Six years ago, back when Billy Gardell was the guy from Yes, Dear and Melissa McCarthy was your favorite chef from Gilmore Girls, two actors hopped on a little CBS sitcom. And that’s how Mike and Molly came to be. At minimum it was enough to earn McCarthy an Emmy for her title role as Molly Flynn, and in its greatest moments, it’s a cast of characters that remind you that being a little crazy isn’t too terrible. But at its core, the sitcom has hinged on the undeniable chemistry between McCarthy and Gardell. As the curtain falls one last time on the surprisingly shortened final season of Mike & Molly, there’s one more mission left for the duo to tackle: parenthood.
Of course, in the penultimate episode, we see Mike and Molly tackling the ups and downs of an adoption screening. If their antics alone aren’t enough to overcome, they also have to cover up all the absurdities that come with sharing a house with Joyce, Victoria, Vincent… okay, let’s be honest. It’s a long list. They start by recreating holiday pictures to cut out their family and friends, but in the end it’s kind of pointless isn’t it? If you signed up for Mike and Molly, you signed up for the whole crew.
Molly jumps straight into panic mode when they don’t immediately hear back from the adoption agency, so Mike suggests that they go on a walk. Of course, they lock the door behind them just as the phone starts to ring. Mike kicks down the door, and Molly dives over a recliner to find that it’s Vincent, checking to see if they need anything from Costco.
Throughout the finale, Mike & Molly wisely relies on its supporting cast as much as McCarthy and Gardell. It’s moments like when Molly, Mike’s mom, Molly’s mom and sister, Victoria, are sitting in church, figuring out how to use God to assure a successful adoption that make for the show’s biggest laugh. And in case you were curious, using God to adopt a baby involves a lot of jewelry-bearing, a little spit, and a bit of digging… yeah, literal digging.
Elsewhere, Mike and his partner, Carl, jump on the psychic-wagon to see if the supernatural may have some answers they don’t. But no matter if it’s via Jesus or psychic energy, it’s clear by Mike and Carl’s chat with Samuel at
Abe’s Diner Abe’s Hot Beef that Mike just wants to be a dad. Mike rolls up in the driveway the next night in a family-friendly minivan as Molly and Peggy are burying her Saint William (Patron Saint of Adoption, because, duh) pendant.
But post-van and psychic and adoption pendant hole, Mike and Molly decide that the best thing they can do is to take a break from the waiting and to go out and get dinner and a movie together in their new family van (with 19 cup holders, mind you). But as the door closes and the message begins to record, it’s the adoption agency revealing that Mike and Molly were chosen as the adoptive parents. No strangers to a botched-walk/date plan, Mike kicks down the door again and Molly dives over the recliner to snag the phone.
That might have been the easy part though, because if parenthood is half as hard as putting in a car seat, then Mike and Molly have their work cut out for them. They don’t have much time to prepare because the baby comes three weeks early. The whole family jumps into action and Mike, Molly, Joyce, Vince, Victoria, and Carl (who’s back in bed with Victoria, like no big deal) head to Peggy’s house and then to the hospital. Their adoption advocate, Blanche, welcomes them to the hospital and gives them a buzzer that will go off when the baby is born, or as Mike puts it, “like waiting on a table at Chili’s!” Except, you know, it’s a baby.
As everyone waits for the baby, Peggy and Joyce break into a full-blown cat fight over whose house Mike and Molly will live in once the baby is born. When Joyce goes full-aerial (because Joyce at her tackiest is Joyce at her best), Mike pulls her away and Molly announces that if they don’t stop, she’ll lock the baby up and no one will ever see it. Blanche is standing right behind her as she screams it because timing is hilarious/tricky, if nothing else. She asks if everything is okay, and Molly calms her down, but as soon as Blanche begins to walk away, Joyce and Peggy jump back into it.
Mike takes Carl aside and talks about fatherhood before jumping into how thankful he is to have Carl as a partner and best friend. That’s when he lets Carl know that Molly and he would like for Carl to be the godfather. He tells Carl that he loves him, and Carl just says, “I know,” before saying, “Now you know how it feels.” Over in the maternity ward, Molly starts to panic again, but Victoria lets her know that (other than mornings and weekends) she’s there for her. Joyce joins them and tells Molly that she’s in store for a whole life of worrying because that’s what being a mother is.
Mike goes back to Peggy and she says that she knows that they’re not going to live with her. But she worries that she’ll never see the baby because Molly’s family will keep her from it. He tells her that there’s nothing that will keep them apart, but their moment is cut short because the Chili’s table pager/baby phone goes off and Mike runs off to find Molly. Everyone gathers in the waiting room and waits until Mike and Molly appear with William Michael Biggs. Molly tells Victoria that she’s going to be the godmother and that she will need her on those mornings and weekends, especially since Molly found out that she’s not only a mother but she’s also expecting. THAT’S RIGHT. Molly ended up pregnant after all.
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In the most unbelievable moment of the entire show, Mike wakes up to find Molly looking over a sleeping newborn at 2 a.m. As the baby wakes, Mike and Molly softly sing together, “Da, da da da da, for the first time in my life, I see love. I see love.” And with the very song that opened every episode, Mike and Molly comes to a close.
Ending just the way it should have, Mike and Molly‘s best moments came from love. Only rivaled by the admiration of pie that brought them together in the first place, it’s the love they have for each other that made the finale as special as the series as a whole. And after six seasons of teaching, patrolling, writing, and attempting to conceive, it’s fitting that their onscreen journey ends with the two of them together with their new family. Mike and Molly may not be Chuck Lorre’s most memorable or celebrated creation, but in the years after the series has ended, the people who come back to watch it will, if anything, see love.