a few nice additionals beyond the performance, like a cast Q&A.

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"Grey's Anatomy," Live and Singing