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'This Is Us' Season Two Episode Three Revealed New Clues About Jack's Death


Was your head spinning at the end of tonight’s This Is Us episode, too? There were so many flashbacks to unpack, including new scenes of Kevin and Kate on the night Jack died and the days (or was it months?) leading up to his passing. And in the process, new clues were dropped throughout the episode; not only did we find out how that scrappy dog became part of the Pearson family, but we might have uncovered a side of Kevin that was never even on our radar.

The good news is that the writers of tonight’s episode—executive producers and co-showrunners Isaac Aptaker and Elizabeth Berger—understand your confusion. They may not be able to answer everything we’re dying to know, but they were happy to clarify the episode’s biggest moments and what to look out for as the season unfolds. But be warned: If you haven’t seen tonight’s episode, then proceed with caution.

When Kevin and Stallone are in the middle of filming their movie, Ron Howard says to Kevin, “Remember, [Stallone] is like a father to you and he’s going to die on your watch if you don’t save him.” Was that meant to indicate Kevin feels like he wasn’t able to save Jack?

Elizabeth Berger: I definitely think it’s triggering feelings of Jack; Stallone is an actor Jack loved, so having to do a scene where he’s saving him from death is a big mixture of complicated emotion. It’s not necessarily touching on the specifics of his death, but touching on having lost the father he loved so much.

Later on in the episode, Kevin tells Kate, “I don’t need to walk around and be sad and damaged just like you are.” That was such a powerful line that called back to last week’s exchange of words between Kate and Rebecca. Was there something more to his comments we don’t know about yet?

Isaac Aptaker: That’s one of my favorite lines from the episode. What that line speaks to is last season we saw Kate start to do a lot of work when she went to the weight loss camp and it sort of broke her open and moved her closer to being able to talk about what happened to her dad and the tragedy of her family. Kevin hasn’t done any of that, and that’s kind of him putting on his defense mechanism because he’s scared his sister is making this progress and he’s unable to. He lashes out in the moment, but what’s really going on there for Kevin is he’s a little bit almost jealous of his sister that she’s been able to move on with her life and deal with her feelings.

PHOTO: Ron Batzdorff/NBC

The last five minutes of tonight’s episode were loaded with flashbacks and clues, starting with the moment we see teenage Kate approach Kevin and Sophie asleep in a car to tell them about Jack’s death. Then we see another flashback of Kevin being in the hospital with a cast on his leg, and Jack puts a necklace around his son’s neck. What was the significance of that necklace?

Isaac: It’s a necklace that we will reveal the significance of later in the season, but that’s the necklace that Kevin as an adult wears around his neck every day.

Elizabeth: It’s one that we’ve seen Jack wearing throughout the series.

Later in present time, Kevin calls Kate to apologize for his words and says, “Kate, it’s really hard for me with Dad.” This, of course, is the first time we see him verbally acknowledging the pain from Jack’s death. Justin Hartley’s performance was absolutely beautiful, so please tell me we’ll see more to this side of Kevin.

Elizabeth: Justin was absolutely amazing. Kevin has a lot bottled up and moves through life being charming and friendly, but as we saw last season in terms of how much he was there for his siblings, there’s so much more to him than meets the eye. There’s a lot churning beneath the surface. Part of his journey, even within the season, is going to be bringing some of that up and being able to verbalize his feelings on Jack’s death.

When Kate and Kevin get off the phone, Kate looks longingly at Jack’s urn and says, “He’s just like you.” At that moment we see Kevin pulling out some prescription drugs because obviously he’s in pain from his knee injury on the film set. Were you alluding to an addiction problem there? He hesitated at first when taking the pill, which one doesn’t normally do. What should the audience be thinking in that last minute of the episode?

PHOTO: Ron Batzdorff/NBC

Elizabeth: They should be thinking, I wonder what’s going to happen! [Laughs] There’s a more sort of obvious interpretation in terms of…it’s an episode where Jack has been struggling to verbalize his feelings and speak out loud about everything he’s been going through. And yes, perhaps Kevin might be like him in other ways that we explore.

Last season when Randall’s hands started shaking, my first thought was, “I hope he doesn’t have Parkinson’s or a neurological disorder.” Surprisingly—and refreshingly—it wasn’t that at all. That’s why I ask, am I reading too much into this? Or could Kevin really have a problem with addiction?

Elizabeth: We are glad you are wondering because, yeah, you’re gonna have to stay tuned.

Isaac: It’s open to interpretation. With Jack and Kevin last season, in the episode “Jack Pearson’s Son,” where Kevin [comes to Randall’s aid], it shows all the positive ways Kevin is like his father, and how he is there for his brother and a support system for Kate. Then this year, in this episode, we’re looking at the less than exemplary ways that Kevin is like Jack with the withholding of feelings. So yeah, whether or not that also encompasses addiction is something that we’ll have to wait and see.

Let’s move on to Jack and Rebecca. He tells her he feels like he’s holding on by a thread. Obviously he’s referring to his alcoholism, but was that statement made to foreshadow his death?

Elizabeth: That line in the moment speaks truly more to his emotional state. I don’t think there’s anything too hidden in that.

Meanwhile, it was interesting to see Rebecca and Miguel’s ex-wife, Shelly, together since it adds a whole other layer to how Rebecca and Miguel became a couple. Have we established whether Shelly is alive in the present day?

Isaac: We have not. We’ve said nothing about Shelly’s whereabouts in the present day.

Is that a story we are going to see explored this season? The fact that Rebecca is talking about her sex life with Jack to Shelly would make me think things are going to get awfully complicated down the line with Miguel. What can you speak to about that?

Isaac: There’s definitely something that will come up at some point. We’ve told the audience and shown that Rebecca and Shelly were best friends for a big part of their adult lives, so certainly once Rebecca does get with Miguel, whenever that is, the Shelly side of the equation is something that will need to be dealt with.

Elizabeth: We are going to delve a little bit more into Miguel and Rebecca’s relationship this season because there’s a lot to be explored there. We will get a better sense of what happened there.

PHOTO: Ron Batzdorff/NBC

It was so sweet to see Jack with this stray dog at the end, but obviously heartbreaking because we know Kate was holding this same dog closely on the night Jack died. What can you tease coming up?

Elizabeth: I don’t know how much we can tease, but we definitely are going to give some really big answers this season, as Jessica Radloff Dan Fogelman has promised. We hope that people consistently feel like they are receiving satisfying information.

Isaac: It’s the question on everyone’s mind, and we’re going to tell the story exactly as we’ve always intended to, which we think will play out in a very satisfying way.

Just tell me we will get a lot of future scenes with Milo and this stray dog.

Elizabeth: There will be definitely some of that. [Laughs]

Isaac: I feel like that should be a calendar. We should sell that at the NBC store: Milo and this dog. Or maybe there’s a spin-off we should create. There’s no dialogue, just Milo playing with a dog for a half hour.



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'This Is Us' Season 2 Episode 2 Recap: Jack Comes Clean About His Alcoholism


Oof. Tonight’s episode of This Is Us was a doozy. I laughed. I cried. I rolled my eyes. I learned nothing new about Jack’s death, and I’m already trolling Reddit for fan theories. So let’s just jump into the recap so you can do the same…

We kick things off with Rebecca driving a very drunk and sad Jack home from Miguel’s sketchy cabin. (Did he ever get any sheets? The mystery lives on!) If you forgot from last week, Jack told Rebecca’s he’s been drunk “for weeks” and that he needs to address his alcoholism alone before returning home to the kids. But Rebecca countered and insisted he come home so they can deal with this mess together. It was a genuinely heartwarming moment, elevated by Rebecca’s swoop bangs.

Apparently, Jack lied when he told Rebecca he stopped drinking months ago, and she’s (rightfully) pissed about it. He assures her he’s for real this time, but, naturally, Rebecca isn’t buying it. She asks how he tried to stop drinking before, and then we cut to a montage of Office Jack getting bombarded with paperwork at his job. What does he do again? Something with construction? His mustache prevents me from storing details like this.

To combat the stress at work, Jack starts spiking his coffee with Jack Daniels. He chugs the whole damn mug, and then goes to a jewelry store (???) to pick out a present for Rebecca. He’s clearly drunk here, and, honestly, it’s heartbreaking. As it turns out, this was the night from season one where we originally learned about Jack’s drinking problem. The whole point of this flashback, I think, is to convey work is the root of his alcoholism.

So, is this whole episode going to be in the past? Because now we’re watching pre-teen Kevin and Randall fight as Rebecca cooks and wears plaid in the kitchen. A talent show is allegedly happening tonight; Kevin has a Mr. T impression prepared, Randall’s ‘gonna play with a yo-yo, and, unsurprisingly, Kate will sing. Also unsurprising: Rebecca criticizes Kate’s perfectly fine rendition of “Lean on Me,” further confirming her mommy issues. I’m low-key annoyed Kate’s not singing “Only Hope” from A Walk to Remember.

And now, thank God, we’re watching a grown-ass (and hot-ass) Kevin in Los Angeles. The Manny has, for whatever reason, asked him back for another episode, and he’s buggin’. His girlfriend, Sophie, offers some vague words of encouragement, but Kevin’s still freaked because he wants to show The Manny peeps that he’s capital-B Better than they are—which we all know isn’t true. Nothing beats The Manny. It’s The Manny!

Randall and Beth are flying to L.A. to watch Kevin’s Manny reprise, and Beth’s salty about it. But their fluffy conversation immediately turns heavy—literally, with no warning—when Beth starts talking about their future foster kid. Randall hasn’t filled out the paperwork, which makes me wonder if he’s now having cold feet about this whole thing? It’s a cute-but-boring storyline.

“We’re gonna watch The Manny… for hours?” — Beth, embodying everyone at The Manny taping

Grandma Wig Rebecca and Miguel are coming to adult Kate and Toby’s apartment for dinner. Due to her aforementioned mommy issues, Kate’s stressed. She flips out at Toby for making pigs in a blanket because she’s afraid her mom will think that means they “sit around stuffing their faces”—a neurotic but relatable fear. Immediately upon arrival, Grandma Wig Rebecca makes a comment about how “good” Kate looks, which is passive-aggressive mom code for “skinny.” Meh.

Sophie is proving to be the highlight of this episode. The first comment she makes to Kevin when they’re back on The Manny set is how his TMZ meltdown was her “favorite” part of the show. Honestly, same.

Ugh, now we’re back in the depressing ’90s. Jack bails on his first (?) Alcoholics Anonymous meeting and visits Kate at school. He’s maybe drunk here? I don’t know to handle this absurdly serious and emotionally heavy subplot. Child Kate can clearly tell some fuckery is afoot with her father.

“I don’t think he’s funny.” — Beth, being savage about Kevin

Actually, wait, the whole family is coming to watch Kevin’s Manny episode. Why this is remains a mystery, because Kevin hated The Manny and this is a one-off episode. Is this the only thing the writers could think of to get the whole family in one place? A Manny reboot? I mean, I’m sort of down with it.

Anyway, I’m low-key afraid the Manny show-runners are setting Kevin up for some kind of Carrie-esque live humiliation. Like, why else would they bring him back for a one-episode arc? And why is This Is Us being so sketchy about it?

I was right! Randall tells Beth he thinks they’re “biting off more than they can chew” by fostering a teenager. Beth, as she’s apt to do, then reads Randall for filth because he’s the one who wanted to adopt in the first place. Randall said he wanted a “clean-slate” baby, not a teenager with potential behavioral problems. Beth’s not here for this, and neither am I. Ultimately, however, they decide to go through with fostering a teen. The two share a kiss in The Manny lot that would be cringe-y if it were anyone but them doing it.

And other random-but-good news: Kate got her first singing gig. She finds this out in the middle of The Manny taping and has to leave for a soundcheck. Grandma Wig Rebecca gasps and smiles and giggles a lot in support of this news. Then she starts talking about her own singing past, which annoys both Kate and me. She snaps at Rebecca as a result, and it’s awkward. But now I desperately want to watch the wig sing? Like, not Rebecca in the wig…just the wig.

“Your mom thinks I’m the guy who has heart attacks and falls through coffee tables.” — Toby

Also, I was right about The Manny director wanting to humiliate Kevin. He makes Kevin wear a literal diaper and crawl around the stage—which I get is supposed to be weird, but Justin Hartley is so hot that it’s not.

Back in the ’90s (blah), Jack throws away his Jack Daniels and goes to the gym to stop himself from drinking. Pre-teen Kate is still upset about her mom being so critical of her singing. They have a moment of levity when Rebecca makes Kate a dress for her talent show, but that’s blown to bits when Kate walks in on Rebecca singing her song choice in the shower.

At first, I thought Kate was overreacting to this, but then I realized she’s, like, 11, and 11-year-olds overreact—especially when their pop-star mothers don’t realize they’re being monsters. Kate, unfortunately, bails on the talent show.

But (not-so-surprising) twist! Both Toby and Grandma Wig Rebecca ditch The Manny screening for adult Kate’s first gig. She slays. I’m crying. Mommy issues cured?

Nope. Not at all. Grandma Wig Rebecca’s exasperated praise about Kate’s performance is undercut when she makes a low-key shady remark about Kate learning how to “power through” big crowds. Kate flips out on her, of course, saying Rebecca’s mere existence made her feel insecure growing up and that she still treats her like a “sad, fat little kid.” There’s a lot of frowning and eyebrow-furrowing happening here.

“Team Kate 4eva.” — Toby

Kate’s kinda being awful in this scene? Like, I understand she still has pent-up aggression about her childhood, but come on. Grandma Wig Rebecca doesn’t deserve this level of…hate. Or does she? I don’t know. Mom-daughter dynamics are hard! Regardless, this is the first time we’ve seen Chrissy Metz and Mandy Moore on screen, solo, and it’s awesome. I didn’t even notice the wig. Really! I just call her “Grandma Wig Rebecca” for my own enjoyment.

Of course, the episode ends with some seriously teary-eyed shit. Jack finally tells teenage Kate about his drinking problem. They hug. Rebecca drives Jack to AA, and, again, it’s all so intense that I feel weird saying anything else about it. This is sad… even by This Is Us standards.

Parting thoughts: I want a This Is Us spinoff series starring Sophie and Beth where they spend the full hour just making fun of Kevin and Randall.

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The Story Behind Kate and Rebecca's Explosive Fight on 'This Is Us' Season Two Episode Two


This is Us fans have always been aware that Kate (Chrissy Metz) and Rebecca (Mandy Moore) have a complicated mother-daughter relationship, but the exchange between the two on tonight’s episode was downright brutal. (Spoilers ahead!)

Rebecca decided to surprise Kate by attending her first singing gig—but rather than appreciate her mother’s support, Kate lashed out and unleashed years of anger in the process. “You still make me feel like a stupid, fat little kid,” Kate admitted after Rebecca said she sang “incredibly beautifully”—a word choice that set off Kate. Dumbfounded by her daughter’s accusation, Rebecca asked what she had ever done to make her feel that way, and all Kate could could say was, “You existed.” Ouch.

If that wasn’t bad enough, Kate followed it up by telling her mother that she only wanted a daughter like herself, and she was never going to be that. “No, you wanted me to be the you that you never became.” Rebecca remained impressively calm and collected, telling her daughter that she had nothing to say because, “I can’t think of anything that would be quite that terrible. You and your brothers are my entire life.”

So what provoked Kate to lash out like that? With too many questions and not enough answers, we asked executive producer and co-showrunner Isaac Aptaker to fill us in.

My jaw was on the floor with some of the things Kate said to Rebecca. Did you discuss how far you were willing to push their conversation? Or what damage this could do to their relationship?

Isaac Aptaker: We’re very fortunate we have a lot of brilliant female producers and writers on our staff who have wonderfully complicated relationships with all of their mothers. [Laughs] So, we had a lot of personal experience and real stories to draw from. Dan Fogelman wrote that episode with Bekah Brunstetter, who is one of our writers, and they did such a good job capturing how much love is there, but how much pain these two women have caused each other over the years and continue to inadvertently cause each other. It’s a long scene, and there’s a lot to it. These episodes are only 42 minutes, [so in editing] we wondered if there was any where to make a cut, but Mandy and Chrissy are just so good and we found it so compelling that we left it pretty much untouched. I think that was the right decision.

At the end of their exchange, Toby tells Rebecca he doesn’t know the full history between Kate and her mother. Is it safe to say that for us, as viewers, we don’t know either? Because what we’ve seen so far of Kate and Rebecca’s relationship doesn’t indicate there’s this much bad blood.

IA: Yeah, definitely. The relationship between Kate and Rebecca is going to be a big one that we’re really unpacking this year. Kind of how in season one it really focused on the dynamic between Randall and his mother and the secret of William that she kept from him for so long. This season we’re really diving into the mother/daughter relationship and what it was like for these two women growing up over the years and how they drifted apart and how they can hopefully come back together as adults.

PHOTO: NBC/Ron Batzdorff

What do you think was the worst of Kate’s accusations?

IA: Oh man, I think the saddest and truest thing that she says to her there is, “When I look back on this day that is my first time singing in front of a crowd, this is what I’m going to remember.” That breaks my heart because Rebecca just wanted to be there. She comes from such a place of pure intention; she just wanted to be there for her daughter and celebrate what should have been this really joyous occasion. And totally, inadvertently—through no fault of Rebecca’s—her presence turned it into this loaded thing for Kate, and it had the exact opposite effect. That’s why their relationship is so poignant and powerful. Rebecca just wants to be a good mom to her daughter. She just wants to do right by her, and it feels like every time she makes a move, it just ends up exploding in her face.

I know. I was like, what did she do that is that bad? She didn’t kill Toby!

IA: [Laughs] Right, right!

Do you worry about having these two female characters pitted against each other?

IA: We never talk about them as pitted against each other. Again, we really try to draw from our own experiences and the experiences of the women on our staff, particularly in this case, and also Dan’s family experiences because Kate’s a lot based on his family. We believed these are two women who are trying to repair and to do right by each other, and there’s a lot of baggage there and history there. At the end of the day, as you saw at the end of the episode, they have that small little repair in the car, where Rebecca tells Kate that she really loves Toby. So even moments after they said these pretty cutting things to each other, there is that effort to get through it and still be there for each other. So no, I don’t think we ever look at it as Kate and Rebecca pitted against each other. It hopefully captures the realities of what is a very complicated, fraught, but ultimately love-filled relationship.

Will we ever see Kate in her 20s in order to get more of that backstory?

IA: That would make our casting department’s head explode! It’s something we talk about a lot, just from a production and practical standpoint: When do our teenage actors transform into our adult actors and do we need another person to bridge that gap or is it something that we can do with our wonderful hair and makeup department? We’re very, very interested in visiting Kate in that time. In terms of whether it’s going to be Hannah [Zeile; teen Kate] or whether it’s going to be Chrissy, you’ll have to wait and find out.

hannah-zeile-chrissy-metz-this-is-us.jpg

PHOTO: NBC

Some fans haven’t gotten on board with the character of Toby, but I thought it was so funny and sweet that he told Rebecca he’ll always be team Kate.

IA: Honestly, we are baffled why anyone wouldn’t love Toby. We adore the character and Sully as an actor! We’ve heard every now and then there are people out there who aren’t on board with him, and I don’t get it. If I had a daughter or a sister, that’s exactly the guy I’d want them to be with. He’s just such a funny, fresh, genuine guy who we all love, and it felt like a very Toby thing to say. But no, it was not a pointed comment to anyone out there who doesn’t think he’s the guy for Kate. [Laughs] We don’t understand that.

Heading into next week, will Kate and Rebecca pick up from where we left off?

IA: Next week is Sylvester Stallone’s episode, so that’s the big focus there, but this is a bigger season-long arc that we’re going to explore their relationship over the years. We don’t dive right back into [what happened in the club], but it’s going to be a big part of the season. We’ll definitely hit on many more moments over the years of Rebecca and Kate, both at each other’s throats and being there for each other in really beautiful ways.



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The 'This Is Us' Cast Played 'Never Have I Ever,' and It Got Weird


PHOTO: TheEllenShow/Youtube

Every Tuesday night, This is Us makes us laugh, cry, and say “aw.” And apparently the same goes when the cast reunites IRL. The latest adorable Pearson family moment comes to us by way of Ellen DeGeneres’s Youtube show, “Ellen’s Show Me More Show,” where Milo Ventimiglia, Mandy Moore, and Sterling K. Brown played “Never Have I Ever.”

The two actors—who play father and son, Jack and Randall Pearson—immediately showed their TV wife and mom love with the first question, “Have you ever jammed out to a Mandy Moore song?” Turns out, the only person of the trio to say never was Mandy herself. While Milo and Sterling weren’t fully buying it, the thought of the two men listening to “Candy is honestly a beautiful visual.

Things get progressively more racy when the actors are asked if they ever had a sex dream about a co-star, to which Ventimiglia responds, “What job we talkin’ about?” (Ironically, he has an affinity for dating his on-screen love interests, including Hayden Panettiere and Alexis Bledel.) Brown takes it one step further, insinuating that he’s had “special” dreams about Moore, nuzzling in her in the ear and saying, “Oh mommy.” OK, one step too far, Sterling.

But because it’s the This Is Us cast, they had to end on an incredibly sappy note. As they all declare “never have I ever felt as close to cast mates as I have on this show,” both men kiss Moore on the cheek, as she says, “This is the best job I’ve ever had and that’s thanks in large part to you guys.” Is Dan Fogelman scripting their real life interactions now too?

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Related: The Secret Reason Why ‘This Is Us’ Is So Good At Making You Cry



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'This Is Us' Season 2 Episode 1 Recap: We Just Learned Something Huge About Jack's Death


You’ve been waiting for months, and it’s finally here: This Is Us season two! Yes, America’s favorite form of catharsis is back (and weepier) than ever. I’m still reeling from all the info revealed in this premiere, so let’s just dive right in, shall we?

The episode opens with some familiar—but, damn it, so effective!—emotional pull tactics: Randall’s late father, William, is writing a book of poems for his son as Rebecca drives the teenage Big Three to a diner where Jack (and his goatee) are waiting. Remember, Rebecca and Jack got in a huge fight last season because that random dude from Rebecca’s “band” kissed her. Well, it turns out they didn’t resolve their differences because Jack’s temporarily moving to Miguel’s remote cabin, which is only just a little bit creepy.

The kids are (rightfully) pissed. Teenage, hickey-covered Kevin asks Rebecca and Jack if they’re getting a divorce; they say no, which I don’t exactly believe. The Pearson family is in complete shambles at this point, and I’m sad about it. I’m also bored. This episode is kind of dull so far?

At the cabin, Jack’s complaining to Miguel about the state of his marriage while making a depressing futon. He tells Miguel not to put sheets on his bed because “sheets are for long-term guests.” This is both gross and unnecessary. Jack insists Rebecca will call him to make up, but I bet $1,000 that she doesn’t call until episode five because this show loves to Drag. Things. Out.

Cut to Rebecca eating breakfast with the Big Three teenagers alone. No one’s talking, so Rebecca suggests they go see a Tom Hanks movie because…that’s the answer to all family disputes? I mean, maybe she’s right? Should I go watch Terminal the next time I fight with my mom?

In a flashback from last season, we learn teenage Randall—the best teenager by a mile—knew about the fight Jack and Rebecca had. He warmly offers Rebecca some candy during the Tom Hanks movie, and Kevin made a sick incest joke about this that I’m just going to blaze past. Teenage Kevin is low-key the worst, but I definitely would’ve had a crush on him in high school because I’m a masochist.

“We’re gonna give ourselves over to Tom Hanks,” – Rebecca

As always, the adult Big Three stories are more interesting. Randall, Kate, and Kevin are all turning 37 this year—this show loves a good birthday theme!—and their issues are more intense than ever. Randall wants to adopt a son, but Beth isn’t here for it. In fact, she’s so not here for it that she reads Randall for filth inside the adoption agency, saying that he only wants to do this to rectify his own childhood. Honestly, I lived for this shade. RuPaul would’ve been proud.

Sharing a cigarette in the parking lot, Randall says his adoption bug isn’t going away and Beth needs to get on board. Hmmm, not the best communication strategy, Randall (but he looked hot AF in this scene, so I’m good).

“I’m not throwing down with you in an adoption parking lot,” – Beth, living icon

Adult Randall visits Grandma Wig Rebecca to learn more about his adoption. Rebecca says she originally wasn’t down with adopting Randall, but she came around. She frowns approximately 6,000 times in this scene, which is strange because her monologue is supposed to be hopeful. Either way, I’m crying, so this friggin’ show is doing its job.

Meanwhile, Adult Kevin is in L.A. filming what looks like the worst movie alive. I think he’s proposing to a robot in it? His girlfriend, Sophie, was supposed to come out and visit for his birthday, but she can’t because of her mother’s M.S. Sophie seems more upset about missing potential Kardashian sightings than seeing her boyfriend, which I understand 100 percent. Kevin then makes some eerie joke about Sophie not sweating missing this trip because the Kardashians are like “Gremlins.” “By next week, they’ll be a bazillion more of them,” he says. This is very ironic given, ya know, this week’s news.

Adult Kate wants to sing, and, honestly, the world needs a pop star like her. I want her to release an electro-pop banger and have it climb the charts. She has to start small, though, so she attends a minor singing audition on her birthday but bails when she sees the skinnier, more conventional-looking competition. A totally understandable reaction—but for some unacceptable reason this angers Toby when she tells him. He has no right to police her emotions! And, more importantly, he’s ruining the fancy L.A. dinner Kevin planned for the two of them. He rented out an entire restaurant! That’s some fancy-people shit!

Toby and Kevin get in a huge, cringe-y fight about who should be “taking care of” Kate. It’s gross, and thankfully Kate steps in to proudly announce she doesn’t need any scrub to push or coddle her. She then goes back to the audition to “wipe the floor with those bitches.” Yes, that’s a literal line she said, and I’m squealing.

“The sexiest thing about you is how sexy you make me feel,” Kate, on Toby (aww, but also meh)

She goes to the audition, sings, and the male director blows her off. At first, Kate thinks it’s because of her size, and she claps back at the director with an incredible monologue. But he then lets Kate hear the backup singer for the gig, and she’s, like, a million times better than her. So, no, she didn’t get the job, but it’s because of her ability—not her size. TBH, I’m here for this twist.

Kevin explains that he has a hard time letting go of his sister because being a great brother is the only thing he’s naturally good at. This is sweet, but a little weird because he’s 37. Also, he was brilliant in The Manny, so this is a straight-up lie.

In the plot twist everyone saw coming, Beth finally comes around to the adoption, but she has one request: They need to adopt an older kid who the world has turned its back on. Honestly, this is such warm, surprising development in their storyline, and I have nothing snarky to say about it. Beth and Randall are the best.

“We’re perfectly imperfect,” Randall, on his relationship with Beth

Meanwhile, back in the ’90s, Jack goes to the bar Rebecca used to sing at and asks if there’s any room in the lineup for a solo female act. The bar owner says no because it’s the ’90s, but honestly if he heard Mandy Moore’s “In My Pocket,” he’d change his mind.

Then, Rebecca actually goes to Miguel’s sketchy cabin to talk to Jack. She says she’s upset and shouldn’t have let him leave. Apparently, Jack’s been drunk for “weeks,” and he admits he has a problem that he needs to handle before coming home. He says he needs to fix this on his own and slams the door—but Rebecca says they’ll fix it together. OK, this is a genuinely poignant scene, and I’m tearing up. Mandy Moore and Milo Ventimiglia have amazing chemistry.

But wait…we just panned to the teenage Big Three at a later date, and Kevin’s wearing a full leg mask. WTF?! And the Pearson house is completely destroyed from a fire! WTF again?! And Rebecca’s crying! What’s happening? Does this mean Jack…died in the house fire? The episode, of course, fades to black before answering anything. And just like that I’m hooked again. Ugh, Dan Fogelman and his tricks.

Parting thoughts: They’re really going to drag out Jack’s death, aren’t they? Whatever. I’m here for it.

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Kate on 'This Is Us' Is Great—Now Let's Stop Other-ing Plus-Size People


There were two pinnacle scenes in the first season of This Is Us: the close-up shot of Milo Ventimiglia’s butt—which broke the Internet for obvious reasons—and the moment where Kate Pearson, played brilliantly by Chrissy Metz, stepped on the scale and weighed herself, completely naked.

It’s a scene that touched millions of viewers for its vulnerability and authenticity. Kate even took her earrings off to ensure she was as light as possible on the scale, a neurotic ritual many people who’ve struggled with weight know too well (including myself—I remove my glasses). What transpired for the rest of the season was a weight-loss journey so brutally honest and relatable that it brought tears to my eyes on several occasions. Kate’s anxiety about flying, her apprehension about walking up long flights of stairs, her fear of strangers mocking her at parties: These are all emotions familiar to most plus-size people. Emotions that had never been explored on television—not with this level of empathy, at least.

Because up until this point plus-size people on TV weren’t people: They were two-dimensional caricatures designed for cheap laughs and ridicule. The Fat Best Friend was allowed to exist, sure, but she wasn’t given a love interest or any real personality. Oh, and her weight had to be referenced—usually in some kind of mean, wisecracking way—to imply bigger people deserve to be demeaned and humiliated.

That was the (awful) message pop-culture sent for years, but then This Is Us came along and presented a woman whose body and weight issues weren’t the butt of some joke. They were handled with sensitivity and kindness and decency. It sounds cheesy, but Kate’s storyline on the show truly was groundbreaking.

But it’s also only the jumping-off point. 2017 was all about representation in entertainment: queer representation, people of color representation, female representation, and, yes, plus-size representation. Granted, the majority of TV shows and movies are still about white, straight men, but we’ve certainly made progress. To keep moving forward, though, representation has to become normalization: having lots of different characters exist harmoniously without the things that make them different being, well, “things.”

Our culture, at this point, is still programmed to view plus-size people as “other.”

On This Is Us, Kate’s weight is still very much a “thing.” It’s understandable why. Our culture, at this point, is still programmed to view plus-size people as “other.” If Kate’s storyline didn’t mention her weight, fans would’ve talked about it, probably cruelly, and asked why the show wasn’t addressing it. Instead, we saw a three-dimensional character like Kate that addressed her body image issues head on.

And tackling Kate’s weight directly, oddly enough, caused viewers not to think about it so much. After a full season of the show, they’ve fallen completely in love with Kate and are now just invested in her story—wherever it goes. Weight-related or not. It doesn’t matter anymore.

Maybe This Is Us needed to acknowledge the thing that made Kate “other” and talk about it so much that it was no longer “other.” Addressing Kate’s weight directly, but empathetically, destroyed certain expectations and biases toward larger-bodied characters on screen. It humanized her. It normalized her. Now, she’s simply a character existing in the world. But it’s frustrating people wouldn’t have accepted that from the start.

Going forward, though, larger-bodied characters shouldn’t have to obsess about their weight or hate their bodies to be understood. Their mere presence on a show shouldn’t be heralded as “groundbreaking,” “important,” or “inspiring.” Those words suggest it isn’t normal to have them. It still “others,” just on the opposite side of the spectrum, and that’s exactly what we’re trying to avoid. We needed this language before This Is Us—and Kate did move the dial forward in many ways—but we shouldn’t need it anymore.

Take, for example, Will & Grace. When the show debuted in 1998, gay characters in pop-culture were still rare and often written as stereotypes. Will Truman and Jack McFarland were two of the first ones on TV who didn’t have some kind of inner turmoil about their sexualities. They were two successful, hilarious guys who happened to be gay. It was pioneering. It needed to be called out and celebrated, so we did—but now gay men are much more a part of pop culture’s fabric. Look at Kevin Keller on Riverdale for a recent example; his sexuality isn’t explicitly mentioned on the show, and he doesn’t struggle with it. He’s just gay.

True “representation,” if we still want to call it that, will happen when we stop talking about it—and just start seeing it.

It took years for Hollywood to be comfortable with that—years of gay characters struggling with HIV/AIDS, coming out, bullying, and essentially every other stereotypical narrative. Gayness—like weight on This Is Us—had to be explicitly mentioned over and over in a humanizing way for mainstream audiences to not see it as different. Just like Sophia Burset’s transgender backstory was necessary in the first season of Orange Is the New Black but has slowly became less discussed as the show continued. Hopefully, we’ll soon reach a place where trans actors can tell trans stories that aren’t only about transitioning.

Of course, there can still be gay characters who come out and plus-size characters who struggle with weight, but these narratives don’t need to be the first points of entry. It’s important not to erase characters’ backgrounds, hardships, and identities; everyone’s lived experiences are nuanced and different, and that should be reflected in the entertainment we watch.

But queer characters, Black characters, Latina characters, plus-size characters, and anyone else who has been othered shouldn’t have to be written as archetypes in order for America to get on board. They deserve the full spectrum of human emotion. Yes, sometimes that’s dealing with very real issues like racism, size-ism, and homophobia; those shouldn’t be ignored because they still exist. Other times, however, the biggest problem of the day is letting someone on Tinder know you’re not interested. We rarely see plus-size characters deal with conflicts like that without some kind of stereotypical subplot attached—but it’s about time we did because that’s how the world works…and looks. Authentic stories about all sorts of people should be expected now—and not lauded as something revolutionary.

True “representation,” if we still want to call it that, will happen when we stop talking about it—and just start seeing it.

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