Warning: the following contains spoilers for HypermarketThe series finale on March 25.
Thursday Hypermarket The ending can best be described as bittersweet. Because even though Cloud 9 went under, Zephra decided to turn most of the Cloud 9s into fulfillment hubs and turn the retail giant into an online-only chain, the workplace comedy managed to end on an uplifting note, showing where were all the employees (well, the majority of employees) landed after the closure of Store 1217:
* Amy quit her corporate job at Zephra and got another executive job. Her future husband Jonah (!) Finally ran for city council. After they got married, they had a child of their own – a son named Carter. (For more information on the # Simmosa fairy tale ending, click here.)
* Dina was hired to manage the Ozark Highlands logistics center. She took Sandra as her assistant manager and hired Marcus and Justine as warehouse workers. Meanwhile, Dina and Garrett decided to keep dating after the store closed. (“Hang up and hit” totally means they’re official, right?)
* Glenn reopened Sturgis & Sons with Jerusha’s blessing and hired Cheyenne and Mateo to work with him. A photo of the late and beloved Myrtle hung behind the cash register.
* They all remained friends and finally got together at Glenn and Jerusha’s house for a picnic. If he looked closely, he would see Mateo and Eric showing Bo and Cheyenne their wedding rings.
In separate interviews, TVLine spoke with series star / producer Ben Feldman, as well as executive producers / co-showrunners Jonathan Green and Gabe Miller, about the time jump at the end of the series and what comes next. : TO Bo and Cheyenne cleave? A full-blown revival? Read on to find out …
TVLINE | Where did the idea to flash-forward come from? And why did you feel necessary here?
MILLER | We should say that the idea for that sequence came from [series creator] Justin Spitzer, to do that with a Garrett ad. I think it was a way of [strike] to [tonal] Balance. We were allowed to have a more realistic and less optimistic ending for the store, but to give the feeling that things would be fine for these people. To do that all together in the same episode, we needed to play around with time a bit, which the show has never done. Made it something special.
TVLINE | Ben, what did you think when you first saw the rebuilt flash-forward?
Feldman | God, I loved that montage. Ruben Fleischer did an amazing job directing that. What was really cool about that was how emotional it was, because we don’t really do a lot of emotion on this show. We go back a few steps; We almost got to the roots, and then we turned around and left. And I think it was won after six seasons. Almost Six feet under-He earned the level flash-forward at the end of this show, and it was very important. You wanted to see closure. You wanted to see these people happy and to have moved on, and to have found a kind of sense of place and community. For some characters, that meant staying on the same trajectory they were on before. That’s where they were happy. And for other characters, like Jonah, he was rising to a level that he always doubted or feared throughout all six seasons. There were a million different cuts to this as the notes came and went. I saw many different versions of [it], and [there was] Not a single one that I could get over with a face I’d be glad for strangers to see in the end.
TVLINE | Beyond the ending of Amy and Jonah’s fairy tale, was there a moment in the ending that really struck a chord with any of you?
MILLER | The final moment of Dina and Glenn, where Glenn kind of passes the reins of the store, and they have a little … not bloating, but an appreciation of their relationship over the years. I thought it was very sweet.
GREEN | Glenn hired Mateo was another.
Feldman | Glenn stuff, in general. The writers sent me broad strokes of [the finale] a long time ago. When they mentioned seeing Glenn at Sturgis & Sons, I started telling my wife: [and] She just looked at me and said, “Do you need me to hug you right now? You are well?” [Laughs] And when Glenn and Dina are standing in the store, and Glenn says, “Take care of the old woman for me,” that breaks me every time I see him. I find different things that excite me every time I see that, and I wonder how much of that is because I was inside of him, and how much of that is just as a fan.
TVLINE | How did you decide where we would see each character in the future and where would they end up, both personally and professionally?
GREEN | As for the details of where they all ended up, we talked a lot about [each of those characters] in the writers room and where we wanted to see some of them. We had all toyed with the idea of Jonah getting into politics. At one point early in our conversations for season 6, we were going to have him put his energy into it, after Amy, and then we ended up going a different way. [direction], in large part because those stories would have taken him out of the store too much. But yeah, politics was always something we had talked about for him. And reopening Sturgis & Sons seemed like a natural place for Glenn to end up, in a way that would make us feel good.
TVLINE | Let’s say America Ferrera hadn’t been available to come back for last, to complete the circle of Amy and Jonah’s 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. That would have been a discussion I had with the writers … Jonah has grown up, found a voice, and isn’t just reeling from vague ideas of philanthropic work or fighting for a cause. [He would need] something a little narrower, focused and energetic, like the city hall. That was the fight [in his life]. Amy was the emotional support, happiness and soul.
TVLINE | What do you hope the show’s legacy will be?
GREEN | First of all, we want it to be remembered as a really fun show, but that it was a little snapshot of the times that we live in, specifically of retail workers, who are a bunch of people who don’t. they are the center of attention all too often and are underrepresented on television and in the movies. We like that we were able to give them a little voice.
MILLER | I’d say the same thing, that we show low-wage workers that they find respect and dignity in their work, even if the company doesn’t treat them. [with respect and dignity]. From a comedy standpoint, I’m proud of how deep our bank 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 Sandra’s case. Kaliko Kauahi, to a series regular.
Feldman | Among the usual things that I think a successful show does is create a group of people that you consider almost your friends: people who will linger in your memory for a long time. I think this show is a time capsule for a specific moment in American history, specifically working-class American history. I mean, we started this during Obama, all the way through Trump, and we ended up with Joe Biden. This was an interesting time to be alive. It wasn’t always great, but that’s what this show was ultimately about. We talked about a lot of the issues and we had conversations that the Americans had. And not just Americans, most of the Western world and other parts of the world as well. You’ll be able to watch this show 20 years from now and get an idea of what the general zeitgeist was culturally, politically, etc., and that’s what makes me most proud.
TVLINE | Everything is being revived or rebooted these days. Ben, could you see yourself playing Jonah again?
Feldman | I mean, look, some shows do a revival of, like, an episode, which would be great. But a complete series of Jonah? No. I think I’ve done enough [with] Jonah, and there are other characters I’d rather see live beyond this series, as if they were developing this idea for Cheyenne and Bo. We’re in a place in history where a relatively privileged, foot-in-mouth, clumsy, middle-aged white man isn’t necessarily the show everyone wants to watch the most, and I’m glad I’m not. [Laughs]
TVLINE | It’s been a few months since it was first announced that NBC was developing Bo and Cheyenne. Any update on the possible spin-off?
GREEN | It is still in the early stages of development. That’s probably all we can really say… We are not directly involved.
MILLER | They’re working on a script, that’s all we know.
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