Now on its 20th season, Grey’s Anatomy is a genuine TV juggernaut. TV has changed dramatically since the show premiered in early 2005, but it continues to draw a solid viewership, even if it no longer reaches the impressive peaks of the early seasons. A key part of Grey’s Anatomy’s enduring appeal is its powerful, emotive storytelling. The series is a real tearjerker, with a knack for bringing up all the feels with devastating storylines, solid acting, and, of course, its signature use of sad pop songs.
At times, this recipe veers into melodrama, and Grey’s Anatomy can be quite soap opera-ish but, overall, the show continues to be impactful. The writers know what the viewers respond to, and they’re more than happy to deliver it. Indeed, it sometimes seems as if they take sadistic glee in putting the audience through the emotional ringer. These are the episodes that do it best; they’re bound to have the viewer reaching for the tissue box.
“Drink it in. ‘Cause this is it. It might all be gone tomorrow.” Season 5 was one of the show’s strongest, all the way up to this finale. Various subplots intersect, with the characters dealing with their own challenges and dramas. For instance, Arizona (Jessica Capshaw) offers Bailey (Chandra Wilson) a pediatric fellowship, but Bailey hesitates because her husband, Tucker (Cress Williams), threatens to leave if she accepts. Then, of course, George O’Malley (T.R. Knight) causes a stir by announcing that he’s joining the army.
The episode then pivots when a badly disfigured, unidentified man is brought into the hospital. He’s fighting for his life after throwing himself in front of a bus to save a woman. Meanwhile, Izzie’s (Katherine Heigl) heart suddenly stops after her surgery. The show reveals that the injured man was, in fact, George, before ending on a cruel cliffhanger. We don’t know whether George or Izzie has pulled through. The writers really go for the jugular with this one, cutting to black just when the stakes are at their absolute peak.
“I do not stand here, on my wedding day, optimistic or full of hope.” This episode was one of the most bruising for fan favorite Cristina Yang (Sandra Oh). It’s her and heart surgeon Preston Burke’s (Isaiah Washington) wedding day, but it doesn’t end in a happy ever after. Instead, Burke realizes that he has forced Cristina to change, and that he doesn’t love her authentic self. He abruptly walks out and vanishes, leaving Cristina distraught, and just as caught off-guard as the viewer.
This was certainly a left-turn for the story, which came as a result of ABC deciding not to renew Washington’s contract. Consequently, it feels a little jarring and unnatural given Burke and Cristina’s story up til that point, but the show mostly makes this work. It’s certainly a sad hour of TV, especially during Cristina’s moments of panic, like when she freaks out about having “scrubbed off” her vows.
“Mom, if you’re ready to go, it’s OK.” “Fight the Power” was the show’s most intense portrait of the COVID pandemic and its toll. When a surge of COVID cases strikes an assisted living facility, Bailey’s mother (Bianca Taylor), who also battles Alzheimer’s, is brought to the hospital with an advanced infection. Bailey is rocked by the news that her mother’s chances of survival are slim. Seeking solace, she turns to Maggie (Kelly McCreary) and finds support from a bedridden Meredith (Ellen Pompeo) before bracing herself to bid farewell.
Bailey’s final moments with her mom are tender and heartbreaking, especially since they were relatable and far too common. The gut punch is the scene where Bailey sings “My Girl” to calm her agitated mother. Webber (James Pickens Jr.) provides emotional support, prodding Bailey to say goodbye before it’s too late. Restrained writing and wonderful performances add to the impact, making it one of the more authentic character deaths on the show.
