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. 

‘The Nanny’ Reunion Pandemic First Episode Read

The Nanny debuted on November 3, 1993 and ended on June 23, 1999.

Along with Family Matters, The Fresh Prince of Bel Air, Blossom, and Sister, Sister, and other iconic 90’s sitcoms, The Nanny was among those considered a family gathering moment around the singular television. Thus, imagine the happy surprise of tuning into the reunion pandemic reading of the first episode. The cast (with the exception of guest star James Marsden) read along in their respective homes adding the treat of Ann Hampton Calloway singing and piano playing The Nanny Named Fran theme and Peter Marc Jacobson, The Nanny’s co-creator narrating the start of each scene. 

Reunited bunch. 

Even though separate from each other, they made #StayAtHome work. Charles Shaughnessy (the very dashing Broadway producer/widower Mr. Maxwell Sheffield) with his eloquence and props, Benjamin Salisbury (the problematic middle child, Brighten) with wry humor, Nicholle Tom (the sheltered eldest child, Maggie) with that sincere innocence and surprisingly hilarious switcheroo, Madeline Zima (the youngest, slightly misunderstood child, Grace) humorously embodying a six-year-old’s quirky spirit, Lauren Lane (the catty neighbor CeCe) and Daniel Davis (Brit wit Niles the butler) still maintaining those clipped, haughty tones and perched eyebrows all alit in their hilarious banter, Renee Taylor with the loud, razzle dazzle, and of course the illustrious, down-on-her-luck Fran Drescher herself leading the pack as a cosmetics sales lady turned nanny. 

Peter Marc Jacobson narrating alongside exterior shots from the first episode. 

Although the show is about an unemployed Jewish white woman from Flushing, New York City, there was something daring that I did not catch as a child— the mentioning of President Ronald Reagan’s underhanded interference in Grenada. 

After firing Fran for crossing the line in his parenting, Mr. Sheffield goes, “I overacted, didn’t I?”

“Like Reagan in Grenada,” Niles replies. 

The whole history lesson here is that in order to demolish the People’s Revolutionary Government (which threw out Grenadian system), the profound Maurice Bishop and his followers had to be silenced. Once they were all brutally murdered (with location of their bodies still relatively unknown), the United States invaded the vulnerable Caribbean country under the guise of code name Operation Urgent Fury. Now how this related to The Nanny circa 1993, ten years after this horrific power play abuse, is a huge stretch of a simile, especially considering that the show is lily white. There are no people of color onscreen or behind-the-scenes. It is extremely problematic that this came to be suggested and given the go-ahead. Even now with the United States seizing medical supplies from reaching Barbados— another Caribbean country. In the deliverance of that line, it feels like the laughter is geared more towards what the Reagan administration did to innocent bodies than Mr. Sheffield temporarily firing Fran. 

From afar without sets and props, Fran (Fran Drescher) and Mr. Sheffield (Charles Shaughnessy) still have the chemistry. 

However, one of the more funnier examples of the 90’s many pop culture references of bullying 45, was Fran waving at the unseen Ivana Zelníčková Trump— the first of his three wives— exclaiming, “you’ll find someone new.” Let us hope that comes to who leads the country in this presidential election year. 

While it was wonderful to see the cast reunited and bring back pleasant memories, it does question what flew over our heads in the dialogue. What did we not understand between the laugh tracks? Of course there was plenty of sexual innuendo going on— that happens a lot in most sitcoms. There are levels of sensitivity to consider when formulating scripts. Yet the writers put the umbrella up to let the audience guess. And often times, we miss the mark because the information was not privy to us.