Classy Christmas

I never truly abandoned The Office. Sure, that sixth season was tough to swallow. Probably because it became the Jim and Pam show, but I made it through that painful endeavor.
Unfortunately, I fear a lot of Office fans weren't as resilient as me. Some stopped watching the show regularly or just resented the half an hour block of time they wasted each week.
I remained a loyal viewer, if not a punctual one. Maybe I watched Parks and Rec or Community first when catching up online, but I always kept tabs on my Dunder Mifflin friends.
For my patience I was rewarded with the two-part classic known simply as, Classy Christmas. Was it good? Let me put it this way, "It [was] like a party for limousine drivers."
This is a great Christmas episode. These episodes, which have become a tradition of THE OFFICE to mixed success, are always when the writers commit themselves to taking a big swing at the plate.
This episode, directed by Dwight and written by Kelly, strikes the perfect balance of drama, the ridiculous and provided each employee a chance to shine.

Let me first touch on the breakout star, Erin (Ellie Kemper), who was hilarious with her antagonistic feelings toward Holly. For some reason, she's just not impressed with Holly. Maybe it's because Michael is like a substitute dad, and no one is good enough for her dad, but the dynamic is amazing.
My favorite quote was when Erin mused, "Maybe Holly's not in any position to be shooing guys away."
The most surprising aspect of the show was how Dwight turned the tables on Jim, as he pulled the ultimate prank by obliterating him in a no-limits snowball fight. I guess I shouldn't have been surprised, though, since Dwight obviously views the situation as a war, which he even wages with psychological terror.
Ultimately, the episode is about wooing the affection of H.R. superstar Holly.
Her return to Scranton is precipitated on Toby's role as a juror (on a case that may or may not involve the Scranton Strangler), and she seems to return without missing a beat. She and Mike are in the throes of a skit before she can put her stuff down.
When she does put down her gear, which includes an "Woody" doll from the Toy Story Movies, Holly reveals that A.J. gave her the doll and that they're still together.
This is a crushing blow to Michael, who delivers a series of defeatist quotes that I immediately posted on Sean Kirkpatrick's wall when I heard them.
Michael obviously engages in some childish antics akin to a temper tantrum upon realizing things won't work out as he planned, but it doesn't devolve to the point where viewers begin hating him.
Instead he remains a lovable loser, who we can keep rooting for, and with reason, because Holly is thinking about ending things with her BF if he doesn't take things to the next level. (For my money, the fact that Holly doesn't automatically realize she should be with Mike when she comes back to Scranton is a demerit. Does Michael want to be the second choice, even if it is the right one?)
Anyway, this episode is sweet, without being Jim and Pam season 6 sappy, but also hits like a roid rager, with surprise lines and sight gags that are second to none.
The flip side is that whenever THE OFFICE reminds us of its greatness, it is setting up a bar that it hasn't consistently met since seasons 2 and 3.
Did I mention Dwight shows a variety of disguises he has for various Dunder Mifflin employees...

Need Not Apply

With the announced departure of Steve Carell from THE OFFICE after the 2010-2011 season, producers have begun planning for life after Carell. Apparently the front runners for the head job include Danny McBride and "Murray" from Flight of the Conchords. Both would be hilarious additions to the show, but only a show with Carell at the helm.
As far as I'm concerned, THE OFFICE should go off on a relatively high note and take retirement in the spring of 2011. The show might be able to reinvent itself, but I'm doubtful. I'd rather we all part ways amicably and with the chance to bring fresh energy to a new project. Give us the payouts we want, which include Jim and Pam moving on, Michael marrying Holly and Toby throwing himself from the roof of Dunder Mifflin (and living with a ton of broken bones).
That's what I think. Do you want the show to go on or do you not even care at this point?

More fun out of the Office

Last night episodes of PARKS AND RECREATIONS and THE OFFICE were pretty excellent, as both ventured well beyond the confines of their normal settings.
Let's begin with the biggest surprise, which was THE OFFICE being funny. I've really been down on the show this year. It's revolved too heavily around Jim and Pam, often cashing in solely on the mystique the show has built up during its tenure. Last night's episode was a return to the ensemble focus this show does so well. Even with Jim and Pam in the episode, they were just featured players and not the primary interest.
The best part of the episode was when Andy came clean about his burgeoning relationship with Erin, which led to him revealing that he's a Drama Queen. They are a very cute couple, and I like that they're not being shoved in our face. Their story is being revealed bit by bit in an addicting manner that leaves us always wanting more.
Much of last night's episode was about coupling. We had Phylis and Bob, which introduced new angles into their rowdy sex life. We got to further explore the dynamic of Kelly and Ryan, including their DDR cohesion. THe gorgeous Isabelle returned as Dwight's soul mate, with Angela trying her mightiest to worm her way into this threesome. Even Michael hit it off with Pam's friend, as Date Michael made moves with the Bar Manager. Finally, there was Matt and Oscar, which included validation for Michael's decision not to let Oscar play basketball in season 1.
The episode was good because it didn't force a storyline, but merely allowed the characters to develop naturally. The wackos on this show are so strange that all you have to do is create a strange scenario for them, and the comedy will essentially write itself. Last night's episode didn't push any agenda and let us just laugh. It felt good.
This is a lesson PARKS hasn't forgotten, as evidenced by another great episode. What really made this episode for me was that it gave everyone something to do and somewhere to shine, which is always the case. Tom in particular has been saddled with dumb stories lately, so it was nice to see his modeling dreams put into action from behind the lens.
The best part of the episode was the rapport of the Park Managers, which was some of the zaniest humor on television. As Ron Swanson, Nick Offerman put on a show simply by describing his hunger and eventually running toward the picnic. He has continuously been one of the strongest pieces on PARKS, along with Chris Pratt's Andy.
The show even knows how to pull Jim and Pam like heartstrings with the stalled progression between Andy and April. I've already forgotten about PB & J and have moved on to Anil Date. (AN and D from Andy Dwyer and IL and ATE from April Ludgate.)

I look forward to more high quality on both shows. What do you think? Do you agree with my assessment?

IT'S A ... bad episode!

I have always been an ardent defender of the Jim and Pam stories on The Office. It's my contention that they provide a level of depth to the show, which ultimately keeps it grounded and serves as a foil to the ridiculousness of other relationship (such as Dwight/Angela, Michael/anyone, Ryan/Kelly, Andy/Pam).
What I can't defend is the combination of ridiculous and vomit inducing moments orchestrated during Pam's prolonged pregnancy. From the start we abandon any level of plausibility, as Pam began acting like a crazy person when she refused to go to the Hospital when her kid's head was practically popping out. That might fly on 30 ROCK, which offers a break from reality, but it doesn't belong in this forum.
My other big grip was the version of Jim we got. If you saw IT'S COMPLICATED, you were treated to an over-the-top version of Jim Halpert, and apparently he can't turn that character off. It led to one funny moment when Pam wouldn't get in his car, yet for the most part it was a lot of flailing and exasperated looks that were too big for my television.
There were funny moments in this episode, with Dwight essentially carrying this episode on his back. His remodeling efforts, baby arrangement and flirting skills made for compelling television. Plus, I'm a sucker for Dwight in a beater (I can see the rugged masculinity that wooed Isabelle).
Finally there was some progress with Andy and Erin. Inadvertently Michael spurred on the first date, as he made Andy jealous by setting up Erin with Kevin.
Kevin really shined in this episode, illustrating how strong this supporting cast is and what a problem this has become. It's hard to think of this show as an ensemble piece anymore when an episode primarily has an A story with Michael or Jim/Pam and then a B story with Michael or Jim/Pam, with just some scraps leftover for everyone else. In the hour we saw the best moments were when they threw everyone into a blender and just enjoyed whatever came out, instead of force feeding us the biggest stars.
Maybe with Pam on maternity leave we can rekindle some of the old magic that used to dominate conference meetings and other random events. Until then, I'm not too keen on this show and look forward more to Parks and Recreations.

Top Ten Shows of the Decade

When rating the top ten television shows of the decade I tried to consider not just great seasons, but the how a show performed over its life. For that reason, a show like Scrubs doesn’t make the cut, since there was no consistency in its performance. Arrested Development had only a three year run, but it has almost no equal in terms of funny and therefore makes the cut. Anyway, there is a lot to disagree with here, especially since my defenses will probably suck. So let’s get to it.
10. Always Sunny in Philadelphia (2005-Present)
• This show is not nearly as original as it may seem. Essentially it is a rip off of Seinfeld, with its intertwined plots and morally bankrupt characters. That being said, it’s a very good rip off of the best show from the 90s, which is why it makes the top ten for this decade.

Utilizing the freedom of cable television, ALWAYS SUNNY was able to abandon broad comedy. At the same time, though, the show never shied away from generic gross out humor. Ultimately the show ended up carving out a niche for itself that was both high brow in its commentary, but extremely low brow in its delivery.
ALWAYS SUNNY has, throughout its tenure, remained a show written and starring a group of friends who have been given an outlet for their inane, ridiculous and contemplative thoughts. The imagination of those thoughts is hilarious, original and awe inspiring considering how much is accomplished in such a little scope.
9. Battlestar Galactica (2004-2009)
• This reimagining of the campy sci-fi hit of the past is an experience. In its entirety it represent a body of work that has few peers. If there was a downside it was only that the sum was so much greater than any of its parts, which made some episodes a chore to watch. Ultimately, though, the whole experience was a delight.
This was a show that could honestly claim to be a drama in space, rather than a space show with dramatic elements. But the science-fiction was not absent on this show. Instead it was another player, like a plot device or an actor.
In BATTLESTAR you had a show that could sweep you away with its vision and grandeur. It was so big, existing in a world seemingly too large for television. All of this, and I haven’t even gotten to the sexy Cylons, who represent some of the best villains ever on television. Oh yeah, this is also the hottest show of the decade that didn’t use nudity.
8. (TIE) King of the Hill/Malcolm in the Middle (1997-2009/2000-2006)
• Neither show was original its creation, with each representing a traditional family sitcom. But while other shows relied on gimmicks and breaks from reality, HILL and MALCOLM seemed to go the other way, finding humor in the mundane aspects of life.
But the great scripts carried these shows only so far, with MALCOLM in particular exhibiting some standout acting. The parents, as played by Bryan Cranston and Jane Kaczmarek were simply amazing in their portrayal of a couple deeply in love, who struggled with the day to day exercise of running a family, supporting them financially and retaining their sanity. Both were repeat emmy nominees, and it’s a travesty that they never received more recognition.
The actors on HILL were no slouches either, with Mike Judge and Kathy Najimy embodying two generic parents just through their voices.
Both shows captured life in the tiniest details. The mom jeans. The dumb dad stories. Kids just being kids. If you ever need a break from your family, I’d always recommend a stay with theirs.
7. The Sopranos (1999-2007)
• The Sopranos tenure can be summed up in an early episode that involves Tony taking his daughter on a college visit, during which he kills an old partner in crime. This episode embodies the realism and escapism the show balanced so very well, as it delivered a family drama and a crime family drama.
The world David Chase created is not some foreign object to viewers, since the world is so welcoming and easy to embrace. All of this is possible because of tight writing, great acting and a story that captures our imagination as we willingly go for a little ride that scares us half to death.
The SOPRANOS also deserves credit for showing what television could be. Creative types were limited to the confines of network television, and cable programming didn’t just need to be edgy for edgy sake (OZ). There was a way to use swearing, sex and violence as props, not the whole show. In this regard SOPRANOS was the best.
6. The Daily Show (1996-Present)
• Let’s first address the fact that this show didn’t really mean anything until Jon Stewart came along, and that its coming out party occurred during the 2000 recount. The combination of those two events highlighted a vicious wit in Stewart and put on display a host of correspondents whose skewed take on events was revolutionary.
Anyone who writes this show off as an extended version of Weekend Update, obviously doesn’t watch either program. In this decade the DAILY SHOW has become a daily source of news and commentary for millions of Americans. It was the balance that the show struck between informing and comedy that makes it worthy of our attention. Through its screwball antics and elementary school humor is a social and political commentary that makes the laughs so much more meaningful.
5. The Office (2005-Present)
• Showing up for work has never been as fun as at the midlevel paper company in Scranton. The OFFICE established a new dynamic with its mockumentary style of filmmaking, which has become the trademark of most wannabe witty followers.
What makes the OFFICE great is its strong supporting cast, who are responsible for making a goof show great. By themselves, the core stars (Michael, Pam, Jim and Ryan) could bring the funny, but with Oscar, Kevin, Stanley, Phyllis and a whole host of other players you get the funk and the noise. Essentially the other workers are set dressing for the establishment of a world that we love to watch.

But The Office never fell victim to the trappings of network television, which explains why its ratings are never great, but also how they avoided will they/won’t they clichés and constantly deliver fresh storylines. Now in its 6th year, The OFFICE has never jumped the shark, even while constantly reinventing itself, and that’s a testament to the quality of the writing.
4. The West Wing (1999-2006)
• I try to ignore the last three seasons of THE WEST WING, as they were done without Aaron Sorkin, the show’s creator and head writer. His absence resulted in a West Wing-lite, which looked familiar and sounded familiar, but wasn’t the same show. In many respects that created a less enjoyable experience, although it does reflect the changing nature of any white house. Granted, that was never the goal, yet it does allow me to forgive the last three season (They weren’t that bad. Especially the Presidential race arc).

When the WEST WING debuted it really had no peers in terms of the size and scope of its aim. It was a very expensive show, and that money paid dividends as far as the reality they created. For most people, myself included, this show created our perceptions about politics and D.C. That was only possible because of the artful direction of the show, but also because of the writing.
Oh the writing, which was vintage Aaron Sorkin. The pitter patter that had been building since Sports Night and THE AMERICAN PRESIDENT finally hit its perfect beat in this show, with the lofty exchange of ideals and jokes flowing like a river that I anxiously awaited to wash over me.
None of that would have been possible without adequate mouthpieces, which THE WEST WING had in spades (that’s an expression, right?). Helmed by Martin Sheen, but firing big guns all the way down to Donna the secretary or some random guest star (Oliver Platt), the WEST WING was an exhibition for actors to highlight their craft. While those who couldn’t talk and walk need not apply, for everyone else it offered meaty roles with juicy lines.
Now as we enjoy our dramas in packages of 12, 16 or 20 episodes, THE WEST WING provided a full roster of episodes. This is a demand on network shows that normally results in peaks and valleys during the season, but it wasn’t the case here.
3. Lost (2004-2010)
• I’m done talking about Lost. You either get it or you don’t. If not, then what you’re missing is a thriller. You’re missing love stories, action, comedy and mysteries. Yeah, it’s complicated, but do you like your food chewed for you too? Do you? What, you’re a baby bird so you do? Ok. That’s fine.
If you’ve skipped this psychological experiment that doubles as an episode joy ride, then don’t worry, because it will be amazing once it’s all together on DVD.
2. Arrested Development (2003-2006)
• There’s really nothing I can say that will articulate how good ARRESTED DEVELOPMENT was. It was a show that was so layered with funny that I routinely had to watch it a second or third time to appreciate all the jokes. The running jokes went beyond a season and lasted for an entire series. The plot twists were nothing short of an M. Night Shymalan movie. The acting represented an ensemble cast that will never be matched in terms of quality (never. Not even close).
This show lasted three years, and chronicled the adventures of the Bluth family. This group of misfits couldn’t help but get in their own way, and each week was a delight as they just tried to survive. At its heart was a father and son drama, which was sabotaged by the surrounding elements.
1. The Wire (2002-2008)
• Did you watch The Wire? I didn’t think so. Apparently no one did, except white latte sipping yuppies who like to see how the other half lives. Besides from the lattes I essentially fit that mold, except for the fact that I don’t care how the other half lives. For me, the interest in THE WIRE stems from its superb acting, amazing stories and realistic dialogue that doesn’t sound as phony as actors on other cop shows look.
Let’s get the big stuff out of the way regarding THE WIRE, specifically the social and political commentary it offers. The underlying theme is that the world we live in is broke. It doesn’t offer a way out, but merely serves as a wakeup call. Ok, that was for the NY TIMES crowd that was slumming it or arrived at my blog accidentally.
The good stuff is the episode by episode action. Drive primarily by Det. James McNulty, THE WIRE was a continuous battle of wits between the cops and their evil enemies (drug crews, politicians, dockworkers). In that struggle were laughs, tears and gut wrenching moments that made you stop. Not stop and think, but just stop. Anything that can stop you in your tracks like that has to be good.
The dialogue of THE WIRE seems real. I think that’s a big compliment, considering the most cop shows are littered with clichés or sound like they should be spoken by someone else, who probably isn’t a cop.
I need to stop the floodgates now before I start a flood. I’ll leave you with the fact that THE WIRE has been the best forum for black actors ever.

So that’s my list. What do you think? Agree? Disagree? Leave something, even if it’s to tell me I suck. Because while I’m sure my mom would disagree on that front, I will admit the argument has some merit. Let’s talk.

Top Ten shows of 2009

The problem with ranking the best television shows of 2009 stems from the fact that the season of a show extends over two years. So do you judge a show based on when it started, when it finished, or how it performed during the year?
I am judging shows based on when they finished. This affects shows like Glee and Parks and Recreation, which will make the cut in 2010, but not this year. It’s the only fair way to judge a show’s complete arc, and not what it did during a brief period.
Hopefully this list will be inclusive enough for people, sine I watch almost everything. So here it is, in reverse order.
RIP: King of the Hill
• So this show isn’t making the Top Ten, but it does need to be recognized since it went off the air in 2009. HILL was maybe one of the best family sitcoms of all time. Following the life of the Hill family, this show had warmth and laughs.
Since it was a cartoon it was generally overlooked in terms of the quality of the writing and it was also ignored as a rip off of The Simpsons. These two realities will forever bother me.
HILL was never short on creative storylines, as the show did the best job finding the real humor in life. It didn’t rely solely on screwball characters or wacky plots, but was grounded in a reality we could all relate to. I tell you what, I will miss this show. Yup.
10. Chuck
• Odds are you’ve never seen or heard of Chuck, the little action/comedy that narrowly avoided execution after last year’s stellar season. The show revolves around an employee at a big box store called the BUY MORE, who has highly classified data stored in his head. This character, as portrayed by Zachary Levi, is one of the more endearing heroes on television. He is endearing because he is the everyman hero, and this allows us to be swept away on his adventures.

It helps that he has a wicked hot lady friend (Yvonne Strahovski) and a gruff protector (Adam Baldwin), who add laughs, sex appeal and a surprisingly high level of action scenes for a television show.
What ultimately ends up distinguishing this show from its competitors (I guess BURN NOTICE), is the supporting cast of characters that work at the BUY MORE. These guys and girls make the show a legit comedy, so when the action isn’t really working, the laughs are still coming.
Highlight: The penultimate episode includes a wedding in which everything goes wrong, but is just so right for the viewer.
9. Top Chef
• By any standard, this season of TOP CHEF was captivating television. Not much more to say about the show in the wake of my running diaries, which encapsulate the way I feel about this show.
This season had the right balance of talent, personalities and challenges that I doubt they’ll be able to recreate this winning recipe ever again.
8. Psych
• If you ever just feel like having fun, but don’t want to leave your couch, then I’d recommend an episode of PSYCH. Although, in order to appreciate the show you need to have a fondness for obscure pop culture references and must not take your television too seriously.
The duo of Sean and Gus (James Roday and Dule Hill) do not represent anything truly unique on television. They owe Scrubs, Sherlock Holmes, House and Miami Vice (they’d want me to include that) for where they are today. That being said, these two buddies are the kind of guys you want to hang out with, and once a week you get to do that for an hour.
I think you’re able to have fun watching this show because of how much fun the cast is having making the show, as illustrated by the encore performances during the end credits, which usually include group songs.
Sure the mysteries are lacking and the action doesn’t compare to BURN NOTICE, but this is a comedy first and foremost. If you’re looking for anything else you’re just going to get psyched out. If you want to laugh, then get psyched for Psych
7. 30 Rock
• Not really sure what happened in season 3 of 30 Rock. I do know I laughed. That balance is why this show isn’t higher up on my charts. This was the funniest show on television, but without direction. I’m not saying that’s bad, I’m just saying that’s a deal breaker for a higher ranking.
Anyway, if you’ve never seen 30 Rock you’re doing yourself a disservice. It’s got a little bit of everything in terms of comedic styling. There is gross out humor of the lowest degree. There are high brow jokes (which people cite as the reason for not watching). Obscure references. Strange twists. And just jokes. All of this is jam packed into a 22-minute show so tightly that you’re amazed your television didn’t catch on fire when you’re done.
If you’re looking for funny, just head to 30 Rockefeller Plaza or catch it Thursday on NBC.
6. True Blood
• If loving True Blood is wrong, then I don’t want to be right. The second season of True Blood would qualify as one of the craziest things ever on television. Its craziness was not off putting at all though, and instead drew me deeper and deeper into this make believe world.
Missing from this season was any semblance of reality, but it didn’t detract from the show.
The appeal of the show is it beauty and creativity. The world we see is presented to us in such a fashion that you struggle to take it all in. I’d say it is reminiscent of Deadwood or Mad Men in terms of the settings acting as additional players in a scene.
As far as the creativity, True Blood keeps you on your toes while sending you on a wild roller coaster ride. It’s scary. It’s fun. It’s got twists and turns. There are ups and downs. It is a ride.
Highlight: Jason and Andy taking matters into their own hands, as they prove that dumb is not just funny, but downright hilarious.
5. Battlestar Galactica
• The final installment of an amazing television series offered a worthy payout last spring. Much like True Blood, Battlestar was a wild ride. But more than True Blood, Battlestar offered deeper meanings.
By itself this season isn’t any more remarkable than earlier ones, in fact it might be comparatively weak. As the capstone to an amazing story it deserves to be recognized. In terms of a compelling narrative this is it. This story is delivered with an understated bang.
What is most memorable from this season is the shifting of allegiances, with the line between good and evil blurring to the point where the bad guys from the beginning of the series are revered as good guys.
4. Mad Men
• What’s so impressive about Mad Men is how close it comes to being unwatchable. The show is always in danger of putting me to sleep, and it would if it wasn’t executed so perfectly. Frankly, I’m not smart enough to adequately assess this show. I can only talk about it in terms of its entertainment value and the few concepts I was able to glean from it.
Many people wrote off the finale as an all too convenient ending, but I found it to be a perfect transition into the tumultuous part of the 60s.
As for entertainment, this season offered some heartbreaking moments (the firing of Sal), touching moments (the mood in the aftermath of JFK’s assassination) and light moments (Roger Sterling).
Season three began with a slow crescendo that was so faint and took so long to build that the ultimate payoff was out of this world. The patience of the show’s writers is admirable in this regard, even more so considering how there are no wasted moments building to the big payoff.
3. The Office
• Season 5 of The Office was the total package. It was endearing. It was funny. It was real. The show took from the best of its earlier seasons and brought it all together for the best season since its second. The fall off in season 6 has been even more evident in wake of such a good season.
In this season every character is used to perfection, with a place for everyone and everyone in their place. Andy hits his stride. The Jim and Pam dynamic is cemented. Even Michael, who has been a relatively fluid character, becomes a formed and constant role.
The deciding factor for me, is the story arc of Holly in this season. As played by Amy Ryan, there is an injection of heart into the show that I think is necessary for The Office to be great.
2. The Colbert Report
• Jon Stewart brought the Daily Show to prominence in 2000 during the recount in Florida following the presidential election. By 2004 the show was really hitting its stride and operated on all cylinders of funny. The 2008 election and the coverage of 2009 belonged to Stephen Colbert. Colbert offered a fresh perspective from the Daily Show, and with a few years under his belt, surpassed its creator in terms of funny during 2009.
Stephen Colbert’s year included a trip to Iraq, sponsoring a winter Olympic team and got a NASA treadmill named after him. It was all so ridiculous, but strikingly poignant in its coverage of the news. This last aspect is what sets the REPORT apart from the Daily Show, in that it doesn’t need to preach to make a point. Plus, it doesn’t sacrifice funny to preach.
1. Lost
• Lost will always win me over with the show’s mythology. Each episode could be a festering turd and I would still revere them, if they gave me a few answers each week. But Lost has never rested on its mythology, and has always given us our week to week bang. That combination puts it in my top ten automatically.
What differentiates this season from previous seasons is the scope of what they tried to pull off, and the fact that the show basically accomplishes it all with a homerun. What am I talking about? I’m talking about a storyline that crosses space and time. A story that requires on a giant ensemble cast. I’m talking about mythical creatures, ghost monsters and an island that moves. All of this is put together in a package that remains at its core, a human drama. A drama that inspired tears (spoiler alert: Juliet’s demise) and laughs (Hugo with anyone).
Season 5 had to wrap up most of the questions from seasons one through four while also poise us for the big finale in season 6. It does it. The story moves with a sense of urgency, but you never feel rushed. Even in the shortened load of episodes every story, ever character, every line of dialogue is given enough time to be appreciated.
Lost has constantly reinvented itself during its tenure, yet in season five we see a culmination of the different faces. This is our payoff before LOST reveals its true form in its final season.
The highlights are too numerous to limit, so I’ll just ramble them off: a domesticated Sawyer, Ben’s comedic styling, (spoiler alert) Daniel’s tragic end and the denied reunion between Sun and Jin.

So that’s my list of shows for 2009. I hope there’s something to talk about in there.

The Office is work

I don't think it is a good sign that watching THE OFFICE now feels like work for me. I've put off watching Thursday's episode for two days now, since I had my first chance to watch it Monday morning.
MY recap of Thursday TV is usually something like this: 30 Rock, Parks, Community, The OFfice and then Fringe. This week I skipped The Office.
If you're wondering, I watch Always Sunny and The League at random points in my life online. Not sure why, and it really has nothing to do with how much i like them. Especially since I hate the League and love Sunny.
But back to THE OFFICE, which hasn't been particularly bad this season. I think the problem for me revolves around the fact that its not a simple running joke anymore. It seems like real life, and tv is about escaping reality.
The reality aspects come into play in terms of Jim's role in the company, which seems rather futile at this point. In his new capacity as co-manager he's not exactly flourishing.
Ok, that doesn't sound like what I want to say. THe reason is because I don't really mean it. I'm beating around the bush, because I don't want to give in. I don't want to admit, that THE OFFICE HASN"T BEEN FUNNY LATELY.
There, I said it.

It hasn't been without laughs, but PARKS AND RECREATIONS has passed it in terms of enjoyable experience. THE OFFICE is still a better show, but like i said, it feels work. Having to digest a real meal, when i just want something light and fluffy is hard.
Maybe it's the consequences of the show. The company could be going under, and that's depressing.
The show definitely has its moments. But they're more like cute moments, such as Erin and Michael bonding in the car after the failure with Scott's Tots.The scene elicited a smile, but not a laugh. My heart was touched, but not my funny bone. So eh.
The show needs to grab me by escaping with me. Let go of reality and go back to the quirks of Office life that people can relate to without wanting to slit their wrists.
Give us more Kevin. Andy should be courting Erin more efficiently. How about Holly? If not Holly, how about some Jan?
Basically, if the open is the funniest thing about the show then something is wrong. The Office needs to get back to work and prove that at this point in its career it still has something left in the tank. I was defending this show vigorously online and in private conversations, but I don't know how much longer I can fight without ammunition.

The Office gets professional

Coming into the most recent episode of THE OFFICE I wasn't expecting much. This season I've been an ardent defender of the show, retaining faith that past glory was indicative of future results. But lately it has been harder and harder to find the funny in the show and it had become a chore to watch. I actually looked forward to PARKS and RECREATIONS more.
Well, my faith has been restored. I once was blind, but now I see. Ok, maybe the show still has some ground to make up in the wake of some poor performances. I'm definitely encouraged by last night's show, which embodied the inane ridiculousness that THE OFFICE does so well.
This episode didn't really further the story of the paper company that wouldn't quit and it didn't have to do that. Instead the episode was a series of running gags, as well as further reminder of Andy's ineptitude with women (how did he bag Angela so easy? Is she a slut?).
Michael, showing his crazy as a fox side (as opposed to his just plain crazy side), decides to distract the office from threat of bankruptcy with a game. Anytime these lunatics are allowed to run rampant with their insanity is fine by me.
You've got ridiculous accents, costumes that appear out of nowhere, a crime for Dwight and a threesome with Meredith, Erin and Kevin (You're welcome Erin).
This episode felt like 30 ROCK at its best. Everything was just a setup for another gag, with a loose story drifting through the episode. Definitely one of the best this year.
Is THE OFFICE insolvent? no. I'll call this the bailout it needed. Let's hope the stimulus works.

Seems like someone's got a case of the Mondays...

So I’m the first defender of The Office, as evidenced by my recent blog post, but tonight’s episode was beyond any defense I could mount. It was just bad. There were a couple laughs throw in on the side, but primarily this episode was just bad. It was a struggle to watch.
This episode touched on a complaint that was brought to me regarding the lack of stories The Office has to offer. This tangent about the mafia was not only ridiculous; it was downright embarrassing that they couldn’t come up with anything better than this terrible plot.
The funniest part revolved around Oscar’s description of the people in the office that help keep the office sane. Oscar basically says that Tobey, Jim and Pam keep the office from spinning out of control. I think Stanley could help keep things together, but he probably doesn’t care enough to save everyone from themselves
But even this little bit, in conjunction with Kevin’s identity fraud venture, failed to overcome what was a lackluster story. You’d think that the Andy/Michael/Dwight team would be able to stir things up and turn water into wine, except not this time. Although Andy does do a pretty amazing impersonation of a car mechanic, who specializes in motorcycles…
I’m not willing to write the show off after one bad episode. That said, I’m not sure how many seasons The Office could have left. Only if it keeps reinventing itself can it remain fresh and relevant. I for one have faith that they won’t fall into this kind of rut again, and other fans should remain confident too because the show has never let anyone down. One bad episode does not a season make, so I have no problem counseling people against abandoning ship.

The Defense of THE OFFICE

So I feel like coming to defense of THE OFFICE. Sure, maybe it doesn't need defending. And yes, maybe there are better ways to spend my time. But I'm unemployed, so there really isn't anything better (except finding a job...).
Anyway, here's why I feel like the show needs a defender. Primarily in regards to the Jim and Pam storyline, which people say detracts from the comedy. I firmly reject this idea, for the most part because I don't need laughs all the way through. In fact, the moments of humanity make the show more accessible, especially in terms of how the humor is then amplified as you're caught off guard.
I look at it this way, 30 Rock is funnier than The Office. It is. No debate. It's one running joke, layered with other jokes with a gooey core of fudge. Not really, the core is more jokes. But which show is better? The Office. Because it has the comedy of 30 Rock and more. It has dramatic depth. It has moments of reality and a level of grounding that is more compelling and just better.
So is it wrong to get caught up in the Jim and pam stories? Maybe. Though not if you keep the viewer on their toes. If you avoid the boring, mundane and fake then you're ok.
Look at Ross and Rachel or any other storyline from Friends that was supposed to be compelling, like when we were supposed to get caught up in Joey's forbidden lust for Rachel. I'm sorry but that was just stupid. Hold that, or any serious stuff on Friends against Jim and Pam and it's like you're comparing apples to something not like apples at all. Midget sex dolls? Gay polo horses? Gun shows?
Jim and Pam also create humor. Countless throwaway gags (Kevin asking Jim whether Pam or Karen is hotter) to whole episodes (Michael not blabbing about Jim's crush) have been the product of the Jim and Pam dynamic.
If you don't want to see Jim and Pam getting married or don't care that she's pregnant, then you're missing out on an element of the show. While funny, these are also characters we're supposed to feel for. This isn't 30 Rock. This is more than that. I feel for Michael. I feel for Dwight. I feel for Creed. I mean if Creed can't scuba dive, what has this all been for????
I guess what I'm trying to say is that if Jim and pam's storyline means you take a second not to laugh then so be it. This show offers more than that, so suck it up and roll with it. It can be very good if you want to accept it. Accept that these are real people who you can relate to.
Don't get me wrong, though, this is not some dramatic affair with the occasional laugh. This is still the second funniest show on television. Anyone who says the show isn't funny anymore should leave the country and if you're already gone then stay out (Don't really mean that. Come back.)
The Office has remained funny and fresh, as it constantly reinvents itself. I'm amazed how well they've adapted with every twist. From Jim leaving the branch to Jim become a co-manager there is always new funny. Michael giving Jim gin? Dwight's attempt to instigate a mutiny? This is some real good stuff. I don't know what to say short of, "come on. This is good."
Maybe I'll buy that it's not on the same level as last season, which i thought was a renaissance year on par with season two. It seems to me like the show has really hit its stride, as every character has a specific niche. Andy has been perfected. Dwight's on fire. Even Erin has found a spot.
In conclusion, Jim and Pam are adorable and should continue to command time on what is still the second funniest show on television.
Disagree? Let me know.

Dear Emmy Diary...

Here is a collection of some my more coherent (yup, the best of the best) thoughts from my viewing of the Emmy's. Enjoy...
• 1940s opening!
• Neil Patrick Harris is a good host. A couple quick notes; Singing yes. Standup no. Transitions awesome! Essentially he has served as more of a funny tour guide.
• Broken into genres?I like a good theme, but I also like it spread out. I guess the pros and cons negate each other.
• Definitely could have used more 30 Rock in my comedy overview
• “Am I the only one who wants to see Tina Fey and John Hamm together???”
• First award of the night is a surprise, at least to me.
• Ok, we get it, 30 Rock is good. It usually wins. It’s nominated a lot tonight. All these jokes make light of how good the writing really is.
• Julia Louis Dreyfus is possibly the hottest over 40 woman ever. No room for debate.
• First travesty of the night, Jon Cryer winning best supporting actor in a comedy. (Another surprise). “Is he dying of something” –Barb. I literally think everyone else deserved that award more than him.
• “Oh Christina Applegate … Tits McGee!” –Barb
• Sarah Silverman just stole the award show so far with her moustache. She made things even better her facial expressions and hand gestures. She’s so much funnier than her show.
• Nice dress Blake. Nice toga Leighton. Oh yeah, and nice boobs Blake. Really nice boobs.
• Am I the only one who is confused that Rob Lowe is still relevant?
• Everyone at EW picked Jim Parsons (Big Bang Theory) to win. I still haven’t seen that show, but apparently I need to start watching. I had previously picked Steve Carell, but after seeing Alec Baldwin’s clip I knew he was going to win.
• I think the Emmys are my favorite award show. It’s quick and I care about every award.
• I think it’s time they start giving acting awards for Reality shows. It’s not like anyone thinks these aren’t characters. They also should do best quote for this year, “whore pit vipers (Joan Rivers).”
• Probably could do without the whole dance number. For starters it was boring, but more importantly I’m confused as to why it’s relevant. Dancing with the stars? Maybe, except I don’t know any of these people. So You Think You Can Dance? Well yeah, they’re professional dancers. Or maybe it’s just a statement about all the dancing on television. Still, so what?
• I love Padma and Tom! Are they one person? It seems like it. Tomma? Padom?
• Tracy Morgan can’t read… He really is Tracy Jordan. His joke about 30 Rock being a reality show strikes a little too close to home for my tastes.
• I want to start smoking cigarettes right now so my voice will sound like a male version of Shohreh Aghdashloo.
• Kate Walsh is not wearing a good dress. The front is frumpy, flesh is escaping in certain places on the side and it fails to highlight her stunning frame.
• Tune in Friday to CBS for people who talk to dead people! I think that’s how CBS sets their lineup, since their viewers will soon be dead. They’re old, get it?
• It is a travesty that “Generation Kill” didn’t win for outstanding writing. David Simon and Ed Burns must not even mind getting screwed by the Emmy voters anymore. They probably like it by now.
• That is one hot lady accountant! The only thing that could possibly preempt her is Dr. Horrible! Nathan Fillion is hilarious! Except on ABC…
• And the award for longest and worst acceptance speech goes to Jessica Lange! I never thought I’d say this, but I kind of wish Drew Barrymore had won. She’s awful, but a little easier on the eyes at least.
• “That guy is smaller than me, and he’s beating up people.” –Dad, in response to Keifer Sutherland presenting and failing to live up to his larger than life Jack Bauer personality.
• Another chance for “Generation Kill!” I’m doubtful though. “Little Dorit,” which I’ve never heard of seems like the likely choice. And yup, I was right. So mad. Well not mad. Depressed.
• The Variety category is usually pretty fun. I especially like that Jay Leno is never a nominee.
• Never watching Big Bang Theory. I just don’t like these actors. Thought I’d like Jim Parsons, but eh. I don’t need him in my life. I already watch too much television.

• The reading of the nominees for writing in a variety show is always funny. This year’s nomination segment is no exception. The dig at Leno by Letterman was exceptionally funny. Wait a second, Jon Lutz, as in Lutz from 30 Rock is a writer on SNL?!?!? 30 Rock really is a reality show!
• Jimmy Fallon previously won an Emmy? Yikes. Why are celebrities laughing at him!??!?! I wonder if he already knows he’ll never get nominated as host of Late Nite?
• I hope to god Stephen Colbert, Mother Lover or Flight of the Concords wins for best song in a variety program. My brain tells me Hugh Jackman will win. Look, he did. Lame. At least they let a good looking version of Peter Jackson accept the award. But still…
• I think we’re running behind. Jessica Lange ruins everything!!!
• Ricky Gervais is hilarious. If you haven’t seen him on Extras you need to go out and rent it today. He’s a little harsh, but I like it. So awkward some times, but I like it.
• So the Daily Show won best Variety show. That makes sense, since they got to cover the election and thrived during it. Can’t wait to see Colbert’s reaction on his show.
• During commercials I’ve been cleaning up my Queue list on HULU. For the first time in my life I’m actually behind on my television watching, and that’s sad because it’s not like I’m doing anything. I don’t really have a job… I still need to get caught up on Glee, last season’s Parks and Recreations, Thursday’s SNL, Psych, the season premiere of Fringe and a handful of Tonight Show clips. That doesn’t include the episodes of Mad Men, Always Sunny in Philadelphia and Top Chef that I’ve got waiting for me on the cable DVR. I’ll watch House when it returns too. Oh yeah, and on HBO I watch Entourage (ughh, loyalty), with plans to watch Bored to Death and Curb. I watch The Office live. Lost when it returns. Reluctantly I turn in for 24. Oh yeah, and TRUE BLOOD!!! I’d recommend all these shows. Not sure if I’d recommend Community, yet. It was ok, but not great.
• Totally forgot about Battlestar Galactica! Great show. Fantastic show. Better than almost every other Drama they showed clips of. It will undoubtedly get screwed by the academy.
• Lost totally underwent a renaissance this year and it won’t get the recognition it deserves. I think that really says something about the quality of television this year. What’s weird though, is that shows like Boston Legal still get nominated. Not next year since it’s canceled.
• Michael Emerson from Lost won for Best Supporting Actor!!! Crazy. Didn’t see this coming, but I’m quite happy. His character Ben is one of the greatest characters on television ever. Ever. EVER.
• I don’t see LL Cool J or Chris O’Donnell showing up on the Emmy’s ever again. Unless they each get new pilots after NCIS: Los Angeles.
• Pretty angry that Cherry Jones won an Emmy for her work on 24. Am I the only one who doesn’t take this show seriously? It’s ridiculous, but takes itself way too seriously. The show is a joke. She was a joke on it. HAHAHHAHAA. I feel sick.
• Who is singing? Why is she singing? What’s going on? Ohhhhh… Dead people. This will be sad. Always interesting to see who gets the big ovations. Not always who you think. These are always so well done. Maybe not long enough if anything. Thought the song would be corny, but it ended up working really well. Not just for last dances at Proms anymore.
• Did they put the two vampires together on purpose? I hope so. Too bad Moyer didn’t get the memo about not dressing in costume.
• Wow. Mad Men won best writing. They only had an 80% chance. Didn’t see that coming. LOST got screwed! Much love to Mad men though.
• Oh my! In Mariska’s little clip for Best Actress I saw Jason from True Blood. That was exciting. Can’t wait until he gets nominated for his work on this season. Probably under the comedy genre though. So excited for True Blood to make the transition.
• “We go where there’s great writing.”-Glen Close. What an appropriate statement. Television is definitely the place to be right now. Movies are boring right now. Television is edgy. A lot of it still stinks, but the best of the best on television is better than the best of the best in cinema. Plus, there is more of the best of the best on television.
• Why did they show a clip from the Mentalist when mentioning Best Actor in a Drama??? That’s done to be ironic, right? Right???!?!?!?
• Wow! Back to back wins for Bryan Cranston for his role on Breaking Bad. Haven’t seen the second season yet, but the first was great. Not sure if he deserved to win again. Wish Sawyer from Lost had been nominated in this role. He didn’t deserve to win, but should have been nominated.
• Is AMC the new HBO? If they get more content I say yes.
• I think The Office deserves to win for Best Comedy. They had a really good year that was as good as season two. The show has remained fresh, funny and constantly gut wrenching. The Holly angle was good, Michael’s paper company was great and the episode after the Superbowl was simply amazing!!! After all that, though, I think 30 Rock is going to win. Oh yeah, and I can’t believe Family Guy was nominated. Simply a travesty. Just ridiculous. Not funny. Not relevant. Certainly not more worthy than the Simpsons during seasons 2-12.
• I would like to see TGS win an award. Really turn 30 Rock into a reality show. It could definitely win an Emmy in the variety category. I’m thinking Best Song by Jenna and Tracy (that’s Jane and Tracy respectively).
• Even Sigourney reiterates my thoughts about the golden era of television! I’d totally agree if it wasn’t for the nominations of HOUSE and Dexter.
• LOVE, Absolutely love, seeing Fred Armisen with the Mad Men crew. He’s engaged to Elisabeth Moss, who plays Peggy on the show. For a while I mistakenly believed he was engaged to January Jones, who plays the gorgeous Betty.
• The show ran only three minutes long. Not bad. Not a bad show. Relatively happy with the awards. Really happy considering how bummed I usually am and the fact I don’t have to go through the heartbreak of The Wire not winning anything (since it’s not on the air anymore).
• Ok. Time for bed.

Not Hot

Hilary Swank is not hot. If that seems like it came out of the blue, then you're not watching the Prince Family Paper episode of The Office.
She's just not hot and I know half of Dunder Mifflin agrees with me. I go so far as to question whether she is beautiful. She has a great body, but her face looks like a miniature horse. That being said, I don't have any delusions about my own face and body. I'm just saying that she is not unattainable for a reasonable attractive and well-off guy.
She is totally sexy, and I would totally, let's say romance her. But she's so hit or miss sometimes that it is hard to tell. Maybe if she would take a break from playing dudes, boxers and Amelia Earheart this could all be resolved.

For now, though, I'll let you decide. Hot or not? And while you're at it, what exactly is hot?