Tag Archives: Meredith

The Office – “The Lover”

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“The Lover”

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.

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The Office – “The Promotion”

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“The Promotion”

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?

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The Office – “Stress Relief”

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“Stress Relief”

February 1st, 2009

I am not conditioned to enjoy this hour of The Office.

First off, I don’t think the show should be in this position in the first place: Chuck has a special 3D episode ready to go tomorrow night, and is much more vulnerable to audience erosion than what is quickly becoming NBC’s flagship series.

Second, I don’t like hour long episode of The Office: they are often overblown, and rarely is there enough comedy to justify the longer running time. Combine with the always frustrating reality that they will eventually be split into two parts in syndication, so they’re forced to split into two separate stories at some level, and they are rarely worthwhile (“Goodbye, Toby” and “Weight Loss” could be seen as a reversal of the trend, but the Amy Ryan variable is the more likely explanation for their quality).

And third, as if that all wasn’t enough, we have the blatant stuntcasting of Jack Black and Jessica Alba, a principle that has been a bit of an achilles heel for NBC’s other Thursday comedy, 30 Rock, all season. The Office has always been pretty immune, being as it is about the mundane life of office employees, but now even that is bleeding its way into the series.

So going into “Stress Relief,” my expectations were fairly low, and I was fully prepared to harp on all three of the above points for 1500 words.

And, well…old habits die hard, I guess – this was a mess of an episode that tried too hard to be worthy of the Super Bowl, was too scattershot to be a cohesive hour, and represented the most superfluous and tangential use of guest stars that I could possibly imagine. So in the end, my opinion remains the same: it shouldn’t have been an hour long, it shouldn’t have cast celebrities, and it shouldn’t have even been airing after the Super Bowl in the first place.

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The Office – “Moroccan Christmas”

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“Moroccan Christmas”

December 11th, 2008

A week after getting it so very right, The Office has gotten it so very wrong.

“Moroccan Christmas” is a mess of an episode, a mostly charmless affair that offers small tidbits of potential but masks them in an unnecessary and forced intervention story that felt overdone and, like the rest of the episode, only operating on one frequency. The episode was filled with small moments that felt like they could have sustained this episode without its investigation into Meredith’s drinking: the office had more than enough drama going into this episode to let that drive the story forward, and the addition of Meredith’s hair getting caught on fire isolated Michael into an unlikable and unfortunate story.

What resulted was an episode where cleverness was not enough to overcome this issue of conception, and a Christmas episode which was both joyless and, to be honest, not even all that funny when it achieved some level of success.

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Season Premiere: Grey’s Anatomy – “Dream a Little Dream of Me”

“Dream a Little Dream of Me”

September 25th, 2008

I implore you, faithful readers: if you can find a single person who cares more about Meredith and Derek than they do about the newly arrived Kevin McKidd, or the three tragic couplings who populated this week’s episode, I commend your sleuthing skills.

I’m not exactly what one would call a Grey’s Anatomy superfan by any stretch of the imagination, but it’s one of those shows I keep watching if only to see what Shonda Rhimes does to step it up from her past mistakes. She is a good showrunner, it seems, but one who has on too many occasions as of late hit on the wrong notes for her main characters. Whether it was stretch out Meredith and Derek for too long, the complete and utter mess that was George and Izzie, or even the continued fall-out from Isaiah Washington’s departure, a show that was once a dramatic heavyweight needed three dying men, three adulterous, emotionally distraught, or brain damaged wives, and a suave new field surgeon love interest for Christina in order to make this season premiere feel anything like a premiere.

That she succeeded is in fact perhaps the most frustrating thing of all: it shows that she can write, just apparently not for the people we need to deal with every week.

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