April 29th, 2010
In my piece for Jive TV this week, I took a brief look at what Steve Carell potentially leaving The Office means for the series. Ultimately, I think that the show could evolve creatively to fill his absence, but the question is whether anyone would keep watching. The show is suffering from some pretty serious backlash as of late, and Carell’s departure might be the straw that breaks the camel’s back for a large number of unhappy viewers.
However, when I voiced some displeasure with “Body Language,” which I despised, on Twitter, Alisa Perrin rightfully called me out on it: I’m still watching the show, so how bad can it really be? Ultimately, I would make the argument that the reasons “Body Language” almost entirely failed have more to do with problems the show has had since the very beginning and happened to be the focus of this particular episode, but it has to be said that many of the people who complain the most about the show are the same ones who might never stop watching. Is it such a habit that people will never give up on it, sticking around to play the “Viewer who cried Jumping Shark” for a few more seasons?
As a critic and as a viewer, I keep watching because there are parts of this show that I really enjoy, and that are occasionally not quite as buried beneath as much humourless material was they were here.
May 7th, 2009
About halfway through “Cafe Disco,” I admittedly wasn’t amused: here we are a week out from the half-hour finale (which is a move away from the one-hour finales we have been getting for the past few seasons), and the show is spending its time on the most throwaway of episodes. Not only that, but it appears as if the episode is going to be my least favourite kind of episode, where it boils down to Michael being incompetent, Pam and Jim having their dreams crushed, and Dwight and Michael both being so irresponsible that they’re unwilling to give someone proper medical attention.
In the end, though, I was really charmed by the episode, even if it was limited by its lack of scale: the episode never devolved into demeaning Michael, or Dwight being incompetent, or Jim and Pam losing their will to love. Rather, the episode was pretty much like one big stretching exercise for the cast, a chance for them to let loose on the dance floor before having to film the, likely, emotional and powerful finale. I had a lot of fun with the back end of the episode, and much as the epoynmous coffee shop/dance club got off to a slow start but was eventually a hit with everyone involved, I ended up liking this one.
November 20th, 2008
Michael Scott is not a heartless man – he may hate Toby with every fibre of his being, and he may act as if his return is in fact a 911 emergency, but this does not mean that Michael is a terrible person. Under the circumstances, it makes perfect sense that Toby (Paul Lieberstein) returning would make Michael upset: he didn’t know he was there for a week because he refuses to go into the annex because “that’s where Holly worked,” and his most hated person replacing the person he loved would be highly problematic for anyone, yet alone someone as devoid of stability as Michael.
What works about “Frame Toby” (Michael’s initial reaction to his return, Dwight’s contribution to the eponymous effort, the conclusion of that particular story arc) works fine, but it felt like there was a bigger story here. The last time Michael was this adversarial with a co-worked was in “Goodbye, Stanley,” an episode where Michael finally came to his senses at episode’s end and he and Stanley actually talked out their differences. One of those scenes here could have gone a long way to formalizing Michael’s Holly issues, but the episode never goes there; instead, it spends a bit too much time on Pam’s non-triumphant return to the office, and never quite feels like a cohesive episode or something that adds to the existing mythology of this epic feud.