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 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. With JAMES SPADER as Robert California. See more of the regular cast here.

The post-Michael era is tough. The show has lost its most important character — the one typically tasked with earning the cringe comedy that reinforced its mockumentary setup, and around whom this whole low-concept ensemble workplace premise was built. Without him, the situation is completely diluted, and The Office’s mere continuance guarantees disappointment. Indeed, Season Eight is dire at times, exacerbated by some poor decisions — like promoting Andy to Michael’s manager spot and giving the entire office a larger antagonist in the form of Robert California (James Spader). None of this works well. Robert, though odd and sometimes amusing because of his intensity, is more menacing than cringey, and Andy, though a goofball who does silly, mockable things, is not always cringe-inducing either — especially at this point in the run, where everyone is basically a goofball, and far too familiar, or close, to be made truly uncomfortable by each other. These guys don’t do much to uphold that particular, identity-rooted aspect of the situation, and consequently, the show must also downplay its original low-concept conceit of having a wacky boss who makes his staff cringe. This turns The Office into an even more generic workplace sitcom, putting more of the burden on the ensemble as a group of individual wackos — all of whom, by now, are well-defined and theoretically capable of support. The problem is, every aspect of the show is naturally tired by Eight, so it often has to contort these leads to earn comic ideas, breaking the series’ brand of realism (implied by the mockumentary framing) in the process. What’s more, the folks charged with driving most stories, like Robert or, later, the cartoony Nellie (Catherine Tate), don’t feel like fully realized characters, while the elevated Andy also plays as a Michael Lite, lacking the specificity needed to render both his major career and romantic arcs funny or precise. So, with these huge weaknesses at the top, The Office can no longer rely on its regulars to improve its fortunes… Fortunately, Nine will benefit from reducing Andy’s load (I maintain that Dwight should have gotten Michael’s job instead if that role was to remain the show’s comic nucleus) and from resurrecting the high-concept premise by making its mockumentary format an explicit part of the narrative. But I can’t say the same of Eight — a subpar collection from an otherwise great series.

 

01) Episode 157: “Garden Party” (Aired: 10/13/11)

Andy throws a garden party at Schrute Farms to impress Robert.

Written by Justin Spitzer | Directed by David Rogers

This is maybe the only episode in all of Season Eight that feels like it’s truly specific to Andy — and that’s because it consciously decides to add some backstory for him, introducing us to his parents (Stephen Collins and Dee Wallace) and his brother (Josh Groban), with whom he’s in obvious competition for his father’s affections. These are the kind of added details that help us fill in emotional logic for some of Andy’s past actions, and this newly established understanding creates a noted difference, particularly through his upper-class upbringing, between him and Michael. So, I appreciate “Garden Party” for being unique to Andy and knowing that he needed something like this. (If only its implications were better felt throughout the remainder of the season!) Also, I enjoy the subplot where Jim pulls an elaborate prank on Dwight — it sounds like vintage Office and plays on their well-established, situationally upheld rapport.

02) Episode 162: “Mrs. California” (Aired: 12/01/11)

Robert instructs Andy not to give his wife a job when she asks for one.

Written by Dan Greaney | Directed by Charlie Grandy

Maura Tierney guest stars in this outing as the eponymous Mrs. California, Robert’s wife, who comes into the office to ask for a job from Andy — not knowing that he’s been instructed, by her very husband, to deny her the position. It’s an amusing idea that puts Andy in an uncomfortable spot, and it’s fun when, of course, he has trouble saying “no” and ends up agreeing, despite Robert’s obvious chagrin. This yields some light cringe comedy that feels within The Office‘s sanctioned purview, and in fact, I couldn’t help but imagine what this would have been like with Michael at the helm, making bolder choices in accordance with his more defined characterization… To that point, I also include “Mrs. California” for its efforts to make Robert a more fully fledged character, via his relationship with his wife. (Incidentally, this is the first of several installments without Pam, who’s out on maternity leave, just like her portrayer.)

03) Episode 163: “Christmas Wishes” (Aired: 12/08/11)

Erin is jealous about Andy and his new girlfriend at the office Christmas party.

Written by Mindy Kaling | Directed by Ed Helms

Season Eight’s Christmas entry is the weakest in this annual tradition — but that’s largely a reflection of the year itself, which is forced to play in less-than-ideal circumstances. For instance, it’s still trying to apply some rom-com angst with Andy and Erin, as she drunkenly pines for him and makes a fool of herself in front of his girlfriend. Their shortcomings as characters always preclude greatness together (well, mostly his; she’s actually become funnier and more temperamentally precise), but it’s a bit cringey and thus has the right idea. Also, I enjoy the Dwight vs. Jim subplot. Their relationship is so well-founded and associated with the original ensemble design that invoking their dynamic in a fresh comic notion is one of the few guaranteed ways for The Office to still feel like The Office. Indeed, this does seem like old times, and compared to the similarly nostalgic and Erin-focused Halloween show from earlier in the year, this is better, showcasing more leads, and in trappings more associated with the series’ lore.

04) Episode 164: “Trivia” (Aired: 01/12/12)

Andy and the office join Oscar at bar trivia.

Written by Steve Hely | Directed by B.J. Novak

As the show becomes increasingly tired, more and more episodes have to be set outside the office, for that low-concept premise shed its novelty long ago and is no longer a fruitful venue for naturally suggested ideas, especially without a cringey boss. So, this offering’s A-story is set at a bar’s trivia night — with most of the ensemble participating. It’s a new scenario to display their clear, well-established personas, and in a competitive context that fosters inherent, albeit easy, conflict. I like the simplicity of this, even if it’s generated somewhat by a stunt, and I appreciate how some of the characters are used — the story utilizes what we know about Oscar and then has fun playing against type with Kevin. Meanwhile, there are laughs in the subplot also, particularly from Dwight’s exchanges with both Gabe and Robert; Dwight and Robert’s shared intensity, in particular, is notably comedic, further elevating this half hour.

05) Episode 165: “Pool Party” (Aired: 01/19/12)

The staff attends a pool party at Robert’s house.

Written by Owen Ellickson | Directed by Charles McDougall

Once again, The Office has to leave the office to get its creative juices flowing — this time taking us to Robert’s house following his split from his wife; it’s another instance of Eight attempting to expand our understanding of him, its newest primary comic antagonist. Nothing here is great but its impulses are correct. Similarly, Erin’s efforts to make Andy jealous by flirting with Dwight further the show’s rom-com sensibilities, which certainly pick up in the back half of this year, and while, again, I don’t think there’s anything here that’s outstanding, “Pool Party” does stir up some old feelings about what this series used to be, with moments that come close to the kind of cringe we once anticipated. And, in general, this is one of the more memorable examples of the season — an MVE contender that’s better than most of Eight.

06) Episode 166: “Jury Duty” (Aired: 02/02/12)

Dwight attempts to catch Jim in a lie about absences due to jury duty.

Written by Aaron Shure | Directed by Eric Appel

I’m not fond of the soapy maneuvers that occur in the back half of this season (and throughout the next) with Angela and her closeted husband who’s cheating on her with Oscar while she’s secretly raising a child who’s likely Dwight’s — it’s never as funny as it should be, and instead allows the show to rely on gaudy narrative beats that sort of drive themselves, away from the low-concept ensemble workplace premise we prefer (encapsulating a shift from “normal” people to outright wackos). But Dwight holding his presumptive child is a big moment for his character that does evidence some emotional complexity and growth, which is well set up by this installment’s A-story, as his “fascist nerd” tendencies are initially directed towards his usual nemesis Jim in an amusing office-set conflict that is among the strongest low-concept workplace ideas of the season in terms of character and comedy, evoking the golden age.

07) Episode 167: “Special Project” (Aired: 02/09/12)

Andy puts Dwight in charge of arranging a trip to Florida with a group of select staff members.

Written by Amelie Gillette | Directed by David Rogers

This tight ensemble-rich, office-set entry mostly exists to set up the forthcoming tetralogy where a third of the main cast heads down to Florida — a jolt of energy for the season with some helpful narrative focus that I’ll discuss more below — but it’s a strong outing in its own right, mainly because it’s Dwight-heavy, and since he’s both one of The Office‘s best-defined characters and a figure whose presence is unique to the show and its situation, half hours that take smart advantage of him (without going too broad or ridiculous — as the series is wont to do in this era) tend to be natural winners, especially by comparison, reminding us of what this sitcom is capable and why it was great in the first place. With this as evidence, I’ll note again: I think Dwight should have replaced Michael as the manager, for he can still unnerve the office.

08) Episode 168: “Tallahassee” (Aired: 02/16/12)

Dwight is eager to impress Nellie upon discovery that she’s leading the Florida Project.

Written by Daniel Chun | Directed by Matt Sohn

My choice for this year’s Most Valuable Episode (MVE), “Tallahassee” is the first of the four-week stint where a third of the cast (Jim, Dwight, Ryan, Erin, Stanley, and Pam’s temporary replacement Cathy) is down in Florida to work on a special project being run, we learn here, by Nellie (Catherine Tate), one of the former candidates for Michael Scott’s job. Reviewers during Eight’s original airing found this arc to be a high point of the season, providing a boost of energy and some welcome focus. But I think what really makes the tetralogy stand out is simple — its main action is away from the office, which has been deficient without Michael, and away from some of the problem characters who’ve not been capable replacements, like Andy and Robert. In other words, it mitigates its shortcomings by basically downplaying and ignoring them (although the Scranton subplot is actually funny in this segment, and not as much of a drag as some of the others later in this arc). Also, while Nellie will prove to be an albatross herself when she returns to Scranton and is supposed to become a viable multi-dimensional member of the ensemble… despite remaining an obnoxious cartoon… her purpose here is much narrower: be comedically outsized while sitting right in the middle of some natural conflict between Dwight and the recurring Todd Packer (David Koechner), who both want her to promote them. In fact, that’s ultimately why this mostly works — there’s a lot of Dwight, and a lot of Dwight in the vicinity of Jim — two characters and a relationship central to The Office’s situation that pretty much always delights. Oh, yes, the Florida arc, as a whole, drags as it goes along and becomes more narratively cumbersome with its own preordained plot points it wants to hit, but this first excursion is an uplift for all the reasons expressed above, showcasing the handful of characters blessed enough to be along for the trip, and making for one of the funniest samples from the post-Michael era — a seminal, better-than-baseline representation of Season Eight.

09) Episode 169: “After Hours” (Aired: 02/23/12)

Dwight competes with Todd Packer for a promotion appointed by Nellie.

Written by Halsted Sullivan & Warren Lieberstein | Directed by Brian Baumgartner

The second offering in the Florida four-parter is a mixed bag — specifically, I think the subplot where Pam’s replacement throws herself at Jim doesn’t land. Apparently, the show originally planned for him to indeed kiss her, but when John Krasinski refused, this created a dead end in the storyline, nevertheless sparing us (probably) from more unfunny, unmotivated stuff ahead… It thus exists uncomfortably here — and not in the comedic way that it intends. However, the mockumentary framing is used throughout, and it’s still fun to see Dwight and Todd Packer competing over Nellie. Also, I appreciate the scenes between Ryan and Erin, two decently distinct characters who’ve never really interacted before, and the scenes back in Scranton, which build out Darryl’s growing romance with warehouse worker Val — their easier, more natural chemistry makes them a better successor to Jim/Pam than Andy/Erin (although, frankly, their stuff feels formulaic and derivative as well — the show unsubtly trying to recreate old magic).

10) Episode 170: “Test The Store” (Aired: 03/01/12)

Dwight leads the Florida team in a special presentation.

Written by Mindy Kaling | Directed by Brent Forrester

Eight’s rejuvenating Florida arc continues in this, the tetralogy’s third entry, which boasts a climactic centerpiece where Dwight leads the team in a special presentation. It’s a solid showcase for his character, along with Jim’s, as the two work in close proximity after Ryan becomes too nervous to perform — a notion that enables two of The Office’s funniest and most quintessential players to stay in the fore, which is the best thing about this arc as a whole. Meanwhile, the subplot where Andy gets beaten up by a preteen girl is amusing if silly and uninspired — the rest of the staff learning about it makes him uncomfortable at least — and Georgia Engel memorably debuts as a widow whom Erin befriends while down in Tallahassee. So, this isn’t the best of the Florida shows — it’s goofier overall — but it’s got a lot to like, especially in comparison to the remainder of this year, which falls apart once Nellie comes to Scranton and her outrageous depiction fatally threatens the series’ illusion of reality.

 

Other notable episodes that merit mention include: “Spooked,” the Halloween show that’s strong for Erin (and Gabe) while trying to mine some genuine cringe comedy with her and Andy, “Last Day In Florida,” which concludes the Florida arc and is the weakest of the bunch but has some decent physical stuff with Dwight and Jim, and “Angry Andy,” which I cite mostly because of the cringe of Andy’s sexual problems being discussed in the office. There are a few more so-so outings that claim something of interest (like the premiere and its follow-up, or “Welcome Party,” where Andy, now with Erin, awkwardly tries to dump his girlfriend during a family function), but frankly, those three were the only others I truly considered.

 

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

“Tallahassee” 

 

 

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