Comparing “The Office”

(Editor's Note: This article contains some spoilers. If you haven't seen the full seasons of the British or American versions of "The Office", I suggest you not read this and go rent them.)

One of the first articles I wrote for this site was a review of the British and American versions of "The Office". A quick search of Burnside's back-dated articles, and I still couldn't find the original.

At the time, I probably mentioned something about the American version's failings, and how, overall, the British version seemed a better bet. I think the comparison should be revisited.

Last Thursday, even though it was the third season finale, marked the point where the British and American versions converged: the fateful moment when the male and female leads see eye-to-eye.

"The Office" has always been a love story first and a comedy second, but the cultural differences between Britain and the United States were also interesting. It only makes sense that we would compare those three aspects. To save my precious, precious time, I'm going to refer to them as the B (British) and A (American) versions.

Cultural Differences

The main discussions about the differences between B and As cultural lines centered on how British and American societies view work as a whole. The primary evidence of this was the difference between Jim and Tim. While both were portrayed as competent paper salesmen, the A version took pains to paint Jim as exceptionally good at his job; so good that he was able to finish work quickly and have time to goof around. For Tim, the job didn't matter on the same level, and Tim never stood out as a great worker, even if he was smarter than most of his coworkers. This variance also pertains to Michael Scott (played by Steve Carrell) and David Brent (played by Ricky Gervais). Scott, while idiotic, is also exceptionally good at aspects of his managerial position, while Brent is fired at the end of the second season for his incompetence.

Additionally, Brent was painted as a complete social buffoon, and the writers only made him sympathetic in the final few episodes. While certainly foolish, Michael Scott never becomes fully despicable, as he is more of a dumb little brother to the office staff than a sinister force. The A view of the workplace was both one of its greatest strengths and worst faults: the office atmosphere never reached the depths of black comedy that the B version managed, but there was some respite there, and the A office often seemed more like a dysfunctional but loving family than a soul-crushing gathering of individuals. Stanley, of course, would disagree.

Comedic Side

Because it was planning for a longer run, the A version had a difficult line to toe. In the end, the A writers handled the long term with style, adding a myriad of rich characters around the leads. While the B version centered on Tim, Dawn, David Brent and Gareth, the A version explored in-depth the lives of other employees. Kelly Kapoor, Meredith and Ryan the Temp are all great, but my favorite bit characters are Toby and Creed. Creed is one of the most original personalities in sitcom television, and the moment where he collects money for a fired colleague and pockets it in the end plays out so strangely that you actually like him more for it. Ultimately, the A version flourished with this depth, and I see it as its main strength.

But the great writing didn't stop there. The A version will always be somewhat suspect because the show's concept was not completely original. For the most part, though, the A writing was stronger, if slightly less consistent. The show's comedy often centers around the practical jokes played on the Gareth/Dwight character, and the A versions of those jokes proved to be more ingenious over time.

In fact, the B version's only major comedic advantage was Gareth over Dwight. I always loved Gareth's army-trained menace and bird-like face more than Dwight's goofy but harmless fascism.

The greatest testament to the A version is its accessibility, which appealed to the masses and grumpy critics alike. A writers built the show primarily by creating characters we know from our own office experiences. We've all been exposed to frat boys a little too into their college barbershop quartet (Andy) or those co-workers we thought we'd get a long with, but ended up being a little too smarmy and cutthroat (Ryan). The B version's dark side cut too close to elitist, and I attribute this to a level of contempt for the workplace not quite equaled in the A version.

Everything weighted, I believe the American version is funnier.

Love Story

I love television, and I also love speaking in hyperbole. Those two things being said, I see this moment as the most brilliant piece of romantic television ever put to film. From the moment the sound cuts to the moment Tim flips back on the mic, I was at the edge of my seat. That scene never would've worked in the A version, which didn't have the same pure documentary feel as its B counterpart.

Not only is "The Office" love story one of the best in television history, I think it rivals the great love stories of all time. The backdrop of dreary office life gives the romance a level of desperation, as if this chance at true connection is the only real thing Jim and Pam/Tim and Dawn have.

The devastation of the cut mic scene set up an outstanding end scene, a moment made even more realistic and beautiful by it's uncool selection of pop music, Tim's stiff-upper-lip monologue, and the fact it occurred well after the show's series finale, added on as a Christmas special that wrapped all the story-lines for good.

My biggest question about the A version was how the writers would leave the relationship between Jim and Pam. The portrayal of Pam's rival, Karen, as a very likable and funny character was a vast improvement over Rachel, Karen's British equivalent. But as Jim's relationship with Karen developed, his personality became more and more bland and mopey.

(On a side note, Rashida Jones, the actress who plays Karen Fillipelli, captured the hearts of my friends and I a few years ago when she appeared for a second on a Gap commercial. Every time this commercial came on, we were glued to the television. The magic happens in the 13th second.)

If you caught the third season finale (SPOILER ALERT), you know the Americans pulled it off almost flawlessly. It was a scene that caught in my throat and one of those moments that happen in the middle of episodes of "The Sopranos" or "The Wire" where I yell "Now that is some great storytelling!"

But here's the deal: it was all Pam.

I like Jim, don't get be wrong, but he borders on being a little too cutesy for the role, and the scene where he barges in on Pam's interview needed more from him...it needed the kind of harrowing disregard for all else that Tim pulled off by detaching his mic set. It was, after all, the culmination of three years of tension.

Fortunately, the scene ended with Jenna Fischer's Pam with joyous tears welling in her eyes, the best ending we could've hoped for such a wonderful character. It was one of those moments you can only experience in television after you've come to know and love a character for many years.

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After three seasons, I feel like I can finally make the call: "The (American) Office" is superior. Comedically, it surpasses its predecessor, and only falls short slightly in the romantic plot.

From now on, though, "The (American) Office" writers are on new ground, and how they deal with further seasons remains to be scene. Right away, I'm wondering what happens to Karen, and Michael's torturous relationship with the unbalanced Jan Levinson seems ripe for many, many laughs to come.

But make no mistake: NBC's "The Office" up to now was about that final moment on Thursday night. From here 'til cancellation, this is a new show, and might finally deserve the title of "original comedy" if it can hold on.