Welcome to a new Sitcom Tuesday! This week, I’m continuing my coverage of The Office (2005-2013, NBC), which is currently available on DVD/Blu-ray and Peacock. Please note that for these posts, I watched and will be considering the regular version of the show that presently appears on cable and online — with 204 half-hour episodes total.

The Office stars STEVE CARELL as Michael Scott, RAINN WILSON as Dwight K. Schrute, JOHN KRASINSKI as Jim Halpert, JENNA FISCHER as Pam Beesly, B.J. NOVAK as Ryan Howard, and ED HELMS as Andy Bernard. See more of the regular ensemble cast here.

This is the first major fall for The Office, as the show has to try harder to produce the kind of comedy that satisfies its reputation, evidencing less regard than ever before for both how its characters and the premise are being used in the process. As these elements get strained, or, as in the case of the mockumentary format, ignored, the series starts to feel like it’s not maximizing every aspect of itself. Some of this decline is because the show is growing more earnest and self-sentimental, as these colleagues are becoming more like friends/family, spending time together outside the office — like when they go to Niagara for Jim and Pam’s wedding, or to the hospital for the birth of their baby. Both moments yield overinflated two-parters that are more cute than funny (the birth is quite mediocre), and they reflect an overall shift towards a more generic, traditional understanding of a workplace sitcom, more readily embracing genre contrivances with tone and story amid less specific aid from other things that made The Office unique. Speaking of story, Six also continues to create arc-minded disruptions to the office status quo in an effort to reiterate the low-concept workplace part of the premise; Jim gets a promotion to co-manager, Darryl is moved up from the warehouse, and then, Dunder Mifflin is bought out, with Kathy Bates playing their new CEO. Bates instills her character, Jo, with something of a comic attitude, but the season has trouble finding fresh ideas that feature her well in relation to others, and for the most part, there’s nothing excellent or inspired that comes from her arc. Meanwhile, Ed Helms’ recent big screen success in The Hangover had the network eager to spotlight him more, so this year recommits to the notion that Andy can be a comedic force alongside Michael and Dwight, and it even makes him one half of a couple, hoping he and Erin can provide some “will they?” won’t they?” angst in the Jim/Pam mold. It’s, uh, not great, for the nebulousness of Andy’s characterization remains and Erin herself is still slight, leading to ideas that, in general, lack both inspiration and many situation-based specifics. Again, that’s indicative of Six as a whole though (especially its tired back half). There’ll be a jolt of energy next year for Steve Carell’s farewell tour, but I’m afraid the things that dog this season are only going to grow louder and louder, as The Office goes from great to good to, well…

 

01) Episode 101: “Gossip” (Aired: 09/17/09)

Michael feels left out of office gossip and decides to spread a rumor about Stanley.

Written by Paul Lieberstein | Directed by Paul Lieberstein

Season Six opens with an episode that looks ideal yet can’t help but reveal the year’s newly downshifted quality, as its office-set story that centralizes Michael inside an also well-featured ensemble seeks to deliver the same kind of cringe comedy on which The Office thrives, but it all feels a little falser and more convenient than it should, with fewer big laughs despite broader characterizations, and larger choices that strain the established brand of literal realism implied by the mockumentary format. That is, it’s bigger, and more written… However, I ultimately spotlight it here because, even with its evidenced inartfulness, it has the right type of idea, and it is stronger than so much of its competition. And while it’s not on par with the series’ past classics — it’s trying harder without generating as much on behalf of the situation — it’s nevertheless reflective of the temperature of this particular season.

02) Episode 104: “Niagara (I)” (Aired: 10/08/09)

The staff goes to Niagara for Jim and Pam’s wedding.

Written by Greg Daniels & Mindy Kaling | Directed by Paul Feig

Jim and Pam’s wedding two-parter — which was originally broadcast in an hour-long block — is a popular installment because it leans into the feel-good sentimentalism that people like about The Office and all the other classic NBC sitcoms its central rom-com pairing evokes. But I’m not crazy about it — I think both big two-parters from Six that feature major (and formulaic) developments for Jim/Pam symbolize the growing lack of situation-specificity that encroaches upon the series in the latter half of its run as all the leads become conventionally closer and the original low-concept “typical office” premise continues to be undermined in actual practice. What’s more, I frankly don’t find this as funny as it should be — primarily Part II, which is enamored of a montage where all the regulars dance down the aisle, and Jim and Pam are lovey-dovey at Niagara Falls. That may be cute and memorable, but it’s not good sitcommery. Fortunately, Part I is better, and I’m able to highlight it here largely due to the rehearsal dinner that boasts some fine cringe when Jim accidentally outs Pam’s pregnancy to the entire room, including her conservative grandmother. It’s a reminder of the premise-ordained comedy The Office has to more consciously seek out now, but it genuinely uplifts an otherwise overrated, gimmicky entry that serves as an aesthetic marker for trends that encapsulate the series’ decline.

03) Episode 107: “The Lover” (Aired: 10/22/09)

Pam is shocked to learn that Michael is dating her mother.

Written by Lee Eisenberg & Greg Stupnitsky | Directed by Lee Eisenberg

Six’s brief arc where Michael dates Pam’s mother is the sort of conventional sitcom notion that you could find on many series, regardless of character or premise — one lead dates another lead’s mom — and it thus suggests some dwindling imagination in the storytelling, free of the kind of individualized and Office-specific support once so easily offered. However, I do appreciate how uncomfortable this scenario makes Pam, and for the opportunities it gives her to play against type, as she becomes genuinely angry about this crossing of personal/professional boundaries, which jibes perfectly with Michael’s characterization and is especially potent given his and Pam’s growing friendship (which accelerated with the Michael Scott Paper Company arc). So, this outing, along with the memorable “Double Date” below, is most enjoyable for its aim to push Pam as a character, and I chose this one over the other because what happens here is more believably rooted, giving the idea the peak of its value for her depiction.

04) Episode 108: “Koi Pond” (Aired: 10/29/09)

Michael holds an anti-bullying seminar after he’s teased for falling into a koi pond.

Written by Warren Lieberstein & Halsted Sullivan | Directed by Reggie Hudlin

Just as in last year’s excellent “Stress Relief” when Michael was unable to handle the roast of himself, this installment derives character-driven comedy from his sensitivity, which reinforces the fragility of his ego and his pain when confronted by others’ negative or even gently derisive opinions. That speaks to his usual lack of self-awareness relative to everyone else’s, and specifically ours, which is the crux of The Office’s humor and how its mockumentary format generates the uncomfortable hahas that are its trademark. Now, there’s nothing truly cringey here, but the idea of Michael holding an anti-bullying seminar after he’s mocked by his staff for falling in a koi pond is a really funny notion that plays with his character’s basic definition, with tangential affiliation to the premise that helps it stand out. Also, the subplot where Pam and Andy pretend to be a couple on an in-person sales call is a straightforward example of this year trying to make more use out of Ed Helms, and it’s somewhat symbolic, for he and Erin very much look later this season like a junior (and much less compelling) version of Jim/Pam.

05) Episode 110: “Murder” (Aired: 11/12/09)

Michael tries to distract his staff by forcing them to play a murder mystery game.

Written by Daniel Chun | Directed by Greg Daniels

With a logline about Michael forcing the entire office to participate in a role-playing murder mystery game, this outing is a natural winner, for it spotlights the ensemble while allowing individual members to shine within it — as their characters play characters — and it uses the actual elements of the premise, with Michael being a difficult, unconventional boss in this low-concept, would-be-dull-without-him workplace. Accordingly, I think it’s obviously one of this season’s best because it has the right ideas, and even though, again, there are signs of the show’s diminished qualities relative to past performance here as well — as this story is itself gimmicky and not fully up to par with the gems of yore — there are enough funny moments, thanks largely to a reliable bunch of funny regulars, for this to still be an MVE contender.

06) Episode 112: “Scott’s Tots” (Aired: 12/03/09)

Michael has to admit to a group of kids whose college tuition he promised to pay that he can’t.

Written by Lee Eisenberg & Greg Stupnitsky | Directed by B.J. Novak

Frequently regarded as The Office’s cringiest half hour, this was always a “must include” because it indeed delivers on this series’ unique and most desired style of humor, with an unforgettable centerpiece where Michael must admit to an entire classroom of excited high school seniors (and their families) that he is unable to fulfill a promise he made ten years ago to pay for their college tuitions. It’s so awkward — not only to watch him reveal the truth, but also to experience the build-up, for we, as an audience, know what’s to come. That simple tension is winning and enables great comedy… At the same time, this installment is also Exhibit A for how much this year now has to strain itself to create scenarios for the type of cringe we crave, for while we might be able to agree that it’s consistent for Michael, who wants to be loved, to make such an absurdly generous vow to a group of underprivileged kids, it otherwise has nothing to do with any other element of the situation, including the low-concept office premise. In that regard, it’s not a great display of The Office narratively — proving the basic problem with Season Six, as it has to try harder to simply be what it’s supposed to be, and often without full support of its identity… And yet, I feel like the success of this entry’s comedic objective, even with the imperfection of its idea, renders it the boldest while still accurate sample I can select as MVE (Most Valuable Episode). It’s certainly the one I’ll most remember from this batch, and as a fine summation of the season. No, I can’t call it a favorite, but it deserves to be singled out in a significant way. (Oh, and I also want to add that I appreciate Erin here — it’s a decent early showing for her, as her natural naiveté is a nice counterbalance to the discomfort.)

07) Episode 113: “Secret Santa” (Aired: 12/10/09)

Michael is jealous when Jim approves Phyllis to play Santa at the office’s annual Christmas party.

Written by Mindy Kaling | Directed by Randall Einhorn

There’s a bit of a throwback quality to this offering, the season’s annual Christmas show, for it’s up there with early classics in the subcategory, making fine use of the holiday thematics to help showcase several key characters, especially Michael, whose ego is wounded when Jim permits Phyllis to play Santa this year — a role that’s usually his. It makes sense that Michael would want to be the jolly personification of benevolence, given how much he wants others to love and appreciate him, and his childish temper tantrum, where he becomes a rival Santa, and then Jesus, is cringey and a lot of believably character-motived fun. Additionally, his admission to the office that the company is in trouble casts an uncomfortable, discordant tone over the proceedings that reminds us of one of this season’s larger arcs and reveals where the show is at during this particular time — in a manner that’s not hilarious, but at least feels in the spirit of what The Office promises to be. So, with all those wonderful things going for it, “Secret Santa” was almost my MVE — it’s one of the few here that doesn’t disappoint.

08) Episode 116: “Manager And Salesman” (Aired: 02/11/10)

The new CEO comes to Scranton and forces either Jim or Michael to demote themselves.

Written by Mindy Kaling | Directed by Marc Webb

As mentioned above, the Jo arc is a disappointment that fails to produce anything great because, despite her character having basic comic definition and a position that’s ripe for inducing conflict in the office, no episodic idea actually deploys her in a spectacularly smart or individualized way, and certainly not for the kind of cringe comedy that implies the mockumentary setup, which becomes progressively less felt here in the latter half of Six. This is probably the best half hour with Kathy Bates’ Jo though — it’s her first time in the Scranton office, and her presence is an obvious disruption, especially for Michael, who’s temporarily back on the floor with the sales team. That’s an interesting shift in dynamics, pairing well with a couple of character-rich subplots — as Ryan and Dwight scheme together to bring about Jim’s downfall, and Andy’s pursuit of Erin is complicated by mixed up Valentine’s Day cards. Thus, this is a fine office-set show that utilizes the ensemble and their relationships amusingly.

09) Episode 121: “Happy Hour” (Aired: 03/25/10)

Pam sets up Michael on a date when Oscar arranges a happy hour for the office and warehouse.

Written by B.J. Novak | Directed by Matt Sohn

The primary conceit of this outing is that it takes place mostly at a bar’s happy hour, where Oscar has arranged a get-together so he can flirt with his crush from the warehouse. However, its real fun comes from “Date Mike” — the persona Michael puts on when Pam brings a blind date for him. It’s a little broad and try-hard in accordance with this year’s general ethos of being broader and more try-hard, but it’s sufficiently uncomfortable and successfully yields desired humor in an otherwise rom-com storytelling apparatus (and yes, all the couples are out in full force, including Dwight/Angela and Andy/Erin). Also, Amy Pietz is introduced here as Michael’s new love interest, whom he eventually learns is married. It’s an arc that goes nowhere and fails to do much on behalf of Michael, but we don’t know that yet…

10) Episode 123: “Body Language” (Aired: 04/29/10)

Michael has trouble reading a woman’s signals.

Written by Justin Spitzer | Directed by Mindy Kaling

Amy Pietz’s Donna returns in this installment when she comes to the office for a sales pitch — an opportunity for Michael to flirt with her again… if only he could properly discern the “signals” she’s putting out. It’s an interesting idea that speaks to his general inability to read social cues — which is why he often does things that we, the audience, find cringey — and this half hour is a winner in large part because it manages to successfully deliver plenty of premise-validating laughs, emphasizing his lack of self-awareness via the cameras’ implicit accentuation of this awkwardness. Also, I enjoy the subplot as well, where Dwight’s character is on display as he schemes to have Kelly get selected for a minority executive training program over Darryl because he believes she’s more malleable to his own manipulations — until Ryan gets involved and Dwight needs to reverse course, attempting to sabotage her efforts and offering some cringe comedy that revels in being politically incorrect and therefore socially discomforting. So, this is an underrated excursion that holds surprisingly fine stuff for both character and premise.

 

Other notable episodes that merit mention include: “Shareholder Meeting,” which boasts a memorably uncomfortable centerpiece where Michael makes promises to an angry meeting of shareholders that he obviously can’t deliver on, “Double Date,” which is appropriately cringey when Michael dumps Pam’s mother while double dating with Jim and Pam on Pam’s mother’s birthday (it’s flashy and I almost featured it above, but the prior entry, where Pam learns of their relationship, is a better showing for her, and in the regular office setting where the premise is better invoked), along with several segments that play with Jim’s temporary promotion and how that shifts ensemble dynamics — “The Meeting,” where Michael awkwardly tries to sabotage Jim’s efforts, and “The Promotion,” which is the first to explore Jim adjusting to new power in the office. I’ll also take this space to cite “Sabre,” which introduces Kathy Bates’ Jo (and her stiff associate Gabe) and offers the wannabe-cringey subplot of Jim walking in on a guy in the bathroom before that guy interviews them at a prestigious, competitive preschool, “Secretary’s Day,” which is fun for the running joke of Kevin being compared to the Cookie Monster, and “St. Patrick’s Day,” which has some big-laugh moments for Erin specifically.

 

*** The MVE Award for the Best Episode from Season Six of The Office goes to…

“Scott’s Tots”

 

 

Come back next week for Season Seven! And stay tuned tomorrow for a new Wildcard!