Throughout Grey’s Anatomy’s , Shonda Rhimes seems eager to write and direct episodes that highlight pressing social justice issues and challenge gender and racial stereotypes. While many of her episodes tackle social issues regarding race, gender, sexuality, mental health, drug use, she also includes a lot of representation of marginalized groups. Many of her episodes showcase people across all marginalized groups taking on the empowering and glorified profession of surgery. 

Specifically, an episode in the 14th season highlights stereotypes about women in relation to mental health issues such as anxiety and depression. This episode mostly features Miranda Bailey, an African American woman who is also Chief of Surgery at Grey Sloan Memorial Hospital. Dr. Bailey is an inspiring figure not only for her admirable work ethic and striking leadership abilities, but also for representing groups particularly marginalized in society: she is black, fat, and a woman. 

In this episode, Dr. Bailey confidently claims that she is suffering a heart attack, seeking medical attention at Seattle Presbyterian Hospital. Despite providing her professional opinion and self-diagnosis to the medical staff treating her, her suspicion of a heart attack is relentlessly shut down by doctors who are white, cis-men. Bailey stays loyal to her own professional judgment and requests that she speak to the Seattle Presbyterian’s Chief of Surgery, Dr. Maxwell. Maxwell immediately dismisses Bailey’s belief that she is suffering from a heart attack. He looks at her with sympathy, places a comforting hand on her shoulder, and assures her that his medical opinion is correct. This effectively portrays the harmful stereotype that women are inherently less intelligent than men. It reinforces the idea that women don’t belong in professions where many urgent, important, and high-pressure decisions must be made with utmost skill and knowledge. Maxwell, who actually holds the same position as Bailey in hospital authority, quickly assumes invalidity in her opinion and overlooks her judgment confidently. As a white, cis-man with an intensely glorified job, he feels he holds authority over Bailey, whose blackness, fatness, and identification as a woman devalues her skill and judgment as a highly qualified surgeon.

To make matters worse, Maxwell then suggests she consider mental-health related factors that could be the cause of her physical discomfort. “Do not go down that road with me,” she says. Maxwell continues to ask Bailey about “big stressors” and her history of mental illness. Bailey quickly recognizes that Maxwell’s inference is based solely on stereotypes that women are unable to handle their emotions and anxiety. Bailey asserts her confidence as a black woman who deals with OCD, claiming that she views it as a piece of her story rather than a disadvantage.  Refusing his inference, she requests a new doctor. This scene shows Bailey resisting the socially ingrained idea that women are more mentally and emotionally immature and unstable compared to men. Too often, women’s heart disease is overlooked as merely a manifestation of anxiety or stress. This emerges in relation to the overarching idea that white men are inherently stronger, smarter, and better prepared for success than women of color.

Unfortunately, rather than upholding Bailey’s request for a new cardiologist, Maxwell refers Bailey to a psychiatrist, who is also a white cis-man. He speaks to Bailey in a condescending tone, insisting that he help “treat” the mental issues he believes are causing her physical pain. He describes her as a woman “who has a big job with a lot of responsibilities,” who “manages life and death scenarios on the daily,” “has a history of mental illness,” and has “limited coping skills.” His assumption that someone like Bailey could not possibly handle the stress that comes with such a highly respected and important job feeds into the belief that such positions belong to white men. It reinforces the stereotype that only white men could ever qualify for such an intense, emotionally strenuous, extraordinary profession; this is because society has held the idea that only they have the mental capacity and qualities to handle and deserve such a responsibility. 

The title of the episode, “Don’t Fear the Reaper,” contradicts the episode’s message in an abstract and interesting way. The title originates from a song written by Buck Dharma, a member of a band called Blue Oyster Cult. The song is basically about the inevitability of death and how it shouldn’t be feared. It’s less of a comment on the gender and racial stereotypes of the episode and more of one on the humanity of the situation she is in. The “death” aspect reflects Bailey’s grueling work life and stressful home life. The title insinuates that Bailey should surrender to the forces weighing her down, such as the inevitable stress of her job and as an individual part of intersecting marginalized communities. It implies that despite how secure and empowered she is in herself, she must allow herself to succumb to the natural struggles of life. While this episode title represents the humanization of Bailey, it also places greater emphasis on her struggle, which reinforces negative stereotypes about people like her. This tainted message takes away from the episode’s message on gender and racial stereotypes. Although this message does tie into Grey’s Anatomy’s overarching theme of the imperfectness of humanity, it dulls the episode’s commentary on more pressing social issues.  

Overall, the writers successfully tackle stereotypes about women regarding anxiety and heart disease. Miranda Bailey, a fierce and resilient black woman who is Chief of Surgery at Grey Sloan Memorial Hospital, is known for speaking on issues concerning gender, race or sexuality stereotypes. The writers of Grey’s Anatomy utilized such admirable qualities of her character to effectively comment on the harmful gender and racial stereotypes that are ingrained in our society.