Dunder Mifflin': The Office (US) comes home

I hadn't watched the two latest episodes of the US Office, partly because I was doing other things and partly because I wasn't excited enough about the way season eight is going to remember to watch them. But hooray for me being wrong! The episodes showed none of the tiredness of the series: the plots were zippier, transitions between scenes and to and from the 'talking heads' (when characters speak to the camera) were faster, and the energy in the direction and the acting changed the dynamic completely. Some samples:

From 'Jury Duty'
We learn that Angela has given birth and so some people from the office decide to visit her. Everyone's reluctant to go, but Gabe- that Samurai creepster from another planet- jumps up with an enthusiastic 'I'm in!' and explains:

"I love maternity wards. It's the perfect blend of love and horror. Things can go so wrong and so right." (3.19)

And, as his expression throughout the scene is some variant of the ones below, I think horror would be a better bet.

There's plenty more to clap about in that episode. There's a clever bit of mime with Dwight swallowing Andy's 'chill pill'- which I thought had the makings of a stand-alone cold open (that is, the pre-titles sequence) like the utterly brilliant one of Jim's brush with Pavlov (S3E16). However, the main storyline of Jim trying to cover up the extra leave he took for Jury Duty, while being decent enough is hijacked by another, better, storyline that I won't go into because it's a massive spoiler. Go and watch the episode, you lazie.

From 'Special Project'
Lots to pick from here but the most sound-byte worthy would be Dwight's exposition of his state of mind after he lands a promotion:

'The Schrutes have a word for when everything in a man's life comes together perfectly: Perfectenschlag... I am so deep inside of Perfectenschlag right now. And, just to be clear, there is a second definition- perfect pork anus- which I don't mean.'

If you haven't watched it and are bothered by spoilers, do not watch the video of that bit. But what's great about this episode is that it didn't rely on funny lines alone but on good story-telling. The montage of Dwight putting together his 'crack team' and the bits from the interviews of the candidates, worked as reminders of how much the characters on the show have to offer. Seen in that light, something Mindy Kaling (who writes for the show and plays Kelly) had said after Steve Carell's departure makes sense: that the show is so rich in oddities that it may not even need a replacement [for him] and can simply devote more time to the other characters.

Which makes me think: could it be that these two episodes are such remarkable improvements because they don't feature Robert California? Their writers have written for the show before and only one of the directors is new- so it can't really (or only) be that. James Spader is brilliant and his character is, too: unrelenting, unnerving, powerful. But the main difference in these episodes is the energy, the upbeatness. And when Robert California is in the room, the primary mood is slow-burning, tense comedy and the attention is on him. Maybe his absence takes the pressure off and quickens the pace?

This is an important question because the show needs to figure out what was holding it back and make sure that these are the kinds of episodes it's making . Viewer statistics may not bother committed fans but it's sad that 'Special Project' is so far the least watched episode of the show (so wikipedia tells me) and 'Jury Duty' is not far behind. No show should hang around for too long and it's possible The Office already has. But if it can still serve up episodes like this, no one's complaining.

Paper Promises:

Dwight's working relationship with the new team is exciting and maybe one better than the Michael Scott Paper Company arc. This probably will be one to keep an eye on.

Angela and Pam's competitiveness in 'Special Project' sets an interesting dynamic that could resolve half of the what do we do with Jim and Pam now problem.

More of the beanie-wearing, spanish-translator warehouse man, please.

But I say No, No, No:
To Cathy (Kathy?) and Jim. The Office is not a soap or dear Kelly's fake pregnancy would have lasted a whole series. Go away, Cathy. No one will even notice.

Shows I love

The shows I've watched can be neatly arranged by provenance, specifically the UK and the US. I've watched very little television that's not made in one of these two places and practically none of those are worth mentioning.

I don't want to do a ranked list of my favourite shows because it's too boring and solemn. So here's a list without numbers (a nifty invention of mine), along with the precise moment I was hooked. The nine I've picked represent my preferences quite well so I hope the odd number doesn't making you tense (1).

Arrested Development: because there's always money in the banana stand. Though I was nearly there from the first time Lucille opened her elegant mouth ('Look what they've done, Michael! Look what these homosexuals have done to me!')

Doctor Who: Matt Smith's ridiculous hand-flail-wiggle-dance when saying hello to Amy Pond in Utah ('Did you see me?' 'Of course' 'Stalker!'). 'The Impossible Astronaut' was the first Who episode I watched. For all of the others shows, I started with the pilot.

Green Wing: How can you say no to opening credits like that? The shortest pitch any show has ever had to make to me.

Misfits: The first scene with the ASBO kids and the community support officer. It's beautifully framed: an unsightly group in bright orange jumpsuits against the dull backdrop of Thamesmead. To say nothing of Nathan's gobbiness.

Modern Family: Q: Why the face? A: It's Phil Dunphy, yo.

The Office (UK): Speaking of faces, David Brent's 'camera face' is genius. And the line? Only that niche genre in the music world of manager-rap: I can make that dream come true, too, AKA, for you.

The Office (US): I didn't like the pilot which is unsurprising because it was a scene-by-scene remake of the UK pilot. But one episode later, Michael Scott had his own camera face and his own dreams ( 'Why don't we go around and everybody, everybody say a race that you are attracted to sexually...')

The Thick of It: 'I can see that you've all got very big stiff hard ons about this...', Teri says about seven and a half minutes into the pilot. A camera sweeps across the men, Glenn squeaks 'Teri!' and we're in the Boys' Club. Chris Langham's masterful delivery soon after of what is basically an MP's whine about his driver, finishes the job.

Yes Minister: It's trademark Humphrey Appleby: a long, confusing speech about private secretaries, private sectaries, under-secretaries. And then trademark Hacker: 'Can they all type?' Pause. 'None of us can type, Minister. Mrs Mackay types: she's the secretary.'

BBC's mini-series Sherlock is the only notable omission; with it's larger scope and budget, it's unfair to compare it with, say, Doctor Who which doesn't even have enough money to make an Atraxi spaceship not look like a crown for Miss Universe (2). Incidentally, Who is the only listed show I haven't watched all the episodes of. It's been on air since the beginning of time (3) and a lot of the 'classic series' is missing or difficult to find. I've watched some of it, though, and everything since the 2005 revival.

So there it is. Six from the UK (Arrested Development, Modern Family and The Office aren't); eight comedies (bar Who); only three currently on air (Who, Misfits, Modern Family). The plan is to write something about each of them at some point. Or will I?

The plot thickens like milk in a plot.