Watch The King of Queens reunion honoring Jerry Stiller
Arthur might have been a thorn in Doug's side, but The King of Queenscast is still going to celebrate him. Or at least the man who brought him to life.
Watch the video below featuring a special cast reunion of the beloved sitcom, all in tribute to the late Jerry Stiller, who had a lasting impact on the show as ornery Arthur. In the special, the cast gathers to read a classic episode of The King of Queens and celebrate the life of Stiller, who died in 2020.
"Those of us who made The King of Queens are incredibly excited to reunite in honor of our recently departed friend — the uniquely funny, sweet, incomparable Jerry Stiller," said series creator Michael J. Weithorn in a statement. "We have no doubt Jerry will be watching and screaming down at us from heaven."
The event features much of the original cast, including Kevin James (Doug Heffernan), Leah Remini (Carrie Heffernan), Victor Williams (Deacon Palmer), Gary Valentine (Danny Heffernan), Patton Oswalt (Spence Olchin), Nicole Sullivan (Holly Shumpert), and guest star Rachel Dratch (Denise Battaglia). Series creator and executive producer Michael J. Weithorn is directing the event.
As part of their tribute to Stiller, the reunion is also raising money and awareness for a cause near and dear to Stiller's heart, Henry Street Settlement, a social services, health care, and arts organization that serves the Lower East Side and all of New York City. Stiller got his start in theater there.
Stiller died in May of last year, and this marks the cast's first official tribute to him. But they're no strangers to informal reunions. Remini famously reunited with James on canceled CBS sitcom Kevin Can Wait after the show killed off James' character's wife (played by Erinn Hayes) to make room for Remini to take over as the female lead.
The casting shuffle and the show's name inspired the title of upcoming AMC dramedy, Kevin Can F**k Himself.
Watch the special above for more.
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Welcome to a new Sitcom Tuesday! This week, we’re continuing coverage on The King Of Queens (1998-2007), which, I’m happy to report, has been released in full on DVD!
The King Of Queens stars KEVIN JAMES as Doug Heffernan, LEAH REMINI as Carrie Heffernan, and Jerry Stiller as ARTHUR SPOONER.
The seventh season of The King Of Queens is stronger than the two following. This seems obvious — most shows past their peak tend to decline on a bell curve. However, I get the impression that this is far from universally believed. In fact, prior to my survey of the series for these posts, I thought the contrary: that Eight and Nine were stronger than Seven. Why? Because the last two years are flashier and, as a casual observer, I bought into the accompanying hype about their value. While the final year contains the series’ emotional resolution and adds narrative momentum that provides a sense of purpose seldom before seen, Eight boasts a handful of well-liked, big-laugh-getting Victories In Premise — episodic triumphs that are easier to spot and enjoy. Now, Seven isn’t completely devoid of classics, but I don’t think many fans would argue that there are more gems, and shinier gems, in at least six or seven of the other seasons, Eight included. Again, you may ask “why?” Well, some attribute Seven’s muted excellence — and coming after Six, a peak adjacent year, this decline is noticeable — to changes in the creative personnel. Creator Michael J. Weithorn had taken a step back, as had executive producers Cathy Yuspa and Josh Goldmsith. But the year’s change in quality is perhaps not directly attributable to these behind-the-scenes moves, for although there is a definite, albeit intangible, shift in sensibility, it’s not totally new; what we see here is basically an acceleration of a trend that we’ve been tracking since at least Season Five: the dominance of the comedic idea over specifically character-rooted exploration. It’s what made Season Six not worthy of being associated with Four and Five, and it’s what makes Seven even more of a comedown from Six… As usual, I think the episodic selections speak for themselves, but I want to describe what I mean, for The King Of Queens has never been a terrifically character-driven show — it’s always been a little bit more obsessed with funny notions. And yet, there’s a difference between a comedic idea that stems from the characters and one that doesn’t.
That is, there are episodes like “Furious Gorge” (my MVE) that could only exist with regulars such as Doug and Carrie, dealing with elements of their personas that are unique and attached to the central thesis. And then there are episodes like “Slippery Slope” that put the two into situationally funny scenarios that could essentially work with any set of characters; we’d not only find the idea funny regardless, we’d even find it funny on, say, Still Standing. To wit, I think there’s a misunderstanding this year about the function of Doug and Carrie’s flaws. As we’ve seen, showing them both as imperfect has been a way to suggest that they’re a perfect match, no matter what anyone thinks. But stories that see the two behaving badly — like the indignant misanthropes of late Larry David-era Seinfeld — while failing to make the necessary connection regarding their coupling, are dramatically limp. That means, entries such as “Silent Mite,” where a regular is led to be exaggeratedly disagreeable just because the amusing story demands it, are no more rooted in character than any other plot that bends their depictions accordingly. Yet, as with the comic broadening that goes along with the rise of all these Victories In Premise, we’ve always expected Queens to have this unideal narrative focus. Our concern, then, is more acute: it’s the disconnect with character — the fact that Seven’s narrative heightening isn’t motivated through them or often asks for more than their personas can believably allow… However, there’s some good news here. With Remini no longer pregnant and James heavier again, Doug/Carrie get as much — if not more — face-to-face time than they did last year. (Okay, the last third or so of this season isn’t great, as unmotivated ideas take over, but otherwise, the rest of the year is Doug/Carrie-heavy.) Overall, then, I’d say that Seven’s funny-but-non-specific ideas, which are guiding the year’s interests unfavorably, are STILL more character-rooted than Eight’s and Nine’s. And that’s ultimately why I consider Seven a better year… So, on this note, I have picked ten episodes that I think exemplify this season’s finest.
01) Episode 150: “Lost Vegas” (Aired: 10/27/04)
Doug hopes to butter up Carrie so that he can be rewarded with a weekend away.
Written by Tom Hertz | Directed by Rob Schiller
Don’t be fooled by the late October airdate — this is the season premiere. Still in its Wednesday slot, Queens‘ opener was pushed back several times (to avoid competition from special events) until it finally returned the day before November Sweeps. This entry is a simple Victory In Premise, but it’s not as funny as some of the ridiculous Honorable Mentions featured below. Rather, this premise is victorious because it’s suited to the leads, as Doug is scheming on his wife — catering to Carrie so that he can get “credit” from her that he can use to go have a guys weekend. There are a couple of great moments — particularly in the climactic scene where Doug refuses to waste his “credit” on sex with Carrie and confesses to the plan — but really, this is a more low-key affair, and I highlight it here both because of its aforementioned viability for the series/characters (yes, it’s something of a general husband/wife premise, yet there are enough character details to make it seem right for Queens specifically), and because it represents the first half of the season’s Doug/Carrie focus, which is welcome after Six.
02) Episode 152: “Furious Gorge” (Aired: 11/10/04)
Instead of going to an overeaters group, Doug secretly attends a meeting for abused men.
Written by Ilana Wernick | Directed by Rob Schiller
My choice for the season’s Most Valuable Episode (MVE), “Furious Gorge” is probably the most straightforward exploration of the series’ thesis outside of the two-season peak. With a premise that is built entirely around the established personality flaws of Doug and Carrie, this is the type of story that could only happen on The King Of Queens, and as we’ve explored, this is a crowning achievement based on the year’s less commendable storytelling standards. But the idea is a natural triumph, for when Carrie forces Doug to attend a support group for overeaters, his flaws — namely his weakness for food and his penchant for deceit — lead him across the hall to another meeting where the snacks are better: a support group for men in abusive relationships. Doug finds comfort both in the group’s donuts and from their encouraging belief in his tales of woe regarding Carrie and how she “abuses” him. If this seems like a sensitive subject, keep in mind that the script doesn’t let Doug get away with minimizing it, because Carrie quickly finds out about his secret meetings and goes down to give him (and the group) a figurative kick in the keister… Here, though, there’s an outstanding comedic irony, for the story relies upon Carrie’s outrageous temper, which both gives credence to Doug’s spin and guarantees that, even though she’s in the right and Doug’s in the wrong, she’s still not convincing the folks in Doug’s group that she’s NOT everything he said because she does figuratively kick him in the keister a lot… So, this is riotous fun: bold in the way that many of this year’s stories are, but channeled throughcharacter. Thus, this was an easy MVE pick: classic King Of Queens.
03) Episode 154: “Name Dropper” (Aired: 12/01/04)
Doug fakes a heart attack to get out of an uncomfortable situation in Carrie’s office.
Written by Rock Reuben | Directed by Rob Schiller
As is probably true with every entry highlighted this week, “Name Dropper” is a basic Victory In Premise and no matter what other strengths exist within its execution, it starts with a funny idea that any sitcom would be glad to have… theoretically; as long as it was appropriate for the characters, which is the case here. That is, this premise — despite its guiding point of interest — is a cut above many of the year’s other offerings for it’s, again, the kind of show that probably couldn’t work without the particulars of this series and these characters, as Doug’s propensity to scheme to get his way and/or avoid an uncomfortable situation is what motivates the plot. (This week, Doug forgets the name of one of Carrie’s co-workers, played by Suzy Nakamura, and instead of asking for her name again while introducing her to Arthur, he fakes a heart attack.) It would be a gaudier and more gimmicky premise if this kind of behavior wasn’t in keeping with Doug and his established persona but it is, and the idea is further supported by a thesis-adjacent truth about Carrie being embarrassed by Doug in public, which goes back to the way society views them and how they view their own value within the relationship. One of Seven’s best.
04) Episode 158: “Cologne Ranger” (Aired: 01/12/05)
Doug refuses to stop wearing a cologne that Carrie doesn’t like.
Written by Rock Reuben | Directed by Andrew D. Weyman
What I like best about this outing — aside from the typical “it’s funny and it works for the characters” — is that, in an idea-driven year, it’s a concept that not only avoids being uncomfortably big (unlike some of the Honorable Mentions below), it’s also something that I haven’t seen before. I mean, don’t get me wrong — as a husband/wife show in an era overrun with them and within a genre (the situation comedy) that has ALWAYS been propelled by them, we’ve seen this category before: the battle of wills, which is what this installment ultimately ends up being. But I don’t think we’ve seen a disagreement about a partner’s choice in cologne: an everyday, relatable conflict that is then of course magnified thanks to both characters’ quirks and shortcomings — like Carrie’s temper and her possessiveness of Doug (which stems from her belief that she’s better than him), and Doug’s need for validation (which he gets from other women courtesy of his new scent), and, once again, his impulse to lie instead of being honest. Accordingly, this is an example of a show that maybe could exist on another husband/wife series, but if so, wouldn’t be handled as well, and wouldn’t be handled in a similar way, for the episode is marinated in the known traits of our central players. This is another favorite.
05) Episode 159: “Domestic Disturbance” (Aired: 01/19/05)
Doug hires his own housekeeper after he doesn’t like the one Carrie picked.
Written by Tony Sheehan | Directed by Ken Whittingham
This is another battle of wills between Doug and Carrie, and before I get into why I enjoy it so much, I want to reiterate again how gratifying it is that this year has no shortage of entries that set their sights exclusively on the central couple, putting the two in conflict with each other (or the world), and even if some of these ideas are sparked externally, the way their plots unfold typically rely on the characterizations and their flaws. (Season Six may have been better overall, with ideas that themselves felt more attached to character, but Seven has an edge as it pertains to the Doug/Carrie focus.) With all that noted, this clash involves the hiring of maids, and after Carrie refuses to fire her recent selection, Doug decides that he’ll hire one of his own: Veronica (Anne Meara), Spence’s mom… Okay, this is convenient and may sound like a “typical sitcom” premise, yet I think the teleplay is funny enough to justify the development, both because the ensemble is well-used (including Spence), and also because it engages Arthur so hilariously, as he finds himself attracted to Veronica… but only when she’s in the middle of her domestic duties (which, needless to say, she’s terrible at doing, anyway). So, it’s a fun one.
06) Episode 160: “Pour Judgment” (Aired: 01/26/05)
Doug reignites an old dream of being a bartender.
Written by Owen Ellickson | Directed by Rob Schiller
Although I think this overrated outing leads more with its situational premise mechanics more than the ones highlighted above do, there’s still some relevance for character underscoring its existence… at least in the A-story, where Carrie pushes Doug to do more with his life, which he takes to mean revisiting a long-held dream of becoming a bartender. Naturally, Carrie balks until she realizes how much more money he’ll be making on tips, and just as he wants to quit, she’s encouraging him to keep it going. It’s a routine idea — and I typically don’t like stories with big centerpieces outside of our main sets (they feel less character-rooted because they immediately become bigger) — but this central drama between Carrie and Doug hits right to the heart of their concerns about their own compatibility, and it’s precisely this kind of conflict that will motivate the last few offerings of the final season, where Carrie’s dream for MORE in her life (including a move to NYC, which is mentioned here), is used to symbolize the central tension regarding their mutual fears that she settled with him. Also, most fans enjoy the Arthur subplot — he’s running for office at the senior center — but I see it as a more situational attempt to comedically best a stronger Arthur/Deacon subplot from last year’s “Affidavit Justice.”
07) Episode 161: “Gym Neighbors” (Aired: 02/09/05)
Doug lies to Carrie about working out with Lou Ferrigno.
Written by David Bickel | Directed by Rob Schiller
I get the impression that some of this entry’s popularity is based on the metatheatrical subplot in which footage from Jerry Stiller’s 1976 appearance on The $10,000 Pyramid is edited and passed off as the time that Arthur went on the show and won big. (A warm-up for next season’s “Acting Out.”) It’s the kind of wink that in the early 21st century, where all the trendy comedies were engaging in media literacy to reinforce their smartness, is a Victory In Premise that’s easy to love. Frankly, it’s stunty and I don’t care about it… What I do care about — and the reason that I think this actually is one of the season’s finest — is the A-story, in which both Doug and Carrie agree to train individually with their neighbor Lou Ferrigno (who’s put to good use here for once). The plot is motivated from established character traits, as Doug — who’s always been one to avoid hard work, especially exercise — discovers that he can bribe Lou with a video game, and keep Carrie from learning that, while she’s busting her butt exercising, he’s only hanging out in the garage, vegetating as usual. It’s a terrific idea for The King Of Queens, and like the best from this list, it could only happen with this set of characters.
08) Episode 162: “Gorilla Warfare” (Aired: 02/16/05)
Carrie learns that something romantic Doug said to her was actually a movie quote.
Written by Mike Soccio & Owen Ellickson | Directed by Rob Schiller
One of the last Doug/Carrie episodes of the season, before Seven devolves into a Seinfeld-ian, multi-story, idea-driven “how funny can this get” fest, this installment is nevertheless not the strongest of the year’s highlighted couple shows. This is due both, on a general note, to the teleplay, which isn’t as inventive or surprising as the year’s classics (or near-classics), and to the fact that this is probably a show that simply hits because of its premise. And unlike many of the above, which hit because their premise works for the characters, this one is merely a comic notion that could appear on any husband/wife show, regardless of their depictions, for the idea of one partner using a romantic quote that the other one comes to learn is from a movie (and a stupid movie where a guy says it to a monkey) is inherently amusing, and Doug/Carrie have little to do with why that’s funny… However, unlike some un-featured outings, I don’t think the characters are hurt by the utilization of this story, and what’s more, they aren’t being shoehorned into it. We buy it, and so on the idea alone, it works with little oppositional force.
09) Episode 168: “Ice Cubed” (Aired: 04/13/05)
Doug finds another family has a situation that parallels his with Carrie and Arthur.
Story by Cathy Ladman | Teleplay by Michelle Nader & Liz Astrof Aronauer | Directed by Rob Schiller
The last part of Season Seven is loaded with scripts more enamored of their ideas than the central couple, who were otherwise prioritized in the first half of the year. Additionally, too many of these final entries separate Doug and Carrie for a multiple-story construction that resembles Seinfeld, especially when these characters are depicted as cartoonishly awful. As we noted above in the seasonal commentary, such overdrawn misanthropic characterizations only work on Queens when there’s a comment being made on the Doug/Carrie relationship, and, as always, no matter how funny an idea is — or how awful Doug and/or Carrie can be portrayed — it’s not necessarily a good fit for the show… I say all that here because “Ice Cubed” is probably the best of these Seinfeld-ian excursions (some of the others being “Black List,” “Van, Go,” and the entry featured directly below) because the ideas click for the characters — Carrie’s plot has her behaving in ways congruous with her depiction, as does Arthur’s (with Holly). More importantly, though, the A-story, in which Doug counsels an Asian couple that’s debating about whether or not her father should move in with them, is an obvious mirror of the Queens premise that packs big laughs, serving as another idea-driven metatheatrical wink that not only invokes Seinfeld, but also gives the story a reason for existing on this series.
10) Episode 169: “Catching Hell” (Aired: 04/20/05)
At a baseball game, Carrie recruits Spence to pose as her husband.
Written by Chris Downey | Directed by Rob Schiller
Frankly, although this may be funnier than a few of the offerings highlighted above, “Catching Hell” is the one whose inclusion was the least assured. This is because it’s another one of those aforementioned Seinfeld-ian outings: totally idea-driven, with a multiple-story structure that separates Doug and Carrie, while having them both behave in ways that we would deem socially unacceptable, even though these threads are never connected or able to justify both their heightened portrayals or the stories’ inclusion on this, supposedly a series about their relationship… And yet, this one’s here because it’s the most memorable of the Honorable Mentions and the one I’d miss the most if it wasn’t included. This is because, yes, it’s very funny, and I think having both stories take place at a baseball game helps explain why they co-exist within this half-hour. Also, I like that the Carrie plot (which includes guest Concetta Tomei) makes good use of Spence, one of the ensemble’s strongest players… Meanwhile, the less said about the disconnected, purposeless, guest-star driven Arthur/Holly subplot with Hal Linden, the better; this beggar couldn’t be too much of a chooser this week.
Other notable episodes that merit mention include: two Seinfeld-ian outings that were closest to the list, “Silent Mite,” a premise-driven show in which Doug makes an enemy of a “little person,” and “Black List,” which has two separately funny stories where Doug and Carrie are led by their flaws. Then there are a handful of entries with premises that should work for the series, but are surprisingly run-of-the-mill: “Awed Couple,” “Deconstructing Carrie,” “Wish Boned,” and “Buy Curious.” And though this section is already too long, I should note that these gaudy idea-driven, situational, character-who-cares? offerings are popular, but not ideal: “Hi, School” (with Burt Reynolds) and “Slippery Slope.”
*** The MVE Award for the Best Episode from Season Seven of The King Of Queens goes to…
Come back next week for Season Eight! Stay tuned tomorrow for a new Wildcard Wednesday!
The King Of Queens: 10 Best Episodes According To IMDb
The early 2000s sitcom The King of Queensis an amazing family comedy. It follows the lives of a working-class couple, Doug and Carrie, as well as her father Arthur, who lives in the basement. Reruns can be usually caught at any hour of the night, and the episodes are still hilarious more than 10 years after the show ended.
RELATED: The King Of Queens: 10 Hidden Details About the Characters Everyone Missed
The show’s best episodes are surprisingly evenly spread out—an episode from almost every season makes this list, while season four has 3 of the most highly ranked episodes. Season seven was apparently pretty middling though; no episodes from season seven make this list. Without further ado: The ten best episodes of The King of Queens, according to IMDb fans.
10 Steve Moscow (8.3/10)
In an ongoing problem that highlights the pitfalls of homeownership and suburban life, Carrie and Doug are dealing with a mold problem in the house. First of all, it’s amazing that the show manages to make mold take center stage in more than one episode and still have it be funny. Best of all is the couple’s way of solving the problem: They hire Russian workers to do repair work. However, the workers don’t have the work ethic the couple is expecting and it leads to conflict.
Fans love Doug's argument with the repair worker about communism. Since the show highlights a classic working-class couple, this is a great use of the show’s strengths.
9 Life Sentence (8.3/10)
This November 2001 episode had to walk a tight rope line: 9/11 had just happened and the United States was still reeling from it. Rom-coms like The King of Queens had to be funny and distracting without being too blithe. This episode manages to successfully navigate that mood.
Carrie starts thinking about life insurance plans, leaving Doug to worry that she might die and leave him to care for Arthur by himself. Doug installs a camera in the basement so that he can check on Arthur. But suddenly, his friends can’t stop watching Arthur’s mundane activities on television. So meta, so funny.
8 Lush Life (8.4/10)
One of the on-going (but aging poorly) jokes in The King of Queens is that Carrie can be really abrasive. She often criticizes Doug—usually she means well, but her words hurt. But when Carries starts joining a coworker for happy hour in “Lush Life,” the dynamic between her and Doug suddenly changes. A tipsy Carrie is a nice Carrie.
When Carrie and her colleague argue and she starts returning home sober again, Doug and Arthur conspire to keep her just a little tipsy so that their lives are a little easier. Of course, when she finds out what they’ve been doing, she’s angrier than ever.
7 Supermarket Story (8.4/10)
Many comedies struggle with season one while they build up characters and backstories. Not so with The King of Queens. With so many episodes rated 8.0 or higher, the first season may be one of the highest-rated over-all seasons of the show.
Going into Thanksgiving, Doug thinks that they’re going to have a relaxing holiday filled with only the three big f’s: food, football, and…making love. But when Arthur demands a traditional Thanksgiving meal made completely from scratch, the family has to go to the supermarket on the day before Thanksgiving. There they meet a man Doug has never met before, but who knows everything about him. In the end, the family learns the true meaning of Thanksgiving.
6 China Syndrome, Parts 1 & 2 (8.4/10)
In a surprise at the end of the series, Doug and Carrie suddenly decide to adopt a child to “complete” their family. They choose to adopt a child from China, but just as Carrie finds out that the baby is ready for them to pick up, Doug decides he wants a divorce. Carrie has been keeping an apartment in the city, and Doug’s unhappy she won’t give it up. Meanwhile, Arthur has to find a replacement for his wedding.
RELATED: 10 Things That Make No Sense About King of Queens
As a series finale, this was a fitting send-off for the series. It ends with everyone in the family in a good place, with a clear projection for their futures.
5 G’Night Stalker (8.5/10)
Carrie takes Doug to a karaoke bar and encourages him to sing, not knowing what havoc it will wreak. A woman becomes a fan of Doug’s and begins emailing him very flattering emails which go straight to his head. When Carrie finds out, she puts a block on the email. It’s only when Doug turns the block back off that they discover the bigger problem: the fan has become an outright stalker, and the emails are turning insulting and threatening.
Fans of the episode love that this is a classic set up for show’s main couple, as well as the fact that it puts an interesting twist on a problem that normally women are forced to deal with.
4 Assaulted Nuts (8.5/10)
One of the reliably good jokes in The King of Queens is Doug messing around with something he shouldn’t be and doing some damage. In this iteration of that, Doug is messing around with a stapler gun at work and ends up shooting himself with it in, ahem, a “private” place. Unfortunately, he has to sit through a loan interview for Carrie and does it in excruciating pain. Eventually, Deacon drives him to the hospital and he gets the treatment he needs.
This episode will make you cringe in sympathy pain while also laughing out loud at the ridiculous situation Doug finds himself in. Season two is when the show really hit its stride, and “Assaulted Nuts” is a perfect example of that.
3 Shrink Wrap (8.5/10)
As mentioned in the season four episode recap “Lush Life,” one of the ongoing gags of the show is how the abrasive personalities of Carrie and Arthur brush up against Doug’s self-serving attitude. In the season’s finale, the difficult personalities take center stage when Doug gets frustrated and sends Arthur to a therapist. In their quest to find out why Arthur is so prone to yelling, they find out that his father was a difficult man. He treated Carrie the same way, molding her own acerbic responses when she’s upset.
RELATED: Everybody Loves Raymond: The 10 Worst Episodes (According To IMDb)
This is a really smart episode that tackles therapy and the cycles of parent-child relationships in a really empathetic way. Of course, it wouldn’t be The King of Queens if it didn’t manage to be funny. Ben Stiller’s appearance is perfectly in key to make even this difficult subject a laugh.
2 Awful Bigamy (8.7/10)
The season six finale is a great example of what makes The King of Queens a great sitcom. Holly has been kicked out of her apartment and Arthur takes her in, letting her stay in the basement with him. Doug isn’t fond of having her around until he realizes the benefits of having two women in the house. Holly laughs at his jokes and makes him plenty of food, while Carries loves him and has sex with him: the dream, according to Doug.
Doug’s attempt to have it all always leaves fans of the show laughing. He can be relied on to act somewhat selfishly and be hilarious while doing it.
1 Strike Out (8.8/10)
Here we are: the highest-rated episode of the show. It’s got everything that makes The King of Queens so perfect: Carrie and her best friend Kelly getting frustrated with their husbands; Arthur being cranky; Doug and Deacon feeling out of their element; and a well-intentioned plan that backfires spectacularly.
During a three-week-long IPS strike, Doug and Deacon are driving their wives crazy. Carrie and Kelly get tired of them lying around the house, and so they pair the husbands up with Arthur, forcing them to spend the day together. They think it will at least keep them busy, but instead the three men end up causing havoc when they become utter delinquents.
NEXT: 10 Of the Most Loveable Families in Sitcoms
NextThe Originals: The Main Characters, Ranked By How Tragic Their Pasts AreAbout The Author
Valorie is a freelance writer living in Los Angeles, CA.
The BEST Episodes of The King of Queens
#25 - Holy Mackerel
Season 5 - Episode 3 - Aired Oct 7, 2002
Doug and Carrie run into Father McAndrew at the fish market. They exchange pleasantries and as they are parting ways, Father McAndrew tells them that he would love to see them in church sometime. Unsure of how to decline politely, the Heffernans instead agree to attend Sunday's services. During the service, Carrie reflects on the one thing that she really needs help with – a raise. Miraculously, the following day, Carrie receives word that her prayers have been answered and that she is getting her raise. Much to Doug's dismay, Carrie's prayers turn to more frivolous things – like shoe sales. He does his best to convince her that God would never approve of her prayers, but soon enough Carrie catches Doug praying for the Jets to win their latest football game. Meanwhile, Arthur hosts an open house in order to sell the house. Unfortunately, he hasn't mentioned a word of his efforts to Doug or Carrie, the homeowners.
Directors: Rob Schiller
Writers: Ilana Wernick
Buy on iTunes
Episodes queens king of
List of The King of Queens episodes
Doug, Carrie, Deacon (Victor Williams) and Kelly (Merrin Dungey) attend a wedding of a man Carrie had sex with once, but Doug did not know until right before the wedding and he does not tell Carrie he knows.Guest star: Peter Tork (of the Monkees) as the band leader
Teleplay by : David Bickel
Teleplay by : Nancy Cohen & David Bickel & Michael J. Weithorn
On Valentine's Day, Arthur attends a party at his senior center and meets a woman Mary (Jerry Stiller's real-life wife Anne Meara) and the two begin a love affair. Carrie is waiting for Doug at restaurant but Doug is stuck at Spence's birthday party, but when Spence arrives, he and his mother (Grace Zabriskie) get into a fight and Doug, Deacon and Richie are stuck at his home with Spence's mother; while waiting for Doug, Carrie meets a "schmuck" (Shaun Weiss) at the restaurant and transforms him to be more charming.Note: This is the only episode in which Grace Zabriskie plays Spence's mother. For subsequent episodes of the series, she was replaced by Anne Meara, who also guest stars in this episode.
Teleplay by : Tony Sheehan
Teleplay by : Cathy Yuspa & Josh Goldsmith
Teleplay by : Cathy Yuspa & Josh Goldsmith & David Bickel
Christmas Episodes of The King of Queens
A list of Christmas, Thanksgiving and a few Wintery episodes of King of Queens. If you spot an error or this list needs to be updated, please let me know. Thank you – ENJOY!
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Teleplay by:Nancy Cohen & Michael J. Weithorn
Teleplay by: Cathy Yuspa & Josh Goldsmith