He’s gone. That’s the point, isn’t it? He’s gone, and I’m here. Everything looks different now. It feels so…different. I’ve lost him. Everything changed, and now it’s… It’s hard to accept it. He’s gone. He’s just gone. And there’s no getting him back.
Austin McKenzie to star as LGBT rights leader in new ABC miniseries by Gus Van Sant and Dustin Lance Black
The 22-year-old, who recently starred as Melchior Gabor in Broadway’s Spring Awakening revival by Deaf West Theatre, will portray young activist Cleve Jones, who joined the gay liberation movement in
1972 with pioneer gay rights leader Harvey Milk.
The highly anticipated project, titled “When We Rise,” marks a reunion for director Gus Van Sant and writer Dustin Lance
Black, who worked together on the Oscar-winning “Milk.”
Also starring in the miniseries are Emily Skeggs (Medium Allison in ”Fun Home”) as women’s rights leader Roma Guy, Mary-Louise Parker as the older Roma Guy, and Guy Pearce as the older Cleve Jones.
How 13x17 should have ended between Owen and Amelia after their fight in the stairwell. As Amelia goes to leave Owen speaks and tells her everything that’s been building up inside him.
“Amelia don’t go, please. I need you to understand, I need you to know. I love you, I am so in love with you. I have never fallen as quickly for someone as I did for you. It was like you knew me and understood me, without having to ask. That’s why I always felt weird asking you out on dates, I felt like we were already past that. Past the ‘get to know you’ stage. It was just the way you looked at me; you knew and understood, you never judged and you never held anything I did or said against me. When you got angry at me and said that we should have kept our personal and professional relationships separate, I was hurt and mad and I walked away. I should never have walked away. I regretted it the minute I said it when I called us a plane-crash. We’re not a plane crash, we never were and we never will be. I promise you that Amelia. You are everything to me. I never needed to hear you say ‘I love you’ because I could tell you were in this as deeply as I was, as I am. That’s why we kept on coming back together. No matter how long we were apart something brought us back together, I’ve always had faith in that.”
“He’s g o n e. That’s the point, isn’t it? He’s gone, and I’m here. Everything looks different now. It feels so…different. I’ve lost him. Everything changed, and now it’s… It’s hard to accept it. He’s gone. He’s just gone. And there’s no getting him back.”
Shonda Rhimes wasn’t looking to make another show, much less a weekly political statement, when her longtime producing partner Betsy Beers insisted she sit down with famed Washington, D.C., crisis manager Judy Smith. That changed before the meeting was over. Smith’s sordid tales of her years as a Beltway fixer — she has counseled clients from Monica Lewinsky to Michael Vick — inspired the Grey’s Anatomy creator to launch Scandal. The 2012 ABC series, which cemented Rhimes’ status as one of the most bankable creatives in Hollywood, became one of TV’s first social media darlings and still ranks as a top five broadcast drama (8.9 million weekly Viewers) in its sixth season. But Scandal’s contribution is much greater than hashtags and happy advertisers. Casting Kerry Washington as the lead in the political soap made her the first black woman to topline a drama in 37 years, a depressing superlative that helped launch the ongoing dialogue about inclusivity in entertainment. Viewers tuned in for the onscreen steam between Washington’s Olivia Pope and the married President Fitzgerald Grant played by Tony Goldwyn, and they stayed for hot-button commentary on Black Lives Matter, gun control and Planned Parenthood. Now, as the show airs its 100th episode April 13 in the era of Trump, nearly 20 of the real-life gladiators involved in Scandal share what happens behind the scenes as its outspoken creator works to reflect America’s political uncertainty — even if that alters the ending she long has had in mind.