Thursday Hypermarket the finish can best be described as bittersweet. Because even though Cloud 9 went down – Zephra decided to convert most of the Cloud 9s into fulfillment centers and make the retail giant an online-only chain – workplace comedy succeeded. to end on an uplifting note, showing where all the employees (well, most employees) landed after store 1217 closed:
* Amy quit her corporate gig at Zephra and landed another leadership position. Her future husband Jonah (!) Finally ran for city council. After their marriage, they had their own child: a son named Carter. (For more on the # Simmosa fairy tale ending, click here.)
* Dina has been hired to run the Ozark Highlands distribution center. She hired Sandra as an assistant manager and hired Marcus and Justine as warehouse workers. Meanwhile, Dina and Garrett have decided to continue dating after the store closes. (“Hang and knock” totally means they’re official, doesn’t it?)
* Glenn reopened Sturgis & Sons with Jerusha’s blessing and hired Cheyenne and Mateo to come work with him. A photo of the late beloved Myrtle hung behind the cash register.
* Everyone stayed friends and eventually got together at Glenn and Jerusha’s for a picnic. If you looked closely, you saw Mateo and Eric show off their wedding rings to Bo and Cheyenne.
In separate interviews, TVLine spoke to series star / producer Ben Feldman, as well as executive producers / co-showrunners Jonathan Green and Gabe Miller, about this end-of-series time jump. and what will follow: A Bo and Cheyenne spin off? A full-fledged renewal? Keep reading to find out…
TVLINE | Where did the idea of doing a flash-forward come from? And why has it felt necessary here?
MEUNIER | It must be said that the idea for this sequence came from [series creator] Justin Spitzer, to do it with a Garrett ad. I think it was a way of [strike] a [tonal] balanced. We were allowed to have a more realistic and less optimistic ending for the store, but to feel like everything would be fine for these people. To do it all together in the same episode, you had to play around with time a bit, which the show never did. It made him a bit special.
TVLINE | Ben, what did you think the first time you saw the reconstructed flash-forward?
FELDMAN | Gosh, I loved this montage. Ruben Fleischer did an amazing job leading this. What was really nice about it was how emotional it was, because we don’t really do a lot of emotion on this show. We take a few steps back; we almost go into the roots, then we turn around and go. And I think it was won after six seasons. An almost Six feet Under ground-the flash-forward level was gained at the end of this show, and that was very important. You wanted to see the closure. You wanted to see these people happy and to have moved on, and to have found a kind of sense of belonging and community. For some characters, that meant staying on the same trajectory they were following before. This is where they were happy. And for other characters, like Jonah, he was reaching a level that he still hesitated or feared throughout the six seasons. There were a million different cuts, because the notes came and went. I watched a lot of different versions of [it], and [there was] not a single one I could walk through with a face I’d be happy for strangers to see at the end.
TVLINE | Beyond the end of Amy and Jonah’s fairy tale, was there a moment in the finale that really struck a chord with any of you?
MEUNIER | Dina and Glenn’s last moment, where Glenn has kind of handed the reins of the store, and they have a little… no relaxation, but recognition of their relationship over the years. I thought it was really sweet.
VERT | Glenn hiring Mateo was another.
FELDMAN | Glenn’s stuff, in general. The writers sent me big lines of [the finale] long ago. When they mentioned seeing Glenn at Sturgis & Sons, I started to describe him to my wife, [and] she just looked at me and said, “Do you need me to hold you in your arms now?” Are you OK? ” [Laughs] And when Glenn and Dina are there in the store and Glenn says, “Take care of the old lady for me,” it breaks me every time I see it. Every time I watch this I find different moving things, and I wonder how much of it is due to being inside of it, and how fair it is as a fan.
TVLINE | How did you decide where we would see each character in the future and where they would end up, both personally and professionally?
VERT | As for the details of where everyone ended up, we just talked a lot [each of those characters] in the writers’ room and where we wanted to see a few. We had all kind of played with the idea of Jonah going into politics. At one point, at the start of our discussions for Season 6, we were going to ask her to put her energy into that, after Amy, and then we ended up changing. [direction], in large part because those stories would have taken him out of the store too much. But yes, politics was always something we talked about for him. And reopening Sturgis & Sons felt like a natural place for Glenn, in a way that we would feel good about.
TVLINE | Say America Ferrera wasn’t available to come back for the finale, to bring back the full Amy and Jonah story. If Amy and Jonah hadn’t gotten back together, do you think Jonah would have found the motivation to run for city council?
FELDMAN | Ideally, yes. This would have been a discussion I had with writers… Jonah has grown up, he’s found a voice, and he’s not just wavering around with vague ideas of philanthropic work or fighting for a cause. [He would need] something a little more narrow, focused and energetic, like city council. It was the fight [in his life]. Amy was the emotional support, the happiness and the soul.
TVLINE | What do you hope the series’ legacy will be?
VERT | First of all, we want this to be remembered as a really fun show, but one that was a bit of a snapshot of the times we live in, especially retail workers who are a bunch of people. who don’t. are very often in the limelight and are under-represented on television and in movies. We appreciate the fact that we were able to give them a little voice.
MEUNIER | I would say the same, we have shown that low paid workers find respect and dignity in their work, even if the company does not treat them [with respect and dignity]. Comedy-wise, I’m proud of how deep our bench is in terms of characters and how we’ve been able to develop supporting characters from just, like, a joke in an episode, to recurring, and in the case of Sandra of Kaliko Kauahi, to a regular series.
FELDMAN | One of the usual things that I think a successful show does is create a group of people who you almost consider to be your friends: people who would be remembered for a long time. I think this show is a time capsule for a specific period in American history, specifically American working class history. I mean, we started this during Obama, throughout Trump, and we ended with Joe Biden. It was an interesting time to be alive. It wasn’t always great, but ultimately that’s what this show is about. We have talked about a lot of issues and we have had conversations that the Americans have had. And not just Americans – most of the Western world, and other parts of the world as well. You can watch this show 20 years from now and have some sort of idea of what the general zeitgeist was culturally, politically, et cetera, and that’s what I’m most proud of.
TVLINE | Everything is relaunched or restarted these days. Ben, do you see yourself playing Jonah again?
FELDMAN | I mean, look, some shows do a rebirth for, like, an episode, which would be great. But a whole series of Jonas? No I think I’ve done enough [with] Jonah, and there are other characters that I would rather see live on beyond this series – as they develop this idea for Cheyenne and Bo. We’re at a point in history when a relatively privileged, foot-in-mouth, goofy, middle-aged white man isn’t necessarily the show everyone wants to watch, and I’m glad I’m not there anymore. ‘be. [Laughs]
TVLINE | It’s been a few months since it was first announced that NBC was developing Bo and Cheyenne. An update on the potential fallout?
VERT | It is still in the early stages of development. That’s probably all we can really say… We’re not directly involved.
MEUNIER | They’re working on a script, that’s all we know.
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