And - wait for it - Cate and Baze, first side by side watching the ceremony, then hugging their daughter the graduate (she even calls them mom and dad!), then kissing. Tasha (Ksensia Solo) and Jones (Austin Butler), no longer together because heвЂ™s now with Lux, who finally feels like a normal girl. Math (Austin Basis), CateвЂ™s BFF and their baby on the way. Lux is graduating, giving the class commencement address, and the whole fam-bamily is looking on.

Cate and Lux were finally able to see eye-to-eye, bonding like theyвЂ™ve both so desperately needed to over the seriesвЂ™ run, thus sending us two years into the future. The two agreed to stick together, but Cate ran into RyanвЂ™s very preggo (with his baby) ex-Julia (Jamie Ray Newman). Cate and Ryan (Kerr Smith) discovered theyвЂ™d suffered a miscarriage, in addition to the fact that Cate is infertile. In a senseless act of viciousness, Lux spilled the beans to Baze about EmmaвЂ™s (Emma Caulfield) affair with Daddy Baze, causing the end of those two, as well. Very few people manage to serve both masters with comparable success and, if Michell did so, it was because he brought to them taste, judgment and a belief that the quality of the material mattered more than his own ego.HereвЂ™s your 30-second LUX finale breakdown: Lux (Britt Robertson) and teachertutorboyfriend Eric (Shaun Sipos) split in hour one after Cate (Shiri Appleby) and Baze (Kristoffer Polaha) found out about the star-crossed lovers and flipped out. Michell was a director whose mission was to put the work itself first rather than to ostentatiously intervene: in that sense, I suspect his early years at the Royal Court where he worked with Max Stafford-Clark and in Brighton where he collaborated with Peter Gill were a formative experience.Д«ut Michell was a rare creature in that he was equally at home in theatre or film. Pinter was another dramatist to whom Michell was deeply attached and never more fruitfully than in his 2007 revival of Betrayal at the Donmar which revealed вЂ“ thanks to fine performances from Samuel West, Toby Stephens and Dervla Kirwan вЂ“ the scorching sense of pain behind this story of labyrinthine deceit. But Michell also perfectly realised PenhallвЂ™s point about the arrogant assurance of medical professionals and the way patients sometimes get treated as a pinball. Photograph: Tristram Kenton/The GuardianДЄs always, Michell gathered an ace cast: Bill Nighy, Chiwetel Ejiofor, Andrew Lincoln. Harry Treadaway, Jacob Casselden, Michelle Terry and Kika Markham in Tribes at the Royal Court, 2010. He also forged a terrific relationship with Joe Penhall which started with his production of Blue/Orange at the National in 2000. One proof of that is how often he worked with the same dramatists: Nina Raine, Richard Nelson, Nick Darke for instance.

MichellвЂ™s regard for actors was matched by a comparable affection for writers. Under MichellвЂ™s astute tutelage, Chaplin constantly extended his range.

In Joe PenhallвЂ™s Mood Music he became a vampirical record-producer and in Nina RaineвЂ™s Consent at the National in 2018 вЂ“ MichellвЂ™s last work for the theatre вЂ“ he was a lawyer whose courtroom callousness extended to his private life. In Richard NelsonвЂ™s Farewell to the Theatre, he played the writer-director Harley Granville Barker as a man burning with thwarted idealism. Ben Chaplin was also a regular feature of Michell productions. Eileen Atkins was memorably seen in Honour at the National in 2003 and The Female of the Species at the Vaudeville in 2008, both by Joanna Murray-Smith. MichellвЂ™s love of actors was clearly reciprocated, judging by the number of times they chose to work with him. Simon Russell Beale was playing his third fop in a row in a season that included plays by Farquhar, Wycherley and Etherege but he got far away from roguish campery and emphasised the brutal ennui of BondвЂ™s Lord Are: at one point he flew into a purple tantrum as if his whole life hinged on a missing button. In 1988 Michell directed Edward BondвЂ™s Restoration for the RSC. Not only were his productions impeccably cast but he also often seemed to bring out something unexpected in his actors. MichellвЂ™s love of actors was visible throughout an extensive theatrical career that embraced the Royal Court, the Royal Shakespeare Company and the National Theatre. ActorвЂ™s director вЂ¦ Michael Sheen, Lindsay Duncan and Eddie Marsan in The Homecoming at the National Theatre, 1997.

Life Unexpected Season 3