Google,” said Dwight, in a speech that sounded satirical but was really just an accurate assessment of the facts.
“With today’s modern surveillance technology, we are in a constant state of being watched, whether it’s our government or the government of other countries, a.k.a. Maybe this was because the new “Office” took place in an environment where the public life was no longer a novelty. Angela’s season-long “Pilgrim’s Progress” of mortification had left no scars. Jim and Pam made a scrapbook of their love. In what amounted to a rebuttal to the British “Office,” the American show’s finale insisted that nine years under the PBS cameras had had entirely positive effects. And I was fascinated by how the conclusion seemed to reflect back on its own genre. I loved seeing every love triangle (the show’s specialty) solved like a math problem. (O.K., maybe on “Mad About You,” but not nearly as effectively.)Īnd yet: I laughed, I cried, I kvelled, I nodded along, I ignored doubts, I admired zingers, I marvelled at the restrained use of flashbacks. In the final season, the show once again accomplished something fresh by placing realistic pressures on Jim and Pam’s marriage, something that had never been done successfully on a sitcom. jokes, but generally falling into disarray. Instead, it struggled on for two more years, throwing James Spader spaghetti at various plot walls, trying and failing to make Andy Bernard into more than Michael 2, hosting some decent plots and some O.K.
If the show had ended two years ago, when Michael managed-in large part by modelling himself on Jim-to form an authentic relationship with a woman, and to build the family he’d always longed for, it would have been a small, humane marvel. Over the years, the American “Office” wove together two great arcs: the Jim/Pam romance and the Pinocchio-like transformation of the petty tyrant Michael Scott.
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