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.

Steve Carell announced before Season Seven began that this would be his last, and with that knowledge, this year is Michael Scott’s Farewell Tour, boasting big, memorable episodes that celebrate the show’s core character inside an arc that fulfills his objective by finally giving him the love he’s always wanted. A lot of fans enjoy this — it’s uplifting and triumphant. But Seven isn’t better than Six — it’s worse, for this buildup hastens other negative trends, granting the season license to become even more earnestly sentimental while crowding out premise-corroborating cringe comedy, all in favor of a “these coworkers are friends, nay, family” posture that’s, by now, so clichéd in this genre that its assertion within plot only accentuates just how much The Office has, overall, gotten less special. Now, yes, this trend is not new; Two consciously separated Michael from his British counterpart by making him a more likable, vulnerable character with the kind of emotional accessibility needed to enable years’ worth of story. But balance was always key here, and with schmaltzy reverence too dominant in Seven, its efforts to honor Michael — the most important figure in the low-concept workplace setup and the one most capable of satisfying the mockumentary form’s comic demands — fall short on behalf of the series… And yet, the view ahead is still worse, for without Michael around to at least nod to the situation as intended, The Office will have to work harder to deliver comparable results. And that’s a tall order that Seven tries to warm up for — not only stating the need for a literal Michael replacement but narratively teasing the most likely contenders within the main cast: Dwight, Darryl, and Andy. We’ll talk more about that below, but here I’ll say… in some ways, it’s hopeless. The ensemble as a collective has progressively carried a bigger load in story over time and, by Seven, they no longer are as pitched: a bunch of normies reacting to a weirdo. Now almost everyone is just as weird — just like the faux families on any ol’ workplace sitcom, one without a specific faux documentary construct centered around an awkward boss making his staff squirm. There are positives and negatives to this evolution, but it’s yet another sign that the show, as designed, is over. Michael’s exit is merely the final, official confirmation of something all of Seven implies: The Office can no longer be what it promised to be.

 

01) Episode 129: “Andy’s Play” (Aired: 10/07/10)

Andy invites the office to see him in a production of Sweeney Todd. 

Written by Charlie Grandy | Directed by John Stuart Scott

As the season prepares for Michael’s leave, it also begins to think about what the show will look like without him, and that means, who will replace him — both as the boss in the office, and also as the primary comic force in this low-concept ensemble. Among the main contenders for elevation within the regular cast is Andy, as Ed Helms’ success in 2009’s The Hangover made him a bankable movie star (just as Steve Carell had become in 2005 with The 40-Year-Old Virgin) whom the network was apparently eager to showcase. Indeed, next season will prove that Andy does get the job and the increased screen time that comes with this position, but Seven already teases this possibility by amping up Helms’ usage in entries like this, where the staff sees Andy in a production of Sweeney Todd, where he’s distracted mid-performance in a scene that enables some of the uncomfortable, cringe comedy that The Office once used to offer so regularly. It’s actually a decent idea too — for his love of singing is something specific that differentiates Andy from Michael, and this not only emphasizes their (few) variations but also shows how he may be able to deliver compensatory yuks… Okay, this story has to leave the office — and therefore a key aspect of the situation — but you know, nothing in Seven is perfect.

02) Episode 132: “Costume Contest” (Aired: 10/28/10)

Michael feels disrespected by Darryl at the office’s Halloween party.

Written by Justin Spitzer | Directed by Dean Holland

Usually when shows look for any reason to put their cast in silly costumes, it’s a sign of creative stagnation, but The Office was doing this way back in Season Two, and so this year’s Halloween outing feels right in its wheelhouse — and it’s a bit of a throwback aesthetically. In terms of story and laughs, there’s nothing exceptional here but no missteps either — the subplot about Pam and the guy she briefly dated in between Roy and Jim utilizes the show’s natural history for some mild conflict that expands our understanding of the characters, while Michael being hurt when Darryl goes over his head in the company speaks to his fragile ego, and enables a funny centerpiece (which actually could have gone on longer), as Michael dresses as, and imitates, Darryl. That’s a fine use of his character in an office-set relationship-driven plot that allows for a slightly cringey comedic moment. Again, it’s a throwback — and on this list, that’s enough.

03) Episode 136: “China” (Aired: 12/02/10)

Michael proves triumphant when Oscar challenges his facts in a discussion about China.

Written by Halsted Sullivan & Warren Lieberstein | Directed by Charles McDougall

This underrated installment is fun because it puts Michael in an unusual position that brilliantly emphasizes his central characterization in a fresh way. Specifically, the story starts with Michael thinking he’s an expert on China after reading a magazine article. Then, when he’s challenged on his facts by Oscar (who’s apparently the office brainiac, prone to interjecting with a corrective “actually…” — a new detail about his character that enhances our understanding of him), Michael, the blowhard, is proven to be correct. That’s a reversal of the usual dynamic where Michael ends up looking like the fool in front of his staff, and by virtue of the mockumentary format (a part of the premise that we seldom see anymore!), the cameras as well — and this switch is delightful, especially when the rest of the office, as a result of Oscar’s reputation for being a know-it-all, has them rooting for Michael to show Oscar up again… which, of course, is a hilariously unlikely prospect. So, this is a surprisingly strong showing for both character and premise, playing to our expectations by also playing against them.

04) Episode 138: “Classy Christmas (II)” (Aired: 12/09/10)

Michael is upset to learn that Holly still has a boyfriend.

Written by Mindy Kaling | Directed by Rainn Wilson

Steve Carell’s last Christmas on The Office is a solid one — and although I’m only highlighting Part II of this extended sample that originally aired in a single hour-long block, it’s another case where both halves are basically worthwhile, with the first half setting up the payoffs here. In addition to a deliciously fun snowball feud initiated by Jim against Dwight that quickly makes Jim paranoid — an unoriginal notion nevertheless motivated by their established, classic dynamic — this entry also sees the return of Holly (Amy Ryan) to Scranton, as the year begins moving Michael Scott to his endgame arc of marrying the love of his life. I have to give this series credit — it leaves itself five months (plenty of time) to build to Michael’s happy ending and make it feel earned… which it does, especially because we already know how much Michael loves Holly, with whom he has great chemistry thanks to their temperamental similarities. That chemistry is reiterated in this amusing outing where Michael pouts and acts childish, destroying a Woody doll (from Toy Story) given to Holly by her boyfriend — a funny way to explore his feelings for her, and his sadness that he can’t be with her (yet), in a trivial narrative conflict. And it all smartly sets up everything that’s to follow with them for the remainder of the season.

05) Episode 142: “PDA” (Aired: 02/10/11)

Michael and Holly’s public displays of affection in the office make others uncomfortable.

Written by Robert Padnick | Directed by Greg Daniels

Michael and Holly are now back together and they can’t keep their hands off each other in the office — a wonderful logline that sets up an episode with some big laughs rooted in what this series has always promised to deliver, as their public displays of affection are not only uncomfortable for us, as viewers of the mockumentary, but also for the rest of the office within their low-concept workplace construct, where this is still — regardless of their growing closeness as pals — inappropriate. That perhaps old-fashioned idea plays directly into the style of humor that Michael once exemplified so effortlessly in The Office’s glory days — and with precise motivation here from his endgame romance with Holly, who, shall we say, also matches his freak. So, this is another relatively strong use of the main character — both conceptually and in his current situation — for big, premise-validating hahas. An underrated favorite.

06) Episode 143: “Threat Level Midnight” (Aired: 02/17/11)

Michael screens his movie Threat Level Midnight for the office.

Written by B.J. Novak | Directed by Tucker Gates

Among the series’ most popular offerings, “Threat Level Midnight” is one long callback to a subplot from Season Two’s “The Client,” where the staff found a completed screenplay that Michael wrote. It was very funny then — a big joke about Michael’s lack of self-awareness for writing something so obviously terrible without intending it to be terrible. That reiterated his delusional sense of self while reinforcing the value of the mockumentary framing, where these discrepancies are naturally emphasized. Well, many viewers apparently think this entry, where we see the finished version — the produced movie — is even more comedically excellent, giving us more of a good thing… However, I don’t agree, for personally, I’ve never been a fan of the “home movie” trope on sitcoms — it’s often a gimmick where laughs are derived by putting the characters in a ridiculous context divorced from their usual situation. And here, when it’s a film that we’ve already laughed at before (in script form), I find the whole idea unimaginative. What’s more, the joke has changed — this excursion is no longer laughing at Michael’s delusion because the show itself is no longer doing that; instead, it’s paying homage to him and the entire ensemble (including former cast members — who pop back in to imply continuity for a wink that fans adore, since it respects their long-term investment), and by simply laughing at the sheer ridiculousness of the fake movie, it’s not actually exploring his character. It’s just patting the show on the back for its own mythos… And yet, I recognize this as a valentine to the audience, and in being both funny and memorable with an idea rooted in its lore, I get why it’s beloved and I agree that it deserves a place on this list — its omission would be glaring!

07) Episode 145: “Garage Sale” (Aired: 03/24/11)

Michael plans to propose to Holly while the staff has a garage sale in the warehouse.

Written by Jon Vitti | Directed by Steve Carell

My choice for this season’s Most Valuable Episode (MVE), “Garage Sale” leans hard into the show’s traditional self-understanding as a classic rom-com (carrying on the legacy of other iconic NBC Thursday titles like Friends), for this is basically a half hour with a familiar Big Event goal: set up Michael’s departure by having him propose to Holly. Because this is an obvious victory, it’s an easy segment to like — Michael Scott, the main character of The Office whose quest for love has been a huge part of the text, via his prior romantic pursuits and his chronic efforts to be adored by his colleagues, finally gets what he wants in the form of a partner with whom he can ride off into the proverbial sunset, and with help from his entire staff, who assist him in delivering a grand romantic gesture. It’s the satisfying, joyful completion of an arc for this beloved character and his multi-dimensional rendering, which has upheld the series in great (or now, okay) quality for seven seasons, and this is a real tribute to him and to the show’s ability to craft a character for whom we still root, in spite of his flaws. That’s mostly why I feature it, frankly — it’s an unqualified success at doing what it wants to do, wrapping up the show’s most important regular with humor and heart that’s also indicative of where The Office stands in Season Seven… albeit, with a lot more of the latter than the former, not merely because of Michael’s happy ending with Holly, but also because the office is fully a family here, behaving like intimates rather than colleagues. That’s such a wild contrast to how this situation began, and it’s both the consequence of, and one of the reasons for, its dwindling lack of cringe comedy: they’re so comfortable with each other that nobody’s uncomfortable anymore. Accordingly, this Big Event show also is a representation of the current state of the series, showcasing why this feels like its natural end — now that Michael has grown so much, and everyone else around him has grown as well, The Office, as premised, no longer exists. This is the end.

08) Episode 147: “Michael’s Last Dundies” (Aired: 04/21/11)

Michael trains his replacement on how to host a Dundies.

Written by Mindy Kaling | Directed by Mindy Kaling

Although my MVE completes Michael’s arc and therefore serves as the end of the series as established, The Office goes on, and for a few more weeks, so does Michael Scott, as he helps usher in his prospective replacement, Deangelo Vickers — a generic wacko played by Will Ferrell, who’s underserved by an imprecise characterization that doesn’t bode well for the post-Michael era, with or without the obviously temporary Ferrell. This is the only decent sample of the Deangelo arc because it’s a trophy to the show’s storied past, à la “Threat Level Midnight,” giving us another Dundies, a natural venue for cringe comedy that, no, the series can’t quite maximize like it used to be able to do… but it’s still an appreciated effort anyway, especially in a season where we’re looking for reminders that The Office still is, and still wants to be, The Office. 

09) Episode 151: “Dwight K. Schrute, (Acting) Manager” (Aired: 05/12/11)

Dwight asserts his authority as temporary acting manager of the office.

Written by Justin Spitzer | Directed by Troy Miller

With Michael officially gone and the wasteful Deangelo arc mercifully ended, The Office produces its first decent half hour of the post-Carell era. How does it do that? By relying on the guy who’s always been the show’s secondary comic agitator — Dwight. His authoritarian rule over the office as (acting) manager is a hilarious display of his well-established characterization, reaffirming just what an asset Rainn Wilson’s Dwight has been to the series… and can still be, since it’s decided to go forward. Oh, I understand the logic behind not letting him assume Michael’s role as the boss — Dwight’s usually funny because he’s eager to assert an authority over others that he typically doesn’t possess; if you give him real authority, you risk making him unfunny. However, given what we’ll see next week — with Andy functioning like a generic, toothless Michael — I, for one, think the better choice would have been to let this precise, unique figure naturally take on a greater prominence. It’s worked in the past, it works here, and he’s one of the only things that can allow The Office to still feel like, specifically, The Office. 

10) Episode 152: “Search Committee (I)” (Aired: 05/19/11)

The search committee interviews candidates for Michael’s replacement.

Written by Paul Lieberstein | Directed by Jeffrey Blitz

Season Seven’s finale — which is split into two for syndication but originally aired in a single hour-long block — is fun because it’s explicit about its need for a replacement for Michael Scott, and in many ways, Steve Carell. This culminates in a jokey parade of ridiculous candidates — with stunt casting that the series will continue to indulge more and more throughout the rest of its life. But it’s all pretty comical — some of the funniest stuff of the year, actually — with notable performances by folks like Will Arnett, Ray Romano, James Spader (whose Robert California is never funnier than he is here), and Catherine Tate (whose Nellie is never funnier than she is here) — before an open discussion where the three most likely candidates from the main ensemble are teased: Andy, Darryl, and Dwight. There’s genuine suspense to the idea of who’ll get the job, and it makes for a potent cliffhanger… That said, I’m opting to choose Part I over Part II just because I think it’s more exclusively comedic, and less weighed down by the significant narrative concerns that even this surprisingly laugh-filled double-length finale can only temporarily allay, let down by a Season Eight that, well, probably made the wrong choice…

 

Other notable entries that merit mention include: the other halves of the two-parters I featured above, “Classy Christmas (I)” and “Search Committee (II),” along with both parts of Steve Carell’s official last episode, which is unfunny and fairly downbeat outside of Michael’s airport goodbye to Pam (reinforcing their bond as his most important). I’ll also take this space to cite Season Seven’s premiere, “Nepotism,” which is so-so but has a few amusing moments, “The Seminar,” where Ricky Gervais cameos as his David Brent character and the show tests its ensemble’s viability with Andy at the helm, “The Search,” which is pure rom-com (but not as office-situated and therefore situationally relevant as my MVE), and “Todd Packer,” which uses the recurring Todd Packer to help illustrate Michael’s evolution as a character.

 

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

“Garage Sale”

 

 

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