Review of Will and Grace: The Pilot Episode

David Kohan and Max Mutchnick's US Sitcom in Final Series: Channel 4

Apr 28, 2009 Hana Lewis

After eight successful series of Will and Grace reaching our screens, the pilot episode points to reasons why the US sitcom was so well received.

In this episode, Grace (Deborah Messing) interrupts Will’s (Eric McCormack) poker night when her relationship with long term boyfriend Danny runs into trouble. Following Will’s advice, she makes the decision to break up with him but actually ends up accepting his proposal of marriage. In the background, the script is shaping the foundations for the relationships between the four characters, which will develop over the next seven series.

Kohan Establishes the Relationships Between Comedy Duo: Messing and McCormack

Will is quickly established as the practical and rational opposite of Grace, the self absorbed neurotic. Will’s comedy value originates from within camp one liners rather than through the development of his personality: “Jack, blind and deaf people know you’re gay… dead people know you’re gay”. Grace, on the other hand, is the subject of ridicule. Karen mocks her appearance saying “you’re what forty?” and “oh honey, no”. This is both the beauty and the downfall of the sitcom as we anticipate a certain standard of gag from each character but this leaves the comedy feeling somewhat predictable.

Should the US Sitcom have been Renamed Jack and Karen

The show might be called Will and Grace but it is undoubtedly Jack (Sean Hayes) and Karen (Megan Mullally) that provide the laughs. Interestingly, Karen’s trademark voice is worked in toward the middle of the first series, making her impact in the pilot less memorable. This is also true because her riotous relationship with Jack is barely developed. Her ignorant yet loving attitude toward her maid Rosario (Shelley Morrison) is mentioned briefly as she remarks patronisingly over the phone: “por favour honey, take Olivia and Mason to las store de los toys”.

It is Jack who proves to be persistently funny in a moronic way, as he quips at Will “you nasty bitter balding man” and contemplates one of his many meaningless relationships with “Rudy the Jewish cowboy”. His melodramatic facial expressions and gestures make his dialogue much more amusing. Unfortunately, some of the repartee between Will and Grace is disappointing in comparison.

Homosexual Stereotypes and Innuendo Monopolise the Pilot Episode

The first five minutes are arguably the funniest, as with all Will and Grace episodes, a theme is introduced and the comedy is subsequently infused with a degree of sincerity. This prevents the show from being laugh out loud funny and instead gives it a tender aspect. The suggestion of heterosexual flirtation between the lead characters makes their relationship more complex but this can confuse the clarity of the comedy. The opening sequence is well executed as Will seems to tempt Grace over to his apartment for a romantic tryst but the true nature of their friendship is soon established through Will’s attention to Grace’s new dress which she describes as “too Stevie Nicks, the heavy years”. He is happy to stay in and watch ER for the viewing pleasure of George Clooney.

It is undoubtedly commendable how Will and Grace establishes varying styles of comedy between each of the four characters which includes two straight women and two gay men, a novel combination at that time. This pilot is a good indication of things to come and it has some winning sketches. However, it is regrettable that the jokes revolve solely around gay stereotypes and sexual innuendo. As mentioned previously, this is the unavoidable appeal of the show and the pilot is well worth a watch especially for devoted fans.

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Will and Grace