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What Ellen Pompeo Just Said About the Future of 'Grey's Anatomy' Might Worry You


After 16 seasons of drama, Grey’s Anatomy might finally be coming to an end. In a new interview with Entertainment Weekly, Ellen Pompeo, who plays Meredith Grey on the long-running hospital drama, hinted that it might be time to say goodbye to her onscreen alter ego once and for all.

“I’m clearly not prepared right now to make any kind of formal announcement about what my future is on the show, but I am really feeling like we have told the majority of the stories we can tell,” she said. “It’s about time that I mix it up. I’m definitely looking for a change.”

Pompeo’s current contract, which she signed in January, is set to expire after season 16. Once and if she does hang up her scrubs for good, Pompeo has said that she’s interested in making the leap to directing. “I’d love to direct a pilot. I really like producing, that’s really challenging for me,” she told Deadline last January. “I think I’ve had an amazing training. I’ve had a master class in producing these last 14 years. I know every aspect of making a television show. Producing and directing is where I’m challenged and where I’m learning. It’s more interesting to me because it’s a skill I haven’t mastered yet.”

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But before Pompeo eventually does move behind the camera, there are certain issues at Grey Sloan Memorial Hospital that still need to be resolved. And who better to resolve them than Grey’s Anatomy‘s creator Shonda Rhimes? According to Entertainment Weekly, Rhimes plans on writing the final episode herself. “I have written the end of the show at least six times,” Rhimes told EW. “But we just don’t end. Every time I thought, This is how the show should end, we’ve gone past those moments, so I’ve stopped trying. I have no idea now.”

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Meghan McCain on Her Father's Cancer Battle, the Future of the GOP, and What It's Really Like on Set at 'The View'


It was 2007 and well before Meghan McCain would be paid to have an opinion. In a New York City hotel war room, John McCain had gathered his most trusted aides to address his presidential prospects. The senator from Arizona had announced the run, but now his staff set out to extract a commitment. McCain was over 70. To bolster his bid, operatives wanted him to promise that if he was elected, he’d stay just one term in the White House. It was the prudent choice, a compromise between what he desired most and what the American people could stand.

But for Meghan, who was seated between the men and women who’d advised her father for decades, it didn’t sound like a compromise—it sounded desperate. No one had solicited her opinion, but she offered it: “Don’t do this.” Voters know the rest: The senator didn’t. After the meeting, his staff refused to speak to her.

When she recounts the fallout more than a decade later, McCain recalls their retribution with a smile. It was the first time she realized she had her own voice—and the power to wield it. In the decade since, she’s held gigs across three networks, published a memoir, and traveled nationwide with the comedian Michael Ian Black. But there’s a thick black line between the role she served in that hotel room and the one she serves as a co-host on The View and its lone conservative. Now, as then, if she wants to be heard, she’d better be loud—a mandate that finds her in near-constant battle with her five more progressive peers, Whoopi Goldberg, Sara Haines, Joy Behar, Sunny Hostin, and Paula Faris.

Most of the time McCain, 33, more than holds her own. She’s persuasive because she doesn’t lean on slickness or the kind of rhetorical flourishes that sound hollow on television. When she fights, she’s the most passionate relative at the dinner table—and the best informed. “It’s not bad, though,” McCain tells me. “This show is a challenge, and I like challenges.”

McCain and her cohosts on the set of The View.

While she has appeared on television since childhood, McCain first became an on-air commentator for MSNBC in 2011. She moved to Fox News in 2015 and, just after the presidential election, was tapped to cohost the talk show Outnumbered. Had the circumstances been different, she could have remained at Fox for the foreseeable future. Executives liked her, and though she believes the women who’ve come forward with claims of sexual harassment at the network, she says she experienced none of it.

But then the curveball: John McCain was diagnosed with an aggressive brain cancer that watchers of American poli­tics know well—the same disease killed Senator Ted Kennedy and Beau Biden, the oldest son of former vice president Joe Biden. Meghan decided to quit Fox. That summer and up until he started treatment, the McCains hiked the grounds of their ranch in Sedona, Arizona. She joined her father at doctor visits. She woke up with him at 5 a.m. for radiation appointments.

It was he who insisted Meghan join The View at all. She’d spent months with him, and she had no plans to leave his side. When the show reached out, McCain dismissed it. But her father said she’d be “insane to pass it up.” The pronouncement reminded her of one of his favorite expressions: “A fight not joined is a fight not enjoyed.” (He also likes to tell her, “Don’t let the bastards grind you down,” perhaps the sole call to arms that John McCain and Margaret Atwood share.)

The fight does exhilarate her, not least because it has given her opinions new clout. “The White House isn’t the only platform with a voice,” McCain says. “ABC has a pretty big voice too.” On air, she has criticized President Donald Trump for his relationship with Russia, his move to separate parents and children at the border, and his dependence on personal insults to diminish his rivals (her father included). Still, she remains an ardent conservative—pro-gun, anti-abortion, and with “no middle ground” on the issue of NFL anthem protests. She is not an avowed Never Trumper, which frees her to “call balls and strikes.” And she has predicted Trump will be reelected if Democrats don’t learn from their mistakes. Sometimes she feels shut down on The View, like an outcast. But she’s not sure she’d be at home back at Fox, either. The brand of Republicanism that she shares with her father and stood for when she worked there has been not just diminished but dismantled. People like the McCains have been “ostracized,” she says. Their vision for conservatism “is not what America wants.”

It’s June when we meet in what serves as her personal greenroom, accented with an American flag mural, a framed photo of her and her father reaching the summit on one of their hikes, and shelves of stilettos. A stack of books includes the latest novels from Meg Wolitzer and CNN anchor Jake Tapper, and Real Housewives’ Erika Jayne’s recent memoir. That week the conservative columnist and Pulitzer Prize winner Charles Krauthammer announced his cancer had spread and was terminal. (He lived less than two more weeks.) The news has rattled McCain. Until then she hadn’t cried much. Now she can’t stop. There’s a sense that we’ve arrived at the end of a moment—one in which it had been possible for men like John McCain and Ted Kennedy to “fight like animals on the Senate floor and then hug each other afterward.” She pauses, stricken. “I just don’t want bipartisanship to die too.”

An hour earlier Behar and Hostin had boxed McCain out of most of the conversation. While her cohosts cheered women’s across-the-board victories in recent primaries, McCain fumed. She didn’t want political races to be a referendum on gender. In a previous episode, she’d renounced “modern feminism,” but this time, she echoed the movement when she pointed out that a woman’s election is not its own success: A candidate’s stances matter. The effects her poli­cies have on women matter. McCain wanted her cohosts to evaluate politicians on their merits. But she couldn’t get a word in. The segment ended, and McCain stalked off set.

The taping over, she waves it off. (Fight, then hug.) Some shows are harmonious, she says. Some are like this one—not “a total kumbaya.” But despite rumors of behind-the-scenes resentment, McCain says the women know how to leave their disputes on air. She ticks off her own checklist: “Stick to the issues. Stick to information. Stick to facts.” And the ultimate litmus test: “Did I make my parents proud?”

If John McCain’s fandom is an indication, it would seem so. The show has proved a welcome distraction for both of them. The senator tunes in during at-home appointments. And her new perch has reminded Meghan that there is a kinder and more generous world out there than our polarized environment would suggest. Her cohosts have shown particular compassion. “I’m sure I make them crazed because I have a different political opinion, and I’m very tough,” she says. “But the women here are wonderful.” And not one dwells on the discord. Indeed, less than a week after the fracas over the primaries, Behar struggles to even recall that particular contention. “She and I are very similar,” Behar says of McCain. “We’re direct. We speak our minds.” The cameras beam their disputes into millions of households nationwide, and then the women move on.


A friend once told McCain that a person in anguish “is like a snake shedding its skin. You’re still the same snake, but you have new skin,” she says. “I’m not the same person I was when my dad was first diagnosed. I’m not. The innate person inside of me hasn’t changed, but I don’t look at the world in the same way.” It was he, the “maverick” in the Senate who wasn’t afraid to make enemies, who gave her license to be fearless. “My father is the sun in my universe,” she says, hugging her knees to her chest. “He’s the absolute center.” But all the stoicism she inherited from him evaporates when she realizes there will be a future to face alone. “He’s the last person who needs to be sick now because I so need him here, fighting for all the things that we believe in,” she says. “I’m scared of America without him.”

Sometimes she lets herself inhabit a pretend world in which John McCain’s presidential run had played out differently. “I have these moments where I wonder if my father could have become president if he’d had to do it [how] the Trumps did,” she says. “It 100 percent wouldn’t have been worth it to me. I would not have signed on for it. And he wouldn’t have done it. If you have to win that way, it’s not worth winning, from my perspective. Because when you’re out of office, what does your life look like?” Her father could have been savvier, she admits. He made mistakes. But this is her relief—whatever his missteps, he will leave politics with his own sense of honor intact.

Last November, McCain married Ben Domenech, a conservative writer and the publisher of The Federalist. The event was small, with around 100 guests. But countless more well wishes poured in. One stands out: Barack and Michelle Obama sent a letter. McCain doesn’t disclose its contents, but she tells me that it was hand-written. Months later, the mere fact of it still seems to awe her. Obama had beaten her father to the Oval Office. 2008 had been a hideous and contentious election. The McCains and the Obamas were supposed to be adversaries! But the letter—her voice catches. “It was such a kind gesture, you know? I disagree with him on many things, but kind gestures go far.” When Valerie Jarrett cohosted The View several months ago, McCain mentioned it to her. She’d wanted to thank someone for it, and Jarrett, who advised Obama in the White House, remains close to the former president. Far from the cameras, “we had this conversation—it’s just, that era is gone.”


Since the 2016 election, the McCains have resisted what Meghan calls “the invasion of the body snatchers”—the phenomenon that has driven once-principled conservatives to support the President’s positions over their own values. Their criticism has been strident, albeit driven as much (if not more) by Trump’s disdain for the norms of the office as his actual policies. “There are people I know who love President Trump and think that he’s the greatest thing that’s ever happened to America. I understand those people. I’m not shocked by them. I defend their right to love him,” McCain says. “But I do think character and rhetoric matter. What’s put out into the world and the universe matters. I’m just glad I don’t have to reconcile with those kinds of demons.”

John and Meghan McCain at her wedding; Meghan McCain joins her father on the trail in 2000.

And whatever loneliness she feels, McCain has her comrades. She is in near constant communication with HLN host and conservative S.E. Cupp. (The two are “an island,” Cupp says. Women without a tribe.) And she has come to treasure Joe Biden, who consoled her on live television for close to five viral minutes in December. The former vice president and her father have known each other for decades, but his on-air reassurance ushered in “a different kind of relationship” between Biden and her. “I talk to him all the time, and he checks in on me all the time.” It’s not quite the bipartisanship revival she craves, but it’s a personal salve.

The admiration is mutual. “There is no manual to consult when it comes to dealing with a seriously ill parent,” as Biden puts it via email. “But if there was, Meghan McCain would be the one to write it…. Publicly she has been fierce as John’s advocate, and privately her love and encouragement have sustained him. The way the entire McCain family has handled the cards they have been dealt is worthy of our admiration, and I know John is so incredibly proud of his daughter.”

In late April John McCain was sent back to the hospital. He would have to have another serious operation, and doctors wanted to prepare Meghan: If there were conversations she needed to have with him, it was time to initiate them. Meghan hesitated, then told her father’s team, “We’ve done that. He knows I love him more than anything, and I know he loves me more than anything. There’s nothing else. What’s next?”

In that moment, she remembers, she’d been flooded with the memories of a childhood indignation. Her father had been as strict with her as he was with her brothers. Why hadn’t she been given special status—a daughter’s reprieve? But his relentlessness, she knows, made her resilient. “I realize now he did it so I could survive this.”

A version of this article appears in the September 2018 issue of Glamour.



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The 2018 ESPYS Will Make One Thing Clear: The Future Is Definitely Female


The 2018 ESPY Awards will do what it does best when the program broadcasts live from Los Angeles on Wednesday night: celebrate the biggest moments in sports, honor superstar athletes, and elicit tears from emotional tales of courage and perseverance.

But there’s something profoundly different about this year’s ceremony, given the cultural conversation. From the trial against USA Gymnastics doctor Larry Nassar to the three coaches killed shielding students from gunfire at Marjorie Stoneman Douglas High School in Parkland, Florida, the team behind the ESPYs are gearing up for the most relevant—and perhaps most challenging—show they’ve put together in years.

And, for the first time in 25 years, a woman will host the awards show when retired NASCAR driver Danica Patrick takes the stage—a long overdue milestone that speaks volumes about how women are driving the culture forward.

“This is my twenty-third ESPYs, and I think everyone would say this is the largest undertaking logistically from an [importance] standpoint that we’ve ever done,” Maura Mandt, the show’s executive producer, tells Glamour. “It’s the biggest thing I’ve ever been involved in.”

The “it” that Mandt speaks of isn’t just the show itself, but the moment when the Arthur Ashe Courage Award will be presented to hundreds of sexual assault survivors who spoke out against Nassar.

“I want people to be moved, whether it’s moved to tears, moved to action, or moved to understanding.”

Nassar was sentenced up to 175 years in prison earlier this year after being found guilty of criminal sexual conduct and possession of child pornography in Michigan. And just last month Nassar was charged with six counts of second-degree sexual assault of a child in Texas.

“I want people to be moved, whether it’s moved to tears, moved to action, or moved to understanding,” Mandt says. The segment, which has been in the works for the last seven months, is perhaps the most important story the ESPN team has ever aired.

“We are the vessels for their story,” Mandt says. “We want to make sure we tell it right and do it with care.”

PHOTO: Getty Images

Maura Mandt serves as the executive producer of the ESPYs.

“We’re going to be asking these women to relive a moment and an extended period of time in their lives that’s very painful and difficult,” Alison Overholt, vice president and editor-in-chief of ESPN the Magazine, espnW, and lead executive on the ESPYs, explains. “Yes, we’re honoring them, but that’s a really difficult thing to say, ‘Hey, will you go back to that moment and spend more time in that emotional place?’ We’re just very grateful for them trusting us.”

When the moment airs—featuring USA Gymnastics gold medalist Aly Raisman among others—Overholt wants viewers to realize that aside from the 100 women standing onstage, “there are even more women who will be watching their sisters from home.”

Aly Raisman and Alison Overholt

PHOTO: Getty Images

Alison Overholt, vice president and editor-in-chief of ESPN The Magazine, stands with olympic gymnast Aly Raisman at a pre-ESPYs event on July 17, 2018.

“The ladies onstage represent a much larger whole, and I hope people think about that very, very deeply,” Overholt said. “It’s very important for people to [realize that] it took something like what happened this year for all of us in the culture to hear them. When women come forward and speak in the future, we [as a society must] hear them the first time.”

Patrick, this year’s ESPYs host, says seeing these women onstage will add an “extra layer of raw truth, vulnerability, and compassion.” Patrick will meet the women for the first time prior to the show, but says that viewers at home will feel that same empathy once they tune in. “You know what they’ve dealt with and you’re going to see them,” she says. “It’s always different when you can put a face to a name or a face to a story.”

Patrick says that while women have been speaking up against many types of injustice for years—herself included—there’s a profound difference since the #MeToo movement started. “Sometimes we need a group, so it’s good that [#MeToo and Time’s Up] has done that. It definitely makes men more aware of the true and utter boundaries of being a respectable human, and that’s a good thing.”

The Danica Double - Behind the Scenes with Danica Patrick

PHOTO: Getty Images

Danica Patrick at the Indianapolis Motor Speedway on May 20, 2018

As for responsibilities—and pressures—that come with being the first female host at such a critical time, Patrick says it’s a “major honor.” Still, why it took so long for a woman to get the honor is a question that perplexes even Patrick.

“I can’t believe they haven’t had a female host until now,” she says. “But what perfect timing. I just feel like it’s a new era of the woman, and we’re all becoming much more equal over time.” While the show definitely wants to celebrate its first female host, as well as incredible female athletes, Overholt says the ultimate goal is that viewers say, “Wow, those are great, incredible moments” regardless of gender.

“I hope that it doesn’t even strike people as a particularly unique thing to showcase women, because it’s as it should be,” Patrick says.

Adds Mandt: “Ultimately years from now there will be no surprise that [a woman is executive-producing a sports show, or a female is hosting]. We all hope to feel that eventually.”

In the meantime, Overholt just wants viewers to walk away feeling a “little bit different” after watching the show. And for the young girls tuning in, “I hope that they feel confident that when they raise their voice, they will be heard, [whatever field they go into],” she said.

“The most important thing is that they find their voice inside themselves, raise that voice, and have the confidence that when they do, they will be heard.”

The ESPYs will air on ABC and live-stream online at abc.go.com this Wednesday, July 18, at 8:00 ET/7:00 CT.

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The 'Riverdale' Creator on the Black Hood Reveal, Bughead's Future, and Cheryl's New Love Interest


Tonight’s Riverdale more or less confirmed what Lili Reinhart told us back in December: The Black Hood is still on the loose. But with Chic Cooper’s arrival and all the Southside High drama, who’s got time to worry about that creep? There are plenty of other pressing issues in Riverdale—namely, why in Jason Blossom’s name hasn’t Cheryl been front and center in every episode this season?

Fortunately, creator Roberto Aguirre-Sacasa says we won’t have to wait much longer, as huge developments are about to take place. (Look out for episode 14, specifically.) What’s more, several forgotten characters might be on their way back to town. With so many questions—seriously, what is Chic Cooper doing in Betty’s bedroom?—Aguirre-Sacasa hopped on the phone from the Vancouver set to fill us in.

First, can you confirm the Black Hood is still out there?

Roberto Aguirre-Sacasa: Well, at the very end of tonight’s episode Archie says to Agent Adams, “Listen, if you’ve been following me, you know that I was involved [in trying to solve the mystery of] the Black Hood, but I gotta tell you, there’s a part of me that doesn’t think we got the right guy.” That is a thread that we will follow in the second half of the season.

Will viewers feel that they know for sure who it is by the end of the season?

RAS: However the Black Hood’s story continues, I believe it will have a definitive ending by the end of the season.

So, basically, whether it’s Svenson or not, we’ll definitely feel confident knowing who it was.

RAS: Exactly. Correct.

In tonight’s episode, Chic enters the picture and he’s…creepy. What can you say about his impending stay in Riverdale?

RAS: We kind of joke in the writer’s room—whenever we introduce someone, they have to be a force of darkness and chaos. On Riverdale, you can’t ever just introduce someone and have it be fine. It always comes with problems. Chic is no exception. We’re pretty cryptic about our plots; the writers know [that] the actors don’t know everything. So two or three episodes in, the fine actor that plays Chic—Hart Denton—calls me and asks, “Now, am I a good guy or a bad guy?” I started laughing and was like, “I think even if you think you’re a bad guy, you never think of yourself as a bad guy.” So, I’ll say this: In some ways, Chic is very different than from his sister Betty. I think what we’ll discover in upcoming episodes is that there are more similarities than you might originally think.

PHOTO: Shane Harvey/The CW

Will the Coopers regret letting Chic into their lives?

RAS: That’s a very good question. Like anything in Riverdale, there are going to be good things and bad things. In the end, I’m not sure. But I will say that we’ll find out next week what Chic was doing in Betty’s room, and we’ll start exploring the darker similarities between the two siblings, which I’m excited about.

Speaking of siblings, we find out that Polly gave birth to twins, Juniper and Dagwood, but she leaves town again before we even meet them. This can’t be the last we’ve seen of them.

RAS: Right. She did give birth, and you haven’t seen the last of Polly. And we haven’t even met the twins!

And should we assume that Betty, Polly, and Chic, all have the same mother and father in Hal and Alice Cooper?

RAS: I think that’s the assumption, yes.

Is it fact or assumption?

RAS: I think it’s an assumption and stay tuned.

Interesting. Meanwhile, switching topics, a few episodes ago it seemed as if Cheryl was stalking Josie, especially after she became very possessive over her. Madelaine Petsch said Cheryl would be getting an unexpected love interest this season, so it seems like Josie would be that person. But we haven’t had any new developments since. What can you say?

RAS: I promise you that storyline comes back huge. Hugely. That’s not something we’re dropping. It’s something we’re attacking head on. I think you’ve got maybe three or four episodes [until we come back to that].

The Lodge’s butler, Smithers, also seemed to have disappeared early on this season, and it seemed Hiram was behind it.

RAS: I love Smithers, and I wouldn’t be surprised if we saw him again. I remember at first, the network and studio were like, “Really? Smithers?” But I love that guy. We may not have heard the last of Smithers.

Let’s talk about romance on the show, especially as Valentine’s Day approaches. What can you share in terms of what’s to come whether you’re team Bughead, Barchie or Varchie?

RAS: All of our characters went through a harrowing ordeal in the first half of the season. Even though Bughead broke up, their feelings for each other are very much there—but they’ve got to sort through a bunch of stuff between them. In a weird way, they have to become friends again to see if it’s even possible to reconnect. The Bughead saga is far from over.

Chapter Twenty-One: House of the Devil

PHOTO: The CW

Meanwhile, I like Archie and Betty together. Don’t kill me, Bughead fans!

RAS: Interesting! Well, get ready and wait until episode 14 [which airs next month]. That’s all I’m saying!

Fair enough. And finally, I love the way Archie is being written this season in relation to Betty, Veronica, and Cheryl. He’s very close to all of the women. In tonight’s episode, for example, he was honest with Veronica about kissing Betty while they were broken up, and he’s extremely protective of the women after learning of Nick St. Clair’s attack. In the wake of the #MeToo movement, are you consciously trying to write Archie as a more feminist character?

RAS: As we were writing these episodes—even the episode that aired tonight—they were written before [the Time’s Up movement] started. It’s a fine line to balance because on the one hand, you don’t want the girls to be rescued by a guy. You want the girls to be able to fend for themselves and be strong. On the other hand, when we talked about Archie finding out that Nick had [tried to sexually assault] Cheryl and Veronica, when we were talking about that scene when Archie confronts Nick, even though his legs were in casts, we were like, “He’s gotta kick the shit out of this guy.” There’s gotta be a visceral response to being in a room with this guy, who is a serial harasser and perhaps even worse. That just felt like the most truthful thing, you know what I mean? The girls had already rallied around Cheryl, and it felt like if Archie just went up there and didn’t do something in response to Nick’s behavior, it would have been false to the character and a bit deflating.

We push the envelope on Riverdale in terms of sexuality and violence and things that are innate to the genre and pulp and noir. Since the last couple of months, we do talk about it more in the room. We’re trying to be a little more careful with what situations we put our characters in. But we are usually pretty aware, and we have been talking about it more. I think a lot of writers rooms have.



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'The Big Bang Theory' Season 11 Episode 11 Recap: Penny and Leonard Contemplate Their Future


The Big Bang Theory has never shied away from uncomfortable and necessary topics—take last week’s Raj and Howard fight or Bernadette’s pregnancy concerns, for example—but tonight the writers finally tackled the most annoying holiday tradition ever: the year-in-review letter.

You know what I’m talking about: the two-sided note from the friend/old co-worker/cousin you haven’t talked to in years. The one that brags about their kids’ achievements, a summer vacation to Fiji, a huge promotion, or surprise engagement—sometimes all of the above! Then there’s always that sentence at the end that goes something like this: “Hope your year has been as wonderful as ours! Thinking of you always!” And, of course, it’s accompanied by a staged photograph with everyone dressed in the same color scheme or matching pajamas. [Insert eye roll here.]

On the mid-season finale of The Big Bang Theory—titled “The Celebration Reverberation”—Leonard is the unwilling recipient this time, thanks to a Christmas letter from his brother who just built a hospital in Rwanda. That’s wonderful, of course, but it brings me to the part no one thinks about when they send those letters: You start feeling down about everything that hasn’t happened for you. Leonard is no different and starts obsessing over achievements he can put on his own list, err, dry-erase board.

PHOTO: Michael Yarish/Warner Bros.

So, Leonard asks Penny if she can think of a single cool thing they did this year. Penny mentions that they both have great jobs, but Leonard reminds her that the Air Force took his project away and she’s not crazy about selling pharmaceuticals. “I’ll just write down, ‘still employed!'” Leonard deadpans. The Hofstadters also celebrated their second anniversary, but they both forgot about it. “Maybe write down, ‘still married,'” Penny suggests. Leonard asks what else, but Penny says that’s probably enough before going through old photos to jog their memory.

By the next morning, Leonard still can’t stop thinking of his year-in-review list. The only new entries on the board, though, are “built Ikea desk” and “kept fern alive.” I don’t know about you, but I’d totally consider construction and saving a plant worthwhile achievements. Still, Leonard’s not impressed. Even though Penny says the whole thing is silly and their lives are great, he feels like everyone’s moving forward and they’re stuck. “We’ve been married two years,” he says. “Should we think about what’s next? Like buying a house or having a baby?”

While you can’t fault Leonard for thinking about what’s next for him and Penny, the fact that society pressures us to categorize big life moments as achievements anyway is perhaps part of the problem. Having kids is wonderful, but that shouldn’t take anything away from the person who decides it’s not for them. Penny notes that she wants to do “all those things someday, but there’s a bunch of stuff I want to do first.” Leonard asks what that is, and she responds, “Stay thin and have money.” Penny’s comment was funny, but it spoke to a larger truth that oftentimes there’s joy in the status quo. In fact, we should celebrate that more often.

Another thing to celebrate: Instead of using the moment to embark Penny and Leonard on a life change they’re not ready for yet, the writers kept the moment small, with Penny suggesting they go on a big trip outside the confines of Pasadena. It was a strong baby step for a couple that hasn’t always been on the same page. Which brings me to another important moment: Achievements aside, it showed that Penny and Leonard have gotten really good at communicating with one another. Last season, Penny and Leonard were often at odds with each other. This season, though, they’re stronger than ever. So kudos to the writers for showing the real ups and downs of a long-term relationship—honestly, Leonard should a year-end letter about that.



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The Winners of Our #NewView Film Competition Convinced Us That The Future Of Film Is Female


In the year 2017, just 11 percent of the directors of Hollywood’s top-grossing films are women. How crazy is that? Yet, Patty JenkinsWonder Woman earned $821 million in box office sales, and proved to us and the world that women are more than capable of creating a successful AF film. So Glamour set out to help improve those measly numbers. We partnered with Girlgaze to launch the #NewView film competition, which provides young aspiring female directors with the ultimate prize: a chance to direct their own work. Meet our five winners, picked by epic judges (Shonda Rhimes, Zendaya, and more!) and watch their inspiring videos below.


Party Dress

Party Dress

Directed by Molly Fisher

What the director says:
“It’s a short film about Harper Klein, a 12-year-old tomboy who attends a birthday party in a pink party dress,” says Brooklyn director Molly Fisher, 30. “While it’s not necessary autobiographical, the story is extremely personal: I was once a melancholy tomboy who didn’t fit in to the girl cliques or the boy cliques.”

What the judges loved:
“This humanizes the struggle some feel when they don’t fit in their body.”
—Gia Coppola, filmmaker

“Beautifully and heartbreakingly told…. Tender and real, with a great lead performance.”
—Geena Davis, actor, founder of the Geena Davis Institute on Gender in Media

What she won:
Molly will direct a fashion video for South Coast Plaza with a $5,000 minimum production budget, with at least 10% of the total approved cost to be paid to Molly as her fee.


The Looking Ceremony

The Looking Ceremony

Directed by Fany de la Chica

What the director says:
“This film follows Isa, a real gypsy living in Andalusia, Spain, as she experiences a tradition in which older women in her family confirm her virginity,” says New York City director Fany de la Chica, 33. “She must decide whether she marries her fiancé or escapes with her true love.”

What the judges loved:
“These enforced traditions are hard to break free of, so I was moved by the context of the local women in this film.”
—Amanda de Cadenet, CEO and founder, Girlgaze

“A stunningly portrayed compelling perspective and peek into a young woman’s life struggling to find her own path.”
—Chloë Grace Moretz, actress and activist

“I love how it portrays a culture with strong traditions, but with a modern protagonist taking her destiny into her own hands.”
—Crystal Moselle, filmmaker

What she won:
Fany will shoot a video for THEOUTNET.com with a minimum production budget of $40,000 with at least 5% of the total approved cost to be paid to Fany as her fee.


Q.U.E.E.N.

Q.U.E.E.N.

Directed by Brittany “B.Monét” Fennell

What the director says:
Q.U.E.E.N. follows 16-year-old Imani, who struggles to find her voice,” says director Brittany “B.Monét” Fennell, 27. “Through self-discovery and a little bit of courage, she faces her biggest fears at a rap battle.”

What the judges loved:
“I love the raw talent the girl demonstrates while exposing the harsh truth that not every battle can be won.”
—Bela Bajaria, vice president of content acquisition, Netflix

“It crackles with personality and originality while it takes us on an emotional journey in such an impressively short amount of time.”
—Shonda Rhimes, writer, producer

“B.Monét manages to break my heart in two and a half minutes with the moving mother-daughter relationship at the core of this piece.”
—Jill Soloway, artist

What she won:
Brittany “B.Monét” Fennell will shoot a LuMee video with the theme “2 Sides to Every Story,” using LuMee lighting and a minimum production budget of $5,000, with at least 10% of the total approved production cost to be paid to Brittany.


Pocket-Sized Feminism

Pocket-Sized Feminism

Directed by Valerie Schenkman

What the director says:
“The spoken-word piece ‘Pocket-Sized Feminism’, by Blythe Baird, felt like a rally call,” says Chilean American director Valerie Schenkman, 30. “This documentary shows women reading the poem to camera paired with footage from the D.C. Women’s March. It shows that women will mobilize to speak their truths.”

What the judges loved:
“It touched on the issues women face, through the strong and relatable voices of our mothers, sisters, and friends.”
—Lilly Singh, entertainer

“It showcases our unity versus our division.”
—Regina K. Scully, producer, documentary filmmaker, and founder and CEO of the Artemis Rising Foundation

What she won:
Valerie will shoot a Birchbox promotional video with a minimum production budget of $5,000, with at least 10% of the total approved production cost to be paid to Valerie as her fee.


The Black Mambas

The Black Mambas

Directed by Jess Colquhoun

What the director says:
“I tell the story of Leitah, a 23-year-old mother who is part of the South African anti-poaching unit The Black Mambas,” says director Jess Colquhoun, 24, of the documentary. “I was in awe of the fact that night and day, rain or shine, these group of unarmed woman act as the park’s ear and eyes to any sign of danger.”

What the judges loved:
“Having been to the bush in Africa, I found it captured the beauty and power of the women who protect it.”
—Jada Pinkett Smith, actress, producer, and activist

“The Black Mambas shows brave women doing what women can do.”
—Sheila Nevins, president of documentary films and family programming, HBO

“She reflected a rarely seen point of view on an untapped storyline.”
—Victoria Mahoney, director

What she won:
Jess will shoot a 2018 Glamour Women of the Year-related video with a minimum production budget of $5,000, with at least 10% of the total approved production cost to be paid to Jess as her fee.


About #NewView
These incredible films were selected from more than 800 entries. In addition to receiving a $3,000 prize, our winners will be directing short films
for our #NewView sponsors Birchbox, LuMee, THEOUTNET.COM, and South Coast Plaza as well as Glamour. The Utah Film Center also awarded each honoree $5,000. Special thanks to our entrepreneurial adviser, Katia Beauchamp, and all of our judges: Amanda de Cadenet, Amandla Stenberg, Bela Bajaria, Chloë Grace Moretz, Cindi Leive, Crystal Moselle, Dawn Ostroff, Dee Rees, Ellen Kuras, Geena Davis, Gia Coppola, Inez van Lamsweerde, Jada Pinkett Smith, Jill Soloway, Kimberly Peirce, Lilly Singh, Rashida Jones, Regina K. Scully, Sam Taylor-Johnson, Sharmeen Obaid-Chinoy, Sheila Nevins, Shonda Rhimes, Tracee Ellis Ross, Victoria Mahoney, Zendaya.



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