1102tvfem – Page 2 – English 1102: Television and Feminism

In Review Topic 2

Sarah Tapscott is credited with writing the episode “The Hike” in season 6 of New Girl. She has written 41 episodes of New Girl, including the entire 6th season.

The show begins with Jess and Robby being very cute and couple-y and doing things such as saying the same words at the same time, telling inside jokes, and finishing each other’s sentences while getting ready for their hike. Because they are so similar, it sets a very suspicious mood and foreshadows their discovery at the end of the hike. The dialogue was planned this way to show how close and similar they are.

Schmidt and Cece are planning a house party, and they are quite stressed about it. Schmidt makes external references to Groudhog day, calling himself Andie MacDowell because he feels like he has been through this before. They then have flashbacks and begin reflecting on what the “cool” parties were like when they were a kid. These memories were a great use of writing to further characterize Schmidt and Cece and how they handle problems.

When the party begins, dialogue is very important to Winston. Each word he says and story he tells is pretty strange, and this dialogue was chosen to show his nervousness for meeting Ally’s parents. When Ally arrives, there is a large silence that builds apprehension for the surprise. However, there is situational irony because Ally is actually not excited to see her family at all. Ally gets into a fight with her sister because she tells Ally that Winston is “good for her,” which is offensive because it makes it seem as though she needs a man.

A fun cousin hike

Now back to Jess and Robby. They are hiking and realizing just how similar they are. Then, they come to the conclusion that they are actually 3rd cousins. This is a huge plot twist and dramatic turn, as they are dating. I believe it was the writer’s way of breaking them up so that Jess and Nick can be together. Shortly after in the episode Jess comes to the party with a bag of raisins because she doesn’t like them in the Trail Mix. And it just so happens that Nick loves raisins and wants to eat them. This clever writing trick of bringing them together shows that sometimes opposites attract and foreshadows their future.

Visitation

By Adhav Arulanandan

In Review Topic 6

In my first blog post I mentioned that I chose to write about Orange is the New Black due in part to the excellent job the show’s writers do with character and plot development throughout the season. As the season progresses, it gets more and more clear that the relationships Piper Chapman has with people outside the walls of Litchfield are becoming tenuous. While there have been hints since Episode 1, Episodes 5 and 6 are the first in which there are obvious signs of distrust and frustration between Piper and her friends and family. For this post, I’ll be focusing on Episode 6, “WAC Pack.”

In Piper’s first appearance in this episode, she is being visited by her mother Carol, who has already been set up to be a judgmental and distant character. We see both in the interaction between the two. Carol starts off mentioning an event from Episode 5, in which Piper goes chasing after a chicken and leaves Polly hanging on an important business call. Carol does not understand what occurred there at all, and questions Piper’s mental state.

I, personally, believe the chicken was real.

This is one major reason that Piper’s relationships are being tested: a lack of understanding of the world inside the prison. Time flows a lot faster outside Litchfield, and in terms of everyone else’s fast-paced lives, Piper is seen as slowing them down. This is especially true in terms of Piper and Polly’s budding business. Piper wants to contribute as much as she used to, but with all of the obstacles in the way, Polly is doing more are more on her own. This leads to a rift between the two best friends as well, which is only partially patched up by phone call in this episode.

But it is Piper’s relationship with her fiancé Larry that appears to be breaking down the fastest. There is clear distrust between them, and they have not been honest with each other, with Piper failing to tell Larry about Alex being in prison with her, and Larry falsely telling Piper that Alex did not name her in the indictment in a misguided attempt to keep them apart. This comes to a head in Larry’s visit later in the episode, where Piper and Larry have a brief fight about Larry wanting to write an article about Piper being in prison.

Works Cited: “WAC Pack.” Orange Is the New Black Wiki, orange-is-the-new-black.fandom.com/wiki/WAC_Pack.

One-Night Stands and Messed-Up Plans

By Wendy Yao

In Review Topic 3

Even before watching episode thirteen of New Girl, I had planned to write a blog post about this episode because I was expecting changes in color schemes to match Valentine’s Day as described in the title of the episode. While I was disappointed by the lack of festivity, there is still plenty to talk about regarding the visual design of the episode and the show as a whole.

When your night isn’t going as planned

New Girl continues to stay upbeat while keeping viewers up-to-date with the daily lives of the main characters. The color scheme of the show generally matches the tone with warm hues that are comfortable and cheery and is usually shot with quick cuts, often shifting camera angles in line with changes in speakers. For instance, there’s soft lighting and brown tones in the furniture and decorations when the camera is focused on Nick and his girlfriend Julia. During Schmidt’s and Jess’s conversation about their Valentine’s Day plans, the camera angle switches to focus on who is talking in the conversation. After the initial warm, earthy tones set in the shared apartment, the color scheme of the episode takes a darker turn to match the time of day and later, Schmidt’s dark mood at being forced to be the third wheel and driver for Jess’s one-night stand.

The darkness makes the abrupt transition to bright office lighting even more jarring as the episode transitions to focus on Nick and intern Cliff (and Julia, in between her phone calls with Ming). While the surroundings are now better lit, the mood doesn’t change much as the lighting lacks warmth and hominess. The only person somewhat enjoying Valentine’s Day in the group of four is Winston who has unwittingly joined Shelby and her girlfriends for a relaxing night in. While Winston is initially disgruntled, he fits in seamlessly with the girls, which the visual design of the episode demonstrates through cheerful, festive lighting and colorful reds. Before the cut to Oliver and Jess, the camera zooms in on Shelby’s face to show how impressed and touched she is with how well Winston has integrated with her girl group.

In this episode of New Girl, the color scheme and lighting match well with the plot of the show and the mood that the show is trying to convey. The visual design provides hints for the audience regarding when things are going well or poorly for the main characters and various experiences with romantic relationships during the evening of a day focused on romance and love. As almost always with New Girl, the episode ends optimistically, though with suspense, showing a scene of the morning after when Cece has hooked up with Schmidt while Jess had narrowly dodged that bullet (and awkwardness) the night before. The audience is left wondering what will happen next as it appears to be the calm before the storm.

The Silence of the Friends

By James Fan

In Review Topic 2

In season 1 episode 15 of New Girl titled “Injured” written by Nick Adams, Berkeley Johnson, and Josh Malmuth, Jess’ friend Nick goes through a crisis of identity when he finds a possible cancerous lump on his neck. While the lump is ultimately harmless at the very end of the episode, the framing of this particularly thematically heavy episode exemplifies the way in which the writing and dialogue of the show as a whole drives both the development of the small circle of friends as well as the juxtaposition of real-world problems with the series’ distinct brand of humor.

The gang shares a tender moment with Nick

The general delivery of jokes and one-liners remains consistent with other episodes, where a character starts a seemingly ordinary thought and concludes their sentence with the punchline. However, it is oddly the few-second pauses in the characters’ speech that act as the most poignant moments out of the 20-minute episode. As the plot and humor are dialogue-driven, these pauses allow the audience to shift their attention away from the progression of events to the details of the characters’ behavior, thus providing an insight into how these friends deal with such a high stress situation: the respites from the friendly teasing and jokes quickly reveals the underlying sadness, worry, and anxiety all 5 of them have for the well-being of Nick. Even after the lump is proven to be benign, the episode continues with intermittent pauses in the dialogue, thus further solidifying how the gang is still in the process of internalizing Nick’s near-death experience.

While the writing, pacing, and humor of “Injured” are all the trademark quality of the rest of the show, the moments of silence in this episode provide the central moments from which the characters are able to develop. When it comes to the writing and dialogue, Adams, Johnson, and Malmuth ultimately demonstrate the potency of writing nothing at all.

Netflix. “New Girl S1:E15 ‘Injured’.” Online Video Clip. Netflix. Netflix, 2018. Web. 6 Nov. 2018.

Car Sales(wo)men

By Landon Eisenhut

One of the greatest strengths of The Middle is its balance in representation/emphasis of characters. Since the show is derived from the story of a Midwest family, fittingly the main role highlighted is the mother. The sequence of events is often correlated with Frankie Hess, and the show does not fail to portray her dynamic character qualities. Although three of the five family members are male, The Middle focuses on the mom’s perspective with the frequent use of commentary.

In regard to occupation, The Middle defies the commonality our group discovered during our gender representation analysis. Rather than stressing Mike’s job, the show keeps most of the attention centered at the car dealership where Frankie is depicted as working hard for her family. This contrasts with the many ABC shows our group investigated for our project. The trend in these shows was to establish the male occupation as the main contributor to the family. The Middle rarely strays from its documentation of Frankie’s career, and it’s refreshing to be given this rather uncommon outlook.

It’s remarkable Frankie is able to manage all of the things she does for her family.

Outside of the Heck family, many of the characters are male, including Frankie’s workplace (Bob, her boss, etc.). However, these characters are typically very flat. In fact, one might conclude that the only truly progressive characters are within the Heck family. I see Frankie and Sue as more dynamic than the males in the family. Because of this, I do not see a notable imbalance in gender. Perhaps more male roles appear, but the divide among the main characters is equitable.

The representation by race in The Middle is atrocious, but one must acknowledge that the show takes place in the Midwest. From experience, I can attest that the show is accurate…like very accurate. As much as I support the widening minority roles to improve the accuracy of TV and movies, The Middle is not at fault for its cast. Also, by design, there seems to be a relatively uniform status across the show. Most characters appropriately fall into the middle class. This is essentially the basis for the show, as The Middle defines what is really important in life.

In conclusion, the authenticity within The Middle is translated to gender. I’ve thoroughly enjoyed watching the Heck family events pan out, told by the most influential family figure, the mother!

New Girl: Ruining Relationships

By Matthias Heyrman

In Review Topic 6

New Girl is a show that revolves around the concept of one woman living with 3 men without anything sexual between them, creating an awkward (but hilarious) relationship in which quirks of each sex gets compared mockingly to the other. There was a healthy dynamic between the characters that worked. However, the writers of New Girl had Jess and Nick kiss in Season 2 Episode 15, Cooler. This may seem romantic, and in the short-term, it adds to the awkward dynamic of New Girl as Nick and Jess try to hide it and move on. Unfortunately, longer-term messes with the dynamic of the characters.

The Kiss that ruined it all Se2Ep15

In a show, movie, cartoon… Whatever… adding a romantic interest between the emotional centre and the more unconventional and independent but favoured character is common. In a classic 5-man band seen in most modern media, this is especially common. Creating a passion between 2 characters that have a spark adds a narrative as their relationship is expanded and explored. However, this does not work as well in New Girl since the entirety of Season and most of Season 2 (yes, even after the kiss) is centred around the tribulations of the relationships of the loft-mates. This does not work as well if two of the loft mates are in a relationship with each other by the end of Season 2.

While I’m waiting for a gif to process, here’s an opinionated description of this plot development. There’s a plot issue. Jess originally joined the loft because she left her ex-boyfriend’s house when he cheated on her. While Jess and Nick as characters are describable as being rather irrational, there’s no logic in the two characters beginning a relationship when they already live together, as this should only lead to Jess having another break-up and having to find another place to live (poor… poor Cece).

Continuing the relationship conundrum: while I watched the show, my favourite part was guessing the characters’ next blunder in relationships. When it seemed that Winston had a stable relationship in season 2, it fell apart. I thought it was a good relationship arc that returned Winston to his original state of Single. Another example of a relationship that completes itself is Cece getting married to… Not Schmidt. The antics in Schmidt’s and Cece’s relationship drove an entire hilarious subplot for much of season 2, and watching Schmidt strive and fail to get Cece back later was hilarious. However, New Girl ended this when Cece was to get married, ending the entire, funny exchange.

Completing a relationship in a show can create an interesting new dynamic. In many cases, the show was teasing the relationship during most of its run, in which case the audience may be excited for the sudden appeasement of their shipping. But in a show like New Girl, which relies on the fact that the characters are individually facing problems that they need each other to solve, putting main characters like Jess and Nick together just bothers the dynamic.

Second Chances in Jessica Jones

By Matthew Ramberger

In Review Topic 4

Theme is very tricky in Jessica Jones. There is no underlining theme that applies to every episode or the whole series as a whole. However, there are certain episodes that have a theme that pushes the whole episode.

Today, I am going to analyze episode 8 of Jessica Jones. First of all, I need to give context about Kilgrave. He has the ability to command people with his voice, and he has used it to kill countless people and ruin countless lives. Jessica, the main protagonist, is living with Kilgrave, so he doesn’t kill any innocent people. In the middle of the episode, Jessica takes Kilgrave and makes him save two children from an abusive father. This makes Kilgrave and the entire audience think the theme is that “people deserve second chances”.

However, the show surprises the audience by having Jessica drug Kilgrave and lock him up at the end of the episode. This hits the audience hard and establishes the new theme of “doing good deeds doesn’t remove your past crimes”. All of the viewers thought that Jessica was going to teach Kilgrave to use his powers for good and be a superhero, but they shut that down very fast at the end.

Kilgrave trapped in cell

This theme helps relate to the show as a whole. It shows that no matter what good deeds Kilgrave does in the present, it doesn’t excuse all of his past murders and crimes. This also helps relate the show to modern law. You could save 1000 people after killing one person, but you would still go to jail for murder and be remembered as a murderer.

This creates a question about how are people redeemable. I believe some people should get second chances after doing a mistake. They should get the ability to redeem themselves and make good in the world. However, there is a certain point beyond return. People like Kilgrave, who have ruined and killed dozens of lives, do not deserve a second chance. It is hard to tell where the line should be drawn between a second chance and not, but some people deserve another chance to make the world a better place.

The Bold Type: When to be serious and when to take a break

By Evelyn Pike

In Review Topic 3

In most films and TV shows, there is only one, distinct main character. However, in The Bold Type, there are a few significant characters.

Jane, Kat, and Sutton are all best friends and have relatively conjoined lives in the show. When something happens to one character in the show, it is not long before the other women are by her side helping her through the issue. Yet, though they are seen together throughout many scenes in each episode, the writers and producers of the show still make time to capture the separate personal stories of each girl.

By following the girls’ lives in each episode and catching frames of specific events that are unique to each character the viewers are able to understand multiple smaller issues/ controversies brought to light by The Bold Type producers, while also, in the end, comprehending the big overarching theme that was present the entirety of that particular episode.

By piecing individual shots together the producers are able to create a cohesive storyline that the audience is able to follow, however also allowing for relief for the viewers when one topic becomes “heavy” or overwhelming.

The Bold Type - The Bold Type Is Nearly Here! Celebrate With Our Favorite Season 1 Moments - 1021

In this scene of “Carry the Weight,” there is a clear sense of serene seriousness when the viewers learn that Jacqueline is a sexual abuse survivor.

In the last episode of The Bold Type, Season 1 Jane is writing a story on the topic of sexual abuse survivors. Since this is a sensitive subject and can cause strong emotions within the audience of the show, The Bold Type makes sure to cut to different things happening within Sutton’s and Kat’s lives as well. This allows for some comic relief, while also expanding upon other issues facing women in America.

The Bold Type - The Bold Type Is Nearly Here! Celebrate With Our Favorite Season 1 Moments - 1020

This scene is just one example of how the show allows for comic relief.

The Bold Type is an empowering TV show meant to open the eyes of its viewers. The topics that it discusses throughout each episode is more times than not, topics that are not talked about a lot and can be considered delicate. In order to keep their viewers and ensure that people keep coming back and keep listening, The Bold Type has to be tactful in the way it presents each episode subject. They do this by giving the audience time to digest more serious topics brought up in the show during quicker shots of funny or less serious problems that the main characters face every day. Relatable in the way it portrays the women of the show as well as not being afraid to ask the real questions, that is The Bold Type.

From SNL to Portlandia: Fred Armisen’s Comedic Evolution

By Adam Lederer

In Review Topic 6, Uncategorized

Fred Armisen of SNL and Portlandia fame, smiling with vampire fangs at an awards show

Fred Armisen gained notoriety in the comedic sphere through his rise on NBC hit Saturday Night Live, being one of the longest running actors in the show’s lengthy history. In 2011, he ventured to independently create a comedy show with Carrie Brownstein called Portlandia – a show making fun of the culture in Portland, Oregon and offering unique comedic insights on American culture at large. With my final blog post, I will be analyzing Fred in his these two shows of his that are also what he is best known for.

Fred Armisen’s role as an actor on both shows was relatively similar. In both shows, Armisen played a variety of characters rather than just one, which expressed his comedic diversity and acting ability. On Portlandia specifically, Armisen even played both male and female characters. One of his most famous characters on this show was a female feminist bookstore owner who was supposedly one of the most “woke” in all of Portland. This is a character that is very much similar to one that Armisen would play on SNL, with multiple appearances on different types of sketches like “Weekend Update” or “The Californians.”

However, Armisen also evolved his comedy after leaving Saturday Night Live to act on his own show. One of the most notable differences between the two shows was Armisen’s insightful cultural comedy that was a product of him and Carrie Brownstein’s own writing. Armisen provided through his characters many satirical observations of the slow paced life in Portland, Oregon. Through a variety of characters, he would point out the absurdities of youth and Portlandish culture associated with it. In a way, the show is a whimsical look at adolescence as a whole. Armisen and Brownstein’s characters represent all of us in our youth, with an idealistic view of the world and how it works. Armisen is truly a great comedic mind, and I know that there is a lot of great cultural commentary left in him. It will be interesting to see what direction he takes next.

The Bigger Female Picture

By Justin Lau

After watching through most of the first season of Orange is the New Black so far, it’s safe to say there is a very diverse and intriguing representation of genders and how they clash with other categories such as sexuality and disabilities. The show starts off with Piper and her fiance, Larry. This show is mostly dominated by female characters, as the only male characters introduced in the show are Larry, the prison guards, and the alpha prison watcher. There are only two genders represented on the show being male and female, and no others present. As a result of so many female characters on the show, there is a wide variety of global categories distributed between.

For the male characters, they tend to all act dominant and controlling. Larry expects Piper to go into prison and come out bruise-free. He planned on marrying Piper originally, and didn’t realize that Piper would be faced with so many obstacles. Larry thought it was not fair for him, so he ended the relationship temporarily with Piper because of her struggles. With the prison guards like Porn-stache, they are all attempting to be alpha and controlling all of the inmates to do whatever they please. Most of the officers are especially rude and do not bother with treating the inmates with any sense of respect. All of them are heterosexual and act like typical gender stereotyped males.

For the female characters, they take on a wide spectrum of personalities and attitudes. Every female prison inmate has differing characteristics, whether it’s the way they act, their orientation, or upbringing. Most of the females in the prison are heterosexual and come from a significant other before going into jail. However, there are a select few that are homosexual, and several that have mental disabilities. It’s interesting to see the culture of religions, orientation, races, and attitudes clashed in the same department and how the inmates interact/react to each other’s actions. Overall, the situation of Piper and the obstacles she has to face encountering new environments every day makes the show constantly fun to watch.

Larry and Piper before Piper leaves for prison.

A Clear Indictment of the Prison System

By Lauren Garrett

On November 4, 2018

In Review Topic 4

The theme of Orange is the New Black is overwhelmingly obvious – the American justice system serves primarily to debilitate, not to rehabilitate. However, it is the portrayal of it, in showing the way that the prison appears to be helping but really is serving no beneficial purpose, that makes the message being portrayed a bit subtler.

The prison system serves only to punish and remove “undesirables” from society.

Listed in the prison’s budget are GED classes, fitness classes and healthcare. Yet, once money becomes a question, the administration cuts the GED classes and shuts down the track, limiting the “fitness classes” to a yoga class taught by an inmate. Counselors are on staff in name only, and they are anything but a friendly presence to their “patients”. Medical staff cut off Sophia’s (a transgender woman’s) hormones after they switch to more generic medications, putting her in a dangerous position both physically and mentally, and the doctors can only see inmates in cases of “emergencies”. These are all very clear examples of the prison attempting to look as if it cares for its inmates in case someone asks, but it turns out that they are wildly unprepared for the real world.

Although the prison has a law library that is accessible to inmates, very few understand the legal proceedings and even fewer yet can do something with that understanding. After the inmates learn that Piper is fairly literate, they all bring her their appeals that they have written for her to edit, since they cannot do it themselves, and she eventually exclaims in disgust that none of the women have a chance or “even understand how this system works”.

Throughout the show, multiple characters are released and then later return to prison, having had little way to survive. Tastee, a young, strong woman, tells her friends after being put back into prison that she had nobody, nothing and no way to get anything – at least in prison, she was fed and clothed. Although her friends get angry at her for sacrificing her freedom again, the argument is clear – after being in prison, the system casts its former inmates out in the real world to figure it out. Especially after long sentences, it is very likely that they are cut off from the world, their pre-prison life has moved on without them and they no longer have any idea how to make it. Their only option appears to be a life of crime again, which could either be profitable or put them back in jail, the only life that many habitual offenders have ever known.

By showing the prison’s agenda of pretending to care while showing the audience exactly how little they do, the writers of the show make it abundantly clear that they are indicting the prison system for failing to help the people it holds. Instead, it just collects individuals and profits off of them for as long as it can convince the public it is a good thing.

Writing the wrongs in Portlandia

By Adam Lederer

On November 4, 2018

In Review Topic 2

Carrie Brownstein and Fred Armisen, the minds behind cult hit Portlandia

Carrie Brownstein and Fred Armisen are two faces that were easily recognizable in the comedy scene prior to their creation of Portlandia, so when they joined forces to write a new show in 2011, many were buzzing with anticipation. Not after long, the show was already winning multiple awards, largely due to the writing efforts of Brownstein and Armisen. This blog post will be focused specifically on the writing of season 3 episode 3 called “Missionaries.”

The writing in this episode is credited to both Brownstein and Armisen. They are also the lead actors in the show, which makes their command of their characters masterful, as they know exactly how the dialogue was intended to be portrayed. The core plot of this episode is that the mayor of Portland is asking Fred and Carrie to pull some more residents into Portland from rival city Seattle. They go about this by doing missionary type work, spreading the good word of Portland. The writing is very meticulous at parts, getting across the key point that there must be a parallel drawn between what they are doing and actual missionary work. For example, they say stuff like, “have you heard the good word of Portland,” or “have you considered accepting Portland into your life.” These comedic parallels are great writing, striking at the point that people often go about working very hard on certain tasks where if they were to step out of the box and think critically for a brief moment, they would understand the absurdity of what they are doing.

Furthermore, they get to the personality of Portland through this comedic writing through statements like, “Men, bring your bass guitars.” The dialogue is structured in such a way that there is much snarky back and forth that adds to the comedic nature of the show. Overall, it is a very funny episode with lots of great writing that I would highly recommend.

Gender Representation in Crazy Ex Girlfriend

By Alexandra Jungreis

On October 30, 2018

For a show that is largely focused on two female characters, Crazy Ex Girlfriend sure does have a lot of men. This may seem like an obvious conclusion, as the show is mostly about the romantic travails of the straight female main character, but the abundance of male characters isn’t just limited to Rebecca’s boyfriends. In Rebecca’s work, the only character that has any depth and storyline (aside from Paula, who doesn’t really count since she is the other main character of Crazy Ex Girlfriend) is her male boss, Darryl. While Darryl is bisexual, making him a type of male character that doesn’t get enough representation, the females of the office consist of neurotic Karen, whose defining trait is that she talks too much about her personal hygiene, and Mrs. Hernandez, who is literally mute. Neither of those women get any real character development or insight, whereas Tim, one of the most bland annoying white men ever seen on the silver screen, gets a whole subplot related to his deep dark secret of being an illegal (Canadian) immigrant. Most of Rebecca’s friends are men as well: While she does eventually strike up a real friendship with her neighbor Heather, she spends most of the first couple of seasons attempting to be friends with White Josh, Greg, Hector, as well as two other bros that are so bland I can’t even remember their names as I write this.

This discrepancy isn’t limited to Rebecca’s life, either. Though two mothers are introduced (Mrs. Bunch and Mrs. Chan), and Rebecca’s mother gets one hell of a mother-daughter episode, the parental figures with the most real impact are the fathers. Greg’s father is the reason why Greg stays in West Covina, gives him relationship advice, and ultimately provides him with the means to escape California. Never an explosive figure like Mrs. Bunch, Mr. Serrano is nevertheless a constant presence whose character has more influence on the outcomes of the show. In contrast, Rebecca’s father Mr. Bunch manages to have more of an influence and development than his ex wife though having just a fraction of her screen time (which is already limited). Through flashbacks, we learn about the complicated father figure he was and how his influence continues to sway Rebecca into so many decisions throughout the course of the show. Both father figures certainly fare much better than poor Mrs. Chan, who is reduced to a traditional mother who loves the idea of her son moving back in, and who can always be counted on to do the cooking for family events. In the end, through her role as a conduit from Rebecca to Josh, it is how she is influenced by the main characters than her influence on them that really defines Mrs. Chan.

I find myself left with the question, why does Crazy Ex Girlfriend fall so short in female representation after breaking so many feminist boundaries?

“Oh my goodness, I get a line that isn’t about Josh or cooking??”

Women Rocking at Grey’s Anatomy

By Daniela Larranaga Fajardo

On October 30, 2018