Life In The Office

I’ll admit that I was not looking forward to “Threat Level Midnight.” An episode based on an improbable Michael Scott movie extravaganza didn’t sound like “The Office” that I know and love. It seemed more like the kind of idea that desperate sitcom writers have always resorted to: “Hey, let’s have our characters put on a show; we’ll have them sing and dance… and for the grand finale, our star can jump a shark.” I was actually dreading  “Threat Level Midnight” right up until airtime. As I was watching it, I thought “Well this isn’t too bad.” And when it was over… I said “Well, that was fun.”

The cold opening began with a delivery man approaching Michael Scott at his desk. Soon, both of them pulled their guns, and Dunder-Mifflin was filled with flying hot lead. To most regular viewers, this probably felt a little “different,” even if they couldn’t put their fingers on it. This was, of course, a scene from the movie “Threat Level Midnight.” The dialogue was stilted and the movements were herky-jerky. Yes, this was definitely a Michael Scott production.

The scene then switches to the office interior, where naive Erin is excitedly announcing the screening of Michael’s movie to the workers. Michael goes to get Holly, and Pam takes this opportunity to warn the rest of the staff to be mindful of Michael’s feelings. Years ago, he had shown a rough early cut of his movie, and everyone laughed their heads off at what they perceived to be a “comedy.” Michael was hurt by this reaction. At this point, I was reminded of the 1994 movie “Ed Wood.” If you haven’t seen it, it is the based-on-a-real-life story of a delusional man who thought he was a competent, visionary filmmaker. He wasn’t, and his poorly written, under-budgeted, badly acted movies are now valued as unintentional comedies. They are shown all over at festivals… and carnivals.

Everyone gathers in the conference room, and “Threat Level Midnight” begins. Agent Michael Scarn, along with his faithful assistant Samuel, are called in to see the President of the United States, played by Darryl. The acting is predictably amateurish, and the sets are ridiculously homespun, but this is one of those scenes that illustrate how well the episode was constructed; Darryl took the part of the president years ago, to show his daughter that a black man could be president. That explains what Darryl would be doing wasting his time indulging a goofy man’s obsession. It also works on another level; It reminds us that just a few years after he took the part for all the right reasons, the USA now has a black president. This was one of those moments when I began to come around to this episode as something more than a typical sitcom fairytale. This here was some darn good writin.’

The actual movie “Threat Level Midnight” then plays as a series of vignettes, each one featuring guest appearances by departed cast members. This was a delightful payoff of the concept, because Office fans have fond memories of the likes of Karen Filipelli, Jan, and everyone’s favorite lovable oaf, Roy. They all were coaxed by hook or crook to appear in Michael’s movie. Michael even got Stanley to narrate the story, probably by buttering him up, convincing Stanley that the project needed the gravitas of his “James Earl Jones”-y voice. I was concerned that this episode would be too preposterous to “fit” with the rest of the series; that instead of the show’s reliable realistic “feel,” this episode would be too involved with the fantasy of so many different personalities getting on board with one man’s dream project. But they pulled it off, making it entertaining even if there are some lingering logistical problems. I ended up having too much fun to care about the holes in the plot.

Jim’s involvement was cleverly explained as as way to impress the receptionist that he was sweet on at the time. Andy is a natural hambone that would throw himself into his part as the bartender. Jan fancied herself as a multi-talented individual, and was just beginning to go off the rails, anyway. Creed is perfect as an inscrutable zen-master. Michael would of course cast Toby, if only for the opportunity to blow that “wanted animal rapist’s” head off. This episode is so loaded with inferences and inside jokes that it will be excellent for repeated viewings.

The episode switches back and forth from the action and adventure onscreen, to the intrigue in the screening room. Michael is on pins and needles, hoping everyone likes his work. He is especially hopeful that Holly will be impressed, and it becomes sadly apparent that she is not. I thought this was a good direction to take, because lately Holly has been onboard with all of Michael’s nonsensical behavior. In an effort to show that Holly and Michael are obviously made for each other, the writers have had Holly doing things that seem out of character, like engaging in outrageous “Public Displays of Affection.” But here, when the lights go up, Holly can’t even muster the ability to fake any appreciation for Michael’s mess. That makes it a thing of beauty when the light bulb finally goes on over Michael’s head. He realizes that his cinematic creation is abominable, and Holly doesn’t want to lie to him about it. And that deepens his affection for her. Dang, more good writin.’

I was fully prepared to dislike this seemingly cheesy episode. But now, I think that they just may have the talent, and a deep enough cast, to pull off a transition to a Michael Scott-less existence. What are your thoughts?

~ Robert