Rewatching the entire series thus far of The Office is a
reminder of the show’s considerable strengths and sets the bar
exceedingly high for this season. The writing team has poured
creativity and emotional heft into plot stunts that would have stopped
the momentum of a lesser series: the Michael Scott Paper Company, Jim
and Pam’s hook-up, Dwight’s resignation, branch mergers. Steve Carell’s
performance as man-child boss Michael Scott is a masterpiece of silent
emotive communication—every self-conscious glance at the camera could
be anything from embarrassment, fear, triumph to apprehensiveness.
Season six promises Jim and Pam’s wedding (this Thursday night), their
baby and “co-managers” Michael and Jim. But The Office‘s track
record with plot gymnastics inspires optimism.
This article appears in Oct 8-14, 2009.
