Dunder Mifflin: Out of Business

   The Emmy award winning TV show, The Office, just moved on to their eighth season last year. With the departure of the beloved Michael Scott (Steve Carell) in season seven, many wondered what fate would befall the hit TV show, and who would be the new Regional Manager.

     For the past seven seasons, the Scranton branch of the Dunder Mifflin paper company was run by Michael Scott. Michael was the charismatic, unorthodox, unpredictable, and lovable Regional Manager of the company for all seven seasons. Without question, Michael was the protagonist of the multi-character show, and arguably the all-time fan favourite. Many would not question the shows integrity before his departure in season seven; however, during the season eight run, the ratings have declined during Michael’s absence. Season eight ended up having an episode in which the show had the lowest rating for an episode since season one. Is this simply explained away by the current void that Michael’s pivotal role filled? Or does the blame fall elsewhere?

     It’s no question that Steve Carell fulfilled his contract and possibly exceeded what the viewers and members of the show expected from him. With the best or worst material given to him, he took it and soared. However, The Office never tended to have any bad writing (which I, and the other viewers, appear quite thankful for). That being said, does the slow deterioration of the show fall on Steve’s presence as an actor and character? Not quite. The majority of the blame seems to fall on the writers of the show. Many TV viewers know how fast a shows integrity and worth can be compromised by the longevity of the show (e.g. South Park, Family Guy, and most notably, The Simpsons). The writers of The Office seem to have written themselves out of TV worthy material at season eight, or quite possibly at the end of season seven. It has been quite clear that there has been a struggle to maintain the shows originality after one hundred and fifty two episodes (from season one to seven).

       Previously, The Office was considered a comedy. I would say it was two-thirds comedy, and one-third drama. During season eight, it has had an entire paradigm shift, where it is now centered around the dramatic aspects of the show; primarily around the pathos element. For those not aware of pathos, it is usually accompanied by logos and ethos. Ethos is an ethical/moral appeal; logos refers to the logical aspect of a subject; and pathos is the emotional side of it. Season eight has been concerned with the emotional aspect of the show and characters. No longer are there hilarious and original pranks on Dwight. The show is far more concerned with Jim’s obvious love for Pam, Andy’s constant self-consciousness about being the Regional Manager, and the overt “morals” of each story they tell. On the subject of Regional Manager, Andy is clearly not the type that the show needs to progress. While he was a hilarious, ill tempered, and problematic salesman at the start of season three, he changed into a mild mannered, cautious, and love struck salesman near the end of season three. Why was he chosen to become the new Regional Manager? I have no answer. Andy’s promotion also leaves no room for the classic repartee and gags between Michael and Dwight, or Michael and Ryan, or Michael and Jan...or Michael and anyone really. Even the brief stints on the show by Will Ferrell and James Spader cannot make up for Michael’s absence, and the poor unimaginative writing in season eight.

     I feel as if I could go on and on about the problematic season eight, but I must bring this to a close. It seems quite evident that the writers relied far too much on Steve’s character and his roots in the other characters lives; in turn, they did not spend enough time having the audience invest in other characters. It is also obvious now that they have written themselves out of the original material that made The Office the unique Emmy award winning TV show. The dedicated audience (me!!!) tend to not care to watch Andy try to win everyone’s approval in predictable ways, or to watch Jim make Pam smile (as he has for the last few seasons). It is somewhat unfortunate that Michael was the seed of life in this show, where all other relations branched out from. In retrospect, I am certain that the audience and writers did not see this as a catch twenty two. To sum up, I give the cast and writers the biggest Dundie in the world for their efforts from season one to seven; however, I give them the biggest cane around the neck and a yank off stage for season eight. Please…just make it stop.