Shonda Rhimes Ascends the Throne: TV’s Most Powerful Showrunner on the Future of ‘Bridgerton’
It’s well known that in her decades-long career, Shonda Rhimes — the writer behind such television sensations as “Grey’s Anatomy,” “Scandal” and “Bridgerton” — has smashed pervasive racist-casting tropes, and in doing so, changed the literal face of TV, whether that meant having “Scandal” revolve around Kerry Washington’s antihero Olivia Pope or elevating Regé-Jean Page to thirsty heights as a Black duke in Regency England on “Bridgerton.”
What’s talked about less is how Rhimes has changed the way people speak. Any parent of a teenager who’s heard the derisive usage of “pick me” from Meredith’s “Pick me! Choose me! Love me!” speech in Season 2 of “Grey’s Anatomy” — used to describe, according to the Urban Dictionary, “a woman that is willing to do anything for male approval” — can tell you of Rhimes’ enduring power. Especially since that oratory was delivered in 2005, and given new life on TikTok.
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Nor is “pick me” her only lasting linguistic innovation, as Rhimes herself points out during a recent interview for Variety’s Power of Women issue. “The phrase ‘my person’ has become just a part of conversation now,” she says. “I hear it all the time from people, and they’re not referencing me in their minds. It’s weird! And it’s kind of amazing.”
Rhimes’ and her company Shondaland’s viral power has only increased since she entered an overall deal with Netflix in 2017, which launched the England-set “Bridgerton” universe (comprising two completed seasons and the upcoming third season, which will premiere on Netflix on May 16 and June 13), last year’s “Queen Charlotte” prequel, as well as a consumer products line that includes tea sets, ornate mirrors, makeup and even wedding dresses. Despite how long each season of “Bridgerton” takes to make — Season 3 is premiering more than two years after Season 2 — Rhimes and her longtime producing partner, Betsy Beers, are committed to bringing all eight of Julia Quinn’s novels to the screen. “I’ll be a granny gumming my food,” Beers says of how long the endeavor will take, “but we want to make sure that there’s ‘Bridgerton’ for all of us who love it.”
Shonda Rhimes, too, has a thing or two to say about both her future and ours.
Have you thought about a possible second season of “Queen Charlotte”?
I feel like I’m having a conversation with Netflix! They ask me this question all the time! I’m trying to figure it out still. I don’t want to tell a story that doesn’t need to be told — do you know what I mean? I don’t want to make a second season of “Queen Charlotte,” and you’re going to be, like, “Well, that was not that great.”
Do you feel you make as much TV as you want to make?
Yes. I do.
When you look back at the mid-2010s, and when Shondaland had three shows on ABC on Thursdays, what are your memories of that time?
That was exhausting.
Does it seem inconceivable?
It’s not that it’s inconceivable; I know that we did it, and it was an accomplishment. But it was exhausting. And it was great. I loved the storytelling. But I feel like it almost killed me. It was too much. Getting to slow down was probably the best thing for my creativity.
I assume you had no work-life balance.
None. Zero.
Do you now?
I left L.A., which helps a lot, because you can’t be in the office all the time if you’re not in the same state, right? I live halfway between L.A. and London, which makes things easier as well. So, yeah, it’s been better. I have lots more creative time to write and think.
Do you spend time thinking about what the future of television will be?
It’s a completely different landscape, a completely different landscape. And I feel like when I look forward, I have no idea. It’s very clear to me that my children only want to watch things that are this long because of YouTube or whatever. [She measures an inch with her fingers.] Sitting down and watching a movie is very rare for them. It’s not the same as it was for us. Everything’s changing. I think there will always be storytelling; I just don’t know what form it’s going to take.
Is that exciting or —
No.
Only scary and worrisome?
It’s very uncertain, you know? I feel like if I was a television writer coming out right now, I would be a little bit more afraid. When I came out, it was the boom — it was the year the boom started. Now we’re in the place where the bust is starting. So who knows?
What’s a Shondaland show for Netflix at this point? Why are you laughing?
I’m laughing because I literally am supposed to be working on a “What is a Shondaland show for Netflix?” document for my staff!
Oh, really?
Yes. I’m like, “If I knew the answer …” I’m literally thinking about it right now.
What I like about being at Netflix is that there isn’t one show. I do know that we like to tell stories that feel grounded in some kind of reality. We can be in Regency England, but it still has to feel grounded in the reality of being a woman. We can do sci-fi, but it’s supposed to be grounded in the reality of being in the 21st century. But I don’t limit us; I really don’t think that there’s any one thing that we have to do. And Netflix hasn’t bothered us with that yet, which is nice.
Do you feel like Netflix is endgame for you?
What do you mean by endgame? I’m not going to die there!
Here’s the thing that’s interesting: I’m not doing any worrying about the future — which is an excellent sign — because I’m very happy there. We’re making the projects we want to make and getting the creative control that we wanted to have. As long as I’m happy there, I’m staying there.
How has the vibe been in Hollywood since the strikes ended?
This town is feeling a huge contraction. I speak to other showrunners, and there’s a ton of fear out there — not just on their side but on the side of executives. People are afraid to go with projects. People are afraid to jump in. I think that’s because everyone’s afraid of being the person who makes the mistake choosing the wrong show. Which is always pointless. I know that my actor friends are still like, “At a certain point, we’ll get jobs again!” but it doesn’t feel simple out there.
You’ve been fundraising for Biden. On a scale from one to freaking out, how are you feeling about the election?
Vote, period. The idea that people did not vote in enough numbers to make sure we didn’t get Donald Trump for a president, that is a snowball effect people will be feeling for years and years and years. I’m not saying that to be political; I’m literally saying if you are upset that you don’t have the right to choose, if you are upset that affirmative action is gone, if you are upset at any of these things, vote.
I feel comfortable with our Democratic candidate. Am I comfortable with the idea that the rest of the country understands our Democratic candidate? No. That’s the scary part. Ever since the Hillary-Trump election, I really feel like any thought that I understood what was going on with people went out the window.
But having been through the Civil Rights Movement, my father always points out that this has happened before and it will happen again, and that you can’t assume that the world’s going down right this minute. It’s the waves — the steps forward and the steps back — that we take toward a more perfect union, I suppose.
Where are you finding inspiration these days? Are there books, shows, people, movies …
I’ve been doing a lot of reading lately and watching a lot of documentaries. If I’m going to watch something, I end up watching a documentary. And, honestly, dire times provide great storytelling material — which is terrible but true. We want to make sure that people feel entertained when they’re watching our shows. I don’t want to be the bearer of doom. I think you can entertain people and at the same time make some points.
You bought the “Black Barbie” documentary last year, which is forthcoming on Netflix. What made you want it for Shondaland?
Besides being a Black Barbie myself?
Exactly!
I think there’s something really powerful about it. I played with those dolls when I was a kid. We also had just a very interesting opportunity to add to that documentary, and to provide a lot more content and context. We have added interviews; we’ve been inside Mattel.
Did you see the “Barbie” movie in a theater?
I saw the “Barbie” movie at home.
Did you like it?
No comment.
What? Really?
OK, here’s what I’ll say. If you’re expecting a “Barbie” movie, then I thought it was great. But I think a lot of people were expecting so much more, and then tried to make it so much more. There was nothing wrong with the movie; I thought it was totally delightful. But the weight people put on a movie about Barbie was very interesting to me.
I’ve heard the song “I’m Just Ken” in my house every single day because one of my kids sings it all the time. But, yeah, I think that people wanted it to be sort of this feminist manifesto that it doesn’t need to be.
Did you pick up any hobbies during the strike? Any Yo-Yo Ma cello-playing that you want to tell me about?
Still working on my cello playing — it’s still terrible. I got a pizza oven, and I make pizzas. I took up golf in a very serious way, which — everybody I say that to looks at me just the way you just looked at me because it seems like the most incongruous thing in the world. And it is; it makes no sense. And it’s the most peaceful thing I’ve done. Maybe because I’m not, like, a bro golfer — that’s not a thing for me — I find it really peaceful and really fun and really meditative. Also? I’ve gotten pretty good at it.
Charity Spotlight: Debbie Allen Dance Academy
When Shonda Rhimes was growing up in suburban Illinois, she was quite aware of who Debbie Allen was from the 1980s TV show “Fame.” As Rhimes puts it, she and her sister would be “dancing to the dances, and singing to the songs” as they watched.
Years later, Rhimes’ oldest daughter began taking classes at the Debbie Allen Dance Academy in L.A., and they soon forged a relationship — and a meaningful one at that. Allen not only became an executive producer, director and actor on “Grey’s Anatomy,” but Rhimes eventually told her, “Debbie, you need a building,” Allen recalls.
Rhimes being Rhimes, she made it so, buying a permanent home for DADA in Mid-City. “I was at ‘Grey’s Anatomy’ when she told me,” Allen says. “And I started crying.” The Rhimes Performing Arts Center opened in spring 2022.
Rhimes is investing in how much Allen makes kids’ lives better through DADA. “She’s in her 70s, and I’ve never seen anybody that busy,” Rhimes says. “I would be laying on the floor if I was doing all the things that she was doing. But she, from her own pocket, pulls money to buy children dance outfits and shoes, and makes sure that if you want to dance, you can go there for free.
“She really changes those children’s lives, not just through the arts, but through the idea that you’re a part of this community that really cares about what happens to you,” Rhimes continues. “And all those kids go off to college. Their lives are changed. It’s wonderful.”
Styling: Dana Asher; Makeup: Armond Hambrick; Hair: Verlyn Antoine; Props: BG Porter/Owl and Elephant; Dress: Dress: Carolina Herrera
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