March 4th, 2010
I don’t have a whole lot to say about “The Delivery” on its own, to be honest with you: as I am not one of those who have turned on Jim and Pam, or someone who feels that their relationship has anything to do with the show’s creative downturn this season (after all: they were all but married last season and the Michael Scott Paper Company arc was pure gold), I was charmed by the birth of young Cecilia Marie Halpert, which was heartwarming and emotional and all of those things.
I’m with Alan Sepinwall in that the episode sort of lost all of its momentum in the latter half, and rather than repeat his thoughts (all of which I agree with) I thought I’d consider the scheduling ramifications here. As I was discussing with Jaime Weinman on Twitter, I think the interesting thing here is the “Part 2” is unquestionably the weaker episode, but in what position is it the least weak? The Office is a show with a fairly impatient fanbase, and I think that “Part 2” likely played better as a weak second-half here than it would have next week, a slight blight on an otherwise well-executed storyline rather than another weak episode in an average season.
The Office’s Bait and Switch
January 22nd, 2010
Last night, many of you likely tuned into NBC at 9pm ET to enjoy what the network was billing as a “new” episode of The Office. And, sure enough, the episode began with a cold open that tied into ongoing continuity, as a banker (played by David Costible) stops by the branch to do some due diligence in the early stages of the company’s restructuring. We find Michael Scott up to his usual tricks trying to make the office seem more exciting, having Dwight play a sentient computer and riding a Segway for no discernible reason, and we have Pam there to help guide us through his insanity (fake accounts are okay, but Pam is not on board with Fake Stanley).
It sounds like a solid setup to an episode of The Office, but “The Banker” wasn’t actually an episode: as soon as the Banker went back to talk to Toby and asked a question about any potential liability issues, the spidey sense was tingling, and sure enough it was right. Toby began flashing back to previous events, and the episode revealed itself to be a clip show in disguise.
What I find so fascinating about the clip show as an episode structure is that it is becoming both increasingly irrelevant and increasingly attractive in this modern age. While television economics and concerns over lengthy delays between episodes results in a desire to have more “original” content to keep viewers engaged, the clip show seems less necessary when viewers can catch up with previous episodes on DVD or on Hulu, and where “clips” are a part of our everyday lives as opposed to some sort of novelty.
And yet it’s not going to go away entirely any time soon.
“Secret Santa” x 2
December 10th, 2009
It’s not often that two episodes airing back to back have the same title, so it’s a convenient excuse to blog 30 Rock and The Office together tonight.
Christmas is a holiday that has always been a highlight for The Office (“Christmas Party” is one of its finest hour-long episodes), but to be honest I’ve found that 30 Rock is kind of really bad at it. I don’t know what it is, but Christmas seems to be a holiday that just doesn’t work for the show, primarily because its wackiness doesn’t have that sense of heart that The Office taps into during this, the most magical time of the year.
So, accordingly, the best parts of both episodes entitled “Secret Santa” are those which feel like they’re bringing everyone together in celebration of the season’s message of hope and togetherness, and the worst parts of both episodes are those where that spirit is either ignored or crushed beneath a smothering of unpleasantness.
December 3rd, 2009
“I’ve made some empty promises in my life, but hands down that was the most generous.”
There is a moment in “Scott’s Tots” where the storyline was going exactly in the direction I wanted it to go in…and in that same moment, there was every potential that it would go in a direction that would legitimately bother me.
Such is the tightrope that this episode chooses to walk by effectively demonstrating the aftermath, rather than the initiation, of one of Michael Scott’s horrible miscalculations. The show loves mining the comedy from Michael putting his foot in its mouth, but rarely does it craft so elaborate a scenario where Michael is forced to do precisely the opposite. The episode is about what happens when Michael is finally forced to pull the foot out of his mouth and try to make up for what he’s done, making up for a past mistake rather than receiving an immediate comic comeuppance for his error of judgment.
There are a number of logical leaps that make this episode inherently problematic, and I can see what many would turn against the episode considering the direction it heads in, but the situation “Scott’s Tots” creates is so inherently part of his characters and his journey that the episode feels like a perfect character piece to show the consequences of Michael Scott’s dreams living beyond his means (and, in some instances, his brains).
November 12th, 2009
The best thing about The Office is that its silliest episodes can sometimes be its most effective. An episode like “Cafe Disco” last season was the perfect way to break through the tension of the Michael Scott Paper Company period, devolving into a dance party that helped to bring everyone back together albeit through a less than serious structure. While the show can go off the rails if things become too silly, there is something very honest about situations where the silliness is the result of a human response to a crisis, or to a period of tension. Michael Scott is not the only person in the world who doesn’t like tense situations, although he may be the only one who decides to turn his office into a dance party or, as we see in “Murder,” the scene of a vicious murder.
What makes the episode work is that it continues a couple of ongoing character trends (Jim slowly turning into Michael, Andy’s interest in Erin) in an episode that otherwise devolves into the office’s crazier characters overacting their way through a murder mystery in a box while the rest of the characters contemplate some major financial restructuring. It’s a good introduction to what seems like the next major arc for the series, and I think it’s an effective piece of television comedy in the process.
November 5th, 2009
I was never what one would call a fan of the “Michael dates Pam’s Mom” storyline, and a lot of that has to do with what we got in “Double Date.” It’s not that I argued there was not comedy to be found in the scenario, as there certainly is some value to the storyline on a comic front. However, more than anything, the storyline is just plain awkward for Pam, and since we are predispositioned to see her viewpoint as the sane one we can’t help but find it a little awkward ourselves. And even if we choose to ignore Pam’s perspective, Michael’s view on the issue was sort of equally awkward in that he hangs onto her less because of love and more because of how ludicrously lonely he is. It all added up to a sense that this was going to go very wrong very quickly, and that’s not something that seemed necessary to me.
As such, I found “Double Date” to be a bit tough to watch in the way that the show sometimes likes to be, although it was probably as well handled as it could have gotten. While there were plenty of awkward moments in the context of the episode, they were all coming from a fairly logical place emotionally, and as such it was hard to watch less because of how inappropriate it was and more because we knew that anyone other than Michael with the same emotional feelings could have handled it far more gracefully. And by combining the emotional rollercoaster on that end with something charmingly quaint and silly in the Office, which could have been awkward but ended up working quite well, it ended up being a solid half hour of television, if not one that I would have personally placed into the show’s trajectory by choice.
and Community, The Office and 30 Rock: Halloween Comedy on NBC
October 29th, 2009
My brother, on his Twitter feed, made a comment that Halloween episodes are always the best holiday episodes. And while I understand that he, being born on Halloween and having taken the holiday as his own, has a particular affinity for the holiday, I don’t. And, perhaps it is such that I do not view Halloween as an immediate symbol of greatness in my television programming.
However, I do agree that Halloween episodes can be very good programming, and what I found interesting about the NBC comedy lineup (so interesting that I’m lumping them into one post) is how differently each show used the holiday. I won’t argue that any of the shows should be judged on whether they integrated Halloween “correctly,” but I think that the current direction of each show is inherent in how they chose to play with All Hallow’s Eve.
It resulted in one great episode which focused in on elements of the holiday which fit its characters perfectly, one very good episode that used Halloween as a variable of existing dynamics, one okay episode which evaded the holiday but for a quick joke, and one weak episode that used the holiday as a boring subplot that didn’t go anywhere, squandering its potential entirely.
October 22nd, 2009
This review is going to seem somewhat hypocritical, as I have always been a known supporter of serialized sitcoms. However, there are times when there are elements in previous episodes that I don’t necessarily want to see continue, left to remain as an enjoyable aside that is left to the audience’s imagination. Even heavily serialized shows like The Wire would often introduce small elements that aren’t part of some broader serialized storyline but rather sit under the surface and add to our understanding of these characters.
I know that I was being more than a bit idealistic, but I had really hoped that The Office would resist the temptation to take Michael’s rendezvous with Pam’s mother and follow it through to this logical but blown up conclusion. That small moment in “Niagara” was a shocking moment for the coda, but for it to turn into an entire episode played out like melodrama more than an episode of comedy. The episode succeeds in finding some comedy in the setup to the situation, with Pam’s realization proving to be an absolute highlight, but once things become about yelling things begin to fall off the rails a little.
It isn’t that this is a failure, as I thought the episode did a few interesting things on the dramatic side of things, but in its desire to be both comic hijinks related to the scenario and a depiction of Michael Scott’s eternal sadness it never quite connected on either front.
October 15th, 2009
The Office is a show that is going to have its share of filler episodes, moving between larger storylines (like last week’s wedding) and the next major storyline. Sometimes these focus on the day-to-day of the office environment, which is often quite fun for how it brings out the supporting characters more carefully. However, sometimes they’re episodes like “Mafia,” which play out very simple ideas in a way that is minimalist to a fault.
It’s not that the show doesn’t work when it slows down like this, but it needs for something to be particularly interesting or clever for me to buy it. This episode had the potential for Michael to go completely overboard, which isn’t my favourite character trait, but instead he just kind of sat there passively experiencing the whole episode. It makes sense that an episode that has both Jim and Pam (two huge parts of the office’s dynamic) missing, and in which Michael has nothing but creative space and free time scheduled for the day, is going to feel a bit lackadaisical, but at the same time it seemed like there was a pay-off that just never came in this one.
October 1st, 2009
After last week’s co-manager reveal, we knew this was the next logical step. Michael doesn’t deal well sharing power, and Jim has never actually been in power and when he has been it’s been a pretty big disaster. So, when this episode begins, we find Michael and Jim in a power struggle that shows no signs of ending easily, and which confirms what we knew about both men.
That’s not a terrible plan for an episode, but it’s problematically reductive and didn’t end up bringing anything new to these characters. While it comes to some sort of conclusion, it doesn’t feel as if it really proves anything, and the comedy throughout the episode was too scattershot for me to really claim that the largely transitional episode was as well-executed as it could have been.
At least it was a great Oscar episode, right?