Connect with us

movies

‘Grey’s Anatomy’: Kim Raver On Exiting In Season 22 Finale

Published

on

SPOILER ALERT! This post contains details from the Season 22 finale of Grey’s Anatomy.

Teddy Altman’s (Kim Raver) tenure at Grey Sloan Memorial Hospital has come to an end, for now at least.

Raver and longtime co-star Kevin McKidd, who has played Teddy’s love interest and trauma surgeon Owen Hunt for the last 18 seasons, both exited the medical drama in Thursday night’s Season 22 finale. Despite last week’s cliffhanger that put Owen’s life on the line, the characters are safe and sound and off to Paris with their kids for Teddy’s latest career opportunity.

The episode picks up where the penultimate left off, with Teddy frantically trying to get ahold of Owen and also keep the trauma bay afloat amid an influx of patients from the bridge collapse. She’s just listened to a voicemail that leads her to believe Owen is in danger, and after first responders find his car in the river without him inside, she really begins to panic. It’s a swift reminder of the deep connection between the two of them, even as they’ve been on the rocks lately, particularly after Teddy gets this job offer in Paris.

There is truly nothing like a life-altering event to force one to rethink their priorities, and that’s exactly what happens for both Owen and Teddy once they’re reunited in the operating room after the bridge collapse to save a patient Owen had been caring for in the field. After the surgery, Owen tells Teddy to take the job — and that he’s ready to pack up the kids and move with her.

“I love that it took Teddy all of the highs and the lows in the journey to come back to Owen,” Raver told Deadline.

In the interview below, Raver breaks down Teddy’s tumultuous yet fulfilling journey over the course of 14 seasons on Grey’s Anatomy.

DEADLINE: How you’re feeling about this episode airing, and kind of really closing this chapter, now that it’s approaching?

KIM RAVER: I’m so grateful for having been part of this incredible Shondaland family. This role has been such a big part of me, and this crew and the fans are just extraordinary. Meg’s [Marinis, the Grey’s Anatomy showrunner] done such a beautiful job of sprinkling in these flashback moments. But, you know, what’s so great is these characters have expanded into the fuller, deeper humans that they are now. I love that, in the chaos of it all that, Teddy still finds moments of mentoring Blue while stressing about what is happening to Owen. It’s just been, for me, this, this beautiful journey of a very multi-layered, complicated character, which has been a real gift.

DEADLINE: Owen and Teddy have gone on such a journey throughout the seasons on Grey’s Anatomy. What do you think it signifies, just to you, that this will be the end of their story, at least for now?

RAVER: I think, in our minds, that was always sort of the end game. I love that monologue where she says, ‘I choose myself.’ I think that that also was really important. One of the greatest of many things that Shonda does so beautifully is she allows the characters to be really messy and really complicated, and that is such a unique opportunity for an actor to be able to have a character that is so top of her game and so extraordinary at what she does and the pursuit of it and the journey of it, and that is as important as the mistakes that Teddy has made, and also as romantic and deep and complicated as the love that she’s had, and then also the pursuit of who she is. So I love that it took Teddy all of the highs and the lows in the journey to come back to Owen — the real push and pull and also the really messed up mistakes that Teddy has made that the fans have been upset with her, rightfully so. But I think that I’ve really enjoyed and leaned into the big swing mistakes, because I think that then we own also who she’s become and relate to Teddy, because she’s not perfect. And that, I think, is what the writers do so well, and what a gift it is to get to play someone like that.

DEADLINE: I feel like earlier this season, they maybe started to realize that they could find a way back to each other. Where was that moment for you, where you feel like these characters started to see that their story wasn’t finished together?

RAVER: I think there were so many of them. It’s not just like a flip turn. It was so sprinkled in there throughout all of it, because that, again, is the tricky moments. I mean, I think when they’re sitting on the bench and she has to sign the divorce papers, there’s a moment there of questioning it. I think the rural hospital. I think there’s a combo. I mean, there’s that flash of how well they work together, and then the idea of creating other lives separate from them as a unit. Also, a flash of like, ‘How do I want my life to look and has he been thinking about pursuing a whole other new chapter?’ I think that’s also so beautiful in relationships. How does one grow as an individual, and how does one grow as a couple? Is there room to do that side by side? I think the writers did such a beautiful job of that. So I think it was sort of sprinkled in there throughout.

I love that in the finale you see them again about to embark on this. They work so well together. Whether it’s the flashes of Iraq when they first come together or the rural hospital…how it’s sort of an effortless dance when they are saving a life. I think that is a very symbolic thing for them throughout their marriage. I think, also, what’s been so beautiful is the the idea of forgiveness, which I think they’ve really touched on throughout their years. It hasn’t just been like, oh, big mistake, and then sort of forgotten. We really dug into the flaws of being an individual and the mistakes made throughout it, but also the accountability. That was a very important thing for me that, basically, the Teddy character really had evolved and it was deeper and bigger and more complicated than the first time around. I’ve loved that they that they leaned into Teddy making mistakes and Owen making mistakes. I think that that’s what’s gotten fans upset, but also rallying behind them, because it’s hard to watch that, but I think we all relate to it, because we all are flawed and just trying to figure it out one day at a time.

DEADLINE: What do you think it means to her to be going off and achieving this next career milestone? And what does it mean to you that that’s kind of where you get to leave this character for now?

RAVER: I say bring the whole crew over to Paris. For Teddy, she’s really navigated her way through the system. I loved seeing her try to advocate for herself and not even sure about negotiating. Then I loved seeing women come to her side, Amelia and Miranda, to have those characters in support and [helping her learn] about how to negotiate for what you deserve and what you want. Also, her really going out there and creating this completely life changing, new surgery and becoming chief and coming into her power, while also navigating her life.

I think what’s interesting is maybe she needed to do that first in order to then put the relationship in a place. It’s almost like she needed to carve out space for herself. I think that’s really relatable for women, that they’re constantly taking care of everyone else around them and forgetting a time and space for themselves.

DEADLINE: Kevin also directed this episode. What it was like to have him be able to direct this final episode for you two and just have that added layer of you two working together on set?

RAVER: Oh, that was great. It was extraordinary. Kevin is such an incredible collaborator, and he has done so many of these episodes directing. It’s definitely a big, emotional journey going through this together. Our characters have gone through so much together, and then also, especially directing, you get so close with the company, because you’re spending so many hours working together. You are as an actor, too, but even more as a director. So it just was really important. I just know that Kevin always has my back. So to have him steering the ship on this one was really important.

DEADLINE: It’s funny. I was gonna ask you if you thought Teddy might ever visit from Paris. But now I think maybe you’re right — everybody needs to go to Paris and visit Teddy.

RAVER: Me too. That’s what I was saying. The doors are open. I mean, come on, that should definitely [happen]. We all talked about the whole hospital somehow going on location. Can you imagine? That would be great.

DEADLINE: Owen and Teddy are some of the last remaining cast members on Grey’s Anatomy who have been there for anywhere close to as long as they have. What has it been like as an actor to be able to weather just the current TV landscape on such a steady show, over the last few years, especially?

RAVER: It’s been an absolute gift to be able to have a company of just extremely talented actors and crew members and writers and producers, and to be in collaboration over such a long period of time. To me, Shondaland is sort of old school, like in a theater company. To be able to have that place to go into every day and to evolve your character, to be able to really work together on a daily basis over an arc of several years is such an extraordinary gift. I didn’t take it for granted once. I’ve been doing this such a long time that I was so and I am so grateful to have really been able to sink my teeth into a character and and have the writers also have her evolve so much over time. I mean, when I would have to do a monologue or whatever and talk about Teddy, it’s like I really have lived all those with Teddy. I’m reflecting back on Iraq. I remember us shooting in the desert and shooting those scenes on the soccer pitch and whatnot.

To me, it kind of harks back into the old theater days of really getting to create this incredible environment for people to come to work and play. We as a company have been through so much throughout so many years. Everyone from props to camera operators to crafty, they’ve become so much a part of my life. Every day when I would drive on the lot, I was really grateful to have this opportunity, because of how rare and extraordinary it is to be able to tell these stories, and especially to have this female character that is just so multi-layered and multi-faceted and constantly peeling back the onion of who she is.

DEADLINE: I’m going to miss seeing Teddy on the show every week. Thank you so much for taking some time to chat with me about this episode. I really appreciate it.

RAVER: Thank you so much. I mean, you all have been such huge supporters, and our fans are just extraordinary. When you see how important this show is to our fans…this show exists because of them and for them, and so getting to meet them has just been amazing.

>

Continue Reading

movies

The Crying Boy Movie: Resident Evil’s Carter Swan Developing Adaptation

Published

on

EXCLUSIVE: As Zach Cregger’s Resident Evil prepares to cross $200M at the worldwide box office, the film’s producer Carter Swan has a new project to announce — a film adaptation of the Keenspot comic book series The Crying Boy by Niall O’Rourke & Rob Moran.

Published in 2024, The Crying Boy follows a grieving widow trying to rebuild her life in Queens after the violent death of her husband who must save her young son from an even more terrifying fate, when the haunting painting of a crying child that he eerily befriends proves to be the vessel for an ancient demon that has preyed on children for millennia.

Following a Ringo Award nomination for Best Single Issue or Short Story, The Crying Boy‘s first issue is currently in its third printing, with a deluxe collection of the series planned for 2027 via Keenspot’s book distribution deal with Simon & Schuster.

Rona Mark is scripting the big-screen adaptation.

Formerly senior producer at PlayStation Productions for nearly eight years, Swan during his time there worked on Cregger’s Resident Evil, as well as HBO’s The Last of Us, Uncharted, Gran Turismo, Twisted Metal and Until Dawn. As an executive producer on The Last of Us, he earned Emmy nominations in 2023 and ’25.

In a statement on the Crying Boy adaptation, co-creator O’Rourke said, “Super excited to work with Carter Swan and develop the project. He brings an incredible amount of experience and knowledge to this. We hit it off straight away after he read the script and he was a big fan of the Keenspot comic book series.”

Chris Crosby, comic book publisher Keenspot’s CEO, shared: “The Crying Boy has been one of Keenspot’s best-received titles and we’re ecstatic that a producer like Swan will be helping to bring it to the big screen. It’s a testament to the awesome creativity of writer Niall O’Rourke and artist Rob Moran that this adaptation is attracting talent of the highest caliber.”

For a time the world’s largest publisher of webcomics, Keenspot was founded in 2000. The company first broke into film with the Universal rom-com Marry Me — a 2022 adaptation of one of its webcomics starring Jennifer Lopez and Owen Wilson. The company’s first animated adaptation was Grubbs, based on the comics by Max Weaver, whose voice cast included Wil Wheaton, Jerry O’Connell, Jodie Sweetin and more.

Presently, Keenspot is also developing the animated adaptations Toy starring Kate Micucci and Kung Fu Legume starring Sherry Cola and Kheng Hua Tan, among other projects.

>

Continue Reading

movies

Ben Hardy Will Lead ‘Stillwater’ Show At Prime Video

Published

on

Ben Hardy has been cast in the leading role of Daniel West in the upcoming Prime Video series Stillwater, from Berlanti Productions, Warner Bros. Television and Skybound Entertainment.

Stillwater is a mind-bending horror thriller that focuses on ex-con Daniel West. When Daniel receives a mysterious letter promising answers about his past and a substantial inheritance in the small town of Stillwater, he discovers a community where nothing ever ages, no one ever dies, and nobody ever gets out.

The one-hour drama hails from Executive Producers Greg Berlanti (You, The Flash) and Carly Wray (“Watchmen,” “Westworld”), based on the Skybound graphic novel by Chip Zdarsky and Ramón K Pérez. Wray & Berlanti co-wrote the pilot episode.

Stillwater is produced by Warner Bros. Television, Berlanti Productions, Skybound Entertainment and Amazon MGM Studios. The series was given an eight-episode series order ahead of San Diego Comic-Con in July 2026.

Hardy most recently starred in New Line’s The Conjuring: Last Rites, which debuted as the highest-grossing horror opening of all time. Other recent credits include Vanessa Caswell’s Love at First Sight and Sally El Hosaini and James Krishna Floyd’s Unicorns, which earned Hardy a British Independent Film Award nomination. Previously, he starred as Queen drummer Roger Taylor opposite Rami Malek in Bohemian Rhapsody. He also starred in the HBO Max/BBC limited series The Girl Before, Amazon
Studios’ The Voyeurs opposite Sydney Sweeney, X-Men: Apocalypse and Michael Bay’s 6 Underground. Hardy is repped by UTA, Principal Entertainment LA and Independent Talent Group..

>

Continue Reading

movies

BBC Tech Teams Hit With Fresh Round Of Cuts, 110 Layoffs

Published

on

EXCLUSIVE: The cuts keep coming at the BBC.

BBC Media Tech, the division that powers the UK broadcaster’s online services like iPlayer, has today announced a fresh £37 million ($50M) round of savings after delivering £42M of cuts earlier this year.

Around 110 staff in the unit will face compulsory redundancy, while 35 vacancies will be closed. The BBC expects to make a further 180 Media Tech layoffs through voluntary redundancy, which includes the 150 Deadline reported on last week.

This will not be the last of the cuts, either. Kelly Kowal, the BBC chief operations and portfolio officer, told staff in an email that Media Tech will need to find an additional £23M of savings in early 2027.

The BBC Media Tech cuts follow similar savings announcements in BBC Sport and local radio. Deadline also revealed last week that channel closures are imminent, with insiders expecting BBC Three to be moved online for a second time in a decade.

BBC Media Tech will contribute £102M of savings to the corporation’s overall target of £500M, which the BBC must deliver because of the growing number of Brits who are refusing to pay for the licence fee.

The BBC tech division will embrace AI to reduce costs, according to Kowal. The unit is also expected to focus on fewer products and push more resource into boosting iPlayer. Matt Brittin, the BBC director general, has been candid about the need to improve iPlayer recommendations and user experience.

Kowal told employees: “I want to recognise the uncertainty and worry this news will create, particularly those potentially affected by redundancy or worried about their role. There is no easy way to make these choices, but we will be caring, respectful and considered in how we help people work through their options.”

>

Continue Reading

Trending

Copyright © 2017 Zox News Theme. Theme by MVP Themes, powered by WordPress.