Chest hair
Contents
Development and growth [ edit ]
Although vellus hair is already present in the area in childhood, chest hair is the terminal hair that develops as an effect of rising levels of androgens (primarily testosterone and its derivatives) due to puberty. Different from the head hair it is therefore a secondary sexual characteristic. Men tend to be covered with far more terminal hair, particularly on the chest, the abdomen. and the face .
The development of chest hair begins normally during late puberty, usually between the ages of 12 and 18. It can also start later, between the age of 20 and 30, so that many men in their twenties have not yet reached their full chest hair development. The growth continues subsequently.
Patterns and characteristics [ edit ]
The individual occurrence and characteristics of chest hair depend on the genetic disposition, the hormonal status and the age of the person. The genes primarily determine the amount, patterns and thickness of chest hair. Some men are very hairy, while others have no chest hair at all. All ranges and patterns of hair growth are normal. The areas where terminal hair may grow are the periareolar areas (nipples ), the centre and sides of the chest and the clavicle (collarbone).
The direction of growth of hair can make for interesting patterns, akin to depictions of mathematical vector fields. Typical males will exhibit a node on the upper sternum, the hair above which points up and the hair below which points down. Some individuals (of, say, the pattern in diagram 3) have spirals on their upper pectoral regions (several inches from the nipple towards the neck) which run clockwise on the left breast and counter-clockwise on the right.
Considering an individual occurrence of chest hair as abnormal is usually not due to medical indications but primarily to cultural and social attitudes. An excessive growth of terminal hair on the body of men and women is called hypertrichosis. This medical term has to be distinguished from hirsutism that just affects women. These women can develop terminal hair on the chest following the male pattern as a symptom of an endocrine disease.
There have been occasional studies documenting patterns of chest hair in men and occurrence of these patterns. A study of 1100 men aged 17 to 71 defined and documented ten patterns of chest hair in Caucasoid men. In this study 6 percent of the men were found to have no chest hair. The largest group, 56 percent, displayed pattern four as shown in the accompanying figure. The remaining 38 percent of the men displayed a lesser quantity of chest hair. Seven percent displayed pattern one, 13 percent displayed pattern two and 18 percent displayed various other patterns. [ citation needed ]
The same study documented the chest hair patterns of 60 African-American men aged 20–40. For these men 22 percent were found to have no chest hair. The largest group, 37 percent displayed pattern four and the remaining 41 percent had a lesser quantity of chest hair. Eight percent displayed pattern one, 12 percent pattern two and 11 percent displayed various other patterns. [ 1 ] [ 2 ]
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Evaluate how he acts after making mistakes. Determine whether he blames others, the situation or if he takes responsibility for his own actions. Your man doesn't have to be perfect, but he may be a loser if he cannot own up to his mistakes.
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What Tina Wants
Tina Fey, photographed in New York. 30 Rock co-star Alec Baldwin observes, “The collective consciousness has said, ‘Tina, dahling, where have you been? Where on earth have you been?’” Photograph by Annie Leibovitz; styled by Michael Roberts.
T ina Fey has never dated a bad boy.
She didn’t even let boys she dated do anything bad.
“I remember the biggest trouble I ever got into—” says her husband, Jeff Richmond, a short, puckish man of 48 in jeans and a T-shirt, cutting himself off mid-thought at the mere memory of Tina’s wrath. “Oh, my God.” (He calls himself “the Joe Biden of husbands” because he’s prone to “drop the bomb” in interviews.)
Fey is sitting across from Richmond in their comfy, vintage-y Upper West Side apartment, where a lavender exercise ball lolls next to the flat-screen TV, a pink tricycle is parked under a black grand piano, and golden award statuettes abound. When I arrived, at 9:30 p. m. Fey had already put her three-year-old daughter, Alice, to bed and was tapping away on a silver Mac laptop at the kitchen counter on a script for 30 Rock, her slyly hilarious NBC comedy about an NBC comedy. She’ll return to the script when I leave, near midnight.
Fey shoots Richmond a warning look. It’s undercut by the fact that she’s wedged into her daughter’s miniature red armchair, joking about squeezing her butt in and looking like Alice in Wonderland grown big in navy velour sweatpants and pink slippers.
View video of Tina Fey’s photo shoot for this month’s Vanity Fair.
The 38-year-old Fey sips a glass of white wine and eats some cheese and crackers—all her food-obsessed doppelgänger on 30 Rock, Liz Lemon, longs to do is go home and eat a big block of cheese—while Richmond and I drink vodka martinis he has made.
“What are you gonna tell?” she teases her husband. “Think this through.”
Richmond wades in. “When we were first dating,” he says, harking back to Chicago in 1994, “some of the guys at Second City said, ‘Hey, wouldn’t it be a hoot if we go over—”’
“‘—over to the Doll House,”’ Fey finishes. “‘We’ll go to this strip club ironically. ’ I was like, ‘The fuck you will.”’
Their conversation is woven with intimacy, the easy banter of a couple who knew each other long before fame hit. They fell in love quickly, soon after a Sunday afternoon spent together at Chicago’s Museum of Science and Industry. (“We walked into a model of the human heart,” Fey deadpans.) The writer-comedian and the musician-director dated for seven years, have been married for another seven, and have worked together in improv theater in Chicago, on Saturday Night Live, and on 30 Rock. (He composed the bouncy retro theme music.) Richmond still reassures her, all these years later: “Nothing happened. We were there for like an hour. We ate chicken, really good pasta.”
And Fey still recoils. “It didn’t go great when you came back, did it? I was very angry. It was disrespectful.”
I mention that in the pilot of 30 Rock Liz Lemon puts on a Laura Bush–style pink suit from her show-within-a-show’s wardrobe department to go to lunch with Tracy Jordan (Tracy Morgan), to try to sign him, and he takes her to a strip club in the Bronx, where she gets drunk and dances onstage with a stripper named Charisma.
“I love to play strippers and to imitate them,” says Fey. “I love using that idea for comedy, but the idea of actually going there? I feel like we all need to be better than that. That industry needs to die, by all of us being a little bit better than that.”
There’s a reason her former S. N.L. pal Colin Quinn dubbed Tina Fey “Herman the German.” She’s a sprite with a Rommel battle plan.
Elizabeth Stamatina Fey started as a writer and performer with a bad short haircut in Chicago improv. Then she retreated backstage at S. N.L., wore a ski hat, and gained weight writing sharp, funny jokes and eating junk food. Then she lost 30 pounds, fixed her hair, put on a pair of hot-teacher glasses, and made her name throwing lightning-bolt zingers on “Weekend Update.” Speeding through the comedy galaxy, she wrote the hit Mean Girls and created her own show based on an S. N.L. - type show: 30 Rock. The comedy struggled in the ratings for two years but was a critical success, winning seven Emmys last fall and catapulting Fey into red-hot territory. Before she even had a chance to take a breath, a freakish twist of fate turned her from red - to white-hot, and enabled her, at long last, to boost the ratings of 30 Rock: Fey was a ringer for another hot-teacher-in-glasses, Sarah Palin, the comely but woefully unprepared Alaska governor, who bounded out of the woods with her own special language to become not only the first Republican woman to run on a national ticket but also God’s gift to comedy and journalism. So where does Fey go from white-hot?
“Tina is not clay,” says Lorne Michaels, the impresario of Saturday Night Live, Mean Girls, and 30 Rock, when I ask him how he helped shape her career. Steve Higgins, an S. N.L. producer, observes, “When she got here she was kind of goofy-looking, but everyone had a crush on her because she was so funny and bitingly mean. How did she go from ugly duckling into swan? It’s the Leni Riefenstahl in her. She has such a German work ethic even though she’s half Greek. It’s superhuman, the German thing of ‘This will happen and I am going to make this happen.’ It’s just sheer force of will.”
As it turns out, the 669-page autobiography of Leni Riefenstahl—chronicling her time as Hitler’s favorite filmmaker and the creation of the propaganda movie Triumph of the Will— is one of Fey’s favorite (cautionary) books. “If she hadn’t been so brilliant at what she did, she wouldn’t have been so evil,” Fey says. “She was like, in the book, ‘He was the leader of the country. Who was I not to go?’ And it’s like, Note to self: Think through the invite from the leader of your country.”
Tina Fey speaks what she calls “less than first-grade” German and so does Liz Lemon of 30 Rock, which Fey thinks is fun because German is “so uncool.” (Lemon’s cell-phone ring is the Wagnerian “Kill da Wabbit” from Bugs Bunny’s What’s Opera, Doc? ) Fey is a rules girl—“I don’t like assertions of status or line cutting”—and she’s made Lemon one, too. Far from the John Belushi model—the only drug packets scattered around S. N.L. these days are Emergen-C—Fey drinks sparingly, is proud that she has never taken drugs, and calls her husband’s ex–smoking habit “disgusting.”
Her true vice is cupcakes. I’ve brought her a box, one frosted with the face of Sarah Palin. She chooses that one, which is bigger, joking that it’s O. K. if she gains weight before her Annie Leibovitz photo shoot in a few days, because “Annie’s going to photograph my soul, right?” When it comes to her looks, she’s both forgiving and self-deprecating. “The most I’ve changed pictures out of vanity was to edit around any shot where you can see my butt,” she says. “I like to look goofy, but I also don’t want to get canceled because of my big old butt.” Frowning and rubbing the lines between her eyes, she adds that she might also tell the 30 Rock postproduction team, “‘Can you digitally take this out?’ Because I don’t have Botox or anything.”
Fey’s friend Kay Cannon, a 30 Rock writer, says that Tina has remained self-deprecating even as she has glammed up. “She’ll always see herself as that other, the thing she came from.”
Rules are Tina’s “Achilles’ heel in some ways,” Richmond says. “She’s half German, half Greek. That is just like loosey-goosey-crazy, and then you get, ‘Do the trains run on time?”’ It is Fey’s fierce clarity about rules that allows Richmond to feel secure now that he’s suddenly in celebrity-magazine features with titles such as “I Married a Star” and is living with the woman the New Yorker staff writer Michael Specter calls “the sex symbol for every man who reads without moving his lips.”
“I know how she feels about some things,” Richmond tells me over coffee one day at an Italian place around the corner from his house. “Like, we never had to deal with any of this, but: adultery. Just looking at examples from other people’s lives, we know that anything like that, messing around, is just such a complete ‘No’ to her. And she has her principles and she sticks to her principles more than anybody I’ve ever met in my life. Like that whole idea of, if you are in a relationship, there are deal breakers. There’s not a lot of gray area in being flirty with somebody. She’s very black-and-white: ‘We’re married—you can’t.’” He calls their marriage “borderline boring—in a good way.” And she concurs: “I don’t enjoy any kind of danger or volatility. I don’t have that kind of ‘I love the bad guys’ thing. No, no thank you. I like nice people.”
“She used to wear crazy boots,” Fey’s husband, Jeff Richmond, recalls, “knee-length frumpy dresses with thrift-store sweaters.” Photograph by Annie Leibovitz; styled by Michael Roberts.
Rip Torn, the wonderful 77-year-old actor who plays the C. E.O. of G. E. on 30 Rock, told me he was “gazing admiringly” at Fey one day, and she said, “I’m married, you know. I love my husband and I have a child.”
S. N.L.’ s Amy Poehler has described Fey as “monastic,” the type who sits on the side and watches everybody else belly-flop in the pool, and then writes about it.
During cocktails at her apartment, I ask Fey, What’s the wildest thing you’ve ever done?
“Nothing,” she replies blithely.
Did she ever use the Sarah Palin voice to entice her own First Dude?
No, she said, but once, when she did a voice-over for a pinball machine in Chicago, she used an Elly May Clampett voice. “These critters need some attention,” she says in a soft southern drawl, giving her husband a sexy glance. She’s as pitch-perfect channeling Elly May as she is channeling Palin. “And that was the only time Jeff has kind of hinted that maybe I should talk like that all the time.”
L ast September, when Fey saw Mary Tyler Moore and Betty White giving out the Emmy for outstanding comedy series, she says, “I had this visceral thing of, like, I want them to gimme that! I want to get that from those ladies!”
And within moments 30 Rock was called and she went up onstage, glowing in a strapless eggplant mermaid David Meister gown, to take the Emmy from the two women who had provided the template for her own show. In fact, 30 Rock would rock the Emmys, tying the record held by All in the Family. Given her frumpy start in comedy and her wooden start on 30 Rock, it was a dazzling Cinderella moment (except for Fey’s purse getting stolen while she was onstage). She got her own slipper, writing and willing herself into the role, and the shoe wasn’t glass. It was a silver Manolo Blahnik.
“I don’t like my feet,” she says. “I’m not crazy about anybody’s feet. But I have flat feet.”
Liz Lemon sleeps in socks and tells Oprah she hates her feet. Robert Carlock, who wrote for S. N.L. and now is co-show-runner of 30 Rock, told me that Fey, too, is “not willing to have people see her feet. I come in to talk about scripts when she’s getting pedicures and have been summarily dismissed.” Jack McBrayer, the former Second City comic who plays Kenneth, the Goody Two-Shoes NBC page, laughs: “They’re normal feet. She’s just a loony bird.”
Fey has unleashed her inner Sally Bowles, the role she played in a student production of Cabaret at the University of Virginia. (Yes, she sings too, with what she calls “a birthday-party-quality voice.”) Her makeover is the stuff of legend. The Hollywood agent Sue Mengers warned her pal Lorne Michaels that he simply could not bring Fey out of the writers’ room and put her on-air for “Weekend Update.”
“She doesn’t have the looks,” Mengers told him.
“Lorne brought her over to my house when she was head writer,” Mengers recalls. “She was very mousy. I thought, Well, they gotta be having an affair. But they weren’t. He just appreciated her talent. And now, suddenly, she’s become this sexy, showing-tit, hot-looking woman. I said to Lorne, ‘What the fuck did she do?”’
Far from holding Mengers’s brutal candor against her, Tina spent the Friday night before the Emmys hanging at Mengers’s house, thanked her when she won, and came back with Jeff the next day for a celebratory brunch. “She’s quietly smart,” Mengers says. “You know that she doesn’t miss anything, right down to the buckle on your shoe.”
Fey’s father (the German side) is an affable Clint Eastwood look-alike who loves reading books about comedy and often drives up from the Philly area to visit Tina and Alice on the set. (His artwork fills their apartment.) Fey’s acerbity comes from her mother (the Greek side), who has what Richmond calls “drag-queen humor—that bitter, extremely caustic kind of stab-you-in-the-heart humor.” Mrs. Fey played a weekly poker game with her friends. “I loved hanging out with the ladies, because they were very funny, and a little bit mean, and had lots of Entenmann’s products,” Fey says. There’s an additional legacy: “Because of the Greek-girl thing, I have, like, boobs and butt,” so “I only have two speeds—either matronly or a little too slutty. I have to be steered away from cheetah print.”
30 Rock features many shots of Liz Lemon’s younger life, when she looks like a nerd in goofy clothes and frizzy hair. “I really wasn’t heavy in high school,” Fey recalls over lunch one afternoon at Café Luxembourg, where she dutifully switches her order from a B. L.T. to a salad. “But no one feels right in their own skin, particularly in high school.” Her love life in school was, she says, a “famine”: “I really didn’t have very many dates at all. And that’s not an exaggeration. But also, I don’t think we should discount the fact that unplucked eyebrows and short hair with a perm may not have been the best offering, either.” Liz Lemon tells Oprah on 30 Rock that she was a virgin until she was 25. Tina Fey confesses much the same to me, noting, “I remember bringing people over in high school to play—that’s how cool I am—that game Celebrity. That’s how I successfully remained a virgin well into my 20s, bringing gay boys over to play Celebrity.”
Adam McKay, the former S. N.L. head writer who hired Fey and taught her first improv class in Chicago, remembers one night when a bunch of comics were having drinks after a performance at the Upright Citizens Brigade. “I asked her who she lost her virginity to and she blushed, and I said, ‘Tina, I’m really surprised, who cares?”’ He loved her “prim and proper” Philly reserve combined with the “chord of anger running through her humor,” the way she could throw down the fastest, meanest joke referencing everything from Allen Ginsberg to poop and still be shy.
That prude/lewd split personality had already been defined during her adolescence in Upper Darby, a suburb of Philadelphia, where, Fey says, she had “a dash of high-school bitchy,” as one of her S. N.L. skits described Palin. Her friend Damian Holbrook, a TV Guide writer who attended a nearby high school and whose first name she took for the gay character in Mean Girls, says she was like the Janis character in that movie, the sweet girl in an oversize Shaker sweater who didn’t run with the cool crowd or strut around to get guys, yet had the wit to burn the mean girls if she wanted to. Fey liked to watch The Love Boat and old Gene Kelly movies; she was involved in choir, theater, and the newspaper, for which she wrote a tart, anonymous column under the byline “The Colonel.” In middle school, she was a flutist, which came in handy for her imitation of Sarah Palin’s beauty-contest skills. She didn’t have great athletic ability but played tennis, and, citing Kay Cannon, says that team sports breed “a different kind of woman,” with a “game-on, let’s-do-it work ethic”; she hopes her daughter will grow up to play sports. (“I want Alice to play professional football.”) She also wants her daughter to go through “a character-building puberty” with some frizzy, zit-filled years. (“It’s going to be heartbreaking when we have to see that kid with a unibrow, when all that Greek stuff kicks in,” Richmond observes.)
Liz Lemon favors her right side. That’s because a faint scar runs across Tina Fey’s left cheek, the result of a violent cutting attack by a stranger when Fey was five. Her husband says, “It was in, like, the front yard of her house, and somebody who just came up, and she just thought somebody marked her with a pen.” You can hardly see the scar in person. But I agree with Richmond that it makes Fey more lovely, like a hint of Marlene Dietrich noir glamour in a Preston Sturges heroine.
“That scar was fascinating to me,” Richmond recalls. “This is somebody who, no matter what it was, has gone through something. And I think it really informs the way she thinks about her life. When you have that kind of thing happen to you, that makes you scared of certain things, that makes you frightened of different things, your comedy comes out in a different kind of way, and it also makes you feel for people.”
I wonder how the scar affected Fey in high school. “She wasn’t Rocky Dennis developing a sense of humor because of her looks, like in Mask, ” says Damian Holbrook, laughing. Liz Lemon’s blustery Republican boss, Jack Donaghy, played with comic genius by Alec Baldwin, tells Lemon, “I don’t know what happened in your life that caused you to develop a sense of humor as a coping mechanism. Maybe it was some sort of brace or corrective boot you wore during childhood, but in any case I’m glad you’re on my team.”
Fey dances to Beyoncé’s “Crazy in Love.” Of her mother’s poker circle, she says, “I loved hanging out with the ladies, because they were very funny, and a little bit mean, and had lots of Entenmann’s products.” Photograph by Annie Leibovitz; styled by Michael Roberts.
Marci Klein—the cool, tall, blonde executive producer of 30 Rock and producer of S. N.L., and the daughter of Calvin Klein—who was kidnapped for 10 hours when she was 11, remembers, “Tina said to me, ‘Well, you know, Marci, we had the Bad Thing happen to us. We know what it’s like.”’
Fey herself rarely mentions the episode. “It’s impossible to talk about it without somehow seemingly exploiting it and glorifying it,” she says. Did she feel less attractive growing up because of it? “I don’t think so,” she says. “Because I proceeded unaware of it. I was a very confident little kid. It’s really almost like I’m kind of able to forget about it, until I was on-camera, and it became a thing of ‘Oh, I guess we should use this side’ or whatever. Everybody’s got a better side.”
She used therapy to cope with her extremely fearful reaction to the anthrax attack at 30 Rock shortly after 9/11—the first time her co-workers had seen her vulnerable. The therapist talked to her about 9/11 and the anthrax delivered to Tom Brokaw’s office, linking them to the crime against her when she was little. “It’s the attack out of nowhere,” Fey says. “Something comes out of nowhere, it’s horrifying.”
I asked her how the childhood attack affected her as a mother.
“Supposedly, I will go crazy,” she replies evenly. “My therapist says, ‘When Alice is the age that you were, you may go crazy.”’
O ver coffee with Richmond, I ask him to describe Fey in her pre-glamour-puss days, back in Chicago. “She was quite round,” he says, “in a lovely, turn-of-the-century kind of round—that beautiful, Rubenesque kind of beauty.” And as for her clothes: “Things that didn’t match. She used to wear crazy boots. She would wear just a lot of knee-length frumpy dresses with thrift-store sweaters and kind of what was comfortable. It still looked kind of cool on her. I used to get all my suits in thrift stores, because I realized I was the size of little old men who were dying.” The five-foot-three-and-a-half Richmond says they bonded over hot veal sandwiches and their appreciation of “sarcastic humor and Garry Shandling shows.”
Fey recalls she was at her heaviest in Chicago and, later, sitting at a desk at S. N.L. “I’m five four and a half, and I think I was maxing out at just short of 150 pounds, which isn’t so big. But when you move to New York from Chicago, you feel really big. Because everyone is pulled together, small, and Asian. Everyone’s Asian.”
She saw herself on an S. N.L. monitor as an extra, “and I was like, ‘Ooogh.’ I was starting to look unhealthy. I looked like a behemoth, a little bit. It was probably a bad sweater or something. Maybe cutting from Gwyneth Paltrow to me.” She wanted to be “PBS pretty”—pretty for a smart writer. She called Jeff, who was directing a show at Second City in Chicago, and said, “O. K. I’m starting Weight Watchers.”
Fey says, “I got to that thing that’s so enjoyable where people tell you, ‘Oh, you’re thin, you’ve gotten too thin.’ Lorne was like, ‘Please, please make sure you’re eating.”’ McKay recalls Fey telling a story about her heavier days. “Steve Martin walked right past her at the coffee table, and then, after the makeover, he was like, ‘Well, hel-looo—who are you?’”
The newly svelte Fey took over the “Weekend Update” anchor desk with Jimmy Fallon and made her name writing zingers for herself and jokes for Fallon, like this one about Demi Moore going with Ashton Kutcher: “Actress Demi Moore turned 40 on Tuesday, but she feels like a 25-year-old inside.”
30 Rock made its debut in 2006, with Washington Post critic Tom Shales acidly noting that Fey was “not Orson Welles.” I ask Baldwin if he coached Fey, whose acting background was improv and “Weekend Update,” on how to do longer-form comedy. No, he says, only on what Richmond dryly calls “knockers shots.” “I would say things to her, never giving advice: she’s a woman you don’t easily give advice to—she’s very self-reliant. I’d say to her, ‘You know, you’re a really beautiful girl. You’ve got to play that. It’s a visual medium. This is not Upright Citizens Brigade, where we’re doing sketch comedy at nine o’clock at night on a Sunday for a bunch of drunken college graduate students. You are a very attractive woman and you’ve got to work that. You’ve got to pop one more button on that blouse and you’ve got to get that hair done and you’ve got to go! Glamour it up.’”
Ah, I say, so you’re the one who encouraged Fey to wear so many low-cut tops, even though Lemon seems like the crewneck-sweater type. “There is Liz Lemon and there is Liz Lemon as portrayed by a leading actress in a TV show,” Baldwin responds with amused and amusing disdain. “It’s not a documentary. Tina’s a beautiful girl. We needed to get the pillows fluffed on the sofa and we needed to get the drapes steamed, and we needed to get everything all nice and get the presentation just right. Tina always played the cute, nerdy girl. Tina on the news, the glasses. There was not a big glamour quotient for her. Now there is.
“The collective consciousness has said, ‘Tina, dahling, where have you been? Where on earth have you been?”’
3 0 Rock struggled at first. The network made Fey drop her old friend Rachel Dratch from one of the leads, and the show was locked in a sibling rivalry with NBC’s other show-within-a-show, Aaron Sorkin’s Studio 60 on the Sunset Strip. Fey lured the viewers she craved only when she started moonlighting on S. N.L. as the look-alike Alaska governor who sometimes talks, as Fey puts it, as if she’s lost in a corn maze. Sarah Palin’s debut left conservative men salivating—“Babies, guns, Jesus: hot damn!” Rush Limbaugh thundered—and left Fey little choice. There had not been such a unanimous national casting decision since Clark Gable as Rhett Butler in Gone with the Wind. Besides, she and Michaels knew it could be good for 30 Rock and S. N.L. Her Palin mimicry—with sketches written mainly by Seth Meyers—convulsed the nation and propelled S. N.L. into relevance again. The show got its biggest ratings since Nancy Kerrigan hosted in 1994, after having had her leg busted up by Tonya Harding’s henchman.
Even the pros were blown away by Fey. “I’ve never seen a better impression,” the S. N.L. master of the art, Darrell Hammond, says. “If they put those two on a sonar, they would match up electronically.” Jon Stewart—her “Dear Diary,” as she calls it, teenage crush (replacing Danny Kaye) from his days at Short Attention Span Theater on Comedy Central—told The New York Times’ s Bill Carter that Fey “had the single best line of this campaign year,” one she wrote herself and delivered in the role of Palin during the debate: “I believe marriage is a sacred institution between two unwilling teenagers.”
I n October, it seemed that Tina Fey was the campaign, with journalists writing that she had “swift-butted” Palin and derailed her future. Two weeks before the election, Fey’s Palin and Palin’s Palin met cute: the two women walked past each other wordlessly in S. N.L.’ s opening sketch. As cast member Casey Wilson, standing next to a giggling Secret Service agent backstage, looked at Palin on a monitor raising the roof to Amy Poehler’s racy Wasilla rap, she blurted out, “Oh, my God!” Watching a parade consisting of Mark Wahlberg, a donkey, Palin, and her Secret Service agents, a visiting screenwriter observed, “This is like a Fellini movie.”
The McCain camp was on hand to ride herd, cutting out Poehler’s rap line about how, in the Palins’ bedroom, it’s “drill, baby, drilla.”
There were passionate arguments leading up to Palin’s appearance. Some connected with the show did not want to give the Alaska governor a platform. Neither did bloggers on the Huffington Post. “The people on the left were like, ‘No, you can’t do that!”’ Fey recalls. “And it’s like, ‘We don’t work for you.”’ The famously liberal Baldwin also found that line of liberal reasoning silly, saying he was outraged that commenters on the Huffington Post compared Palin to David Duke: “Palin came there to get thrown in the dunk tank. She knew it and she was gracious.”
Still, the debate raged about the politics of Sarah Palin’s appearance on S. N.L. Did it help her? Did it hurt her? Was it demeaning to politics? Were late-night shows determining the election? Should a comedian care? (Similar questions had arisen after Fey’s “Weekend Update” comment about Hillary Clinton: “Bitch is the new black.”) After weeks of appearing on S. N.L. as Palin, Fey opted to minimize the onstage interaction when the real Palin finally showed up, and despite reams of speculation the reason wasn’t fundamentally political. “Tina was agonizing about it, and I’m drawn to anybody who agonizes about things,” says her friend Conan O’Brien. “She told me, ‘When I fly, I don’t like to meet the pilot.’ On the one hand, she knew: It’s my job to sort of go after this person in a way, but at the same time I know when I meet her, she’s a human being and a mom. She’s not the Devil incarnate or Antichrist.”
A fter the mock and real Palins do their walk-by—in identical red jackets and black skirts the S. N.L. seamstresses whipped up for the two women, with flag pins provided by Palin—Fey seems relieved. She changes and comes back to the small room offstage where Lorne Michaels’s guests are hanging out. There are some drinks on ice by the monitor in Lorne’s cubbyhole, and Fey has a glass of white wine in a plastic cup. “At least I can have one of these now,” she says, smiling, to Jeff Zucker, the NBC president, who crows that she is “the hottest thing in American culture.” She’s wearing a purple-and-white checked Steven Alan shirt, and black Seven for All Mankind pants. She has taken off her Palin-streaked beehive wig, and her dark-brown hair is pulled back in a thick ponytail. She looks like a really pretty graduate student, and she has a soft voice and reserve that Matthew Broderick says cause people to “lean in to her.” (Like Daisy Buchanan, except her voice is full of funny rather than money.) She says the moments with Palin—which she has been dreading because it has been an ugly week on the Republican campaign, and because you don’t like to meet someone you’re “goofing” on—have gone fine. “She asked me where my daughter was,” Fey says. (Alice had been there earlier at the rehearsal, pointing at the monitor showing Palin and thinking it was somehow her mommy, even though Mommy was with her.) “She said Bristol could have babysat.”
Fey chats about the election for a moment, wondering if Obama could be “another Jimmy Carter.” She tells Zucker, who is leaning against the wall, taking it all in, that she hasn’t yet called her “Republican parents” to see how they feel about tonight’s skit. Later, she tells me, “I grew up in a family of Republicans. And when I was 18 and registering to vote, my mom’s only instruction was ‘You just go in and pull the big Republican lever.’ That’s my welcome to adulthood. She’s like, ‘No, don’t even read it. Just pull the Republican lever.”’ (Fey made a call to arrange for Richmond’s excited Republican parents and sister to meet Palin at a rally in Erie, Pennsylvania.)
Although some considered it a missed comedic opportunity, Fey says she didn’t want to do what Jim Downey, the burly writer who has done many of S. N.L.’ s renowned political skits, calls “a classic sneaker-upper” with Palin. “I just didn’t want to have to do the impression at the same time with her,” she said. “One, it would shine a light on the inaccuracies of the impression, and, two, it’s just always … the only word I can think of is ‘sweaty.’ It just always feels sweaty.”
Two weeks after the appearance with Palin, Fey does another scorchingly funny Palin skit, this time with John McCain, a bit where Fey’s Palin goes “rogue” and starts selling “Palin in 2012” T-shirts on QVC. “A man running for president of the United States onstage with a woman playing his running mate—isn’t that a great moment in our country’s history?,” Lorne Michaels says in wonder as he leaves 30 Rock, wading through a throng of reporters, at 1:30 a. m. Adam McKay, Will Ferrell’s writing partner in Hollywood, wrote the S. N.L. sketch where Ferrell’s fumbling W. gives Fey’s flirtatious Palin an endorsement. “It is the most ridiculous, borderline-dangerous thing that the Republican vice-presidential nominee happened to look like the funniest woman working in America,” McKay says. “What if the next Republican presidential nominee looks exactly like Seth Rogen?”
Around the same time, Fey saw an entertainment reporter on TV say that Palin had been gracious toward Fey, but Fey hadn’t been gracious toward Palin. “What made me super-mad about it,” Fey says later, “was that it seemed very sexist toward me and her. The implication was that she’s so fragile, which she is not. She’s a strong woman. And then, also, it was sexist because, like, who would ever go on the news and say, ‘Well, I thought it was sort of mean to Richard Nixon when Dan Aykroyd played him,’ and ‘That seemed awful mean to George Bush when Will Ferrell did it.’ And it’s like, No, that’s not the thing. This is a comedy sketch on a comedy show.” “Mean,” we agreed, was a word that tends to get used on women who do satirical humor and, as she says, “gay guys.”
“I feel clean about it,” she says. “All these jokes were fair hits.”
W hen Fey and her clever band of writers conjure up Liz Lemon, her 21st-century Mary Tyler Moore New York career girl, they put in a lot of Rhoda-like neuroses and insecurity about looks and food jokes and epically bad dates—though this season she’s upgraded to Mad Men’ s sexy Jon Hamm, who plays a pediatrician who impresses Lemon with his love of pie-making documentaries and ice-cream makers. Liz is more like Seinfeld’ s Elaine—bossy/awkward on the outside and meek/insecure at her core—than The Mary Tyler Moore Show’ s poised Mary Richards. Fey borrows much of the material from her own life and her writers’ and actors’ lives, and then heightens it. Baldwin’s character has an obsessive relationship with an ex, and hers dates a little person she had initially mistaken for a child. Richmond wonders serenely if he inspired it.
Lemon noshes on “off-brand” Mexican cheese curls called “Sabor de Soledad”—“taste of solitude.” When forced to choose between a great man and a great sandwich, she puts the sandwich first. “No one has it harder in this country today than women,” Liz complains to her friend Jenna. “It turns out we can’t be president. We can’t be network news anchors. Madonna’s arms look crazy.”
View video of Tina Fey’s photo shoot for this month’s Vanity Fair.
But in her own life, Fey is the stable one, just as Mary Richards was on TV, anchored among oddballs in her Minneapolis newsroom. Outside her comedy, Fey does not want drama. When I ask her if she ever gets the urge to straighten out Lindsay Lohan, who starred in Fey’s movie Mean Girls, or to counsel Tracy Morgan or Alec Baldwin when they hit tempestuous passages in their personal lives, she says, “I have no enabler bone in my body—not one. I’m sort of like, ‘Oh, are you going crazy? I’ll be back in an hour.’” She is the Obedient Daughter, the German taskmistress, the kind but firm maker and keeper of rules. And what Tina wants, Tina gets, sooner or later, because she works and works and works for it.
So what does she do with what she calls her “15 minutes,” now that she’s got America’s attention and a $5 million deal for a humor book?
Her manager, David Miner, whom she met when he was in the coatroom at Second City, has no doubt she’ll continue to call on the way up to his office and get a latte for his assistant. “She never looks at the world and says, ‘Give me this,”’ he says. “She adapts and rolls up her sleeves.”
She’d like to “mono-task” for a change and pull 30 Rock into syndication. She’d like a slightly bigger apartment, so they can entertain more. (Jeff cooks and sews.) “I feel like the window is closing—I’m 38,” she says about having more kids. “Obviously you want the best chance of the baby being healthy, and I think with our life and jobs right as they are at this moment, it doesn’t seem possible. It’s the year after the baby comes that is like someone hitting you every day in the face with a hammer.”
Fey’s idea of an ideal day off is still the same: she and Jeff take Alice to the playground and go to the Neptune Room, a fish place around the corner, or the Shake Shack on the Upper West Side for shakes and burgers and fries.
Everybody wants to be Tina Fey, I tell her. Who do you want to be?
“I don’t want to be somebody else,” she says.
And why would she?
Maureen Dowd is a columnist for The New York Times.
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Personality
Jean Grey was "Miss Popular" of the X-Men. She is intelligent, strong-willed, pretty, confident, well-liked, and a naturally gifted athlete. Unlike many mutants who began as social outcasts and came to find their horizons expanded through their association with the Institute, Jean starts out from a high position of social status as she was shown to be very popular in high school. However, she is somewhat insecure and possesses a jealous streak when it comes to Scott Summers. As part of the X-Men, she has helped young mutants get accustomed to their new lives, acting as a bit of a peace-maker when their emotions over being a mutant get the best of them.
Physical Appearance
Jean is a beautiful Caucasian girl with a tall and athletic figure. She has long red hair, which she wears freely down her back and green eyes (Steven E Gordon who designed Jean used Odette's hair style, and facial features since he helped create the Swan Princess) . Jean usually wears a form-fitting pale purple shirt with a slight v-neck (exposing naval), tan khakis and brown open-toed sandals. She accessorized with gold bracelets on each of her wrists.
Her second outfit consist of a yellow 3/4 sleeved shirt with orange accents (exposing naval), form-fitting blue jeans with a dark belt and silver high heels. She accessorizes with purple bracelets on each of her wrists and a silver necklace.
Her third outfit included a short-sleeved olive green and yellow striped shirt (exposing naval), a long brown pencil skirt with a dark brown belt, and yellow bow tied sandals. She accessorize with gold bangle bracelets on eack of her wrists.
In Jean's X-men uniform, she wears a dark navy blue bodysuit with a cowel that covers her whole body except for her face, hair, and hands. Her suit has a bright green V-shaped triangle on the front and has the "X" logo on the side of each of her arms/shoulders. She also wears a single bangle bracelet on each of her wrists.
Powers & Abilities
Jean Grey possesses Advanced telepathic and telekinetic abilities. Her telekinesis allows her to manipulate psionic energy in various ways to levitate and move objects or people and project great force with her mind including powerful shockwaves and forcefields (strong enough to hold back the water flow of a broken dam or contain a massive train explosion). She can use her telekinesis on herself to levitate and achieve limited flight. During the first season, Jean's telekinetic abilities were still improving but after her power surge in Season Two, Jean's telekinetic abilities evolved dramatically to the point where she was able to levitate two helicopters with little effort as well as bend sheet metal.
Her telepathy allows her to read and control minds, project her thoughts, scan locations to find a specific mind, and influence both cognitive and motor functions in others. Jean has demonstrated offensive use of her telepathy as when she wiped the memory of a bully who saw Nightcrawler in his real form in "Operation: Rebirth". An example of her telepathic strength was shown when she was able to psychically connect with Scott over a vast distance in the episode Blind Alley .
Early Life
Jean grew up in Connecticut, in an utterly normal upper-middle-class family. She has a non-mutant sister, and her parents are still alive and happily married. At some point as a child, Jean Grey developed telepathy and telekinesis. Shortly after these developments, she was taken in by Charles Xavier and joined the ranks of the X-Men, along with Wolverine, Storm and Scott Summers. Jean was the second student to be recruited into the X-Men. making her the team's de facto co-leader after Cyclops .
Season 1
In school, she became a star soccer-player on Bayville High 's girls' soccer team, and also attracted the attention of football star Duncan Matthews. Jean's relationship with Duncan really bothers Scott, who has a thing for Jean as well. Recently, classmate Taryn's cozying up to Scott has irked Jean more than she cares to admit, but the two X-Men have yet to hash out their relationship
A high school football game is taking place as the home team receives support from the students of their school, Bayville High School. During the game, the home's team quarterback makes a touchdown as he falls after being tackled and has his picture taken by a red-haired girl. Duncan asks the girl, Jean if she was taking the picture for the yearbook before she reveals that she's taking it for her personal collection. While Duncan prepares to continue the game, one of his fellow jocks notices Todd Tolansky stealing people's money again. Duncan smiles as Todd takes the money out of the wallet and throws it to the ground as he walks away. Duncan asks his coach if he and the others can be excused for a second. The coach looks at the score of 49 on their side to their visitor's score of 17 and tells them they can go before telling them to just hustle back. Duncan departs with his friends as Jean notices.
Under the bleachers, Duncan and Scott are fighting when Jean arrives and calls for Scott's name before telling him no as he looks at her. Distracted, Scott's socked across the brow by Duncan and soon unleashes his powers unintentionally after his glasses come off. Read More.
"Remember, you're a model of what we're offering them. No pressure."
Jean was selected by Xavier to accompany him in recruiting of Kitty Pryde. While traveling in the Blackbird, she questions why she was chosen for aiding him and not the rest of the team before Xavier explains that she could connect with the girl. Jean then asks about the other mutant signature that Cerebro picked up, the one in the foster home. Xavier clarifies the mutant's name is Lance Alvers as he tells her to keep her focus on Kitty and her parents and to let him worry about Lance. The two arrived at the girl's home, where her father rudely tells them that it's none of their business and to leave them alone as he profoundly slams the door in their faces. Jean cited that next time, they should call and get hanged up on instead before Xavier explains that she would have to make direct contact with Kitty at her school. Read More.
After Wolverine and Storm's demonstration.
At the Xavier Institute, Xavier Institute, the X-Men are watching Storm and Wolverine in the Danger Room as they test out the mansion's security systems, which everyone's very impressed by both their skills. Wolverine states that their security system needed some work. After Kurt gives Wolverine a positive rating on his demonstration, the latter suggests to Storm that they implant some electro fields or poison gas sprayers before she scowls his name and he then settles for knock-out gas sprayers. Read More.
Jean and Logan watch Fred from the crowed.
Fred is appearing in a monster truck show as a strong man. Jean and Logan are at the rally to find out if he really is a mutant. The crown cheers and 'The Blob' begins. However after pulling on the trucks, he slips and falls down. The crowed laughs at this, and it in turn makes Fred feel very embarrassed, and he channels that into anger. Then then runs away from the arena. Her and Logan both go to find him, but the room he is in, it shut close before they get there.
Later Freds is about to dump a row of lockers on Duncan Matthews when Jean shows up to calm him down. She helps him find his way to his first class. Read More .
At Evan Daniels home Jean, Scott and Storm talk with Evan, and Evan's parents about Evan joining the X-Men. Evan is rude to them, then sneaks off. Later everyone shows up at the jail to get Evan. Scott says that Xavier will use his influence to get him out if Evan will join the school, and he agrees. Next morning at breakfast the X-Men talk about Evan wanting revenge. Evan is training in the danger room with the other X-Men. Kitty ends the session to tell Evan that a last minute game has been scheduled and he's needed at school. Evan confronts Pietro and Jean and Scott show up to help. Quicksilver ends up wrecking main street. The three X-Men end up taking him down. Evan is cleared of the charges.
At lunch in the schoolyard, Kurt. Scott. Jean . Evan and Kitty talk about going to Duncan Matthew's party. Everyone but Scott really wants to go and while they try to talk him into it Evan steals and drinks everyone's milk. Scott says that it's just too dangerous for them to chance it, someone could get too close to Kurt and feel his fur. Kurt makes a remark about "chicks digging the fuzzy dude" and makes eyes at Kitty, Kitty takes off. Read More .
Jean in action
Jean lowers Nightcrawler and Cyke to hover over laser alarms crossing the floor. Cyclops and Nightcrawler are supposed to free Storm. They find her laying on the floor covered with a cloak and chained to a post. Scott blasts the chains. Jean is surprised by a guard and drops them. They fall to the floor and set off the alarms. Scott rushes over to Storm, but it turns out to be Rogue in disguise. She grabs him and absorbs his powers. Scott freaks out and stops the simulation. The base disappears and Rogue shuts down and drops to the floor.
Charles Xavier comes through Danger Room doors and tells Scott that he's never to stop simulation unless he's hurt. Scott tells Xavier that Rogue was not supposed to be part of the simulation. Xavier said he added her as an element of surprise and that they have to get used to that during missions. He tells them the training session is over and it's time to go to school. Scott reminds Jean that they have to help load the bus for the school trip. On the way Jean asks Scott what the big deal is about having Rogue in the simulation. Scott tells her that they can't use her as an enemy in battle simulations if they're supposed to be nice and try to get her to join them. Read More .
Spykecam
While Jean is trying to find something to wear, she catches Evan taping her and slams the door in his face, flinging him into the wall.
Sabertooth rips open the front gates of the school. The rest of the X-Men come running. Wolverine tries to keep them out of it but Storm tells him it's no place for his personal wars. Through a combined effort they send Sabertooth packing on his way again. Read More .
In the mountains, Scott. Jean, Kurt. Kitty. Evan. and Rogue have just shipped in to a survival training camp. Scott is chosen to be group leader due to his scholastic achievements. When Sergeant Hawke leaves the kids grumble about being there. Rogue says she's going AWOL and asks if anyone knows how to hot-wire a school bus. Scott stops them and Jean says it's either this or survival training with Wolverine. They all grab their bags and move off grumbling. Read More .
A few hours after going to sleep, Rogue wakes up screaming. Everyone rushes into the girls' bedroom to find out what's going on, and as Rogue is telling them about the nightmare, she realizes that the baby in her dream was really Kurt. Xavier asks Jean . Rogue and Kurt to come down to the library where he reads Rogue's mind.
Xavier tells them that Rogue is really experiencing the repressed memories of someone that she's touched, someone that has knowledge of Kurt's past. Kurt believes that they're his memories and he wants the Xavier to read his mind and see if he can find out more about his real parents. Xavier tells them not tonight that he'll try to find out more tomorrow. Read More .
Get Going kitty!
Jean and the other young X-Men caused Kitty to feel crowded, due to not being able to find a place to write to her parents quietly. Jean and the other X-Men woke up in the morning and quickly shoved Kitty to the side as they all performed their usual routines during the morning.
A little later, Jean and the other X-Men burst into the kitchen making tons of noise, all looking for the food they want. Everyone's going about their business to get breakfast while Scott turns on the news while drinking his coffee. Logan see the report and turns up the volume all the way, interrupting everyone else's conversations. It's about a possible "bigfoot" sighting, given all the damage on "Mt. McKenna" in Canada. Wolverine leaves. Read More .
Jean and Scott ride up to the Institute in his convertible. He hops out and takes off, wanting to enjoy his weekend. Jean calls after him that he's forgotten his homework but he keeps going. She hears a noise in the trees and goes in to search. She finds Toad who suddenly attacks her. He knocks her down with a tree branch and is going to smash her with it. Jean uses her telekinesis while trying to get him to stop. When he doesn't back down, she uses her powers to levitate him and then dump him into a well. Jean watches as a huge silver sphere drops out of the sky and lands nearby. It opens and when Jean leans forward to look inside, metal tentacles grab her and pull her in the sphere against her own will. It closes and takes off. Jean is taken to Asteroid M and placed in a form of stasis. She was later joined in captivity by Storm, Rogue and Charles Xavier.
Magneto brings the other X-Men out of stasis in time to witness Scott enter the enhancer. Xavier tries to stop Scott, but the door slams shut as Scott tries to get out. Scott and Alex come out of the enhancer as adults (both with white hair). Magneto gives Alex the codename Havok and tells Scott he can take off his visor. Then he tells them that the enhancer has affected their minds as well, wiping out emotions.
They pick up an incoming aircraft and Magneto tries to use his powers against it. When he realizes that there's no metal for him to control he sends out Alex and Scott to "defend them" Read More .
Season 2
Shortly after Magneto's defeat, Jean stayed an X-Men and watched the team's number of members increase with the introduction of the New Mutants. She continued to play sports and maintained her relationships with her teammates. She also continues her relationship with Duncan.
Jean's powers started off at a formidable level, but recently she discovered that her potential is much, much greater. One evening, as she was accepting an award for her soccer playing, her powers reached their full potential, leaving her unable to block out other people's thoughts, and also losing control of her telekenisis. Through the help of the X-Men, especially Cyclops, Rogue. and Professor X. Jean was able to take control again, and is now a major powerhouse in the arsenal of the X-Men, while maintaining her passive nature.
Growing Pains
The Bayville's Girls' Soccer Team, including Jean, are in a game. Jean is being cheered on by her X-Men teammates as she scores the winning goal making
Star striker Jean Grey
her soccer team go on to play in the semi-finals. After the game, Jean is first congratulated by Scott, who is bumped out of the way by Duncan, as he hugs and congratulates her. Scott offers Jean a ride back to the academy, but she tells him that she is riding with Duncan. It's more than apparent that Scott is hurt by this, but he doesn't say anything until they're well out of earshot.
The next day at school, everyone is gathered in the gym for an assembly. Jean walks towards the bleachers looking for someone as Scott jumps up to wave to her. She smiles and waves at Duncan, not actually seeing Scott. She wanders over and sits with Duncan as Scott sits down disappointed. The new principal Edward Kelly walks toward the podium. Tryign to impress Kitty, Lance uses his powers to shake loose the scoreboard over Kelly's head. The scoreboard is about to crush Kelly, but Jean quickly uses her powers to redirect the scoreboard just missing Kelly and the staff. Kelly laughs it off and gives a speech about everyone using their special gifts and talents to make it a great school year. He also says he wants everyone to show up to the pre-game rally for the girl's soccer team championship. Read more.
I am a winner
At a school assembly, Jean wins the MVP Soccer Award. Everyone is cheering madly, except Rogue. Jean starts her acceptance speech, but begins hearing everyone's thoughts. They become overwhelming and she freaks out, knocking over the awards table and yelling. The voices stop suddenly and she makes a joke about losing her head and finishes her speech.
Scott tries to talk to Jean about what happened, but she blows it off and invites him to come to Duncan's party later. Scott doesn't want to, but she tells him it'll be fun and asks him to do it for her. Of course he agrees. Read more.
Bada-Bing Bada-Boom
At lunch, Jean is sitting with Duncan and his friends at a table.
At the carnival, Jean and Duncan wonder up and Jean sees Taryn and Scott together and acts a little jealous.
The X-Kids show up and a fight breaks out between them & the brotherhood, over stolen money. Tab's dad manages to get a hold of the money again during the ruckus and heads up to the roof. Tabitha follows him, but the roof begins to cave in on then, finally the whole roof gives way and they both fall. Kurt 'ports them to safety, but her dad knocks him down and tries to run with the money. Tab follows him, but they're both stopped outside by the police.
Season 3
Scott and Mystique face off, both mad. Jean tries to probe Mystique's mind to find where the professor is, but somehow Mystique's able to block it. Scott threatens her and Mystique tells him that if he ever wants to see Xavier again, then he'll back off. Their group is interrupted by sirens and suddenly they are all surrounded by police cars and helicopters are everywhere.
Everyone scatters. The New Mutants and The Brotherhood take off. Jean is captured and stuffed in a police cruiser. Nightcrawler 'ports into the driver's seat and takes off, but Shadowcat yells for him to wait and he skids to a stop. She phases through the officers that try to catch her and right into the cruiser. Nightcrawler makes one more stop to pick up Bobby then they hightail it out of there. They're almost trapped in a road block, but Jean uses her TK to float the car over. Scott used Jean's Tk To tell everyone to meet at Look-Out Point. Read more.
The rest of the X-kids are hiding out in a cave. Scott & Jean have a little heart to heart before being interrupted by Nightcrawler trying to the Iceman's little TV to work. Nightcrawler, Shadowcat, and Iceman rig up a tiny handheld TV so that everyone can watch the hearings. Rogue and Logan come flying into the cave with the military right behind them.
Logan wants to fight, but Cyclops stops him. He has Iceman ice up the cave entrance as they argue about what to do. Logan says that the military is now the enemy, they have to fight. Cyclops says that they're not, and that the X-Men are supposed to be heroes. Wolverine finally says that if Cyclops wants to take charge, then they're on their own and he takes off. The X-Kids disable the choppers without hurting anyone and take off in the X-Jet. Read more.
Xavier mentally wakes up the rest of the X-kids and calls the older kids into a meeting. All of the students are now crowded into a few rooms in the sub floors. At the meeting Xavier tells them that they're going to be allowed back to school for one day as long as they do not use their powers. That night the school board is holding a meeting to vote on whether or not to ban mutants from the schools permanently.
Kitty tells him that she's afraid to go back, that they don't fit in there anymore. Xavier tells her that they now have a chance to go back and be appreciated for everything they are. They see the morning paper calling mutants monsters and Spyke gets angry. Nightcrawler starts reading the article and realizes that his identity is still "unknown". Scott tells him that it's only a matter of time before everyone realizes who he really is since he lives at the Institute. Xavier tells them all that it's an opportunity for them to set an example and he wants them all to be at the meeting that night. Read more.
Season 4
This relationship came to fruition a few weeks later, when Mystique freed herself from Area 51, and lured Cyclops into a trap. Mystique left him alone in the desert to die, without his sunglasses or visor, but a local construction company saved him and brought him to a hospital in Mexico City. At that point, Cyclops' strong link to Jean Grey alerted the X-Men to the fact that Cyclops was in danger, and they tracked him to Mexico where, just at the last moment, Jean arrived to help Cyclops, and both were able to send Mystique running into the darkness. Jean then realized the depth of her love for Scott, and Cyclops also reciprocated the feelings.
The Future
Jean about to be consumed with energy.
When Charles Xavier was under Apocalypse 's control, he was able to scan the mind of Apocalypse. In the possible future, Xavier saw the adult version of Jean Grey transforming into the Dark Phoenix. She is shown to be wearing a dark navy blue sleeve-less bodysuit with a cowel and matching navy blue combat boots. She has gold platlets with the "X" logo on both of her shoulders attached to a small gold breast platlet, two black gloves with gold arm bands, and a gold ulitity belt bearing the "X" logo. Also, Jean Grey now has shoulder length hair. Had the series continued, the show's next season would have focused on the "Phoenix/Dark Phoenix Saga" with The Phoenix as the season's main villain.
Relationships
Scott Summers and Jean Grey are a couple that stretches way back into the history of the X-Men. Scott and Jean started out as best friends during the first season as Jean was dating Scott's thick-headed rival Duncan Matthews. Later, during the second season a jealous Scott followed suit with Taryn Fujioka. Thus, this created a deep-tension between the two (despite obvious feelings for one another) all the way through the first two seasons, until both couples broke up with each other in Mainstream. The two became close, even developing a psychic link that could be felt even from miles away. There's also strong indication of an unspoken bond between Scott and Jean. Currently, the two are a fairly steady boyfriend-girlfriend couple, though they're a little awkward with expressing their emotions, unless their significant other is in danger, and then they're usually the first to the rescue.
? Most people never really understood what Jean ever saw in Duncan, though maybe she was doing it for social status. And it was never really explained why, how or when they started their relationship. At the beginning, Duncan was Jean's boyfriend throughtout the first and second seasons of the series, up until Duncan discovered his girlfriend was a mutant. In a twist, he actually wanted to keep her as his girlfriend, and use her abilities for cheating on tests and the like. Jean, naturally quite furious, told him they were, quote '. so through. ' This relationship is long over for both members, who are now positively sick of each other.
Taryn Fujioka
Jean started out as best friends with Taryn grade 10 and 11. They were seen walking together in Mutant Crush. But because of Scott and other things they are not close anymore. Now Taryn is always seen with two other girls. And Jean hangs out with the X-kids.
A sad Jean
Notes
Taryn Fujioka and Jean started off as best friends in grade 10 an 11
At some point, Jean, Amara, & Logan all went horseback riding. As seen in the picture on Jeans billboard.
The series X-Men: Evolution ended with glimpses of the future for various characters, and Jean was shown transforming into Dark Phoenix .
Trivia
First introduced as Marvel Girl . Jean Grey was the token woman on the X-men, and was essentially useless in a fight.
Jean Grey merged with the Phoenix Force in the 80's and gained God-like powers. She promptly used these powers for evil.
In all the season of Evolution; all of Jean's regular outfits had her wear sandals as footwear, and have an exposed naval.
Jean is the second tallest female in the show.
Jean is the first character to have her powers go out of her control.
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