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

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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.

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Cindy Holland Leaving Paramount Ahead Of WBD Merger

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One of the biggest executive questions about Paramount following its pending acquisition of Warner Bros. Discovery — who will lead streaming — may have been answered.

Cindy Holland is leaving Paramount where she was Chairman of Direct-To-Consumer since the Skydance-Paramount merger having served as an advisor to Skydance CEO David Ellison prior to that. She announced her departure in a company memo, which you can read below.

The move leaves HBO’s Casey Bloys as the likely streaming head of the combined Paramount-WBD.

“Cindy is one of the most exceptional executives in our industry — a force of nature whose impact on Paramount over the past year has been significant,” Paramount CEO David Ellison said. “Under her leadership, P+ reached new heights, Pluto TV underwent its most significant transformation in a decade, and we strengthened our content and sports portfolio – all while the business exceeded the ambitious goals we set. Just as importantly, she built an exceptional team and a strong foundation for the future. Cindy has been a trusted partner to me and so many others, and I couldn’t be more grateful for her leadership, her relentless drive and everything she’s done for our company.”

Here is Holland’s memo:

When I joined David’s team in January 2025, we proceeded to set three goals: i) advise on the Warner Bros. Discovery acquisition, ii) integrate and transform Paramount+ & revive Pluto TV, and iii) build an unparalleled team in this industry. In just over 12 months, I’m proud to say we accomplished all three and it’s been a joy to work closely with all of you.
Together with the Product team, we drove significant strategic and organizational change across DTC — building a new foundation for growth on both services, while investing in greater depth and breadth of programming and delivering strong revenue, profit, and subscriber growth for the division.
As David readies for the next phase of his vision, we’ve discussed my role and the future of the combined businesses. David is optimizing for HBO stability as we move into this next chapter, and I fully support that. I know this team has the leadership and expertise to manage through the transition and the next phase of the company, and to this end today will mark my last day here.
As I reflect on my time here and all that we’ve built together in this short time, what stands out most to me is this team. I have never been more proud of a group of people. What we’ve accomplished together is remarkable — landing quarter after quarter while navigating extraordinary uncertainty and change with resilience, focus and ambition. We grew Paramount+ to an all-time subscriber high, delivered the best retention in the service’s history, and drove double-digit growth in both engagement and revenue. We built an extraordinary content pipeline, greenlighting more than 40 new and returning series and setting all-time records with Landman, the most-watched series in Paramount+ history, and Dutton Ranch, the service’s biggest original series debut ever. We transformed live sports into a powerful streaming growth engine, securing landmark agreements with UFC and Zuffa Boxing and expanding our WNBA and UEFA Champions League rights – with UFC Freedom 250 becoming the largest-ever audience for an exclusive live event on Paramount+ and UFC 329 setting a new platform record for peak concurrent streams for an exclusive live event. And we undertook Pluto TV’s biggest product transformation in a decade, dramatically increasing registered viewing and VOD consumption while delivering strong financial performance across the business. These are extraordinary accomplishments – but what makes me proudest is how we achieved them: together, with an unwavering commitment to our audiences, our creative partners and one another.
I joined Paramount because I believe in these businesses, and because I believe wholeheartedly that the combination of Paramount and Warner Bros. Discovery serves the best interests of artists and audiences worldwide. I’m looking forward to seeing what you all accomplish together in this next, momentous chapter.
Cindy

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New ‘South Park’ Takes On Data Centers And The Billionaires Who Build Them

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While President Trump was holding a press conference at the White House this morning and extolling the AI-related work of Meta’s Mark Zuckerberg, Nvidia CEO Jensen Huang, Anthropic’s Dario Amodei and SpaceX’s Elon Musk, a promo for tomorrow night’s South Park episode dropped. It was less salutary.

Here’s the logline for Episode 6 of Season 29: “Butters is unhappy with the data centers that the billionaires are building in our backyards.”

The clip opens with an X-Pest exterminator guy ringing the doorbell at Butters’ home.

“I understand you’ve got some billionaires in your back yard,” he says.

“Yeah, there’s more of these stupid billionaires every day!” replies Butters.

The first image from the episode (see it above) shows Butters in what appears to be his back yard with the X-Pest exterminator guy, who has strapped on his tank of poison and has his sprayer wand at the ready.

The topic of data centers is a hot one across the country and especially in Hollywood, where unions and workers worry about job displacement and writers and directors express concern over what it might do to their art.

Among the biggest players in the data center land rush is, of course, Oracle CEO and Paramount-WBD deal financier Larry Ellison. South Park airs on Comedy Central, which is owned by Paramount. As in the past, the show’s creators are seemingly not afraid to bite the hand that feeds them.

Mark Ruffalo and others have decried the introduction of “really profoundly scary technology” into Hollywood and how AI might impact media outlets soon to be owned by Ellison and his son David.

“Larry is a classic Oligarch,” wrote Ruffalo. “They are crushing workers and consolidating the wealth of the world for their own power and concentrated dominance.”

Paramount, for its part, responded by accusing Ruffalo of using “antisemitic tropes” in his argument, especially when linking the Ellisons’ studio acquisition to Oracle’s work with the Israeli military.

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‘Vanderpump Rules: Lisa Las Vegas’ Trailer & Episode Release Guide Schedule Set At Bravo

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Lisa Vanderpump is taking Bravo viewers behind the scenes of the opening of her hotel in Sin City with Vanderpump Rules: Lisa Las Vegas, set to premiere Tuesday, October 20, at 9 p.m. ET.

The three-part event, set to air over two nights, will feature fan favorites joining the celebration, with cameos from Lala Kent, Tom Schwartz, and Real Housewives of Beverly Hills alum Garcelle Beauvais.

Vanderpump teamed up with Caesars Entertainment and is betting big on her most ambitious Vegas venture yet: a namesake hotel. This isn’t just another grand opening; it’s Lisa’s biggest gamble to date and a chance to cement her legacy. With a to-do list longer than the Strip itself, LVP and her A-Team pull back the curtain on what it really takes to get a boutique resort ready for its lavish opening – and VIP check in – Vanderpump style.

Lisa is joined by her husband Ken Todd, daughter Pandora Vanderpump Sabo, longtime business partner Nick Alain and a trusted team of collaborators. Longtime friend Kevin Lee is also back in Lisa’s orbit after a stint working with one of her rivals.

The down-to-the-wire drama wouldn’t be complete without some SURvers lending a helping hand. Natalie Maguire, Venus Binkley, Chris Hahn, Angelica Jensen, Marcus Johnson, and Audrey Lingle take a road trip in support of Lisa.

Vanderpump Rules: Lisa Las Vegas is produced by 32 Flavors, a part of Sony Pictures Television and Evolution Media, an MGM Company. Alex Baskin, Michael Beck, Natalie Neurauter, Brian McCarthy, Brittany Nabors, Barry Poznick, Lisa Vanderpump and Ken Todd executive produce.

Episode Release Guide Schedule

“Part 1: Vegas? That’s Epic, Baby!”
Tuesday, Oct. 20 at 9 p.m. ET/PT
Lisa Vanderpump gets the chance to open up her very own hotel on the Las Vegas Strip, but she and her team feel the pressure as they attempt to check everything off their never-ending to-do list. Walking into the space, everything feels like a construction site and Lisa fears those around her have a lack of urgency. Also on the agenda? Making up with a former friend and reminding her SURvers that photoshoots are work, not play.

“Part 2: If It Was Easy, Everyone Would Do It”
Tuesday, Oct. 20 at 10 p.m. ET/PT
With time running out, Lisa and her team rush to put the finishing touches on the hotel. Guests begin to check in before all the rooms are ready and late deliveries, holes in the ceiling, and complaining guests threaten to derail the opening. At home, Lisa opens up about how her childhood affected her drive to succeed.

“Part 3: Misbehave Accordingly”
Wednesday, Oct. 21 at 9 p.m. ET/PT
Lisa Vanderpump has opened 39 restaurants and now finally, her very own hotel. With celebrity guests arriving in droves to celebrate the grand opening party, excitement is at an all-time high, but so are the expectations. Lisa only gets one chance to make a lasting first impression and the pressure is on for The Vanderpump Hotel to keep the momentum going long after the party ends.

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