Why “The Office” Is A Cut Above The Rest Of The Shlock

I’ve been bombarded with season/series finales this week. I daresay that the current New England weather staple of cold and heavy rain doesn’t help with the emotional trauma inflicted from knowing that another season of TV is over and I’ll have to wait till Sept/Oct before I can know the fate of my favorite characters. 

I started counting down the months till the new season at 59 past the 8 PM “Office” hour, knowing full well that by the time the new season comes, I’ll be excited again, but pondering all the personal changes that could affect my life between now and then to make me less of an avid watcher.

We have mini-seasons now and hiatuses have become more commonplace leaving viewers with a feeling that they are getting less of a return on their investment. I’m not sure why I feel such an anti-climatic sense of closure: If I’m still reeling from the numb of Locke’s loss last week on “Lost” or simply do what I do when I can sense the end of the something that had a more profound effect on me than I’m willing to admit: Withdraw.

I’ve gone through the whole week watching “Heroes,” “Lost,” “The Office,” “Scrubs,” and “Grey’s Anatomy” without feeling too much remorse. The shows end with the typical formulaic cliff-hanger: Will Meredith and McDreamy bid their adieus? (most likely) Will George leave both Izzy and his wife out in the cold and develop yet another unrequited crush on a Grey sister now that Meredith’s presumably half-sister is an intern? Will JD and Eliot come clean with their love for each other or use the kiss as the convenient narrative scapegoat for last-minute, cold feet jitters?

The truth is “The Office” season finale left us all with some questions too-the big one being whether Pam and Jim were really going to get together, but the show is a cut above the rest in scripting, acting, and comedic delivery and because of this, the finale stuck out from the rest of the pack. It was not only delightfully poignant, but the final scene didn’t do what every other show on Network TV does-it ended with some sense of closure and promise for what the next season holds.

Whereas “Grey’s Anatomy” leaves us in some chronic emotional crisis over characters who are so self-indulgent I can’t stomach them, let alone care for them anymore, and “Scrubs” builds up to the Eliot/JD kiss for the past three mos, “The Office” took us on a more original detour, leading us just where we might have supposed we’d be (with Pam and Jim together), but taking a much more lively and animated path to get there.

I guess what all this boils down to is the ability for “The Office” to remain true, steadfast, and faithful to its core and what drew fans to it in the first place. It hasn’t suffered a second season writing slump cum “Desperate Housewives” and most other hit first season shows. It’s managed to leverage its success and sustain the course of time, critics, and fame. Moreover, it’s retained that ability to not take itself so seriously, which in life and on TV, is so critical to our well-being. 

Besides, that line that Steve Carell’s Michael Scott says to Jenna Fisher’s Pam after taking back his ex Jan (who recently underwent breast enhancement surgery), “Your argument was strong, Pam, but hers was bigger.”

That line deserves at least 10,000 Schrutebucks.

Charlie Wasn’t Killed Off Leaving “Lost” Fans More Confused Than Ever

I don’t know why I haven’t thought of doing a “Lost” play-by-play before for this site. I used to dissect reality TV to the point I wrote a book on it, so why not do the same with a show I actually enjoy watching?

Well, perhaps I feared that by breaking down my favorite show into tiny little critical bits of dusty particle-like matter, I wouldn’t enjoy watching anymore. But then I realized that it’s not passion that fuels me to write, it’s compulsion and since the latter is the very thing that also compels me to give up my Wednesday nights for the sake of a 10-11 ABC timeslot, it’s all pretty much the same anyways.

So as mentioned previously, last night’s “Lost” was Charliecentric. And as most “Lost” fans have grown to love the flawed bugger, we didn’t want to see him endure the same careless whisper of a fate as John Locke. We learn in the first five minutes of last night’s episode that Charlie knows new girl Naomi (and no, not from Las Vegas, her old stomping grounds) but from Manchester, England. They’re Mancunians. Naomi informs Charlie that he’s famous posthumously, in that everyone in the rest of the world thinks he’s that rockstar that died on that airplane.

Ouch!

This makes Charlie sad because later on when Desmond tells Charlie he must die so that Claire and her baby can live (A little Jesus, anyone?), all is not forgotten. Like the martyr/hero he is, Charlie volunteers himself for the life-sacrificing role of going underwater to work some magic on the hatch. In Desmond’s premonition, Charlie drowns for our sins. Ok, so the latter half of that sentence isn’t entirely accurate and in real life, he doesn’t actually die, but more on that later…

While Charlie is battling his childhood demons (in flashbacks), we’re also getting propelled forward with the Jack/Juliet/Sayid storyline as they prepare the island and wire it with explosives in preparation for the invasion of The Others/Hostiles. Unfortunately, they learn through Rousseau’s daughter’s boyfriend that Ben’s cult of crazy, gun-happy, baby stealers will not be coming in three days as Juliet anticipated, but that very night.

The remaining episode features more Charlie. We learn that he was afraid of the water as a lad, that his brother considered him the more mature, responsible one and gave him some sort of family heirloom for keep safing. There is also a tender moment between baby Aaron, Claire, and Charlie in which Charlie shares a platonic kiss with Claire, but more protective emotion is conveyed through expression.

The final scene has Charlie and Desmond on a boat in the middle of the ocean. Charlie is wrestling with going down, and Desmond senses his hesitation so he once again steps in on Charlie’s behalf and offers to save him. Charlie whacks Desmond over the head unconscious to show his disapproval of this and to prevent Desmond from risking his life once more on his behalf.

Charlies jumps, but does he die?

I will say that he makes it to the surface and that the hatch is actually more of an indoor pool, not unlike the one in Charlie’s childhood flashback with his dad and the pool. Charlie climbs up the ladder only to be met with two machete-happy “Lara Croft: Tomb Raider” lookalike women. We want to feel sorry for him, but he looks so positively happy to be alive and in the presence of such girls, it’s hard to feel too bad for the chap.

Next week’s “Lost” season finale features the conflict we’ve all been waiting for between the clash of The Others & The People We Care About. Stay tuned throughout the week for updates on this episode.

Will Charlie Meet His Maker On Tonight’s “Lost”?

There’s been heavy speculation that one of the major characters on “Lost” would be killed off before the season’s end. While for a while, it looked to be Charlie, when Locke was cruelly shot by Ben suddenly last week (which I’m still mourning btw), it seemed that at least that made Jack, Sawyer, Kate, and Charlie safe.

However, on tonight’s episode, the flawed Charlie gets center seat and rumor has it actor Dominic Monaghan, who plays Charlie was told he was not coming back next season. Considering there is only one more week of “Lost” left and Desmond continue to have prophetic insights as pertains to Charlie’s demise, I’d say the odds aren’t in the former Heroin addict’s favor.

Then there’s this little tidbit I found on SpoilerFix.com:

While Jack devises a plan to do away with “The Others” once and for all, Sayid uncovers a flaw in “The Others’” system that could lead to everyone’s rescue. But it requires Charlie to take on a dangerous task that may make Desmond’s premonition come true.

To see a trailer for tonight’s Charliecentric episode, click here.

ABC’s Fall Line-Up No Laughing Matter

ABC unveiled their Fall Line-Up yesterday. Comprised of six new dramas and two new comedies, “Grey’s Anatomy” spin-off “Private Practice” made the cut securing a Wednesday 9 PM. Wednesday is ABC’s ifiest night as it’s the only night with all new dramas debuting at each time slot and ”Pushing Daisies” and “Dirty Sexy Money” sandwiching “Private Practice.”

The James Patterson-written/Brett Ratner-directed “Women’s Murder Club” will air after “Men in Trees” (which I guess won’t be on perma-hiatus status by that point and hopefully Heche and her steamy co-star’s real-life affair won’t have fizzled by then) on Friday night. The premise of “Women’s Murder Club” is a bit “Desperate Housewives” meets the spawn of “Murder She Wrote” and “CSI,” but the show might be the best new pilot ABC has to offer. But who’s going to watch a show on Friday night on ABC? That hasn’t been done since Steve Urkel and Fred Savage’s little brother were on TGIF.

ABC’s Sunday night line-up is remaining the same (Why not? Nielsen LOVES it!) with “Brother & Sisters” rounding out the 10 PM slot. And as if “Sam I Am” could compete with “Heroes,” it’s filling the Monday night at 9 PM slot…Personally, methinks the only show that might be able to compete with a show like that is “Lost.”

 But wait??? Where is “Lost” on this line-up? Does this mean the show is over? That there will be no more podcasts devoted to my gripe with the show’s writers??

No. Phew. It’s just being pushed back till January 2009 to make room for “Private Practice.” Early word is that “PP” is no “Laverne & Shirley” or “Jeffersons” for that matter.

Huh? Has ABC lost it?

Amaldo.Com Cast: Oh Mother!

On this week’s podcast I dish and gripe about my favorite shows and their season finales. It’s a must listen for “Heroes” and “Lost” fans out there!

RIP John Locke & Other Major Network Casualities

For some strange reason, I’ve had death on the brain since about 10:48 last night. Oh wait, I know why. Because ABC and their crew of “Lost” writers were stupid enough to kill off the best character on the show! And they did it in the typical “Heroes” tradition of trying to manipulate us emotionally into feeling sympathy for the bad guy. Well guess what ABC and NBC, none of us care what makes an evil man, evil. We just enjoy watching him get taken down by the good guy. So when you kill of the “good” guy as was the case last night when the evil hostile Ben shot our resident protagonist ballsy hero John Locke in the chest and he fell into the pit with all the other dead Darma skeletons.

Did John Locke, who is for the most part, the most heroic and redeeming character on that show deserve to suffer that fate?? I only hope that Jacob (aka Ben’s alter ego aka the mysterious force that lives in a dark cabin and keeps Mason jars of blood on his window ledge) comes back and breathes life into Locke and heals him. We already know that the island has the capability of healing someone (based on Locke’s ability to walk after being paralyzed), but can it bring that same person back to life?

The big season ender on “Lost” will be the climax showdown of Hostiles/The Others Vs. The Good Guys and I want some shred of promise that holds me till next season that Locke will come back.

As an aside, all this morbid talk had me thinking of all the network shows that died in the past few months so I’ve created a list I’m calling TV Show Graveyard. Feel free to add to this list in the comments section if you feel I’ve left out a show.

1. Studio 60 On The Sunset Strip (A surprisingly good show, I was sad to see go.)
2. Andy Barker P.I. (Reminded me of “Sledgehammer” from the 80s so it had the potential of the offbeat quirky appeal that people might have grown to appreciate.)
3. The Winner ( I guess serie’s star Rob Corddry will have to continue renting his apt.)
4. October Road (Never saw it, never wanted to.)
5. Six Degrees (Watched it once, felt very ugly, but not as shallow as the peoples’ lives depicted on the show. Never watched it again.)
6. Black Donnellys (Another show trying to ride the wave of success from “The Departed.” I was secretly happy it bombed since it replaced Studion 60).


And now if you will. A moment of silence for John Locke.