Steve Carell interview on "Ellen"
Ellen: Let's talk about "The Office." How many do you have left now?
Steve: We shot like 15 and I have seven more to do.
Ellen: Wow. Are you getting sad now?
Steve: Yeah, it's a little sad. It's sort of bittersweet because a lot of these people are my best friends. I feel like it's time for me to move on but it's sad. I'm going to miss everybody a lot.
Ellen: I'm sure you will. And it's a huge deal. You announce you're leaving and everyone's talking about who's going to replace you. Literally, it's just a gigantic thing. Like who's going to replace you?
Steve: It is. It's pretty big news. It's pretty exciting. [laughing] I was actually surprised that it got as much press as it did because it's a guy leaving a TV show.
Ellen: But it's you leaving a TV show. You're so great as that character. Everybody's wondering who can replace you.
Steve: Oh, thanks. I honestly don't know what they're going to do. There are various ideas. It's funny. The producers have, time to time, thrown names out there to screw people up.
Ellen: Oh, really?
Steve: Yeah. They'll just put anybody. They'll just start naming [people]. Colin Powell, I think is going to be the next Michael Scott. And people jump on it and don't see the irony at all.
Ellen: Maybe they're testing it to see what people are going to respond to the most. If there's a name that people really kind of hold on to.
Steve: Yeah, that's true.
Ellen: Don't you have an idea? Do you have somebody or like a few people that you think would be great to replace you?
Steve: You know what. I'm leaving that to the producers. I think it would be in their best interest just to sort of go in a different direction and not try to do the same type of character.
Ellen: I agree.
'The Office': Deck the halls with Holly Flax
There was so much right about "The Office's" Christmas episode, including but in no way limited to the return of Michael's love Holly Flax, that the couple of wrong notes it hit -- pretty much all in one subplot -- aren't even coming up till the end. Know why? 'Cause it's the holidays, and that's how we do.
So let's get to it.
It's fair to say that "Office" diehards have been looking forward to Amy Ryan's return pretty much since it was announced over the summer. And she didn't really ease her way back in, launching into a two-minute weird voice-off with Steve Carell almost the moment she set foot in the door. The chemistry they've had in the past has gone absolutely nowhere.
But she's not just going to fall into Michael's arms -- despite what Nora Ephron has told Michael in every romantic comedy ever made. She's still with A.J., and she tries (maybe not hard enough) to let Michael know what the score is. Michael reacts like, well, Michael, and it looks like just another Dunder Mifflin Christmas party.
But then -- it's a Christmas miracle! Michael's actually honest about his feelings for Holly, and he's completely civil to A.J. when he shows up, and he gives Woody a bath (hanging up his hat and vest on a clothesline in the bathroom -- brilliant visual touch). And then Pam, who's really the hero of this episode, does something she maybe shouldn't and tells her Holly is planning to give A.J. an ultimatum -- propose or we're done. And Michael, believing he's back in the game, gets his Santa back in time to help give Darryl's daughter a fun Christmas, which Holly notices.
And, and: She totally covers for him when A.J. asks what happened to Woody. It's just a start for them again, but we like where this might be going.
Jim and Pam:
Pam throws a bang-up party, but she's also concerned about the present she got Jim: a homemade but totally adorable comic book, "The Adventures of Jimmy Halpert." She's trying to match Jim's gift-giving game -- he's got a way of turning moments and little things into great presents -- but she doesn't get very encouraging feedback from Ryan or Phyllis.
And then Jim goes and gets her a really, really nice piece of jewelry. But here's why Jim and Pam are awesome: Jim knows how much time and love Pam put into the comic book, and he's also a little bit of a nerd, so he loves it. Genuinely ("That's my bike!"). (Also? It's a 100 percent real-life, relatable story line. Just about every couple I know has gone through something like that.)
Darryl and his daughter:
Darryl is supposed to have his daughter Jada for Christmas, but she doesn't want to be with him because he's not fun enough -- possibly because he already let her buy her own presents at the toy store. But with some help from Pam, less help from Andy and the magical Dunder Mifflin vending machines, Jada ends up having a pretty nice Christmas after all.
And, the bad part:
I was onboard with Dwight's snowball-fight overkill through his emergence from the snowman ("My fingers and penis are numb, but I think it was worth it"), less so with the Pam wig but moreso with the rigged present. But as happens too often with the show now, the show takes Dwight about a step and a half too far into freak-show territory. After the warm feelings at the end of the episode, having it end with the field of snowmen and Dwight looking on menacingly from the roof didn't feel like the right closing note.
Other notes from "Classy Christmas":
Erin's weird protective streak with Michael reared its head again with her introduction to Holly. She didn't have many lines, but they were pretty much all gold, from "I'm waiting for my boss' pretty friend" to her "I just don't get it!" talking head to "Is she an amazing cook or something?"
Angela's new boyfriend (Jack Coleman, glimpsed during "WUPHF.com") is a senator -- and also, per Oscar's gaydar, not so into girls. Angela's a pill, but ouch.
Ladies and gentlemen, the return of the Creed Bratton Moment of the Week: After Michael describes Holly to Erin in his typically grandiose way, Creed pipes in with, "She's a sassy black lady."
Of course Stanley would love the idea of jury duty. "To get to sit in an air-conditioned room, downtown, judging people, while my lunch is paid for? That is the life."
"Hostess apple pie? That's my favorite breakfast."
'The Office,' let it go out with a bang
Sitcoms can still be good after they lose a main character - witness “Cheers” after Shelley Long quit - but they’re rarely any good after they lose the main character.
Does anyone have fond memories of “Spin City” after Michael J. Fox was replaced by Charlie Sheen? Or of “That ’70s Show” after Topher Grace left? And how about “Mayberry R.F.D.” (“The Andy Griffith Show,” minus Andy Griffith) and “The Hogan Family” (“Valerie,” minus Valerie Harper)?
Since Steve Carell announced earlier this year that he’s giving up the central role of Michael Scott on “The Office” at the end of this season, critics and fans have been weighing in on whether the show could or should continue without him.
The show probably could continue to draw satisfactory ratings, but that’s only because NBC’s ratings bottom line has descended to cable levels. But in the light of the failed sitcoms mentioned above, a review of a couple recent “Office” episodes suggests the show probably should end with a bang next May rather than try to reboot with a new boss in the fall.
With the notable exception of the show’s everyman-everywoman couple, Jim (John Krasinski) and Pam (Jenna Fischer), almost every regular character has over the years become more of a caricature and less believable.
We might accept that Dwight (Rainn Wilson) would be impossibly parsimonious as the office building’s new owner - down to having his assistant split the bathroom tissue into one ply — but even Dwight, in an unrelated scene, wouldn’t spend 20 minutes a day picking up objects with his feet so that he could develop the “pedidexterity of a chimp.”
What makes that sort of absurdity difficult to second-guess is that the writers usually use it to set up a good joke. In this case, Jim placed a mug of hot coffee on Dwight’s desk, knowing that Dwight would be unable to refuse the challenge and would try to grasp the handle with his toes.
In that same episode, Oscar (Oscar Nuñez) was a perfect sendup of a particular type of office know-it-all - the kind who tends to start sentences with “Actually" - but when he insisted on having coffee with Michael only so that he could prove his superior knowledge, the situation felt strained.
Most of the characters have settled into patterns. In one way, this is a strength, because it allows the writers to use a kind of shorthand. When Kevin (Brian Baumgartner) says, “I want to eat a pig in a blanket - in a blanket,” the laugh draws on our long familiarity with the character.
This also allows the writers to cram the episodes with extra subplots, which keep any one of them from going on too long.
But Michael’s inability to learn anything or to grow from years of personal and professional setbacks and successes has become increasingly frustrating. His petty behavior at the “Glee” viewing party stretched caricature to the breaking point.
And his ongoing abusive behavior toward the HR guy, Toby (Paul Lieberstein), is just sad.
As has also been pointed out elsewhere, the premise of the show - that a crew is still filming a documentary about the Scranton branch of Dunder-Mifflin - is by now ridiculous.
On the plus side, it’s hard not to smile when Michael has one of his little triumphs, as when he twice bested Oscar in arguments. His illogically loyal support of Ryan (B.J. Novak) in their ill-fated WUPHF.com venture was touching.
Michael also brings out the best in Jim and the long-suffering Pam. Both of them show that their exasperation with Michael is always mixed with affection.
Given the writers’ inventiveness, it’s not inconceivable that they could come up with a replacement for Michael who would feel like more than just a space holder. No one in the current cast seems likely to be promoted, especially since Jim voluntarily gave up the job as co-manager, and Ryan flamed out when he was overpromoted a few seasons ago.
At least one commentator has made an intriguing suggestion: give the job to Ricky Gervais, the co-creator and star of the British original version of “The Office.” Adding a transatlantic culture clash to the usual mix of misunderstandings would give the show a boost of energy.
But even if Gervais were to accept -he’s an executive producer of the American version and thus has a financial stake in the show’s success - he’s a bit of an artiste and likely would refuse to do more than a season.
Those who wish “The Office” well should hope it ends this spring. Carell probably suspects that Michael is wearing out his welcome. The other characters aren’t going to become more lovable in his absence.
The Office: an American Workplace beats the British original
There is a double billing of The Office: an American Workplace on Comedy Central this evening, and thus a double reason to rejoice.
The fifth series of the US spinoff of Ricky Gervais’s comedy is now airing in this country and remains both funnier and more watchable than the original tale of Slough-based corporate ennui.
It shouldn’t have been this way. The Office, in its first incarnation, seemed the sort of British creation that would never translate: the black humour, the edgy irony, the humdrum setting, unglamorous cast and cringe-inducing main character. But somehow, the US channel NBC took the same formula and made it into something that was recognisable but distinct and, in my opinion, superior.
There are plenty of similarities. Both shows are set in a dismal backwater. In the British version, this is Slough, known for its roundabouts and the poet John Betjeman’s lines: "Come, friendly bombs and fall on Slough/It isn't fit for humans now..."; in the US it’s Scranton, Pennsylvania, picked by the executive producer for its lack of “glitzy stuff going on”. Both shows feature life in a doomed paper company with a faintly risible name: in the UK, Wernham Hogg, in the US, Dunder Mifflin. And both have a vain, blundering buffoon of a boss who doesn’t realise that he is, more often or not, the butt of his own jokes.
The main difference, though, is that the US boss Michael Scott, played by Steve Carell, is somehow just as preposterous but much less detestable than Ricky Gervais’s David Brent. I always found it hard to enjoy watching a character as creepily odious as Brent. Michael Scott is certainly no messiah: he has zero self-awareness, does an insulting impression of an Indian shopkeeper to celebrate “diversity day” and drives one of his employees, an alcoholic, to comment “you are the reason I drink. You are the reason I live to forget.”. But there is also an endearing, puppyish enthusiasm to him that’s lacking in Brent. And he is apt to say things like “I burned my foot very badly on my Foreman grill” or “You don’t call retarded people retards. That's bad taste. You call your friends retards when they’re acting retarded.”
This balance between the irksome and the compelling is kept up in the other characters, too. Instead of just copying the UK Office’s hapless geek, Gareth Keenan, the US office gives us Dwight Schrute, a far more fascinating character who lusts for power, slavishly adores his boss, farms sugar beet, hoards weapons and knows how to thwart a bear attack – but not the pranks of his colleagues Pam and Jim. The romance between the latter two is just as subtle, affecting and funny as between their UK counterparts – but it’s given more time to develop. In the US, The Office is on its seventh season. Sometimes, more is more.
A glimpse into Rainn Wilson's 'Soul'
Rainn Wilson plays beet farmer, former volunteer sheriff and Dunder Mifflin Paper Company salesman Dwight Schrute on NBC's The Office. And now, he's written a book that boorish Dwight would scoff at, called SoulPancake: Chew on Life's Big Questions. In this volume, which is based on his website of the same name, Wilson wants his readers to explore creativity, spirituality and love. "I believe in God. Some don't. Every person has some kind of spiritual life, even if they think they don't," says Wilson, 44. "There's no agenda with SoulPancake." He talks tomes and TV with USA TODAY's Donna Freydkin.
Q: What inspired your book?
A: I was a lot of different nerds when I was younger. Band nerd. Drama nerd. Model United Nations nerd. Debate club nerd. I was also a spirituality/philosophy nerd. I loved reading about that stuff. I wanted to create a website that was an intersection of creativity, philosophy and spirituality. It's talking about life's big questions. That's how it started. We've been writing the book for the last 10 months or so and we thought the book would be a great companion piece to the site. The site is more of a community but the book is like a workbook.
Q: Do you remember the first book you read that hooked you?
A: I was very into reading early on. There were a couple of books I read in the fourth grade that really exploded my imagination. The Phantom Tollbooth and Alice in Wonderland. I still love works with tremendous imagination, in which an author creates a world you've never seen before and invites you in.
Q: Is your son Walter a book lover like you?
A: We read every night. We read two or three books. We make reading a very active part of our lives. He's got tons and tons of books. He just turned six and all the words are starting to add up. He's realizing he can do it on his own. He loves big science books filled with pictures.
Q: Are you a big online person?
A: I spend a good amount of time on the internet. I can waste a lot of time looking at YouTube videos. I don't do a lot of shopping. I go to Wikipedia because they have all the hyperlinks and you read one thing and hyperlink the next thing and all the sudden, you're looking at Charles Darwin's great-grandson's foot infection and have no idea how you got there.
Q: With Steve Carell leaving The Office in May, what's ahead for the show? Who will replace him?
A: Honestly none of us have really any idea. The biggest mistake in the world they could ever try and do is replace Steve Carell. He's irreplaceable. He's one of the funniest comedy actors that has ever lived and you can't just replace somebody like that. So, I think they need to make the show more of an ensemble show. If they bring in another name, or some other people who are recognizable talent, they need to be a delivery person or a new salesman or the new accountant, but not bring someone in as the boss. That's generally the consensus, that it's going to be much more of an ensemble show.
Q: So you're not concerned about the show's future?
A: I have great concern. Steve Carell is irreplaceable. He's the most brilliant actor I've ever worked with. I hope the show can stay as funny. He also drives the show. Michael Scott is the engine of the show. You have to figure out other ways to motor the show along.
Jenna Fischer offers A Little Help
The former St. Louisan and star of The Office discusses her new film A Little Help, life as an up-and-coming actor in St. Louis, and why she loves producing.
Most people only know Jenna Fischer from her role as Pam Beesly, the reception turned paper saleswoman at the heart of one of the sweetest TV love stories of the last decade on NBC’s The Office. But during her seven seasons on the hit sitcom, the St. Louis native has also built up an impressive filmography, from her starring turn in 2004’s LolliLove to supporting roles in comedies like Blades of Glory, Walk Hard: The Dewey Cox Story, and The Promotion. Fischer stretched her dramatic muscles as Michael Douglas’ frustratedly put-upon daughter in this year’s Solitary Man, but her latest, A Little Help, marks her first major dramatic leading role.
Fischer plays Laura, a young woman who Fischer describes as “sort of a chain-smoking alcoholic who is not always great at seeing the long term consequences of her immediate choices.” For years, Laura has skated by on her charm and good looks, but she finds herself adrift when her husband (Chris O’Donnell) dies unexpectedly, leaving her to raise her eight-year-old son (Daniel Yelsky) while at the same time struggling with her attraction to her sister’s husband, Paul (Rob Benedict). “The story is dramatic," says Fischer, "but it has a lot of comedic elements, so it’s not a heavy, droning, difficult story to get through, there’s a lot of humor.” The humor comes courtesy of writer and director Michael J. Weithorn, a veteran television writer and producer (Family Ties, King of Queens) making his feature directorial debut. “It’s a very big departure from the role of Pam,” Fischer reports, proudly, “or really anything else I’ve ever done.”
We caught up with Fischer by phone from Los Angeles, shortly before her trip to St. Louis to accept the Charles Guggenheim Cinema St. Louis Award at this year’s SLIFF.
A Little Help is your first leading role in a film since Lollilove. Was that a conscious decision on your part? Were you specifically on the hunt for a leading role?
A little bit. I was definitely open to it. I hadn’t taken anything like that on before, partially because I wanted to really…gosh, it’s hard to explain, but doing a supporting role or being part of an ensemble, I always really like that atmosphere. I didn’t want to take a leading role until I felt like I could deliver.
I hope that I was able to do that in this movie. I had to call on a lot of my old theater training and character work, and it was a big undertaking, but I felt like I had been working enough that I was ready to at least try.
I certainly thought you delivered. I saw the film last night and I thought you did a spectacular job in it.
Oh, thanks, thanks! Of course, I watch it and there’s always little things that I pick apart, but I think that the film turned out really nicely.
How would you compare playing the role of a frustrated mother to playing the frustrated daughter in Solitary Man?
The characters are very different, because the character in Solitary Man is a lot like I am: very practical and thoughtful. I generally enjoy structure, and I’m pretty forward-thinking: when I make a decision, I think of all the different ways it could go, all the permutations or consequences of that decision.
But this character in A Little Help, she is very impulsive, very spontaneous. I’m not sure that I would necessarily call her “frustrated” as much as “frazzled.” She’s her own undoing. The reason that she’s having all these troubles is 100% because she makes horrible decisions. In some ways, my character in A Little Help is a lot like Michael Douglas’ character in Solitary Man: a person struggling against their own bad decision-making.
I can see that. Although I think Michael Douglas’ character made arguably far worse decisions.
Well, that’s true! But you know, seducing your sister’s husband isn’t a great decision. [laughs]
One of my favorite scenes in the film is the one where Laura’s relationship with her son reaches its breaking point. And what I loved so much about it is you have her acting like a child toward her child, screaming “No, you suck!”, which is inherently funny, but the circumstances give it a tragic feel at the same time. How difficult was it to find that zone where you could capture both the comedy and the drama of a situation like that?
I am so happy to hear you point out that scene. That scene is why I wanted to do this movie. That was my favorite scene in the movie, I looked forward to doing it for all the reasons that you just said. I loved that it was a parent who was acting more childlike than their child, but I also liked that I felt like it was something that parents want to say to their kids all the time. She says to him, “You’re such an asshole to me.” I think parents sometimes want to look at their kids and say “I do everything [for you], my whole life is geared around you, and you’re such a jerk to me!” As a parent, you’re just not supposed to say that. Well, she does. And it’s not great parenting, but I think it is going to resonate with parents.
But what’s sad about that scene, like you said, is that he was trying to help her and she’s not able to see [that]. It’s these two people that are trying to connect, but the way they’re trying to connect, they’re not able to do it. She thinks that if she just sings in the car with him then everything will be like it was when he was 5 or 6 and loved singing in the car, but that’s not the way to reach him anymore. And he thinks that by helping to get rid of this dog next door, then his mom will be happy, but instead it creates problems and she ends up screaming at him. That’s one of the beautiful things about the movie, I think: these people, they’re trying to connect but they just keep missing each other.
The little kid, played by Daniel Yelsky, is so great. We became such good friends on this movie, and we still email each other. He’s such a great kid. Every time I had scenes with him, it was such a pleasure.
In one of the scenes, I scared him when I yelled at him. I could tell. I came on a little too strong. And it broke my heart. I just gave him a big hug after it was over and told him that I thought he was great and I loved him and we were friends. But besides that, we were able to do all of the scenes. There was one scene where I kind of lunged at him when I screamed at him and he got really scared, and I told him I’d never hurt him, it was just acting, and he got it, he was okay. But they were intense scenes, it was a lot.
Both yourself and the writer and director of the film, Michael J. Weithorn, have extensive television backgrounds. Did you find any parallels between your experience making the movie and making a TV show?
Not really…in fact, it was kind of cool because we would always be talking about the differences [between] making a movie and making a TV show, and we were able to connect on that level. In my TV show, you’re allowed to look at the camera, and on his TV show [King of Queens], you have to pause for laughs. So we were talking about how, when we would do a scene and he would say it was a comedy scene, then nobody would laugh and he would get really nervous, but then he remembered that you’re not allowed to laugh on the set of a movie. You do all this funny stuff, but if somebody laughs, then it ruins the take. He said he had to get it into his head that it was okay that he didn’t hear laughter at the end of jokes. And I said “That’s alright, I have to get used to not looking at the camera at the end of a joke!”
You did get to do that a few times in the scenes shot from the perspective of your dental patients, though!
That’s true, I did!
One of the themes of the film is the effect that lies can have on our lives, even lies that are told with good motives or to spare someone’s feelings. I’m betting you probably didn’t have anything as extreme as claiming your father died in 9/11, but do you remember any lies from when you were a kid that you tried to pull over, and how long you were able to get away with it?
It’s very silly, but when I was in grade school, it was sort of cool to have braces or a retainer. All the girls were kind of competing to get them, and I didn’t have one. So what I did was I took some gum and I pushed it up onto the roof of my mouth, then I put it in the freezer and I froze it. I basically made a homemade retainer using gum and a paperclip, and I wore it to school and tried to convince people that I had a retainer.
Well, obviously, no one believed it. And of course, I had all this lie about how, “Oh no, this is, like, a new kind of retainer!” And it was clearly—clearly—a paperclip and gum. I would even wear it at home and just look in the mirror and see how I looked with this retainer.
Eventually, I got braces, and then [when] it was time for me to get my retainer, they gave me one of these, like, ugly plastic mouth guard things. So I never had the retainer that I wanted, I never had that cute little silver line that went across your teeth that all the popular girls did, with their feathered hair and their little retainers.
So I guess I know what it’s like as a kid to obsess about one thing and want to fit in. And I really thought that having a retainer would be the answer to all my popularity woes when I was in grade school, that I went so far as to make a fake one.
Congratulations on the Cinema St. Louis Award that you’ll be receiving this weekend. What are your memories of being an actor in St. Louis, and do you think this is a good place for an up-and-coming actor to start a career?
I think what is most important that I’ve found, that I’ve drawn on in my acting career, is having my very good, very normal childhood. I wasn’t a child actor. I didn’t have a child agent. I was in the musicals in high school, I did a couple community theater projects and I went to some acting workshops, but then I went to college and I got a college degree. And I think that all of those real life experiences were most useful to me as an actor now, because I think that, when you’re groomed from an early age to be an actor, sometimes that puts you really out of touch with most people, and most characters are regular people.
Does that make sense? When I play a character like Laura, I know what it’s like to go to a family barbecue, and I know what it’s like to have all these conversations and struggles of a family and of just growing up in a house in the Midwest, of whatever it is: I have those experiences to go to. There’s something about making your own way that’s very useful to an artist. That element of growing up in St. Louis, of having to figure out how to do it on your own, is really valuable. And I think that St. Louis is a great city, we have so many arts that we have access to: you can go to the Muny, you can go to the Rep, there’s Webster University, there’s a great acting conservatory. You have all the tools you need, but you still have to do the work, and I think that those two things are a great combination.
That’s a great ad for your old hometown there! [laughs]
I mean, I think growing up in Los Angeles could be a disservice, you know, because there’s too much opportunity. St. Louis has the exact right mix of opportunity and the fact that you have to do some work on your own, if that makes sense.
Our publication interviewed you back when Lollilove made its appearance at SLIFF five or six years ago, and when we interviewed you then, you said “The directing was exhausting and the writing was painful” because of all the added responsibilities of making props, serving lunch, and all that while you’re trying to get into character, and you concluded with “I think I’ll stick to acting.” Do you still feel that way, or are you ever tempted to get back to writing or directing?
I am tempted in no way, make no mistake about it. I am tempted in no way to write or direct anything again in my entire life. I stand by my last conversation with you 100%. [laughs]
Fair enough! [laughs]
Nothing has changed for me in that regard. I am, however, now producing a film that I’m also starring in. It’s called The Giant Mechanical Man, and it starts shooting later this month in Detroit. And I love producing. I love it! It is fantastic! It is so much harder than I thought it would be, but it 100% fits into my brain and skill set. It is all about spreadsheets, problem solving, multitasking, managing different personalities, doing things like reading legal documents…I love it, I love it.
On the scale of businesswoman to scattered artist, I swing a little bit more toward the business side. And I love the acting part, I absolutely love becoming a character, researching a character, but I cannot create things from nothing. I don’t have a visual sense that a director needs to have and I just can’t do the writing part, but I absolutely love taking a project and doing the practical work that it takes to bring it to the screen, which is the producing angle. And I love being a part of some of the creative decisions that go with that. There’s a lot of creativity to producing as well.
I’m working with a couple of other producers on the movie, and they’re very good at the social aspect of producing, which I’m not good at. I don’t like going to parties and shaking hands and having drinks. They do that part and I stay home and fill out forms and spreadsheets and make calls to the bank…and I love it. It’s fantastic.
It’s probably only a very specific personality type that loves that part of it, too. [laughs]
I’m sure! Well, it works out great because they do all the social networking part and I do all the gruntwork, and it’s awesome. I’d love to get to keep producing. I hope that this movie does well because I would like it to be a stepping stone to producing more things.
If I can squeeze in one question about The Office, there has been a lot of speculation as to what direction the show will take with Steve Carell leaving at the end of the season. What’s the most outlandish suggestion or rumor that you’ve heard so far?
I think the craziest one that we heard was that Harvey Keitel was going to take over. I think that was just a rumor, but I remember being on the set and reading that on the internet, and we were like, “Is Harvey Keitel taking over? That’s kind of genius!” That would be sort of amazing if Harvey Keitel would do our show! But I’m pretty sure he has other things that he’s doing, I can’t imagine that he’s really going to do it, but that was one of the rumors.
I’ll tell you, I don’t know at all what’s going on. They’re really working hard to keep it a secret and keep it a surprise, so they’re even keeping the cast in the dark. It very well could be Harvey Keitel for all I know, which I think would be sort of awesome. I mean, can you imagine?
Regarding Kathy Bates recurring part of new Dunder Mifflin chief Jo Bennett on NBC's "The Office" - Zap2it - November 19, 2010:
"I haven't spoken to them recently," Bates tells Zap2it regarding possible "Office" appearances in the future. "I don't know how the story lines are going over there. That's a very different style of show, and I was really just dropping in there. This has been a different experience for me."
NBC’s ’The Office’: did Jim go a little too far on Gabe?
One of the biggest challenges for "The Office" is keeping their cast of quirky characters consistent for a long period of time, even as some of the circumstances around them shift and evolve as we move on from season to season. This was a challenge that quickly found its way into Thursday's new episode. as we saw Jim work out his frustration on Gabe over a "commission cap" by pulling a prank that involved editing Jo's voice to make it sound like she was handing out a series of insults to him.
So is this the same Jim we've all known? It feels different than pulling a prank on Dwight, who is such an overly obnoxious authoritative figure that really deserves whatever Jim does him. Meanwhile, Gabe is doing merely what his job dictates of him.
Going to the actual plot for the week, though, the show did a fantastic job of tracing back to Michael and Ryan's relationship -- something that was a focal point earlier in the show. Ryan was desperate to convince everyone to join what was ultimately his get-rich-quick scheme -- a social media idea known as Wuphf. (The website exists!) The other story revolved around Dwight, who somehow managed to take enough to off of work to hang out in front of the office and run a hayride. In doing so, he also managed to shun Angela to the point that she may have found a new Prince Charming -- someone she doesn't even need to make a pregnancy pact with.
Overall, this was still a funny episode -- though the best moment was Stanley's confessional about his dream to own a lighthouse that someday shoots off into space. Don't we all want to do this at times?
LMR note on season 7 opener: I loved the first episode for season 7. What an opener! Needless to say, the "Nobody But Me" video was the highlight of the show. For some reason, I knew Andy was going to break out into something crazy when I saw him in the elevator. All of the characters were acting "normal". I was laughing so hard I was in tears. Of course, I kept waiting for Michael to show his face. What was Michael going to do? Of course, they saved the best for last....Michael's magic tricks! How in the world did he do that last bit with the fire? Very impressive. I guess the money he has spent on magic over the years has finally paid off. Job well done Michael. Maybe magic will be Michael's new gig? How does this sound? "Michael's Magic Emporium"?
It was difficult to concentrate on the rest of the show after that opening, but there there was a scene that took me by surprise. It was the spanking scene. You know how it goes...you put your hands over your mouth, then say "Oh my gosh" then start laughing. It was even funnier seeing the cast imitate the scene with each other. Of course, Dwight had to take it a bit too far. LOL I also liked the staff meeting where Michael tries to defend Luke. Michael always seems to make a fool of himself when doing a demonstration. You know, the circle with the slash through it. LOL
I guess the ending left things wide open. Will Michael go through counseling with Toby? I can't even imagine what that would be like. Maybe Andy can give Michael a few tips in anger management!
As far as the credits, I'm not sure if I liked them. It seems odd changing them now after all those years. I'll try concentrating on them next time and give the thumbs up or down.
What will this season bring? We shall see. All I know is The Office will not be the same without Michael Gary Scott (Steve Carell). I think of the British version of The Office and feel the same way. I can't imagine it without David Brent (Ricky Gervais).
A review from the web: NBC.com - The Office - Episode 7001 | Season 7 | 09/23/2010:
Everybody is recapping their summer breaks for the camera. Michael talks about his West Nile virus, and Gabe's now dating Erin. Andy assures the camera he's not jealous of the new office relationship.
Dwight enjoys talking about his latest business adventure as owner of Dunder Mifflin's building. Meanwhile, Kelly spent her summer at the Minority Executive Training Program at Yale University. That means she's really smart.
The employees are having a hard time with Michael's latest assistant, Luke. He ruins coffee orders and doesn't follow specific instructions when it comes to helping out the staff. Michael later admits privately that he hired Luke because he was his nephew.
In order to defend his assistant, Michael calls a staff meeting. He defends Luke's work performance and is forced to admit that he is Luke's uncle. The staff jumps down Michael's throat for hiring his careless nephew. Things get worst when Luke returns with soy ice cream instead of regular ice cream.
The employees call Michael out to the parking lot so he can see Luke's car. They all show Michael that the paperwork they'd asked Luke to help fax to corporate is sitting in the backseat of his car. Michael tries to keep the staff from overreacting, but it's too late. They break into his car and take their paperwork back.
Pam still feels guilty for accidentally ruining Jim's ongoing prank with Dwight, so she tries to make it up to him. She gets Kevin to break the elevator circuit so the elevator will only go to the third floor. Her plan backfires when she gets in the elevator with Dwight and it gets stuck. When they're finally freed, Jim's impressed with Pam's prank.
After Luke refuses to pay attention in Michael's meeting, Michael has a sideline meeting with him outside the conference room. When Luke still refuses to listen, Michael spanks his teenage nephew in front of everyone as a last resort. Luke leaves and the employees cheer Michael.
Michael learns from Gabe that the only way to avoid serious legal punishment for his actions is to admit he suffered a "stress-induced outburst." Gabe tells Michael he has to do six sessions of counseling with certified councilor Toby.
Rainn Wilson: No 'Office' boss after Steve Carell leaves
What's ahead for NBC's The Office, given that Steve Carell is leaving the show in May?
USA TODAY's Donna Freydkin recently sat down with Rainn Wilson, who plays obtuse paper salesman Dwight Schrute, to get the scoop on who, if anyone, can replace Carell's misguided boss Michael Scott on the Thursday night series.
"Honestly, none of us have really any idea," says Wilson. "The biggest mistake in the world they could ever try and do is replace Steve Carell. He's irreplaceable. He's one of the funniest comedy actors that has ever lived, and you can't just replace somebody like that. So, I think they need to make the show more of an ensemble show."
As opposed to hiring a new star to be the new manager of the Scranton branch of the Dunder Mifflin Paper Company, Wilson says.
"If they bring in another name, or some other people who are recognizable talent, they need to be a delivery person or a new salesman or the new accountant, but not bring someone in as the boss. That's generally the consensus, that it's going to be much more of an ensemble show," he says.
So is Wilson concerned about the future of show, post-Carell? "I have great concern," he says. "Michael Scott is the engine of the show. You have to figure out other ways to motor the show along."
Rainn Wilson promotes book, philosophizes at the Strand
It looks like Dwight Schrute has abandoned beets in favor of pancakes.
Rainn Wilson, the Tisch alumnus who plays Schrute on NBC's "The Office," gave a talk last night in the Strand bookstore about his new book, "Soulpancake: Chew on Life's Big Questions."
The book was inspired by the website of the same name, which was founded by Wilson and two close friends, Joshua Homnick and Devon Gundry, in March 2009. It was created to be a place where people can get together to delve into the bigger questions in life and to explore why we as humans believe what we believe. The website is a place for the philosophically curious to talk about themselves and to engage in discussions about art, philosophy, creativity, truth and beauty. Small aspirations, indeed.
"He's one of the most recognizable characters on 'The Office,' and he's trying to bring philosophical discussions to the Internet, which is pretty honorable," Tisch senior Jack Delaney said.
Although many were drawn to the event simply because of their devotion to Dwight, they found themselves confronted with an actor who was, unlike the character he plays, very philosophical.
"I believe there is no difference between worshipping and creating art," Wilson said. "I view playing Dwight as a service, and as an act of worship. It sounds weird, but it's true."
To spice up the somewhat traditional book reading, Wilson enlisted the musical accompaniment of his friend, Rhett Miller, the front man and main songwriter of the rock n' roll quartet The Old 97's. His music was a welcome break from the somewhat heavy subject matter.
Having come to the event just to see Rainn Wilson, many left with the desire to read his book.
"I love 'The Office' more than anything and I've been a fan for two years," LSP sophomore Nina Ship said. "I'm planning on reading the book."
The Office and Psychology | Psychology Today
We should all be a little on edge these days because apparently Season 7 is going to be Steve Carrell's last on The Office. In one of his recent statements to the press, he claimed that he has every confidence that the show will "go on" without him. Unfortunately, he didn't bother to provide any specifics regarding exactly how this will happen; maybe he expects Steve Buschemi to take the reigns? Or, better yet, Ricky Gervais? Everybody please say a prayer RIGHT NOW.
oving on, though, I have frequently had one burning question on my mind when watching The Office, and I suspect (or at least hope) that other people have wondered the same thing. Why isn't Michael Scott happy? There is lots of evidence that he is much less than completely satisfied with his life. But why? He presumably makes much better than average money. He certainly doesn't work too hard, and when he does work, he usually receives lots of positive recognition. He has fun on the job and laughs often with others. There is also nothing really wrong in his life. He isn't sick, or in debt, or feeling extremely guilty about anything. His existence seems like it should be the proverbial bowl of cherries.
He also has something else more subtle going for him. He entertains lots of positive illusions in relation to himself. That is, he thinks he is better than he really is. Michael frequently exhibits a cognitive bias called the self-serving bias. This means that he unjustly takes credit for his successes and disowns responsibility for his failures. When Michael blames Toby for everything and anything that ever goes wrong, it allows him to avoid responsibility for his many personal failures. In fact, practically all of us exhibit the self-serving bias (if less theatrically than Michael).
Indeed, self-enhancement, or the tendency to view ourselves more favorably than the objective evidence warrants, is associated with positive mood and self-esteem. As George Michael so eloquently sang it, "To the heart and mind, ignorance is kind, there's no comfort in the truth, pain is all you'll find." That right there is some nice pop wisdom that actually turns out to be correct.
What George didn't explicitly mention (but might very well think he implied) is that this sort of self-deception is not rare. It is the overwhelming rule rather than the exception. It's worth emphasizing that, on average, unless you're depressed, you do this, too, whether you believe it or not. The interesting truth is that depressed people do not have distorted self-images; they are the ones who view themselves accurately, which is why they are depressed. Depressing, huh?
So, getting back to the Michael on TV (not the singer), we see that fate has conferred him many gifts. As you may have guessed, however, he is completely lacking in one major area that bears directly on his happiness. Internally, he seems set up for happiness, but there are external resources lacking. Specifically, Michael's life seems totally devoid of any deep, caring interpersonal relationships, at least since Holly and he broke up during Season 5. If you had already identified relationships, or the lack thereof, as the main cause of Michael's unhappiness, give yourself a pat on the back. Now, let's delve a little deeper into the issue of what psychologists call social support, and why its absence in Michael's life is a significant cause of his misery.
More and more, research is showing that close social bonds with others represent perhaps the most important controllable factor influencing our happiness. (Genes are the most significant non-controllable factor.) These social bonds often manifest in something called social support: the emotional or material assistance provided by our friends, family, relationship partners, and other loved ones and acquaintances. Interestingly, despite its efficacy in promoting happiness, social support only really emerges as an important factor during periods of adversity. When life is going pretty well, social support has a much less significant influence.
This notion is captured in the so-called buffer hypothesis (Antonosky, 1987). Social support provides a buffer against adverse life events; it does not necessarily make already good situations even better. But we all experience moments of adversity - from mild to severe - all the time. Obtaining help and encouragement from others (received support) as well as simply knowing that we have people to help us out or merely sympathize, even if we don't take advantage of these resources (perceived support), is crucial for getting us through these moments.
This might be why Michael so frequently flies off the handle when things don't go exactly his way. He lacks the buffer (received and perceived social support) that everyone needs in order to effectively cope with adverse situations. Take an honest look at your life. If you are sacrificing relationships for other external objectives you think will make you happy, such as money and professional success, research indicates that you would be much better off putting your relationships at the top of your priority list. In this case, science confirms the predominant folk wisdom. Believe me, I'm as surprised as you are.
Ted Cascio is co-editor of "House & Psychology" (Wiley, available Spring 2011).
Bromstad says she, Greg Daniels and Paul Lieberstein were aware of Steve Carell's decision to leave "The Office" before it became public and have prepared accordingly. "They do have a plan in terms of who's going to replace Michael and so there will be a lot of storylines leading up to that," she said. "And there will be some mystery as to who that will be."
Hosted By Jon Stewart With Appearances By Lewis Black, Steve Carell, Stephen Colbert, Jimmy Fallon, Tina Fey, Ricky Gervais, Joel McHale, John Oliver, Chris Rock, Sarah Silverman, Triumph The Insult Comic Dog And Many More To Be Announced
"Night Of Too Many Stars" To Tape At The Beacon Theatre in New York City On Saturday, October 2 With Tickets On Sale Monday, August 2 At www.ticketmaster.com or www.beacontheatre.com.
Mr. Nunez, I would like to see you grilled. Preferably on a George Forman grill.
'The Office': Ricky Gervais OK with Steve Carell leaving - From Inside the Box
Steve Carell has said multiple times now that he's leaving "The Office" when his contract runs out at the end of next season. And his boss is OK with that.
Ricky Gervais, who co-created and starred in the original version of "The Office" on the BBC and executive produces NBC's show, says Carell is doing the right thing.
"It was expected of me, as executive producer, to persuade him to stay on. With syndication in full swing the more successful the show remains, the more billions we all make," Gervais writes on his blog. "It was tempting, but the truth is, I believe he is doing the right thing. He's fulfilled his contract and more, and is a huge film star now. ... I'd be lying if I said he should do more. He shouldn't. He should move on, continue to do great work, and buy a new house every time 'The Office' is repeated somewhere."
Gervais knows whereof he speaks: The British "Office" ran for only two six-episode seasons and a Christmas special before Gervais called it quits; he did the same with his HBO/BBC series "Extras."
Carell has two movies coming out in the next month -- the animated "Despicable Me" and comedy "Dinner for Schmucks" -- and is attached to several other film projects. Gervais says that while Carell's departure from the show is sad, he wishes Carell "all the luck in the world."
"He is quite possibly the nicest, hardest-working man in America," Gervais writes, "and it has been a joy working with him over the last six years. (And taking the piss out of him at every award show.)"
Could losing its star, Steve Carell, put NBC's 'The Office' out of business?
NEW YORK, N.Y. — Can Dunder Mifflin keep the lights on if actor Steve Carell leaves "The Office" after next season?
Carell, who plays dunder-headed regional manager Michael Scott on NBC's popular workplace comedy, has been voicing plans to resign his starring role and clean out his desk a year from now.
"When I first signed on, I had a contract for seven seasons, and this coming year is my seventh," he told E! News last weekend. "I just thought it was time for my character to go."
Of course, if this were actually the first move in a game to wangle a sweet new deal, Carell wouldn't be the first actor to try it. (Paging Charlie Sheen!)
On the other hand, Carell has juggled an active if uneven film career with his regular duties on "The Office" since its premiere. He recently starred with Tina Fey in the comedy feature "Date Night," and many of his comments on his TV future were voiced while publicizing his latest release, the animated comedy "Despicable Me."
Now maybe he's truly ready to concentrate on movies. And maybe he's got the box-office juice to pull it off.
Also, as he told Entertainment Weekly, "I just want to spend more time with my family." (In February, he told The Associated Press, "I would like for my kids to at least have some familiarity with who I am: 'It's the man from TV!''')
That may all be hunky-dory for Carell. But whither "The Office" and the viewers who love it?
Adapted from the original, British "mockumentary" series starring and co-created by Ricky Gervais, NBC's "The Office" was transplanted to U.S. soil in the city of Scranton, Pa., site of a regional office of the Dunder Mifflin paper company. Carell's foolishly approval-seeking character, Michael Scott, was a suitably Yank variation on Gervais' Brit office boss, David Brent.
Then it was stocked with a supporting troupe of gifted cast members including Rainn Wilson, John Krasinski, Jenna Fischer, B.J. Novak and so many more.
It debuted in March 2005, receiving critical praise if initially lacklustre ratings. But NBC stuck with the series, which blossomed as the centrepiece of a two-hour block of Thursday comedies that, at their best, recall the network's legendary "Must-See TV" days of yore.
Of those shows — which last season also included "Community," ''Parks and Recreation" and the much-celebrated "30 Rock" — "The Office" was the biggest draw, claiming an average viewership of about 8.9 million, according to the Nielsen Co.
In the meantime, it has been a regular Emmy nominee for best comedy series, winning in 2006, the same year it was honoured with a prestigious Peabody Award.
Would Carell's departure undermine "The Office" and, with it, NBC's Thursday comedy stronghold?
Carell says he doesn't think so.
"They've incorporated so many new characters and so many new, great story lines that I have no doubt it'll continue as strong if not stronger than ever," he told E!
He may not just be modest, but also be right. Although enjoying a boost in its audience to 9.3 million viewers during 2008-09, the just-ended season attracted nearly 700,000 viewers more than during the 2007-08 season. In short, "The Office" is demonstrating little if any of the audience drop-off that typically plagues an aging series.
The eventual departure of Michael Scott from the Dunder Mifflin fold, if it really happens, could offer all sorts of creature possibilities — and enhanced viewer interest — in the season ahead.
After that, potentially, "The Office" could draw even more effectively on its deep bench of supporting players to help fill the gap Carell would leave behind.
And what new leading man or woman might be signed in his absence for the 2011-12 season? Let the guessing game begin!
Carell confirms planned 'Office' exit - UPI.com
LOS ANGELES, June 29 (UPI) -- Actor Steve Carell has repeated his intention to leave the U.S. version of the sitcom "The Office," so he can spend more time with his family.
Carell, who is married with two children, plays single, bumbling regional manager Michael Scott on "The Office," which is set to begin its seventh season this fall.
"I think (Season) 7 will be my last year," Carell told EW.com. "I want to fulfill my contract. I think it's a good time to move on."
Asked if he could be persuaded to extend his time on the show, Carell replied: "No. I just want to spend more time with my family."
The actor, whose voice will soon be heard in the animated movie "Despicable Me," told the BBC in April he had no plans to continue on "The Office" past the upcoming season.
The show is based on a British series by the same name starring Ricky Gervais. The original version ran for two seasons.
Postings from readers on the EW.com Web site have suggested Gervais as the ideal replacement for Carell.
The Press Association: Carell's last day at The Office
Steve Carell has confirmed that he's quitting the US version of The Office.
The star told Us magazine that the 2010-2011 season "will be my last".
"It's the last on my contract, and I want to honour my contract," the 47-year-old said at the Los Angeles premiere of his new animated film Despicable Me.
Steve plays egotistical office manager Michael Scott in the US version of the BBC original, created by Ricky Gervais and Stephen Merchant.
Broadcaster NBC is reported to be considering whether to continue the show without him.
The actor said he expected to be "very nostalgic" towards the end of his run on the hit show, as his colleagues were "some of my best friends in the world."
"But it will be good. It will be good for everybody," the Evan Almighty and Date Night star added.
Steve, who won a Golden Globe for his role in the show in 2006, said he wanted to spend more time with his wife and two children.
Television - News - Nunez: 'Office should end with Carell' - Digital Spy
Oscar Nunez has admitted that he does not think The Office should continue without Steve Carell.
Carell recently confirmed that he will leave at the end of the next season and Nunez, who plays Oscar, has suggested that the series should finish with him.
"It's been a funny show, but enough with it already," he told TV Guide. "I'm surprised we were able to make it wonderful for as long as we did. God bless our writers."
Although cast members Kate Flannery and Craig Robinson admitted that they want Carell's character Michael Scott to find love, Nunez revealed that he would like a more tragic ending.
"Suicide makes sense," he said. "He should hang himself in the office. Just end in a really dark way."
Nunez also dismissed claims that the star of the UK Office Ricky Gervais could replace Carell, saying: "Ricky Gervais did his version and is done. Artistically, we should leave the show alone without Steve. But economically if NBC can get someone else to come in, of course they're going to try."
Earlier reports suggested that there will be no replacement for Carell on the show.
Carell quit "Office" for family
The Office star Steve Carell has dismissed rumours his plan to leave the hit U.S. comedy is a ploy for a pay rise - because he simply wants to spend more time with his family.
The actor has played embarrassing boss Michael Scott on the series since 2005, in a role based on Ricky Gervais' original star turn in the British version of the show.
Carell confirmed last month he doesn't plan to return to the series after its next season, and he's looking forward to taking a hiatus from Hollywood to be a better dad to kids Elisabeth, nine, and John, five, with his wife Nancy.
He tells the National Enquirer, "It's not a negotiating tactic at all. It's just that I want to spend more time with my kids right now."
But Carell isn't planning to laze around the house - he wants to become a fixture at the local general store he purchased in rural Marshfield Hill, Massachusetts, currently managed by his sister-in-law, Tish Vivado.
He adds, "I will be manning the cash register and stocking the shelves as times permits."
Ricky Gervais Praises Steve Carell's Teeth
BRITISH funnyman Ricky Gervais has put the success of the American version of The Office down to good teeth and optimism.
The comedian, 48, says Steve Carell's version of David Brent has now outshone his but it's not his fault."
I think it really comes down to the fact he has better teeth and in America everyone is far more optimistic than in Britain," says Ricky.
"In Britain we are more cynical about people trying hard and being successful and I think that is why The Office has gone on so much longer in the US.
"The first few episodes were carbon copies of the British office but it's been allowed to go on and really stand on its own two feet."
The Press Association: Angela: I'd love Ricky in US Office
Angela Kinsey has claimed she doesn't know if Ricky Gervais is making a cameo role in the US version of The Office but she would "love it" if he did.
The actress, who plays strict accounts head Angela Martin in the comedy, said she couldn't confirm rumours about whether Ricky, who starred in and created the original show, was lined up to appear.
She said: "I can't confirm it but we would be out of our minds excited about that. You know, he's been able to stop now and then and it's great for us. We're such big fans of where the show started so I hope so!"
Neither did she reveal whether he would be coming back as his character David Brent.
She said: "I don't know and I would be the last to know because I'm kinda chatty and so I don't think they would want me to know. Because even at my best I'd be like, 'I'm not going to say anything to anyone on the red carpet!' and then I'd be like, 'Ricky comes back' and that would be it, I would tell someone that Ricky was back."
Angela added that she was proud of how far the US version has come.
She said: "It was a tall order. I loved the BBC version and then when I found out it was going to be made in the US I was like, 'No! It'll be ruined!' and so for us to sort of make it its own and to go as far as we have with it - I'm proud of it."
In an interview with BBC Radio, he says, "(My) contract (runs) through next season."
And when asked whether he will continue with the show after that, he replies, "I don't think so. That will probably be my last year."
If you have seen the British version of The Office, you many enjoy the web sites below.
Mockumentary: "The Fleet" management looks and sounds like "The Office" (British version).
John Krasinski joining 'Something Borrowed'
John Krasinski is in negotiations to join Ginnifer Goodwin in Alcon's romantic comedy "Something Borrowed."
The script centers on a Manhattan attorney (Goodwin), the consummate good girl, who falls in love with her best friend's fiance on her 30th birthday.
The project is based on a series of novels by Emily Giffin. Alcon also picked up rights to the second book, "Something Blue," with a plan to develop a sequel.
Krasinski's deal is rare in that it is a two-picture deal for a role -- he will play Goodwin's friend and confidant -- more supporting in nature in the first movie but which evolves into the male lead in the second one.
Luke Greenfield is directing the first pic, now eyeing a spring start.
Alcon heads Andrew Kosove and Broderick Johnson are producing with 2S principals Hilary Swank and Molly Smith. Aaron Lubin and Pamela Schein Murphy of Wild Ocean Films also are producing.
The CAA-repped Krasinski, best known for his work on NBC's "The Office," is slowly building a career in features through key roles. He gained favorable notices for his performance opposite Meryl Streep in "It's Complicated" and recently tested for the lead in "Captain America."
Spoiler! The Office: How Jim and Pam's Baby Got It's Name
Jenna Fischer became a mom and an aunt the very same week.
"The same week that we were shooting the episode where Pam's baby is born, I was becoming the aunt for the very first time," says Fischer, who spoke with PEOPLE about Thursday's hour-long episode of The Office, in which her character Pam gave birth to a girl, named Cecelia Marie Halpert.
"Literally the day we shot Pam's going to the hospital, my sister was going to the hospital, and the same day we shot me coming home from the hospital, my sister came home from the hospital. It was crazy! And so my dad [Jim] had one daughter going through it for real and another faking it."
And thanks to Fischer, both babies have the same name.
"I got to name my baby!" says Fischer, who successfully lobbied The Office writers to use the name Cecelia. "I said I would really love to name the baby after my niece, so I did."
For Fischer, the hardest part of shooting the birth scenes didn't involve acting at all, but keeping her family in the dark about Cecelia's TV namesake. "I am going to wait and let her watch the episode and it's been so hard!" she says. "I spent a whole week with her and I didn't tell her and it was one of the hardest things. I haven't told my parents and will let them watch the episode. I'm just going to sit by the phone and they are going to be watching it in Missouri, so they see it two hours ahead, and I'm just going to time it out and sit by the phone when the part comes on because I know I'm going to get a screaming phone call!"
While the Halperts adjust to parenthood on TV, Fischer will get a chance to see her new niece again this spring. "I get to see my sister about four times a year, probably," she says. "I bet those trips will be more frequent because the baby is just so cute. She's the cutest, sweetest little girl. I make my sister send pictures and videos every day. Maybe I'll have to post a photo on my MySpace page so that everyone can know where the name came from!"
Office Baby Eventually Gets Delivered
The Office baby was the second big 'Jam' milestone event of the season. With The Office baby coming five months after the wedding, Jim and Pam have officially concluded their journey.
Of course, their adventures are far from over, but now that they've ended their "will they-won't they" journey, gotten married, and had a baby, they've checked off every big TV milestone possible. But The Office baby took a while to come in and complete that journey, and not without some typically cringe-worthy comedy.
When the show got Jim and Pam married this past October, the sentiment did not take a back seat to the typical, uncomfortable Office madness. Jim and Pam are usually the voices of reason in such antics, but in this case, they were in no mood to be reasonable. Pam, in particular, nearly lost it in her quest to not have the baby before midnight - one which even Michael Scott tried to stop by the end.
The delivery of The Office baby didn't take place until the second half hour. Even after little miss Cecelia Marie Halpert was born, the couple didn't have an easy first day with her. But that was almost preferable to what Dwight wound up doing in their house while they were gone.
Once again, the show defied the usual expectations for these special TV events. In the wedding special and The Office baby episodes, the uncomfortable, socially awkward madness was increased, if anything. This time, no one recreated the You Tube wedding dance or tore their scrotum, but there were more than enough breastfeeding mishaps to balance that out.
The problem fans have isn't with the special episodes this year, but what comes after. Following the wedding show, and leading up to The Office baby special, the show has gotten very mixed reactions this season. With no Jim and Pam angst to power the action, and now no more milestones left for the couple, they've had to use corporate drama and new romances to drive this year.
In addition to the delivery, Dwight and Angela actually had new developments for the first time in over a year. Meanwhile, the newest hard luck would-be Office couple, Andy and Erin, had yet another mixup - thanks in part to matchmaking Michael - before Andy finally made a breakthrough. As for new Dunder Mifflin owners Sabre - led by Kathy Bates - they took a week off before their new reign resumes in future episodes.
Now that The Office baby is here, and the cycle of this TV couple is complete, Jim and Pam now move on to the most difficult stage of all. Few couples stay loved on TV after getting together, getting married and having a baby, since there's little non "jump the shark" storylines left after that.
The Office is already starting to lose buzz in Season Six, and they have no more Jim and Pam specials left to plan for, so they have a crucial string of episodes ahead of them.
December 2010
By Rick Porter
From Inside the Box - Zap2it
December 10, 2010
With Carell exiting, the show will lose its oomph
By Tom Conroy - Media Life Magazine
December 9, 2010
By Ceri Radford - Telegraph.co.uk
December 7, 2010
USATODAY.com
November 20, 2010
Written by Jason Green
SLIFF 2010 Spotlight
November 19, 2010
Examiner.com
November 19, 2010
USATODAY.com
November 9, 2010
By Sarah Milner-Barry and Julie DeVito
NYU's Daily Student Newspaper
November 9, 2010
More than you ever wanted to know about Michael.
by Ted Cascio
Published on September 29, 2010
Zap2it
July 1, 2010
By Frazier Moore - AP
June 29, 2010
June 29, 2010
June 30, 2010
By Catriona Wightman, TV Reporter
June 30, 2010
Toronto Sun
May 14, 2010
Showbiz Spy
May 14, 2010
May 1, 2010
Actor to co-star with Ginnifer Goodwin in film and its sequel
By Borys Kit — THR.com
March 9, 2010
By Cynthia Wang — People.com
March 5, 2010
Robert Dougherty
associatedcontent.com
March 5, 2010
