Sarah’s Post – Head Over Feels We Just Have A Lot Of Feelings Tue, 14 Nov 2017 15:48:03 +0000 en-US hourly 1 47147277 “I need for you to not be gone.” – Will & Grace Recap – Rosario’s Quinceañera Mon, 06 Nov 2017 13:30:59 +0000

Will & Grace Season 1, Episode 6
“Rosario’s Quinceañera”
Posted by Sarah

If I’m being completely honest, I was dreading this episode. I saw the promo photos, I read that interview where Megan Mullally said Karen would be at her most vulnerable and raw, I heard the cast saying how this was going to be an important episode, and I connected the dots. I realized that since Shelley Morrison wouldn’t be returning, they could do just about anything with Rosario at this point, but for some reason, this never crossed my mind until all of the promotional stuff for the episode started coming out. I always assumed she would join the ranks of Stan and not be seen or heard but still be this fully present character (that little bit at the top of “Who’s Your Daddy” gave me hope). I can’t believe we’re here. But, my god…the way this show took something I was absolutely dreading and made it one of their best episodes is astounding. The way they balanced comedy with the weight of the situation is astounding. Megan Mullally is astounding.

But most of all, this farewell to such a big part of the Will & Grace universe was stunning in its beauty and its heartbreak.

Source: will-and-grace

I usually talk about the main story before diving into the smaller stories of each episode, but in this case, it doesn’t feel right to end it on the tiny bit of B-story we got. Throughout “Rosario’s Quinceañera,” we learn that Will signed the lease on the empty office space next to Grace Adler Designs so that they could expand, but he didn’t tell Grace until he received a text confirming that the space was his. While logically, this is a really good idea, Grace can’t see anything but a betrayal because he did this without at least talking with her first. Once Will eventually apologizes about not consulting her, he suggests that he run everything by her and she run everything by him. Which, of course, sets off a whole new issue in Grace, because she was under the impression that Will worked for her instead of with her. This issue isn’t resolved in this episode (and really, as they’ve said so many times before continuing with their argument anyway, this is neither the time nor the place), and I’m sure that disagreement is only going to fuel the storyline. Grace Adler Designs has been solely Grace’s for so long that it’s natural for her to have a hard time bringing a partner into the fold, even if it is her best friend. That mixed with the unintentional selfishness that seems to plague her from time to time is definitely the setup for some insane tension and butting of heads in this business venture. But we’ve got the rest of the season to resolve that (or potentially make it worse); this is not why we’re here.

We’re here for Rosario.

Karen got a late start to her work day (so, you know…typical work day) because she spent the better part of the morning trying to figure out where Rosario is. While the group is trying to determine where exactly she would go, Karen gets a call from Rosario that solves the mystery: she’s in the hospital. When they arrive at the hospital, Jack stays in Rosario’s room with her while Will fills Grace in on everything in the waiting room. She suffered a heart attack, but, for the time being, it seems like she’ll pull through. Which leads the group to start to focus on other things: Will and Grace on their newfound business partnership, Jack on Rosario’s cup of Jell-O that she said he could have, and Karen on the quinceañera she’ll throw for Rosario once she’s cleared to leave the hospital, because her parents never threw her one. I have to wonder if Karen’s plan to throw Rosario a quinceañera was because deep down, she was worried about whether or not she would make it. Maybe it was because I figured where this episode was going, but it didn’t strike me as a “we dodged a bullet, let’s celebrate” kind of thing so much as an “if I plan this, she has to pull through” kind of thing. What really fueled this line of thinking for me was Karen’s reactions when the nurse came out, asking to talk to Karen. Karen immediately declines and refuses to look the nurse straight in the eye like she knows what she’s about to hear. The nurse tells her that there were some unexpected complications, and Rosario is gone. Because Karen’s walls are usually so strong, she makes a joke to deflect, but when Grace tries to clarify, Karen snaps at her and storms off.

Two days later, Karen has thrown a quinceañera for Rosario, and the group is now putting together a funeral for her. Everyone is rallying around Karen, but Karen is frustrated to no end that everyone is asking her if she needs anything, because she is of the firm opinion that she needs nothing. And she’s taking her frustrations out on Jack. He’s running around the church to make sure everything is in order — the right picture of Rosario next to the casket, a Bible in every pew — but when the slightest thing is not up to Karen’s standards, she’ll make damn sure it’s rectified, and it’s driving Jack crazy. This is a side of her that no one is used to, and it has Jack wondering if this is what Karen’s really like when she’s sad. But before he can get too deep into that debate, someone ends up crashing the service before it even begins (sidebar: is it too early to call best line of the season? Because damn).

While I will absolutely take Lorraine popping up wherever, I can’t help but feel like her character could have been better used in a different episode. Don’t get me wrong; she was hilarious and the epitome of the Lorraine I know and love and missed so much, and she provided some insane comic relief. Her back and forth with Karen about what constitutes a family is amazing — “You married my father, I slept with your husband, that makes us family” — and her swift jewelry theft made for some excellent visual comedy. But when I heard that she was making a return to the show, I had always pictured a bigger presence in whatever storyline she happened to be in. Petition for Minnie Driver to get another convenient break from Speechless to come play with the Will & Grace crew again. Because I did not get enough Lorraine, and I don’t think it’s right to deprive us.

After Will and Grace have a moment with Rosario, Jack tells them that the priest wants to start the service. He tries to figure out a seating arrangement for the funeral that won’t have him sitting next to Karen, and when he can’t figure out a way to make that work, he loses his damn mind. Oddly enough, Grace is the one to reel him in from this meltdown and remind him of the point of today: they need to get Karen through this. That’s the only thing that matters. Jack concedes, but there’s just one problem…Karen has disappeared. Once they figure out that she’s retreated to the bar next door, Grace offers to be the one to try to get her to come back to the service. After all, she knows exactly what Karen is going through, because she went through it, too.

I was wondering when Bobbi’s death would be mentioned, and I figured it would be earlier in the season rather than later because people would be expecting some sort of tribute. It’s not something that you can just drop in the middle of a random storyline, so to have this be the thing Grace uses to connect to Karen in this moment works so well. Grace’s heartbreak is so real as she tells Karen about her own grief — “On the day of her funeral, my sister had to dress me” — that for a moment you think you’re getting a serious heart-to-heart between two women who just lost someone vital to the life they had always known. But in traditional Grace fashion, it quickly becomes about her, and the fact that she was definitely Bobbi’s favorite daughter, okay? Grace does nail the point of it all — “It doesn’t change how much it hurts” — but you can’t help but laugh at the way she tries to relate to Karen (“I WAS THE LIGHT OF HER LIIIIIIFE”). I’ve read that there will be a tribute to Bobbi in a future episode, but I loved this moment, and I loved how fitting it was to the overall tone of the series…even if it didn’t get Karen to come back to the church.

Back at the church, Jack is giving a eulogy to a packed house, reminiscing about his marriage to Rosario. But since said packed house largely consists of nuns — and they ARE in a church — he’s filling his memories of Rosario with white lies about bickering in the middle of Ikea and thinking about starting a family…you know, the traditional heterosexual marriage they never had. When he tries to pass the torch to Karen, Will lets him know that she’s still not there. Grace comes back from the bar to inform them that Karen’s not coming despite her efforts, and Jack takes his turn at the bat. He’s still super sensitive to Karen’s nitpicking so as not to upset her further, and he tells her that all he wants to do is help. Karen, however, sees this as an opportunity and asks Jack to sing her a little something. And when Jack’s rendition of “Happy” isn’t enough, she starts shouting out dance moves to enhance the performance. This bit is the kind of physical comedy that makes Will & Grace shine, and it makes for a wonderful little reprieve from the heaviness of this storyline. As delightful as it is for us, though, it’s not enough for Karen to return to the funeral. And this is where Will comes in.

I’ve said it before, and I’ll say it again: Will and Karen are the unsung brOTP of this show. Where Grace and Jack try to get her to feel something, or outwardly make an effort to help, Will knows how Karen operates and he’s not about to contradict that. When he meets her at the bar, he’s not going to tell her how to feel or how to grieve; she thinks she has it handled, and he’s not going to mess with that, because everyone grieves differently. He will, however, let her know that he’s there for her. He’ll hug her even though she keeps saying she doesn’t need anybody. And although she’ll initially play it off, her walls will start to come down with him, because they always come down with him. Where she told Jack not to touch her, she clings to Will when he tries to break the hug. And it’s here where Will tells her the thing she needed to hear the most: “I’m so sorry.” Not an offer of help. Not asking how she’s feeling. Not an attempt to get her to do anything that he thinks may help her. Just an acknowledgement of how truly terrible this situation is. Will tells her that the funeral is over and everyone left. He lets her know that there’s still a chance to say goodbye to Rosario if she wants to, before he adds possibly the most important thing to tell Karen in this moment: “But it’s okay if you can’t.” He is all about letting Karen mourn the way she needs to while letting her know that she’s not alone, and that is the best kind of support to give her.

After her talk with Will, Karen musters the strength to head back to the church to see Rosario one last time. Her “Hi, honey” is so casual that that alone is heartbreaking in its own right. She still has a little bit of her wall intact, trying to reason away her inability to attend the funeral, before finally decimating those last few bricks and getting to the heart of her grief:

Every once in a while, there will be a moment from Karen — like taking one last look at the nursery in “Forbidden Fruit” or telling Stan how she doesn’t think she can do this anymore in “A Buncha White Chicks Sittin’ Around Talkin’” — that takes me by complete surprise with its gut punch to my emotions, and will forever be etched in my mind. And out of everything from her farewell to Rosario, the moment where she sees a spot on the casket, picks up the bottle of cleaner from inside and starts to clean it got me the way those other moments did. It got laughs when it happened, but it struck me as an incredibly beautiful full circle moment. For so many years, Karen had Rosario clean up her messes, made her do ridiculous things without much of an outward sense of appreciation most of the time. But she sees that spot on the casket, and even though it will soon be in the ground, Karen will not have her girl resting in anything that isn’t perfect. It’s one last thing she can do for her. I don’t know if they’re going to address Karen coping with this loss, but I do know this: Karen Walker is one hell of a strong woman. And she has her family in her corner no matter what; Will, Grace and Jack are watching the whole thing with tears in their eyes as Jack realizes: “That’s Karen sad.” And while they give Karen her space, they look on as they hold each other a little bit closer.

This episode is exactly why Megan Mullally has had my heart for so many years. Her comedic timing is so on point and unparalleled; it brings so much not only to Will & Grace, but also to every other comedic work she touches. Give her the opportunity, though, and she will turn around and shatter your heart with a brilliant dramatic performance. And because you’re so used to her making you laugh, it hits you that much harder. There were moments peppered throughout the original run where this happened — they make up a decent portion of my top 20 — but there has never been anything like Karen’s goodbye to Rosario. I’m still wrapping my head around the fact that Rosario has passed, but I really don’t think there would have been any other appropriate time to take Karen to this place, because nobody has affected her life the way Rosario has. I have always been so in awe of what Megan does, but she absolutely floored me in this episode. This is, without a doubt, some of her most extraordinary work as an actress.

In anticipation of the revival’s premiere, I had written a celebration of Rosario — everything I loved, and everything I was going to miss about her. I don’t want to repeat myself here, but I do think it’s important to reiterate how much she contributed to the show, and how she truly was the fifth member of our Fab Four. After the episode, Maggie told me that Karen and Rosario are proof that your soulmate doesn’t have to be romantic, and I could not have described their relationship better than that. Long before Jack first waltzed into Grace Adler Designs, before she built this family she has with Jack and Will and Grace, even before she and Stan married, Rosario was there for Karen. She was Karen’s person. She was her constant. I wholeheartedly believe that Rosario knew her better than anyone else in her life, and she fully accepted Karen for the woman that she is. To have a person like that in your life is an incredible gift, and losing that person undoubtedly creates a void that is difficult to overcome. But the impact Rosario had on Karen’s life—and, really, on everyone else as well—is so evident in her mourning that it becomes a powerful tribute to a powerful character. And just as Karen would not have been the same without Rosario, Will & Grace would not have been the same without her. I am devastated that this is Rosario’s fate, but I could not have asked for a more loving and thoughtful farewell.

Honey…What’s This? What’s Happening? What’s Going On?

  • “Sorry I’m late, but I got here as soon as I wanted to.” Using it.
  • Jack running around the hospital here was essentially like Jack running around the hospital in “The Hospital Show” — not to mention, his freak-out about the Jell-O was essentially Karen’s freak-out over Stan’s pills in that episode — and it made me so happy.
  • “I have been on my own since I was nine months old. I breastfed myself.” Highlighting this moment partly for the comedy of it, and partly for this punctuation:

  • Source: likeafantasy
  • I am personally outraged we never got a Rosie at Burning Man episode.
  • I am so thrilled they brought Smitty back for this. His bits with Karen are always so amazing, but just on a comfort level, I’m sure it was nice for Karen to see a familiar face while she sorted through her feelings.
  • Bless you, Lorraine Finster.

  • “I have never been so humiliated without specifically asking for it.” Jack, I have questions, do you have answers?
  • The sign in the church welcoming everyone to the service had Rosario’s full name as “Rosario Inés Consuelo Yolanda Salazar McFarland,” and the fact that they kept Jack’s last name in there meant so much to me.
  • I threw Emmys at Sean Hayes the other week for “Grandpa Jack,” and this week, I really think Megan Mullally is due for her third. Also, let’s throw more dramatic roles her way, because she can do WONDERS with them. And personally, I just want to see her do everything.

On a scale of 1 to 10, how much of an emotional wreck did “Rosario’s Quinceañera” make you? Let’s chat in the comments. And remember, the show is off for a few weeks because sportz, but I’ll be back for the December 5th Christmas episode, and I can’t wait to get my holiday on.

Featured Image Source: NBC

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“Grace and Will…now that sounds like a thing.” – Will & Grace Recap – How to Succeed in Business Without Really Crying Mon, 30 Oct 2017 13:00:50 +0000
Source: stuckinreversemode

Will & Grace Season 1, Episode 5
“How to Succeed in Business Without Really Crying”
Posted by Sarah

Why, Beverley Leslie, you teacup poodle/finger puppet/insert other Karen Walker-ism here. This week marked the return of one of Karen’s greatest frenemies, complete with a morphine-induced confession, a surprisingly alive wife, and Benji 2: The Sequel. And that was just the B-story! We’ve also got a pastiche of original run plot points that set the scene for a potentially major story arc for Will and Grace, and Jack putting all the money he doesn’t have into a fierce-ass denim jacket. There’s a whole lot of story crammed into these thirty minutes, so let’s get down to business! (Oh…I see what I did there.)

It’s a big day for both Will and Grace; while Grace has a meeting with Eli Wolff (hi, Max Greenfield!) for a once-in-a-lifetime gig designing fifteen boutique hotels, Will needs to get through a review before potentially becoming a senior partner at his law firm. After helping each other pick out the perfect outfit, they’re on their way to potential greatness. Grace is giving the pitch of her life to Eli, and she seems to be doing a pretty great job; after she states her case, Eli lets her know that it’s between her and one other designer. All she needs is that one thing she can offer that no one else can. And when Will calls Grace in the middle of her meeting, Eli makes it crystal clear that if Grace is going to be offered this opportunity, she, in turn, needs to offer up her best friend for a date.



And here’s where we reach our first stop on Memory Lane. I had an inkling when Tony had that awkward interaction with Eli before Grace asked him to grab their layouts, but the second Will called Grace at the office, I knew we were about to do “Saving Grace” again (not to be confused with “Saving Grace, Again”). In the first season of the original run, Grace is in the running to design the apartment of publicist Nathan Berry (hi, Miguel Ferrer, I miss you), and needs something to one up her competition. And when Nathan comes over to take a look at her own apartment and meets her roommate, it becomes glaringly obvious what Grace has that the other designers don’t: Will. She convinces Will to go on a couple of dates with him, but Will hates him, and when he can’t take it anymore, he potentially jeopardizes Grace’s job. It all works out in the end, because of course it does, we’re in Sitcom Land, but we’re definitely heading into familiar territory with “How to Succeed.” Honestly, when Will asked if Grace was trying to pimp him out, I was half expecting him to say “AGAIN?!” because damn, girl, how many times are you going to find yourself in this predicament? Where Nathan Berry annoyed the hell out of him, though, once Will finds out that Eli Wolff wants a date, he’s super into it. He is, after all, a power gay that a potential senior partner totally deserves to be with. But the question remains: did Will make senior partner?



Will’s been on edge ever since his review, waiting for the phone call that will determine the course of the rest of his life. And when he finally gets summoned by the other senior partners of the firm, his fate is seemingly decided: he made it. But when he looks around at his new colleagues, he doesn’t really like what he sees: “Charles has so much suppressed rage, he’s gnawed off all his nail beds. I think Eileen’s dead. Goldblatt…god, he’s always hated me.” Not to mention, the partner seated next to him tells him to run. It’s here that Will makes a life-altering realization: this job makes him miserable, and he doesn’t want what he’s worked so hard to achieve. Which brings us to our next stop on the Original Plotlines Tour ’17. Will’s already done the midlife crisis thing from the end of season seven to the middle of season eight. After trying to rewrite his will, realizing he doesn’t have much to show for his life, and almost getting hit by a bus with Grace by his side, he decides to quit his job to try his hand at writing. And when that’s a bust, he starts working for the Coalition for Justice in order to try to do some good in the world, before ultimately going back to Doucette and Stein. At least this new midlife crisis can’t be used as a device to bring Stan back into the picture.

Needless to say, being faced with his unhappiness makes Will’s date with Eli a disaster. He’s crying his eyes out while he’s pouring the wine, trying to make this fun for Eli when all he can do is talk about how much he hates his job. Eli splits and texts Grace that the evening was ruined, which causes Grace to freak out over the fact that Will potentially blew her chances at getting her dream job. She’s so focused on the ruins her career was just possibly reduced to that she doesn’t factor in Will’s sadness, even when Will prompts her for a little empathy. And instead of sitting herself down on the couch next to her best friend and listening to his problems, she races out the door in the hopes of catching Eli before he flies off in his helicopter.



Grace does have the tendency to make things about herself when Will is in a bit of a crisis; it’s all over the original run, but ESPECIALLY in season two’s “He’s Come Undone,” where—in addition to a number of other things—she ends up sleeping with his therapist after joining him for a session. So her fixation on the fact that she might have lost this job isn’t surprising, nor is the fact that it takes Eli to tell her that Will’s miserable—once he informs her that she’s got the job—to wake her up. But eventually, Grace reassesses the situation. Eventually, she always comes back to Will’s side to be there for him. And that’s exactly what she does here. She listens to him as he tells her that he doesn’t want to be a corporate lawyer anymore, that despite all of his prior assertions to the contrary, he wants a few surprises in his life. And Grace gives him a doozy: she wants him to come work with her. Now that Eli’s hired her and requested that he be her only client during this process, Grace is straight up terrified of the job; she’s working on a massive scale that she is in no way used to handling on her own. She needs Will’s help. And although Will recognizes that this is by far the biggest risk he’s ever taken, that’s what makes it impossible to pass up. Welcome to the Grace Adler Designs family, Mr. Truman.

And welcome to our final stop on our trip to plotlines past! In season six, Grace renovated an apartment for Karen’s mom, but instead of living there, Lois decided to turn a profit and sell the place. Which gives Will and Grace the idea to start flipping apartments together. The Flippers Who Care lasted about four episodes and the business was never spoken of again after that, but it created some pretty great moments (“East Side Story” was fantastic, fight me on that). Listen, I really loved the apartment flipping story arc, so I’m hopeful for what this new venture for Will and Grace is going to be. There is so much potential for this path, and although it was great the first time, I feel like it could be explored so much further. And since this time, Will quit his job, it seems like their business outing is going to be a little more permanent. I just wish this didn’t dash all my possibly unreasonable hopes of Lily Tomlin making a triumphant (albeit unlikely) return to the show. Margot, we hardly knew ye.

Meanwhile, Karen’s taking a break from office life in favor of a little golf and relaxation at the country club. She walks into the hospitality suite to find a morphine drip next to the bed and immediately thinks someone sent it to her suite as a gift (because why give Karen Walker flowers when you can give her something she actually wants?). And since it’s always polite to thank the person who gives you such a thoughtful present, and there’s no card attached to the machine, Karen calls downstairs to find out who to thank. But she’s in for a terrible surprise; even though she booked the suite months in advance, someone recovering from recent plastic surgery is currently occupying her room. And as she’s wondering who could have possibly swiped the hospitality suite from underneath her, enter Beverley Leslie—who, now that the series finale is no longer in play, absolutely did not meet his maker by getting swept up in a gentle breeze—in the arms of…wait a minute, that’s not Benji.



Apparently, Original Benji aged out of the position of “business associate,” but never fear, new Benji is here! Once he puts Beverley down and gives Karen and him a moment alone, Beverley tells Karen he’s not giving up the room; he’s just had plastic surgery (where, exactly?) and needs his rest. He just needs help getting into bed and getting hooked up to the morphine drip. Karen grudgingly complies, throwing him on the bed like a bag of Gardener’s peat moss and helping herself to a few drops of morphine in her martini (god, that was such a perfect Karen move).



The morphine’s got Beverley feeling pretty good and honest, and he’s ready to fill his dear friend in on a little “secret.” Something that he’s been “keeping to himself” for years. Something that “no one else knows.” Yes, friends, his moment has finally arrived: Beverley Leslie is a homosexual (ATTENTION, REPUBLICANS). Of course, the news doesn’t have the Earth-shattering effect on Karen he’s expecting it to have (see the aforementioned “ATTENTION, REPUBLICANS” incident), but it’s freaking him out nonetheless, because he knows he has to tell his wife, Crystal. And since it’s her 90th birthday, he’s not sure that now is the right time to tell her.

Um…I’m sorry, what? Did the retcon in “11 Years Later” go THAT far into the final season of the original run? Because in “Birds of a Feather Boa,” she definitely died, Beverley definitely had a funeral for her, and Grace and Karen were definitely in attendance. Remember, Bev? Grace tried on one of Crystal’s gowns and couldn’t get out of it, and Karen got caught in its zipper when she tried to help? Hilarity ensued? Remember? So I’m a little confused. And so is Karen (I literally shouted “THANK YOU” when she called him out on this). Beverley’s got us covered, though, clearing everything up by telling Karen, “The first shovel of dirt on the coffin revived her,” and…okay, you know what? If we let Stan coming back from the dead slide in the original run, really, what’s one more? It’s like this show’s thing now. Regardless, Karen agrees to help him come out to Crystal in exchange for the hospitality suite, and it seems like after all these years, Beverley will finally live his truth out in the open.

Oh please…like they were really going to let go of 90% of his schtick. Once Karen returns to the hospitality suite to help him out, Bev has sobered up and has no recollection of their little chat. No, of course he’s not gay, and he’s got a very manly laugh to prove it (that moment was so deliciously hilarious, you guys). And giving the hospitality suite to Karen? You can forget about that. Karen eventually concedes the suite, but not before shooting off a little text to Crystal encouraging her to celebrate her birthday in a special way…special, in this case, meaning making love from the front. Karen leaves with a bit of advice for a terrified Beverley: “Think of it like golf. Just keep hacking away at the sand trap, and hope you get it close to the hole.” I am just in awe; Karen’s innuendo game has been ON FIRE this entire season, and we are not worthy of her genius. I’m hopeful this won’t be the last we see of Beverley Leslie in the revival (Leslie Jordan alluded to more appearances in this week’s After Party episode, so yay). His dynamic with Karen is so amazing, and I can’t imagine it will be a one-and-done thing in the revival. So bring it on; he can waltz onto the scene in New Benji’s arms any day.

And then there’s Jack. He gave Theodore from work a dollar to buy a scratch-off lottery ticket that resulted in a $2,000 payoff, and he is so excited that he’s finally a thousandaire. After Theodore tells an incredibly enthusiastic Jack the story of exactly how he scratched that scratcher, and how he already spent some of the money on a mini espresso maker, he gives Jack the money he thinks he deserves: the dollar that helped buy the ticket. Jack is outraged; he is, after all, the one who put money down for the ticket, and he feels entitled to about 999 more dollars than he was given. And it’s the principle of it, right? He contributed to the purchase of a winning lotto ticket, he should at least get SOMETHING more than the Washington he gave up. More than this, though, Jack needs that grand something awful; he just bought an expensive jean jacket with Karen’s face emblazoned on it, and there is no way he can pay for it without his share of the money. Don’t get me wrong, if you’re going to blow some unexpected money on an extravagance, that’s a pretty solid choice. But more so than the principle of the matter, I’m almost certain Jack was driven by the fact that he needs that money, dammit. It doesn’t matter that he misread the text Theodore sent him saying that Theo and Theo alone won two grand. Jack has his eye on half the prize, and he will stop at nothing to get it. He’ll hold Theodore’s mini espresso maker hostage in the girl’s bathroom when it’s delivered, all the while helping himself to its sweet, caffeinated goodness. And when Theodore figures out the hiding place, he’ll make a beeline for the cash hidden in the cigar box in the shoebox in Theodore’s desk drawer. Both of them are set in their corners of the argument, and neither of them look like they’re going to budge anytime soon.



In the middle of this showdown, Tasha walks into the office to ask Jack to walk her to the subway; her dad’s car died, and he won’t be able to pick her up. Adding to the blow is the fact that her dad makes a living as a Lyft driver, and since the repairs are definitely out of their price range—a whopping $1,800—he won’t be able to work. Cue the lightbulb going off in Jack’s head, making him not so subtly prompt Theodore to give Tasha the lotto winnings. We could have just left it at that, a heartwarming moment where good conquers greed. Here’s the thing about Jack sometimes, though: he has a big heart…but he also likes recognition. A lot. He swipes the remaining lotto winnings from Theodore’s pocket, hands it over to Tasha, and happily accepts any and all credit. So the motives might not have been 100% great, but the money did end up going to the right place. And since Jack can’t take back his premature purchase, he’s resigned to keeping a high-quality garment with a pinch of credit card debt.

But honestly, that jacket is worth every penny. And I’ll take one, please. Put it on Jack’s card.


Honey…What’s This? What’s Happening? What’s Going On?

  • Allow me to be a dork about the episode title for a second, because this is the first one of the revival that really feels like one of those old-school Will & Grace wordplay titles to me. Also, since it’s a play on How to Succeed in Business Without Really Trying, I would be doing a disservice if I didn’t mention the fact that Megan Mullally played Rosemary in the 1995 Broadway revival AND the musical’s book was co-written by Abe Burrows, father of Will & Grace’s director, James Burrows. I really needed to tell you those connections, and I’m okay with being that person.
  • I need Jack to channel his inner Katya and thwoorp the shit out of that fan every damn day.



  • Officially adding “Conflama” to my vocabulary.
  • “Oh, for god’s sake, don’t cry. You look like Jeff Sessions watching a black man vote.” I was wondering if they were going to use Leslie Jordan’s resemblance to their advantage, and they did not let me down.
  • Sad Will pours wine like Everyday Me pours wine.
  • Honestly, I kind of wanted more of Jhanvi, Nirmalan, and their mother’s calls to Will.
  • Hey, if Tasha’s going to be a recurring character, can we at least fit Karen into whatever storyline comes out of it? But wait a little bit…I still haven’t fully recovered from Karen Walker feeling things during “Emergency Contact.”
  • Grace’s helicopter hair instantly took me back to her “Simba looks angry” look from season eight’s “I Second That Emotion,” and apparently I am not the only one who went there:

Source: will-and-grace

  • Look, all I’m saying is that if the NBC store can sell “I Loves Me Kitty” sweatshirts, they can definitely work out a deal with whoever made Jack’s jacket. Please direct me to their suggestion box.

What did you think of “How to Succeed in Business Without Really Crying?” Let’s chat in the comments!

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“This place can’t fix you, because you’re not broken.” – Will & Grace Recap – Grandpa Jack Mon, 23 Oct 2017 12:30:14 +0000

Source: serieholic

Will & Grace Season 1, Episode 4
“Grandpa Jack”
Posted by Sarah

Wow. Just…wow. This episode was A LOT. I wasn’t expecting Elliot’s return to reduce me to a puddle of tears, but here we are. This is the thing about Will & Grace: the show can give you the deepest belly laughs you’ve ever had in your life one moment, and then turn around to take you to a very real place and shatter your heart in the next; “Grandpa Jack” happens to be the latest shining example of this. On one hand, we’ve got a storyline from Grace and Karen that is pure comedic gold. On the other hand, Will and Jack are part of a plot that highlights how vital this show is and has always been. This episode was absolutely beautiful, and I think I’ve collected myself well enough to unpack it with you (although, let’s be real, I’m still emotional about it), so let’s get to it.

An unexpected visitor happens upon Will’s door in search of Jack, which is super convenient, because Jack just got done hijacking Grace’s shower. Right off the bat here, I got flashbacks to the original run’s “Sons and Lovers,” Elliot walking into Grace Adler Designs asking for his father…except this time, Karen’s not there to fall out of her chair at the news. And this time, it’s a boy named Skip asking Jack if he has a son named Elliot. Jack confirms, tells Skip that he had a falling out with his son a few years back, and immediately gets a bomb dropped on him: Skip — visiting the city with his parents — found the letters Jack wrote and tracked him down to tell him that Jack’s his grandfather. (I had a feeling this was going to be the storyline when Elliot came back, do I win a prize?)

For someone who only two weeks ago was freaking out that someone called him a daddy at the Cockpit, Jack’s handling the fact that he’s old enough to have a grandson pretty well; it’s the fact that Elliot never bothered to tell him about Skip that sends him into a tailspin, and rightly so. When Will follows Jack to the terrace to comfort him after letting Skip’s parents know where he is, we soon find out why Elliot and Jack had a falling out and therefore why Jack was left in the dark about his grandson: Elliot moved to Texas, married an extremely conservative woman named Emma and didn’t invite Jack to the wedding. Jack’s worried that he won’t be able to connect with Skip because of where he’s growing up: “I can’t fish or hunt or tell a woman what to do with her fetus.” As soon as they head back inside, though, Jack quickly realizes that there’s no barrier; Skip sits in the Pajama Party Position and is absolutely enamored by Karen in the same way Jack was when he first met her, so it looks like the two have much more in common than Jack originally thought.

Jack immediately starts bonding with his grandson, and when he finds out that Skip is in town because he’s on his way to a camp upstate, he automatically assumes it’s a theater camp and races across the hall to grab some props for Skip to take with him (HE’S SUCH A GOOD GRANDFATHER ALREADY, YOU GUYS). It’s then that Elliot—in full-on cowboy mode—and his wife, Emma, show up to get Skip. We basically get all we need to know about present-day Elliot in a one-sentence update — “I drank the Kool Aid and can no longer separate church and state” — before Jack makes his grand re-entrance in full costume, complete with a wig that is equal parts Sia, Cruella de Vil, and indecisive Anna Wintour. Thus, Elliot and Jack are reunited in a way that neither of them likely pictured when they pictured this moment. The tension between father and son is PALPABLE. They don’t even really have a conversation; they just acknowledge each other’s presence and leave it at that. Skip asks to say a proper goodbye to Will and Jack, and when Elliot and his wife head out, Jack asks what camp Skip will be at so he can write him during Skip’s stay (SUCH. A GOOD. GRANDFATHER). Skip tells them that he’ll be at Camp Straighten Arrow, and it’s exactly what you think it is; “It’s a camp my parents found to fix me.” If your heart isn’t immediately shattered by a little kid saying that his parents are trying to fix him, I don’t know what to do.

Jack and Will know that they can’t let Skip endure one minute of Straighten Arrow, and immediately travel upstate to spring him from the camp. After a bit of spying on the welcome session, the plan is simple: Will creates a diversion to sneak Skip outside, where Jack will be able to tell Skip what the camp really is and offer to help get him out of there. Will bites the bullet and makes his way inside, where Roberta and Reggie—the newlywed, we’re-totally-not-gay-anymore-okay-trust-us couple—are singing camp songs about heteronormativity and showing the kids how they used to implement the shock collar method. Considering their role in this story, Jane Lynch and Andrew Rannells were amazing, but Andrew Rannells especially crushed it. His accidental celebratory dance moves, his assertion that he’s definitely in love with Roberta, okay? And his impossible to hide thirst for Will was priceless (“ROBERTA, LET THE BEAUTIFUL MAN SPEAK”). Will, of course, uses this to his advantage, and while Skip makes his escape, he masquerades as a counselor from a rival ex-gay camp, Kick-a-Mo (oh my god). He’s saying how Kick-a-Mo is way more successful than Straighten Arrow, and to prove it, he proposes a kiss-off. And Reggie GOES FOR IT. Seriously, it may or may not have dethroned Taye Diggs in “I Love L. Gay” for hottest Will kiss of the show in my mind? And that’s extremely difficult to do.

While this was SUCH a great moment, though, we all knew we were in for a serious, heavy-hitting scene to come and absolutely decimate us. And you know what? Mission accomplished.

Remember a couple weeks ago, when I said that things are definitely better but are in no way perfect? “Grandpa Jack” highlights a contributing factor to the “in no way perfect” part. When Blake was under the assumption that everything’s good now in “Who’s Your Daddy,” he glossed over things like Camp Straighten Arrow. But these things exist. The appalling notion that the LGBTQ+ community needs to be “fixed” still exists. Our current vice-president even believes that conversion therapy works, when it actually does nothing but greatly harm those who are subjected to it (his picture hanging up at Straighten Arrow is no coincidence). Elliot even adds a little bit to this when he finds Jack outside of Straighten Arrow (“We just don’t want him to…” “Turn out like me?”). To tackle a subject like this is not an easy feat for an average sitcom; luckily, Will & Grace is not your average sitcom. Will & Grace is not afraid to go there and illuminate the wrongs of the world to turn the volume up on the conversation, all under the guise of comedy. Yes, there are funny moments throughout this story, but they don’t take away from the weight of it, and the show knows when to cut the comedy to let the message shine through. When Skip meets Jack outside, Jack lets him know, “This place can’t fix you, because you’re not broken.” And when Skip doesn’t fully understand (how goddamn heartbreaking is it that he doesn’t fully understand that he’s not broken?), Jack dives into a heart-to-heart that made me cry all over myself:

This. This is what I’ve always seen in Jack. This is who he is at his core. If you’re a more casual viewer, it can be so easy to keep him in his zany sidekick corner, where he’s always on, always adorable, and always the comic relief. He’ll go from career to career to career like it’s nothing, jump from one relationship to the next without a sense of being emotionally invested. But he is so much more than that. Right out of the gate, Jack cares so much about Skip when he’s only known him for a few hours; that bond is incredibly strong and you can tell he genuinely loves his grandson the second he sees him. And he cares about Elliot too, even after the falling out; when Skip says he found some of the letters Jack wrote to Elliot, it broke my heart knowing that he never gave up on his relationship with his son, even if it seemed like Elliot did. Deep down, he is fiercely loyal to his family — both blood and chosen — and will do what he can for them. This side of him gets to you when you least expect it. And it gets to Elliot, too; back in the city, he visits Will and Jack to let them know that Skip was pulled out of Straighten Arrow once he finally looked around the place and came to his senses. And he also stood up for Jack for what very well may have been the first time in his relationship with Emma:

Elliot: In the car on the way back to the city, Emma and I got into a pretty big fight, and she said, “Do you really want Skip to end up like Jack?” And I said, “You mean someone who’d drop everything to help someone he cares for live their truth? Yeah, I do.”

Elliot tells Jack that Emma agreed to let Skip leave Straighten Arrow before telling him how much Jack really means to him, despite the distance they’ve experienced over the years. By the end of the episode, it honestly feels like that distance is a thing of the past; it feels like Elliot and Jack are finally on the right track again, and it feels like Grandpa is going to be a much bigger part of Skip’s life than he has been.

I have to say, I had a really hard time wrapping my head around Elliot’s trajectory throughout this episode. When, prior to the episode, I read about Jane Lynch and Andrew Rannells’ roles in the show, I was racking my brain trying to figure out how this was going to be introduced. And once it was revealed that it was Elliot and his wife sending their son to this camp, it hurt because I never in a million years would have expected it from him. As we learned in “Dyeing Is Easy, Comedy Is Hard” in the original run, both of his parents are gay (hi, Rosie O’Donnell). Anything is possible, beliefs can change, and we haven’t seen Elliot since he was trying to decide on college, but I just can’t believe the kid we came to know in the original series would grow up to turn his back on both Jack and Bonnie (assuming, of course, that she eventually came out to him) in favor of a more closed-minded way of living. Yes, eventually he sees the error of sending Skip to Straighten Arrow. Eventually, he stands up for Jack when his wife tears him down and gets her to agree to pulling Skip out of camp; that more involved conversation between them is at least started. Eventually, he and Jack make amends, and eventually Elliot apologizes. I’m so happy that’s where Elliot ends up in this episode, but although the storyline really did produce a beautiful moment between Jack and Skip, it was just difficult to see this version of Elliot. By the end of the episode, though, we’re left with hope that he will re-evaluate his newfound beliefs, for the sake of his relationship with his dad, and for the sake of his son.

And topping it off by asking Jack to take Skip to his first Broadway show? My heart was bursting. What a beautiful episode to air on Spirit Day. We should all be so lucky to have a Grandpa Jack.

With a heavy A-story comes a more light-hearted B-story, and my girls did not fail me on this one. Karen’s annoyed that Grace is making them work on a Saturday before she quickly realizes that all of this overtime is the result of Grace throwing herself too much into her work and not enough into her dating life. ESPECIALLY when you compare her to Karen, who — in addition to making love to Stan and watching cartoons on Saturdays — tries to dim the lights of the office for some alone time with Tony before Mom (Grace) shows up, and starts casually grinding on Grace when she does show up. Grace immediately tries to rectify the situation and scolds Karen, but Karen knows that something is up with her boss…namely, “Your snootch died.” Granted, Karen’s behavior in the office isn’t necessarily appropriate and maybe she should reconsider trying to seduce the new employee, but when has she ever been office appropriate? She knows that the reason Grace is so uptight is because she hasn’t given her sex life a second thought since her divorce from Leo, and she is more than happy to let her boss know what’s up.

When Tony returns to the office, he tries to apologize to Grace for his part in Karen’s fun, saying that he was just singing Karen’s favorite song to her, and it snowballed from there. As we know from last week’s episode (and literally every other season of this show), when you drop something like “Your relationship with Will was the cause of our divorce” or “Your snootch is dead” on her, it will dominate her mind. So that had to be part of her motivation for her interactions with Tony here. After she sings her awkward song to him (is it sad that I really missed the tone-deaf chanteuse part of her?), he offers to show her how to sing from her diaphragm, and it’s here that Grace discovers that her snootch is definitely not dead. And it’s here that I profess my undying love for Debra Messing and her comic abilities.

Grace is mortified by her behavior around Tony—he is, after all, her employee—and turns to Karen for a little heart-to-heart over a couple of martinis. Karen tells her to go easy on herself; the only reason Grace went a little overboard was because she’s been completely neglecting an important part of her. Yes, it’s totally natural to go through a grieving period after a divorce, but to close yourself off for good is nuts (or, in yet another instance of Karen Walker dropping very necessary truth bombs, “Crazy things happen when you ignore your hoo-ha”). And Grace finally realizes it: “My marriage died, but the rest of me didn’t.” She resolves to get back into the dating scene and start paying a little more attention to her needs. I always love when Karen and Grace sit down like this, whether in a more comedic arena like this, or in a more serious manner like the end of the original run’s “Field of Queens.” Obviously we know their relationship goes far beyond that of boss/employee, but to see them get together like that, to see them being there for one another, always warms my heart. They get the kind of quality time together they don’t usually get with their guys. The kind of quality time that allows them to connect as women. The kind of quality time that has the potential to lead to this:

Plus, it’s only a matter of time before “Ohhhh My God It Feels So Good to Have a Man’s Hands on My Bodyyyyyy” drops on iTunes.

Honey…What’s This? What’s Happening? What’s Going On?

  • If you want to see how Will & Grace tackled the ex-gay thing with adults and a bonus Neil Patrick Harris, check out “Girls, Interrupted” from season two of the original run.
  • This is the first time in the show’s history (that I can recall) where they announced that it was filmed before a live studio audience. I guess they finally got sick of people assuming it was a laugh track? It was such an old-school sitcom move, it made me want to watch eight episodes of Cheers afterward.
  • Jack in his robe gave me “Gypsies, Tramps and Weed” flashbacks in the best way; I was kind of waiting for him to say he used Will’s tub and his Ylang Ylang (y’like y’like?).
  • 10/10 would watch Law & Order: LGBTQ.
  • Welp, looks like my ship is alive and well.

  • Maggie pointed out to me that Grace had a bunch of cats on her skirt during this storyline about her sexuality, and god I hope that was intentional. I see you, costume department. I see you.
  • Seeing Jane Lynch singing with a guitar in hand put me in a definite A Mighty Wind kind of mood…except here, there’s a lot more denial and a lot more Jesus.
  • I really need a report on the number of homes this show has affected every time someone says “Okay, Google.”
  • “I have NEVER been 100% clear what irony is, but I’m pretty sure that’s it.” Jack McFarland, you have my heart.
  • *In my best Will imitating Regis Philbin* GIVE SEAN HAYES THE DAMN EMMY ALREADY. (But seriously, it’s about time he got another one of those.)

What did you think of “Grandpa Jack?” Let us know in the comments!

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“The storybook wasn’t true.” – Will & Grace Recap – Emergency Contact Mon, 16 Oct 2017 13:41:31 +0000
Will & Grace Season 1, Episode 3
“Emergency Contact”
Posted by Sarah

Dear readers, we all knew this day was coming. Amidst all of the excitement of the revival and all of the clues as to what this new season would bring, this was the one thing I met with a resounding “Do we have to?” I am, of course, talking about the return of Dr. “Everybody calls me Leo ‘cause my name’s Marvin” Markus. Or, as Will likes to call him…

If you followed Will & Grace week here at HOF, you know how I feel about Leo. I do not have good feelings about Leo. Leo can go home and stay home and never go back outside ever again. But at least if we’ve got to have him for an episode, we’ve also got a pretty solid B-story from Jack and Karen to balance it out. And if we have to have him for an episode, at least the storyline gives me hope that this will be his only episode of the revival.

What was supposed to be a run of the mill gynecologist appointment for Grace turns into an unexpected biopsy of her left breast. Thanks to the sedation, she’s pretty chill for being given that kind of news (but give it a second, she’ll go into full-on Grace Adler mode in a bit), so it’s the perfect time to let her know that her emergency contact has arrived to be by her side. Grace is relieved because she’s expecting Will; after all, he’s the one she leans on, the one she lives with, the logical choice to be her emergency contact. But thanks to total inaction on Karen’s part (girl, I love you, but COME ON), this guy walks in:

source: giphy

Welp. Here we go.

Once we get a status update on who’s to blame for the destruction of their marriage—“Who cheated?” “He did.” All the while, Leo’s maintaining that it’s more complicated than that—Grace is cleared to go home to wait for the results of her biopsy, accompanied by her ex-husband. Grace is obviously annoyed by the situation (with good reason) and she’s on the defensive. She picks at Leo during the elevator ride to her apartment, and while Leo recognizes it as Grace’s worry over her biopsy, she firmly asserts that she’s fine and tells him to go. To be fair, part of Grace’s reactions to the situation might have been fueled by the potential of life-changing news, but I’m sure having your ex-husband unexpectedly thrown into your particularly heavy business doesn’t help things. It’s okay, though; once she tells Leo to leave and opens the door to her apartment, Will’s there for her in her hour of need, dropping everything to comfort her. And in turn, Grace is there for Will in his; he spent the day at the Princess Diana gown exhibit at the Met, and he’s just feeling a lot of things right now, okay?

While Will and Grace are dealing with their respective crises, Leo walks himself to their doorway, listening in on the whole thing, and EXCUSE YOU, SIR, YOU WERE DISMISSED. WHY ARE YOU HERE? He awkwardly decides to announce his presence, much to the confusion of Will (I love his reaction—“Oh, please God, tell me you’re not back together”—because the dude gets it). When Grace explains what happened, Leo decides to take a jab at the pair by saying that Will should have been Grace’s emergency contact while they were married, and tries to make his exit. Grace, however, is having none of it; she follows Leo out the door and confronts him, and it’s here that Leo blames their divorce on Grace’s friendship with Will. To hear him tell it, they could never have a good relationship because she has such a strong connection to her best friend (Um…Nathan made it work…just sayin’. No, I’m not still bitter, what are you talking about?). Leo calls for the elevator before Grace can even offer a rebuttal, setting her off even further because she won’t get the last word. When the elevator finally does arrive, Grace is determined to be the one to end this conversation. Of course, Leo’s not about to let that happen, uttering a smug little “Bye, Grace” as the elevator doors close on him.

Okay, these are the kind of Leo-isms that snowball for me to the point where I can’t stand him being in literally any scene. He stands in the doorway like a creeper when Grace told him to go, says something that he HAS to know would set Grace off, and then decides to drive her a little crazy by intentionally getting the last word. It’s an infuriating addition to a big mound of “WHY?” And it works; Grace’s mind is completely fixated on Leo saying that Will should have always been her emergency contact. The test results came back negative—I mean, it IS a sitcom, and her name IS in the title of it, so was there ever any doubt?—but Grace is still stress-eating the strawberry part of the Neapolitan ice cream with a chicken satay spoon because Leo got into her head. She’s not even celebrating the fact that she doesn’t have breast cancer because she’s so wrapped up in what happened earlier. When Will walks in on this scene and realizes it isn’t about the test results, Grace doesn’t beat around the bush; she wants to know what Will thinks about what Leo said—are they weirdly close? Did it affect her relationship with her ex-husband?—to which Will offers up a very royal overview on things:

Will: Remember how we both hated Camilla Parker Bowles?
Grace: We were young. We rushed to judgment.
Will: Exactly. Everyone thought she was the villain, because she broke up this storybook romance.
Grace: Do not forget the hats.
Will: I wish I could. But all she really did was help Charles realize the storybook wasn’t true.

So, it makes Leo the Princess Di of the situation—which is really upsetting—but it drives Will’s point home: yes, they’re closer than most people, but it is in no way the reason she couldn’t make her marriage work. By the time she went to Will for support, she already knew the marriage was over, even after all of her efforts. He lets her know that she doesn’t owe Leo an explanation. But come on, it’s Grace. She’s going to go straight to Leo’s office and explain the hell out of it.

source: giphy

Grace states her case—Will is in no way the reason they got divorced again—and Leo surprisingly concedes…before saying that the real reason they split again was Grace. Clearly this is going to make her go on the defensive again, making her bring up his cheating, much to his chagrin. It’s here that Leo makes the distinction: “That was our first marriage, Grace. The second time, I was in it, okay? I tried. But you never let me back in.” That little pseudo-reveal at the gynecologist’s about who cheated fueled me so much in my anti-Leo stance that the real reveal threw me off. I guess I have to (grudgingly) give Leo a little credit for making an effort the second time, going so far as to take up golf for Grace (which…what?). But here’s the thing: the cheating IS a big deal, and Grace is not the kind of person to forgive and forget that kind of thing easily, if at all. She really tried to make it work with Leo again. But once that trust has been broken, there’s always going to be that thought in the back of her head: if it happened once, maybe it’ll happen again. And considering the way Leo handled it back then—telling Will it was just a kiss before actually revealing that he slept with someone else, and then trying to get Will to talk to Grace for him to smooth things out—I can definitely see how that trust between them could never fully mend. Once they talk it out, Grace tries to leave before Leo stops her to tell her, “You took my heart.” Touched, Grace launches into a meaningful and heartfelt reply about how important he was to her, and how they’ll find the people they’re meant to be with, before Leo clarifies that Grace took the heart out of the anatomy model she knocked over a minute ago (PS, I love how no matter which doctor’s office it is, Grace always feels the need to steal something from it). She returns the heart, they share a kiss, and go their separate ways.

But really, though…if you take up golf to save your marriage to Grace Adler, did you ever really know Grace Adler at all?

Source: giphy

After Kim and I watched “Emergency Contact” together, she brought up the fact that they had to bring Leo back for an episode. And I have to agree; it’s all about that much-needed closure. Since the series finale isn’t in play anymore, the last time we officially got “closure” was season eight’s “Love Is in the Airplane,” where they run into each other on a red-eye to London (we just have to ignore the pregnancy that resulted from it). And if you take it as it was, without the baby that paved the road to remarriage, it doesn’t really feel like closure; it’s just unexpected plane sex that resolves absolutely nothing. THIS, however, felt like closure to me. They recognized what caused the downfall of their second marriage, they realized they won’t be able to work around it even though they’ve tried, and they left it at that. It felt like their final chapter and it made me hopeful that we’ve closed the storybook on Leo for good this time. And Grace even got the literal last word.

I kind of wish she would have thrown the heart at him, though.

source: giphy

While Grace is occupied in Ex-husbandville, Jack’s at the Bronx Boys and Girls Club for a temp job teaching an after-school drama class. Or, rather, he’s trying to get out of it. See, now that he’s almost landed a regional dog food commercial, it means he doesn’t have to teach anymore, because he’s basically almost an actor now. He’s about to walk away when he gets a text to let him know that the commercial fell through, and (not so) suddenly, he becomes an acting teacher once again. And his methods at the beginning of the class are questionable at best. He just straight up tells the kids he doesn’t want to be here, and he tries to drill into the minds of a bunch of pre-teens that acting is about rejection and nothing else. Such an uplifting message for an after-school program, isn’t it?

Through all of this, Jack focuses his attention on Jordan, a shy kid who wants to be a fireman when he grows up and gets a little stage fright when he has to sing in front of the group. Sure, Jack’s hard on him for no real reason at first, but when he sees that Jordan is scared to perform, his softer side breaks through. He stops his piano accompaniment to give a little encouragement and advice to Jordan: “Everybody gets scared, but you can’t stop trying. When you’re an actor, you gotta believe in yourself, even when you don’t.” Regardless of whether you’re an actor, this is honestly something everyone should take to heart and keep with them always. I, for one, am the worst at putting myself out there without letting self-consciousness get the better of me (although I am getting better at it), and I think I need this embroidered on a throw pillow. It spoke to Jordan, too; before Jack can even start playing the piano again, he starts singing a gorgeous rendition of “Ben” that gave me chills when I heard it. Jack is floored by it as well, although he may not have taken away the right moral of this story: “I am an incredible teacher!” Okay, he gave the advice, but…*sigh* you know what? Good job, Jack.

Meanwhile, Karen blows off work—since Grace is at the gynecologist’s—to sit in on Jack’s lesson and catches the attention of Tasha, the girl sitting by herself on the bleachers. Tasha starts asking questions about where she can find a doctor for herself. Immediately, Karen acts like she wants nothing to do with this. But once she realizes that Tasha’s mother isn’t in the picture and she has no female figure in her life to talk to, she starts to slowly offer her help in that good old-fashioned Karen Walker way: “I got a working relationship with every doctor on Park Avenue.” And while Tasha refuses to put a voice to it, Karen eventually realizes what the situation is: she just got her first period.

You may be thinking that Karen’s the last person to be guiding a young woman on this journey. But you would be mistaken. Karen tells Tasha how to handle it, and when the girl comes out of the bathroom, Karen’s ready to wash her hands of the whole thing…until something inside her tells her to stop and make sure Tasha’s going to be okay after this. And when she fully realizes that Tasha really doesn’t have anyone to talk to about these things, she steps in to give her some comfort by telling her the story of her first period:

Karen: Honey, I know what just happened was a big deal. It isn’t fun, but this day never is. For me, it was the summer of fift…sixt…seventy…nine. I was sitting on my front porch, listening to my transist…my Walkma…my iPod Shuffle. And then it happened. I just wanted to run into my room and hide, but my mom’s idiot boyfriend screamed to the whole neighborhood, “Hey! Lois’s kid just became a woman.” Then my mom celebrated by opening her bottle of good scotch and giving everybody in the neighborhood a drink. Everyone except the anxious twelve-year-old who needed it the most. Look, Tasha, the point is, I survived. And so will you.

Karen’s past is so vague—at different times in the original run, she’s tried to pass of the plots of To Sir, With Love, Norma Rae, and Heidi off as major life events—that every time we get a legitimate story, it’s almost jarring. Because the little bits we do know about her childhood aren’t pleasant; they’re filled with her mother’s scams, moving to a new town after new town after new town, and being forced to give up her first love because of another one of her mom’s cons. But these windows into her life give a depth to her that makes you feel for her so deeply. More importantly, though, this storyline is such a wonderful example of the Karen Walker I hold dear to my heart. She has her walls up most of the time; she’ll hurl snark at you and act like nothing affects her. Once she’s invested in you, though, she’ll start to pull away the bricks one by one—not so much that she’s completely unguarded (although that has happened before…ahem, “I Second That Emotion”), but enough to allow for a genuine connection. Because in spite of all her tricks, she actually cares. She’ll look out for you, she’ll make sure you’re okay, she’ll show you how you can get through it. And then she’ll boop your nose and melt your heart. These moments are few and far between throughout the entirety of Will & Grace, but it has to be that way; if they were any more frequent, they wouldn’t feel genuine, and they wouldn’t hit as hard as they do. But I love when they happen, because they shape her character into far more than a pill-popping socialite.

Karen Walker feels things, and I adore her so much for it.


Honey…What’s this? What’s Happening? What’s Going On?

  • “Honey, I did ayahuasca with Shaman last night. I don’t know if it’s raining or Tuesday.” Never change and never leave me, Karen Walker.
  • Seriously…never change:

  • “I’m Sheila, your nurse. I used to work at the sperm bank, where you tried to have a gay baby…or the donor was gay. I don’t know, it was super gay.” Nurse Sheila is back! And she hasn’t changed a bit. I love the throwbacks to the original run that have been happening all over the place, and I hope they keep it up.
  • Debra Messing’s son Roman made his Will & Grace debut as the kid who’s definitely too young to get Jack’s joke about performance anxiety.

  • “If I seem intense, it’s for one reason and one reason only, ‘kay? I don’t wanna be here and I’m really sad.” I’m stealing this for later, thanks. And while I’m at it, I’ll take “Pickles to heck” too. I’m sure I can use that somewhere.
  • No for real, what the hell happened to make Will and Vince split?
  • I’m kind of upset that this deleted scene didn’t make the cut. Not only does it feature Jack in full-on performer mode, he ends it with what I am taking as a nod to Cher’s infamous “Follow this, you bitches” monologue from the Farewell Tour, and you can’t tell me that it’s not. His diva is my diva too.

What did you think of “Emergency Contact?” Let’s chat in the comments!

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“Everything you need to make Father Time your bitch.” – Will & Grace Recap – Who’s Your Daddy Mon, 09 Oct 2017 16:59:39 +0000
Posted by Sarah 
Will & Grace Season 1, Episode 2
“Who’s Your Daddy”

Grace wrapped up last week’s episode by saying, “We should just be what we’ve always been.” And for those who were still doubting it after the premiere, I feel like “Who’s Your Daddy” clears it right up: THIS is what Will & Grace has always been. I honestly don’t think I’ve laughed this hard in a long time. If last week made me realize how much I missed the show in general, this week made me realize how much I missed and craved the things that made Will & Grace shine. “Who’s Your Daddy” had so much going for it: physical comedy, throwbacks to a couple classic sitcoms, and a moment from Will that literally made me the Meryl Streep of this scenario:

I can’t wait to unpack this episode, so let’s get to it!

Whereas “11 Years Later” dealt with the way the political climate changed during the show’s extended hiatus, “Who’s Your Daddy” deals with another element that’s inevitably changed: age. They had to address the fact that the gang is a little older early on in the revival, and they navigated this issue so wonderfully. A night at the Cockpit garners mixed results for the boys of the group (PS, all bars should play things like Designing Women on a loop on their TVs). On one hand, Will scores a date with Blake, a 23-year-old who thinks Will looks like a hot anchorman, and immediately I’m kicking myself for never realizing how much he DOES look like an anchorman. On the other hand, one of the younger guys in the bar calls Jack a daddy, and it sends him into a tailspin. Because like it or not, he’s in his late forties now, and that does not sit well with him. I really love the way Will and Jack handle their night at the club differently. Will never struck me as the type to be overly concerned about his own age, but he’s definitely the type that, once he takes a step back, really starts to analyze the situation. And he’s absolutely susceptible to flattery when it’s smooth, so that combination works so well for the storyline. Jack played his hand exactly as I expected him to; remember the first season of the original run when it was an all hands on deck crisis when he realized he was thirty? Of course he’s freaking out about getting older. So while Will prepares for his dinner date with Blake, Jack makes an attempt to freeze time, and enlists the help of the one person who knows a thing or two about the subject.


Karen’s got everything Jack needs to make sure time is on his side. While he decides against the Scrotox she offers because “They won’t be able to look surprised,” he does borrow some high powered magnets to tighten up his skin, as well as a full-body compression garment. With those things at his disposal, Jack is ready to get back out on the scene, and makes a return to the bar. Sean Hayes is a physical comedy genius, and you know I’m right. The way he falls into the guy he actually manages to pick up and turns it into a line, the way he “sits down” on that couch while trying to make it look totally natural. AND THE MAGNETS. Bless those magnets. This is Will & Grace slapstick at its finest, and I could not be happier. Eventually, Jack invites a guy back to his place, and when he realizes that he lied about his age and it was pretty dark at the bar, he *might* need a little assistance from a hint of makeup. That reveal was fantastic, his face alternated between hilarious and potentially haunting my dreams, and he caused his date to flee in the night:


Meanwhile, during his dinner with Blake, Will is starting to have serious second thoughts about him as the differences between them become increasingly obvious; Blake FaceTimes his best friend during the date, marvels at the fact that Will cooks, and thinks Madonna is a little tired. But it isn’t until Will discovers how little Blake knows about gay history — and as a result, how he takes the easy, happy life he knows for granted — that he realizes how mismatched they are. Ben Platt was so great as Blake, and I legitimately went through a range of feelings about him throughout the episode. At the top, he was adorable, high-energy and randomly musical, and I was so here for it. But by the time we get to the date, I physically cringed when he called Stonewall “Stonehenge.” It’s this, and Blake’s dismissal of the fact that “the happy life you have is because we made a big deal about things,” that leads Will to his extremely real and extremely poignant Julia Sugarbaker moment:

Will: It’s great that you have no shame. I mean, you missed the joy of signing up for football to fool your parents. But you guys can never forget the struggle that came before you, the people that fought and loved and died so that you could walk down the street in skinny jeans with rights you never even knew you never had. The minute we forget what we went through to get here is the minute it could all be taken away. And that. Will be the night. The lights. Go out. In Georgia.

Cue that Meryl Streep YES a million times over. I literally cheered after Will’s speech, because HISTORY. IS. VERY. IMPORTANT. (I need an option where I can underline that three thousand times, let’s work on that, Internet.) Things are a lot better now than they have been, but they are in no way perfect; there’s still work to be done, and especially under this administration, we can’t slack off. History is vital, for the appreciation of the way things are now, and for the motivation to fight for things to be even better for the next generation. The episode really highlights the importance of never forgetting and never stopping the fight. Will put it so beautifully here, and I feel like we need to shout this speech from the rooftops on the regular.


After the debris of their dates settles, Will and Jack commiserate over their experiences, and in turn realize they’re better off dating men closer to their own ages. They both agree that they want to be with someone with whom they share a history, someone they can have a shorthand with, and through this conversation, they demonstrate that they already have this with each other. It’s such a “NOW KISS” moment that it almost threw me off. I’ve always seen Will and Jack more as brothers and less as potential lovers; yeah, they share a history, but that history is so deeply ingrained in friendship for me that I can’t see it any other way. We’ve been down this road before; see “Gypsies, Tramps and Weed” and “Birds of a Feather Boa” from the original run for examples. They hint at the possibility of a relationship, they explore it for half a second, and then move on as though nothing happened, let’s never speak of it again, thanks, bye. I don’t expect them to really go any further with this, because they’ve never gone further with it in the past. But, they could surprise me. I’m not sure it would feel natural to the Will & Grace universe, but for all I know, they could manage it. Either way, it was a really sweet moment for the Jack/Will shippers of the world.


But enough about the boys; let’s check in with my non-canon ship (seriously, they make it WAY too easy sometimes…where is my fic based on this storyline?).

I honestly could not ask anything more from a B-story. While she’s testing out the new smart shower Grace installed for her, Karen’s approached by her maid Bridget in the hopes of getting a raise for the manse’s staff. After a convincing argument about how a raise shows appreciation and validates the work being done, Karen not only agrees to a bump in her staff’s pay, she’s also inspired to ask the same from Grace. Which obviously wasn’t going to go well; we all know Karen’s not the most conventional office assistant, and the deal is that Karen doesn’t do any work and therefore does not get a traditional salary. So to ask for more money for the same amount of nonexistent work? Good luck with that. Karen makes her case to Grace, essentially paraphrasing Bridget’s case to her, but Grace isn’t willing to give that easily…because Grace is of the firm belief that Karen doesn’t do anything.

Here, we go from Designing Women to The Lucy Show in one fell swoop, giving us a “Lucy and Viv Put in a Shower” for the 21st century. I grew up idolizing Lucille Ball (still do, by the way), and I’ve lost count of the times I’ve thought Debra Messing embodied the essence of Lucy during the first run of Will & Grace, so I was ridiculously happy to see this homage as Grace’s storyline. Karen was left unattended when she programmed the smart shower, so when she gets into it with Grace as Grace says she doesn’t need her (a damnable lie, but proceed), their argument triggers the lock on the shower door. And the drain plug. And the water. And the shut off code is the safe word Karen has with Stan that she can’t remember. Oops.

The frantic attempts to shut the shower off are amazing, from Karen’s frank admissions about her sex life with Stan, to Grace literally trying to keep her head above water while guessing Karen’s safe word (“Hillary Clinton!” “Oh, that’s actually kind of a turn-on.”). Because of Grace’s claustrophobia, she panics like there’s no tomorrow. Karen, however, is fully aware of how this is going to go, because she’s had experience with a panicked Grace…albeit in drier situations. Despite any appearances to the contrary, Karen knows Grace well. Karen pays attention. Karen sees how Grace catastrophizes everything, and she’s there to keep her world from caving in (like how she calmed Grace down during the design showcase of 1999 in a wonderfully unexpected little callback to the first run’s “My Fair Maid-y”). She’s the one to ease Grace’s mind when Grace doesn’t even realize it, even when they’re neck deep in water and Karen’s distracting her with insults and alternative lullabies. It’s then that Grace realizes just how much Karen does for her, apologizes, and agrees to the raise:

Grace: I am so sorry, Karen. I couldn’t do what I do without you. And more importantly, I wouldn’t want to do it without you. Of course you have value to me, and you deserve a raise.
Karen: Thanks, honey. I guess your validation was more important than I realized.
Grace: Well, you have it. I love you, Karen Walker.
Karen: Right back at you, Grace Adler.

DING DING DING, we have our safe word, people. The shower shuts off at the sound of Grace’s name, and I know it looks bad, but let’s just focus on that beautiful moment they had a second ago, shall we? And thus, a top-notch episode is in the books.

…I’m not kidding about that smart shower fic, though. Chop chop.


Honey…What’s This? What’s Happening? What’s Going On?

  • I just want to be able to watch Will and Grace watch Designing Women.
  • Does Bridget look familiar to you? You might remember her as Crazy Sally from the second season of the original run. In “Acting Out,” she was the one at NBC protesting to get Carson back, and in “Sweet and Sour Charity,” she was the homeless woman Karen was bargaining with to get back the Chanel slingbacks that Jack accidentally donated to charity, before Karen showed her heart and gave her a few hundred dollars.
  • “Did she call me the A-word, the B-word, or the C-word?” “Yes, mum.” It’s good to know Rosario still has that unapologetically blunt presence, even when she’s not seen or heard (I still miss her, though).
  • “We live together now, but how long is that gonna last?” “You’d be surprised.”
  • Grace talks about a summer camp horror story in which Janet Eisenberg refused to help Grace escape from under a canoe. Janet Eisenberg also happens to be co-creator Max Mutchnick’s friend, and the real-life inspiration for the character of Grace.
  • “Actually, I have a whole bedroom.” “To yourself?!” Guys, my entire adult life has been nothing but dorm rooms and studio apartments, you have no idea how hard I related to Blake’s wide-eyed wonder.
  • “We rightly took Halloween back from the children.”
  • Look closely and you’ll see that some of Jack’s dance moves at the end of the episode are a throwback to the ones he did in the Janet Jackson episode, season seven’s “Back Up, Dancer.”
  • Megan Mullally revealed on Instagram that the final moment in the shower—where Karen pushes Grace back underwater and says “It’s better this way” — was ad-libbed. They also didn’t rehearse the shower stuff prior to taping for obvious water-based reasons. These women are goddamn champions.

What did you think about “Who’s Your Daddy?” Let us know in the comments!

Featured Image Source: NBC

“Yeah, but does she ever bring up the election?” – Will & Grace Recap – 11 Years Later Sun, 01 Oct 2017 13:25:43 +0000
Will & Grace Season 1, Episode 1
“11 Years Later”
Posted by Sarah

This is a place I never again thought I’d be. The place where I curl up on the couch with a bag of mint Milanos on a Must-See Thursday night. The place where my friends and I swap quotes and laugh our asses off. The place where I get to hang out with my favorite foursome and go on a completely new adventure with them. The place where all of that can happen on a weekly basis. But here I am. And here you are. It’s starting all over again, and I could not be more thrilled. And I could not be more relieved that after all these years, it still feels like home. The return of Will & Grace is finally here, and honey, the show is ON. POINT. I never fully realized how much I missed this show until I sat down and heard that opening music (no, of course I didn’t tear up when I heard it, you did, shut up, okay? *wipes away tears*). We’ve got a brand new story, and my heart is so full, so let’s break down “11 Years Later,” shall we?

First thing’s first: let’s talk about that retcon.


Honestly, this was the only thing I was still worried about leading up to the premiere. It could have gone so wrong, to the point where the show might not have bounced back (Bobby Ewing in the shower on Dallas, anyone?). And if I’m being real, I was a little nervous once I realized where this was going. We open on a classic game night, and just after Will and Grace kick ass during their round of Heads Up, they find that Karen has fallen asleep with her eyes open and her martini glass still perfectly propped in her hand (I love Will in this moment: “Wait, it could be a trap. A smaller Karen might shoot out of her mouth and bite your face off.”). Once she wakes up, Karen regales the group about her crazy dream, complete with sharing apartments with cops, marriages to doctors, and kids who grew up to marry each other. Will and Grace bring her back to reality; yes, they were living with cops and married to doctors, but that’s done now, Grace is “temporarily” back in apartment 9C, and there certainly aren’t any kids to speak of. And by the way, Karen, you’re still rich and Stan is still alive. All will be as it was.

Considering all the ways in which this could have been a disaster, I think this worked really well. If it was going to be anyone’s dream, it HAD to be Karen in order for it to make sense. It had to be the woman who gives the doctor the catalogue from Merck Pharmaceuticals when he asks if she’s taking any medication and who at one point thought her name was Carol Texas Ranger. And instead of just accepting it as her dream and moving on, they really went that extra mile and commented on it during the entire segment (“Nobody wants to see you two raise kids.” “Yeah, I mean what would be funny about that?”). But the absolute best part of all of this is Jack not only breaking the fourth wall, but also getting an adorbs Grindr profile pic out of it in the process:


Got it, I’m satisfied, crisis averted, now on with the show.

What we get out of “11 Years Later” is a classic storyline between Will and Grace, where each of them are doing something that’s likely to elicit disdain from the other, so of course they’re going to keep it hidden. But unlike the traditional storylines of hiding unusual boyfriends and the like, this one has a political edge to it that dominates the episode. Also a pleasant surprise is the fact that we got mini plots for the out-of-norm pairings, and you all know how much I love those. Grace sees Will writing to Steve Sandoval, a congressman whose views are the direct opposite of the ones they both have, and assumes he’s writing yet another angry letter. It makes her proud of Will, yes, but it also makes her look at her lack of action recently: “Now I use my pussy hat to sneak candy into the movies.” Inspired by Will’s apparent efforts—and almost certainly prompted by Karen’s friendship with Trump (are we really surprised by this? Of course not) and subsequent voicemail saying she included Grace’s name on Trump’s birthday card—Grace decides that action starts close to home, and vows to confront Karen and the socialite’s constant gloating over the election. Enter Jack with an adorable request for French toast, and exit Grace, proud of her best friend for standing up for what he believes in.

Yeah…all those angry protest letters? It’s just a bunch of flirting. Turns out, despite the fact that Sandoval’s voting record is abhorrent, Will just wants to “hook up with a power gay,” or pull an Anderson Cooper. And just before Will’s second thoughts and worries about hypocrisy have the chance to sink in (maybe they should have sunk in?), Jack discovers that Sandoval is addressing the energy caucus in the Rose Garden, and books a trip to D.C. for the both of them. In order for this storyline to work, it was imperative for Will to be paired up with Jack for a little bit, so this was a great move. Will is in no way impulsive enough to book a train to try to get into Sandoval’s speech. Jack, however, likes to do things without thinking them through, and he does them with literally all of the enthusiasm. Will needed that push from him…and by push, I mean making all the plans without giving Will even the smallest chance to respond.


Meanwhile, once she gets to the office, Grace is fully determined to put her foot down with Karen, and tries to start a serious conversation with her about politics in the workplace. But come on, you KNEW that was never going to happen; we’re talking about Karen Walker, after all. She sees the stern look in Grace’s eyes and immediately starts grabbing her boobs (PS, I lost it at the “Sugar Ray speed bag.” God, I missed you so much, Karen, never leave me again) before letting her boss know that she managed to get Grace Adler Designs a gig redecorating the Oval Office. Of course, Grace initially sees it as a moral dilemma; this is a huge opportunity for her company, but with this administration? That would make her a hypocrite, wouldn’t it? But, since Karen already booked the train, Grace takes the job. This episode is definitely borrowing from what the original series had established in Grace’s character; sometimes, she dabbles in the moral gray areas. And Karen? Karen will do whatever the hell she wants and expect you to be on board with it. So again, this is a perfect match for this episode. Now the girls have their tickets, the guys have theirs, and they’re all on their way to our nation’s capital free from any suspicion.

What could possibly go wrong? Only everything, sitcom style.


Will and Jack get to D.C. and into Sandoval’s speech thanks to Jack’s connection at the Secret Service, Lenny (aka Cupcake Daddy, and I am low-key obsessed with him. I wish there was some way to get him in more episodes, but how often are they going to be at the White House?), while Grace and Karen are in the Oval Office ready to redecorate. The jokes throughout the D.C. act are solid for the most part. I absolutely loved the timing of Grace marveling at how many important, history-shaping things took place in the Oval Office before opening up that box on 45’s desk, revealing a Russian/English dictionary and a fidget spinner. The Cheetos sight gag wasn’t anything revolutionary, but it still got a laugh out of me. And Kate Micucci’s Page was phenomenal: “Rules don’t mean anything in this place anymore.” But then Grace accidentally spies on Will and Sandoval through the Oval Office window, and Will double takes when he sees Grace staring at him from inside the White House. And all hell is about to break loose.

Once Will makes it to the Oval Office, the fight that ensues is classic Will and Grace. They start out on the flippant side before moving into calling each other out with snark until they finally get down to the bigger issues at hand. Grace feels betrayed by Will because she thought he was active in the resistance, while Will criticizes Grace because he believes that taking this design gig is a “tacit endorsement” of the administration (which…can you blame him?). Each of them thinks that the other is more at fault. And because the fight is forcing Will to look at his recent choices, he changes the subject, saying that he can’t do the whole “up in each other’s stuff” thing again, that he can’t live with her crazy again. He’s clearly projecting, and I know he’s swept up in the moment, but he obviously knows better than this. He knows that that’s not how their relationship works. But he’s on the defensive. And in that moment, Grace, thankfully, is having none of it.


So where are Jack and Karen in all of this? They’re definitely the catalysts for the bigger Will/Grace plotline here, taking a backseat this episode. I’m sure they’ll have larger roles in upcoming episodes (I mean, Michael Angarano is coming back as Elliot and Minnie Driver is coming back as Lorraine, so clearly they’ll have stories), but part of me hoped for a bit of a bigger presence. I can’t complain, though; they made the most out of the time they got (see the above Sugar Ray speed bag). I mean, just look at Jack catching Lenny up on his life:

Source: boxofpepe

Back in New York, Grace has her suitcase by the door, ready to move out when Will walks in. He stops her for the inevitable heart to heart, explaining the reason he kept his flirtmance with Sandoval a secret: he didn’t want Grace to think less of him for his dalliance with the other side (which is, of course, why Grace kept her design job a secret from Will). And in successfully convincing Grace to stay, he gets them to the heart of their relationship:

Will: I like you thinking I’m a better person than I really am, because it makes me want to be a better person.
Grace: And your judginess keeps me from doing some of the crazy things I want to do.
Will: So stay. And not just temporary. I mean as long as it makes sense. It’ll be different this time.
Grace: Will it?
Will: Yes! ‘Cause all the other times we’ve done this, we thought it would be different, but this time we know it’s gonna be exactly the same. And that’s what makes it different.

Will and Grace’s conversation here is beautiful, because it’s a big part of their dynamic boiled down to a few lines. Yes, to each other, they’re that person who knows everything about the other, who makes it okay for them to be their true selves. But they’re also the one to make the other look deep inside themselves, to make the other strive to be better without sacrificing who they are at their core. They’re each other’s support system and solid ground when life takes a turn. It’s why Grace moved in with Will nineteen years ago when she broke up with Danny, and it’s why she’s staying now, post-divorce. They always come back to each other, because they have always been each other’s constant. Which is definitely for the best…Grace didn’t have anything in that suitcase, anyway.

Thus, we return to the normal Riverside Drive lifestyle the following morning, the four of them gathered together in 9C like it was eleven years ago, ready for the next adventure. But of course, as she revealed when Karen chastised her for blowing her big gig, Grace couldn’t leave D.C. without one slight, glorious alteration to the Oval Office:

Source: rebeccamader

Finally, I feel like I would be remiss if I didn’t address this, because I have seen a constant back and forth from viewers since the episode aired, ranging from thrilled to annoyed at the route the show took. YES, “11 Years Later” was political. But I am in no way surprised that the political part of the show was way more pronounced in this first episode than it usually is; in fact, I was expecting it. The show was ALWAYS quietly political, if for no other reason than the fact that it regularly showed happy, successful gay characters who were surrounded by people who loved them, and the world *gasp!* didn’t end in hellfire as a result. Will & Grace originally aired just on the heels of the backlash of Ellen’s “The Puppy Episode,” and before that, queerness was largely portrayed in Sitcom Land as a joke. The fact that the other shoe never dropped for them is incredible. I’m not saying the representation during the first run was flawless, because it wasn’t, but the fact that this representation was on the air for eight years was major. And it made the show inherently political. The first episode of the revival almost had to be a more in your face political version of Will & Grace to acknowledge that we’re picking up with this group in a time that is extremely different from the one we left them in. This was their time to say, “We know, we see it too, and we’re not ignoring it,” before giving us more of the show we know and love. Grace even commented on it at the end of the episode after Karen says that she and Will get preachy when they talk about politics: “We should just be what we’ve always been.” (They really went for the meta in this episode, didn’t they?) And I know they’re going to be what they’ve always been. The main goal of the show has always been to make people laugh; the quietly political part wasn’t necessarily the priority. It’s just that, in these times, the volume needs to be turned up a little bit. Surely it won’t be like this all the time, because the original series wasn’t like this all the time. But the fact that Will & Grace can go there and still bring the laughs gives me so much hope for this upcoming season.

Long story short: they’re back, kids. And it’s about damn time.


Honey…What’s This? What’s Happening? What’s Going On?

  • We got a Will and Grace game night in “11 Years Later,” just like we did in the original pilot 19 years ago. And it was just as delightful.
  • They updated the theme song and I absolutely love it. What I love even more is the fact that Sean Hayes’ husband, Scott Icenogle, had a hand in it.
  • The picture of Grace and Bobbi on the bookshelf behind the couch warms my heart and breaks it all at once.
  • “What can I do that’s low effort, high impact?” “Fart in an elevator.”
  • GRACE EXPANDED HER BUSINESS. Remember season four’s “Stakin’ Care of Business,” where Grace wants a business loan from Karen in order to build on Grace Adler Designs, but Karen turned her down in an effort to look out for her and the company? Almost sixteen years later, she’s got a new employee (hi, Anthony Ramos!) and an office that says “Madame President” on the door. MADAME PRESIDENT. Grace finally expanded the pizza parlor, and I am so proud.
  • “That’s where Joe Biden and Barack Obama used to hold hands and talk about their dreams.” Remember simpler times? I miss them.
  • Karen sitting on the couch in the Oval Office like Kellyanne Conway was a particularly nice touch. Also, I really need to know everything there is to know about her relationships with the Republican presidents.
  • Karen’s still humming the same song after all these years (“La ba da, bee ba da…”) and arbitrarily using her alias, Anastasia Beaverhausen. Grace is still using that exaggerated “Whoa.” Will and Grace still have that victory handshake. The more things change, the more they stay the same.
  • Can’t get enough Will & Grace? For the first few weeks of the season, there’s an after show released on the NBC app, Hulu and YouTube every Friday morning! Needless to say, I am so here for it.

What did you think of “11 Years Later?” How do you think this season is going to play out? Let’s talk in the comments!

Featured Image Source: NBC

“I suggest you surprise me with the things that are in bold.” – A Will & Grace Revival Wish List Thu, 28 Sep 2017 13:00:54 +0000
Posted by Sarah

Well, my dear readers, the day is finally upon us! In just a few short hours, we’ll be back at 155 Riverside Drive eleven years after we thought we had said farewell for good. I’m excited, I’m impatient, I’m pretty sure I’m going to start crying the second I hear the theme song because I still can’t believe this is actually happening. Despite the initial announcement that it was happening and the cast updates and the renewal for a second season the day after the first table read and the promos that actually show new material, it still feels like someone’s going to swoop in at the last minute to say, “Just kidding!” I don’t think it’s going to hit me until I sit down at 9pm tonight and we finally, after all these months, get a new episode of a sitcom classic. Will & Grace has been such a huge part of my life on so many levels since I was ten years old, and tonight is going to be A LOT (I know I am in no way the only one who’s been affected by this show, so I’m willing to bet tonight will be a lot for the majority of viewers tuning in). But as we were treated to tidbits of insight about the upcoming season—where our main characters are in 2017, which guest stars are lined up so far to do their thing—one question remains…

What is the revival actually going to be?

I am so excited to find out what Will & Grace is in 2017, because I know it’s bound to be different this time around. After eleven years off the air, it would be ridiculous to expect everything to be just the way it was left in 2006. But of course you want to keep the essentials that made the show work so well the first time, those aspects of the show that fans are nostalgic for. So how do you straddle the line between maintaining the classic elements and putting on a fresh face? We’ll soon find out. In the meantime, though, here’s a list of the things I’m hoping make it into the new season. Honestly, as long as it’s funny, I’m all in, and we all know it’s going to be funny. As I look back on what made the series so great to me in its initial run, though, there are definitely things that stand out, things that should be repeated, and there are instances in which the original series was passing a torch that the revival should grab. I’m not saying these things are definitely going to happen (except in the instances where someone said it was going to happen). But maybe if I put them out into the universe — over a month after they started filming, but meh, semantics — they will come true.

Place your bets now; we’ll compare notes as the season goes on.

A tribute to Debbie Reynolds.

This is going at the top of the list, because it needs to happen. Debra Messing has said that the show is going to honor Debbie Reynolds in the revival, and honestly, there’s no way the show could go on without that. Bobbi was one of those characters that was so larger-than-life, so dynamic, so scene-stealing that it felt like she was in the show more often than she actually was (I IMDb’d it once and was legitimately shocked that she was only in nine episodes—twelve if you break the hour-long ones up into two parts—because she always felt like SUCH a prominent character to me and therefore part of me thought she was constantly on the show.). Not to mention, she had a connection to each of our four leads, from her quick bond with Karen in “The Unsinkable Mommy Adler” and Jack’s kinship with her via acting, to the mother-daughter relationship with Grace and the family by proxy connection to Will. Everyone is affected by the loss; it’s only natural to address Bobbi’s impact, honoring a legend in the process.

It’s going to be brutal; I still can’t get through “The Unsinkable Mommy Adler” without wanting to cry during the “Embrace who you are” speech, and Will & Grace was my gateway to Debbie Reynolds and all of her insane talent. But I think that, when the moment comes, it will be cathartic, it will be fitting, and above all, it will be beautiful.

Storylines for the out-of-norm pairs.

I know we all come for the Will/Grace and Jack/Karen antics, but I stay for the storylines where they shake up the pairings. Grace indulges in shenanigans with Jack that she doesn’t necessarily indulge in with Will. Jack and Will protest major TV networks for refusing to show two men kissing and take Karen’s mother-in-law to the club. Karen and Grace without a doubt have the least professional professional relationship, complete with complex conversations about life and multiple occasions that obviously required them to kiss for a little bit (and every single time, Grace felt somethin’). And if you’ve been following Will & Grace week here at HOF, you all know how I feel about Will and Karen. What I love about the cast is that the chemistry is so fluid, you could put any two characters together — even those who supposedly dislike each other — and get an amazing plot out of it.

Are more amazing plots to come? From the promos that have been popping up in anticipation of the premiere, it looks like Grace and Karen are on a train (or a bus? Something that moves…) together for some reason, so all signs are at least pointing in the general direction of yes. There are so many different combinations that work so well in their own ways. Let’s see a little more of that.

Maybe throw in a musical moment or two?

Will & Grace had SUCH a brilliant way with music the first time around. Can we just look at some of these moments? We’ve got the dancing on lock with Jack doing the routine to *NSYNC’s “Pop” after pushing his kid off the dance floor and teaching Grace the “Oops!…I Did It Again” dance. There’s Will singing “Love Will Keep Us Together” to reassure Grace that he’s not going anywhere. That time Future Jack and Karen sang “Unforgettable” to each other (I don’t care that the finale’s not in play anymore, that part makes me want to cry just thinking about it. It was flawless and beautiful, fight me on that). And of course, the moment that changed the way you sing along to “Midnight Train to Georgia” (WOO-WOOOOOOO):

The show always had a handle on music placement that was admirable. Third Eye Blind’s “How’s It Going to Be” at the end of “Secrets and Lays.” The Eurythmics’ “17 Again” at the end of “Bed, Bath, and Beyond.” Making Cheryl Lynn’s “Got to Be Real” the song Will plays every morning as he gets ready for the day in “Head Case.” I’m just saying, the music choices were great enough to warrant a show soundtrack release…so let’s keep up the track record, okay?

Killer guest stars.

 This show had a reputation of bringing in major names during its first run, so they HAVE to know they’re going to have to bring out the big guns at least a couple times, right? Because not only did they bring out the big guns the first time, they used them SO well. They have a legacy to uphold. We’ve already got a growing list of guest stars, from newcomers to the show (Jane Lynch! Andrew Rannells!) to vets coming back for round two (MINNIE DRIVER! BOBBY CANNAVALE! I CAN’T STOP SHOUTING!!). And you just know that the list is only going to get bigger from here. Considering the people they got during the original series, the possibilities are literally endless. Between that and the recurring characters from the first run that could (and, in some cases, will) make a comeback, I have no doubt that we’re in store for a lot of heavy hitters coming in to knock it out of the park.


Dear ’90s TV Revival gods, if I’m going to ask for guest stars, I might as well go all the way. A diva-loving girl can dream. Although…once you’ve made her God, I don’t know where else there is to go, but I’m sure you could think of something, and wouldn’t you love to test the bounds of your creativity?

 Or we could compromise and Jack can do his Cher impression a couple times. Your choice. Thank you for your consideration. Love, Sarah.

But also an episode that’s just the main cast.

Some of my all-time favorite episodes are the ones where it’s just our Fab Four (plus Rosario). Don’t get me wrong, I loved the guest stars and the clever way they’d include the big names, and I love the fact that so many people wanted to play during those eight seasons. But there is something so magical and special about episodes like “Bed, Bath, and Beyond” and “A Buncha White Chicks Sittin’ Around Talkin’.” Because there were no outside players, these characters could go deeper with each other than they would with people they were just introduced to. It allowed for stunning character development, and allowed us to learn new things about characters we’ve known for years, characters we’ve spent every Thursday night with. And as a result, we got some of the greatest episodes of the series (at least in my humble opinion). So yeah, let’s get all of these amazing actors on board to become part of the Will & Grace universe; I’m genuinely excited to see who comes to play this time around. But I would like to request half an hour set aside just for Will, Grace, Jack, and Karen.

More cast videos and photos from the set.

Filming Opening Titles today! Film episode #3 tomorrow! @nbcwillandgrace

A post shared by Debra Messing (@therealdebramessing) on

This really has nothing to do with the production of the show itself, but I still need this to happen on the regular, because it’s delightful as hell. The brilliant thing about Will & Grace coming back now is that we’re deep in the age of social media, and this cast does not disappoint in sharing behind the scenes moments. Sean Hayes is giving set tours on Facebook Live. Debra Messing shares photos with the guest cast. And Megan Mullally’s Instagram account alone is pure gold; have you seen the videos she’s been posting?

meet the new Jack! @seanhayes #willandgrace @nbcwillandgrace

A post shared by Megan Mullally (@meganomullally) on

(I really need to know everything about this monkey, you guys.)

I wish there had been a way to get this kind of constant insider look when I was a teenager in the early ‘00s impatiently waiting for Thursday night to come around again. And now that I have it in anticipation of the revival, I’m going to need this to keep happening forever and ever, please and thank you.

A way around the finale that doesn’t feel like a copout.

TECHNICALLY they could have gotten away with keeping the series finale intact, although it might have been a stretch; while it was implied that Will and Grace hadn’t spoken in almost twenty years, it was never explicitly stated, so if they wanted a loophole while keeping continuity at 100%, they could have probably said that Will and Grace ran into each other unexpectedly for another bout of friendship. So yeah, it would have been a stretch, one that probably wouldn’t work considering we’re getting at least two seasons out of this, but at least the series finale didn’t paint the show into a corner the way other sitcoms have for their revivals…I’m looking at you, Roseanne (Cards on the table, Roseanne is my childhood and I will absolutely watch the revival, but I’m also in the minority that loved the series finale, so I have a lot of weird feelings about the subject that might never go away). Alas, it was announced that the series finale would be scrapped, and it’s definitely for the better. But of course, one of the biggest questions in my mind—even before they announced that the series finale doesn’t exist in Revival Land—was perhaps the most obvious one: how will they introduce this new season?

I get not wanting to feature the kids Will and Grace had at the end of the series; it would completely change the tone of the show, which I’m assuming is why they abandoned the baby storyline in season five and replaced it with a doctor on a horse. Here’s the thing, though: Grace spent the better portion of the final season pregnant, so I’m curious to see just how much they’re erasing. I have faith that they’ll find a way around this that won’t destroy my enthusiasm for the revival (although, let’s be real, literally nothing can destroy my enthusiasm for the revival). I mean, they got themselves out of the jam they wrote themselves into with the Will/Grace/baby deal by giving us the searing brilliance that is “The Kid Stays Out of the Picture.” If they can do that, they can do anything.

The same heart the original series had.

This is the biggest thing of all, and it’s the reason why my heart has been about 95% excited about Will & Grace’s return and 5% nervous as hell. The show’s original run felt like SUCH a lightning in a bottle situation; the writing was stellar, the chemistry between the four leads was on point, and the whole production was so groundbreaking for so many reasons (just ask Joe Biden) that it’s hard to think of that being replicated. The cast has always said that when they get together, it feels like no time has passed, and you can definitely see it when they interact with each other. It’s why last year’s “Vote Honey” sketch worked so well. But to be able to sustain that spark for an extended amount of time, after a decade-long absence? Could it be possible? As much as I loved the idea of more, there was always that worry in the back of my head that if it came back, it would only be a shadow of its former self.

Then the musical promo they used for the Upfronts was released.

This. This was the thing that made me realize it was going to be okay as soon as Eric McCormack took the sheets off the set furniture. This was the thing that proved to me that it was going to work. The “Vote Honey” clip that started this whole revival business was wonderful and unexpected, but I didn’t go into it expecting it to be the jumping off point for a renaissance; I was just happy to have an extra ten minutes of my absolute favorite show that, over ten years after its end, I never counted on having. And “Vote Honey” was completely unconnected to the events of the show because according to the finale, Will and Grace wouldn’t speak again for another ten years. There was never that feeling of “How are they going to pull this off?” when watching the sketch because it was supposed to be a one-off thing. Until it wasn’t a one-off thing anymore. Until it became the thing that made enough people want Will & Grace back. Until we got ten new episodes, and then twelve, and then sixteen, and then another thirteen-episode season after this one. Until the “How are they going to pull this off?” feeling became too prominent to ignore. Thankfully, the Upfront musical dispelled those worries. It felt like the Will & Grace I know and love. All of the instances of the cast saying it was like they never left? I get it, I can see it, and I know it’s real. That clip was the reassurance I needed that as much as the times have changed in the last eleven years — and the show will surely change with them — the important things will remain the same.

I relied on Will & Grace a lot when it was first on the air, to get me through the rough times in my life. When it felt like the walls were crashing down, that show was the one thing guaranteed to make me laugh, and it helped so much to know that it was there to give me a reprieve whenever I needed it. And if I’m being honest, it still serves as that outlet, and it’s part of the reason my DVDs have been in heavy rotation ever since the finale aired. Looking at the state of the world now, we absolutely need to be alert, and we absolutely need to resist. But we also absolutely need a reprieve once in a while. We need a moment to laugh when it feels like the walls are crashing down. It seems like Will & Grace is returning at exactly the right time.

And to that, I say: bring it on, honey. I’m ready.

 What do YOU want to see happen the second time around? Are you as excited as I am for this Must-See TV legend to return? Let’s talk in the comments. And don’t forget to come back to HOF throughout the season; I’ll be recapping Will & Grace for you every week! Enjoy the premiere, kids. I’ll see you on the other side.

Featured image source: NBC

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“Hi, friends…and Mr. Zamir.” – Will & Grace’s Recurring Characters that Should Recur Once More Wed, 27 Sep 2017 13:00:13 +0000

Posted by Sarah

A sitcom is nothing without that solid foundation of lead characters, the people you want to invite into your home every week, and Will & Grace hit the jackpot. Just look at those four leads. To find a cast that works so well no matter how you combine the characters for a storyline, a cast that can hold an entire episode up on their own and make it a highlight of the series, a cast who can take their own solo storyline and run with it is amazing. It was as if each of our leads found their groove—not only with their own individual characters, but also with each other—right away and never looked back, and I am so thankful. It truly felt like they forged a family, and such a close-knit one at that.

But damn, did the guest stars come to play. And the ones who came to play more than once? Even better.


With the revival comes the inevitable conversation: who else do we get to see? And while it’s fun to predict who will be added next to the growing list of guest stars, what I really want to know is who we’ll get to see again. This show has a roster of recurring characters that is just as dynamic and wonderful as its main cast, and at least some of them have to make their way back to the show. Here’s my list of familiar faces that should make a triumphant return at some point during the revival’s run. The likelihood that they’ll actually show up ranges from a complete and utter pipe dream to OH MY GOD, THEY’RE COMING BACK FOR REAL, but my feelings for these characters remain at 100. And, if nothing else, this is a celebration of the ones who made the Will & Grace universe shine a little brighter.

But seriously, bring these people back, okay?

Lorraine Finster


LORRAINE IS BACK, BITCHES. I am over the moon thrilled that Minnie Driver was able to take time from her Speechless schedule (how great is that show?!) to join in all the fun for an episode. And I’m itching to know exactly what it is that brings Lorraine back into Karen’s life. We all know the reason she was brought into the fold was the affair she had with Stan while he was in prison. And between that, fretting about Stan’s will, and Jack splitting his time between the two, of course words were going to be exchanged. The last time we saw Lorraine, though, she and Karen were on the way to actually becoming friends. Of course, that was before Karen divorced her dad about thirty minutes after she married him, so who knows where their relationship is at right now. For all we know, that’s water under the bridge; I mean, that WAS thirteen years ago.

Come on, though…it’s way more fun when they’re rivals.

They could bring Lorraine back under literally any circumstance, and I would be wholeheartedly here for it. She always goes toe to toe with Karen in the most spectacular way (well…maybe except for that time she pushed Karen off a yacht…), and Jack’s conflicted feelings about her could churn out a great plot for the revival. I love Karen with all my heart, but Lorraine Finster is a straight up blessing and we are not worthy. I cannot wait to see her again.

P.S: We never saw her after it was revealed that Stan faked his death, and he was supposed to have died on top of her, so…was she in on it? Is that the storyline in the revival? Do I win a prize?

Beverley Leslie

Speaking of Karen’s rivals, I’m hoping that we’ll actually get this one. I mean, Leslie Jordan kind of let the cat out of the bag about the revival in the first place, and how would he know that unless he was being considered for it? And since the series finale is being scrapped to make way for these new episodes, Beverley Leslie could absolutely make a triumphant return (even if they had kept the finale in play, who says he didn’t gently float down to the ground after being swept away by that breeze?). Beverley is that perfect mix of adversary and friend for Karen, and it has always led to amazing interactions, from trying to outbid each other in silent auctions, to becoming tennis partners against Grace and Leo. Surely, there’s enough space in the revival for Beverly to waltz in, wage verbal war with Karen, and waltz back out again.

But only if his “business associate” Benji comes along for the ride. The finale didn’t happen, so they technically never split up, IT CAN WORK.


I love Larry so goddamn much. He’s the best combination of oversharing and awkward. Joe and Larry play off of each other so well when they’re shown together; Joe’s the more level-headed one of the relationship, and Larry’s…well, Larry. He’s the one you ask to go on a date with your father’s mistress because he borrowed your coffee urn and he owes you. He’s the only other person who believes there is such a thing as an old-fashioned piano party (his mom used to throw them?). He laughs at inappropriate times, and Grace’s poker playing makes him violent. He’s delightful.

Larry’s one of Will and Grace’s oldest friends, so I’m hoping that the chance of him popping into apartment 9C is a little bit more than a possibility. It doesn’t even need to be THAT big of a guest spot; just have him walk in, laugh because he’s uncomfortable, and leave. That would make me a happy camper.

Mr. Zamir

You guys, I need this one. I need it. I just need to know that after all these years, Will and Grace still have a neighbor that steals their newspaper every day and is enthusiastic about the roller ballet in Xanadu. I need to know that there’s still someone in that building who will be completely on board with the aforementioned old-fashioned piano party even though he basically knows no one there. And if there’s someone else living in 9B by the time we return to Riverside Drive, I do not need to meet that person, thank you very much. I will be just fine acting like Mr. Zamir will always be there.


If I’m being honest, this is mainly because I just want to see Lily Tomlin do things as often as I possibly can. And yeah, okay, she’s got the brilliant Grace and Frankie keeping her occupied, but who says she’s can’t swing by the Will & Grace set to deadpan a few lines here and there? After all, Margot was Will’s last boss before the series ended; assuming he’s still with the law firm, and assuming she didn’t retire, this is totally within the realm of possibility. It is a downright CRIME that she was only in two episodes of the entire series, and that we saw so little of the woman who wanted her office to look like a tasteful bloodbath and tried to set Grace up on a date with her own husband. So I beg the powers that be: Please rectify this. Please give us a good Margot storyline.

But most importantly, please just give me all of the Lily Tomlin you have.


Elliot’s back, you guys! Once the initial shock over the fact that Jack basically has a thirty-year-old son wears off (years and years of reruns has made him perpetually fourteen in my mind), it’ll be fun to see where he has ended up. I was always on board with Elliot’s part in this show. When he was introduced as Jack’s son, Jack had just learned that the biological father he had been trying to track down for over a year passed away, and although he was reluctant to get to know Elliot at first, I’m sure having that connection helped him get through it. And I loved watching Jack deal with all of these parenting moments the Jack McFarland way. When Elliot blows the winning shot in his basketball game, Jack makes him feel better by sharing the time he puked on stage. When Elliot doesn’t have a date for the dance, Jack takes care of it…even if it means convincing Grace to pinch hit. Jack’s relationship with his son was always so entertaining to watch, and I would love to see what an older, wiser Elliot looks like. Maybe he even has a kid of his own (oh god…Jack as a grandfather, what would that even be?).

Plus, Michael Angarano was declared a series regular by season four, although after that season we didn’t see too much of him. But he technically was a series regular, that basically meant he was obligated to come back, right?

Joanne the Acting Student

All I’m saying is that according to Sean Hayes, Jack will be teaching his own—probably definitely very misguided—acting technique called “Jackting” (if one of the principles isn’t “Acting is attracting,” I may have to riot) and I think it would be kind of hilarious to see Joanne still taking notes from the front row. And to be fair, Jack did help her land a toothpaste commercial…even if he did cost her a smoking PSA because she seemed too jazzed about her dead dad. So who’s to say she wouldn’t return to his class, hoping to nail that Powerball audition? Crazier things have happened on this show…people have come back from the dead on this show.

And I’m just assuming Russell will be there, too, if only to take his shirt off.

Vince D’Angelo

I was going to start this part off about how this might be a shout into the darkness, considering what Eric McCormack revealed about Will and Vince’s fate since the show ended the first time. But then Debra Messing posted a photo of herself with Bobby Cannavale on the set, and then the show account posted a photo of him with Eric McCormack (and my heart exploded), so I guess I’m really bad at predicting things. I’m genuinely sad that Will and Vince will be divorced by the time we check back in with the gang; their dynamic was so wonderful and you could genuinely feel the love between them. And I think the thing that got me so on board with Vince was that on the surface, he didn’t seem like the kind of guy Will would end up with, but once we got to know him better, it made so much sense (kind of like how I felt about Grace and Nathan. Apparently I have a type when it comes to relationships to root for). So while I want to live in my “Will and Vince forever” bubble, I also kind of want to know what the hell broke them up so we know what it is and make sure it never happens to anyone good and pure ever again.

And who knows? Maybe there’s hope for them to get back together. Third time’s a charm.


I mean, I already mentioned him, I might as well…

Okay, this one IS a shout into the darkness, and I know it will never happen, but you will also never be able to rid me of the opinion that Grace’s relationship with Nathan was the best one. I love his story arc so much. I love that he was the direct opposite of the person Grace normally went for, and I love that this was the relationship that seemed to bring her out of her comfort zone in the best way. I love that when Grace told him she loved him on his birthday, he said it was the best present he could ever get, and I love that he wanted to be a part of the things that already made up her life. I love that he seemed to be welcomed into the fold, and I love that even with a rocky start, Will grew to like him, and was legitimately on board with it when marriage became a possibility.

And then it all came crashing down. Even though it resulted in my favorite episode of all time (“Bed, Bath, and Beyond” is the essence of Will & Grace boiled down to thirty minutes, and you know it), I hate that they broke up. And I hate that if the reason for it was the fact that marriage would change Will and Grace’s dynamic (which, as we found out soon enough, it did), they split only for Grace to get married in the next season to someone who really did not deserve her. And I hate that he went away with another woman three days after he and Grace broke it off, because it just seemed so out of character for him, and I never pegged him for that kind of guy. Nevertheless, while I know I want the impossible, I’m genuinely curious to know what happened to him after that proposal. I mean, if Will and Grace’s children can magically disappear for the revival, Nathan can magically reappear. Right?!

Don’t judge me. The heart wants what it wants.

…And none for Leo Markus, bye.

Look, I know that he’s in at least one episode of the revival, but I just can’t with that guy. The thing is, I don’t remember feeling this strongly about it the first time around, at least before the Cambodia incident. CLEARLY the fact that he not only cheated on Grace while he was away with Doctors Without Borders, but also tried to get her best friend to tell her instead of doing it himself was the point of no return. But rewatching the series so many times over the years, you’re bound to pick up on things you didn’t pay attention to the first time. And I picked up on the fact that Leo is kind of a dick. Like remember the time he tricked Grace into meeting his parents when she wasn’t ready? Or the time he married her and thought the fact they knew nothing about each other (GRACE DIDN’T EVEN KNOW HIS REAL NAME WAS MARVIN) was a joke while she was clearly freaking about it? Or how he never seemed to bother with trying to understand her dynamic with Will (I could rattle off a list of instances, but this post has to end sometime, so let’s just start with the entirety of “Last Ex to Brooklyn” and get back to me later)? And THEN he cheated, because why not drop a massive cherry onto this upsetting sundae. I’m sure Harry Connick, Jr. is a fine human being, but we as a society really need to stop trying to make Leo happen.

So we’ve got that one episode we know about, but after that, can we just…not?

Who do you want to see come back for the revival? Did I leave your favorite off the list? Let’s chat in the comments!

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“Don’t leave me, cupcake.” – In Appreciation of Rosario Salazar Tue, 26 Sep 2017 13:00:01 +0000

Posted by Sarah

Will & Grace gifted the world with four richly realized characters making their way through city life. As we got to know Will, Grace, Jack, and Karen better and better as the seasons went on, they went so far deeper than their surface. Each of the storylines on the show, no matter how crazy those sitcom antics got, made its audience more and more invested not only in these individual dynamic personalities, but also in the relationships they share with one another. Those four characters, as a unit, provide a fiercely close circle of friends that see each other through everything.

But, come on…we all know that there were really five main characters to this show.

Rosario Salazar is a force to be reckoned with, and just as richly realized as our other main characters. She has no problem stating her opinions, just as she has no problem saving your ass from whatever bind you’re in. She’s down for whatever you throw at her, from weddings to emergency post-breakup interventions and everything in between. She is the perfect person to round out an already stellar cast of characters. Because Shelley Morrison has retired from acting, we unfortunately won’t get to see Rosario in the revival (although surely, she’ll go the Stanley Walker route and gain mythical status). She was such a brilliant piece of the puzzle, and I’m so sad she won’t be on Will & Grace this time around. But she sure as hell left her mark on the series as a whole. Here are all the things that made her such a perfect addition to our Fab Four. And while I still wish there was some way we could get even a glimpse of her in the upcoming season (I know, I know, don’t hold my breath), at least we have a full original series’ worth of moments to look back on to make her absence a little easier to take.

She accepts Karen for who she is…

Look, we all want someone in our lives who loves us for everything that we are, the good and the bad, the pretty and the not so pretty. We all need at least one person we can be our true selves with, without having to keep up appearances or censor ourselves for anybody. And Rosario is that person for Karen. Rosario sees her at her worst and her best, and she sees who her boss really is without the masks she wears in public. Through all of that, Rosario knows exactly who Karen Walker is. And she wouldn’t want that to change. In fact, she refuses to accept that change.

So when Karen DOES make an effort to change for Rosario’s benefit, Rosario is having none of it. In “He’s Come Undone,” Jack tries to get Karen to treat Rosario a little better and not work her so hard, Karen complies to keep the peace between her and Jack. Rosario, however is more than a little freaked out, and when she finally learns that Karen decided to turn over a new leaf, she quits, saying “I didn’t sign on to work for a decent human being. I signed on to work for Miss Karen.” Sure, she’s blatantly calling Karen a terrible person, but the sentiment is there, all the same. You have to love that in Rosario…refusing to accept any other version of someone than their true self. Even if you’ve lost count of all the times you’ve had overlapping arguments with said someone before ultimately realizing how much you love them.

…But she’s not afraid to go toe to toe with her.


One of the things I love most about Rosario is that she’s incredibly and unapologetically blunt. She is not here to mince words, while I, on the other hand, am 100% here for it. Yes, she may work for Karen, but she’ll always try to get the last word in those moments where Karen thinks she’s got one up on her. And Karen is more than willing to play along. Like, for instance, when Karen gets Rosario out of bed to make cosmos for the Bronfmans:

Or when Karen wants Rosario to keep decorating the tree without a break:

OR when Karen criticized Rosario’s work in the bathroom:

And either Rosario learned it from Karen or Karen learned it from Rosario (personally, I think it would be amazing if it was the latter), but it wouldn’t be the Walker household without wardrobe critiques:

Of all the things I love about Rosario, I think I’ll miss her way with words most of all.

She leaned the hell into her marriage with Jack.

Sure, part of it was because she had to trick the INS into thinking the marriage was legit, but it’s not like they had to keep up appearances behind closed doors. Once Jack moves into Rosie’s room at the manse, they are all about that married life. They had mundane conversations in bed about what Jack needed from Costco in the morning. Jack was there to rub her feet after a long work day. And when they were trying to convince the INS that their marriage isn’t a sham (an uphill battle, seeing as how Jack once dated the agent doing the interview), Jack may have swooped in to save the day with a kiss, but Rosario’s into it.

She may have wanted a divorce so she could marry Karen’s gardener and thus no longer hide their secret affair by the end of the season (and, let’s be real, not a ridiculous request considering the circumstances, and she did have her green card by then), but for the most part, she was all in.

Karen ships it.

Look, I know Karen’s hit on a lot of people; I mean, amidst all the Will/Grace/Leo/Diane drama, she still manages to make a pass at Diane, and exactly how many times has she made out with Grace during the show? So it’s only inevitable that, considering how close they’ve been all those years, and the fact that Rosario stuck by her even when Stan didn’t, the thought would cross her mind at least once. And if she tries more than just a dance move during Grace’s reception, so be it:

Hell, even Grace’s subconscious shipped it in the series finale. And I can kind of see it?

She will save your ass.

If you’re in a jam, you can always count on Rosario to bail you out. Let’s set the scene: you’re at the Sound of Music sing-a-long, and you’ve just polished off the last of the booze in the flask you brought to the movie (which is so classy, by the way). Clearly the next logical move is to chuck that flask off the balcony, but you manage to hit someone who has the audacity to report it to the movie theater. You land all of your friends in hot water (except the one who won’t stop singing…she can’t blame anyone but herself for this mess), and if they catch you, you’ll be under arrest. What do you do? You rely on the woman dressed as a nun to come to your rescue, stash you away in the closet until it’s safe to come out.

Or, if that’s not your bag, picture this: you’re out at sea, having a memorial for your husband, when all of a sudden, his mistress pushes you overboard. You end up on a cargo ship carrying 300,000 cases of vodka (don’t get sidetracked, Karen, don’t get sidetracked…). Who’s going to save you and bring you home? The one who IMMEDIATELY jumps overboard after you, helps you onto that cargo ship, and then steals the crew’s jet ski so the two of you can get back to your friends and, eventually, dry land. The one who will also dress like a nun and stow you away. The one who will stick by you no matter what.

Clearly, it will benefit you to have Rosario in your corner.

She’s incredibly loyal.

Rosario may like to see Karen squirm from time to time, but when it comes down to it, she will always stick by Karen’s side. Here’s the thing: Rosario could just as easily have stayed with Stan in the manse when Karen started divorce proceedings. But instead of taking what might have been the easier route at times, she decided to stick with her girl. Along with that came some bumps in the road…namely, the fact that Stan had frozen Karen’s assets early on in the proceedings, forcing her to live inside her limo with Rosario. Even before that, though, when she was moonlighting for Beverley Leslie behind Karen’s back and then quit on her, she eventually made her way back to the manse. If Karen and Rosario’s origin story is to be believed (and really, Karen has told so many versions of their origin story, I don’t think we can ever be truly certain of which one is the right one), they’ve been together since 1985 and, aside from the Beverley Leslie incident, Rosario never left. There’s a definite affection Rosario has for Karen underneath the verbal wars they wage on each other, and through the rougher times in Karen’s life, it’s obvious.

She looks out for the ones she loves.

I’ve said it before, and I’ll say it again: we can call this show so many things, but deep down, the heart of Will & Grace is the love and friendship each of its characters share with one another. And Rosario is no exception to that. She indulges Grace in her slide show as she grieves her breakup with Nathan, allowing her to deal with things the way she wants to, rather than forcing her to get through it in a way that doesn’t feel natural to her. She helps Jack in trying to assuage the guilt Karen felt when she wanted to marry Lyle (okay, they’re trying to make her believe that Stan is communicating with her from the other side, but whatever works, right?). She’s the one Karen will employ to completely destroy Leo if he ever hurts Grace during their marriage (which he totally did, so…where is that footage?). She was there to lend Will a hug during Grace’s wedding, and her marriage to Jack left them both with a unique and unbreakable bond. Not to mention all of the times she literally saved Karen’s life (aside from the yacht incident, at three different times in their relationship, she gave Karen the breath of life?). Just as Will, Grace, Jack, and Karen look out for each other, Rosario looks out for all of them, even when they don’t realize it. I am definitely going to miss her in the revival. She brought so many wonderful things to Will & Grace, and she truly was part of the group. She dished it out with the best of them, and she held her own, but she will have your back whenever you need it. The legacy she leaves behind is a great one, and I’m so happy we have eight seasons worth of this amazing character.

But seriously, I need her to have Stanley Walker mythical status for the revival. Please and thank you.

What are your favorite Rosario moments? Are you going to miss her just as much as I am? Let’s discuss in the comments!

Will Truman and Karen Walker Are the Unsung BrOTP of Will & Grace Mon, 25 Sep 2017 13:00:02 +0000

Posted by Sarah

Friendship. When you get to the heart of Will & Grace, that’s what it’s all about. That strong, unbreakable bond between Will and Grace (they’re not paying attention to the finale, so neither are we). The zany ride-or-dies that Jack and Karen became the instant they met at Grace Adler Designs. The family the four of them created together, seeing each other through thick and thin, marriages and breakups, one-man show after one-man show after one-man show. The default pairings are default for a reason; those are where the deepest connections lie, and those connections make for reliably fantastic storylines (plus, the show’s called Will & Grace, what do you expect?). But in focusing solely on the Will/Grace, Jack/Karen pairings, we neglect one of the shows greatest friendships, a friendship that runs from one end of the spectrum to the other and back again so seamlessly.

I, of course, am speaking of the brilliant brOTP that is Will Truman and Karen Walker.

I know what you’re thinking: their whole shtick is the fact that they “hate” each other, and on the surface, yeah, okay, maybe it looks that way. The insults and snark flow so freely between them that it looks like there’s no way they could ever get along. But looks can be deceiving. Insults and snark can be deceiving. Underneath the tricks and the quips, there’s a pair who swap stories over drinks and read the same books. There’s a pair who can joke together (usually at other people’s expense, but what are you going to do?) and commiserate with each other. Most importantly, there’s a pair who listen to each other, who help each other, who aren’t afraid of tackling the heavy moments of life together. Will and Karen were a dynamic and delightfully unpredictable friendship that only added to the phenomenal connections that made up the foundation of the series. So join me as I revisit the things that cemented Will and Karen as one of the all-time great pairings for me. Because as funny as the insults and snark are, there’s a lot of love there, and all that stuff underneath is just as satisfying.

They have similar interests.

Guys, “Wedding Balls” gets so much of what I’m about as a person, and it’s all because of the Will/Karen storyline. The part of me that loves this brOTP loves how strong their connection is in this episode. The bookworm in me absolutely adores the fact that they bonded over reading the same book, going to the book signing together, chatting about The Marriage of Equals over wine. Each of them are SO damn excited to talk about this book, from Karen’s realization that they both carried a copy with them, to Will passionately talking about one of the book’s major plot points. The bond that they form through The Marriage of Equals is so pure, and it’s the most blatant showing of their brOTP status. Of course, not everyone is so thrilled by this bond; Jack suddenly has to compete for Karen’s attention as she finds herself wanting to discuss the argument between Diane and Mark more than she wants to go shout things at Bea Arthur while she’s on stage. And I get it; Jack’s used to having Karen by his side at all times, but considering how downright wonderful Will and Karen are as bookworms, can’t we just have this one?

And if you want to see something endearing as hell, watch the fake fight they have in the hallway for Jack’s benefit, to get to the looks they give each other in the end. They clearly don’t want to give up the friendship they have — even if some people object to it — and that little exchange of conspiratorial glances before the elevator door closes shows it. Right there, you know that the weird love they have for each other is real, and you know it’s always going to be there…even if they have to keep up appearances when Jack’s around.


They keep each other company in places where they 100% do not want to be.

Sometimes, you get outvoted by the others in your group of friends when you’re planning your evening. Sometimes, you compromise because you see how much joy they get out of the things you’re not totally thrilled about. And in those instances, it helps if there’s someone else who also has no idea what’s going on. Take Champions on Ice, for example. Will concedes to going, even though it’s his birthday, because he knows how much Grace and Jack love it (and they needed this common ground to help them get along, but that’s neither here nor there). And while Grace and Jack are marveling over Surya Bonaly and Rudy Galindo, Will and Karen are trash talking the proceedings while drinking champagne straight from the bottle. I mean, they have to keep themselves occupied somehow.

Not to mention, Karen got them a reservation at Balthazar for his birthday (which…did they even get to eat anything other than stale popcorn that night?), so one more point in the friendship column.

They teach each other new things.

This brOTP is a two-way street when it comes to educational experiences. For example, when Will is curious about Botox, Karen’s there to show Will the (dis?)advantages to it. Okay, so he still can’t pull off a sleeveless Abercrombie and Fitch shirt, but at least he can’t move his face? As Karen always says, “Life’s a party with a face full of poison.” On the other hand, when Karen needs someone to teach her how to drive, who swoops in when all the other options seem less than desirable? That’s right! Will’s in the passenger seat giving her tips for the road and pleading with her to stop speeding up whenever she sees a nun. Sure, she gets a ticket on her first time out, and sure, he never really taught her how to brake (something will stop her), but it’s the thought that counts, right?

And while we’re on the subject of Karen’s driving…

If you befriend Karen Walker, you befriend a very direct wingman.

Look, Joe and Larry had been trying to fix Will up with Vince FOR YEARS to no avail. But Karen speeds ONE TIME while Will teaches her to drive, and Vince just happens to be the cop that pulls them over? Come on, it was meant to be. Without that driving lesson, Vince would have never given them that unsigned ticket, Will never would have taken him to traffic court, and they never would have realized exactly who the other is. Of course, when push comes to shove, Karen’s going to make sure that if they throw their case, they’re throwing it for an absolute. And she’s going to cut right to the point to do so.

Hey, it worked, didn’t it? Karen Walker: bringing people together, one broken law at a time.

They look out for each other.

Here’s where we start getting into the deeper stuff, and it’s this part of their relationship that makes me cherish it so much. Because as easily as they can throw insults at each other, they just as easily take each other’s best interests to heart. When the Palace Hotel threw Karen out of her suite, Will was there to take her in, sacrificing his newly implemented gift-wrapping room (okay, she may have straight up destroyed the apartment while having a Masterpiece Theatre viewing party, Will probably regretted agreeing to this, and I can never hear Tom Jones’ “It’s Not Unusual” the same way, but again, it’s the thought that counts). When Karen’s too scared to go to the doctor, Will accompanies her and lets the doctor examine him first, to show her that there’s nothing to be afraid of. But this is merely scratching the surface.

When the walls seem to be closing in and there’s no way out, each of them are able to put their differences aside and lend a hand. Let’s take season two’s “Tea and a Total Lack of Sympathy.” When Will lands his job at Doucette and Stein, he learns that he has to land a major client in a week, or he’s fired. As he schemes to get Karen to drop her lawyer and hire his firm over martinis, Karen realizes what he’s up to, and in their classic dynamic, starts having a little fun of her own with him until he can’t take anymore and walks away, knowing that it could very well cost him his job. Eventually, though, she comes through in the eleventh hour, knowing what it means for Will and his future, to sign the papers and save the day. Karen will tell you that the only reason she did it was because she knows how important Will is to Grace, and she likes Grace, so what’s the harm? As we move forward through the series, though, it’s obvious that she cares about Will despite her assertions to the contrary, and I like to believe that her own fondness for him — however buried it may be — played a part in her decision here.

And when Karen and Stan start divorce proceedings in “May Divorce Be With You,” Will may not be the one representing Karen, but he’s certainly going to make sure the one who will is adequate enough to put up a fight. When Karen’s new lawyer J.T. (actually, can I call him Soupy? I’m going to call him Soupy) gives off the impression of a twelve-year-old with a briefcase, Will helps him build his case by showing Soupy how to prove that Stan violated the fidelity clause (“fidelity clams”) of their prenup. Of course, the twelve-year-old with a briefcase thing is all an act to get Will to spill information, and Soupy fully intends on destroying his career, which is where Karen comes in. Once Soupy fills her in on his plan, she tries to put a stop to it, ready to fire him if it means keeping Will out of hot water. And I think it’s amazing that, when you put “May Divorce Be With You” alongside “Tea and a Total Lack of Sympathy,” Karen has always been ready to go to bat for Will when the circumstances call for it, and vice versa.

Episodes like these didn’t pop up too often, but when they did, they were poignant. They gave Will and Karen’s relationship a little more depth with each storyline, and they showed that these frenemies are definitely more friend than enemy to each other.

They confide in each other.

I know, I know, Jack and Karen are besties, but when life seems to get a little too real to handle alone, it’s Will who’s there to lend her an ear and a shoulder, and it’s been that way since the start of their friendship. In the first season of the series (“William, Tell” to be more specific), when Karen was contemplating a divorce from Stan, Will was there to talk her through it even though he didn’t specialize in divorce law. The thing is, that conversation went so much deeper than “Here’s what you do when you file for divorce.” Will gets her to let down her guard and talk frankly about what she’s feeling:

Will: Karen, if you’re set on divorce, I can help you with that, but it’s going to take an emotional toll.
Karen: Oh, I don’t know, Will. I mean, in a lot of ways, I have a very good life. A home in the city, a home in the country, a boat, jewelry, art, cars, a chef, a trainer, an ass-kicking wardrobe…
Will: Yeah, I get it. How is the woman underneath the ass-kicking wardrobe?
Karen: Nine percent body fat and a little bit lost.

Ultimately, Will helps her realize how much she truly loves Stan, but it’s the first time in the series that Karen gets serious like this. And while she’s also had heart-to-hearts with Grace on occasion (can we talk about their last scene in “Field of Queens?” Because my heart and soul ache every time), Will tends to be the one she dives into the deeper, darker waters with. Let’s fast-forward to “I Second That Emotion” from the final season. Karen’s dealing with the fact that Stan faked his death and left her in the dark about it, and Will’s worried that the wall she built up is hindering her from truly taking it in. As he assures her it’s okay to start letting her guard down with him, she starts to cry (literally all night, and when does she ever willingly do that in front of people?) and let her true feelings be known:

Karen: Honey, I missed Stanley so much. And now I find out that he’s alive and that he lied to me. It hurts, Will. I feel empty and confused and even more alone than I did when I thought he was dead.

It goes both ways, too. At this point in the show, he broke up with Vince, and he quit his job at Doucette and Stein, and he was going through his own period of denial. Brick by brick, they each tear down their walls until they’re emotionally raw (and, in Will’s case, kind of drunk); it’s then, when they’re on the same level, that they begin to build each other back up, realizing that it’s okay to not have the big things wrapped up in a nice little ribbon, that it’s okay to feel lost before working through it, that it’s okay to acknowledge the forks in the road.

Not all of it is so heavy, though. Sometimes, they’re just swapping slightly embarrassing stories over a couple of martinis, like how Will got the scar on his head by freaking out during his talent show performance of “I Honestly Love You” and crashed into Stephanie Lieberman’s headgear. But when they go deeper, they are always there to help each other through it. And it’s heartening to know that despite their differences, they feel that comfortable with each other, and will be there to catch each other when they stumble.

They may some cruel things to each other, but they’ve always got each other’s back.

I’m not going to pretend like Will and Karen’s connection is flawless. They definitely have their share of moments where they don’t mince words, where Karen will pull elaborate schemes to trick Will into doing trivial things like fixing a paper jam in the fax, and Will will legally force her to live in the apartment building she owns that she didn’t know wasn’t up to code. But the best thing about their friendship is that no matter what they say or do to each other, they will always back each other up in the end. Will said some nasty things to her during “Tea and a Total Lack of Sympathy” (“You are sadistic and bitter and empty”), but Karen still came to his aid, pretending like all of those things he said never happened. All of the times Karen cried wolf during “Crouching Father, Hidden Husband” — getting Gardener to imitate the INS to get Will over to the Manse, only to have him open up a jar of olives, and the like — led Will to believe she was just playing another prank when she told him the FBI was investigating Stan.

Then there’s “A Chorus Lie,” which (aside from “Wedding Balls”) brings with it my favorite Will and Karen moment of the entire series. When I ranked this episode in my top 20 at the beginning of the year, I sang the praises of Will and Karen’s storyline, because it really showed the gamut their relationship ran. You’ve got the tricks and the insults when Will finds out that Karen was trying to masquerade him as her hired escort during the Shelter Island Valentine’s dance. You’ve got the moment when Karen lets her guard down in an attempt to get Will to stay, telling him that he’s the only man in her life she can depend on, now that Stan is doing time for tax evasion. And you’ve got the last minute save with Will coming back to dance the spotlight dance with Karen. This episode has just about everything there is to love about their dynamic. More often than not, they’ll call each other names, they’ll argue, and they’ll occasionally say some hurtful things to each other. But in spite of all of that, they truly care about each other. They can depend on each other when the going gets tough. They can talk things out, they can show sides of themselves they don’t show with other people. They help each other. Because sometimes, help comes from the most unexpected places.

I can only hope that we will get a few more moments for this duo the second time around.

How do you feel about Will and Karen’s friendship? Who makes up your favorite out-of-norm pairing on the show? Let’s chat in the comments!

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