Category Archives: The Office

June 14, 2007 · 11:00 am

For Your Consideration: Supporting Actresses – Hayden Panettiere and Jenna Fischer

[In Week Two of Cultural Learnings’ 59th Annual Emmy Awards Nominations Preview, we’re looking at possible contenders for the Supporting Actress awards in both drama and comedy. Today, we present our seventh and last set of candidates. For last week’s Supporting Actor candidates, and all of the Supporting Actress candidates, Click Here]

Supporting Actress in a Drama

Hayden Panettiere (Claire)

Heroes

When I previewed Heroes’ pilot back in August, I had the following to say about Hayden Panettiere’s performance as Claire: “The texas cheerleader is perhaps the most grating of the characters, although there is still nothing inherently negative there.” I don’t really know what that even means to be honest with you, but I do know that my opinion of Claire turned around drastically as the series went along. Perhaps more than any other character, Claire allowed us a glimpse at someone coming to term with their powers in a real way, without the grand world-saving idylls of people like Peter or Nathan. While her story started as her against her father, it was clear as time moved forward that he was simply protecting her…and then it all made sense. As part of this ensemble cast, Hayden Panettiere got to be the only actress to understand her powers not through some sort of contrived plot device, but through natural progression and understanding as the season wore on. I might not have been squarely in her court in the beginning, but I am now willing to submit Hayden Panettiere for Emmy consideration.

There is something instantly appealing about Claire, even if I found her grating in the beginning. A young girl realizing she has powers, she is forced to face the perils of high school while also hiding her true self from all those around her. This period provided some good material for Hayden: her on the autopsy table was a moment to remember, and her friendship with Zack was certainly one of the show’s most convincing outside of Hiro and Ando. However, that period of Claire’s life was really just the life she knew; as she struggled to figure out her relationship with her parents, she became curious. As she became officially part of the Petrelli clan after meeting her fire-starting mother, suddenly she was faced with a different dilemma: now that she knew who her real family was, where did her true allegiance lie?

And that is where the character came to a real high point. Now an integral part of the series mythology not just due to the ‘Save the Cheerleader, Save the World’ talk, Claire was forced to choose a side between her new family (Led by her triumphant hero Peter) or to remain loyal to her father as she knew him, Noah Bennet. As Claire’s story came into full view, it was clear that Panettiere was up to the task. Claire’s discovery of her true past, and of her true future, were compelling almost entirely because Panettiere never allowed the role to completely overcome her. Whereas other actresses might have been unable to handle the transition gracefully, I came to believe Claire’s transformation from high school cheerleader to world-saving heroine because it never jumped to extremes or gave into its gimmick (I’m looking at you, Ali Larter). While Heroes’ cast is certainly diverse, none of the other supporting actresses can claim as solid a season as Hayden Panettiere, and it’s why she is most likely to gain Emmy attention.

Episode Selection: “Company Man” (Aired February 25th, 2007)

Remember last week where I discussed how this is the episode for which Jack Coleman (Mr. Bennet, Claire’s father) should be considered for an Emmy? Well, I have to say the same for Panettiere, who holds her own in this episode that gives her what I believe is her most genuine hero moment of the entire series. With her father in jeopardy, Claire shifts into full-on hero mode by going out of her way to help her father and save them all from a nuclear meltdown. By establishing her love for her adopted father, even in the wake of his betrayal of her, Claire was given just as much depth in this episode as her father. Panettiere waltzes through it all with a sense of childhood playfulness in the flashbacks and genuine heroism in the present, without playing things too harshly in the process. It is a strong performance, and one that is likely to garner her Emmy attention once her dramatic conclusion arrives at the end of the episode.

YouTube – “Company Man”

Supporting Actress in a Comedy

Jenna Fischer (Pam)

The Office

Oh Pam. In my first attempt to write this paragraph I really just wanted to talk about Pam as if she actually existed and I could in some way shape or form influence her. I think that is what has always been what makes Pam interesting: her ability to be so damn real you want to reach through your screen and strangle her for being such an idiot, especially this season. I think this says a lot about Jenna Fischer’s character, because she always made me care: not always in the best ways, mind you, but I always felt that Pam’s fate was important to me personally. And this season, I watched Pam spiral into a place that wasn’t happy, and saw as everyone around her basically treated her like she was just another character. If she had stayed in that rut all season, I don’t think I could have possibly considered her for an Emmy award…but then the end of the season happened. Those final two episodes were everything they needed to be for Pam: a chance to speak her mind, and a chance to return to her old self. And in the process, Jenna Fischer finished a character arc worthy of Emmy consideration.

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June 8, 2007 · 11:00 am

For Your Consideration: Supporting Actresses – Elizabeth Mitchell and Melora Hardin

[In Week Two of Cultural Learnings’ 59th Annual Emmy Awards Nominations Preview, we’re looking at possible contenders for the Supporting Actress awards in both drama and comedy. Today, we present our first set of candidates. For last week’s Supporting Actor candidates, and an index of all candidates, Click Here]

Supporting Actress in a Drama

Elizabeth Mitchell (Juliet)

Lost

We first met Elizabeth Mitchell’s Juliet at the beginning of season three, as she became Jack’s all-purpose wrangler if you will. She brought him sandwiches, she played him Bob Dylan-style video tapes in an attempt to seize control, and she assisted in surgeries despite only being a fertility specialist. Throughout that six-episode mini-arc, this was all we knew about Juliet. Mitchell’s portrayal was certainly strong, but the character was just another Other as far as we could tell. However, with “Not in Portland” (The first episode back from hiatus), Juliet was thrust into the centre of the Others’ history, and Mitchell was up to the task. Throughout the remainder of the season, she became an intricate and powerful part of this ensemble, and at season’s end she was still as complicated and engaging as ever. Much like Michael Emerson, Mitchell had an incredibly tough task ahead of her. And, like Emerson, she stepped up to the plate with a performance worthy of Emmy consideration.

Juliet could have been a fairly mediocre character in the wrong hands. She has been used as a disruptive influence in the relationship between Jack and Kate, and became “the other woman” to the castaways as well when Jack brought her back to camp following their adventures. And yet, Mitchell always managed to create a character that we outwardly liked, even when they were doing somewhat evil things. When we learned that she was still working for Ben as she took Sun to the medical hatch, we as viewers wanted it to be false, wanted there to be some kind of explanation. Mitchell’s portrayal made us want to like her, something that could have been difficult considering who the Others are.

This season of Lost was all about humanizing the Others, providing them a perspective on this island. Without performance like Mitchell’s, I think the Others might have remained faceless villains, incapable of becoming part of the show’s mythology. Juliet became someone we outwardly liked through a complex back story, a relatable situation trapped between two sides, and by never completely showing her cards. The show asked a lot of Mitchell, and she stepped up every single time. I was never bored with Juliet, and I’m not sure I will ever be. Elizabeth Mitchell is now an integral part of Lost’s ensemble, and her ability to weave Juliet into the show’s complicated storyline is Emmy worthy.

Episode Selection: “One of Us” (Aired April 11th, 2007)

Juliet’s second episode worth of back story, One of Us is a tumultuous journey through her time on the island, coinciding with her present struggle to become part of the culture at the beach. It is a fantastic portrayal from Mitchell that gives her a wide range of scenes that would pull any Emmy voter into her direction. She has so many that I had an incredibly tough time picking just one. Her nervousness before she heads to the island? Her breakdown after yet another woman dies during childbirth? Her smackdown of Sayid and Sawyer as she gather the medical equipment? All of them are noteworthy, but the one I must showcase is where she confronts Ben about his tumour. He had promised to cure her sister of cancer, and yet he has it himself: Juliet is unpleased, and Mitchell’s portrayal is honest and just fantastic. This is an acting tour de force, and it cannot be ignored.

YouTube – “One of Us”

Supporting Actress in a Comedy

Melora Hardin (Jan Levinson)

The Office

I believe that one of the greatest disservices of this television season was the character homicide of Jan Levinson on NBC’s The Office. After three seasons worth of strong, subtle performance from Melora Hardin, she was turned into a boob joke and a serious case of the crazies. While it provided some comedy, sure, what was always entertaining about Jan was how she walked the line between neurotic mess and corporate role model. Her relationship with Michael was her trying something new, trying to find stability where there was none. If she was the comedic form of humpty dumpty, she had a great fall at the end of the season. But, I hope that Emmy voters will be able to remember how to put Melora Hardin’s subtle and entertaining comic performance back together when it is time to submit their ballots.

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June 6, 2007 · 7:34 am

Television Critics Pile on the Praise for the Shows I Like

The annual TCA awards are pretty much the exact opposite of the Emmy Awards.

Television Critics Association Nominations – Variety.com

Television Critics are, for the most part, much better informed on the actual quality of network and cable television as opposed to being completely ignorant to various entertaining programs. As a result, these are awards that actually give us an indicator of who gave the best performances, not just who submitted the best episode. And, let me tell you: the result is an intense race that creates categories impossible to decide upon.

Program of the Year

“American Idol” (Fox)
“Friday Night Lights” (NBC)
“Heroes” (NBC)
“Planet Earth” (Discovery)
“The Wire” (HBO)
“When the Levees Broke” (HBO)

This is such a bizarre category, because it’s really more defined as programming from I guess a…I don’t even know what it means. Either way, you’ve got reality television, family drama, Sci-Fi drama, Nature Documentary, gritty HBO drama, and a Katrina documentary. That’s a diverse mix of shows right there. Are they looking for something new, something powerful…I don’t even know.

Comedy Series

“30 Rock” (NBC”)
“The Daily Show” (Comedy Central”)
“Entourage” (HBO”)
“The Office” (NBC”)
“Ugly Betty” (ABC”)

This category is just unfair, TCA. The Office against The Daily Show? Throw 30 Rock into the mix and you’ve got an impossible decision to make. I really have no idea how I’d decide on this one, and I for one support separate variety categories just to keep this conundrum from taking place.

Drama Series

“Friday Night Lights” (NBC”)
“Heroes” (NBC”)
“Lost” (ABC”)
“The Sopranos” (HBO”)
“The Wire” (HBO”)

We don’t know how much this will coincide with Emmy’s list, but I feel for certain that three of these shows will be named on July 19th. The Wire is one of those shows that has never garnered Emmy attention due to its lack of Network coverage, and without star power or pedigree it might have trouble breaking through at the Emmys. However, the amount of critical attention given to the series might make it something to catch up on this summer.

New Program

“30 Rock” (NBC”)
“Dexter” (Showtime”)
“Friday Night Lights” (NBC”)
“Heroes” (NBC”)
“Ugly Betty” (ABC”)

Umm, TCA? Are you following my viewing habits or something? I doubt they are, but these five shows are likely to make it onto my respective Drama/Comedy Emmy FYCs in July, and are probably my top 5 new shows of the season. I’m especially happy to see Dexter getting some love, it is most deserved.

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June 4, 2007 · 11:00 am

For Your Consideration: Supporting Actors – Rainn Wilson and Jack Coleman

[In Week One of Cultural Learnings’ 59th Annual Emmy Awards Nominations Preview, we’re looking at possible contenders for the Supporting Actor awards in both comedy and drama. Today, we present our fourth set of candidates. For all candidates, Click Here]

Best Supporting Actor in a Comedy

Rainn Wilson (Dwight)

The Office

While sentimental types might support John Krasinki’s Jim, it is Rainn Wilson’s Dwight that remains, and will always remain, the show’s supporting comic center. Jim’s pranks may initiate the laughs, but it is always Dwight reaction that gives me the most enjoyment. The fact that Rainn Wilson wasn’t nominated last year despite the utterly fantastic work in “Dwight’s Speech” is outrageous, and therefore it is only fitting that he be given a shot at an Emmy this year.

Without Dwight, The Office would not function the way it currently does. Michael would be infinitely less funny if he didn’t have someone hanging off of his every word. Jim would be a juvenile prankster if Dwight’s reactions weren’t so funny that we forget about the idiocy of it all. And, in those moments where Dwight is asked to step up to the plate and be his own starring character, he knocks them out of the park. His relationship with Angela has always been played subtlely, and it is often one of the show’s best qualities.

Rainn Wilson always brings a quality to the character that makes him more likable than he really should be; while there is no question Dwight is a decent guy at his core, Wilson always ensures that we see that just enough to make it work. Whether he’s trying to capture a bat, trying to take over the Office, or actually succeeding in doing so, Dwight is always played with just the right amount of nerdiness, naivety, and gusto. A scene-stealer in every possible way, Rainn Wilson deserves credit for bringing Dwight to the screen each week with an Emmy Nomination.

Episode Selection: “The Job” (Airdate: May 17th, 2007)

Currently, Wilson’s episode entry is the early-season episode “The Coup,” nominated for a Writer’s Guild Award. While a decent episode, and featuring some solid Dwight comedy, it doesn’t work as well for me as the recent season finale as the highlight of Dwight’s absurdity and humanity. “The Job” features Dwight finally having his dream come true: Michael appoints him boss, and he gets to run The Office his own way. Even though I have some problems with the way the season finale played out, Dwight’s part in it was indicative of some of the character’s best qualities, and Rainn Wilson knocked it out of the park. While individual Dwight moments certainly resonate more than any single episode, this one certainly brought a lot to the table for the character comedically. The Coup certainly has more of a character arc, but the hour-long finale has more overall moments for voters to remember.

YouTube – “The Job”

Best Supporting Actor in a Drama

Jack Coleman (Mr. Bennet)

Heroes

Although the academy will not be handing out awards based on an entire season’s work, the journey of Jack Coleman over the span of this past year has been one of the most intriguing in all of television. Introduced as a shadowy villain without a name, Noah Bennet quickly became a conflicted father, a reluctant conspirator and, eventually, a hero in his own right. When we finally learned his first name in the show’s season finale, one felt that a real arc had been created: this person who we barely knew but 22 episodes ago was now perhaps the character we knew the best. And it is Jack Coleman’s portrayal of this character that makes him deserving of Emmy Award recognition.

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May 27, 2007 · 8:45 am

The Results are In: Nielsen Ratings Data for 2006/2007 Season

This list is long. This list is extensive. And I really want to know what this list means. Nielsen (Via The Hollywood Reporter) has released their data for every single TV show that aired in America this past season. It tells us where our favourite shows ranked, where much maligned shows ranked, and how scripted drama did against reality programming.And, it raises a lot of questions about this data that I think Nielsen might not want to answer.

For instance, does this list include repeats in its viewers averages? Because that’s the only way CSI (#4) should be beating Grey’s Anatomy (#6) in total viewers by my calculations. If so, this gives a distinct advantage to shows without repeats (Reality Shows, Lost, Heroes, etc.) or those shows which repeat extremely well (House, CSIs, etc.)

The major thing to watch for in the list is the difference between 18-49 numbers and viewership rankings. It rises many shows into positions of being picked up, even with lacklustre performances in viewers. Some show, like 30 Rock, are in the doldrums in terms of total viewers but shoot up into the Top 75 with adults 18-49, which got it renewed for a second season.

After a few formatting errors, I’ve realized that getting it to highlight canceled shows would drive me crazy, so just refer to your memory. And, either way, some will seem a bit strange. However, remember that these are averages, and don’t reflect ratings dropoff in their later episodes.

This is the case for Jericho, which clearly performed better than many canceled shows. However, CBS did cancel the better rated Close to Home airing on Fridays, so it’s not as if Jericho was the only victim of CBS’ extremely highly place high bar. It might as well be a pole vault at this point.

With the 2006/2007 season over, the industry trades are going right for ratings as their barometer of success. Outside of this post, I’m unlikely to do so as I go into my own year in review season. For now, check out the ratings for all of the dirt, and stay tuned for less quantitative analysis at Cultural Learnings.

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May 21, 2007 · 12:39 pm

The Three Timeslots to Watch on the 2007/2008 Fall Schedule

In a final word on the 2007/2008 Upfronts, I figure it’s time we returned to the schedule as a whole. Because, let’s face it, some of us watch a lot of TV. And, sometimes, that TV all falls within the exact same timeslot. As more and more shows emerge as fan favourites, more and more conflicts take place. This year’s Fall Schedule has created many of these conflicts, and some of them are sure to be key ratings battlegrounds in the year to come. Which five, however, will prove the most interesting? And, as a result, which ones will be a nightmare for non-TiVo owners across North America? Well, there’s only one way to find out.

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May 19, 2007 · 6:50 pm

The Three Most Disturbing Trends of the 2007/2008 Upfronts

Each year, the Upfronts create a series of trends which show what the networks are really thinking for the following year. They take what was successful the year before, and they decide that they should just copy all of that into their own schedules. For example, Lost’s success led to three different sci-fi copycat shows the following season: Invasion (ABC), Surface (NBC), and Threshold (CBS). Similarly, after the success of Prison Break, networks switched to serial conspiracy/action dramas like Vanished (FOX), Kidnapped (NBC), and Smith (CBS). This season has seen a variety of different trends, and some of them actually seem quite good on the surface. However, I think that there is actually a number of bad precedents being set which we should all remain aware of as next season begins.

The Three Most Disturbing Trends of the 2007/2008 Upfronts

3. The Procedural Nature of Television Drama

I’ve expected it from CBS for many years, now: all of their dramas are unlikely to have any sort of serial aspect, choosing instead to stick to procedural structure. Law & Order really started it off, CSI picked up the ball and kept running, and there is surely to be a new franchise waiting in the wings with time. It’s a quality which the networks love, since it means people can just sit back and watch a single episode without getting too caught up in the previous week’s action. And, I like some of these dramas: they can be compelling and fun to watch, and they repeat well for the purpose of syndication. However, I don’t want to see all procedural and nothing but procedural dramas.

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May 17, 2007 · 9:49 pm

Reviewing the Finales: The Office – “The Job”

The Office closed its season tonight with a series of job interviews, a new regime taking over the Office, and a set of boobs which Michael can’t ignore in “The Job”. The series’ second season ended with a high note, closing with the epic “Casino Night”. It had everything: moments for every supporting character, Michael with a low-key and charming love triangle, and of course…the kiss heard round the world. And, while “The Job” was certainly not a terrible hour of television, it failed to live up to all of the qualities which made Casino Night so great.

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May 14, 2007 · 7:52 am

Network Upfronts Extravaganza: Monday Update

The 2007 Network Upfronts are officially upon us, and it’s NBC that’s first out of the gate.

Cultural Learnings’ Network Upfronts Extravaganza 2007 – ‘NBC’ Preview

However, while NBC presents at 3pm EST today, that doesn’t mean that other networks aren’t making moves and locking down pilot commitments. I spent some time last night updating various of the preview posts, but I figure that I should document some of that news here as a way of keeping everyone informed.

NBC

Exit Laughing: NBC Retreats from Comedy – The Hollywood Reporter

NBC, meanwhile, has made it official: there will be no new comedies on their fall schedule for the first time, well, ever. However, in a move which is sure to make things very interesting for The Office and My Name is Earl, the two shows will be pulling some overtime: a lot of it. The Office will have its normal 24 30-minute episodes during the season…plus six hour-long specials. That’s a total of 30 episodes, while My Name is Earl is getting 28 1/2 hour episodes. This means that NBC is erring on the side of ensuring new episodes of its hit shows. Also, the lineup for Comedy Night Done Right will shift: Earl and 30 Rock will hold down the 8pm fort, while The Office and Scrubs form a solid block at 9pm.

Also, Law & Order WILL be on the schedule, but Criminal Intent is moving to USA Network. Meanwhile, Friday Night Lights might find a home on Friday, and Lipstick Jungle will be held along with The IT Crowd until midseason. This changes my projected schedule, which has been updated. I literally have run out of shows, so they have to either pick up another pilot or…air something? I don’t even know.

The CW

[Cultural Learnings’ Preview]

The CW has nailed down its third drama pilot, an untitled project which features Rutger Hauer (Blade Runner, Batman Begins) as the owner of a wildlife refuge in South Africa and his son-in-law who moves there. Considering how tight my existing CW schedule is, chances are that this show would bump the Veronica Mars revamp (Yes, I’m sad too). However, I have to wonder whether The CW audience is really in tune with the South African wildlife refuge drama. The concept doesn’t sound terrible, but I fail to see where it fits into its image amongst young females especially, at least compared to a female-led FBI program.

ABC

[Cultural Learnings’Preview]

ABC’s lineup remains pretty locked up, although there’s word that According to Jim is still in contention. Dear ABC: do you really hate me that much? They could also be picking up another pilot, Miss/Guided, which the press release describes as:

“Miss/Guided” is a single-camera half-hour about a former ugly duckling (Judy Greer) who becomes a guidance counselor at her old high school.

Sounds decent enough, although only time will tell.

CBS

[Cultural Learnings’ Preview]

Meanwhile, CBS is making the bold move of picking up Swingtown and the Jimmy Smits drama, although no other pilot information is being made available. As a result, the fate of Jericho is still unknown and the status of other pilots (They need other pilots) is not yet known. I’ve added Swingtown to the schedule, and bumped Cold Case in the process…but chances are that it will bump the two extra comedies I placed on the schedule. But I think they need more comedies, so I’m keeping them there.

FOX

[Cultural Learnings’ Preview]

FOX has officially added the Juliana Marguiles-star vehicle Canterbury’s Law to their schedule. Because we needed another lawyer show. Really. Thanks FOX.

I’ll be checking in with the final NBC information later this afternoon with the final news of the schedule, and will probably offer some analysis later.

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May 10, 2007 · 10:05 pm

Thursday Night TV Club (May 10) – ‘The Office’: “Beach Games”

I feel somewhat vindicated: just earlier this evening I took the time to write a blog post about my five favourite supporting characters on the show, and NBC proceeds to roll out an episode of ‘The Office’ that features every single one of them…except one. Each character had their moment to shine, and that’s really what an episode like this is good for.

I need to thank them for bringing more Stanley into my life. Between being threatened with the back of the bus, and his reaction to becoming one of the competitors, Stanley took his role and turned it up a notch. He was as cantankerous as ever, and for that we must be thankful.

However, I am somewhat alarmed to learn that Jan, one of my selections, has unfortunately disappeared from the cast as far as I can tell. I really hope that this was just me missing her name, but I don’t believe it was. Considering they added Ed Helms to the cast, that probably makes sense, but if last week is seriously the last we see of Jan? I am going to be pissed. Her role as antagonist was too good to give up this easily, and I can only hope she returns in time.

And, to be honest, I think it was a mildly weak episode for Creed. Sure, he was just as odd as per usual, what with catching a fish with his bare hands and then eating it raw, but it seemed like “Creed is weird, get it?” as opposed to something different. It was lip service to the character’s oddities, which at least justified what I said about his character but didn’t really give me anything to cheer about.

You could really say the same about Kelly, although her one major exchange was more than enough to satisfy me. Her reference point for Bob Hope became Amanda Bynes, which was more than enough for me to claim it a victory for her character. Still, she didn’t really get a big role her as the focus of the episode was on the sales team, which she is ostensibly not a part of.

And, as we see, neither is Toby, and yet he came to the table with some of his best material yet. He flirted with Pam (Missing her in a two-piece almost broke his poor heart), he was at odds with Michael, and once again his depressed status made for some fantastic comedy within the episode.

Of course, really, this episode wasn’t really about the supporting players, but rather the future of the show’s leads. Michael has big plans for his corporate job that he’s interviewing for, and wishes to see which of his senior staff could theoretically take over from him. Of course, in doing so, Jim and Karen get fed up with his antics and each decide to interview for the position themselves.

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