While I’m a fan of some of the character-centric episodes this show has done over the years, Grey’s Anatomy is still an ensemble show that shines when it brings everyone into the mix. So it’s no surprise that I couldn’t enjoy #JaprilTheSequel, as it’s titled to my dismay, because not only does it alienate everyone else for the sake of focusing on two characters alone, but also because those two characters are my least favorite.
It’s baffling why the writers keep repeating the same beats over and over again when it comes to Jackson and April because it doesn’t take a genius to figure out that they would end up in each other’s arms by hour’s end. The change of scenery always seems to have a romantic effect on these two, and all this screen-time they spent together, whether they’re fighting or yelling or kissing, I would have rather been given to the patient’s story. I expected to become emotionally invested in this medical case, especially because the episode begins with Jackson and April being sent away from Seattle Grace for it. Unfortunately, the show didn’t give this story enough weight; it was merely a plot contrivance to bring Japril together and get closure for Jackson.
Eric Roberts does a fantastic job as Jackson’s long lost father. Shonda Rhimes has always excelled at writing layered, multi-dimensional characters, so to make us care about someone who was not only never mentioned before but also did a crappy thing thirty-something years ago is a towering achievement. However, I still find Jesse Williams completely underwhelming as Jackson. Does he ever not pout?
From a technical perspective, director Kevin McKidd (Owen) adds a bit of flair to the episode with a striking couple of long takes and nifty editing, and the show does a fine job convincing us that they’ve moved to Montana. Plus, the shot of Jackson and April laughing and sweet-talking to their daughter over the phone before it’s cut to them sitting on the bed with depressing looks on their faces is a stunning and unusual transition. In an episode void of any emotion (at least for me), this one particular shot conveyed everything that needed to be said.
Bits & Scalpels
– Heartbreaking moment at the beginning of the episode as the father of the organ donor thought these doctors from Seattle were coming to save his child.
– Anyone else find the music irritating this week? It was unusually louder than the dialogue at times, making this episode all the more distracting for me.
– I’m sick of April’s tantrums and cringe-worthy fights with Jackson. Please, never again, show.
– Jackson’s humongous watch during his heart-to-heart with April on the bed was oh so very distracting.
– This show’s voiceovers have gotten quite ridiculous over the years, but I still oddly enjoy them.
– I’m glad Jackson doesn’t actually forgive his father at the end. Now, how long until Papa Avery moves to Seattle and cause some drama?
– Not a fan of the song choice at the end of the hour, but Mary J. Blige’s Doubt is always nice to hear.
April: You know, your mom says the difference between the two of us is that you were born with money and I had to earn it.
Jackson: I never really pictured him happy without me. He talked a lot. He didn’t say anything about me. He talked about mom’s laugh, his stupid tuxedo. I felt stupid. It never really occurred to me that he never really missed me.
A lackluster, predictable hour that relies solely on how much you can stomach Jackson and April, both together and apart.