She nods weirdly, and he's like, um? Mo-Mo tries to get her back on track and explains that she can get back into Eleanor's and Jackie's good graces, and Thor points out that Victor Garber is not yet dead, but it's too late. They have lost her. "You're like, out, right?" And it's sort of tragic because she's so weird that it would be hard to put this behavior together with her crush on Thor, and so weird that you might not even notice her crush on Thor, and certainly so weird that she's not part of our conventionally constructed consensual reality where it's beyond obvious that Thor is gay, and you'd have to know all three of these things to understand why she's acting this way, so instead they just stare at her weird ass for awhile and watch her eat her pizza. "Thank you for the heads up!" she says, cramming it in, and Mo-Mo's like vaguely aware of what she's even talking about.
Eddie shows Jackie a trick with the Pill-O-Matic where you unplug it and when it reboots, it clears the memory. Or some shit, I don't know. All I could hear was her junkie's heart pounding away. So she's incredibly grateful, which in no time flat has undergone its usual enzymatic transformation into serious affection for Eddie, which zooms into full-on romantic aggression once he starts talking about their future together and how he is going to meet her kid, and she'll meet his mom, and blah blah, and this makes her finger throb so bad she just fucks him there on the machine. But later, feeling creepy six different ways, she digs two roses out of the trash and takes them home, to her daughters.
Fiona's excited: her dinner is hot dogs, and peanut butter. Jackie kisses her and hands her a rose, but Grace doesn't look up when she does the same. Jackie puts it on the bar and goes back behind to kiss Kevin, as he's telling her Grace will forgive her. And outside, looking in, is EDDIE! Looking at the whole family! Which comprises one daughter and one husband more than he thought! That is an excess of husbands and daughters! He is going to hit Jackie with his purse or something. Or Coop's.
The ongoing breakdown in the credits continues this week, as an Afghan Whigs-sounding cover of "Love Is All Around," written by the amazing Paul Williams and best known as the Mary Tyler Moore theme, follows Eddie down the street. With one episode left, I think it's fair to say that this is the big thing. The big bad.
Jackie lives like a rat in the walls of her life. Things get too heavy, the love and its burdens get too strong over here, run over there. Love is all around, but as long as she has enough places to run, it won't ever be too much. Because it's the burdens that matter: keeping those connections alive. If she didn't love Kevin she could laugh in his face and say she lost the ring, but she couldn't do that, because her marriage means something. Run to drugs, and when that gets weird run to Eleanor, to Mo-Mo, to her feelings of parental anxiety, and when that is too hard run to Eddie, to his office that's been getting smaller and smaller week by week, and now has pushed her out altogether. Then run to Queens. Dance as fast as you can.