When it arrived on NBC three years ago, The Office seemed certan to be a soft and slender knock-off of its British ancestor, the riotous and brilliantly cruel Ricky Gervais combination of mockumentary and sitcom set in the non-careerist backwater of Slough, an exurb of London. The UK Office denizens sliced and diced the various British working castes, and made the social climbing and career grasping of David Brent the comic fulcrum of the series.
It was funny just on the writing and the brilliant performances; but it was deadly if you got the inherent British disapproval of social and economic ambition.
Bringing it to America presented problems with the premise. We’re supposed to adore ambition, and reward it with fame and fortune in our media channels. Steve Carell’s Michael Scott, the manager of a dismal regional sales operation for a second-rate paper company, was sketched as ambitous, hard-working, sales-oriented, and wiling to do almost anything to succeed. A hero, in the conventional wisdom of the American national character. We’re supposed to love guys like Michael Scott, whose ambition makes our economy grow.
But Michael Scott is a hilarious, pitiable character – the middle manager we ridicule with joy every week – and the conventional wisdom with regard to our societal love for ambition is wrong. Continue reading “The Comedy of The Office: Humor, Familiarity and Ambition”