What happens when Angela decides to spend Christmas with that dick Geoffrey? To what lengths will Angela go to find Tony’s baseball card? What gift will Tony get for Angela that shows once and for all how much better he his than that dick Geoffrey? Find out!
Continue (I know you will) with Parts II and III of “The Christmas Card.”
Isn’t it weird that the big joke with Mona is that she’s a huge slut? Sorta like Blanche Devereaux, but with even less subtlety. Kind creepy now (and even creepier as a 7-year-old).
In other (big!) Danza news, the folks over at Gawker.TV were kind enough to let us explore our fascination with Teach: Tony Danza in greater detail. We ask the question: Whatever Happened to Teach: Tony Danza? Check it out!
[note: not sure if that title will have anything to do with our reaction to last night’s Office. We just liked it.]
Week 3 of the Michael Scott death march brought us “Andy’s Play,” which slots below last week’s Michael Scott – Toby Flenderson tete-a-tete “Counseling” but above the season premiere “Nepotism.” It exhibited many of the symptoms that have plagued the show in recent seasons, but also demonstrated some encouraging signs, some beats that harken back to the show’s roots. Uneven, sure, but with a strong finish. And as some porn star was probably once told, it’s better to finish strong than start strong.
Read on: Michael is up, couples are down, and the wine is going all around.
With a new The Office tonight, we wanted to repost, by itself, the Office then-and-now comparisons we included in last week’s recap. We felt it deserved its own moment in the sun.
The transformation of Dwight [in last week’s episode] reminded us of a troubling trend within the show itself. While this episode showed Dwight being made over into a glasses-less, monochromatic tie-free aristocrat, The Office has to some degree been making over Dwight and its other characters over the course of its run. Characters should grow and change and evolve, but it should always serve the story. However, if you look at the physical appearances of the actors, they look more glamorous and polished now than they did at the start of the series, and not necessarily because the characters have improved their style. It’s a concerning phenomenon, and we hope it doesn’t point to the actors themselves, the stars of the shows, objecting to the dour, depressing style that defined the early seasons of the show and its progenitor. Behold, a side-by-side comparison:
Like we said, characters change, that’s a given. Their looks, their hairstyle, their clothes, their personality all change. We want that. We don’t want static characters. That’s lesson #1. But, at the same time, it would be disappointing if the appearance of these characters is due in part to the actors’ vanity. Are we seeing Jim Halpert or John Krasinski? The UK original was known for its gritty look, an anti-network sheen, bordering on depressing. And the first two seasons of the American version adhered to this (albeit in a less severe form), allowing for somewhat schlubby characters and grubby visuals (as much as network TV allows). But over time that’s changed, and the show glistens now in a way it didn’t before. And in some respects the storylines and tone have changed as well, gussied up and simplified. Now the show doesn’t need to return to its original look, throw out the new wardrobe and ban make-up. But it needs to remember where it came from. And where it originally was going.