Category: Uncategorized

  • Grey’s Anatomy’s Ellen Pompeo shares ‘uncomfortable’ sex scene that made her cry

    Grey’s Anatomy’s Ellen Pompeo shares ‘uncomfortable’ sex scene that made her cry

    Throughout her time on the medical drama her character got caught up in everything from deadly schemes to tragic love affairs to high-stakes disasters.

    Now, the screen star has shared the one intimate scene that has stuck with her opposite co-star T.R. Knight who played Dr George O’Malley for five seasons between 2005 and 2009.

    Ellen explained that shooting the scene – when Meredith rebounds with George in season two episode 19 – was so ‘uncomfortable and awkward’ that both actors were driven to tears.

    ‘T.R. and I are such good friends. And we had to do a love scene and we were both crying. We cried. We cried,’ she told the Call Her Daddy podcast.

    She continued: ‘And the scene was so uncomfortable and awkward and he didn’t wanna do that. I didn’t wanna do it. And when we filmed it, it was so bad.

    ‘And then the network said there was too much thrusting. In your worst nightmare to have to do it one time, we had to re-shoot that s**t.’

    After having to do it twice the TV star has never rewatched that scene.

    ‘I’ve never seen it, but I don’t know how it was shot or covered or what the end, how it was edited, but I’m full on in tears, the whole entire scene. And those are real tears,’ she concluded.

    T.R.’s character tragically died after being hit by a bus while trying to save a woman and he was sent to hospital looking unrecognisable with his life-threatening wounds.

    He eventually succumbed to his injuries.

    Since leaving her full-time role in the Shonda Rhimes production in 2022, the star (who was the highest paid actress in a TV drama in 2018) has been vocal about her fight for higher pay – especially compared to her co-star Patrick Dempsey.

    He said: ‘To be completely fair, the television game was so different then. He had done 13 pilots before me.

    ‘Nothing personal to him, just in general, only a man can have 13 failed TV pilots and their quote keeps going up, right? But in all fairness, his quote was what it was.

    ‘He was a bigger star than I was at that point. No one knew who I was. Everybody knew who I was, so he did deserve that money.

    ‘I’m not saying he didn’t deserve that money. It’s just, being that I was the namesake of the show, I deserved the same and that was harder to get.’

    She clarified that she wasn’t ‘salty’ about his fee, just what they valued her at. ‘They didn’t value me as much as they valued him, and they never will,’ she added.

    Describing that she ‘felt like an animal at the zoo’ by the end of her time on the show, she knew it was the right time to leave.

    ‘I’m a big believer in destiny. I thought, if there’s something else I’m meant to do, it’s gonna find me. But I know I have to leave this,’ she reflected.

    Her next project is Hulu’s Good American Family which is based on the true story of the true story of Ukranian-born orphan with dwarfism, Natalia Grace who is adopted as a child by an American family who start to accuse her of being a troubled adult disguising herself as a child.

    If you’ve got a celebrity story, video or pictures get in touch with the Metro.co.uk entertainment team by emailing us celebtips@metro.co.uk, calling 020 3615 2145 or by visiting our Submit Stuff page – we’d love to hear from you.

  • ‘Snow White’ review: Rachel Zegler becomes Disney princess she was meant to be, despite dissenters

    ‘Snow White’ review: Rachel Zegler becomes Disney princess she was meant to be, despite dissenters

    That year, Zegler, who grew up in Clifton, told NJ Advance Media that she was delighted to learn that Stephen Sondheim, who wrote the lyrics for “West Side Story,” had likened her voice to a nightingale.

    That songbird quality is on display throughout Disney’s new “Snow White,” and not just when she’s singing and whistling with actual birds.

    So is the wide-eyed, earnest approach Zegler takes to the role, one reminiscent of her approach to Spielberg’s Maria.

    It works because in this new telling of “Snow White,” the princess is a character who strives for kindness in all she does, but in her benevolence, she’s also trying to rise to the occasion of becoming a leader in the mold of her parents, the former king and queen. She’s not sure if she can, because their goodness has been extinguished from the kingdom when the Evil Queen, played by Gal Gadot, takes over and consolidates her power.

    Here, Snow White is diminished, but her vulnerability, and her empathy, is seen as her strength. It’s a story about her desire to embrace those values as her power in the face of corrosive, dehumanizing fear.

    Zegler, 23, won a Golden Globe for her performance in “West Side Story.” In 2023, she led the film “The Hunger Games: The Ballad of Songbirds and Snakes” as a musical character, tribute Lucy Gray Baird, before making her Broadway debut last year as Juliet in a reimagining of “Romeo + Juliet,” which had Zegler performing select songs in the Gen-Z-staged tale of star-crossed lovers. She was just announced as the star of a reimagined “Evita” on London’s West End.

    So even if she’s not leading an actual kingdom — New Jersey is no monarchy, at least not at the present time — she can certainly sing her way there in a Disney movie.

    What about the controversy, you say?

    The word reared its head when so-called “traditionalists” objected to the casting of Zegler, who is of Colombian American heritage, in the role of a character who was said to have “skin white as snow” in the German fairy tale collected by the Brothers Grimm. The fairy tale had formed the basis for the original animated Disney movie directed by New Jersey’s own David Hand (the animator was a Plainfield native).

    Disney traditionalists again criticized the casting of Zegler after she made comments at a Disney event about the original “Snow White.”

    They took issue with Zegler saying that “Snow White and the Seven Dwarfs” was a movie that scared her as a child. She also said this new reimagining of Snow White would veer away from the fairy tale character counting on a prince to save the day.

    “She’s not gonna be saved by the prince and she’s not gonna be dreaming about true love,” Zegler said at the D23 event in 2022. “She’s dreaming about becoming the leader she knows she can be and the leader that her late father told her that she could be if she was fearless, fair, brave and true.”

    Fearless, fair, brave and true are indeed at the core of Disney’s new “Snow White” story, despite their apparent decision to scale back press during the movie’s rollout and premiere.

    In the new story, written by Erin Cressida Wilson and directed by Marc Webb, we are introduced to Snow White as a girl (Emilia Faucher). She’s a princess in a royal family that we’re told is magnanimous, more concerned with being fair to the people of the kingdom than “fair” in the sense of beauty, the obsession of the Evil Queen.

    The older Snow White (Zegler) wears her reminder to be fearless, fair, brave and true in a pendant around her neck, a remnant of the formerly happy life she enjoyed with her parents.

    After the death of her mother and the death of her father, who remarried the Evil Queen apparently without knowing she was evil (her dazzling beauty has magical powers, of course), Snow White is de-platformed as the new ruler, her vain, power-hungry stepmother, obscures all hope and goodness.

    She fades away from public view and spends her days cleaning the castle — it’s almost as if she’s forgotten she is, in fact, Snow White. The influence of corrupt power has infiltrated all, creating a climate of fear where not only does a princess take a backseat, but everyone is also afraid of questioning or criticizing the queen.

    However, there is still a little spark as Snow White stands up for a man who has stolen a bunch of the queen’s potatoes. The people are hungry and struggling, she tells the queen, who would rather hoard food than dispense “luxuries” to the common people.

    Gadot’s Evil Queen expertly wears looks that channel the animated character in the original movie, but she isn’t nearly as scary as the first Evil Queen, despite their shared sense of disdain for just about everyone else and quest to ascertain that they are, in fact, the fairest of them all.

    This is where live-action often falls short — there are just some things that come across better in animation, including certain strains of villainy, the kind that can evoke both dread and awe.

    Mirror, mirror on the wall, how does the rest of “Snow White” fare?

    You might’ve heard a lot of fuss about the movie’s use of CGI, which is first evident in the film’s forest creatures — a roly poly hedgehog, rabbits large and small, a Bambi-esque deer — who are set to maximum “adorable” mode.

    Disney made the decision to go with CGI animation for the seven dwarfs, another element that was criticized when a first look at the film was released in 2023, when the film’s release was delayed by a year, from March 2024 to March 2025, during the Screen Actors Guild strike.

    New Jersey’s Peter Dinklage, who, like Zegler, starred in “The Hunger Games: The Ballad of Songbirds and Snakes,” had panned Disney’s decision to revisit “Snow White” in the first place.

    In a 2022 interview on Marc Maron’s podcast, Dinklage, who has achondroplasia, a form of dwarfism, explained why he objected to the film being remade.

    “Take a step back and look at what you’re doing there,” the Emmy-winning actor, who grew up in Mendham, said at the time. “It makes no sense to me. Because you’re progressive in one way but you’re still making that f—ing backward story of the seven dwarfs living in a cave, what the f— are you doing, man? Have I done nothing to advance the cause from my soapbox? I guess I’m not loud enough.”

    The dwarfs in this telling of the story are indeed based on the original crew of characters who lives together in a cottage in the forest, which is where Zegler’s Snow White finds them. (Is this thing on Airbnb, because it puts all the cottagecore places to shame.)

    Sneezy sneezes, Sleepy has narcolepsy, Dopey is nonverbal, Happy is a jolly fellow, Grumpy is a grump (a reasonable response to the world, he posits) and … you get the idea.

    Doc is the brains of the operation, able to treat a seriously injured person and spit out an AI-like summary on command.

    There is a lot of emphasis on Snow White’s relationship with Dopey, who in this telling, indicates that fear is keeping him from speaking. The bond between them is supposed to melt your heart and endear you to the characters and story — to illustrate the kindness and humanity of the princess.

    She immediately connects with Dopey, who is the first one to see her up close. When he’s bullied by his fellow dwarfs in their usually congenial but often rough-and-tumble household (that will happen when you live together for 274 years … “We’re not friends,” Grumpy says), she helps him find his voice through whistling.

    The classic whistle-heavy “Snow White” songs “Whistle While You Work,” performed by original Snow White actor Adriana Caselotti in the 1937 film, and “Heigh-Ho,” the returning-from-work anthem of the gem-mining seven dwarfs, are in full effect.

    Joining them are new songs from Oscar and Tony-winning duo Pasek and Paul — Benj Pasek and Justin Paul (“La La Land”) — that drive at the heart of the film’s new approach to the old fairy tale (one reportedly guided in earlier stages by “Barbie” writer-director Greta Gerwig, who is not credited in the final screenplay).

    In “Waiting on a Wish,” Snow White sings about mustering the courage to become the leader her mother and father raised her to be. The wish she’s waiting on is herself:

    “Waiting on a wish, holding out for someday / Hoping somehow, some way, I’ll become my father’s daughter,” she sings. “I close my eyes and see the girl I’m meant to be / Is she a part of me I’ve yet to find?”

    Another song, “Princess Problems,” is a kind of wink to the story’s new approach, as performed by Snow White and Jonathan, her love interest, played by Andrew Burnap.

    Jonathan is instrumental to the story, but not central to it. To be sure, his connection to Snow White is a love connection, but it’s not the fulfillment of a perceived lack or longing. There is a kind of “saving” involved when Snow White is being hunted by the queen’s men, but she doesn’t spend a huge chunk of the movie pining after Jonathan.

    “You must’ve mistaken me for a knight in shining armor,” Jonathan says at one point.

    No one’s “making that mistake,” Snow White replies.

    These little cutesy winks gesture to their more casual brand of chemistry, like how she finally learns his name after many exchanges.

    “My name’s Jonathan, princess,” he says, quickly jumping in to clarify his statement.

    “Not Jonathan Princess.”

    In the class-conscious “Princess Problems,” Jonathan, who is something out an outlaw bandit (he was the guy who stole the potatoes), calls out the princess and clue her in on the day-to-day travails of what it’s like to be a common person fighting for food:

    “The odds can’t be beaten, and a man’s gotta choose / Will he eat or get eaten? Does that dampen your day? Do the facts make you frown? / Wakin’ up to the real world is bringin’ you down? / Well, that sounds an awful lot like princess problеms, finally learnin’ that life’s not fair.”

    He could try being kind “or whatever you said,” he tells her in the song. “It’s just that I’m partial to not bein’ dead.”

    Snow White answers Jonathan’s argument for staying scrappy and focused on survival, maintaining that his “none for all and all for none” approach is devoid of hope, something he says is in short supply.

    “But still, we have to try,” she sings.

    Earlier in the movie, Snow White wistfully reminisces about the days when her parents would deliver apple pies to the public as a gesture of goodwill.

    “You can’t fix the world bakin’ apple pies,” Jonathan sings.

    Touche.

  • Mikey Madison to make ‘SNL’ debut following ‘Anora’ Oscar win

    Mikey Madison to make ‘SNL’ debut following ‘Anora’ Oscar win

    Fresh off of her big Oscar win, “Anora” star Mikey Madison is set to make her “Saturday Night Live” hosting debut.

    Madison, who won her first-ever Academy Award last month for lead actress for “Anora,” has been tapped to host the March 29 episode, the long-running sketch show announced on Wednesday.

    Morgan Wallen will serve as the episode’s musical guest, marking his second appearance on “SNL.”

    The show also announced on Wednesday that “A Minecraft Movie” star Jack Black will return to the Studio 8H stage for the fourth time to host the April 5 episode.

    Rock legend Elton John along with Brandi Carlile will serve as that episode’s musical guests, appearing together following the release of their collaborative studio album “Who Believes in Angels?” which includes their Oscar-nominated song “Never Too Late.”

    As for the April 12 episode, Jon Hamm will take the stage for the fourth time as host ahead of the premiere of his upcoming AppleTV+ series “Your Friends and Neighbors.”

    Lizzo will also make her fourth appearance on “SNL” as Hamm’s musical guest.

    “SNL” has been celebrating its milestone 50th anniversary all season long, with a robust lineup of hosts and musical guests alongside a starry anniversary special.

    In addition to the “SNL50: The Anniversary Special” celebrating 50 years of “SNL” that aired last month, NBC and Peacock have released a series of other documentaries and specials to commemorate five decades of “SNL.”

    A live concert special titled “The Homecoming Concert,” along with the behind-the-scenes docuseries “Beyond Saturday Night” and the Questlove-produced music documentary “Ladies & Gentlemen… 50 Years of SNL Music,” are all available to stream on Peacock.

    “SNL” airs Saturdays on NBC at 11:30 p.m. ET/8:30 p.m. PT.

  • Snow White Remake Draws Mixed Reactions and Lowered Box Office Projections

    Snow White Remake Draws Mixed Reactions and Lowered Box Office Projections

    Disney’s Snow White remake continues to get the cold shoulder as it approaches its theatrical debut. Following good early feedback, the Rachel Zegler-led live-action adaptation gets more mixed reviews and less encouraging opening weekend projections than anticipated.

    Per X (formerly Twitter), several critics took to the social media platform to voice their opinions about Snow White after watching it for the first time. While some critics praised Zegler’s work as the titular Disney princess, they weren’t sold on the movie being a fitting remake of the classic Snow White and the Seven Dwarfs, including criticizing the casting of Gal Gadot as the Evil Queen. Tessa Smith of Mama’s Geeky claimed Gadot feels “extremely out of place” as Snow White’s stepmother and wasn’t a fan of how the dwarfs were presented. Meanwhile, Dancin’ Dan in Movieland claimed Gadot “aims for camp fabulosity” and criticized the new songs for not mirroring the spirit of the classic movie. However, he labeled Zegler’s performance “perfection” and hailed its visual spectacle.

    Related

    Rachel Zegler Pays Homage to Original Snow White Actress and Fans Have 1 Major Complaint

    Rachel Zegler is simply glamorous as the new Disney princess.

    Posts

    Cris Parker of 3C Films was “underwhelmed” by the Snow White remake, calling it “aimless” with “no real plot” and a “weak villain” in Gadot’s character. On the contrary, Film Posers critic Josie Marie was “genuinely surprised” by how much she enjoyed the live-action adaptation, praising the performances of Zegler and co-star Andrew Burnap, who plays Snow White’s love interest, Jonathan. Her comment was similar to one Variety critic’s comments about the film.

    Along with the latest reactions, Deadline projects a $45 million to $50 million opening weekend domestically for the Snow White remake, down from a recent $53 million forecast for the Disney blockbuster. Boasting a reported budget of up to $270 million, the film is expected to make $100 million globally during its first three days in theaters.

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    Moana 2 becomes a big hit on Disney’s streaming service less than a week after its debut on the platform.

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    Close

    The Snow White remake has been plagued by controversies, ranging from backlash regarding Zegler’s casting and her comments on the original animated classic to Gadot’s polarizing political stances. The cloud of negativity has rained on the film’s proverbial parade, leading to scaled-back premiere plans in Hollywood and the U.K.

    Reviews Are Uneven for Snow White

    The Snow White remake’s reviews have been mixed since the first trailer dropped last summer, leading to questions about how it will fare in theaters. Directed by The Amazing Spider-Man franchise helmer Marc Webb, Snow White released its most recent preview earlier this month. Tickets went on sale less than two weeks before its premiere.

    Snow White opens in theaters on Mar. 21.

    Source: X/Deadline

    Disney’s Snow White

    Family

    Fantasy

    Release Date March 21, 2025

    Director Marc Webb

    Writers Erin Cressida Wilson, Greta Gerwig

    Producers Callum McDougall, Marc Platt

    Cast

    See All

    Rachel Zegler

    Snow White

    Gal Gadot

    Evil Queen

    Andrew Burnap

    Jonathan

    Martin Klebba

    Grumpy

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  • The Doobie Brothers in 2025: A tour, a new album and a date with Songwriters Hall of Fame

    The Doobie Brothers in 2025: A tour, a new album and a date with Songwriters Hall of Fame

    NEW YORK (AP) — Just cue up the first song from the new album by The Doobie Brothers and you’ll hear something unusual: harmony, in a new way.

    It’s not just that soulful blast from Michael McDonald, marking his first time recording with the band in 45 years. Listen and you’ll also hear founding member Pat Simmons and original vocalist Tom Johnston.

    “Walk This Road” — with the always-welcome addition of Mavis Staples — is a horn-and-slide-guitar slice of bluesy, wailing rock that’s also a celebration of a band that has endured changes and re-formed with members now in their 70s.

    “Somehow, here we are,” says McDonald. “We’ve been friends throughout the years. Our kids have all grown up together and our kids have kind of kept us in contact even at times when we might have dropped off the radar for each other.”

    Lots of Doobie activity

    The Doobie Brothers, who formed in 1970 and initially broke up in 1982, have a packed 2025 planned: A European tour that leads to a North American one, the strong new album and inclusion in the Songwriters Hall of Fame.

    “I don’t think any of us ever even really thought we’d still be on stage at this age doing this, much less together,” says McDonald. “That we’re still able to express ourselves artistically is something that’s not lost on us.”

    The North American tour kicks off in Detroit on Aug. 4 and heads to such cities as New York, Boston, Chicago, Milwaukee, Cincinnati, St. Louis, Minneapolis and Toronto. The opening act will be The Coral Reefer Band.

    “Walk This Road” features 10 new songs sung by McDonald, Simmons and Johnston, who collaborated on writing the tracks and play on each other’s tunes. Longtime collaborator John McFee also returned for the project.

    The album, out June 6, has something for everyone — honky-tonk, driving country, flirty Southern pop, moody folk and melodic rock. There are songs about New Orleans and Hawaii. Angels make the lyrics on two songs.

    “One of the strengths of our live show was the fact that you couldn’t get bored with any one style of music because everything was kind of a different bag,” says McDonald, who officially reunited with the band on tour in 2019. “We like to do that. You know, I think this album is hopefully no different in that respect.”

    John Shanks, who produced the band’s 2021 album “Liberté,” returned for “Walk This Road,” lending them his Los Angeles studio, with a writing room upstairs and a recording booth downstairs where each songwriter took turns cutting tracks.

    “The band, I think, presents all of us with an opportunity to do things that we might not do just as individual songwriters,” says McDonald.

    Inside the album

    While the Doobies have never been a concept band, the album explores seizing the moments, reflects on paths taken and coming to grips with the past.

    “This is a snapshot in time of where the band is and where the writers are,” says Johnston. “We didn’t consciously sit down and say, ‘Well, we’re going to try and do this.’”

    One track, “Learn to Let Go,” is an unrequited love song that’s about letting go of things that hold you back, while “Speed of Pain” is about how the worst things in life can become the best.

    “In many cases, it’s just a situation where you have to lose it all. I can’t tell you how many people I’ve met over the years who have told me that going to jail was the best thing that ever happened to them,” says McDonald. “I think total defeat in this world is the great teacher.”

    The Doobie Brothers are already members of the Rock & Roll Hall of Fame — with tracks like “Takin’ It To the Streets,” “What a Fool Believes” and “Minute By Minute” — but shortly after the album comes out, they’ll be inducted into the Songwriters Hall of Fame.

    “I think it’s really great for this band,” says Johnston. “I think it’s great for us as individual writers, but I think it’s also great for the group, and it kind of carries on the name, if you will.”

    McDonald and Johnston both expressed a little surprise that they’re still making music with the folks they worked with in their 20s and are still a draw on the road.

    “It’s just fun to visit all these places musically. It’s fun to put that out in front of the crowd live. And to do an album now — I didn’t picture doing this, but I’m all for it,” Johnston says.

  • ‘Snow White’ hits theaters — and the magic mirror couldn’t have predicted the controversy around the live-action film

    ‘Snow White’ hits theaters — and the magic mirror couldn’t have predicted the controversy around the live-action film

    The rollout of Disney’s live-action Snow White has been anything but a fairy tale.

    There’s always a lot to lose by modernizing a beloved classic, in this case the 1937 animated film, but this new take — starring Rachel Zegler as the title character and Gal Gadot as the Evil Queen — has been shrouded in controversy for years.

    It was first reported that the film was in the works in 2016, with a screenplay written by Erin Cressida Wilson (The Girl on the Train) and uncredited contributions from Greta Gerwig (Barbie) and others. Marc Webb (The Amazing Spider-Man) signed on to direct in 2019. But drama started with the casting of Zegler, whose mother has Colombian roots, in 2021 and unfolded from there from comments the 23-year-old made about making the female character more empowered amid the narrative that Hollywood is too politically correct. The drama was fueled after Zegler publicly shared her personal politics, which conflicted with the 39-year-old Gadot’s.

    Then there’s the matter of the seven dwarfs — with Disney using CGI to animate Grumpy, Bashful, Dopey and the gang instead of casting little people in the roles.

    Here are the biggest controversies of them all around the film, from Zegler’s casting backlash to Disney’s scaled-back press tour ahead of the film’s March 21 release.

    Zegler’s mere casting drew some bad apples

    Much like Halle Bailey playing Ariel in The Little Mermaid, there was a fuss over Zegler being cast as Snow White by some hanging on to the phrase “skin as white as snow.”

    “When it was announced, it was a huge thing that was trending on [X] for days, because all of the people were angry,” Zegler told Andrew Garfield during an “Actors on Actors” interview in Variety in 2022.

    Amid the initial backlash, Zegler posted and deleted on X, “yes i am snow white no i am not bleaching my skin for the role,” according to the Los Angeles Times.

    She told Cosmopolitan in 2024, “There was a lot of harassment [over the casting] from a certain group of people — they were showing up at my apartment and screaming profanities.”

    Asked about the casting controversy in the new Allure cover story, Zegler replied, “The reality is, I was given a chance because I could sing.”

    Zegler’s comments about modernizing Snow White cast a black cloud

    It’s been over 200 years since Snow White was published by the Brothers Grimm in 1812, and getting close to 100 years since Disney made it into an animated film. Zegler, born in 2001, expressed excitement that the film — which is certainly dated in parts, as Frozen’s own Anna dared to point out — would be modernizing the story. It’s been a lightning rod for criticism since.

    At D23 Expo in 2022, Zegler and Gadot both celebrated that Snow White was “not going to be saved by the prince.” She’s not going to be “dreaming about true love” the whole time, Zegler told Variety. “She’s dreaming about becoming the leader she knows she can be.”

    Zegler later told Vanity Fair the same year, “People are making these jokes about [our film] being the PC Snow White, where it’s like, yeah, it is — because it needed that. It’s an 85-year-old cartoon, and our version is a refreshing story about a young woman who has a function beyond ‘Someday My Prince Will Come.’”

    She’s also called the original film “extremely dated when it comes to the ideas of women being in roles of power.” Zegler told Extra that the 1937 version had “a big focus on her love story with a guy who literally stalks her. Weird, weird. So we didn’t do that this time.” She also said she was “scared” of the original film, watching it once but never again.

    Somehow, Zegler’s excitement over bringing a more empowered version of the character to the screen has made some think she has disdain for the original, when it’s about Snow White’s growth.

    “I interpret people’s sentiments towards this film as passion,” she said in an interview in the March issue of Vogue Mexico. “What an honor to be a part of something that people feel so passionately about. We’re not always going to agree with everyone who surrounds us and all we can do is our best.”

    Controversy around how dwarfism is represented

    With the film and its heroine being modernized, the fact that the seven dwarfs — with names like Dopey — remain has been questioned.

    “I was a little taken aback,” actor Peter Dinklage, who has a form of dwarfism called achondroplasia, said on Marc Maron’s WTF podcast in 2022. “They were very proud to cast a Latina actress as Snow White, but you’re still telling the story of Snow White and the Seven Dwarfs. Take a step back and look at what you’re doing there. It makes no sense to me. You’re progressive in one way, but you’re still making that f***ing backward story about seven dwarfs living in a cave together. … Have I done nothing to advance the cause from my soapbox? I guess I’m not loud enough.”

    Disney addressed the dwarfs issue, saying, “To avoid reinforcing stereotypes from the original animated film, we are taking a different approach with these seven characters and have been consulting with members of the dwarfism community. We look forward to sharing more as the film heads into production after a lengthy development period.”

    In Snow White, the dwarfs are created with CGI animation instead of using real actors with dwarfism in the roles, drawing more criticism. The title of the film dropped the reference to them altogether.

    Martin Klebba, the actor who voices Grumpy, defended Disney.

    Zegler and Gadot’s political views have drawn attention — and fed a feuding-costars narrative

    Perhaps Zegler didn’t always help herself. Unhappy about the 2024 presidential election results, the Disney star wrote “F*** Trump” and “may Trump supporters and Trump voters and Trump himself never know peace” on social media. It caused a stir and she apologized for letting “my emotions get the best of me.”

    Both Zegler and Gadot have also been criticized for political comments around the war in Gaza.

    Gadot is from Israel and has spoken out in support of her country, including recently at an Anti-Defamation League summit on antisemitism, where she said, “I am proud to be an Israeli and I am proud to be Jewish. But this is a time when many of us in the Jewish community have had to find our voice and confront the hatred against us, even if it’s extremely uncomfortable.” A Palestinian group called for a boycott of Snow White because of Gadot’s past political comments.

    Zegler has posted “free palestine” on X. She told Variety of the post, “I can’t watch children die. I don’t think that should be a hot take.”

    Their political differences have fed into a narrative that the women are at odds behind the scenes. A source told People magazine that Gadot and Zegler have “nothing in common” due to their age difference and “on top of that, their political views differ, adding to the tension.”

    However, another source told the outlet, “This isn’t like a ‘stay away from me’ situation.” They still work together, and were at the Oscars, but they reportedly aren’t friends.

    At an early screening on March 17, Zegler seemed to push back on that, telling the audience, “I love everybody in this movie so dearly.”

    The scaled-back press tour raised eyebrows

    Disney seems to be trying hard to whistle — “everything’s fine, nothing to see here” — while working to get this film out.

    Instead of a traditional world premiere on March 15 with press on the red carpet asking the talent questions, the Los Angeles event was turned into a more Disney-friendly event, according to the Hollywood Reporter. The studio said it opted for “a more celebratory, family-friendly afternoon event to match the tone and target audience for the film.”

    The actresses, who mostly posed separately, showcased their fashion — and didn’t have to talk about the dwarfs — while influencers who were invited gushed about the “magical” movie and how Zegler “stunned” in the first reactions to hit online.

    The costars have done a lot separately — like Zegler performing “Waiting on a Wish,” one of the film’s original songs, for fans at a castle in Segovia, Spain. Meanwhile, Gadot was at Disneyland solo. Both have been lobbed a lot of softball questions during interviews as well.

    At the end of the day, it really comes down to whether the film is good and it does well. While we’ll know box-office numbers in a few days, some journalists from well-known outlets have seen it — and are giving their stamp of approval.

    Variety’s Katcy Stephan called Zegler “a shining supernova” and praised her for “beautifully embodying the graceful, gentle nature of the OG Disney princess.” Screen Rant’s Ash Crossan said Zegler “and her enchanting voice are stunning.”

  • In turnaround, Miami Beach mayor backs down from threatening theater over ‘No Other Land’

    In turnaround, Miami Beach mayor backs down from threatening theater over ‘No Other Land’

    A series of showings of the documentary “No Other Land” at a single-screen art-house theater in Miami Beach has become a flash point of controversy.

    Miami Beach Mayor Steven Meiner sent a letter dated March 5 to the O Cinema ahead of the screenings imploring the organization not to screen the film, which recently won the Academy Award for feature documentary. The mayor’s letter called it “a one-sided propaganda attack on the Jewish people that is not consistent with the values of our City and residents.”

    When the theater decided to screen the film despite his protests, Meiner put forth a formal resolution to the city commission to discontinue grant funding from the theater and, more crucially, to terminate its lease from the theater’s current location on city-owned property.

    But in an unexpected twist, the mayor withdrew his own resolution at a Wednesday morning city commission meeting before there was a vote.

    “I viewed this as a public safety measure,” Meiner said during the meeting by way of explaining his initial response..

    Meiner added, “I’m also very appreciative of my colleagues. I felt we were in unity. Unity doesn’t mean we agree on every policy decision. Unity means that we are striving for what’s best for our city and for our community. You know, a couple of individuals joke that I made the movie more popular by doing what I did than the Academy Awards did. And they might be right. That was not my intent. I knew this would create a dialogue.”

    The mayor’s actions have brought intense media scrutiny to the fate of the Florida theater. In a news conference on Tuesday, Vivian Martel, CEO of O Cinema said, “O Cinema will not be silenced and neither will our community. This is about more than just a film. It’s about the fundamental right of free expression, artistic integrity and the role of independent cinemas in our community.”

    In an interview last week, Kareem Tabsch, co-founder of O Cinema and chair of the board of directors, said of the mayor’s actors, “It’s shocking. I don’t even know what other words to use. In the decade and a half that O Cinema has existed, we’ve never heard from an elected official commenting or questioning our programming, and certainly never anyone threatening action on any film we showed. So it was alarming because we were doing the same thing that we’ve done for nearly 15 years.”

    O Cinema has occupied its current space since 2019 and Tabsch said he did not believe the organization would be able to find another venue in Miami Beach.

    “It violates the 1st Amendment,” said Erwin Chemerinsky, dean of the law school at UC Berkeley. “The city, generally the government, can’t react to speech based on its content. Does that then mean that the city could say your movies have a liberal bias, therefore we’re going to take away your ability to show it? Or your movies criticize or praise Donald Trump, therefore we’re going to take away your license to do it? The government can’t make choices based on what speech to allow or disallow based on the viewpoint or the topic that’s expressed.”

    Made by a collective of two Israeli and two Palestinian filmmakers, “No Other Land” captures the struggles of daily life in an area of the West Bank known as Masafer Yatta, where Israeli settlers and soldiers attempt to force locals from their homes and land. The film also explores the budding friendship between two of the filmmakers, Basel Adra, a Palestinian, and Yuval Abraham, an Israeli.

    Tabsch is also a filmmaker and co-directed “Mucho Mucho Amor: The Legend of Walter Mercado,” which premiered at the 2020 Sundance Film Festival. His co-director on that film, Cristina Costantini, along with producer Alex Fumero, organized an open letter to the city of Miami Beach in support of O Cinema that as of Tuesday had more than 750 signatures, including filmmakers Michael Moore, Barry Jenkins, Phil Lord, Laura Poitras, Ezra Edelman, Jimmy Chin, Elizabeth Chai Vassarhelyi and Alex Gibney.

    “Especially in a city of refugees like Miami, a lot of people have escaped dictatorships and strongmen who’ve shut down dissenting opinions,” said Costantini in an interview Monday. “And so to see that happen there is truthfully shocking. And so anything we can do to fight it, I think is what we need to be doing.”

    “This is a huge step in the wrong direction for that city,” said Fumero last week. “It has bigger implications than I think [the mayor] realizes. And it’s going to hurt not just O Cinema, but it’s going to hurt the people of Miami.”

    Meiner had declared “No Other Land” to be “egregiously antisemitic” in a newsletter he released last week. Multiple attempts to contact the mayor were not responded to, including the specific question of where and when he watched the film.

    In a statement, Abraham said, “When the mayor uses the word antisemitism to silence Palestinians and Israelis who proudly oppose occupation and apartheid together, fighting for justice and equality, he is emptying it out of meaning. I find that to be very dangerous.

    “Censorship is always wrong,” Abraham’s statement continued. “We made this film to reach U.S. audiences from a wide variety of political views. I believe that once you see the harsh reality of occupation in Masafer Yatta in the West Bank, it becomes impossible to justify it, and that’s why the mayor is so afraid of ‘No Other Land.’ It won’t work. Banning a film only makes people more determined to see it.”

    O Cinema was being represented in the proceedings by the American Civil Liberties Union of Florida and the Community Justice Project.

    “I do think it’s unfortunate that the lesson that some politicians seem to be taking from our current moment is that they can take whatever lawless action they like without any consequence,” said Daniel Tilley, legal director of the ACLU of Florida.

    “It’s not for me to tell someone how to feel about the film and neither does the government get to decide how someone must feel about the film,” said Tilley. “Of course, the government can state its own view but it is not for the government to tell someone how they must feel about a movie, which is what they’re doing when they decide someone is not allowed to hear a particular perspective.

    “If the mayor wants to speak loudly against this movie and against the owner of the movie theater for showing it, the mayor can speak loudly for doing that,” said Chemerinsky, “but he can’t punish the movie theater for the speech that it exhibits.”

    When the mayor first sent a letter to the theater not to show “No Other Land” before any of the screenings had occurred, Martel initially responded by saying the venue would pull the film. Almost immediately, upon further reflection and consultation with the board and others, the decision was made to push ahead with showing the film.

    “It’s not my job to dictate how anyone views a film or the feelings they walk away with,” said Tabsch. “It’s our job as an arts organization to present films that are engaging, provocative, thoughtful, that foster dialogue, films that are lauded and that audiences would maybe otherwise not have an opportunity to see. ‘No Other Land’ fits all of those categories.”

    Screenings of “No Other Land” that are currently scheduled for Wednesday and Thursday are still expected to move forward as planned. All screenings of the film at O Cinema have been sold out in advance.

  • Ryan Reynolds says in court docs there’s nothing wrong with calling Justin Baldoni a ‘predator’

    Ryan Reynolds says in court docs there’s nothing wrong with calling Justin Baldoni a ‘predator’

    This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? Log in.

    Ryan Reynolds is trying to get Justin Baldoni’s $400 million lawsuit against him and his wife Blake Lively thrown out, arguing in court papers that Baldoni’s “hurt feelings do not give rise to legal claims.”

    In a motion to dismiss Baldoni’s defamation lawsuit, Reynolds said that allegations that he called Baldoni a “predator” can’t be defamatory since that would boil down to a “constitutionally protected opinion.”

    The motion, filed Tuesday in Manhattan federal court, says that the “entirety” of Baldoni and his business associates’ defamation claim “appears to be based on two times that Mr. Reynolds allegedly called Mr. Baldoni a ‘predator.’”

    Baldoni’s lawsuit, Reynolds’ attorneys argue in the motion, “alleges no plausible facts that suggest Mr. Reynolds did not believe this comment to be true.”

    Instead, the allegations in Baldoni’s lawsuit “suggest that Mr. Reynolds genuinely, perhaps passionately, believes that Mr. Baldoni’s behavior is reflective of a ‘predator,’” the court papers say.

    The motion adds that the law “establishes that calling someone a ‘predator’ amounts to constitutionally protected opinion.”

    Lively’s suit, which names Baldoni’s production company, Wayfarer Studios, his fellow producers, and his publicists as defendants, also accuses Baldoni and his associates of engaging in a retaliatory online smear campaign against her after she spoke out about the allegations.

    Baldoni, who has denied the accusations, then countersued Lively and Reynolds in a defamation complaint.

    Reynolds’ motion to dismiss Baldoni’s lawsuit says that his wife sued Baldoni and his associates after they collectively launched a “retaliatory ‘social manipulation’ campaign to ‘destroy’ and ‘bury’ her.”

    “So what does Ryan Reynolds have to do with that, legally speaking, other than being a supportive spouse who has witnessed firsthand the emotional, reputational, and financial devastation Ms. Lively has suffered? Nothing,” the motion says.

    Reynolds’ attorneys argue in the court papers that Reynolds is only named as a defendant because Wayfarer Studios billionaire cofounder Steve Sarowitz “promised to spend up to $100 million to ‘ruin’ Ms. Lively and Mr. Reynolds.”

    Bryan Freedman, an attorney who represents both Baldoni and Sarowitz, told Business Insider in a statement that Reynolds’ involvement extends “far beyond just being a ‘supportive husband.’”

    “Mr. Reynolds was a key player in the scheme, defaming Justin around Hollywood, strong-arming WME into dropping Justin as a client, and trying to destroy Justin’s career however possible,” Freedman said, adding that Reynolds’ “fingerprints have been all over this smear campaign against Justin and the Wayfarer team since day one.”

    Freedman said his clients won’t stop until Reynolds is “held accountable for his actions.”

    Reynolds’ motion to dismiss says that Baldoni’s lawsuit is “long on hyperbole, prose, and ‘claims,’ but devoid of any facts necessary to state ones recognized by law.”

    “It is, in essence, a burn book filled with grievances attempting to shame Mr. Reynolds for being the kind of man who is ‘confident enough to listen’ to the woman in his life and to hold her ‘anguish and actually’ stand with her,” the motion says.

    Baldoni’s lawsuit alleges that during the 2024 premiere of “Deadpool & Wolverine,” which Reynolds starred in, Reynolds approached an executive from the talent agency WME, which was representing Baldoni at the time, and “expressed his deep disdain” for Baldoni.

    The suit alleges that Reynolds suggested the agency was working with a “sexual predator” and at a later date, demanded that the agent “drop” Baldoni.

    The lawsuit also accuses Reynolds of calling Baldoni’s then-WME agent and slamming Baldoni as a “deranged predator.” WME dropped Baldoni as a client after Lively filed her lawsuit.

    Reynolds’ lawyers Mike Gottlieb and Esra Hudson told BI in a statement that those allegations are “not defamation unless they can show that Mr. Reynolds did not believe that statement to be true.”

    “The complaint doesn’t allege that, and just the opposite, the allegations in the complaint suggest that Mr. Reynolds genuinely believes Mr. Baldoni is a predator,” Reynolds’ lawyers said.

    “Mr. Reynolds’ wife has accused Mr. Baldoni — privately and in multiple complaints — of sexual harassment and retaliation, and as pointed out by Mr. Reynolds’ motion, Mr. Baldoni has also openly spoken about his past of mistreating women and pushing the boundaries of consent,” the lawyers continued.

    Reynolds’ attorneys said their client has a “First Amendment right to express his opinion of Mr. Baldoni, which should be comforting to a group of people who have repeatedly called Ms. Lively and Mr. Reynolds ‘bullies’ and other names over the past year.”

  • The baffling true story behind Good American Family

    The baffling true story behind Good American Family

    Good American Family, which is out today, focuses on the “disturbing stories” surrounding a Midwestern couple who adopt a girl with a rare form of dwarfism, according to the show’s description.

    Natalia and her adoptive parents Michael and Kristine Barnett are not directly mentioned, but the series is inspired by “multiple stories, perspectives, threats, interpretations, and accusations.”

    Like the Barnetts, the parents in the series, played by Grey’s Anatomy actress Ellen Pompeo and Mark Duplass, raise the girl along with their biological children but become suspicious of the girl, claiming that she is a lot older than they believed her to be, and that she posed a threat to their physical safety.

    “As they defend their family from the daughter they’ve grown to believe is a threat, she fights her own battle to confront her past and what her future holds, in a showdown that ultimately plays out in the tabloids and in the courtroom,” according to Hulu, adding that the story is told from “multiple points of view, as a means to explore issues of perspective, bias and trauma.”

    The case made national headlines in 2014 and has remained in the public eye over the years as the parents had Natalia’s age legally changed and left her on her own in an apartment.

    Over the years, the case has been the focus of several TV shows, podcasts and documentaries, including Investigation Discovery’s documentary series The Curious Case of Natalia Grace.

    In the ID series, Natalia shared harrowing details of her childhood for the first time, which ended with her being welcomed into a new family, with parents Bishop Antwon and Cynthia Mans, a religious couple who later adopted her.

    The Mans were supposed to be a happy ending for Natalia, who puts her own age at 21. But it turned out to be anything but, as seen in The Curious Case of Natalia Grace: The Final Chapter, which aired on Investigation Discovery and Max.

    Amid the release of the series, Natalia also revealed last month in a rare interview with PEOPLE that she’s living with her third American family, sharing new details about how she fled her last adopted family’s control in the middle of the night.

    For years, Natalia Grace was accused by her adoptive parents Michael and Kristine Barnett of “masquerading” as a child who they insisted was actually a murderous “sociopath” intent on killing their family.

    The Ukrainian orphan was adopted in 2010 by the Barnetts who later petitioned a judge to change her legal age from eight to 22, after they cited chilling “evidence” that they alleged proved she was substantially older.

    When Natalia, who has a rare genetic disorder called spondyloepiphyseal dysplasia congenita, was adopted, the couple were told she was six years old at the time.

    But the couple had doubts and later cited “evidence” that proved she was older than she was claiming to be.

    When Kristine attempted to bathe their new daughter, she was shocked to discover pubic hair; it wasn’t long before the adoptive mother discovered that Natalia had been hiding her menstrual cycle, she claimed.

    When the Barnetts discovered that another girl with the same rare form of dwarfism was also living in Indiana, the parents arranged a visit so the two children could meet.

    Michael Barnett claims he was immediately taken aback by how much older Natalia seemed than the other girl — insisting that Natalia recognized it, too, and quickly tried to make herself seem younger.

    Over the next several months, what started as a question of Natalia’s true age quickly spiraled into a vortex of allegations, with the Barnetts claiming their adopted daughter was really a homicidal adult.

    Natalia’s adoptive mother Kristine, who could not be reached by ID’s producers for the docuseries, told DailyMail.com in 2019 that her family were terrorized in the months after they adopted her.

    She alleged Natalia threatened to stab the family in their sleep, pushed her towards an electric fence, and poured bleach in her coffee.

    When she asked Natalia what she was doing, Natalia would respond, “I am trying to poison you.”

    In the first season of the ID docuseries, Natalia pushes back against the allegations that she says are blatantly lifted from the 2009 thriller film Orphan.

    “I never tried to murder anybody,” she said.

    In 2019, the Barnetts were taken into custody on child neglect charges after they abandoned Natalia in a Lafayette, Indiana apartment, and moved to Canada.

    Michael was acquitted of the charges in October 2022, while Kristine had her case dismissed in March 2023, just three weeks before her trial. The couple have been divorced since 2013.

    Natalia’s story has resulted in multiple documentaries — including ID’s docuseries The Curious Case of Natalia Grace, which aired in 2023.

    Then in 2024, she spoke out for the first time in ID’s docuseries Natalia Speaks, in which she comes face-to-face with her adoptive father in an explosive reunion where she grills him about the countless questions she’s had for years.

    Natalia, who states that she “lost her childhood” also addresses some of the wild accusations thrown at her, including that she tried to kill her adoptive family.

    “They’re not going to get away with this,” Natalia says in the docuseries. “This is my side of the story. Do I look like a monster to you?”

    Natalia believes the Barnetts’ “lies” are confirmed when she finally gets medical confirmation about her age in the first episode.

    The DNA testing done at TruDiagnostic, using just a sample of her blood to determine her “chronological age,” determined she was “closer to 22” in age at this time, which they noted was “pretty close to what you think, you’re almost 20, that’s within 2 years,” according to Dr Halland Chen, who appeared on the doc.

    “I’ve known the truth for as long as I can remember, that I was a kid,” Natalia says, breaking down in tears after getting the results. “I just want people to really see the truth about my age.”

    This is significantly younger than 34, which is the age according to her legally changed birthdate of 1989. That meant she was just four when she came to the United States from Ukraine and only eight years old when the Barnetts legally changed her age, and moved to Canada, leaving her behind in a Lafayette apartment alone.

    “This one little piece of paper throws every single lie the Barnetts have said right into the trash, with a match. This is so big, this has been 12 years of just two people, lying their butts off. They ruined a kid’s life,” Natalia said after she was given the results.

    The sit-down was the first time Natalia and her adoptive father Michael Barnett had seen each other face-to-face outside of a courtroom in years

    “Why are we here, Michael?” Natalia pointedly asks.

    “Why are we here?” Michael responded. “If you’re talking philosophically…”

    “No, I want to know — why did you adopt me in the first place?” Natalia asks.

    Michael claimed he was also a victim and that he was manipulated and mistreated by Kristine, who is now his ex-wife.

    “Many of these questions there’s not going to be a single answer to,” he explained.

    “This is not easy. I had the same monster you did. Kristine. I was exceptionally controlled and put down and threatened, was minimalized, anything that was who I was was ripped from me and I was guided and instructed to be exactly what she wanted me to be.”

    While the two appear to be trauma bonding over this, Natalia later states that she still believes Michael is guilty, “because he stood by and did nothing.”

    “If Kristine was his so-called monster, he could have fought her. I couldn’t,” she later says to the camera.

    When she asks him if he knew about the alleged abuse, some of which he said he did know about, Michael became emotional and claimed he could not do anything because Kristine made threats that he would never see his sons again.

    Natalia admitted in the docuseries that when she lived with the Barnetts, she would tell people she was 22 – out of fear.

    “When Kristine told me to tell people I was 22, I did it because I was terrified,” she explained, detailing horrific claims of repeatedly being hit with a belt and made to stand against a wall for hours, soiling herself. “I didn’t know what she would do.”

    Natalia also fired off questions to Michael and refuted his previous claims about her, including one that she held a knife in her hand as she “loomed” over his bed where he and his wife were sleeping.

    “I was never in y’all’s room with a knife,” Natalia exclaims with her head in her hands.

    “I know what I saw,” he responded.

    Natalia has denied every allegation of murderous intentions and behavior leveled by the Barnetts.

    “They were supposed to take care of me. But all they did was hurt me.”

    Natalia thought she found happiness with a new adoptive family – Bishop Antwon and Cynthia Mans, a couple who lived a strict religious lifestyle with their 10 children in Indiana, and later Tennessee.

    The couple has advocated for Natalia and her disability, and in 2019, they went on Dr. Phil with Natalia and maintained that she never showed any signs of violence toward their family.

    But it wasn’t the happy ending Natalia had hoped for.

    In the new docuseries, there are claims that the Mans exploited Natalia.

    Several witnesses claim to have seen the Mans physically abusing Natalia by slapping her in the face and whipping her with a belt. When asked about the allegations by PEOPLE, Natalia would not confirm or deny the alleged incidents.

    But Natalia did share with the outlet how she planned her escape from the family, whom she accused of controlling her and forbidding her from contacting outsiders.

    She enlisted her boyfriend and old friends Nicole and Vince DePaul, to create an escape plan. The DePauls tried to adopt Natalia in 2009 but were turned down, PEOPLE reported.

    Natalia told the outlet that she was nervous about leaving her family and the “sisters” she had helped take care of, but knew it was the right decision.

    Since Natalia left the Mans family, she has been living with the friends who helped her escape.

    Nicole and her husband Vince are little people, like Natalia. The couple told PEOPLE that things were bumpy at first because the Mans were still involved, but have since smoothed out.

    “They were calling Natalia constantly and trying to wheel her back in,” Nicole said. “It was just this constant thing where we were walking a fine line of not doing too much. See, she just came from this house that basically was ruled by a dictator, so I didn’t want to tell her what to do”

    “She’s also never done one violent thing ever,” Nicole added. “Our dogs love her and they sleep with her. I’m an animal lover. If I didn’t trust her, I wouldn’t leave my babies with her. They’re also a judge of character, as well.”

    Natalia is learning how to drive and has been studying for her GED as she strives to be a teacher one day. She is still with her boyfriend and says “it’s a blessing to be alive.”

    “Learning everything that I have about how to live with my dwarfism — it’s been a great experience,” she said. “I love it. I mean, of course, I still miss my siblings and everything. But I love it. I feel free.”

  • Ellen Pompeo cried over ‘uncomfortable’ sex scene on Grey’s Anatomy

    Ellen Pompeo cried over ‘uncomfortable’ sex scene on Grey’s Anatomy

    Ellen Pompeo revealed that one intimate scene on Grey’s Anatomy caused her and her co-star to cry.

    The actress, 55, appeared on Tuesday’s Call Her Daddy podcast episode, where she discussed a sex scene between her and T.R. Knight, 51, from season two, episode 19.

    Pompeo played Dr. Meredith Grey, a central protagonist of the show, for 19 seasons starting in 2005, before leaving the series as a regular in 2023. Meanwhile Knight played Dr. George O’Malley for the first five seasons, from 2005 to 2009.

    After telling host Alex Cooper that she was closest to T.R. and her other co-star Justin Chambers during her time on the show, Ellen spoke about the time her character Meredith rebounded with George, who had liked her for years.

    ‘T.R. and I are such good friends. And we had to do a love scene and we were both crying. We cried. We cried,’ Ellen, who was pictured in New York on Tuesday, looking sizzling in a sheer black top, said.

    ‘And the scene was so uncomfortable and awkward and he didn’t wanna do that. I didn’t wanna do it. And when we filmed it, it was so bad,’ she added.

    Ellen Pompeo, 55, revealed that one intimate scene on Grey’s Anatomy caused her and her co-star to cry during her appearance on Tuesday’s Call Her Daddy episode

    The star was referring to a sex scene between her and T.R. Knight, 51, from season two, episode 19 (she is pictured in a still)

    ‘And then the network said there was too much thrusting. In your worst nightmare to have to do it one time, we had to re-shoot that s**t.’

    Ellen then shared that she has never watched the full scene.

    ‘We had to re-shoot it and do it twice. By the way, I’ve never watched that scene. I’ve never seen it, but I don’t know how it was shot or covered or what the end, how it was edited, but I’m full on in tears, the whole entire scene. And those are real tears.’

    Read More

    Ellen Pompeo talks going to a ‘dark place’ in post-Grey’s Anatomy role

    The scene ends with Meredith in tears, asking George if they can go back to being friends, as she quickly realizes the rendezvous was a mistake.

    In her interview she said it was George’s death in the show that hit her the hardest.

    George tragically dies at the end of season five after he is hit by a bus while saving a woman.

    He is brought to the hospital as a John Doe due to his extensive injuries, with none of his colleagues realizing it’s him, until he traces 007 — a nickname jokingly given to him by fellow residents — on Meredith’s hand. Ultimately, his injuries proved unsurvivable.

    She added that her co-star Sandra Oh’s last day on set was also a ‘really emotional’ one. Oh starred as the formidable Dr. Cristina Yang.

    ‘I can speak for myself. I can’t speak for her, but for me it was really emotional because I really like, she was such a loss because she’s so immensely talented and I really didn’t think the show could go on without her and I was okay with that, but it literally felt like half of the show just leaving.’

    Elsewhere on the podcast, Ellen revealed the advice she would give Meredith during her famous ‘choose me’ scene, where she begged Dr. Derek Shepherd (played by Patrick Dempsey) to choose her over his wife.

    ‘Girl. Bye,’ she simply quipped.

    ‘T.R. and I are such good friends. And we had to do a love scene and we were both crying. We cried. We cried. And the scene was so uncomfortable and awkward and he didn’t wanna do that. I didn’t wanna do it. And when we filmed it, it was so bad,’ she added

    ‘And then the network said there was too much thrusting. In your worst nightmare to have to do it one time, we had to re-shoot that s**t’

    ‘I’ve never seen it, but I don’t know how it was shot or covered or what the end, how it was edited, but I’m full on in tears, the whole entire scene. And those are real tears,’ she added

    Pompeo played Dr. Meredith Grey, a central protagonist of the show, for 19 seasons starting in 2005, before leaving the series as a regular in 2023. Meanwhile Knight played Dr. George O’Malley for the first five seasons, from 2005 to 2009

    In her interview she said it was George’s death in the show that hit her the hardest. He tragically dies at the end of season five after he is hit by a bus while saving a woman

    The two are also friends in real life, pictured March 2020 in Los Angeles

    She shared that was also a scene she did not want to do at the time.

    ‘I didn’t wanna say, “Pick me, choose me, love me.” You know, and to [Shonda Rhimes’ – creator of the show] credit, like she knew that was gonna pop. I was like, “Why would I do this? Why would I beg, why would I?” And you know, you have to just suck it up and do it.’

    ‘And it ended up being, you know, the biggest thing ever, the most iconic things ever. So I’m not always the best judge of, you know, what’s gonna, and it’s not, like I said, it wasn’t gonna be good. I was just like, I don’t wanna do that.’

    As for her husband Chris Ivery’s reaction to her on screen romance with Dempsey, Ellen shared that it ‘helped’ that ‘Chris really never watched the show.’

    ‘It was better for him. He knew just not to watch. I was with him before Grey’s, so Grey’s kinda came out of nowhere for us. And I just think we were on this crazy ride that we were just trying to hang on for dear life, you know?’ she said.

    She also addressed the ‘bias’ he experienced and the ‘racist, hateful, violent mail’ she and ABC would get.

    ‘I felt really, more bad about that, that I felt like the media was really mean to him and really biased because how dare this skinny, blonde, petite little woman be with this tall black man? The visual of that, I think America wasn’t ready for that. The mail that I used to get, the racist, hateful, violent mail that ABC would get because of that.’

    Ellen also touched on the pay disparity between her and Dempsey, after it was revealed that in early seasons of the show he was paid nearly twice what she was.

    ‘To be completely fair, the television game was so different then, and he had done like 13 pilots before me, right?’

    Ellen also shared she did not initially want to do her famous ‘Pick me, choose me, love me’ scene with Patrick Dempsey, sharing ‘Why would I do this? Why would I beg, why would I?’; the two seen in a still

    Ellen, who was pictured in New York on Tuesday, looking sizzling in a sheer black top, also touched on the pay disparity between her and Dempsey, after it was revealed that in early seasons of the show he was paid nearly twice what she was

    ‘I’m not saying he didn’t deserve that money, just being that I was the namesake of the show, I deserved the same,’ she said

    As for her husband Chris Ivery’s reaction to her on screen romance with Dempsey, Ellen shared that it ‘helped’ that ‘Chris really never watched the show’

    She also addressed the ‘racist, hateful, violent mail’ she and ABC would get, adding that ‘America wasn’t ready’ to see a ‘skinny, blonde, petite little woman be with this tall black man’; the couple seen March 2

    ‘That was my first pilot I’d ever done and back in those days, you know, I don’t know if they still do this or not, you had a quote and with every TV pilot you did, you got your quote, which was whatever it was, so if you’ve done 13 TV pilots, and here we go, nothing personal to him, but just in general, only a man can fail, can have 13 failed TV pilots and their quote still keeps going up, right?’

    ‘But in all fairness, his quote was what it was. He was a bigger star than I was at that point. No one knew who I was. Everybody knew who he was, so he did deserve that money.’

    ‘I’m not saying he didn’t deserve that money, just being that I was the namesake of the show, I deserved the same and then that was harder to get, so I wasn’t salty about him getting what he got. I was salty that they didn’t value me as much as they valued him and they never will.’

    Ellen’s latest role is in Hulu’s new limited series, Good American Family, which is set to come out March 19.

    She portrays Kristine Barnett, the adopted mother of Natalia Grace, a Ukrainian adoptee accused of faking her age.