Robert: (To Grace) I’m leaving you. (To Frankie) And he’s
Sol: (To Frankie) For this next chapter of our lives.
Grace: (To Robert) You’re leaving me?!
Grace: Who is she?!
Robert: Oh, it’s not what you think; it’s a “he.”
Grace: Excuse me?!
Robert: And it’s Sol. I’m in love with Sol. Sol and I are in
Frankie: MY Sol?
Sol: Her Sol.
Frankie: You mean you’re gay, and THIS is who you are gay
Sol: This is who I’m in love with.
The wives are astonished, and more than a few viewers probably
have the same response to the announcement.
In “The End,” Grace and Frankie, much like instances on
Family Guy (1999- ) boost “queer resistance” despite the
incorporation of “queer characters and queer themes” (Dhaenens
& Van Bauwel 125). It is that supposed shock factor that causes
Sol and Robert, although two of the main characters on the sitcom,
to function initially as factors in the storyline that still “reiterates
dominant ideologies that reinforce heteronormativity and oppress
queerness” (Dhaenens & Van Bauwel 125). The same effect is seen
in episodes of Family Guy, such as “Family Gay,” where gay
characters and themes are depicted but only in such exaggerated
ways that they work to urge viewers that heterosexuality is the
norm (Dhaenens & Van Bauwel 125). “The End” does not portray
Sol and Robert as an exaggerated gay couple, but their sexuality –
along with their age – does initially work to put more importance