‘Grey’s Anatomy,’ ‘Silicon Valley’ showrunners on their best music cues – Los Angeles Times

Grey's Anatomy
Will anyone who watched the series finale of “The Americans” be able to hear U2’s “With or Without You” the same way ever again? Would even the most fervent “Game of Thrones” detractor argue against the stirring brilliance of its opening theme? Could a 10, 000-word think piece do a better job of capturing the complexity of the #MeToo cultural moment than the three-minute-long “Let’s Generalize About Men” from “Crazy Ex-Girlfriend”? Like true crime and Margo Martindale, music has been central to the creative revolution of “peak TV, ” lending emotional resonance, dramatic nuance and comic power to our favorite shows. Here, the creative forces behind five noteworthy series returning this fall talk about their favorite musical moments. Camilla Luddington, Khalilah Joi, and Kim Raver in the "Grey's Anatomy" episode "Silent All These Years." (Mitch Haaseth / ABC) Show: “Grey’s Anatomy” (ABC, Sept. 26)
Episode: Season 15, “Silent All These Years”
Song: “Lost Without You, ” by Freya Ridings Advertisement In a powerful episode directed by Debbie Allen and inspired by Christine Blasey Ford’s testimony against Supreme Court nominee Brett Kavanaugh, Jo (Camilla Luddington) is treating a rape survivor named Abby (Khalilah Joi) who is ....

The women line that hallway with looks of total knowing, total support, looks that say, ‘I’m here, ’ ‘I see you, ’ ‘I’ve been there, ’ while a love song plays, giving new meaning to the lyrics, giving new meaning to what love can be, what love can do.” Rami Malek returns Wednesday for a second season of the edgy drama "Mr. Robot" on USA. (Peter Kramer / USA) Advertisement Show: “Mr. Robot” (USA, Oct. 6)
Episode: Season 2, “eps2.0_unm4sk-pt2.tc”
Song: “Take Me Home, ” by Phil Collins In an excruciatingly tense and slow-building scene from Sam Esmail’s paranoid techno-thriller, Scott Knowles (Brian Stokes Mitchell), an executive at the conglomerate E Corp, brings a duffel bag stuffed with millions of dollars in ransom money to a drop-off point in downtown Manhattan, then sets it ablaze as gawkers look on — all as Phil Collins’ “Take Me Home” plays on the soundtrack. “The drama unfolds so slowly that it allows us as storytellers to play the audience in surprising ways, ” says creator, writer and director Sam Esmail, noting how the music “sneaks up” on the viewer, slowly shifting from diegetic sound buried in the background ....

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