Holly and Ivy: Amy Ryan Returns to "The Office"

I'm beyond thrilled that Amy Ryan (Gone Baby Gone and, yes, The Wire) will return as HR executive Holly Flax next season on The Office.

In her guest turn in the season finale of the series' fourth season ("Goodbye, Toby"), Ryan completely altered the dynamics of Dunder-Mifflin's Scranton branch (in the best possible way) and--in a stunning twist--gave Steve Carell's Michael a much needed injection of maturity.

Ryan, who typically appears in significantly grittier pieces like the above, will recur in at least five installments of The Office next season but doesn't know quite what Greg Daniels and Co. have in store for Holly.

"I don't know what they're going to do with the character," Ryan told Variety, "but as it was written, there's certainly a lot of potential. It's a funny thing to enter a show that you're a great fan of -- and it's nice to tell lighter stories. I love the dark, grittier side of life, but it's nice to take a break from that, put a skirt on and brush your hair."

Me, I'm just happy to be even slightly excited about The Office again. Fingers crossed that they can get back on track after a creatively dismal season.

"Mad Men" Vs. "The Wire": TCA Announces Nominees and A Few (Pleasant) Surprises

It's that time of year again as the Television Critics Association has announced their nominations for the TCA Awards, which will be handed out on July 19th in Beverly Hills.

Making headlines: AMC's Mad Men has tied HBO's The Wire with the top number of nominations. (For those of you looking for a sign that critics are clearly behind the itty-bitty cabler and the recent Golden Globe winner for Best Drama, there you go.)

This year's group of nominees are quite exciting choices (as seen from the full list below), with some of Televisionary's favorite programs represented, including multiple nominations for Damages, 30 Rock, Lost, Pushing Daisies, and Flight of the Conchords, to name but a few.

The full list of nominees for the TCA Awards is as follows:

Program of the Year:
John Adams Lost Mad Men Ken Burns' The War The Wire

Comedy:
30 Rock The Colbert Report The Daily Show with Jon Stewart Flight of the Conchords The Office

Drama:
Damages Friday Night Lights Lost Mad Men The Wire

Movies, Miniseries, and Specials:
John Adams Masterpiece: Cranford Masterpiece: The Complete Jane Austen Ken Burns' The War A Raisin in the Sun

New Program:
Breaking Bad Damages Flight of the Conchords Mad Men Pushing Daisies

Individual Achievement in Comedy:
Christina Applegate (Samantha Who?)
Alec Baldwin (30 Rock)
Stephen Colbert (The Colbert Report)
Tina Fey (30 Rock)
Ray Wise (Reaper)

Individual Achievement in Drama:
Connie Britton (Friday Night Lights)
Glenn Close (Damages)
Paul Giamatti (John Adams)
Jon Hamm (Mad Men)
David Simon (The Wire)

Children's Programming:
Curious George Hannah Montana Word Girl Yo Gabba Gabba

News and Information:
Alive Day Memories This American Life Frontline Nimrod Nation Ken Burns' The War

Heritage Award:
M*A*S*H Roots Saturday Night Live Sesame Street The Wire

Which programs are you rooting for to take home the top prize? And who do you think will win in the nomination showdown between The Wire and Mad Men... and who should? Discuss.

Goodbye, Toby and Hello, Holly in the Season Finale of "The Office"

I'm feeling a little happier today after watching last night's season finale of The Office ("Goodbye, Toby"), though anything would have cheered me up after watching the dismal pilot episode of HBO's upcoming vampire series True Blood. (Yeesh.)

Even so, I was completely captivated by this installment of The Office, penned by Jen Celotta and Paul Lieberstein, even though it was one of the one-hour variety. With this single one-hour installment, Celotta and Lieberstein may have undone my complete disenchantment with this series, crafting an episode that felt in tune with the good old days on this once-brilliant but waning series: it was touching, hysterical, and found comedy in the everyday, mundane office existences of these remarkable characters.

This is the foundation around which the series was built and what the writers need to remind themselves of. It's not wacky subplots (Michael kidnaps a pizza delivery boy!) or zany adventures (Michael drives into a lake!) that will get us to come back week after week. No, it's the characters' innate humanity and their very believability. When the characters don't behave in ways that we expect them to (Stanley's whole "did I stutter?" routine), it's off-putting and jarring to say the least. Last night's episode returned the characters that I had known and loved to me; each one behaved in pitch-perfect harmony and I absolutely accepted this version of the world that was being presented to me. (Bravo, Jen and Paul! Gold stars for you guys.)

Holly. Never before on this series has a guest star been so integral to the plot and fit in so completely well to the surroundings and integrated themselves to the rest of the sprawling cast than Amy Ryan (The Wire) did last night. (Sidebar: Ryan co-starred with Steve Carell in Dan in Real Life.) Ryan's Holly and Carell's Michael had instant chemistry together. Upon dismissing once he realized that outbound Toby had hired her as his replacement, Michael quickly changes his tune once he begins to know Holly and I absolutely loved the scene on the floor of Holly's cubicle in which she reconstructs Toby's chair and the two speak to each other in Yoda voices. Charming, funny, and grounded in reality. It's moments like these at which the series has always excelled and the charm which which Michael tried to win over Holly (and surprisingly her tender reaction to him) was the real surprise of the evening.

I had thought that Michael would have gone way overboard, pronounced his undying love for Holly, and scared her away (or, well, had her run screaming from the building), so it was nice to see just the opposite as Michael--working on Jim's advise--toned down his advances, exchanged "pleasantries" with her and actually won her over. That he then declined her subtle offer to join her for coffee spoke volumes. He clearly does like Holly and wants to be with her but his character has actually grown and changed: he accepts responsibility and (misguided) duty towards Jan and her unborn child (the result of a sperm bank fertilization rather than his own offspring) rather than try to make something work with Holly. It was a poignant scene that highlighted just how far Michael has come as a character; hell, he even gave up a "that's what she said" punchline with Holly on the Ferris wheel. If that's not maturity, I don't know what is.

As for Ryan, she was completely natural as Holly and I loved seeing her in this role. I'm hoping that she'll be back next season as she adds a new dimension to the series and her interplay with Michael (and thwarted love) will clearly inform the series' fifth season, should she stick around. I'm glad that the producers didn't opt to replicate the tortured enmity between Michael and Toby with a virtual Toby clone and instead went in a vastly different direction. (Hmmm, that too might just show maturity.)

Kevin. I was rolling on the floor with laughter at the subplot that had Holly thinking that Kevin was mentally challenged. The pride with which she looked on anytime Kevin did anything ("I do the numbers.") was absolutely hysterical and each of the characters just kept making the situation far, far worse. Hell, even Kevin didn't do himself any favors, handing over his change to Holly to count whilst standing in front of the vending machine, undecided about what to eat, or his inability to choose between pretzels or chips. But how proud was she when she learned that Kevin drove his own car and was going to go to the supermarket? "It's been a big day for him," she tells an oblivious Michael. Words cannot articulate just how awe-inspiring this storyline was, especially as Holly never learned the truth about Kevin in the end.

Best line of the evening: "That's a button."

Jan. Fantastic reveal having Jan be pregnant and then twist the knife even further to admit that she got pregnant while she was dating Michael but (A) he's not the father, (B) she didn't cheat on him (he made her promise not to), and (C) she was impregnated rather than risk having a child with Michael, despite having him have and reverse a vasectomy several times. While this would have been a great plot at any time, juxtaposing this with Michael's flirtation with Holly was a stroke of genius, as it forced Michael to make a decision: return to Jan and the possibility of a child (one of Michael's main goals in life) or put her in the past and try to move on with Holly. Still, I was surprised that Michael called Jan to tell her he would accompany her to Lamaze class and that he's going to try to salvage their relationship... or at least try to be a father to this unborn baby. Me, I'm just happy that it means that Melora Hardin will be sticking around... and that the baby's dad wasn't Hunter as I suspected for a few minutes. I'm almost hoping that Dunder-Mifflin will offer Jan her old job back now that Ryan has been arrested.

Jim & Pam. I groaned with annoyance when Jim mentioned that he was going to propose to Pam in this week's episode, given that it was the season finale and I had suspected that, if a proposal were going to occur, it would be during sweeps. Still, I was pleasantly surprised--and outright pleased--that he didn't actually propose during the sweeping fireworks display (did they get permits for that?) at Phyllis' fantastic going away party for Toby... if only because Andy stole his thunder by proposing to Angela. A proposal is an important thing and creating the right mood and atmosphere absolutely key, so I am glad that Jim knew better than to try to propose to Pam, even though she sadly admitted that she thought that he was going to. As for Pam's acceptance to the Pratt School of Design, what sort of program is only three months? I was hoping it would mean a longer separation between the two of them but will at least mean that when we return to The Office next season, it's possible that they've spent the entire summer apart.

Andy/Angela/Dwight. Loved that Andy carried around an engagement ring in his wallet for the last six years (you never know when you're going to meet the woman of your dreams) and that he invited his parents along to Toby's going away party. Better still: that Angela reacted to Andy's proposal with a softly spoken "okay" and little enthusiasm for the entire endeavor. (How fitting was that?) I wondered if Angela would go all the way with this entire scheme designed to make Dwight suffer for Sprinkles' death but I didn't think she'd actually accept a marriage proposal to do so. Still, I was shocked when Phyllis caught Angela and Dwight in flagrante delicto in the office. Could there be hope for an outward reconciliation between this former couple?

All in all, an absolutely flawless installment that made me remember why I once loved The Office. If the writers can sit down over the summer hiatus and really commit to rein in the zaniness and lack of realism that defined this sub-par season, I might just have to reconsider my current stance on the series. In the end, this season finale did slightly make up for the creative shakiness that permeated the last year of The Office and provided a brilliant ending to a less than brilliant season. Toby might be gone but here's to hoping the grounded humor and believable characterization is here to stay again.

What's On Tonight

8 pm: Ghost Whisperer
(CBS); American Gladiators (NBC; 8-10 pm); Friday Night SmackDown! (CW; 8-10 pm); America's Funniest Home Videos (ABC; 8-10 pm); Dodgeball: A True Underdog Story (FOX; 8-10 pm)

9 pm: Moonlight (CBS)


10 pm:
NUMB3RS (CBS); 20/20 (ABC)

What I'll Be Watching

8 pm: Sarah Jane Adventures on Sci Fi.

On tonight's episode of the Doctor Who spin-off ("Whatever Happened to Sarah Jane?"), Maria meets a young Sarah Jane in 1964 just before a pivotal moment in her life but it's up to Maria's dad Alan, back in the present, to set things right with the world. Afterwards, it's Part One of "The Lost Boy," in which a missing boy turns out to be a genetic match for Luke, whom Sarah Jane sends to live with the boy's family while she probes his disappearance.

9 pm: Doctor Who on Sci Fi.

Season Four of Doctor Who continues tonight with "The Sontaran Stategem," as Martha Jones returns to the series; Martha contacts the Doctors as his old enemies the Sontarans begin causing some trouble, establishing a covert base at the mysterious ATMOS Factory and working to launch a terror that would bring the Earth to its knees. Hmmm, this this connected to the disappearances of the world's bees? (Get it, bee's knees?)

10 pm: Battlestar Galactica on Sci Fi.

On tonight's episode ("Guess What's Coming to Dinner"), Laura Roslin faces some new challenges as the Colonials form an alliance with rebel Cylon forces to unleash a devastating attack upon the Cylon Resurrection Hub. Is this the end of the Cylons' ability to download into new bodies? Find out tonight.

Am I Still Watching "The Office"?

I wasn't planning on continuing to write about NBC's The Office; my obsessive zeal for the series has sadly become something more akin to continued disappointment, something that many of my readers have indicated as well.

When I didn't comment on the latest installment ("Night Out"), I got a few emails from readers curious if I had in fact finally given up on the series altogether. It's safe to say that I haven't tuned out completely but the above statement holds true. I don't expect a lot from the series anymore, which has devolved into a sad shadow of itself, a thinly veiled sitcom that has now begun mining comedy from the wacky "situations" the characters find themselves in week to week (a beet farm! an NYC nightclub! a dinner party!) rather than the characters themselves.

The Office
did used to move outside of the confines of the Dunder-Mifflin Scranton offices every now and then and when they did, it was a novel conceit that separated the mundane 9-to-5 existence that defined these characters... and provided the basis for much of the series' humor. And at its heart, that was what I loved most about the series. It wasn't scenes like this week's over the top cold open--which found Michael getting a peanut butter shampoo from Dwight to remove chewing gum from his hair--but scenes that cut to the bone about the quotidien repetition of these characters' lives, interspersed with a (more) realistic zaniness.

This week's episode was written by Mindy Kaling, whom I still think of as one of the series' most talented writers (along with Michael Schur). While I did find the A-story (Michael and Dwight surprise a coked-up Ryan in Manhattan and go clubbing with him) way OTT, it was the episode's B-story that actually did remind me of the series' glory days: after Jim hatches a plan to keep the Scranton branch working late Friday night (so they won't have to come in on Saturday), the gang discovers that they've been locked in... and quickly turn on super-couple Jim and Pam.

There were some genuinely squirm-inducing and yet funny moments here (the type that the series used to excel at), like when Toby boldly put his hand on Pam's knee--sitting next to Jim, no less--and then got so nervous, he announced he was moving to Costa Rica and then hopped the fence. Or Creed being right about the black security guard's name. Or even the gang getting upset with Pam was a novel conceit (she threw a football and hit Meredith in the face), though I am getting a little tired of Meredith being the office punching bag.

And yet it wasn't enough for me to come back around. I'll still finish out this season of The Office but I no longer look forward to the series each week and that is a sad testament to the level of disinterest I'm maintaining with this once-great series. Can they rediscover that spark again next season? Let's hope so but I won't be holding my breath...

On the next episode of The Office ("Did I Stutter?"), Stanley barks at Michael during a meeting, causing Michael to try to change Stanley's attitude; meanwhile, Dwight tries to buy Andy's car and Pam spends the night at Jim's but discovers an unexpected inconvenience.

What's On Tonight

8 pm: Big Bang Theory/How I Met Your Mother (CBS); Deal or No Deal (NBC; 8-10 pm); Gossip Girl (CW); Dancing With the Stars (ABC; 8-9:30 pm); Bones (FOX)

9 pm: Two and a Half Men/Rules of Engagement (CBS); One Tree Hill (CW); Samantha Who? (ABC; 9:30-10 pm); House (FOX)

10 pm: CSI Miami (CBS); Medium (NBC); The Bachelor: London Calling (ABC)

What I'll Be Watching

8 pm: Gossip Girl.

The naughty teen soap continues tonight with a brand new episode! On tonight's episode ("Desperately Seeking Serena"): Serena's former partner in crime Georgina Sparks (Michelle Trachtenberg) returns to Manhattan, Nate falls for social outcast Vanessa (no!), and Jenny meets a guy who could ensure her permanent popularity. I can't wait!

Subway Heroes and Sandwich Girls on "30 Rock"

Like all good things in this life, 30 Rock only seems to get better with age, finding a self-assurance and absurdity that were only touched upon way back when in the original pilot episode (yep, the version with Rachel Dratch as Jenna). It seems to be following the opposite trajectory as fellow NBC comedy companion The Office, which seems to be getting creakier and feeling more and more tired by the day.

Last night's episode of 30 Rock ("Subway Hero"), while not quite reaching the comedic heights of last week's installment, was a half-hour overflowing with non-sequiturs, throwaway lines, and blink-and-you-miss-it sight gags. This is comedy of a level previously only attained by, say, Arrested Development. (If you know me, you also know that this is inherently my kind of comedy.)

Once again, 30 Rock takes a series of plots that, in the hands of any other series, could have been mundane: Jack tries to find a new celebrity face of the Republican Party, an aging TV star visits the set, and Liz comes face to face with the boyfriend she dumped, now a local hero. These interwoven plots are instead transformed into a springboard for wackiness of the funniest variety, including riffs on Mexican knock-off Cheetos, bigoted memories of the good old days at 30 Rock ("We used to call this [the writers' room] the Jew Room."), and a visit to heaven, purgatory, or a part of Tracy Jordan's subconscious, where Alec Baldwin gets to do a fantastically funny Richard Nixon impersonation and Keith Powell gets to play Sammy Davis Jr.

That aging TV star, Bucky Bright, is played to the hilt by none other than comedy legend Tim Conway, who doesn't play Bucky as a blowhard, but rather as a creepy, quite possibly insane straight man, offering off-hand and off-color stories about keeping opium pipes and switchblades in his pockets, sandwich girls, and same-sex dalliances. Forced to follow him around on his trip down memory lane (and through the studio for the better part of two days) is poor Kenneth, whose love of TV takes a major hit upon hearing Bucky's stories until he realizes that things really haven't changed all that much behind-the-scenes on on a television series. Loved that Bucky roamed the studio overnight and only ran into a large, sad lesbian named Conan O'Brien. (Ha!)

Meanwhile, Liz fights against her attraction to Dennis Duffy, the ex-Beeper King of Manhattan and "exonerated" predator (it was a misunderstanding as he knew the girl, who had dated an Asian guy, had to be 18). Jenna wisely compares Liz's tendencies to fall for Dennis (whom she met after making the lame joke during a screening of The Hours) to her inability to make herself a nice meal, instead relying on Mexican Cheetos copycats containing 400% of your daily recommended sodium intake.

We all know women like Liz who fall back into relationships with losers like Dennis (Liz, run the next time someone calls you "dummy" or ruffles your hair), which is why I loved seeing her flailing about like this. As for Dennis, he blows his celebrity status ("I've been offered lots of news and dancing shows") when he proposes to Liz in Rockefeller Center, insults the crowd, and then jokingly tries to throw her onto the train tracks. Not exactly a keeper, Liz.

(Sidebar: I loved that 30 Rock managed to get Michael Bloomberg to appear on-air on a clip where Dennis accepts a medal from the City of New York. Impressive, to say the least.)

What else did I love? Tracy's odd insistence that everything can be fixed--from a broken CD player skipping during “We Didn’t Start the Fire” to a Wikipedia entry--with the use of a screwdriver; Jack turning to Tracy to be a black spokesperson for the Republican Party (to reach out to "Blackmericans") only after he was turned down by Bruce Willis and Jim Belushi; the satirical political message Tracy finally films in which he tells African-Americans not to vote; Liz finally realizing that, yes, her relationship with Dennis was a lot like dying from hypothermia; Jack bumping Dennis off TGS for a heroic bird; and Tracy's repetition of the word "quandary."

Oh and Jack denigrating Dot Com, after a pithy riff about states' rights, for constantly trying to be "the smartest guy in the room." Not to mention Liz mistakenly identified in a photo with Dennis as Sally Field in an article entitled "Subway Hero Has a 'Field' Day."

Whew. Like I said, there was a lot to love about this hilarious episode.

Best line of the night: "Oh no, sir, I don't vote Republican or Democrat. Choosing is a sin, so I always just write in the Lord's name." -- Kenneth to Jack, who then explains that Republicans count those votes for themselves.

At the end of the day, it's bizarre moments like that which remind me why I love the brilliantly off-kilter 30 Rock. My only complaint is that I have to wait another week for my next fix.

Next week on 30 Rock ("Succession"), Don Geiss finally decides to name Jack his successor as chairman of NBC parent company GE but a health complication puts Jack's promotion in jeopardy, while Tracy believes his son is embarrassed by his career. And is that Will Arnett's Devon Banks hiding in the corner over there? Find out next week.

Am I Over NBC's "The Office"?

Sigh.

While there were a few funny moments during last night's episode of The Office ("Chair Model"), like Michael calling a local Wendy's restaurant to ask Wendy out on a date and Andy's victory dance, I couldn't help but feel that my patience with the series has run out. What was once my favorite comedy on television has become more or less a chore to watch and this uneven episode, from writer B.J. Novak, didn't allay any of my fears that the series has plateaued.

The American version of The Office never quite got a handle on the talking heads, which their British counterpart used to such great effect. In fact, the quality of these segments has been sliding considerably in recent seasons and the writers have begun to use a hell of a crutch with each of them: having the characters repeat an "unheard" question from the documentary crew before answering it. (Sample from last week: "Was I upset that I wasn't invited to Michael's dinner party?") If you pay attention, this crutch is actually used in 99% of the talking heads, rather than just having the characters make a direct statement about their feelings or situation. It gets under my skin each and every time.

Jim and Pam, once a pleasant fixture in the Scranton offices of Dunder-Mifflin, merely irritated me last night with the out-of-the-blue talk about engagement and an unbelievable reveal that Jim bought Pam an engagement ring a week after their first date. I am sure the hearts of many a Jim-crushing singleton swooned upon hearing this, but I had a hard time reconciling his actions with, well, reality and this completely took me out of the context of the series.

I wish I could put my finger on why their blossoming relationship just isn't satisfying me, but I'm at a loss to articulate its ineffectual nature. Perhaps it's why the British Office wisely waited until the last possible second to put Tim and Dawn together: the realization that they're more fun when they're star-crossed than when they're together. After all, comedy is tragedy plus time, not melodrama.

This episode as a whole just felt incredibly flat to me, with a few moments of funny interspersed conservatively throughout. I didn't care for the storyline in which Michael constructed a fantasy woman from the chair model he glimpses in an office supply catalogue and his blind date with Pam's landlady was directly influenced by a similar scene in the original Office in which Ricky Gervais' David tries to escape an unattractive woman he's been set up with. Are we really cribbing from the original again? And the assembly of the "five families" of the Scranton business park sounded a hell of a lot funnier on paper than it did it in the execution.

What do you think? Has The Office lost its charm, wit, and direction? Or is the series just as good as it always was? Discuss.

Next week on The Office ("Night Out"), Michael and Dwight ambush Ryan in Manhattan for a night of clubbing; back in Scranton, the gang is unhappy to learn that they have to come into work on a Saturday for Ryan's website project; Jim's plan to save them backfires.

What's On Tonight

8 pm: Ghost Whisperer
(CBS); Most Outrageous Moments/Most Outrageous Moments (NBC); Friday Night SmackDown! (CW; 8-10 pm); Desperate Housewives (ABC); House (FOX)

9 pm: Moonlight (CBS); Dateline NBC (NBC; 9-11 pm); Duel (ABC); Canterbury's Law
(FOX)

10 pm:
NUMB3RS (CBS); 20/20 (ABC)

What I'll Be Watching

8 pm: Sarah Jane Adventures on Sci Fi.

On tonight's episode of the Doctor Who spin-off ("Revenge of the Slitheen"), Luke and Maria start school together and meet a new friend Clyde before Sarah Jane and this adolescent troika uncover a malevolent alien plot. As long as chavvy Kelsey doesn't show up again, I'm good.

8:30-10 pm: Doctor Who on Sci Fi.

Season Four of Doctor Who kicks off tonight with the 90-minute Christmas special entitled "Voyage of the Damned," guest starring Kylie Minogue. When the Doctor's TARDIS collides with a spacecraft replica of the doomed Titanic, will he able to save the crew when history seemingly repeats itself? Find out tonight or read my advance review of this episode from January.

10 pm: Battlestar Galactica on Sci Fi.

On tonight's episode ("The Ties That Bind"), Cally learns the truth about her husband, Galen Tyrol, recently revealed to be one of the final five Cylons. Will she keep his secret or crack under the pressure. Hmmm, remember what she did to Cylon sleeper agent Boomer? Ouch. And she didn't even have a kid with her...

8-11 pm: BBC America.

Looking for a sci-fi alternative? If you happen to be staying in after a long work week, why not do it in true Anglophile style with back-to-back episodes of Coupling and new sketch comedy series That Mitchell and Webb Look, from the stars of Peep Show?

Serenity Now: Jim and Pam Attend the Dinner Party from Hell on "The Office"

I was actually surprised by how much I enjoyed the return of The Office on NBC this week. While I once loved the series with a fiery passion that knew no bounds, I've been entirely underwhelmed of late with the uneven third season and a disastrous creative start to the fourth.

Maybe a time out was just what the series needed to get its legs back. As The Office returned this week with its first new episode ("Dinner Party") since the writers strike shut down production back in November, I was happy to have them back, to see the familiar faces of Michael, Dwight, Jim, and Pam, and to notice the little things that have changed since we last saw them--Angela Kinsey's pregnancy (concealed, as it were, behind each and every pillow, countertop, and credenza available), Dwight and Jim's slightly longer hair, etc.--little details that have shown the passage of time since we last caught up with the gang in Scranton.

Last night's episode focused on events set almost entirely outside of the office; while I've criticized them for doing this far too often in the past, here it worked perfectly as the setting wasn't a surreal exercise in and of itself. It's about time that we delved into the horror that is Michael and Jan's live-in relationship and the dinner party was a perfect route to go. My hat goes off to writers Lee Eisenberg and Gene Stupnitsky and director Paul Feig for this hilarious and heartfelt episode as three couples come together to for a meal of osso bucco ("it needs to braise for three hours") and some party games, only to come apart at the seams.

What worked for me? For a change, nearly everything... though I did miss the supporting crew in the office (and thought that Jenna Fischer's Pam was looking a little too "Hollywood" thin). I roared with laughter about Michael's obsession with the world's smallest plasma screen television, Jan's insistence that he curl up at night on the bench at the bottom of their bed, and his elaborate ruse to entrap Jim and Pam into coming over for dinner.... and his exclusion of Dwight due to the fact that they only had six wine glasses.

LOVED Jan trying to make Pam jealous by getting Jim to dance with her to Hunter's CD (and having him flat out refuse to get up), one of the most uncomfortable and awkward moments in the entire episode, Jan's misguided notion about Pam and Michael having had a relationship, and her insistence that she have both an office and a workplace, from which to launch her new scented candle business, Serenity by Jan. And who didn't feel for poor Jim when his excuse that his apartment has suddenly flooded resulted in Michael excusing him to go check on the damage but not Pam?

What else made me laugh? Jan grinding to Hunter's song (clearly written about an affair with her), Angela smooshing the ice cream cone against Andy's car when he tries to steal a bite and her put-out reaction to Andy handing her a flower ("what am I supposed to do with this?"), Pam's face when told that the osso bucco would take three hours from that very moment to cook, the policemen shooshing Dwight when they arrive at the condo after a domestic disturbance complaint. (Slightly less believable: that Michael would offer to "take the fall" for the crime when he wasn't entirely sure what was going on. I could see him blaming Dwight more than himself.)

Ultimately, "Dinner Party" had the very essence of the series that has been missing for quite some time: grounded comedy that is slightly off-kilter but is based in the mundane reality of office (and extra-office) life. While some of the humor was a little out-there (Dwight bringing his creepy aged former babysitter to dinner), the entire episode seemed such a throwback (in the best possible way) to the pinnacle of Office humor in the second season: relatable, realistic, and remarkably cringe-worthy. I wouldn't have it any other way.

Next week on The Office ("Chair Model"), Michael becomes obsessed with a woman modeling a chair in an office supply catalog and Kevin and Andy set out to reclaim stolen parking spaces from their office neighbors.

What's On Tonight

8 pm: Ghost Whisperer
(CBS); Amnesia (NBC); Friday Night SmackDown! (CW; 8-10 pm); Grey's Anatomy (ABC); Bones (FOX)

9 pm: Price is Right Million Dollar Spectacular (CBS); Miss USA (NBC; 9-11 pm); Duel (ABC); Canterbury's Law
(FOX)

10 pm:
NUMB3RS (CBS); 20/20 (ABC)

What I'll Be Watching

7:30-9 pm: Sarah Jane Adventures on Sci Fi.

It's the US premiere of Doctor Who spin-off Sarah Jane Adventures. In this 90-minute premiere episode ("Invasion of the Bane"), in which the Doctor's former companion Sarah Jane Smith battles alien plots as an investigative journalist; in this installment, she discovers an orange soft-drink

9 pm: Battlestar Galactica on Sci Fi.

Missed last week's fourth season premiere of BSG ("He That Believeth In Me")? No worries, as here's another chance to catch up with Starbuck, Apollo, the crew of Galactica and those Cylon sleeper agents.

10 pm: Battlestar Galactica on Sci Fi.

On tonight's episode ("Six of One"), Starbuck desperately wants to convince the others that they are going the wrong way, but is the answer really pulling a gun on your cancer-ridden president? Meanwhile, the Cylons learn that the Final Five are in the Colonial fleet and there's conflict brewing among the Cylons, some of whom want Cavil to stop lobotomizing the Raider ships. Just what does this signify? Find out tonight.

8-11 pm: BBC America.

If you happen to be staying in after a long work week, why not do it in true Anglophile style with back-to-back episodes of Coupling and new sketch comedy series That Mitchell and Webb Look, from the stars of Peep Show?

"The Office" Spin-Off: That Was Easy

I think I have the perfect pitch for the currently untitled spin-off of NBC's comedy The Office and am happy to share it with Ben Silverman.

Silverman's recent decision to order a number of new series without shooting a single frame of film--and his newfound admiration among members of the advertising community who claim would rather read five or seven shooting scripts than watch a one-hour pilot--made me more than a little concerned about the direction NBC is heading.

After all, as The Hollywood Reporter noted, "NBC plans to have most of the scripts for its new series written before they go into production to give advertisers an opportunity to read them and find better ways for product integrations."

Wait, better ways for production integrations? Before these series have even begun production? Which leads me to my prediction for that untitled Office spin-off, especially as NBC has still not released any information that makes it clear as to whether or not the series even has a concept.

My idea? Let's call it "That Was Easy." We'll set it in a local Staples™ store in, say, Pittsville, Massachusetts. Instead of spending money to build an expensive set for the new series, production will shoot in an actual Staples store.

And, utilizing the Staples setting to full effect, the series will each week feature a dazzling array of new office products in a series of intense product placement that will make even Ben Silverman happy! Remember Kevin's horrifically terrible integrated bit about that Staples paper shredder? Now we can have moments like that each and every week. Imagine the gang's crazy boss going bananas over the latest Swingline™ stapler... or big-ticket items like a new Aero™ chair!

Silverman doesn't know whether cast members from The Office will appear on the new series? Let's make it easy for him. Creepy old guy from the warehouse? He's now a full-time castmember. Those guys that nearly turned up at Michael's party at the convention? They're on as well. Look for a sweeps episode to feature the return of Amy Adams' Katy, now hawking Marc Jacobs™ bags.

Why not bring in that creepy kid from those Dell™ commercials? We can have him can tell the patrons, perhaps made up of actual Staples customers unaware that they are appearing on a mockumentary comedy in a bit of a nifty hidden camera reality show motif, "Dude, you're getting a Dell... at Staples™!" And we can recycle any outtakes into NBC's Most Outrageous Moments, during which we can run more commercials for Staples.

Hmmm, in the end, that was easy.

What are your predictions for The Office spin-off? Discuss.

Spin (Re)Cycle: Still Conflicted About "Office" Spin-Off

Sigh. A day later and I am still feeling just as conflicted about untitled The Office spin-off--announced yesterday as part of NBC's grand-design massive 52-week programming initiative--as I was then.

Let's be honest. As much as I loved The Office, this current season has been terribly sub-par thus far. Not helping things were those disastrous hour-long installments that kicked off the fourth season; they put an incredible strain on both the writing team to subvert their normal format and to production which had to cope with a Herculean workload. The results could be seen clearly on the screen and yet NBC has opted to order more of those extended installments--four hour-longs, in fact--to kick off the 28-episode fifth season in September.

So why complicate thing further still by ordering the producers to create a spin-off series for The Office in the middle of a current season that saw production shut down by the writers strike? But NBC didn't just stop there: they went ahead and announced the damn thing... but still clearly have absolutely no idea what the actual series will be.

Says The Hollywood Reporter:
Announcing the series at the network's upfront news conference in New York, NBC Co-Chair Ben Silverman said the entire Office creative team is behind the spinoff, but declined to detail the new show's premise.

"The watermarked idea will not be shared today," Silverman said. "You may see some of the [original Office] actors on the other show."
So basically, we might see some Scranton-based characters... or we might not. Gee, thanks for clearing that up, Ben.

The official press release, put out by NBC immediately following the unveiling of the schedule, does nothing to clarify things either: "Audiences will follow another comic journey, complete with new faces and new locations, but with the same unique sense of humor and brand of quality from Daniels and his creative team. It's the next chapter of what viewers have come to know and love about The Office."

So the spin-off will feature "new face" and "new locations." Could they be any more vague?

All of these signs point to the fact that the spin-off still lacks a concrete plot, focus, and characters. So what exactly then has NBC ordered to launch on February 1st after the Superbowl? That's an excellent question.

Regardless of the answer, I'd rather the creative staff on The Office focus their energies on improving the original series than splinter their attentions with a misguided spin-off. In the end, this whole premature announcement seems like it was masterminded by someone with roughly the same intellect as Michael Scott himself. I'm just waiting for some gladiators or a talking car to show up in the spin-off.

"Office" Workers: Catching Up with Greg Daniels and Rainn Wilson

Doesn't it seem like forever ago that we were complaining about those one-hour installments of The Office, only to have the series return for one half-hour episode and then vanish into the ether during the writers strike?

The Office finally returns to NBC on April 10th, with six new half-hour episodes planned for the rest of this season. What should we expect for those episodes? Let's check in with showrunner Greg Daniels and co-star Rainn Wilson to find out.

In typical Office fashion, Daniels joked about the direction the remainder of the fourth season will go in. "We're going to play with time a lot, I think," said Daniels. "Like Lost. It’s going to get suddenly weirdly sci-fi." (So does that make Dwight the constant?) Wilson agrees: "There’ll be a hatch under Dwight’s desk."

Any chance of a reconciliation between Dwight and Angela? "Where there's life, there's hope," hinted Daniels.

While Wilson was uncharacteristically non-committal about the possibility of their being a new love interest for lovelorn Dwight, he did hint at some romantic skeletons in Dwight's mustard-colored-shirt-filled closet. "Ex-girlfriends - yeah," said Wilson. "I think we’ll be seeing a lot more sides... a lot more facets of Dwight when it comes to dating and women."

Wilson continues: "I want to say that this is something that I love about this show is that every season--even every episode, every couple of episodes--there’s always some new aspect of Dwight that Greg and the writers want to explore. And that’s such a rare thing. So many shows have their comic sidekick character and they do XY and Z. But I get emotional stories and comedic stories, and family stories and lots of different textures. I really appreciate getting to do that as an actor."

Aw.

Sadly, Stephen Merchant--who was supposed to direct the Christmas episode--won't be back for one of those half-dozen episodes. Executive producer Greg Daniels says that they are hard at work to get Merchant to helm an episode next season.

Daniels himself is a huge fan of the original British Office--created by Merchant and Ricky Gervais--though he feels that the American version has largely become its own beast.

"I think the British version is really, really great and I actually love the British version," said Daniels. "When you look at the scripts for the British version, I think they resemble the scripts for the American version. But they made some decisions to really go very bleak with the production of it and it matched what they were trying to do, which was to be very satiric and paint a very bleak picture of what this world was like. We had an aim to be more of a character comedy that was less satiric and more about the ups and downs of the characters. And knowing that we were going to be on for a lot longer, you know, we wanted to see positive sides to the characters, too."

So when does Daniels feel that the American Office finally clicked then? "I don’t think we really got it 100% right until the second season in terms of the mix and the tone," said Daniels, "although I really like our first season. I think it’s really funny. But once we started to have moments, you know, where - for example where, you know, Dwight is crushed at leaving his work or stuff like that, it kind of opens the characters up in a way where you feel a little bit more for them and you’re also, I think, uncertain as to what’s going to happen next because he might have a moment where you feel for them and then on the other hand, you might have a moment where they’re really just being played for laughs."

As for that Christmas-themed installment (the next one planned after production was shut down), Daniels says that they'll use some of the rough draft that had been written. ("It wasn’t 100% finished, the script," said Daniels. "But we’ll cannibalize it and use pieces of it.")

So what changes can we expect in lieu of the truncated season? "We had some stuff that we were planning for the end of the year and we didn’t end up having enough time to do what we had planned," said Daniels. "But we came up with some other alternatives, things which we really like a lot and it’s probably good that way for the creative process. We didn’t have a lot of stuff that we scrapped because we only had the one episode ready to be shot and that’s the one we came back with where they’re invited out to the dinner party."

The episode Daniels is referring to is slated to air on April 10th, when The Office returns from its painfully long hiatus, in which Michael and Jan invite Pam and Jim over for a dinner party. So where's Dwight in all of this? "Well, you have to tune in on April 10 to find out," said Wilson. "It’s amazing what happens. It’s going to rock your world."

Last fall, The Office was the first series to shut down during the WGA strike in the midst of shooting an episode. What did Daniels and Wilson do during the unexpected downtime in the middle of the television season?

"I just walked in circles a lot waving the placard and didn’t travel anywhere or do anything," recounted Daniels. "But the first day that we came back was very good for the writing staff because this was the longest break that we had had since the show started and people had time to kind of recharge their batteries in a good way. So we had a lot of fun tossing out ideas on our first day back."

"I did a little bit of picketing," said Wilson. "I played a lot with my three and a half year old son, which was good. I think the strike was terribly painful for the families of Los Angeles--the working families of Los Angeles, but it was also great for the families of Los Angeles. I went to Israel and I did some writing. And I worked on my backhand with my Zen tennis coach."

Of course, Dwight would have had a vastly different experience if, say, Dunder-Mifflin ever went on strike, according to Wilson: "If Dunder Mifflin went on strike, you know what Dwight would do? Dwight would join the Pinkertons and he would immediately try and bust the strike. And he’d work for management. He’d go to corporate headquarters and figure out a way to bust up the union--maybe kind of join as a secret--under a different identity and rabble rouse, and be a counteragent. But he would love to join the Pinkertons, wear one of those hats, maybe carry a derringer and be a badass."

I think my head just exploded.

As for the much-beloved Schrute Space (Wilson's in-character Dwight blog), Wilson admitted that he sadly wasn't writing the pieces himself anymore. "I kind of passed the torch off to one of the writers this year," said Wilson. "I just was getting too busy and too much on my plate. And, you know, there’s a lot more press obligations and I’m working on some screenplays and stuff like that. I think the blog was the perfect outlet for Dwight because blogs are the first terrible creation of the 21st century, as people write about what movies they rented and what happened when they went to the drycleaners. And I think Dwight just loves to hold forth with a captive audience. So blogging was a perfect extension of the character."

Does the cast go just as crazy as us real-life office folk who sit in their cubicles all day? "We all go a little bit mad even in the office setting, about eight hours into sitting under those fluorescent lights on the set of The Office," said Wilson. "[We surf] the web, and there’s only so many times you can check CNN.com to see if a bomb has gone off somewhere. We start to go a little bit stir crazy and things start to get out of hand. Recently we’ve kept ourselves entertained by doing Brian Baumgartner imitations and coaxing Ed Helms to do all of his imitations. He does an incredible Tom Brokaw and we love to have him say albondigas--the soup albondigas--as Tom Brokaw."

Finally, what clues can Daniels give us about what to expect when The Office returns next month and that dinner party episode?

"It's kind of a charged situation where Michael has been asking Pam and Jim to come have dinner with him and Jan over and over, and over again," said Daniels. "He finally manages this, through this kind of scam, to destroy all their excuses. And it just happens to be after the previous episode which is when he went to New York to try and help Jan with her deposition and he kind of blew her sort of wrongful termination lawsuit. So there’s a lot of tension between them in that episode."

"And then coming up we have some episodes that, you know, follow off on that," continues Daniels. "Some of them involve the character of Ryan whose website initiative started the season off and is kind of crumbling underneath him and has become infested with sexual predators... which is just one of the problems his website has. And we have episodes coming up where Dwight and Michael are going to [join] Ryan in some of his club-hopping New York partying and try to get involved in his life a little bit more. But there’s some cool, weird things happening that I can’t talk about and you’ll just have to see it to truly enjoy all the twists and turns."

You heard it here. Set your TiVos: The Office returns April 10th on NBC.

StrikeWatch: And... It's Over

It's official: the WGA strike, which began November 5th, has finally come to a close, following a member vote overwhelmingly in favor of ending the strike (92.5% to be precise) and getting back to work during the official ten-day ratification process.

You can literally hear the sound of relief echoing through Hollywood today as writers return to their keyboards to try to pound out as many scripts as possible in time to salvage the 2007-08 season.

"Our membership has voted, and writers can go back to work," said WGA West President Patric Verrone in a statement. "This was not a strike we wanted, but one we had to conduct in order to win jurisdiction and establish appropriate residuals for writing in new media and on the Internet. Those advances now give us a foothold in the digital age. Rather than being shut out of the future of content creation and delivery, writers will lead the way as TV migrates to the Internet and platforms for new media are developed."

So what series will be the first to make it back on air? Most likely it will be NBC's Saturday Night Live, scheduled to return on February 23rd with 30 Rock's Tina Fey as the host (the following week brings Juno's Ellen Page).

As for dramas and comedies, don't expect to see any new episodes of series like Two and a Half Men, The Office, or Ugly Betty until mid-March (for multi-cam comedies) or April (for dramas and single-camera comedies).

As for how many episodes each series will be able to deliver, that depends entirely on the speed of the writing staff and the production schedule. The Office is expected to shoot six more episodes this year, possibly seven. The writing staff on that series had completed a script before the strike began (but were unable to film due to star Steve Carell joining the picket line) but will have to scrap another, a Christmas-themed episode, in an early stage.

"We're going to throw that one out," executive producer Greg Daniels told The New York Times as he explained how the writers would meet this week to plot out the series' storylines. "I'm tempted to just leap ahead to where we would have been."

Five episodes of 30 Rock are expected to be completed before May, depending on Alec Baldwin's availability; the star recently signed on to a feature film, making production slightly more difficult. (And yet something tells me it will all work out.)

The fates of ER and Scrubs are up in the air. It was widely thought that both NBC series would end at the end of this season but without filmed finales, one or both might head back to produce more episodes.... and ER could end up on the fall schedule again, should certain economic factors be worked out. As for Scrubs, NBC has not yet made a decision on the fate of those final six unproduced episodes.

CBS has handed out additional orders for two of its series, giving a six-episode order for comedy Rules of Engagement and four-episode order to Shark.

The network is also in discussions with Warner Bros. Television about restarting production on midseason comedy Old Christine, which was unable to fulfill its entire 13-episode order.

HBO will push the premieres of returning series Entourage and Big Love; Entourage is now expected to be shifted from summer to Fall 2008 while Big Love could launch in either fourth quarter or 2009.

For others, it's the end of the road. On the bubble for renewal (and not producing any further episodes this season): Journeyman, Bionic Woman, Cane, and Big Shots.

While ABC has not yet decided about ordering additional episodes of drama Women's Murder Club this season, if it does return, it will be without showrunners Sarah Fain and Elizabeth Craft and executive producer R. Scot Gemmill, who have all been let go from the series.

"Office" Baby Shower: Angela Kinsey Announces Pregnancy

Break out the saxophone-playing baby posters.

At last, some good news for the cast and crew of NBC's The Office, which saw production shut down on the second day of the WGA strike during the filming of their final script.

Angela Kinsey, who plays dour accountant Angela Martin, has announced that she is pregnant with her first child, according to a report in US Weekly.

“She and her husband are very excited,” the Kinsey's rep told the magazine.

Kinsey's husband is TV writer Warren Lieberstein, who has written for such series as Carpoolers and All of Us. He also happens to be the brother of writer/actor Paul Lieberstein, who plays Toby on The Office.

No word yet if the series' producers will write Kinsey's pregnancy into the fourth season's storyline, though how hilarious would it be if the prim and proper Angela--currently embroiled in a love triangle with Dwight and Andy--had a bit of a paternity issue?

What's On Tonight

8 pm: How I Met Your Mother/The Big Bang Theory (CBS); Chuck (NBC); Everybody Hates Chris/Aliens in America (CW); Dancing with the Stars (ABC); House (FOX)

9 pm: Two and a Half Men/Rules of Engagement (CBS); Heroes (NBC); Girlfriends/The Game (CW); Samantha Who/Notes from the Underbelly (ABC); Bones (FOX)

10 pm: CSI: Miami (CBS); Journeyman (NBC); October Road (ABC)

What I'll Be Watching

8 pm: Chuck.

On tonight's episode ("Chuck Versus the Nemesis"): Bryce returns to the land of the living and hopes to convince the CIA that he never went rogue, while a secret organization within the intelligence community tries to track down and destroy the Intersect; Chuck realizes he can never be with Sarah after seeing her with Bryce; Morgan is left in charge of the Buy More on Black Friday.

10 pm: Journeyman.

It's Kevin McKidd (Rome) as a time-traveling newspaper reporter in a drama that's more about human interactions and the nature of choice than, say, technicolored time machines. On tonight's episode ("Blowback"), the continuation of last week's two-parter, Dan learns a valuable lesson about not going off mission when the kidnapper Aeden Bennett returns to seek revenge and targets Katie; Dan travels to 1983, where he discovers a young criminal's origin; Livia makes a discovery about her mission.

Capulets and Romulans: Last Night's Episodes of "The Office" and "30 Rock"

I am feeling really melancholy this morning after watching last night's episodes of The Office and 30 Rock, especially given that The Office's lukewarm offering was the last episode of the NBC comedy that we'll see... until after the WGA strike is resolved.

Last night's installment of The Office ("The Deposition"), written by supervising producer Lester Lewis, was shockingly low-key in comparison to recent episodes, which had Michael driving a car into a lake, kidnapping a pizza delivery boy, and attempting to flee Scranton on a cargo train. But it wasn't the restrained tone that bothered me (in fact, we don't need the histronics of Season Four's one-hour episodes in order to find the funny), but it was so far understated that the entire episode seemed strangely static.

I've been calling for a return to more office-based humor and less field trips (unless they're organic like "Booze Cruise" or, hell, even "Branch Wars") for a while now and while this episode did just that--offering a warehouse ping-pong competition between Jim and Darryl, with warring girlfriends Pam and Kelly talking smack, while Michael testifies in Jan's deposition for her $4 million wrongful termination suit against Dunder-Mifflin--it felt oddly flat and uninspired.

The usage of "That's what she said" was completely mismanaged during the deposition scene. When the joke works it really works (as in last week's episode); here, it was so inappropriate that I had a hard time believing that Michael would really utter those words under oath, even if he was nervous at trying to remember all of his "lines."

What worked? Michael having to sit with Toby, only to upend his lunch tray seconds later, the reading of Michael's diary in which he admits, "Ryan is just as pretty as Jan, but in a different way" and Toby's subsequent laughter, the "Hiya, Buddy" hot dog drawing, and the consequences from that Sandals photo Michael accidentally sent out to everyone at Dunder-Mifflin.

I liked seeing a super-competitive Kelly Kapoor talking trash (or, sorry, smack) about Jim but I couldn't really get behind the entire ping-pong plot, which reminded me far too much of the basketball game from Season One's "Basketball." And not in a good way.

Or was I just so depressed by the fact that this could serve as an unintended season finale of The Office that I glumly overlooked something? On that count, I'm not sure that my mood influenced me too much; the episode did seem rather subpar, as though it were just going through the motions.

Over on 30 Rock, the mood was more convivial, but the series has had its funnier installments. Last night's episode ("Somebody to Love") found Jack falling for C.C. (guest star Edie Falco), a Democratic Congresswoman whom he meets at a conservative mixer and beds without realizing who she is. (Naysayers who wonder if Falco can do comedy have clearly never seen her film Judy Berlin.)

Jack and C.C. soon enter a secret affair while Liz suspects her new Middle Eastern neighbor Raheem of being a terrorist... only to learn that the clues she's uncovered reveal that he is applying to be on The Amazing Race. Oh, and Kenneth attempts to replace a pair of Jack's tuxedo pants that have gone missing by doing odd jobs--such as scaring a sleeping Lutz by wearing an ape mask or eating expired ketchup for money--around the office.

I thought that the Liz story was just slightly more effective than the Jack one, thanks to its brutal third-act twist regarding Raheem. I love the way that 30 Rock subtly paints liberal Liz as progressive in her views but secretly suffering from some racist tendencies; her paranoia was acutely felt but in a comedic way. Elsewhere, in this episode, there was way too much usage of the Lifetime Movie of the Week (A Dog Took My Face And Gave Me A Better Face To Change The World: The Celeste Cunningham Story) throughout. Instead of being a funny aside (loved the fact that the dog shot C.C. in the face with a hunting rifle), the footage soon overwhelmed the entire episode.

More subtle by far was the return of NBC fictional parent company The Sheinhardt Wig Company, here embodied in a series of t-shirts that many of the characters were wearing, following a rather public scandal involving illegal toxic dumping and orange-colored school children. And, um, the news headline about Anne Heche leaving her husband for a pony.

Roared with laughter at the blatant Verizon Wireless product placement gag and Liz's demand for money. As I did with a miffed Jack correcting the bartender that for men his drink of choice was called a Hardy Boy rather than a Nancy Drew.

Plus, how can you not love a series that has one of its lead do a Rerun-style dance (complete with red beret) while two others talk about the smell of maple syrup in the air, possibly caused by a biological weapon with the ability to kill within ten seconds? Even the warring Capulet and Romulan clans could agree on that.

Best line of the night (from either series): "We Parcells are neither wealthy nor circumcised, but we are proud!"

I Will Survive: Amid the Chaos of the Strike, "The Office" Still Provides Laughs

I'll admit that last night's episode of The Office ("Survivorman"), written by Steve Carell and directed by Paul Feig, was more than a little bittersweet for several reasons.

First off, while the Michael venturing into the woods storyline pushed the limits of believability just a little bit, the Jim storyline was absolutely pitch perfect and completely restored the tone, scope, and mission statement of the series in a way that has been missing this season so far. It's ironic to me, then, that it took star Steve Carell to write an episode in order to get the series back on track in terms of restoring the office setting (yes, save the Michael A-story) and grounding that plot in terms of a mundane reality.

Second, it was depressing to watch this particular installment of The Office because, due to the current writers strike going on right now here in LA (and in NYC), this is the penultimate episode of the series for now. Next week's episode ("The Deposition") is the absolute LAST episode of The Office, until the WGA strike is resolved, regardless of what anyone else might tell you. So hopefully it will prove to be a good installment because it's the last of the series for what appears to be quite some time.

Michael. I do wish that instead of seeing Michael go off into the woods, we could have witnessed him attend that wilderness expedition with Ryan and the other branch heads, although I do agree that Ryan probably knows enough about Michael already. I liked the fact that Dwight followed Michael with the camera crew in order to capture his excursion and that , in the end, Dwight didn't let Michael die (as he has sworn to) but instead rushed over to him when he ate those mushrooms and stuck his fingers into his boss' mouth, as any good sycophant would do under similar circumstances. Although the plot made Michael a little too cartoonish for my liking, there were some nice moments there: Michael attempting to tell the time based on the sun's position in the sky, only to glance down at his watch, his decision to transform his pants into a hat and some kind of kerchief for his neck... and then into a tent. Ultimately, I was happy that Carell didn't have Michael try to spend the night in the woods and returned him to the office in time for Creed's birthday song.

Jim. Last night's installment was also a fantastic Jim episode as he quickly slipped into the role of Michael while the boss was on his own wilderness retreat. The ease with which he made this transformation was sobering and terrifying to young Jim, especially when further goaded by Pam with the conference room comment and his attempt to make things more fun by changing the order of the office by combining everyone's birthday parties into one mega-party. Furthermore, the look on his face when (A) Phyllis called him Michael and (B) Michael told him that, like Jim, he had done the same thing starting out and had even said he wouldn't still be here in ten years was absolutely priceless. Loved the improvised ending with "that's what she said," in which we got a frightening glimpse of Jim's future.

Andy. I've said it before, but I am constantly amazed by how much I am growing to love Andy's loopy spirit. Last night's episode was no exception, with some singular Andy moments that perfectly captured his selfish nature, from his insistence about having a Fudgy the Whale cake at the mass birthday party to the call for mushroom caps (and his excitement at the realization that there were mushroom caps).

Creed. Just the right amount of Creed in this episode to tantalize the audience and want more. Loved the comment about "Jimmy" not caring about the sanctity of the solo birthday party because he had already had his two months earlier. And who asks for peach cobbler for their birthday cake? Creed, that's who. Best bit: "Tell her it's for Creed. She'll know what that means."

Phyllis. LOVED the fact that she called Jim Michael last night. So fitting and coy and it was played with such authentic restraint and realism that you actually believed it was unintentional. Also loved her reaction to Michael jumping out at her in her car with a birthday cake. Classic.

Dwight. I loved the way he led Michael into the woods like someone leading a lost little boy by the hand... and the fact that he was spying on Michael using a rifle scope, only to learn that the safety wasn't in fact on. Bonus points for having Dwight take his hands off the steering wheel to remove his shoe and try to beat Michael into unconsciousness with it. And the smooth slide into creepiness continues with Dwight's reveal that he would kill Michael and remove his teeth and fingertips in order to conceal his victim's identity... and that he keeps caches of weapons all over the office. The Overkill Killer, indeed.

Best line of the episode: "I took an extra shot of insulin in preparation of this cake today. If I don't have some cake soon, I might die." -Stanley.

Ultimately, this was easily the best episode of the season to date and it's with more than a little sadness that it seems that The Office's fourth season will be derailed by the strike just as things were finally getting good again.

Next week on The Office ("The Deposition"), Michael is deposed as a witness when Jan sues Dunder-Mifflin for wrongful termination and Kelly puts Pam down after new boyfriend Darryl trounces Jim at ping-pong. Consider it a mini-season finale for now, albeit without a cliffhanger or resolution.

Sad Business: "The Office" Shuts Down Production

In an expected move, studio NBC Universal has shut down production on comedy The Office.

The decision comes after stars Steve Carell and Rainn Wilson, in addition to writer/actor hyphenates B.J. Novak, Mindy Kaling, and Paul Lieberstein, have not shown up for shooting again on Day Two of the WGA strike.

Executive producer Greg Daniels has also not reported for work this week to render non-writing services as part of his role as showrunner. The writing staff, as well as other WGA members, have been heavily picketing the lot where The Office shoots.

In related news, reports have reached me that Tina Fey has not crossed the picket line to film her scenes for NBC's 30 Rock, despite being quoted yesterday that she would be fulfilling her acting obligations to the series.

Production has also been halted on comedies Back to You, Old Christine, 'Til Death, Rules of Engagement, Two and a Half Men, and The Big Bang Theory as well as drama Desperate Housewives.

"Wanted: Middle Aged Black Man with Sass": Branch Wars on "The Office"

I'll admit that while I've been unhappy with The Office this season, last night's episode ("Branch Wars"), while far from perfect, was at least a step in the right direction, thanks to a punchy script (if a little too unrealistic) from Mindy Kaling (writer of my all-time fave Office episode, "The Injury") and dynamic direction from Joss Whedon.

There were a few things that went a little too into the dark territory of the dubious: Michael's Ferris Bueller-inspired attempted cover-up of his truancy, which could have been more effective had someone discovered the dummy and audio cassette of Michael snoring in flagrante delicto as were; the overt sting of product placement in replacing Michael's oh-so fitting Sebring with a PT Cruiser, which is so vanilla and unspecific that it goes against everything the writers were attempting to do with his car in the first place; and the fact that Pam would organize and participate in an elitist club celebrating the Finer Things in Life (rather than, say, Angela, from whom this behavior would only be fitting); the mustaches and warehouse uniforms that Michael, Dwight, and Jim don as part of their pranking the Utica branch in retaliation for Karen poaching sassy black man Stanley.

It's the latter that I am willing to give the benefit of the doubt. After all, the visual reveal of this troika clad in over the top mustache-twirling villain-style, er, mustaches more than made up for my incredulity at seeing this in the first place. Pranks have always been an integral part of The Office since the UK original, but they've tended to be more of the stapler-in-Jello variety than an all-out assault on another branch, complete with Molotov cocktails and potential eye-gouging. It's a little too far out there but Kaling manages to ground what could have been an over the top paroxysm by having the action--in which Dwight and Michael slip into the Utica warehouse and attempt to steal their industrial copier, only to have it go horribly, horribly wrong--play out, not on-screen, but via walkie-talkies. The result is hysterical without being hammy.

It was wonderful to see Karen (Rashida Jones) again, though I am not totally sold on the fact that she would relocate to Utica rather than, say, getting a job at Dunder-Mifflin's corporate offices in Manhattan. But that's quibbling. I am happy that the writers decided to force Jim to confront what he did to Karen sooner rather than later by having the former lovers face one another in the most humiliating, awkward way possible. (Really, wouldn't it just be rewarding to find your ex outside your office building, in a fake mustache and women's warehouse uniform?) The scene between the two in which Jim callously mentioned how happy he and Pam were in their new relationship and Karen goes out of her way to make Jim feel as uncomfortable as possible was brilliant and squirm-inducing, things that The Office used to be in abundance.

I don't really buy the notion that Pam would start a club about the Finer Things in Life, but I did think that Andy attempting to worm his way into the most exclusive club at Dunder-Mifflin Scranton (with the Party Planning Committee a distant second and Kevin's band Scrantonicity II a safety) definitely fitting, considering the character. Having them wear silly hats and eat finger sandwiches in the break room pushed the level of disbelief a little too much. It's one thing to get together after work or off-site but dressing up (Toby in a bowtie? Pam in a headkerchief to discuss "Angela's Ashes"?) was a little too OTT for my liking.

Angela was conspicuously absent in this week's episode (except for a few shots of her as part of the room), but I'm okay with that after we've focused on her character for the last few weeks. It's always good to take a breather and have some of the other characters, like Stanley, come into sharp focus for a change.

Speaking of Stanley, I did love the scene in which Michael tearfully tried to compose a help wanted ad to literally replace Stanley with a virtual clone, in terms of body type and personality. Oh, Michael, will you never learn? And nice touch of continuity when Michael tried to steal Karen's best salesman only be asked if he was the guy who ran over the woman.

Not a perfect Office episode but a vast improvement over the dreaded one-hour installments. I'm hoping that the path back to creative solvency begins here and that before long we're on the road back to the stylistic and narrative virtues of this series. Let's just hope that the dreaded writers strike doesn't derail those plans.

Next week on The Office ("Survivor Man"), Michael goes into the woods for his own survival adventure when he's excluded from Ryan's mancation while Jim, left in charge of the office, attempts to transform the humble office birthday party, in this episode written by Steve Carell!

Spin Doctors: Is "The Office" About to Hatch a Spin-off?

I was out of the office yesterday but received nearly a dozen emails yesterday from impassioned (and irate) readers about the rumor spreading like a paper warehouse on fire of a potential Office spin-off.

I'm highly dubious about the rumor of the proposed spin-off. TV Guide's Michael Ausiello says, "Multiple sources confirm to me exclusively that the Peacock is developing an episode of The Office that would introduce several new characters who would then be spun off into a new series à la Private Practice."

Personally, I've heard not even a peep about this purported backdoor spin-off, which according to Ausiello, would not include any characters from the original and instead focus on all-new characters to be introduced later this season. (So, sorry Kinsey fans, but there will be no Angela! spinoff in works about the feline-loving accountant.)

My sources indicate that this rumor is just that: a rumor. Greg Daniels has often floated the idea of a spin-off to his writing staff in past seasons but nothing has ever been set into motion. As for NBC actively courting a big-name star to anchor this spin-off? That seems unlikely as well as no one I spoke to had seen a script for this alleged spin-off.

Given the fact that The Office has been suffering creatively lately, methinks that Daniels and the writers need to focus on a way to save the original Office before even contemplating expanding the brand to another series. At the end of the day, this is just a spectacularly bad idea that seems borne out of commerce rather than creatively. (I do not want to see The Office: Miami nor The Office: NY.)

Some spin-offs have gone on to become fully appreciated, brilliant series in their own right--I think now of NBC's Frasier in particular, which only launched AFTER Cheers ended, or Angel, which broadened the Buffyverse in unexpected ways--but most of the time they are mawkish, sub-par attempts to cash in on the success of a series. (The Tortellis, I am looking at you.)

Let's focus on getting back to basics now that The Office has finally returned to its half-hour format and concentrate on telling the best possible stories for THIS group of characters. There's a reason why viewers return to The Office each week. It's not the workplace comedy setup, it's not the pranks or the gags, and it's not the quirky Scranton location. At the end of the day, it's about the people. Huh, maybe David Brent was on to something after all...

Did Last Night's Episode of "The Office" Give the Series a Second Life?

I am sure all of the JAM 'shippers out there are abuzz this morning after Jim put his arm around Pam on last night's episode of The Office ("Local Ad"), in an attempt to demonstrate that they were dating when the bartender at Poor Richard's hit on Pam ("ever been on a motorcycle?").

It was a small moment but a telling one for the series. Jim and Pam are definitely an item and, as much as I had hoped otherwise, they are definitely front and center this season on The Office. I like the lovebirds as much as the next guy but I had hoped in my heart of hearts that this wouldn't become The Jim and Pam Show as much as it would place their ongoing romance a littler further back from front of stage. Yes, Jim's action was completely justified (I probably would have done the same thing) but it was just the way it was showcased so closely on the heels of last week's extremely Jim-and-Pam-centric episode.

I will say however that I am extremely happy that The Office's experiment with the one-hour format is over... for now anyway, though I'm thinking they'll save that final extended-length episode for the season finale. While "Local Ad," written by B.J. Novak, certainly wasn't the best Office episode ever, it was a breath of fresh air after the painfulness of the last four installments. It might not rank up there with the best Office episodes of all time, but it was at least a decent attempt at humor after The Episodes Better Forgotten.

What worked for me last night? The awfulness of the corporate-mandated ad, complete with inane generic commercial and the waving, especially when compared to what was an incredibly creative Michael Scott joint for once. I loved Pam's animated Dunder-Mifflin logo and the commercial itself (complete with Vangelis' score for Chariots of Fire) was creative, touching, and inspirational, all adjectives that don't traditionally come to mind when thinking of Michael. Darrell's Dunder-Mifflin jingle, especially when accompanied by Kelly and Creed. Pam spending the night at work with Dwight passed out on the couch and Michael editing. Jim being forced to take a ride with Meredith. Michael calling boss Ryan a "little bitch," unaware that Ryan was on the call. Also fantastic: the exchanges between Andy and Dwight as Andy unwittingly grinds Dwight's heart into a pulp by talking about his necking (literally, neck to neck) with Angela ("it was hot but weird")... only for Dwight to learn that when Andy and Angela finally do make out, she calls him by her pet name for him ("Oh, D").

On that note, Andy, Andy, Andy. I was concerned when the Office producers decided to bring Ed Helm back full-time this season, but I will eat my words. Andy is breathing new life into The Office this season and it's his tantrums, confessions, bizarro behavior (such as doing the splits in front of Pam's desk last week) that are keeping me engaged with the series. Plus, I am loving the love triangle set up between him, Angela, and Dwight, quite possible the three least likely character candidates to receive such treatment on a US network series.

What didn't work? The entire, drawn-out Second Life storyline that went nowhere. I'm not sure if this was an idea shoehorned in by NBC (much like microwave storytelling on 30 Rock's TGS) or one devised by the Office's writing staff, but I thought it was just terribly boring and uninspired. There had got to be a better way for Pam to discover that Jim wishes he was a sports writer in Philadelphia with a better build and a guitar slung over his shoulder than this; I also don't buy that Jim would spend that much time creating an avatar of himself when he could have created some prank to play on Dwight.

But what did you all think? Was the Office's return to form (or format, anyway) a strong entry or a weak one? Or was it just a relief not to have to sit through an hour of drawn-out plots and attempted felonies? Talk back here.

Next week on The Office ("Branch Wars"), Karen (Rashida Jones) returns when she tries to woo Stanley from Scranton to the Utica branch, leading Michael to launch an all-out war and drag Jim into the battle, while Dunder-Mifflin Scranton is perturbed by the creation of a "Finer Things Club."

What's On Tonight

8 pm: Ghost Whisperer (CBS); Deal or No Deal (NBC); Friday Night SmackDown (CW; 8-10 pm); 20/20 (ABC); Next Great American Band (FOX; 8-10 pm)

9 pm: Moonlight (CBS); Friday Night Lights (NBC); Women's Murder Club (ABC)

10 pm: NUMB3RS (CBS); Las Vegas (NBC); Men in Trees (ABC)


What I'll Be Watching

8-11 pm: BBC America.

If you happen to be staying in after a long work week, why not do it in true Anglophile style with back-to-back episodes of The Office, Little Britain, Absolutely Fabulous, Mighty Boosh, and Catherine Tate Show?

Mo' "Money," Mo' Problems: Overstuffed "Office" Episode Leaves Me Yawning

At least the one-hour episodes are over (for now, anyway).

I do feel as though my original misgivings about the extended- length (that's what she said) installments of The Office did come to pass as these past four episodes have positively ached from the stretch marks. For the first three weeks of Season Four, I liked the first half-hour of each episode and then loathed the second half. But with last night's episode ("Money"), written by Paul Lieberstein, I can honestly say that I didn't care at all for the first half and only slightly less disliked the second half.

I should preface my comments by saying that I'm not usually a fan of Lieberstein's episodes; "Dwight's Speech," "The Coup," and "Cocktails" are some of my least favorite episodes to date on the series. Specifically, his episodes typically have a thread that involves Dwight being crazy: climbing the roof at a stranger's house, knowing that Jan likes Liz Claiborne earrings while attempting to overthrow Michael, etc. These episodes drift too far into an extreme behavior that makes Dwight just seem insane rather than just socially awkward/borderline creepy.

Last night's episode of The Office furthered this trend with an uncomfortable outing to Dwight's family beet farm, which he now intends to run as a ecotourism B&B complete with tours of the fields and barn, a class on table-making, and beet-laden meals in the kitchen. To me, this entire scenario is best left as a throwaway line, rather than the A-storyline in the first half of an extended episode. To add insult to injury, having Jim and Pam decide to stay at this monstrosity of a vacation getaway just made absolutely no sense whatsoever, especially given that it's their first trip away together (and in the middle of the week no less).

Sure, it was semi-funny when Mose (Office writer/producer Michael Shur) chases Jim and Pam's car as they drove up to the farm but the humor really stopped there for me. Mose and Dwight are only good in small doses (hence my loathing of B.J. Novak's "Initiation" episode) and this whole endeavor just reeked of sentimentality (Jim overhearing Dwight sobbing) mixed with over-the-top quirkiness. At least there wasn't something nasty in the woodshed...

While I am sure the internet will be aflame with viewers wondering whether Jim and Pam pushed their beds together that night, I will say that I honestly don't care to imagine this scenario. I like Jim and Pam as a couple... when they stay in the background. Additionally, the "I love... Italian food" conversation was far too precious for my liking as well. Jim bonding with Dwight after realizing how much he's hurting from his breakup with Angela? A good thing. Jim consoling Dwight as he sobs in the Dunder-Mifflin stairwell while singing "You Give Love a Bad Name"? Way too far, in my book.

So what worked? Angela and Dwight's low-key final breakup scene as they unloaded their trunks and divested themselves of the other's belongings; it set the perfect tone and their handshake at the end, after arguing over the whereabouts of her angel figurine, was the icing on the cake. I liked the idea of Michael moonlighting at a second job more than the actual execution, but I did love his line that his boss' unannounced meetings in the conference room were "pointless." (At least there's no chance of Michael becoming too self-aware any time soon.) Oscar trying to help Michael sort his finances out with a PowerPoint presentation, complete with a bar that indicated money spent on things that no one needs to spend money on, like multiple magic kits. Dwight using the ruler to push Jim's papers back onto his own desk. Kelly and Darrell. And, on that note, Kelly's new hairstyle. Also, Andy stealing the cat that Dwight threw last week into Vance Refrigeration and putting it in a box for Angela with a note about destiny. Also, the splits in front of Pam's desk.

What didn't work? Most of the beet farm scenes, which were far too out-there and unrealistic for the ethos of The Office. Michael running away from Jan by attempting to board a random cargo train to anywhere (I like Michael dumb and clueless but not suffering an actual psychotic break from reality). The fact that Michael and Jan now drive a Porsche and that they "sold" their two other cars. Um, Michael's Sebring was a company car, no? Mose literally throwing manure with his bare hands. The painfully awful cold open with Michael channeling Meryl Streep in The Devil Wears Prada and demanding his steak and that Pam get Armani on the phone. Ouch.

The very best thing I can say is that next week finally brings the first half-hour episode of the season. I hope that NBC realizes that sometimes too much of a great thing isn't actually good, especially when the writers have noticeably struggled to deliver the same energy, wit, and humor we've grown accustomed to these past few seasons. Let's just hope we can put these one-hour installments aside and get back to basics: creating a funny, sensitive, subtle half-hour comedy that doesn't pale in comparison to 30 Rock.

Next week on The Office ("Local Ad"), Michael jumps at the opportunity to showcase his creative abilities when the Scranton branch of Dunder-Mifflin is asked to participate in a local ad, while Dwight gets sucked into the virtual world of Second Life.

Dwight Rages Against the Machine on "The Office"

I really do want to like The Office this season, but they are making it so bloody hard to do so with these drawn-out one-hour installments. I was firmly against the extended episodes when they were announced, depressed when it was clear that the first four episodes this season would be comprised of these one-hour chunks, and upset now that it's become difficult to sit through an entire episode.

Take last night's episode of The Office ("Launch Party"), which is the perfect example. I thought that the first half-hour of the installment--written by Office executive producer Jen Celotta--was absolutely brilliant. I loved Phyllis' attempt to deal with Angela's ever-increasing bouts of moodiness by searching the internet for tips on how to deal with difficult people and Jim and Pam's prank on Dwight by making him believe the Dunder-Mifflin website had become sentient and was programmed to destroy him... by selling more paper. Same with Michael's, er, misapprehension about the nature of the launch party: a hip NYC club called "Chat Room," complete with a password that's nothing more than password and and address that has "www" in it. (Loved how Jim subtly turned the car around without another word.)

What else worked? That little aside that had the now-single Kelly possibly flirting with Darryl. (Hmmm.) Meredith asking Jim to sign her cast... and lifting up her dress to reveal a cast covering her pelvis. The subtle way Dwight expressed his depression by not shaving for several days. Phyllis crumpling Angela's Post-Its and throwing them in her face. Basically, the little things.

I thought the opener--in which the Scranton gang watched the TV screen in the hopes that the bouncing DVD logo box would hit the corner of the screen while Michael made inane suggestions about how to make their quarterly reports more exciting--was not only hysterical but absolutely realistic and fitting with the series' mission statement. The fact that when the box did hit the target everyone got up to leave was the icing on the cake.

(One caveat about the episode. I do feel as though someone on the Office writing staff did perhaps confuse reams of paper with cases of paper. A ream is only 500 sheets of paper; a case contains maybe 10-20 reams. The computer and/or Dwight only selling 400 reams of paper or so in an entire day is a huge error in my book and would mean that Dunder-Mifflin Infinity's first day was a terrible, terrible launch: that's only roughly 40 cases of paper or so. I somehow doubt that businesses would only order a few reams of paper via a website, rather than cases.)

In any event, I feel lately that The Office has been prone with taking storylines a little too far, which endangers the entire mockumentary feel of the series. Sure, there have been moments perhaps where the series crossed a line but kept it realistic and humorous (Michael's George Forman Grill moment, for example), but last night's episode didn't stick to realism, instead creating a scenario that was so over-the-top and unbelievable that it made me squeamish.

I'm talking, of course, of the kidnapping of the pizza delivery boy. The fact that Michael would kidnap a minor and hold him in the Dunder-Mifflin offices--and that none of the staff would stop him from doing so or release the bratty kid--was completely unbelievable and stretched the series' credibility. I did not like this storyline, which strained to have any connection to the real themes and workplace issues at hand--Michael's feelings of dismissal by former golden boy Ryan, Jim and Pam's subtle romance, Angela and Dwight's awkward breakup, etc.--and seemed tacked on in an attempt to fill in the extra time. If anything, it undermined Michael's character by again making him seem less boorish and more completely out of touch with anything resembling reality.

I watch The Office for the crackling writing, the subtleties of the characterizations, and the humor found in the brutal reality of these workers' mundane existence. I don't want over-the-top inanity (such as in "Phyllis' Wedding") or plots that make it difficult to take the characters seriously anymore.

So, please, NBC, for the love of all things Scranton, learn from this one-hour debacle and get The Office back on track again: cut down the running time to its normal length (extended eps are okay every now and then when it comes from the story and not vice-versa), tone down the madcap plots, and get back to why we love this smart series. I promise I'll be watching.

Next week on the final consecutive one-hour installment of The Office ("Money"), Jan renovates Michael's condo, forcing him to ask his employees for a loan to cover the payments, while Pam and Jim spend the night at Dwight's farm, which has been converted into a B&B.