What Led To The Fiery “Grey’s Anatomy” Exit That Shook Fans

Fans of Grey’s Anatomy braced themselves for the worst before watching Thursday night’s finale: the possible death of another major character, this time Stephanie Edwards (Jerrika Hinton). And though the surgical resident survives the explosion that left viewers breathless in the penultimate episode, the reality is that her survival still comes with a bittersweet goodbye.

Hinton has been hinting about exiting Grey’s Anatomy for over a year now. In March 2016, she signed on to star in the ShondaLand comedy pilot Toast, set during a couple’s engagement dinner. ABC decided not to move forward with the show — but Hinton, who’s played Edwards on Grey’s since 2012, was still making moves toward a departure. “Shonda and I met almost a year ago,” Hinton told BuzzFeed News. “We had a phenomenal, very gratifying conversation about creative process, and work.

“She was immensely supportive of my wishes,” Hinton recalled. “I thanked her tons privately, and I’d also like to use this as a time to thank her publicly for being so supportive of the decision that was right for me at the time.”

Though it was rumored back in January 2017 that Hinton would not be back as a series regular in the show’s 14th season, it was the cliffhanger of the penultimate episode of Season 13 that really shook fans. In the episode, Edwards is held hostage by a rapist (Casey Thomas Brown). In an attempt to escape his clutches and protect a little girl, Erin, (Big Little Lies’ Darby Camp) whom they stumble on, Edwards lights the man on fire. He falls down near some oxygen tanks, and the episode ends with a major explosion — and with the fate of Erin, the rapist, and Edwards unknown.

Fan reaction around the episode was passionate and pleading. In one example of many tweets like it, @OffSeids wrote “Girl istg if they kill off Edwards I’m done with Shonda lol.” Another, @JadeCaity, tweeted “Grey’s Anatomy did not just kill Stephanie Edwards. this is not happening.”

As the Season 14 finale revealed, that indeed did not happen — though it seemed like a close call for a while there. Instead, Edwards spends most of the finale saving Erin from the raging fire. Severely burned by the end of the episode, she tells Richard Webber (James Pickens Jr.) that between this and her childhood in sickle cell trials, she’s had enough of hospitals. She announces her plans to travel the world and live her life, her surgical ambitions no longer her top priority.

Hinton was very aware of the fan response to the cliffhanger last week. “I hope that [viewers] are not only relieved that she lives, but also that she gets to exit that hospital on her own terms,” Hinton said. “I hope they see that in the powerful way that it is.”

According to Hinton, Edwards’ storyline this season is “one where if you sit back and review it on a binge-watch, there might be some threads there that you catch the second time around that weren’t evident the first time.”

That could be, in part, because of how long this has been in the works. In her initial meeting with Rhimes, Hinton said they talked about Edwards’ exit and the conversation was largely about “reaching common ground.”

“Stephanie’s journey has always existed on a bit of a back burner,” Hinton said, “and so it seemed right to have these flames come to the foreground in her departure.”

As for whether we’ll see Edwards again at Grey Sloan Memorial, Hinton thinks it’s unlikely. “The reasons why she’s choosing to leave that place are deep, profound, multi-layered reasons, and because of that, it would not make sense for her to keep checking back in to that place,” she said. “She’s seeking something much more profound for her life.”

Hinton’s post-Grey’s plan was similar to her character’s: “My plan was to conclude Stephanie’s chapter, and then, honestly, leave the country for six months and travel, and be a part of the world again, and feel reintegrated into society, and basically go on this spiritual quest,” she said. But then, an opportunity “materialized out of the ether,” as she put it: a costarring role on Alan Ball’s new HBO show, Here Now. Hinton will play one of the adopted children of Holly Hunter’s character. “It’s this wonderful thing I did not plan,” she said.

So yes, this is a goodbye to Stephanie Edwards, but Hinton wouldn’t change a thing. “Sometimes you do all of the blood, sweat, and tears, and you go home wondering if it was worth it,” Hinton said of filming her final episodes. “With this, the blood, sweat, and tears have been worth it.”

Here's Why There Are So Few Group Scenes In “Master Of None” Season 2

Season 2 of Netflix’s Master of None isn’t just about Dev (Aziz Ansari): Both Arnold (Eric Wareheim) and Denise (Lena Waithe) get their own episodes, and Brian (Kelvin Yu) gets a special segment with his father. There are not, however, any scenes with the whole gang back together, laughing over a meal from whatever restaurant Dev took two hours to find on Eater.

But that wasn’t intentional.

According to co-showrunner (and the inspiration for Brian) Alan Yang, it was actually “kind of just how things boiled down.” “Before the season, we just have a stack of a hundred ideas and we just try to shape the season out of our favorite ideas that we’re most excited about and we have the most passion for, and we feel like we have the most story juice behind,” he told BuzzFeed News.

Ansari, Master of None’s star and co-showrunner, echoed that sentiment. “We only had 10 episodes and we kind of just write to the stories and bring in the characters as we need them,” he said. While that translated to a deeper look at Arnold and Denise in the “Le Nozze” and “Thanksgiving” episodes respectively, there weren’t any scenes with all four friends that made the cut.

There aren’t any hard feelings though. “Aziz and I are good friends for life,” Wareheim said. “We travel the world together, we did a lot of stuff in Italy, and we filmed it, so it’s kind of this cool time capsule of us.” (Though he agreed that his scenes could use more Paro.)

Waithe too embraced the change and the opportunity to bring attention to Denise. “I think that’s what Aziz and Alan always say, they don’t want to be boxed in. They’re not like, ‘Oh, now we have to do a group shot,’” she said. “They don’t want to be conventional in any way, so it’s like, you kind of want to give the audience, not what they’re expecting, but what they don’t expect as well.”

Yu, who had the least screen time this season, noted that “what’s so special about this show is it’s sort of like a cooking show: From episode to episode, you don’t know what you’re going to get. Like one episode is about gay rights, the next episode is about cupcakes. So they wanted to tackle a whole suite of issues as well as love stories and all that, and it’s a crowded world.”

BuzzFeed News asked Yang and Yu if they could see Season 3 (if they’re renewed) shifting the focus more toward Brian, as opposed to Dev. While Yang could only say “anything is possible and we won’t rule anything out,” Yu added: “It’d be great. I mean, we need it. We need that kind of thing and I think audiences are hungry for characters and worlds that they’re not used to so yeah, who knows!”

An Alternate Ending To “Get Out” Has Leaked And It's Definitely Depressing

This time, it isn’t Rod who comes to Chris’ rescue in the police car: It’s two white cops. They immediately arrest him, no questions asked at all.

Then Rod, who seems to be doing everything in his power to help Chris get out of jail, goes to visit him. But it seems Chris can’t remember the important details of what transpired in order to prove he acted in self-defense.

In a particularly poignant moment, both Rod and Chris know that it will be impossible for them to show that Chris wasn’t at fault and he hangs up the phone, accepting his fate. The clip then ends with Chris being escorted back to his cell, accused of something he technically shouldn’t be locked up for.

6 Burning Questions About The “Star Trek: Discovery” Trailer

The debut trailer for Star Trek: Discovery — the first Trek TV series in 12 years — premiered today at CBS’s upfronts presentation, and it left us with a lot of ~questions~.

1. Is the show’s lead character, first Officer Michael Burnham (The Walking Dead’s Sonequa Martin-Green), part-Vulcan? And if so, is she related to Spock?!

Set 10 years before the events of the original Star Trek TV series, Discovery was likely to tantalize fans with its references to past (or, uh, future) Trek history. The biggest nod in this trailer is Sarek (James Frain), a Vulcan ambassador and the father of Trek’s most indelible character, Spock.

Sarek appears multiple times in the trailer, speaking ominously to Burnham about “great unifiers” needing “a profound cause.” He seems to be a mentor of some sort to her. Their most curious exchange even suggests that he’s known her since she was a child, with a young Burnham wearing a classic Vulcan haircut, and Sarek telling her that she will “never learn Vulcan” because her “tongue is too human.”

So does this mean Burnham is at least part-Vulcan? Sarek sired Spock with a human mother — perhaps her parentage is similar? Spock never had a sister within Trek canon, but perhaps she’s his cousin?

The official poster for Discovery, prominently featuring the classic Vulcan salute, certainly reinforces the idea that Burnham’s heritage is connected to Vulcan.

[Raises single eyebrow] Intriguing.

2. Where is the USS Discovery?

According to CBS, Michelle Yeoh’s character, Captain Philippa Georgiou, commands the USS Shenzhou. But Burnham is supposed to be the first officer on the show’s namesake, the USS Discovery, captained by Gabriel Lorca (Jason Isaacs).

So, where is it? The trailer ends with the Shenzhou engaging the Klingons. Perhaps that encounter does not go very well?

3. How much did they spend on this show?

After the series premiere airs on CBS, Discovery will appear exclusively in the US on the network’s streaming service, CBS All Access. (In Canada, it will appear on Bell Media, and in the rest of the world, the show will air on Netflix.)

In order to make CBS All Access compete with the big streaming services, CBS plainly needs Discovery to pull in the millions of Star Trek fans who faithfully watched the many Trek TV shows during the franchise’s heyday in the 1990s. The $5.99 per month service features about 12 minutes of ads an hour, and an ad-free version costs $9.99 per month — not a small amount of money to ask fans to pay for a single TV show.

And based on the copious, feature-film-quality visual effects in this trailer, it would appear CBS is willing to spend a lot of money to convince those fans to spend theirs.

4. What is with all the lens flares?

In Aug. 2016, in his capacity as Discovery’s showrunner and executive producer, Bryan Fuller told reporters that the show was set in the “Prime” Trek universe. Which is to say, it is not a part of the alternate universe of Paramount’s recent Star Trek movies starring Chris Pine and Zachary Quinto.

But then Fuller left the show to focus on his commitments to the Starz series American Gods. He still has an executive producer credit, and he did write the scripts for the show’s first two episodes, but in December he told Newsweek that he was not involved in the show’s production at all.

Meanwhile, the Trek aesthetic most evoked by Discovery’s trailer is indeed from the recent movie reboots — including swooping camera moves, sleeker uniforms and ship design, and all those lens flares made (in)famous by director JJ Abrams. (Alex Kurtzman, who co-wrote the first two of the Trek reboot movies, also serves an executive producer on Discovery.) Even if the show does remain in the classic Trek TV universe, its visual inspiration is clearly not drawn from the endearingly cheap design of those shows.

5. What’s the deal with the Klingon makeover?

The Klingons will play a key role in Discovery, likely centering on the efforts of T’Kuvma (Chris Obi, pictured), who is described by CBS as “the Klingon leader seeking to unite the Klingon houses.”

But based on the trailer, the Klingons have gone through a rather extreme makeover.

Granted, the Klingons have certainly, um, evolved over time.

1967’s Star Trek
1996’s Star Trek: Klingon videogame
2017’s Star Trek: Discovery

And the Discovery Klingons don’t look quite as intense as the Klingons from 2013’s Star Trek Into Darkness.

Paramount Pictures

But still…

@skylatron @StarTrek new look –who dis?! lol

— Jamar Edoho 🕴🏾 (@QuestLvLAwesome)


No, seriously, WHAT ARE THEY???

  1. How did you feel about the Star Trek: Discovery trailer?

    1. I love Trek, and I loved it.

    2. I don’t like Trek, and I loved it.

    3. I love Trek, and I didn’t like it.

    4. I don’t like Trek, and I didn’t like it.

    5. I’m just meh on all of it.

6 Burning Questions About The “Star Trek: Discovery” Trailer


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    For Anyone Who's Still Not Over Mufasa's Death In “The Lion King”

    1. Hi, hello, welcome. Let’s travel back to a time when we were all still innocent. The day was June 15, 1994, and this cool new Disney movie called The Lion King was in theaters.

    2. *NANTS INGONYAMA BAGITHI BABAAAAAAA* Five seconds in and my five-year-old self is already fucking SOLD on this movie. Look at these beautiful animals! This is going to be such a joyful family film experience!

    3. Oh man, this movie already has more hugs than a VERY SPECIAL Full House episode. I am so ready for an hour and a half of pure joy.

    4. These sexy lions are so fucking in love that nothing bad is ever going to happen again, I’m so certain of it.

    7. Anyways, we find out that SEXY LION MAN has a name and it’s Mufasa. His brother Scar DGAF about Simba’s mountain thrusting ceremony and Mufasa is not happy about it.

    10. “I’m about to show you my damn teeth, Scar, that’s how MAD I AM.”

    13. Anyways, time passes and we fast-forward to the day that Simba finds out he is literally lion royalty.

    17. Simba cannot take the hint that his uncle literally hates him even though he does absolutely nothing to hide it.

    18. Then he goes off to sing a whole song about how much he can’t wait for his dad to die.

    20. Simba continues his streak of shitty behavior and goes to the LITERAL ONE PLACE Mufasa told him not to go.

    21. Don’t worry. Mufasa comes through to save him because Mufasa is THE BEST.

    22. And Mufasa and Simba chill and it’s totally normal. They’re just going to keep having happy bonding time for the rest of this movie. It’s gonna be so sweet!

    23. Meanwhile, in the eerie green chemical portion of the mountains, Scar is up to no good.

    25. Things are not looking…good. But, would he really murder his own family? WOULD HE?!

    26. Some amount of time has passed (not sure how much) and Scar is doing what he does best — fucking with Simba’s head.

    30. “Hey Mufasa! Something really bad is happening RN that I totally had nothing to do with! Come quick!”

    32. “But OMG I can’t believe Simba is in grave danger again. It’s almost like it’s not a coincidence.”

    33. Mufasa, the brave hero that he is, dives straight into the middle of the stampede.

    35. Then, he manages to get out of the stampede without being crushed…LIKE A BOSS.

    36. “Can someone lend me a paw? I literally just jumped into the middle of a stampede and still survived.”

    37. Oh good. Scar’s here. He’ll end up doing the right thing, right? It’s his own damn brother.

    42. And then Mufasa looks at his brother with so much pain in his eyes it is literally making me tear up just thinking about it. He is SO GOOD and SO PURE and his whole world is shattered because in this moment he’s just been betrayed by his BLOOD RELATIVE.

    46. And Simba realizes what has happened and he’s like, “Shit I didn’t want you to actually die dad. It was just a catchy I WANT song. They’re in ALL the Disney movies!”

    47. Now it’s about to get so painful, but we’ll get through this together. Simba’s like…maybe dad’s just sleeping? This is what people look like when they sleep.

    50. And then the dark truth sets in, as it always does, and Simba realizes his father is really dead.

    51. So he curls up next to his dad’s lifeless body and it’s honestly the most traumatic thing I’ve ever seen. In this moment we all collectively lost our innocence.

    53. And just when you think it can’t get any worse, fucking SCAR comes and convinces Simba that he’s responsible.

    57. He decides to live life according to Hakuna Matata with Timon and Pumbaa, which I’m pretty sure is code for “smokes a lot of weed.”

    58. And he turns into basically Mufasa 2.0 over the course of one INSTRUMENTAL BREAK.

    59. A lot of stuff happens, but he’s convinced to return to his home after he sees GHOST MUFASA in the sky. And he realizes that his father will always be alive in spirit and it’s so beautiful. It’s actually the only thing that makes Mufasa’s death just a little less painful.

    61. Simba goes home, he defeats Scar, bla bla bla. And then we’re right back where we started because THIS IS THE CIRCLE OF LIFE, DAMNIT…

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    This Might Be The Most Insane Job In “Bachelorette” History

    3. Well, I have some good news. The jobs on the upcoming season of The Bachelorette (which premieres on Monday) are NEXT LEVEL, much like this dramatic overhead shot:

    4. First up, there’s Lucas. His job is a whaboom. Yes, you read that correctly…

    5. W-H-A-B-O-O-M. Whaboom. As in…. whaaaaa the fuck?

    I have no idea what a whaboom is. All Chris Harrison will say is, “It’s hard to explain, but it’s a lifestyle.” YEAH OKAY CHRIS HARRISON.

    6. But I don’t even think the WHABOOM is the craziest, because I’m sure it’ll maybe make sense in context or something. The craziest job this season goes to Jonathan, who is a self-proclaimed TICKLE MONSTER.

    7. Let’s be real, he LOOKS like the kind of guy who identifies as a tickle monster.

    9. Check out all of Rachel’s guys before the big premiere here. (The rest of them have pretty normal jobs, TBH. SO BORING.)

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    Laura Linney And Cynthia Nixon On Acting, Aging, And Empathy

    Laura Linney and Cynthia Nixon are attempting a rare feat on Broadway: They’re switching roles every performance. In the Manhattan Theatre Club’s revival of Lillian Hellman’s The Little Foxes, the actors alternate between playing the lead role (the cunning, assertive Regina Giddens) and a supporting one (Regina’s timid, abused sister-in-law, Birdie). And sometimes — when there’s a matinee and an evening performance — they play both parts in one day.

    This is not the first time Nixon has performed two roles simultaneously: When she was a college freshman in 1984, she managed to appear in two Broadway shows at the same time, The Real Thing and Hurlyburly, running from one theater to the other between performances. Nevertheless, The Little Foxes is a daunting test for both actors. “We’re both making a lot of mistakes, and we’re both learning from the mistakes that we made and watching someone explore something on their own,” Linney said. “I got to a point like the week before we moved into the theater when my brain basically exploded. I could not remember anything. It’s like my brain just started to reject everything, because it had been so much to take in. Fortunately I worked past that.”

    Linney and Nixon have both garnered acclaim for their range and their ability to master two roles. Both earned Tony Award nominations: Linney for Regina, and Nixon for Birdie.

    In a free-flowing conversation at BuzzFeed’s New York headquarters, the actors talked about taking on this unique challenge, as well as their thoughts on the theater at large, aging, and roles for women over 40.

    Left: Linney as Regina and Nixon as Birdie in The Little Foxes. Right: Nixon as Regina and Linney as Birdie. Manhattan Theatre Club

    On sharing the lead role

    Cynthia Nixon: You know, Laura was the person who was really cast in this play, and then she very amazingly invited me in. So I also—

    Laura Linney: I just thought they made a mistake and they should have cast you in this play.

    CN: But I also had to get over the idea, which I’m still getting over a tiny bit, but it’s hard to get over the idea that this is not really Laura’s production, you know what I mean? And nobody made me feel that way, but it was such an amazing thing to be invited, and such an unexpected thing and lovely thing, but intimidating.

    LL: Oh, Cynthia.

    CN: Well, little bit.

    On when they first became aware of each other

    LL: I was aware of her long before she was aware of me, because Cynthia was a legend growing up. If you were a theater kid in New York City, I mean, you wanted to be her. You just did. She was doing two shows at the same time. She was a professional actress before any of the rest of us were. And it was dazzling. And I remember seeing you in both Hurlyburly and The Real Thing. … So I was aware of Cynthia very, very early on.

    CN: Laura, I never told you this, but I passed on two roles at Manhattan Theatre Club, and it was Beggars in the House of Plenty and Sight Unseen.

    “Everything that I hold to be good and true and worthy, I learned in the theater.”

    LL: Thank you!

    CN: And I passed on these two parts, and she got ’em. I saw her in both of them, she was amazing in both of them, and I could never catch her after that.

    LL: MTC [Manhattan Theatre Club], which is where we are now.

    CN: Which is where we are now!

    On getting their starts in theater

    LL: It’s the foundation of how I live my life, actually. My father was a playwright, so I was around it all the time and loved to talk shop with him, just loved it. And basically everything that I hold to be good and true and worthy, I learned in the theater. So not even just about the work, but just about life. Discipline, problem solving, creativity, how to get along with people.

    CN: Collaboration.

    LL: Collaboration. … For me, it has informed every move I’ve ever made. And it saved me in many ways and still does. When things get hard, you can cling to the work.

    CN: My mother was a failed actress, but that was our bread and butter — what we loved most to do was to go to the theater and talk about it and dissect it and understand it. I think that speech that Meryl Streep made at the Golden Globes recently, that just really hits it on the head in terms of why the arts — and just the arts in general, you know, movies-slash-theater-slash-television, the medium where you pretend to be somebody else and other people watch you do that — in terms of teaching you empathy for other people. And, whether you’re the actor or the audience, trying to lose yourself in somebody else’s story.

    I think what Laura was saying about teaching her all the lessons, you know, as a child actor, right, that’s a whole ball of wax. That’s a really mixed bag of stuff. I look at so many people that I knew personally or didn’t know personally but who have ended badly, have died young, have been destitute — there are a lot of bad child-actor-gone-wrong stories, a very high percentage, but I think the thing about it is that a lot of those are Hollywood stories, and you don’t have that same kind of a thing in the theater. And you have people like Sarah Jessica Parker — and it’s also because of her mother and where she came from and all that stuff — but how you’re taught to be responsible for yourself rather than endlessly people waiting for you and bringing you things.

    On competition (or the lack thereof)

    LL: There’s a real passing down in the theater, almost ad nauseam. You have to listen to older people talk about their experience, but it makes you very aware of what has come before you or what is coming after you — that you’re a part of a link in a chain. It’s not all about you. I know that actors and actresses have a great reputation for being very, very selfish, and in some cases, that’s very true. But in the theater I find it doesn’t help you to be selfish. You sort of have to be selfless in the theater, and the more selfless you are — that doesn’t mean don’t take care of yourself — but the more you sort of surrender to the work, I find, the better the work is. That’s just my experience.

    “I still know I have an awful lot to learn.”

    CN: And not to bash LA, but there is always a feeling in LA of where your stock is. Are you the top of the heap at the moment or do you have the blockbuster, did you get cast in that thing? And in New York — not to say New York isn’t a competitive place — but there’s much more of a sense of, we’re all here and some of us are up and some of us are down and some of us are in the middle, but we have a longer view of history and how it works, rather than just this week.

    On taking on smaller projects

    LL: I think we just want to do good work, and you want to get better. I still know I have an awful lot to learn, and I hope I’m put in whatever situation it is that’s gonna help me learn it, or that I’ll get to watch really good people do what they do. Cynthia has Quiet Passion that’s just come out, and I have The Dinner that’s just come out, and these are both low-budget movies that are certainly not summer popcorn films, but I think movies that we’re both very proud of and make us feel good to be a part of. … And some big movies are terrific, and some aren’t. They’re made for different reasons, and they have different impacts and they’re very different experiences making them. But if they’re good, if you’re with good people, then hooray.

    CN: I mean Laura’s been in a lot more big films than I have, but there’s a way in which I feel like, when you’re on an enormous film and there’s an enormous crew and there are three cameras and there are like 20 setups for every scene, first of all, it’s very… I find it very intimidating. And it’s also sort of deadening in a way.

    LL: Yes, you get totally depersonalized.

    CN: It’s like, you have to wait for the camera to come to you. It’s also so much then about the camera and about the fancy things they’re doing, and you’re like a cog. When you’re on a lower-budget film, with one guy who maybe has a camera strapped to him, you’re a much bigger part of that pie. You can be a sliver in a big Hollywood movie, but you can be a quarter of that [indie movie] pie. And I feel like, first of all, there is a real freedom that you feel from that, because it’s like, you know what, if this is terrible, nobody’s gonna ever see it, so I can be more brave.

    On where the best roles are for women over 40

    CN: I feel that the thing about film and particularly about TV, actually, is it’s being created now.

    LL: We’re living in the best time, actually.

    CN: We’re living in the best time so far because there are many more women writing and women directing, women producing, and people are finally catching on to [the fact that] women want to go and buy tickets to see female characters and more than one in a film. So I actually think it’s a very fertile time to be a woman over 40. But having said that—

    “I never felt like a happy-go-lucky ingenue to begin with.”

    LL: Do you wish there was more? Of course.

    CN: Of course. So theater is still catching up. So roles like Regina that are in the canon, they’re few and far between, ’cause it’s written 80 years ago or whatever. There’s Phaedra, there’s Regina, there’s Medea. But there’s really a handful, and when you think about film actresses and film roles that there have been lately, there are many more. But as an actress, you can play a role that you are 22 years too old for and you can get away with it onstage.

    On the privilege of aging

    LL: I just find it a big relief. I never felt like a happy-go-lucky ingenue to begin with.

    CN: We’re serious people, god help us.

    LL: And parts are written better when you’re older. When you’re young, you’re written to be an ingenue, and you’re written to be a quality. You’re actually not written to be a person, you’re written for your youth to inspire someone else, usually a man. So I find it just much more liberating.

    And I don’t mind aging. I mean, my whole thing is, it’s just a privilege to age. I’ve had too many friends die, I’ve watched too many people suffer, it is a total privilege to age. And I get very, very, very irritable with people who complain about getting old, because I know a lot of people who would gladly trade places with us. I’m not saying it’s easy, I’m not saying it doesn’t hurt your feelings, I’m not saying it’s not painful — and physically as well as mentally and spiritually — and it’s frightening at times. However, people have really lost perspective, and it’s a really bizarre topic of conversation that it’s become a cultural peg in our world that aging is a bad thing. It’s not logical to me.

    CN: As the population is, in general, aging, there is more interest in what a 50-year-old, a 60-year-old, a 70-year-old, an 80-year-old is like. And one of the things that just naturally started to happen as I got older — and I could feel younger people looking up to me in a certain way and wanting to know things that I knew — I got interested in the women, in particular, who were 20 years older than me. Because when I was a kid, I wasn’t interested in them — I maybe was like dazzled by them, but now, when I meet women in their sixties and their seventies, I’m really interested in hearing from them. Because I understand in a way that I didn’t 20, 30 years ago, how much they know.

    LL: You also just have much more to offer. You have a lot more to give, the older you get. And you want to give it. I mean, some people want to give it. But there is a desire to pass down, to have a hand in the past and a hand in the future. There’s a continuum.

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    The Experience That Inspired Brad Pitt To Make A Movie About The War In Afghanistan

    1. The satirical comedy War Machine, out on Netflix and in select theaters on May 26, is the latest film from Brad Pitt.

    2. The movie tells the story of General Glen McMahon (Pitt), who tries to “win” the war in Afghanistan.

    War Machine is based on The Operators, a non-fiction book by the late BuzzFeed News reporter Michael Hastings. The Operators is about Hastings’ experience following General Stanley McChrystal around Afghanistan in April 2010, and it became a New York Times best-seller after its release in 2012.

    3. On Tuesday, Pitt answered questions about War Machine during a BuzzFeed News-presented screening and panel discussion.

    Kate Bubacz / BuzzFeed News

    Pitt, who produced the film alongside his Plan B production company partners, was joined on the panel by director David Michôd, political analyst Elise Jordan (who’s also Hasting’s widow), and Plan B co-president Jeremy Kleiner. The taped panel was moderated by BuzzFeed News’ Nancy Youssef.

    4. The actor said he’d previously made a trip to Walter Reed National Military Medical Center in Bethesda, Maryland, and talking with soldiers in the hospital became part of his motivation for getting involved with adapting Hastings’ book into a movie.

    5. “The impetus for this film for me was a visit to Walter Reed, and seeing the sacrifice and really looking at it from the point of view as a father,” Pitt said.

    Kate Bubacz / BuzzFeed News

    6. “I met as noble and heroic of individuals as I’ve ever met, and I walked away going, ‘Why? Why? For what? Why?’”

    Kate Bubacz / BuzzFeed News

    7. The actor continued, “It’s what made me want to …. and what made us in our discussions, to follow through with a film of this nature.”

    Kate Bubacz / BuzzFeed News

    8. BuzzFeed News

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    This “Spongebob” Theory Might Explain A Lot About Mr. Krabs And Pearl

    3. Well, one of the biggest unsolved Spongebob mysteries has been about Pearl’s parentage.

    4. Did Mr. Krabs adopt Pearl as his whale baby? Is she his step-daughter? Is she his biological daughter? WHAT’S THE DEAL?


    5. There’s a theory going around that’s about to ruin your childhood as you know it. While the origin appears to be this Reddit thread, it’s had a resurgence on Twitter this week. You ready for it?

    8. But also, HMMMMMMMM? Could it be…true? There’s no denying Mr. Krabs has plenty of cash to spare:


    9. And Pearl definitely really likes both spending money and asking Mr. Krabs for it…


    10. People on Twitter are very *mixed* about whether or not this theory is actually plausible. Some have pointed out that Mr. Krabs uses the word daughter on the show…

    @jordansadlerrr From the episode “tutor sauce” on the spongebob wiki

    — Brandon (@Veil_SSB)

    11. But that might not really mean anything…

    @Veil_SSB @jordansadlerrr To be fair that’s still not definitive evidence. In some sugar baby relationships they us… https://t.co/lKti9BJahm

    — 🐝Norman🐝 (@Chuck_Normis)

    12. Others point out that Nickelodeon doesn’t shy away from dirty jokes:

    @Veil_SSB @Chuck_Normis @jordansadlerrr Spongebob has all kinds of crude jokes though it’s not like they can outrig… https://t.co/BVP8DhVNYh

    — .•°• VC •°•. (@gobthoIemew)

    13. But, then again, there is this *slightly* damning evidence…

    @jordansadlerrr ok i hear you but…

    — berry soto (@sunsetbae)

    1. So, is Mr. Krabs actually Pearl’s Sugar Daddy?

      1. OMG YES.


      3. It’s a Nickelodeon joke that’s not explicit but still kindaaa true.

    This “Spongebob” Theory Might Explain A Lot About Mr. Krabs And Pearl


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