TV Review The Office 9.16, "Moving On"
rating: 3.5
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Moving On wasnt a perfect episode of The Office, but it successfully addressed a couple arcs which needed addressing. However, since this is an episode of the series twilight years, it, like your aging Great Aunt Gertrude suffering from dementia, also rehashed an old, worn-out story for absolutely no reason at all. Well, I suppose there was a reason the Dwight and Angela clean Dwights Aunt Shirley plot could be chalked up to contributing to the now defunct plan to have Dwight leave Dunder Mifflin for his own spin-off series, The Farm, to attend to more Schrute-centric business. This plot was most likely meant to serve as one of the final nails in Dwights paper salesman coffin in the form of (hopefully) being the last time he and Angela ever rekindle the spark theyve so often shared. Unfortunately, knowing these behind the scenes details didnt make the segment feel any less tired or useless. Oh, and in what was one of the most direct instances of a character functioning as a surrogate for the audience Ive seen on this show, Nelly very bluntly told Toby that he needs to shut up about the Scranton Strangler or do something about his supposed certainty that as a part of the jury for the Stranglers trial, he helped send an innocent man to prison, a belief which has been framed as more of a reflection of the fact that Toby doesnt really have anything else going on in his life than a legitimate possibility. This ideal which has kept the perpetual loneliest man in the annex going for the past couple years is finally put to rest once Toby exits the prison in a neck brace courtesy of the Stranglers violent reaction to Tobys misguided confession. What anchored this plot though was Nellys reluctant support for Toby whom obviously would like to have a relationship with Nelly. Its been difficult to really care about The Office these past few years so I think its commendable that this plot successfully moves two secondary characters closer to some semblance of a satisfying conclusion. Were this a typical 22 minute episode Id probably have complained about how overcrowded it wouldve been and how unnecessary the story wouldve felt, but like Andys and Jim/Pams plots, Tobys really benefitted from having the room in needed to come full circle without feeling forced. Too bad not all the episode of this final season have had the same effect. As for what else worked, we watched Andy reel from being dumped by Erin and even retaliate in what I thought was actually a fairly fascinating look at the dynamics of unrequited love. The first half of this plot found Andy basically just getting those lemons he thinks life handed him (which he actually asked for by being extremely irresponsible in leaving his job and girlfriend for three months on a whim) shoved down his throat by everyone from Erin and Pete to Pam, Dwight, and Angela. The second half, however, found Andy, whose misery I had been absolutely reveling in, not only fight back, but win me over in the process. The love triangle trope is a blight on the face of serialized narratives across the board, especially on The Office theyve been the focus of too many lazy arcs which have arguably dragged the series down from its glory days to its lowest points so to see this latest incarnation actually manifest in such a way that Im actually rooting for the character Ive hated most all season is quite an accomplishment. The key was having Pete straight up tell Andy to grow up and move on with all the tact and sensitivity of a sledgehammer. Even though Andy was acting like a complete tool, Pete and Erin were NOT the right people to tell Andy that he needs to move on thats the job of a friend, NOT the dude for whom his girlfriend left him. Therefore, since I felt Pete crossed a line, as well-intentioned as he was, I really didnt mind watching Andy orchestrate a completely inappropriate and hostile work environment in which Andy hires Erins ex, Gabe, and Petes ex, a marketing consultant named Alice. While Erin and Pete didnt aim to hurt Andy, theyre still morally in the right, but seeing Andy, whos been legitimately kicked while he was down, get a little retribution out of the situation, one in which weve all found ourselves, was satisfying. As for how long Gabe and Alice stick around, well, I dont see the writers making that work in a convincing way at all, but for this episode I approve. We also got some much needed glimpses of Pam and Jim actually enjoying each others company while confronting that which theyve been dancing around all season. While watching Pam play the straight man to the extremely talented Bob Odenkirk (whos probably one of the few comedians that could pull off being such an obviously transparent facsimile of Michael) was entertaining, even pleasantly nostalgic, the real meat of this plot came from watching Pam and Jim finally lay out on the table the fact that neither is immediately willing to compromise on their long distance situation. It took long enough, but we finally got here and the arrival, though hard-earned, was depicted in the same frank and honest context which has been the primary reason the couples seasonal arc has worked (when it has) thus far. Now hopefully the writers will continue to use this primary characteristic to really allow for a compelling and convincing final chapter in the story of Jim and Pam. Speaking of, arguably the most exciting aspect of Moving On came in the form of an unseen advertisement on Oscars computer for the release of the documentary which weve been watching for almost nine seasons. It seems the American Office will conclude in much the same way the original British series did by depicting the Dunder Mifflin staff reacting to the long-gestating project of which theyve all been a part. Its fitting this would be part of the series resolution as it can be argued that although the American Office has clearly grown beyond its source material, its also over reached significantly and so an allusion to that source material is an appropriate way in which to redeem itself.