co executive producer
Ellen Pompeo On New ‘Grey’s Anatomy’ Deal, The Show’s End Game & Legacy And Her Post-‘Grey’s’ Future – Q&A | DEADLINE
By Nellie Andreeva

Grey’s Anatomy star Ellen Pompeo has signed a new two-year deal with ABC Studios, the studio behind the long-running ABC medical drama, paving the way for two more seasons — 15 and 16 — of the venerable Shonda Rhimes series. In an interview with Deadline, Pompeo talks about her decision to continue on Grey’s, the show’s success and new creative direction, will Seasons 15 and 16 be Grey’s final chapters, and is she planning to act after the ABC series is over.

Pompeo, who plays Meredith Grey on the show, also talks about Grey’s legacy of featuring strong female characters and introducing well developed gay characters on TV and about expanding into producing and directing (as part of her new deal, Pompeo is becoming a producer on Grey’s Anatomy and co-executive producer on the upcoming Grey’s Anatomy spinoff, and she also has been directing on Grey’s). Pompeo, who is poised to become the highest paid actress on TV with the new deal, earning more than $550,000 an episode, also discusses her relationship with Rhimes and whether she would want her kids to watch Grey’s when they are older.

DEADLINE: You’ve been on Grey’s Anatomy for 14 seasons and just committed for at least two more. What convinced you that there’s more life in the show and more story to tell about Meredith?
POMPEO: Well, we have a brand new writer, who’s not brand new. She was one of the original writers, she was on the show the first seven years, her name is Krista Vernoff. She left for six years to go work with John Wells and do Shameless, and when Shonda decided to step away and go to her Netflix deal, she enlisted Krista to come on and run the show. Krista is a brilliant writer, so I was really excited of having a whole completely new fresh voice to write the show. We’ve completely retooled the writer’s room which is amazing.

The show is very, very successful monetarily around the world, it makes a ton of money for everybody, and the kids, the new generation, they absolutely love it. I think there’s something like 200,000 streams of the pilot a month on Netflix, these are people downloading the pilot for the first time. The show’s hugely successful for Disney, for ABC. So everybody’s incentivized to keep it going.

It’s not like a season 14 show with not good numbers, it’s the number one show on the network this year. So we’re all just sitting back laughing, saying, “How long can we keep this going at this level?” We’re almost in a competition with ourselves now.”

DEADLINE: Do you envision Seasons 15 and 16 as the final chapter, or could Grey’s go beyond that?
POMPEO: I’ve been saying since season one, “We have two more years.” This show, it’s taking on a life of its own, and who knows? We take it season by season really.

DEADLINE: Did you have a conversation with Krista before you closed the new deal about where the show will be going creatively?
POMPEO: Yes. The show was getting very procedural in nature. Krista is such a great character writer, and she’s just elevated the quality of the writing 100 fold, it’s remarkable. The show is a lot smarter, the writing is a lot smarter. The characters, there’s just a whole new fresh voice, and I love what she’s doing. Everybody does actually, the actors are so happy, they’re so energized.

It’s an interesting thing that happens with the show this long because we have these periods of low energy. We keep changing, either we change the actors or we change the writers, and every time we make changes, which is quite often at this stage now, it gives the show a new burst of energy.

DEADLINE: You are now Producer on the main show and Co-Executive Producer on the spinoff. Do you go to the Writer’s Room? How has your role evolved, and how much say do you have on both shows?
POMPEO: Оn the spinoff, I don’t have a lot just because they’re in their early stages, sо it’s really the network and the studio with Stacy McKee developing what the show is going to look like. I’m kind of stepping back and letting them find the show, and if they need my help, I’m always available, and Shonda’s really good about reaching out to me and asking me to weigh in on certain things. Shonda has empowered me in a way that I don’t think many show creators do. It’s energizing, and I don’t want to let her down.

DEADLINE: Do you still stay in constant contact with Shonda? How involved is she in Grey’s since she moved to Netflix with a new deal?

POMPEO: Yes, I just spoke to her. I don’t know anything about her Netflix situation, but she’s busy, she has a lot going on. She’s there when I call her if I need her. Debbie Allen, Krista and myself and Linda Klein is the Medical Producer, we’ve watched the house while Shonda’s somewhere else doing what she needs to do, and whenever she pops in, she pops in. Ultimately, she’s the boss, and she’ll always be the boss, but we’re happy to steer the ship while she’s away, and we have an incredible loyalty to her.

There’s a much bigger component to this, which is Shondaland, and Grey’s, we’re the engine piece that drives the whole Shondaland train. It’s a big responsibility, and we just want to be here for her, be with her to help her, and we have fun doing it. We’re incredibly lucky to be women in this business, doing what we’re doing. It’s been an amazing experience.

DEADLINE: Grey’s is a show created by a woman with a strong female character at the center, which was a rarity at the beginning. Now times are changing and women are being empowered to take charge, and you and Shonda have been very active in that movement. How does it feel to be on a show that has been blazing the trail, and does the current climate change the way you tackle the show?
POMPEO: It’s precisely why I stay on the show, because I think we were the beginning of the movement, and it’s taken us 14 years to finally get to this place. So that’s why it is so energizing for me to stay on it because, with this journey that we’ve made, you’re starting to see the results of the trails that we blazed 14 years ago. We’re now seeing the change that we contributed in creating.

It’s not over by any means, but we blazed so many trails: Shonda putting the first woman of color on television in 40 years (in a leading drama role, Kerry Washington on Scandal), putting some gay characters. I filmed a scene last night on the show with these two brilliant actors, and one of them was from North Carolina, and he says he was gay. He said he felt like an outcast in North Carolina as a young gay man. He watched Grey’s Anatomy with his parents, and it was the only thing that he could do with his parents to show them that he wasn’t a freak of nature, that he was normal. And watching Grey’s Anatomy with his parents really helped them to understand him and seeing that being gay wasn’t a bad thing. That helped him keep his relationship strong with his parents and helped his parents understand what being gay means and what the experience is. So it’s stories like that, that are just so moving. This show has been on the front of so many things between gay characters, characters of color, women. We’ve been doing this stuff for a long time, and I think we’re really happy that the rest of the world has caught up or is catching up.

DEADLINE: Now, are you empowered to push the envelope even more? Is the #MeToo movement somehow going to be reflected in Grey’s Anatomy?
POMPEO: No, it’s not about pushing the envelope. It’s really more about telling the stories of people who feel unheard, it’s really just telling stories about human beings that are underrepresented, human beings that are compromised, human being that aren’t treated fairly.

DEADLINE: Is this going to be your last acting job? You had said that you were not sure you want to act after you finish Grey’s. What are your personal ambitions – more directing, producing?
POMPEO: We’ll see. I know that I really like directing, and that my ambition is not to be an episodic TV Director for sure, that’s a very hard job. I’d love to direct a pilot. I really like producing, that’s really challenging for me. 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.

Acting, I don’t know. If the right role comes along, and it’s interesting, then never say never, but I do have three kids. I don’t necessarily want to travel around. Acting is a tough gig in itself, and you’ve got to travel. I wouldn’t say it’s my burning desire to go act in something else.

DEADLINE: What about activism? Is it something that interests you after the end of Grey’s?
POMPEO: I certainly don’t have a desire to be an activist as a title. I think that I do have a platform, I do have the audience of young people. So I just try to be a decent human being, and I try to speak out for those who don’t have as big a voice as I do, but to actually be an activist, no.

DEADLINE: What did you think when Patrick Dempsey left the show? There were some doubts that the show would be able to continue with Meredith as the sole lead but it’s done extremely well since.
POMPEO: Patrick had an 11-year run on this show. He had an incredible 11-year run, and it’s not for everybody to stay forever. Sandra Oh had a 10-year run. Sara Ramirez did a 10-year run. It’s unusual for people to stay on a show this long. So I completely understand when people have had enough. It’s really hard to do an hourlong drama year after year after year, it takes an incredible amount of stamina. I just stay because it works for my lifestyle, and I get to be a mom to my kids, and Shonda, like I said, has empowered me in a way where my role is much bigger than it was.

DEADLINE: When you were cast in the pilot, did you think that you would get to 16 seasons and this is a show that will make you the highest paid actress in television?
POMPEO: You never think TV shows are going to go this long. Of course not, never, and especially me, I don’t ever assume things like that. I assume tomorrow everyone’s going to hate us. You got to try, you got to stay humble. In this climate, if you make one false move in this day and age of Twitter, Instagram, media, you say one wrong thing, you’re done, you’re toast. So I just always try to stay present and humble and grateful and take each day as it comes.

DEADLINE: Where do you want to see Meredith’s journey end, do you have any idea how you want her story to wrap, regardless  how many more seasons the show goes on?
POMPEO: Shonda and I will decide when we end the show, and I think that Shonda will decide how the character ends her journey. That will be all Shonda Rhimes at this stage. Maybe that will change, but I think that until she says otherwise, until she says she wants Krista to decide, or me and Krista to decide, in my mind, she created this show, and it’s her right to end it however she sees fit whenever she sees fit.

DEADLINE: You have young daughters.
POMPEO: I have two daughters and a son.

DEADLINE: Do you want them to watch Grey’s one day?
POMPEO: My children are on set probably two or three days a week with me. My eight-year old has grown up on the show. She sits in the Director’s chair, she calls “Action.” She sees Shonda Rhimes and Krista Vernoff and Debbie Allen and Linda Klein and me making this show every day.

This show has been one of the most incredible gifts to give to my kids because they get to see all women in power, people of all colors in power and making decisions, being creative, having fun, working hard. I couldn’t think of a better environment for my children to be in. So yes, they will absolutely watch the show because it’s something that’s been much bigger than a TV show for so many reasons. I’m extremely proud of the show and everyone that has worked on it in the past, everybody who’s here now. It’s the beginning of a movement, and it’s so special to me for so many reasons. So I certainly hope they watch every episode twice.
The Flash, Supergirl boss Andrew Kreisberg fired after sexual harassment allegations

Andrew Kreisberg, executive producer on Supergirl, The Flash, Arrow, and DC’s Legends of Tomorrow, has been fired by Warner Bros. Television following allegations of sexual harassment against him, EW has learned.

Earlier this month, Variety reported 15 women and four men alleged sexual harassment and other physical misconduct by Kreisberg that ultimately created a toxic work environment. Kreisberg, who strongly denied the allegations, was initially suspended as Warner Bros. Television Group set out to investigate.

Kreisberg’s termination also marks the end of his overall deal with WB, while his name is slated to eventually be removed from the credits of the four shows. Though Kreisberg was an executive producer on all of the current CW superhero shows, he was more hands-on with The Flash and Supergirl. Both shows already have other co-showrunners in place: Jessica Queller and Robert Rovner on Supergirl and Todd Helbing on The Flash.

“After a thorough investigation, Warner Bros. Television Group has terminated Andrew Kreisberg’s employment, effective immediately,” Warner Bros. Television Group said in a statement. “Greg Berlanti will assume additional responsibilities on both The Flash, where he will work closely with executive producer/co-showrunner Todd Helbing, and Supergirl, where he will work closely with executive producers/co-showrunners Robert Rovner and Jessica Queller. We remain committed to providing a safe working environment for our employees and everyone involved in our productions.”

Berlanti Productions, Greg Berlanti and Sarah Schechter’s production company behind the shows, also issued a statement. “Warner Bros. Television Group recently concluded its investigation into the allegations against Andrew Kreisberg. We encouraged and supported this investigation, we believe and support the individuals who came forward, and we agree with the studio’s decision. Nothing is more important to us than the safety and well-being of all our colleagues — coworkers, crew and staff alike.”

I don’t necessarily mean that I was sad, but it’s an emotional moment for the character so I felt what he was feeling. For the real last day at work Dan and David weren’t there but [co-executive producer] Bryan Cogman called people in and said a few words and my son was there with me. That was quite something. And I got my mockingbird pin. I had already let them know I wanted it, and I cleverly worked it so I got two. There’s one from my cloak and one from my tunic. So I got the large and the small size — one for me and one for my son.
—  Aidan Gillen on his last day on set (x)

Voltron At San Diego Comic Con 

This year, the Voltron crew are taking over room 6BCF on Thursday, July 20, from 10:30 AM-11:30 AM. Join executive producer Joaquim dos Santos, co-executive producer Lauren Montgomery, and stars Bex Taylor-Klaus (Pidge) and Tyler Labine (Hunk), as well as Nerdist’s own Kyle Anderson (yes, that’s me) as moderator as we debut the first episode of season three for the audience and show and tell you a bit of what’s to come.  And a really cool thing? If you happen to have gone to NYCC last year and picked up the exclusive Voltron poster, the two join together to form the ultimate in lion-based artwork.

And if you sadly can’t make any of these things, or even if you can and you just want to get your grub on, then all con long, you’ll be able to head to PETCO Park’s Interactive Zone and hit up the official Hunk food truck, serving every paladin’s (least) favorite snack: Green Food Goo! Don’t worry, though; it’s actually real tasty. The truck will be open from 11am-6pm Thursday through Saturday and 11-5 on Sunday. And, for all other Voltron things, the Lion Forge Comics booth (#1903) will be giving away Black Lion masks (while supplies last), massive 22″x 34″ 4-Color posters (while supplies last), 4-color bookmarks and will be selling Voltron Legendary Defender Volume 1 which collects issues 1-5 of the miniseries

someone: how are you

me: Amazon Studios has put in development Cleopatra, a drama series about the famous Egyptian queen. The project hails from the Black Sails trio of co-creators/executive producers Jonathan E. Steinberg and Robert Levine and executive producer Dan Shotz. Written by Levine, Cleopatra is described as a revisionist take on one of history’s most misunderstood women, The Godfather in Ancient Egypt. After nearly losing her life in a bloody coup, Cleopatra must use her natural wit and political genius to take back her throne and restore honor to her family and kingdom. In addition to writing, Levine is executive producing alongside Steinberg and Shotz of Quaker Moving Pictures and Mary Beth Basile (Life Unexpected) of Basile Ring Entertainment.

Okay, but when the original Twelve Forever pilot came out, I remember hearing that Julia Vickerman suggested that Twelve might be nonbinary.

Considering that the show will be on Netflix, and is Co-Executive Produced by Shadi Petosky, a trans woman who also created Danger and Eggs, arguably the most LGBT-friendly children’s animated show out there, I’m really hoping that they’ll actually do it.

This is a picture of the Mirror’s October 10, 2017 article:

Does George Michael’s heartbreaking last interview reveal a key clue to his death last Christmas?

The former Wham! singer opened up on losing his first ever love and the death of his mum in tragic scenes

George channelled his heartache into an ongoing legal battle with his record label, Sony. He had felt his 1990 album Listen Without Prejudice Vol 1 was marketed poorly and accused Sony of “professional slavery”.

Lifelong friend and former manager David Austin, who was co-director and executive producer on the 90-minute documentary, said George learned that Anselmo was dying during the court case.

He says: “All these things happened at the same time. Obviously nobody knew, he hadn’t come out at the time. He was on the stand… he hadn’t come out, his boyfriend was dying, he was holding this close to his chest, which was just devastating for him.”

George lost his High Court battle in July 1994. “The whole thing was a complete waste of time,” he says.

Bought out of his contract by Virgin, his grief inspired the 1996 album Older, including his ode to his lost love, Jesus to a Child. But as George started to cope with his grief, he was dealt another devastating blow.

“I had about a six-month period where things were OK and then I found out that my mother had cancer.”

In December 1996, Lesley was told the disease was terminal and she was allowed home from hospital to spend a final Christmas with her family.

George was at her side for her final few days at London’s Charing Cross Hospital in February 1997.

“I was so spiritually crushed after mum died,” says George. “So crushed and felt so bloody picked on by the gods. For all of my adult life she was phenomenal. Terrible, horrible loss.” He admits he “hit rock bottom” in the following years, sinking to a new low from which he never fully recovered.

“I took it very, very badly,” he reflects. “I’d never felt that kind of depression. It was something different to grief. It was on top of grief, I was grieving for my mother still, but it was something else. It was the darkest time.”


What I found incredibly endearing was that throughout their entire time in the Framework, Simmons’ loyalty to Fitz never wavered. She always maintained that ‘The Doctor’ wasn’t who Fitz really was. She knew that the real Fitz was still in there somewhere and was determined to bring him home. After all that is done, when it comes time to address head-on what Fitz’s responsibility in all of this is, Daisy says to him that they’re all in this together. And without hesitation, Simmons chimes in that she agrees. Fitz may have some work to do on himself, but the end result is that Fitz and Simmons have been through so much that it’s not a question if they still know each other, but more how Simmons is going to get Fitz back to being the person she knows he really is.” -  Drew Z. Greenberg, co-executive producer of AoS
Viola Davis & Larry Wilmore Producing ‘Black Don’t Crack’ Comedy Set At ABC
How To Get Away With Murder star Viola Davis has teamed with Insecure co-creator Larry Wilmore for Black Don’t Crack, a multi-camera comedy, which has sold to ABC. Written and executive produ…
By Nellie Andreeva

How To Get Away With Murder star Viola Davis has teamed with Insecure co-creator Larry Wilmore for Black Don’t Crack, a multi-camera comedy, which has sold to ABC.

Written and executive produced by Insecure co-executive producer Regina Hicks, Black Don’t Crack is named after the popular urban phrase articulating the notion that African Americans’ skin does not wrinkle and ages slower than people from other ethnicities. It centers around three former sorority sisters who lost touch after college reunite during a pivotal point in each of their lives and realize that now that they are of a certain age sometimes it’s okay to crack and no one will be there for you like your sisters.

Davis and her producing partner/husband Julius Tennon executive produce via their JuVee Productions. Wilmore executive produces through his Wilmore Films. ABC Studios, where JuVee and Wilmore Films are both under overall deals, is the studio.

“Viola and I are inspired by Regina Hicks and to have Larry Wilmore EP is a dream,” said Tennon. “Seeing these three African American women who appear not to age but, to have challenges that we can all relate to and in a way, we have not seen before, will be a revelation.”

Voltron Legendary Defender At WonderCon 2017 

Fans should come to the panel expecting two things: 1) the opportunity to ask your own burning questions, as there’ll be a lengthy Q&A sesh toward the end, and 2) to get their hands on an exclusive piece of art, made specially for those in attendance. Wanna take a look?

Executive Producer Joaquim Dos Santos, Co-Executive Producer Lauren Montgomery, Story Editor Tim Hedrick, and cast members Jeremy Shada (Lance), Josh Keaton (Shiro), Bex Taylor-Klaus (Pidge), Tyler Labine (Hunk), and Kimberly Brooks (Allura). Together we’ll talk about the second season, go deeper into some of the season’s big reveals, and reveal the favorite moments and episodes.

'Once Upon a Time' First Look: Hook's Wedding Suit - Plus, Colin O'Donoghue on Why Fans will Be 'Very Happy!'

Killian Jones has never looked so dashing!

We know that many Once Upon a Time fans are currently counting down the seconds until Hook and Emma tie the knot in the upcoming musical extravaganza. (FYI, it’s only 1,209,600 seconds away.) So we’ve got something that is going to curb your Captain Swan cravings!

ET has your first look photo of Hook looking oh-so dashing in his wedding tux, plus exclusive details from set about how this velvet suit was selected, and why fans are going to be “very happy” with Emma and Killian’s journey down the aisle.

“I think I can probably credit [Once Upon a Time showrunner] Eddy [Kitsis] for this look,” star Colin O'Donoghue dished of his suit to ET during a joint interview with Jennifer Morrison on Once’s Vancouver set last month. “We were going to go in a different direction and Eddy was like, ‘It has to be black velvet!’ So that’s it – it’s black velvet.”

“It’s really soft though,” the 36-year-old actor added with a laugh.

Kitsis further explained to ET that he and co-executive producer Adam Horowitz had a very specific vision in mind when it came to Hook’s look.

“Adam and I both thought that Hook needed to have a tux that reflects his personality, so you can’t go from leather to just a basic tux,” he revealed. “We felt like he had to have a little edge to it so the velvet felt like the Hook-version of fancy.”

When asked if he feels “suave” in his wedding attire, O'Donoghue was bashful with his response. “I guess so,” he chuckled. “I hope it looks OK.”

“You look amazing!” co-star Jennifer Morrison chimed in while looking dazzling herself in her intricately laced wedding gown. “He’s been getting a little jealous about all of the attention the dress has been getting, so I’m trying to butter him up a little bit about his velvet jacket.”

While Morrison hopes that “brains explode” when Captain Swan fans finally witness Emma and Killian’s vows to one another, O'Donoghue was a bit more sentimental with his predictions.

“I think that they’ll be very happy,” he said. “Because even to get to this point in this season, they’ve had such ups and downs. So to get to this place, within the realm of what’s about to happen to them and all that kind of stuff, is pretty impressive.”

O'Donoghue continued, “They’ve just decided that, 'You know what? We love each other, we want to be together and now is the time to do it.’”


Confirmed majetes: TMNT 2012 will end later this year with season 5

The kid network will be rebooting its current CG “Teenage Mutant Ninja Turtles” series as a 2D animated series with the title “Rise of the Teenage Mutant Ninja Turtles” (working title) ,  26 episodes of the 2D reboot to air starting in fall 2018.

“The Turtles is a property that has reinvention in its DNA, which keeps it fresh and relevant to every new generation while satisfying the demand from its adult fans,” said Cyma Zarghami, president, Nickelodeon Group. “’Turtles’ has been an incredibly important franchise for us since we reignited it five years ago, and we’re excited for the new series to take the characters in a different direction with more humor, a younger and lighter feel and all-new dimensions to explore.”

The new 2D series is co-executive produced by Andy Suriano (character designer for the critically acclaimed Adult Swim series “Samurai Jack”) and Ant Ward (supervising producer, current “Teenage Mutant Ninja Turtles”) at Nickelodeon in Burbank, Calif.

10:30 AM - 11:30 AM - DreamWorks Voltron: Legendary Defender, a Netflix Original Series

Official Description - Zarkon has been defeated and Shiro is nowhere to be found. Without a pilot for the Black Lion or the ability to form Voltron, the team must quickly devise a plan, as the ascension of Prince Lotor pulls them into a perilous game of cat and mouse. Executive producer Joaquim Dos Santos, co-executive producer Lauren Montgomery, Bex Taylor-Klaus, and Tyler Labine debut the first episode of season 3 of the Netflix original series DreamWorks Voltron: Legendary Defender. All attendees will receive an SDCC-exclusive poster created by the Voltron crew. Room 6BCF

We had to embrace the fact that there would have to be things that were left unsaid and were going to have to exist in subtext and performance and context in order for it to be honest. That felt right. There is, at least to me when I watch it, a significant amount happening between [Silver and Flint] that is all under the surface […] We relied on the audience a lot to fill in those blanks and go on the ride with us.

I know Captain Flint’s name. My father’s mentioned it in his letters. He says Captain Flint is the most wicked of the New World pirates. That he’s evil.

[Abigail Ashe] is a very innocent set of eyes that Flint really desperately wants to be redeemed in, and wants to be seen as his best self in. – Jonathan E. Steinberg, Co-Creator/Executive Producer
Harry Styles' successful Saturday Night Live solo appearance a Sign of the Times to come
Traditionally, America uses the musical guest performances on Saturday Night Live as an opportunity to take a bathroom break.

“In the same way the show always rolls out the red carpet for frequent host and musical guest Timberlake, Harry Styles was all over this episode. He popped up in the opening moments of host Jimmy Fallon’s painstakingly choreographed singalong to David Bowie’s Let’s Dance. He displayed decent comedy chops impersonating Mick Jagger in a Family Feud skit – where  he made a meta-reference to the madness of walking away from a successful band One Direction to go solo – and threw himself into the role of a singing Civil War soldier in a subsequent sketch. 

Halfway into the show, he stopped being funny and dealt directly with the lingering question of whether he could stand on a stage without conjuring up sad memories of his missing bandmates. A matter of seconds into his performance of Sign of the Times, all doubts were erased. He looked dapper in a bold plaid double-breasted suit. He oozed charisma and whether you think the song is an instant classic or a decent tune that’s been dragged kicking and screaming into passing for an anthem, he and his back-up musicians tore into it like it was his Greatest Hit. Actual Americans reacted to the performance with enthusiasm. ‘Finally, a British rock star,’ gushed Lori Majewski, host of Sirius XM’s daily music talk show, Feedback. ‘He blew me away. His hair. His suit. The song. He’s the anti-Ed Sheeran.’ Cherry Chevapravatdumrong, co-executive producer of Family Guy and a ride-or-die One Direction superfan had previously pronounced herself `meh’ on the song. Last night changed that meh to a wow. ‘He sounded amazing. He opened with the same kind of power he used to close Drag Me Down with and then built from here. He left it all out on the field and he still has another one to go!’ 

The second song, Tell Me Something proudly displayed its Seventies folk-rock roots, and saw Styles strumming a 12-string guitar and displaying a gift for harmonizing with his bandmates that wasn’t always evident in the 1D era. ‘It’s pretty and calm, but also a smidgen not calm,’ noted Chevapravatdumrong. ‘I want to listen to it while walking through a field that is mostly grass but also some flowers.’

Lori Majewski has no doubts that Harry Styles, solo artist, is standing on the precipice of massive stardom. ‘He brought out the cougar in me and he’s going to do the same to every woman in America.’ Maybe she’s right. Or maybe Styles’ appeal will remain limited to grown-up One Direction fans.  The only conclusion that can safely be drawn at this juncture is that Harry Styles SNL performance put him much closer to the Adele category than the Ashlee Simpson one.”