Jamie Dornan came to the role of Christian Grey in the motion picture Fifty Shades of Grey as Hollywood's answer to a prayer when the original actor, Charlie Hunnam, left the picture a scant three weeks before production was set to begin. But the reality was that Dornan's being thrust into “Instant” celebrity was more than a decade in the making chronicled in entertaining depth in the Inside Grey's Anatomy: The Unauthorized Biography of Jamie Dornan by New York Times best-selling author Marc Shapiro. Dornan' story is ripe with pathos, talent, determination and luck. After losing his mother at an early age, Dornan struggled with frustration and aimlessness as he attempted to find his way in the world. Luck entered the picture when he stumbled into the world of international modeling where, after being dubbed The Golden Torso, he reluctantly rode the glitz and glamour, making money, dating the most sought-after women but ultimately chaffing as he dreamed of becoming an actor. His determination finally kicked open the door with important works in both television and film. Finally the phone rang early one morning and Christian Grey was born.

The 2005-2006 season's smash hit Grey's Anatomy swiftly eclipsed its Desperate Housewives lead-in, in ratings, in critical claim and in vocal viewer enthusiasm. What could have been just another hospital drama is elevated by sharp, clever writing, strong female characters and a stellar ensemble cast of multi-ethnic actors. With 20+ million viewers tuning in every week, Grey's Anatomy was the new must-see television show of the year. From lighthearted relationship speculations to analyses of deeper themes, Grey's Anatomy 101 gives new perspectives on all facets of the series. If Addison hadn't showed up, would Meredith and Derek have stayed together? How is Grey's Anatomy the first real 21st century show? Why is everything in Grey's Anatomy so, well, gray? And what would Nietzsche have to say about George O'Malley? The writers in Grey's Anatomy 101 give fans more of their favorite television show, delivering writing as smart, as funny, and as earnest as the show they love.

The ABC medical drama Grey’s Anatomy has generated a flurry of interest in how medical professionals really make it through one of the most rigorous educational programs around, but how much of the medical drama seen in Grey’s Anatomy is pure entertainment, and how much is an accurate reflection of life both in and out of the OR? In The Real Grey's Anatomy, a well-known medical journalist provides some answers. He examines a group of new surgical residents at a major teaching hospital in the Pacific Northwest as they tackle the roller-coaster ride of long hours, fascinating procedures, mundane office tasks, and emotional ups and downs that comprise the life of a student of surgery.

Innovator Award for Edited Collection from the Central States Communication Association (CSCA) Shonda Rhimes is one of the most powerful players in contemporary American network television. Beginning with her break-out hit series Grey’s Anatomy, she has successfully debuted Private Practice, Scandal, How to Get Away with Murder, The Catch, For The People, and Station 19. Rhimes’s work is attentive to identity politics, “post-” identity politics, power, and representation, addressing innumerable societal issues. Rhimes intentionally addresses these issues with diverse characters and story lines that center, for example, on interracial friendships and relationships, LGBTIQ relationships and parenting, the impact of disability on familial and work dynamics, and complex representations of womanhood. This volume serves as a means to theorize Rhimes’s contributions and influence by inspiring provocative conversations about television as a deeply politicized institution and exploring how Rhimes fits into the implications of twenty-first century television.

The face, being prominent and visible, is the foremost marker of a person’s identity as well as their major tool of communication. Facial disfigurements, congenital or acquired, not only erase these significant capacities, but since ancient times, they have been conjured up as outrageous and terrifying, often connoting evil or criminality in their associations – a dark secret being suggested "behind the mask," the disfigurement indicating punishment for sin. Complemented by an original poem by Kenneth Sherman and a plastic surgeon’s perspective on facial disfigurement, this book investigates the exploitation of these and further stereotypical tropes by literary authors, filmmakers, and showrunners, considering also the ways in which film, television, and the publishing industry have more recently tried to overcome negative codifications of facial disfigurement, in the search for an authentic self behind the veil of facial disfigurement. An exploration of fictional representations of the disfigured face, this book will appeal to scholars of sociology, cultural and media studies, American studies and literary studies with interests in representations of disfigurement and the Other.

Can we deny being disciples of Grey’s Anatomy? No, in faith we can’t. Grey’s Anatomy has changed our lives: we now know what it means to clamp the aorta, and we’ve become experts at performing a tracheotomy right on the sidewalk, on someone who was flattened by a truck, using just our Parker pen. Grey’s Anatomy’s family—Meredith, Cristina, Owen, Derek and all the other doctors—has become our own family. We can forgive them anything—escapades, affairs, wacky diagnoses and outrageous mistakes in the or. Anything, except one thing: not being real.

Much philosophical work on pop culture apologises for its use; using popular culture is a necessary evil, something merely useful for reaching the masses with important philosophical arguments. But works of pop culture are important in their own right--they shape worldviews, inspire ideas, change minds. We wouldn't baulk at a book dedicated to examining the philosophy of The Great Gatsby or 1984--why aren't Star Trek and Superman fair game as well? After all, when produced, the former were considered pop culture just as much as the latter. This will be the first major reference work to right that wrong, gathering together entries on film, television, games, graphic novels and comedy, and officially recognizing the importance of the field. It will be the go-to resource for students and researchers in philosophy, culture, media and communications, English and history and will act as a springboard to introduce the reader to the other key literature in the field.