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At the end of last week's "The Office," the next-to-last episode featuring Steve Carell as Michael Scott, the office staff came together to serenade Michael with their own version of "Seasons of Love" from "Rent," lovingly listing all the minutes he worked at Dunder-Mifflin, and then all the minutes they in turn spent in his pointless meetings, listening to his corny jokes, reading his e-mail forwards, etc.
It was an extraordinary moment in the life of the series. It was sweet and clever and incredibly touching (Carell was so obviously choked up that you could easily take his reaction as that of the actor or character). It was also the exact perfect gift the staff could give Michael, who had spent the better part of seasons trying to drag his employees kicking and screaming into his fantasies of the office as both a surrogate family and a place where he could sing, dance, tell jokes, do characters and generally have his genius for performing acknowledged.
And that was the most extraordinary thing at all. Because if you go back to the early days of "The Office," it is hard to imagine a circumstance under which Jim, Pam, Oscar, Ryan and the rest of the gang would have not only done this, but done this out of genuine affection for Michael and sadness that he was leaving them.
At the beginning of "The Office," Michael was so scorned by the staff - and rightly so, given his insensitivity, his offensive sense of humor and his completely tone-deafness of most social situations - that he had to buy himself a "World's Best Boss" mug to celebrate what he wanted his standing to be. He leaves (Carell's extra-long final episode airs on NBC tomorrow night at 9) with something far better than that mug: with the knowledge that these people really do like him, and they get him, and they can play his reindeer games from time to time because of how much they matter to him.
It's kind of incredible to think on that transformation, and how gradually and mostly naturally the show pulled it off.
The beginning was very bumpy, as the series' pilot was a pretty strict copy of the first episode of the original British series. What had been funny and ultimately harmless coming out of the mouth of Ricky Gervais' David Brent suddenly seemed cruel from Carell. I remember chatting with the show's executive producer, Greg Daniels, at an NBC press tour event the winter before the debut, and when I said Carell came off as really menacing in the scene where Michael pretends to fire Pam as a practical joke, he literally took a step back from me and said, "Well, that's not good!"
But Daniels and company stopped using the British scripts after that. More importantly, they started tailoring the character specifically for Carell. (Daniels has said that it helped the writers enormously to see their star in "The 40-Year-Old Virgin" in the summer between the first two seasons, as it helped them figure out how to put a Carell character in awkward situations without making the tension unbearable.) Michael and David Brent still shared a love of performing, and a deluded belief in their own gifts in that area (Gervais had a priceless cameo as Brent earlier this season, where he and Michael bonded over their shared love of ethnic caricature), but he became his own man. Where David was predatory (or tried to be), Michael was an overgrown child, still trapped as the lonely 11-year-old boy who watched too much TV and dreamed of one day having lots of children, because they would have no choice but to be his friend.
And bit by bit, Daniels and the other writers began taking Michael on the long, winding, hilarious road from barely-tolerated nuisance to the kind of guy whom everyone in that office will speak of fondly for years to come as they recall all the good, bad and ridiculous things he did.
And I have a run-down of the crucial Michael evolutionary episodes in gallery form. Enjoy.
Alan Sepinwall may be reached at email@example.com
Inside Television with Alan Sepinwall
'The Office': Saying goodbye to Michael Scott
Tracing the evolution of Michael from jerk to beloved boss
By Alan Sepinwall Wednesday, Apr 27, 2011 9:00 AM
Credit: NBC
I agree completely. I love the British Office and am a huge fan of Ricky Gervais, as well as Steve Carrel, but the two are very different and come off very differently. I can see why at first they tried to make Carrel just like Gervais's character, but as became clear early, that didn't work out so well for the American version. also - it is one thing to have a character likeDavid Brent for a short run, but i don't know if I would have put up with him for four or five seasons. Michael had to adjust and change, to remain oblivious but at the same time likeable. I am sure they are out there, but I can't think of any main characters in an American tv show that the audience doesn't like on some level. Even bad people like Tony Soprano or Vic Mackey, the audience liked them. David Brent was cruel and oblivious, where as Michael Scott is naive and oblivious - which works much better over the long haul and was much better suited for Steve Carrel.Like (0)This comment has no likes--be the first! -
CharlesApril 27, 2011 at 9:01AM EST Reply to Comment
"the long, winding, hilarious road from barely-tolerated nuisance to the kind of guy whom everyone in that office will speak of fondly for years to come"
Not exactly.
He's grown up from being a 4-year-old who throws a tantrum when everything doesn't revolve around him to being an 8-year-old who's just starting to understand that he needs to respect the wishes of other people. Michael certainly has improved, but only to the extent that I don't feel the itch to smack him (given he's an adult) every time he opens his mouth. Hardly 'zero to hero', more 'zero to just about tolerable'.
The strength of the US version of The Office lies in its strong ensemble - Jim, Pam, Dwight, Phyllis, Oscar, Andy, and all the others over the years have provided excellent entertainment as they cope with their idiotic boss. The ensemble is also why the US version is so much better than the original, and it's why the series has a real chance of surviving without its main star.
Then again, I also like Kenneth in '30 Rock', so our views are obviously very different :).Like (0)This comment has no likes--be the first!-
Brendan I completely agree. I never warmed up to Michael Scott and always laughed at him instead of with him. He seemed borderline mentally ill. His extended adolescence made him a really unlikeable character. That doesn't mean funny things didn't happen with, though, so I watched. I just don't get the warm fuzzy feelings towards his character. And his successful wooing and engagement to the seemingly sane Holly is a television mystery.April 27, 2011 at 9:57AM EST
evolution1085 Agree... it wasn't that long ago where Pam was ready to beat the crap out of him for how he treated her mother.I've always felt its been more of a "he may be an idiot, but he's OUR idiot" relationship between the staff and Michael.April 27, 2011 at 10:16AM EST
Jesse I agree too.April 27, 2011 at 2:02PM EST
Michael went the Homer Simpson route. When the series started he was pretty unlikeable but at least you believed he could have made to where he was.
As the years progressed his "quirks" because the focus and he turned into a caricature of who he was. His aloofness and stupidity were so extreme that you not only wondered how he kept his job but how he knew how to brush his teeth.
I liked the early years of the show but the past couple years, this one included, weren't worthy of the series' strong reputation. -
Truck Pfft, zero to hero??? Should we e-mail Hitfix and find out if somebody hacked Alan's account while he is away? Somebody from NBC maybe?April 27, 2011 at 8:02PM EST
Michael Scott didn't get any better, his coworkers just transitioned from human beings to cartoon characters. Nobody on this show feels genuine. It's an office full of asses. -
PM I agree with everything you said except for this....April 27, 2011 at 10:39PM EST
"The ensemble is also why the US version is so much better than the original, and it's why the series has a real chance of surviving without its main star."
It's just not true, and I do mean to say that objectively speaking in the same way that it can be accurately stated that Citizen Kane is objectively better than The Expendables. The best way to approach the comparison is to just acknowledge that it's not a fair one. The original UK version is just a beautiful little piece of television- so real, powerful, often poignant and consistently hilarious.
The US Office has the added pressure of 22 episode seasons and appealing to a mainstream audience, so that's why I try to give the US version some slack and say it's an unfair comparison because the US version can't win. But even with those allowances made, the show has just gone on 3 seasons too long with tonal and character shifts that change within episodes, let alone seasons. Not to mention that the conceit of the series itself (a documentary of an office) had to be abandoned halfway through the series run since it became completely unfeasible for a documentary crew to spend 8 years following these characters at all times. I've said it before and I'll say it again- blame Paul Lieberstein.
Col Bat Guano Put me in the camp of those who don't think that Michael has earned the redemption they have written for him. While he has had moments of compassion and flashes of intelligence, they are completely overwhelmed by his childish self-centeredness. Even this year he has booed Andy's play, ruined the Glee watching party and put a damper on the Christmas party because Holly hadn't dropped A.J. I realize the show wants to honor Steve Carell, but the Rent song and Threat Level Midnight were beyond the pale. I agree with "blame Paul Lieberstein."April 28, 2011 at 2:12AM EST
Thomas R I'd also lean toward saying it's become a bit too much. He's went from creep (season 1) to a kind of likable weird uncle. He has become a guy I could see being friends with, but I could also see just wanting to be polite acquaintances with him instead. So I don't know if being the likable weird uncle quite merits serenades and accolades. Particularly since in the Michael Scott Paper Company ark they seemed to be kind of mixed on his quitting, not heartbroken. I don't think he's improved that much from then.April 28, 2011 at 4:57AM EST
Still I think this is mostly about the sadness the show is feeling for losing one of their main characters. It doesn't entirely make sense with the characters, but I guess I see how it does make sense for the actors and writers.
CarrieApril 27, 2011 at 9:18AM EST Reply to Comment
My favorite Michael moment belies the former Jim/Pam girl that still lives somewhere buried inside my heart. From Party Boat: "BFD. Engaged ain't married." Awwww. Michael.
Of course, he makes Jim's life miserable in subsequent episodes for knowing his Pam secret, but without that he wouldn't be Michael, now would he?Like (0)This comment has no likes--be the first!-
guest And Michael following it up by saying, "Never ever ever give up". That was a great Michael moment.April 27, 2011 at 10:17AM EST
Chrissy I think showing Michael in a positive light through Jim's eyes was always so important, because in the early years Jim was the audience surrogate. I'm thinking of the scene where they laugh about the That's What She Said joke and how humanizing it was for Michael to have some self-awareness there.April 27, 2011 at 8:36PM EST
GuestApril 27, 2011 at 10:17AM EST Reply to Comment
That's what she saidLike (0)This comment has no likes--be the first! -
JosephApril 27, 2011 at 10:43AM EST Reply to Comment
Haven't seen the finale yet, obviously, but the more I think about the past few weeks the more I think the "big guest stars" that will be in the finale, including the presence of Will Ferrell the past few weeks, have been/will be a mistake. Nothing against Ferrell, who I like and who I think would have been a good fit as a short term guest at any other point, but his presence has really taken away from Michael and made it more about the "guest star" than a celebration of Michael Scott/Steve Carell. Ferrell's presence at the end of last week's episode, especially, felt like an intrusion. I wish they had gotten all the guest starts out of the way earlier in the season.Like (0)This comment has no likes--be the first!-
PotatoSolution Agreed. The Office has always succeeded because of its amazing ensemble, so bringing in a Ferrell for these episodes is not only distracting and unnecessary, it's a bit of an insult to the fantastic supporting cast that made the show popular in the first place.April 27, 2011 at 11:01AM EST
BriandApril 27, 2011 at 12:01PM EST Reply to Comment
The Office is the best comedy since Seinfeld. Carrel, although supported by a great ensemble cast, is the main reason why, and for that he should be commended.Like (0)This comment has no likes--be the first! -
Mr BelvedereApril 27, 2011 at 1:46PM EST Reply to Comment
Even though Alan mentioned it, the episode where he goes to Pam's art show and actually buys one of paintings was the turning point of the series for me.Like (0)This comment has no likes--be the first! -
Great job compiling the gallery and commentary, Alan. I really enjoyed the stroll down memory lane without any uncomfortable, overly long pauses being it's one of the trademarks of the show.
And sorry to hear about the loss in your family. We'll miss you but glad you know your priorities.Like (0)This comment has no likes--be the first! -
BenApril 27, 2011 at 2:54PM EST Reply to Comment
20 KEY EPISODES OF "THE OFFICE†THAT I WOULD HAVE SOMEONE WATCH IN ORDER TO HAVE A GOOD IDEA OF WHAT MICHAEL SCOTT WAS LIKE, FOR GOOD AND BAD
1. Diversity Day (Season 1)—Although I'm one of the more enduring defenders of the six-episode midseason run that NBC handed out in the spring of 2005, I'm not going to lie and say that these episodes made me think "This show is going to run for well over 100 episodes, either match or eclipse the British original in quality, and make Steve Carell so beloved that his final appearance on the show will become one of the biggest events of the 2010-11 seasonâ€. I was originally going to have people watch the pilot as my S1 primer on Michael Scott, but I switched to DD for several reasons. One is my hetero talent-crush on writer BJ Novak, whose first work for this show is as hilariously funny as it is daring (even in its 2nd episode, this show was strong and smart and well-done by Carell enough that they could use a line "Come on, Olympics of suffering—slavery versus the Holocaust!†and have me roaring with laughter). Another is that this episode presented the most-complex Michael of S1: stupid, thoughtless and clueless, but also sincere and making an effort to be better without any map on how to get there. And lastly, there were flashes of the more effective boss and better person Michael Scott would end up being here, which was NOT the case from the David Brent-mirroring asshole in the pilot.
2. The Fight (Season 2)—This one is Michael at his absolute worst, IMHO. A perfect storm of three separate managerial requirements is Michael's nightmare, so he spends the day bothering temp worker Ryan Howard (Novak) with awful gag-voice messages, and later makes the office blow off work so he can have a stupid karate match against his underling/lackey/acolyte/sort of friend Dwight Schrute (Rainn Wilson). If NBC had stuck to its original plan to only OK 12 episodes before pulling the plug, this would have been the series finale, and ended things forever with a Michael who didn't want to do his job, didn't care, and treated his employees like shit on a stick. But NBC did put in another six-episode order, and the next show…
3. The Client (Season 2)--…was one of the best ever. Not only is Michael competent in ways we can believe (and his sales pitch and relatable personality with the titular client, played by Tim Meadows) but this is the first time of many we get hard proof that Michael Scott is A) a superb salesperson who B) was promoted because of his star work there to a position he isn't equipped by either education or instinct to be good at. We also get to see the topsy-turvy, alternately admiring and despising way that Jan Levenson Gould (Melora Hardin) views Michael, AND a hilarious mirror into Michael's creative/arrested development impulses when Pam Beesley (Jenna Fischer) finds a very bad screenplay Michael wrote and the staff does an impromptu reading of it.
4. Valentine's Day (Season 2)—Like "Clientâ€, this episode provides exactly what show creator Greg Daniels talked about during its DVD commentary track: a plausible example of how Michael Scott keeps his job. But this one doesn't include the obvious crutch of Michael as salesman, instead having him provide info that a truly incompetent manager of another branch doesn't, and then have to find a way to save Jan's job when he blurts out that they hooked up in "Clientâ€â€"and Michael does so with simple craft. The fact that this occurs while Michael is having a great time in a New York City that he approaches like an 8-year old visiting from western Oregon makes this even more of a good window into the odd, funny world of Mr. Scott.
5. Conflict Resolution (Season 2)—The last of my S2 choices, in this one Michael fails spectacularly. His hatred of benign HR rep Toby Flenderson (Paul Lieberstein) leads Michael to open up confidential HR files to solve these "festering issuesâ€, only to lead to one disaster after another—and also to an extraordinary scene where Michael, stunned at how badly his (basically well-intentioned) terrible idea blew up everything in the office, looks over at Toby and nods a slight but very clear signal of "you were rightâ€. The fact that Michael then uses one of Toby's delaying tactics to end an ugly standoff between Dwight and prank-enthusiast salesman Jim Halpert (John Krasinski), then has to spend a lot of money on a group photo they never quite get right until he uses PhotoShop, is an A+ capper to this one.
6. Grief Counseling (Season 3)—I could have easily used "Take Your Daughter To Work Day†for an example of an ep where Michael's loneliness and sincere sympathetic nature over his lack of a family or children or even any real friends or good blood ties comes to the forefront, but I'm trying to spread things through the seasons a little bit (honestly, Season 2 is so good in general and at explaining why Michael is Michael in particular, I could port most of that year for examples and then pick out a small number of other-season episodes to fill out my 20), so I'm going with this one because it gets to the heart of Michael's sadness. When Michael's former boss Ed Truck dies in what we hear (but can't be sure really) was a drunk-driving accident, Michael begins to reflect on his own mortality, and then insists the office have a funeral when a small bird flies into the outside doors and dies. But after Pam talks about the bird in a touching way that clearly is aimed at the feelings of a teary-eyed Michael, and everyone listens to "On the Wings of Loveâ€, we understand more about how Michael is human, and like him that much more.
7. Phyllis' Wedding (Season 3)—Like "The Fightâ€, this one belongs because the journey to making Michael Scott a fully sympathetic character in every respect but one (his unbreakable hatred for Toby) involved a LOT of situations where he was just a vile, pathetic, and stupid waste of time. His behavior here from start to just before the finish (in an accidental redemption that raised his grade on this show from an F- to a solid F+) was as bad as it got to spend time with this man, either as a viewer or as a fictional underling.
8. Money (Season 4)—The start of S4 didn't work out very well, with a combination of four one-hour episodes that didn't suit the show (this series was made to run for 40 minutes every week, but NBC's scheduling boxes and eventual inclusion of other quality Thursday-night shows made this a mission impossible) and stories where Michael was an unredeemed dickhead and an idiot. But in the 4th and blessedly last of those shows, Michael's sympathy meter ticks up again, as we see how badly his relationship with Jan (they now live together, not happily) has ruined his finances and confidence, and Jan gives the only reading in the entire series where she expresses any sense of Michael being a good man who has been good to her. Things wouldn't work for Michael and Jan (I was close to putting "The Deposition†on this list, but not "Dinner Partyâ€, where Michael is less sympathetic and things with Jan turn into WWIII) yet this was one of the shows that let us feel that Michael and her both brought something to the table.
9. Did I Stutter? (Season 4)—Michael spends much of this episode acting like himself in the worst way: stupid ideas (such as the one that makes Stanley snarl out the titular phrase), rudeness to Toby, cowardice, and then worse ideas (the fake-firing of Stanley). But after Stanley levels Michael in front of everyone, and then makes it very clear he has no regard for Michael when they talk one-on-one, Michael simply tells him "Listen to me, OK? You cannot talk to me that way in front of everyone. You cannot do it. I am your boss. Can't allow it.†And Stanley, along with the audience, recognizes the truth in that, and they agree to be civil to each other. Just a great, great moment for this character's history.
10. Baby Shower (Season 5)—Fair warning first: this isn't a really funny or even very enjoyable episode. So WTF did I put it here? Simply stated, the relationship between Michael and Holly Flax covered two eras in the show history (S4 finale and first handful of S5, then a large part of S7) and I felt each of them should be spotlighted at least once. In this one, Michael goes from treating Holly badly out of wrong-headed support for Jan at her pathetic office baby shower, to successfully asking her on a date (right after Jan seals her fate as a hated character by asking him to not go out with Holly), to finally letting some reality in his bubble when he properly feels nothing for Jan's sperm-bank daughter Astrid. In addition, if you can get the S5 DVD set, there's a deleted scene where Michael quietly tells the infant about his own childhood without a father figure, and it's one of those moments you'll be glad to have seen.
11. Stress Relief (Season 5)—In this one, Michael pays the price for someone else's idiocy (Dwight, whose fake fire drill and CPR class property destruction piss off Corporate) learns a sad truth about himself that he acknowledges as such (his presence is stressful to all of his workers) sets himself up to be humiliated (with an impromptu roast that's so vicious, it rings true when Michael notes roasters usually give some warm compliments along with the skewering, and then when a distraught Michael can't do his own routine after hearing such things about himself and walks out on a now-silent room) and then has a brief, sweet moment of redemption (making his own roast-like comments the next day as the office roars with laughter).
12. Dream Team (Season 5)—After Michael spends the episode trying and failing to do something right for his nascent Michael Scott Paper Company, and Pam is fed-up and lambastes him for said failings, Michael gives a pep talk that's equal parts inspirational and "you have to face the facts and deal with what we both chose to do, because we have no other options hereâ€, and it makes this episode a great balance of good Michael and screw-up Michael.
13. Broke (Season 5)—Michael goes head-to-head with his former bosses, CFO David Wallace (Andy Buckley) and hated new VP Charles Miner (Idris Elba) over a possible MSPC buyout, and proceeds to kick both their asses, back up again (with help from Jim in an OUTSTANDING performance by Krasinski), then kick their asses some more. As Alan S. so superbly summarized, "He won. Michael Scott won. And he deserved to.†This series is about how Michael got to the point where he could not only believably win, but ADMIRABLY do so.
14. Murder (Season 6)—I'm not fond of this season, whether you're talking about the various meh storylines or Michael's lack of strong character development, but this episode—where the impending collapse of Dunder Mifflin and Michael's efforts to distract his distraught employees with a murder mystery game—was a high point. And while the whole Michael-Jim as co-managers story was not exactly a bull's-eye, their scenes here, particularly Michael's impassioned anger that gets through to Jim what this means to everyone, and then the closing interview with both men talking about what they did on this terrible day, were fucking phenomenal.
15. Sex Ed (Season 7)—Michael's tendency to romanticize is in the spotlight as a false herpes scare leads him to contact his ex-lovers, and he finally notices that the only one of them where there's mutual caring (or any caring at all) is Holly Flax.
16. WUPHF.com (Season 7)—Michael's man-crush on Ryan Howard was hard to understand, considering what a miserable person and bad soul Ryan ended up being from S3 forward. But even though Michael did need some prompting from Pam here, he finally calls out Ryan's undesirable qualities and doesn't throw his failing business a lifeline, leading to a quiet ending of a story that had been near boil throughout.
17. The Search/PDA (Season 7)—The only two-episode set from this list. They both have to be here because the Michael-Holly relationship takes psychic shape in the former, and goes from sheer romantic bliss to the kind of hard-fought, reality-based understanding that makes what happens a few episodes later feel just right.
18. Threat Level Midnight (Season 7)—Michael's creative last stand, outside of maybe his last Dundies (more on that in a minute) as he comes to terms with being a shitty writer and worse director, because he has Holly's love and his movie's funny in a "ready for a ripping from the Mystery Science Theater 3000 crew†kind of way.
19. Garage Sale (Season 7)—Michael proposes to Holly, she says yes, and the most touching episode to ever involve an aborted-proposal plan which would have set the entire parking lot on fire has Michael Scott winning. And yes, he deserved to.
20. Michael's Last Dundies (Season 7)—For the closing "Rent†tribute to a man who went through the previous 19 listed episodes, and 127 others, to reach that moment where, yes, the people who worked for him legitimately liked him and would miss him when he was gone.
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TylerApril 27, 2011 at 5:32PM EST Reply to Comment
I bet Will Farrell's character turns out to be the Scranton Strangler. You heard it here first...Like (0)This comment has no likes--be the first! -
CharlieApril 28, 2011 at 8:46AM EST Reply to Comment
I agree that the Rent tribute was over the top, but just a little too much. It's definitely in character for Pam to do it, just because she's a nice person, and they've known each other so long, and Andy just because he likes musicals if nothing else. My first reaction was Jim should be too cool for school to sing along, but they did a really good job showing the gradual building of a friendship between Jim and Michael (I'd say this is the biggest part of Michael's rehabilitation) that I can go along w/it, especially if Pam was planning it. I think they've done a good job also of showing affection developing between Michael and Oscar and Meredith (perhaps like the way you feel about your immature teenage nephew who's still family and is a good kid in the end), so I'll buy them singing. I REALLY had a hard time w/Stanley singing, but eventually if Pam and Andy have gotten enough people involved, singing along becomes natural, like singing "Happy Birthday" at a party.Like (0)This comment has no likes--be the first! -
Mike HuntApril 28, 2011 at 11:30PM EST Reply to Comment
Regarding Gallery Slide 9, Flax has no e...Like (0)This comment has no likes--be the first!
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