Regarding Janine and Gregory on ‘Abbott Elementary,’ A Period Meant An Ellipsis

 

The steamiest sequence of events ever witnessed on a TV sitcom.

“Last night was all a dream,” they say. 

In a season of breakups— Melissa and Gary, Jacob and Zach, and Mr. Morton and his mysterious wife— we needed light at the end of the tunnel, something to sink our teeth into before the summer interlude. 

And Abbott Elementary more than provided.

Some Janine Teagues and Gregory Eddie lovers held their breaths throughout Party— the season three finale— waiting for the inevitable “will they” slow burn to build into full blown ignition. Despite Gregory putting a period on them in the February premiere, the man continued giving Janine those yearning, come hither looks that more symbolized “to be continued” rather than “putting a stopper on things.” 

Thus, that period was perhaps a series of dots otherwise known as an ellipsis— an intentional omission. Gregory tried oppressing feelings that would never go away even when the object of his affection worked elsewhere. 

“Did you smoke last night? It didn’t seem like you did,” Gregory (Tyler James Williams) to Janine (Quinta Brunson) in Smoking, written by Jordan Temple, directed by Randall Einhorn. DP: Michael J. Pepin.

First, a recap of the leading events that transpired throughout the fourteen episode season. When foolish Gregory shot Janine down and she took the district fellowship, he believed he was the reason. They cleared the air in his classroom and the tension was eased— or so it seemed. Meanwhile, Janine moved her hair part in the center, sported impeccable makeup, and switched up her wardrobe, glowing up beautifully in smart suit sets, form fitting dresses, and glamorous heels. 

Still, Janine continued popping up at Abbott and shared minute moments with her infatuation and former work family. In Smoking, Gregory (and everyone else) was shocked to learn Janine smoked weed every night, in Willard J. Abbott, they burned the midnight oil in her office together (alongside original wingman/Teddie shipper Jacob), in Librarian, they bonded over the beneficial program with Gregory advising Janine on putting her foot down with her beloved mentor Barbara. Throughout these short yet memorable segments, this undeniable crackling spilled between their kindred friendship, proving that even if platonic, Janine and Gregory crafted a natural, chemistry-fueled rapport.

Janine and Gregory are left alone, laughing during research mode in Willard R. Abbott, written by Ava Coleman (the writer not the character) and directed by Matt Sohn. DP: Michael J. Pepin. 

Janine and Gregory attempt to adjust the vintage picture of Black teachers at Abbott until a hilarious Mr. Johnson puts a stop to them taking over his job. DP: Michael J. Pepin. 

“Keep reading,” Gregory says to Janine on Barbara’s review of the new program initiative in Librarian, written by Morgan Murphy and directed by Karan Soni. DP: Michael J. Pepin.
  

Janine and Gregory proved to be a good professional team despite it being unprofessional to show up to a student’s house in Alex, written by Kate Peterman and directed by Claire Scanlon. DP: Michael J. Pepin. 

Although it looked as though Janine would permanently stay in her new gig— the two dollar raise and smile-happy co-workers hyping her ideas no matter how wild or impossible would tempt anyone— a visit to absentee student’s house in Alex with Gregory reconfirmed her second grade teacher spirit. Abbott was Janine’s special place, her students were her treasures. So, in the end, she could not forsake them, proving her selflessness— a commendable trait to have in her profession. 

A horribly unhinged Gregory plays twenty cringy questions with Janine, Manny, Erika, and Tariq whilst drinking beer with both hands in Double Date, written by Garrett Werner and directed by Razan Ghalayini. DP: Michael J. Pepin. 

A gorgeous Janine is unphased by Gregory’s obvious jealousy. DP: Michael J. Pepin. 

In Ava 2 Ava Fest, Gregory gave Janine a plant that comes to full bloom in the finale— but before Party, the predecessor Smith Playgound granted precious Janine and Gregory moments galore in order for us to forget Gregory’s extreme awkwardness (that gave us secondhand embarrassment) in Double Date. 

Janine sits next to Gregory for the first time on a school bus field trip in Smith Playground, written by Riley Duffurena and directed by Richie Edelson. DP: Michael J. Pepin. 

They share their favorite colors while swinging— Gregory’s is green and Janine’s is blue. In an earlier adorable scene, Janine pushes Gregory. DP: Michael J. Pepin. 

While two schools fight over a slide turn, Janine and Gregory secretly find some joy of their own— via that very slide. DP: Michael J. Pepin. 

At last, in Party, Cupid’s bow-tipped dominos are lined up, ready to align. Janine plans every inch of her cute, three-hundred square feet apartment to a T aiming for an epic end-of-the-school-year celebration, compartmentalizing activities for varying personalities, accounting for the socially awkward. Even Zach—Jacob’s ex and Mr. Morton are invited. Naturally, Ava has to be paid prior to attend such an occasion. Gregory arrives, complimenting the maxi dress wearing beauty and the eye games begin. 

Even Mr. Johnson gives Janine solid advice— “regrets are harder to live with than consequences.”

Among stringed lights and a plush, hot pink bedroom, Gregory and Janine congratulate each other’s growth while sitting on her bed in Party, written by Chad Morton and Rebekka Pesquiela and directed by Randall Einhorn. DP: Michael J. Pepin. 

Janine and Gregory’s final season three interaction deserves a delicious breakdown— it was just that good. 

On the street corner, Erika and Jacob hype up Gregory, the cowardly lion too far removed from Oz aka Janine’s apartment. Backed by their encouragement, considerably pleased by the fact that Janine has turned Manny down, Gregory heads back to Janine’s. Janine mopes around, cleaning up, admitting to the camera crew that she likes Gregory, that she had been planning all night to do so. A familiar knock— Gregory’s classroom knock— sounds at Janine’s door. When she answers it, he stands on the stoop, saying he fixed her light— a subtle nod to season one’s Light Bulb. He reenters her spot, his walk determined, purposeful, the camera angles shift unexpectedly. 

Janine with the plant that Gregory gave her. She brought it from the classroom to her home— and Gregory would soon be joining the plant as well. Perfect setup. DP: Michael J. Pepin. 

The lighting was absolute perfection the entire episode, setting the right tones at the right moments. This here embodied romance. DP: Michael J. Pepin. 

At this point, no words are necessary. 

Gregory’s lips swoop down on an anticipatory Janine’s, letting us cry anew at that height difference. The kiss begins a hot, heavy make out session speaking sensuous volumes. These two beautiful Black nerds had been wanting to do that forever— sober and unafraid. The scene grows juicier as mid-kissing, Gregory one-handedly shuts Janine’s door, hoping to give them privacy to explore this newer, intimate territory sans an audience. They resume to finish what has started—swoon-worthy smooches. Until the window blinds are tugged down by a sly Gregory. He gives a distinctive “do not disturb this groove” look, implying that this is the period he really intended— a period of one on one with Janine. 

Amen and cheers to that. 

During a summer where everyone will be talking about Bridgerton season three, the rest of us will still be wrapping our heads and hearts around the shockingly scandalous time that Gregory stole the air out of Janine’s lungs, a poor girl already prone to breathing hard. 

Emmys, Oscars, & Other Wins/Snubs

Quinta Brunson made Emmy history, winning Outstanding Lead Actress in a Comedy series for playing Janine Teagues— a character she created. This is her second Emmy after winning for Outstanding Writing in a Comedy Series, 2022. 

Eight years ago, I penned Sixty-Seven Years of White Women in the Lead. This essay reflected on the Emmys historical preference of rewarding the same actresses over and over again in the Outstanding Lead Actress in a Comedy Series category, leaving Black and other women of color nominees as their presenters. At the time, Isabel Sanford and America Ferrera were the only nonwhite winners. 

Legendary actress Marla Gibbs and Quinta Brunson present Niecy Nash with her first Emmy win. 

Yet, the seventy-fifth Primetime Emmy awards (held on Martin Luther King Jr. Day and helmed by Black producers) promoted real change. Abbott Elementary’s Quinta Brunson finally won the coveted prize— forty-two years after Sanford, seventeen years after Ferrera. Other feats included Ayo Edebiri, Outstanding Supporting Actress in a Comedy Series for The Bear (who will be competing as lead next ceremony) and Niecy Nash, Outstanding Supporting Actress in a Limited Series for Monster: The Jeffrey Dahmer Story. Although former favorite actor Steven Yeun (and Ali Wong) also made history as the first Asians to win in their respective categories for the Beef miniseries, their terrible joint statement on the David Choe controversy has left little favor. 

Three women of color acting nominees— America Ferrera, Danielle Brooks, and Da’Vine Joy Randolph.

Unfortunately, it might take the Oscars another hundred years to catch up to what the Emmys did. There were only two Black women nominated for the ninety-sixth annual ceremony, both in the same category for Best Supporting Actress. Black/biracial women filmmakers were not supported despite wins at Sundance Film Festival and the Gotham Awards (the best awards voters after the Independent Spirit Awards).

“It can be very disheartening and draining because it’s like we’re not even given a shot,” A. V. Rockwell said of the film (via Vanity Fair), which has failed to generate buzz in recent months despite winning Sundance’s prestigious Grand Jury Prize. “Even with all the love that’s out there, I think people are kind of set in only certain movies, or only certain filmmakers, getting a chance to be a part of certain conversations.”

Yet, instead of solidarity for the true snubs: unrecognized filmmakers A. V. Rockwell, Ava DuVernay, Savannah Leaf or actors Fantasia Barrino, Teyana Taylor, Greta Lee, Teo Yoo, Will Catlett, or even Vivian Oparah (who scored a surprising BAFTA nomination for a romantic comedy when we know how they feel about the genre)— white women are collectively whining about Greta Gerwig and Margot Robbie. As Barbie producers Gerwig and Robbie are nominated, Gerwig receiving an additional one for Best Screenplay with her husband Noah Baumbach. The only women of color filmmaker Oscar nominee writer/director Celine Song has one nomination for Past Lives. 

Whereas 2022 gave us strong performances in Danielle Deadwyler, Janelle Monae, Michelle Yeoh, Viola Davis, Tang Wei, Lashana Lynch, Angela Bassett, Stephanie Hsu— only three made it to the Oscars, one won. The Andrea Riseborough backlash (and nominating other mediocre actresses) as well as the problematic criticism from anonymous voters ruined its integrity. Meanwhile, the whole 2023 awards season has become tainted by the Barbie versus Oppenheimer film rivalry, poisoning the eighty percent of white voters who more than likely are going to give Ken— Best Original Song. This kind of media frenzy ensured that people of color films would become lost in the vacuum. They do not even support women of color to direct their characters, that’s how apparent these sexist nominations are. 

Ava DuVernay expressed sentiments that mirrored Gina Prince-Blythewood’s remarks: 

“[It’s] unfortunate because we (Black people) watch films from all over the world that have nothing to do with me, and we watch it because we don’t have to be centered, we are used to that because we are so often not centered. I don’t want this to be misconstrued—I’m just saying certain people need a certain kind of invitation, and those of us who are perhaps used to not being centered don’t need that invitation or else we wouldn’t be watching anything.”

To the foolish protesters centering two white women who actually have Oscar nominations for their white feminism film (just not in ALL the categories)— y’all are, once again, banding together for the wrong thing. Until we see certain actresses on the streets handing out “for your consideration” fliers like Aunjanue Ellis-Taylor did, Hollywood remains disrespecting Black women. 

Thus, 2024 promises an ongoing continuation of #OscarsSoWhite. 

The Promising Evolution of Janine & Gregory

 

Love can still be a splendored thing between friends/coworkers Janine (Quinta Brunson) and Gregory (Tyler James Williams).

Be patient and set aside your clever portmanteaus.  

A few weeks ago, Janine Teagues launched our summer hiatus by surprisingly choosing herself over an immediate relationship with coworker Gregory Eddie in Abbott Elementary’s second season finale, Franklin Institute. Although obviously “in like” with each other, Janine and Gregory simply are not ready to embark on their potential togetherness. It also may be unhealthy for Janine and Gregory to waste other people’s time whilst on the journey to finding themselves as well. They both should refrain from dating anyone and focus on teaching the youngsters. Most importantly, they need to come to terms with their respective childhood traumas. With therapy. Lots of therapy. 

Gregory couldn’t tell Barbara’s daughter Taylor, he didn’t like clam chowder. However, he did tell Janine.

Infectious, optimistic, and extremely upbeat Janine has issues separating her personal life from her teaching. Often, it shows up to school anyway. From the light bulb situation of the first season’s second episode all the way to second season, episode twenty-one’s Mom, Janine carries a heavy emotional load. 

Janine is a good teacher, but it is not surprising that people confuse her as a “big kid.”

Throughout Janine’s high school, college, and early teaching career, she has only been in one relationship. Imagine the significant moments in Janine’s life: a teenager’s first intimacies, homecoming and prom, several graduations, apartments— all experiences shared with Tariq. Janine’s mother Vanetta checks out and sister Ayesha skipped town as a healing mechanism. Thus, leaving a boyfriend who does not always prioritize Janine. In turn, delaying and hindering her improvement possibilities. For the longest time, Janine has been attached, her identity slumped to another man, a man who did not deserve her loyalty, let alone devout longevity. Tariq may be talented and good with children, but he was not good for Janine. 

Next to seeing her kids, Gregory is another good part of Janine’s work day. It’s only right that she continues to savor her joy.

Janine has various immature tendencies: toxic positivity, interfering in situations that are none of her business, not understanding that you can simultaneously like people, and entering into a messy situation with her coworker’s friend while obviously infatuated with said coworker. She should have more time to adapt to single hood, to learn her potential as a young Black woman in Philadelphia hoping to make a change in the corrupt educational system. When Barbara, Melissa, and Ava applauded Janine instead of condemning or making jokes on her single girl trip, that was a step in the right direction. After what has happened in her third teaching year, Janine could build on a stronger relationship with herself, with Ayesha. She’s already gradually setting boundaries with Vanetta.  

Erika (Courtney Taylor) has been a sweet, much-needed addition to Janine’s extremely small circle. 

Moreover, Black love is a form of activism, especially in television and film. The phenomenon is either sparsely sprinkled or tokenism remains alive. Black characters caring about each other and also valuing the self— that takes tremendous effort. It doesn’t always have to imply romance. Abbott Elementary has Barbara bonding further with her work daughter, willing to sacrifice for Janine. Those moments in Mom were beautifully rendered. Unafraid to tell Janine she’s messy, Erika is a blunt and honest encouragement outside of elementary school children and coworkers. Even Ava occasionally seems to give a little heart to Janine (sometimes against Ava’s iron will). At the same time, however, we do appreciate Melissa and Jacob as well because they demonstrate support and respect to Barbara, Janine, Gregory, and Ava (sometimes). 

That leads to Gregory— carving his own path towards Black Boy Joy.

Gregory may be Teacher of the Year, but he has ways to go before truly earning that title. Perhaps by then, he will either stay teaching or become principal with a proud Janine cheering him on. 

Militant Gregory finds comfort in his shell, closed off to people who are not Janine. Sure, Gregory asks Barbara and Melissa for advice on occasion, but he still retains a reserved persona. He lies about small things hating pizza and liking donuts, clandestine gardening, staying in relationships that do not serve him (Taylor and Amber), and reluctant to pursue friendly rapports beyond his circle (important if you want to become principal). Also, Gregory nearly kissing Janine in Holiday Hookah and actually initiating that move two episodes later (a day after his breakup) while she was dating his friend Maurice hints at his more selfish flaws. Let’s not even address the awkward, secondhand embarrassment of Gregory and Janine dumping Maurice together— too much to unpack there. 

Yet, Gregory moves on the cusp of change— declining his father Martin’s offer to join the family gardening business, to continue building on becoming a better teacher (despite that lingering principal desire as seen in Fire), and finally seeing Jacob as a genuine friend, a confidante. Gregory giving into Jacob’s hug at the Franklin Institute after Janine’s rejection (a year after not receiving the principal job) was a tender step in the right direction for his personal developmental growth. Gregory is shedding vulnerability, letting down his guard, and owning his journey to happiness. When he was proudly digging in the garden, acknowledging that the time came to “plant new seeds,” it symbolized perhaps a significant step towards change. 

Janine slowly but surely steps back from parenting her mother Vanetta (Taraji P. Henson).

In his last visit, Martin (Orlando Jones) tells Gregory that he’s proud of his secret progress attending to the school garden.

Martin and Vanetta have both visited Abbott, but have yet to respectively run into Janine and Gregory. Perhaps when the stern Martin meets Janine and kleptomaniac Vanetta meets Gregory, the offspring defends both their friend/co-worker and themselves. You can already imagine Martin believing Janine unworthy of his son or Vanetta just being uninterested altogether in Gregory (she didn’t even know Janine and Tariq broke up). Still, the united front a matured Janine and Gregory could put together against their problematic parents (and the triggers of their harm)… incredible. Moving. Cycle ending. 

Without the convincing chemistry between Quinta Brunson and Tyler James Williams’s portrayals, Janine and Gregory surely would not be this dynamic. We’ve seen them on A Black Lady Sketch Show and heard their voices in the Harley Quinn episode A Very Problematic Valentine’s Day. Hopefully, Brunson and Williams continue building a solidified partnership on Abbott Elementary and afterwards shift into making films together. If Gabrielle Union and Morris Chestnut can keep at it, why not Brunson and Williams too? 

Abbott Elementary’s writing has been consistently top notch— and a primary reason to support the WGA strike. We deserve quality television on all fronts and that starts with the writers. Thank the writers for giving us this strong development between Janine and Gregory. May their pens never run dry— especially on this terrific show, on this beautifully rendered slow burning pairing. Whether good friends till the end or the next smolderingly hot couple— either way the blossoming love between Janine and Gregory has sweet possibilities once the characters come to terms with who they truly are. 

‘Abbott Elementary,’ Best Show of the Year

 

Abbott Elementary season two advertisement.

“Janine— as teachers at a school like Abbott, we have to be able to do it all. We are admin. We are social workers. We are therapists. We are second parents. Hell, sometimes we’re even first. Why? It sho ain’t the money.”— Barbara Howard, kindergarten teacher brilliantly played by Sheryl Lee Ralph.

Abbott Elementary is the binge-worthy mockumentary comedy we have been waiting forever on. Every episode has moments delivers laughter and tears thanks to commendable writing and superb acting. 

Everyone had to have a teacher (or principal) that dressed like Janine (Quinta Brunson). Thanks to series costume designer Susan Michalek for crafting that reality. 

The environment at Abbott is not always perfect. They struggle on with old books and limited equipment: expected results of the dwindling public school system that has hurt and hindered a lot of us. The determined Janine Teagues, a too-delightful, competitive spirited second grade teacher, tries to make it as fun and exhilarating as possible. Barbara Howard, the warm, soothing kindergarten teacher with a mean bite and her best bud Melissa Schemetti, the other second grade teacher (and often Janine’s playful nemesis), often side against Janine. Thankfully, Janine does have friends in eighth grade teacher Jacob Hill and newcomer Gregory Eddy, a tight circle that nudges our perky, thrifty fashioned girl in the right direction. 

Jacob, the white do-gooder who traveled throughout Africa, may seem an ill fit to this tight team due to his lengthy rants and desire to be more proactive in civil rights. He often adds the amped up fuel to Janine’s well-meaning schemes, showing to be one of her biggest supporters/allies. Also boyfriend Zac, a lover of sneakers just like Jacob, is simply amazing— funny, gifted vocalist, awesome one-liner delivery! Although Jacob has a hard time zipping his lip, he does sprout insight every once in a while. 

The polar opposite of Janine, Principal Ava (Janelle James) is an iconic fashionista with a style that steals the show episode after episode. 

Principal Ava Coleman, however, operates on various noticeable fronts. In the beginning, she seemed too invested in promoting her image, mainly on social media tools like Tik Tok and Poshmark, building her brand versus helping Abbott in any structural way. She even used emergency funds to have a billboard of her stylish self posted in front of the school and buy new wavy hair instead of purchasing desperately needed rugs for the classrooms. Heck, her green screen office is the primary spot to take incredible videos and seller pictures of her brand name merchandise. She even has her own gaudy bathroom installed in the school basement. Yet, Ava has also taken extreme action under circumstances that would overwhelm even the strongest person. She managed to give a compelling speech on being principal in front of the very person she blackmailed to get the job. She successfully substituted sick Janine’s class— funny considering that Gregory, the former substitute fit for the principal role advised Ava on the importance of using Janine’s folder and that Janine is out because Ava left her sandwich out in the window. Who could forget Ava transforming Janine into the Black Marilyn Monroe (or Dorothy Dandridge) for a Halloween party or giving Janine a lift to another club job with her friends during holiday break? 

When Janine (Quinta Brunson) encouraged Gregory (Tyler James Williams) to add personality to his bare classroom walls, it seemed an open metaphor to shift beyond substitution, for permanence, to make a lasting effort on both the students and perhaps Janine’s heart. 

Janine and Gregory’s potential has been simmering from their very first meeting. Janine—the girl next door— frequently visits Gregory’s nearby classroom and vice versa for either old-fashioned good advice or polite small talk riddled in cartoon hearts. Although not usually a big fan of TV office romances (this Collider article is a good one), something about these two makes it impossible not to root for them going the distance. They share common ground. Gregory, a Black man with an overbearing military father, shares his vulnerabilities to Janine, who has an absent mother and an inner lonely girl syndrome beneath her exterior bubbliness and “toxic positivity.” Yet, Gregory knows every facet about Janine, which makes them all the more endearing, considering that most men fail to pay attention and care. Unlike Janine’s selfish, narcissistic, first and so-far only boyfriend Tarik, Gregory knew her favorite film was Jumanji, noticed her hair parted on the other side, and rescued her from countless mishaps on many occasions. While the advantageous Tarik had a kid spirit about him feeding into Janine’s childlike disposition, Gregory has a mature, sensible vibe that would definitely aide in ensuring Janine’s growth. Janine and Gregory provide an alluring adventure, that’s for certain. Maybe, just maybe too, in the future, Gregory may join his father’s landscape company after all and Janine can remain Abbott’s Most Affectionate Second Grade Teacher. 

In addition to phenomenal writing (thanks to a very inclusive staff) and impeccable direction, Abbott Elementary must be applauded for showcasing diverse body types. There’s still an over abundance of thinness and whiteness celebrated and awarded in both television and film industry. Thus, it is a nice change to see tall and short, curvy and robust figures in leading and supporting roles— a beautiful reflection of the world we actually live in. It’s even noticeable with the interesting side characters— Zac, Jacob’s bespectacled boyfriend, Janine’s new friend Erika (played by Courtney Taylor recently Issa’s assistant on Insecure), and Ashley, Melissa’s annoyingly tone-death assistant.  

Abbott Elementary cast at the Golden Globes, winning for Best Actress in a Comedy Series for Quinta Brunson, Best Supporting Actor in a Comedy Series for Tyler James Williams, and Best Comedy Series.

The excellent cast is led by its infectious dimpled creator Quinta Brunson— second Black woman (after Lena Waithe) to win an Emmy for Outstanding Writing in a Comedy Series. Fellow Emmy winner Sheryl Lee Ralph— always a charming, warm spirit— delights as church praising Barbara, who often funnily confuses white and Black actors and wears the best red lipsticks. Tyler James Williams—a versatile talent who ranges from comedic chops on Everybody Hates Chris to drama/horror in Dear White People and The Walking Dead (his death scene remains one of the most gruesome)— shines bright as Gregory, the former ambitious principal turned near-reluctant teacher harboring a sweet crush on Janine. Comedian Janelle James brings infinite laughter as a slacking, multitasking yet on occasion wise Principal Ava, Lisa Ann Walters is the tough, sassy South Philly raised Melissa who has “fix-it” people on speed dial, Chris Perfetti plays the corny, overly talkative, well-meaning eighth grade teacher Jacob, and William Bradford Davis effortlessly plays the thoughtful janitor-of-all-trades Mr. Johnson. Every single person puts in work on this impressive ensemble, making a school setting feel authentically homey, hence why Abbott Elementary has received nominations and awards from the Black Reel, Emmys, Gotham, Independent Spirit, Golden Globes, the Writers Guild Association (WGA), the Producers Guild Association (PGA), the NAACP Image Awards, etc. It is an incredible feat—a long time coming actually— to see a Black woman creator deservedly honored and thoroughly loved by Hollywood sailing behind on the tidal wave of Yvette Lee Bowser, Mara Brock Akil, Shonda Rimes, Ava DuVernay, Hanelle Culpepper, Michaela Coel, and Issa Rae.

With its third season renewal from ABC and half the second season left before summer hiatus in the spring, the wonders of Abbott Elementary never cease.