May 12th, 2010
I don’t think this was, in particular, one of the show’s funniest episodes. There were certainly some clever lines in “Hawaii,” as the show tried out some familiar but not yet tapped out character combinations within the central family, but the show wasn’t going for what you’d call broad humour here.
However, there was a nice sense of realism in the way these stories unfolded; everything reaches a heartwarming conclusion, but rather than undercutting some sort of broad comic satire it seems like a logical extension of a trip which got “real” in a hurry. Everyone was caught dealing with certain realities they hadn’t faced in their daily lives which people are technically supposed to leave behind on vacations, and that led to a focus on these characters as real people in a way the show sometimes elides in its search for comedy.
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.