Rhimes’ aversion to the path of least resistance is a recurring theme in her origin story. Inventing Anna, a limited series about the real high-society scammer Anna Delvey, debuts on Netflix on Feb.
She’s also stepped back into the role of creator for the first time in the decade since her ABC smash Scandal. And why should she, when her own instincts have so often yielded superior results? Now, she’s getting ready to release the highly anticipated second season of Bridgerton, the steamy Regency romance that is Netflix’s second-most-watched original show ever.
And instead of immediately cranking out content-as her production company Shondaland did at ABC after forming in 2005, and the way Murphy has done, sometimes to the detriment of his shows’ quality-Rhimes slipped off the pop-cultural radar for a few years.īut if one thing has become clear about Rhimes, it’s that she has little use for conventional wisdom. Creators with Rhimes’ clout, from Ryan Murphy and black-ish mastermind Kenya Barris to Beyoncé and the Obamas, inked their Netflix deals in subsequent years. In 2017, Netflix was still midway through its own transition from licensing the bulk of its library to producing an endless torrent of original programming. It was not a foregone conclusion that her jump from network prime time to the platform that has become the vanguard of the streaming revolution would prove so remarkably successful. Then in 2017, she signed an industry-shaking deal with Netflix that the parties reupped this past summer at a reported value of $300 million to $400 million, complete with a “significant raise” and a five-year extension.
At her most prolific, Rhimes was responsible for producing around 70 episodes of TV across up to four ABC dramas each year. This is not the kind of sentiment you expect to hear from a person known for her work ethic.
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