The musical is here! The musical is here! That was my thought process all day on Thursday. I was hyper, I was distracted, I was a bright ball of energy. And then it happened. Nine o’clock. Ready, set, go! I must start this post by saying that I was already so in love with Sara Ramirez’s voice, I didn’t think it could get any better. And then it did.
The episode started off darker than most musicals (anyone ever see “Batboy”? Yipes.) with Arizona and Callie having gotten into a car accident just moments before. Arizona rebounds from her airbag and immediately jumps out of the car to help Callie, who has been thrown through the windshield onto the hood of the car. Let this be a lesson, kittens: ALWAYS wear your seatbelts! Especially if you are a pregnant lesbian who works at Seattle Grace Mercy Death (we’ll get to that later, but the hospital shall henceforth be known as SGMD). Callie, of course, is in shock as she sees herself standing on the side of the road, looking down at herself….if you watched it, you get it. If not, then get on YouTube right now! And so, the singing begins. (Creative insert of theme song, BTW)
Meredith rushes into an operating room where Mark is repairing someone’s face and asks if he’s done (smart, Mer, wait until the patient’s face doesn’t have a gaping hole in it to tell the man that his BFF and baby might be dying). Once Mark closes, she delivers the news and he rushes out to join the rest of the staff in the ambulance bay. He gowns up, as the Chief tells him he can’t be a part of this case. Mark, of course, argues, but the Chief trumps his baby-daddy card and Mark folds (also, nice shout-out from the Chief on the unconventional family situation here). When the ambulance arrives Arizona emerges to present Callie’s case. Bailey removes the oxygen mask just long enough for Callie to gurgle something about music, and assures her that they’ll patch her up, good as new. No, Callie, you are the only one who can hear the music…I think…
“Chasing Cars” by Snow Patrol is up first and I happen to think it fits perfectly, though it may be a bit literal at times. I’d like to take a moment to say that I wish Sara Ramirez could come to my house every night and sing me a lullaby. That’s what I want for Christmas. You’ve got nine months. GO!
Arizona utters possibly the most heartbreaking sentence I’ve ever heard, “I asked her to marry me and a truck came out of nowhere.”
Owen enters the song while trying to keep Callie conscious, and at this point Callie is the only one who can hear it…I think. Wow, Kevin McKidd can sing! Whoda thunk? Callie is freaking out, so they rush her into a room in order to do a full work-up. Arizona and Mark have been ordered to stand against the wall, but both are eager to know whether or not Hot Lucy is able to locate a fetal heartbeat. Callie and Owen join in a harmony together and I am in musical geek girl heaven. And now Chandra Wilson?! WOW! I mean, I knew she was talented, but the emotion she brings to this song is just breathtaking. Callie reaches out for Bailey, and she grabs it, reassuring the patient who is such a good friend. Hot Lucy tells everyone else to shut up and finally we hear those beautiful, muffled thumps. There isn’t a moment to smile, though, as Callie goes into v-fib (ventricular fibrillation – it’s bad, trust me) and must be shocked. As the music rises Arizona breaks my heart once again and they finally get Callie’s heart beating again.
In the O.R. everyone is rushing around, tending to various injuries, and trying to decide which is paramount when Lexie realizes that Callie’s eyes are moving, indicating that her anesthesia is too low. Jeez! They’re so eager to get her patched up that they don’t correctly administer the anesthesia?! Note to self: never let doctor friends treat you, it will hurt! This gives Owen the opportunity to show his cool under pressure trauma skills by telling everyone to breathe and calm the f*** down. Okay, maybe he didn’t say it quite that way, but don’t you think he should have?
Lexie’s turn to sing, and here comes Anna Nalick’s “Breathe”. The dork in me happens to love this song, and I’m still undecided about this version. On the one hand, kudos to Chyler Leigh for having the balls to do this, but on the other, it seems too harsh, too criticizing. Either way, it gives us some Lexie and Mark time, so I’m pleased as punch. Meanwhile, Callie is bleeding from everywhere and begins having contractions. So many injuries, so many doctors, so many instruments. Alex, demonstrating that he can be a good man in a storm, realizes that Arizona needs someone, and without asking for any recognition, he excuses himself. I’m coming around to this kid. The procedure they were performing was putting Callie’s poor body through almost more than it could take, so the doctors decide to patch her up with a temporary closure and hope that she becomes stable enough for them to finish within the next day or so. The Chief, understandably frustrated, interrogates Hot Lucy as to her plan for the baby and Callie to ensure that both remain healthy and viable. She gets nervous, apparently never having seen a case this severe, and crumbles. The Chief knows exactly who they need, and I couldn’t be happier if you gave me a giant lollipop and sent me to Dinah Shore.
Alex and Hot Lucy are up on the roof waiting for the helicopter to land (or, you know, in front of a green screen with a giant fan, whatever floats your goat) and Alex tells his lady friend to “suck it up” and stop whining about her failure because none of this is about her. I agree! Whiny won’t get you anywhere, missy! The helicopter lands and one of the most beautiful women to ever don a scrub cap exits. Addison Montgomery is back! Her first order of business is to check on Callie while simultaneously scolding Hot Lucy for failing to stop the contractions or administer the appropriate drugs to help the baby’s lungs mature enough for a C-section. After Hot Lucy (or, more appropriately here, Hurt Puppy) exits, Addison tells Callie how sorry she is, and reassures her that all will be well.
This is the scene where I think the show jumps the shark. The Chief, Bailey, Derek, Teddy, Addison, and Owen have all decided to meet to “discuss” the case and I use quotation marks because all anyone seems to be doing is yelling at each other, and so the music rises with the volume of their voices. Up until now almost all (with the exception of Lexie’s scene with Mark, though that originated in the O.R.) of the singing has taken place in close proximity to Callie, as it is her delusion. That I understand, but now, all of a sudden, the doctors just decide to sing to each other to break settle an argument? I’m sorry, have we wandered into “West Side Story”? Are you a Shark or a Jet? “How We Operate” by Gomez may have been made more popular by this show, but honestly, how literal do they intend to get with this? This is about the time I rolled my eyes and went to grab a drink. Alex, Meredith, and Cristina look on from the hallway and the girls tease Alex about his hickie from Hot Lucy. He assures them that it probably won’t go very far, as she works for Seattle Grace Mercy Death and I love Shonda Rhimes for being able to mock her own series.
Bailey presents the options to Arizona and Mark. Either they can remove the baby via C-section, in which case there’s almost no chance for the baby’s survival, but an improvement in Callie’s chances, or they can wait, risking both lives. Arizona seems to want the latter, believing that it’s what Callie would want. Mark, on the other hand, takes the standpoint of doing anything to bolster Callie’s chances, ignoring the survival rate of the baby. Woah, my head is spinning from that complete and sudden reversal! The parents continue to argue as Bailey removes herself from the situation and begins to sing “Wait” by Get Set Go as she closes the door to Callie’s room. Chandra Wilson’s voice makes all the hair on my body stand on its end. Lexie and Avery have a moment, and Avery proves to be a better man than I had thought. Cristina is looking at films and gets her “idea” face. Yay! Lifesaving at the speed of drama! Meredith and Derek are in an on-call room trying not to completely crumble under the weight of the knowledge that, even if they are able to fix Callie’s body, her mind may never recover. As the song wraps up Mark goes WAY too far while screaming at Arizona.
Mark: You don’t get a say! This is my family! I’m the father. I’m the father! You’re not anything. You’re nothing!
Oh, no he didn’t! This is the point in the evening at which I almost threw my computer at my TV. To explain exactly how angry this moment made me would involve a completely separate blog post, so I’ll just leave it with this: I understand that this was used as a tool to highlight the unfair inequality in parenting when LGBT families are concerned and that it will be reconciled by the end of the episode, but why kick a girl while she’s already down so low there might be no coming back from it? Luckily, there was a commercial break, which afforded me the time to scream, stomp, and make a nice cup of tea because I SERIOUSLY needed to calm down.
Inside Callie’s head, she is remembering the last couple of moments before the accident, although this time the car seems to be floating on clouds instead of driving down a dreary mountain road. Lovely imagery, but serious shark-jumping going on here. Midway through the reliving, Callie stops and realizes what will happen. The marriage proposal, the crash, all of it. She tells Arizona, who begs her to put on her seatbelt. Callie tells Arizona that she loves her and realizes that she really does want to get married, as Arizona yells for her to put on her seatbelt once more. Instead of taking the appropriate safety precautions, Callie begins to sing Jesus Jackson’s “Running on Sunshine” which leads to the inevitable dance sequence/orgy that no musical would be complete without. Everyone takes part, even Teddy and Henry in a flirty little sequence, and Hot Lucy lives up to her name. The girls all join in with a rebound of “hey just get over yourself” which proves just cute enough to overcome the ridiculousness of the entire scene. Meredith and Derek try to wake Callie up a bit and check on her neuro-function, but have no happy news to report to Arizona and Mark.
Cristina presents her idea to Teddy and Owen that could potentially save Callie’s life without the typical major complications of a surgery for which Dr. Burke taught her a novel technique. Teddy shoots her down because it’s too dangerous (I just think she doesn’t want to hand over the reigns, but that’s another story) and Owen backs the refusal. Ruh-roh, trouble in paradise. Cristina storms out which solves nothing except the fact that now we won’t have to listen to another song about arguments over treatment.
Arizona is in Callie’s room, telling her that Mark is “kinda right” in that she has no legal standing in Callie’s life or that of their baby. Jessica Capshaw has become so good at making me cry that even the mere mention of her name makes me want to buy more tissues. In this scene, as she begs Callie to live, I dissolve into a puddle and must pause the TV just to blow my nose so that I don’t miss anything. Callie (out-of-body Callie, that is) begins to sing “Universe & U” by KT Tunstall and Arizona turns it into a duet, which is just beautiful. Sara Ramirez’s vocal range is so miraculously broad that I can hardly believe it. Then Callie touches her own shoulder, causing a finger on her opposite hand to quiver, giving Arizona a sign that she can feel her and is still alive. Addison tells Mark to apologize, but he refuses just as Callie becomes hypertensive and has begun bleeding into her abdomen. You know what that means: time for more surgery.
Back from commercial and Callie is singing Kate Havnevik’s “Grace” while the girls all back her up. This time in the O.R. Addison is designated to baby care while the rest of the team focuses on Callie. Half of her head shaven, Callie is in for a neurological procedure and simultaneous C-section. Arizona and Mark, in the gallery, agree that prayer is their only recourse. Teddy orders the nurse to push Heparin slowly (it’s a blood thinner, people, do we really think this is a good idea?) and, of course, Callie begins to bleed out. Cristina yells at Teddy, telling her that she should’ve listened and it’s still not too late for her to do the procedure she touted earlier. Teddy, stubborn as can be, claims that she can handle this. We all know she’s wrong, of course, and is ordered to pull back while Cristina saves the day. Owen reassures her with The Fray’s “How To Save A Life”. Again, a bit literal, but a great group sing-along. These are some talented people, kittens. Wow, April can sing! Who knew?
Callie crashes and the Chief massages her heart, trying to get it re-started. Addison tells him that if he is unsuccessful within the next minute, she will be forced to remove the baby. She does and Arizona and Mark rush down to the O.R. to witness the birth of their daughter. Unfortunately the baby isn’t breathing and Mark signals for Arizona to take over, putting full faith and confidence in her. It’s not an apology, but (for now) that’ll do, pig. Lucky for this kid, she has one of the foremost pediatricians in the world as a mom. Callie comes back just as mommy Arizona saves their daughter. The looks on Arizona and Mark’s faces as the former exclaims, voice cracking, “I have a heartbeat!” are the epitome of parental concern. They’re going to be great mamas and papas.
Callie is in the ICU in recovery, and Derek explains that it’s a waiting game now and could go either way. Mark apologizes to Arizona, and she takes it in stride. This is going to be a tenuous life for that kid, but she’s damn lucky to have so many parents who care so much. In the elevator Meredith tells Derek that she doesn’t understand the point of a world that won’t allow her to conceive, but will give Callie a baby only to put both of their lives in danger. Derek comforts her, and assures her that they will be parents, no matter how they have to do it. Arizona sits by Callie’s bedside and tells her all about their beautiful, strong daughter who needs her mom. Finally, we get to hear Callie sing Brandi Carlile’s “The Story”. I have heard so many versions of her singing this that, at this point, you’d think I’d be sick of it. NEVER! I love Brandi Carlile (and, having seen her perform this song live, I HIGHLY recommend it if you get the chance), I LOVE this song, and I love Sara Ramirez’s interpretations of this song. It fits, she does it beautifully, and it just makes me really happy, so there. Next up we see Mark sitting with their baby (um, when exactly did he grow a moustache? Did he have that when she was on the operating table? Is it a magical moustache?) and Callie looking on. Arizona is right; she’s tiny, but so strong! To be able to lift that tiny chest with such underdeveloped lungs, she has to be.
Avery tells Lexie that if she’s still in love with Mark, that’s fine, but he’s out. She tells him that she wants to be with him. The end. Teddy tells Cristina that she can’t teach her anymore because she doesn’t listen (I still think she’s bitter because Cristina saved the day when she couldn’t). We follow Callie singing down the hallway back to her room where she rocks the end of this beautiful song! Damn, what pipes! Then she gives herself the magical touch again, causing the comatose Callie to open her eyes and tell Arizona that she will marry her. YAY! Lesbian happy time!
Thoughts? Comments? Cringes? I want to know! What did you like? What did you hate? Who surprised you with their singing? What should they name the baby? Leave some love down below ;o)