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In art, scandal is a false narrative, a smoke screen that camouflages rather than reveals. When we don't know what we're seeing, we overreact.

Watching 'Scandal' is a fun and exciting guilty pleasure, which is how I imagine most real scandals start out.

Gossip isn't scandal and it's not merely malicious. It's chatter about the human race by lovers of the same.

Her virtue was that she said what she thought, her vice that what she thought didn't amount to much.

That moment was very important because it was political. That's what has to be done, so they struck a deal. She figures his is a well-thought-out motivation that she felt was worthy trade-off. The motivation here is survival, and she has to think like a leader.

Like many rich men, he thought in anecdotes; like many simple women, she thought in terms of biography.

Audiences have become so much more sophisticated, and they're looking for different eyes and different ways to tell a story. And 'Scandal' certainly gives us the freedom to take those chances.

In character, as it were, the writer settles for an impression of what happened rather than creating the sense of the thing happening.

People love scandal; people love drama. They love stripping away the layers to see what's really in there, and they'll do anything - as well as make it up - to get it.

In 1930s mysteries, all sorts of motives were credible which aren't credible today, especially motives of preventing guilty sexual secrets from coming out. Nowadays, people sell their guilty sexual secrets.