Yeah, so I missed the season premiere of The Office, too (again, Sister’s wedding last week, combined with a total ignorance of the show’s return—I’ve seen tons of ads for the new “comedy” with the two sisters from that one show and the other “comedy” with Zooey Daschenel, but nothing about The Office or Parks and Rec). Has NBC put the kibosh on advertising for their shows?

Still, I watched last week’s episode “The List” to catch up, and, writing out this recap, I can safely say that don’t remember much of it outside of there being a list made up by Robert California (I love that name) and everyone worrying about what it signifies. I can’t say it was very good, but it didn’t seem particularly bad either. More ho-hum.

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I like the dynamic Todd Packer brings to The Office. Among the group of miserable souls who have their own beefs with each other and whose allegiance depends on whatever the week’s plot requires, Packer was always a fun wrench to toss into the cogs and, somehow, make them work better.

Basically, in his earlier appearances, Packer became the one thing towards which every petty person at Dunder-Mifflin could put aside personal differences and rally against. There’s something heartwarming in that solidarity. I also love David Koechner.

Of course, Packer has only made a handful of those appearances (four? five maybe?), but they’ve all been memorable thanks to Koechner, who finds the relishing humor in school-yard insults such as “Michael Snot!” and adolescent put-downs regarding Jim’s sexuality. He’s the missing link in the evolution of the 1^st-grade-bully-to-frat-boy-to-?-to-child-molesting-Uncle-John. Naturally an episode devoted entirely to him wouldn’t work.

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It’s nice to see that among the bevy of Michael send-offs, that The Office took a slight detour to give thanks to the rest of its fantastic cast. “Threat Level Midnight” is a self-indulgent love-letter to the cast that’s very generous with its humor and divvies up the best lines evenly among the current cast and even takes time to fondly remember some of the former performers, including a great cameo from Jan and creepily carnal lines from Pam’s mom and Karen (though the most disturbing one is Goldenface’s “I’m going to dig up Scarn’s dead wife and have sex all over her”).

Michael’s screenplay was first introduced wayyyy back in season 2, when the gang discovered it in Michael’s office and shut down work for the day to hold a reading in the conference room (the episode also had one of the best Michael-defining jokes of the series when it was discovered that Scarn’s bumbling sidekick was originally named “Dwight” until Michael did a search-and-replace to rename the character.

Unfortunately for the real Dwight, it didn’t pick up Michael’s misspelled “Dwigt”–it loses something in the explanation, but trust me, it was funny). I didn’t think there’d ever be more than a passing reference to it, if were ever brought up again, and that it’d go down as one of those things best left to the imagination, kind of like The Office’s own “Rules of Calvinball,” but run with it they did.

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The phrase “it was only a matter of time” seems a bit obsolete if I’m going to use it to describe the meeting between Michael Scott and the original Michael Scott, David Brent. The U.S. Office is in its seventh season, and by now the characters are molded enough that a guest appearance by Ricky Gervais is less a gimmick for a ratings boost than it is a nice little detour on the way toward Steve Carell’s sendoff.

And that’s pretty much what they do. Brent’s not integral to the plot; he just appears in the cold open, shares some banter with Michael, the two hug, and end scene. It’s basically your standard sitcom cameo, but it works a little better than most. For one, and like I said, it’s not a cheap attempt for ratings, and it’s also not punctuated by a score of hoots and hollers from the studio audience (the lack of which has served The Office endlessly well throughout its seven seasons). It’s quick, it’s fun, and that’s about it.

The A plot of the episode deals with Andy conducting a small-business seminar in an effort to boost sales. Essentially his plan is to get a bunch of gullible, budding entrepreneurs into the conference room, have some of the sales team come in and make a few platitudinal, motivational speeches (“Dream big!”), and then hit them with a sales pitch for some business-plan packages.

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“Ultimatum” follows up on Holly’s decision to force her fiancée AJ to either marry her or leave her, and no one’s more excited to know how that played out than Michael, who’s already gone overboard before even hearing the news and prepared (with the ever-adorable help of Erin) two emergency boxes: a happy one for if Holly’s left AJ (including streamers, champagne, a rubber mallet, etc.), and a sad one if she hasn’t (gummy bears, a sponge “to dry my tears,” and two fifths of scotch).

Meanwhile, Pam, taking a cue from the evidently more chipper staff of Bob Vance’s office (am I the only one who wants to see the inner workings of Vance Refrigeration?) sets up a “resolution board” for the rest of the office. The premise is that each member of the office writes down their New Year’s resolutions on a 3X5 card and posts it on the board. Then the board will be hung somewhere ostentatious to keep everyone committed to their word.

Holly shows up, and, after a quick tease as to whether she has an engagement ring (she doesn’t), she tells the nosier element of the office that AJ has not, in fact, committed, but she’s staying with him anyway, which naturally sends Michael into another depression.

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A staple of the classic sitcom is that, by the end of the episode, everything has to return to normal. Within the 20-or-so minutes of each week’s installment, the characters are free to travel to Beijing, adopt a koala, or make a big sandwich so long as that somewhere around the 18-minute mark, the status quo is maintained. From the ‘50s and on up to the ‘80s there wasn’t anything wrong with having normal, decent people thrown into far-fetched situations and coming out relatively unaffected—or, if they did learn some life-altering lesson, they’d forget it by next week.

Then, along came Seinfeld in the ‘90s, which broke ground by calling BS on the idea that any normal person would function like that—that’s the behavior of a sociopath, and hence Jerry, George, Elaine, and Kramer, and Larry David’s “no learning, no hugging” rule. More than any other contemporary sitcom, Sunny lives by Seinfeld’s example.

It even goes a step further with its characters’ depravity (cheerfully paraded in ‘Dee Gives Birth’s opening when Dennis and Mac learn of Frank and Charlie’s naked, sewer-scouring hi-jinx), which is why this season’s running joke of everyone’s lack of concern regarding Dee’s pregnancy has worked so well—it threatens The Gang’s self-centered complacency. So, instead of facing the fact that Dee’s baby will force them to take responsibility for someone other than themselves, they chose to ignore it…maybe then it’d go away.

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I never would have thought that I’d see Tom Sizemore make a cameo in Sunny, but he seems like a perfect fit among The Gang, playing Byron, the married trucker with a penchant for male prostitutes (“Treat me like a mailbox: Just shove anything you want in there”) who picks up Charlie and Dennis when they get titularly stranded in the woods.

That’s just one of the many highlights in an episode where The Gang heads to Atlantic City for an animal rights convention Frank endows simply so he can show up in a leather coat and tell off the activists—and so Mac can meet his idol Chase Utley (and on a lesser note for Dee to meet and seduce Ryan Howard, despite Frank’s observation that she’s “pregnant as shit”).

However, Frank doesn’t want to cough up any change for the “toll jockeys,” so he’s taking the backroads, and a chance encounter with a squirrel ends up totaling the vehicle. Frank, Mac, and Dee stay behind to scrounge up some food while Charlie and Dennis foot it for a ride, which takes us back to Tom Sizemore’s trucker.

Charlie and Dennis is one of my favorite pairings; Charlie’s bizarre host of talents and willingness to do almost anything and Dennis’ serial-killer charm make them ideal con men, and there’s a nice recognition of that dynamic when Charlie poses as Frank to deliver a speech to the animal-lovers (complete with him “making it rain” dolla bills, “FOR THE RATS!”). And Dennis takes up the role of Mac so he can drink heavily with Utley and Howard.

I enjoyed the uncharacteristically upbeat plotline with Charlie and Dennis (Charlie winning $15,000 at roulette and spending the bulk of it on a private jet for he and Dennis is a nice little reward for poor Charlie), but the best lines, as usual, belong to Frank, who goes into Elmer Fudd mode when he stalks wabbit—and then gets caught in its stare and concludes that its stolen his soul.

There isn’t too much for Dee and Mac to do, but overall the episode doesn’t have any dead spots—Utley and Howard don’t offer too much, but their nonplussed-to-creeped-out reactions to Charlie and Dennis is funny enough on its own, and Sizemore finds the right note of menace and perversity that I hope (though doubt) he’ll return.

Not the best episode, but solid all the way.

It’s now safe to say that Sunny has reached that stage of confidence in their characters that a show like Eastbound & Down has (or maybe I’m looking for a substitute now that that season has ended…withdrawals?). They’re different shows, of course, and Sunny’s always known its strength is in the bizarre dynamic of the group, but I think it plays safe for the most part, and whenever it takes chances it does so with the situation, so that by the end everyone remains unchanged—hey, they have a great show on a cable network; if it ain’t broke…

I have no doubt that The Gang will stay the same after “Charlie Kelly: King of the Rats,” yeah, but it played with some character development, and the results were sweet. The setup is that Charlie is in the midst of a philosophical crisis after wiping out several generations of rats in the basement, so The Gang decides to toss the poor bastard a bone (it is, as Frank notes, his birthday) and throw a surprise party.

Frank compiles a list of things Charlie might like, based on his recent pal-ing around with This Guy Duncan from Under the Bridge, who’s into “this whole Hawaiian underground shit.” Dee’s not interested, that is, until Frank lays out the day’s plan, which involves his trip to the spa (thanks to these coupons I got in the mail) with Charlie while the rest of The Gang outfits the bar in whatever regalia “underground Hawaiian shit” entails.

Frank calls Dee out on her cynicism, explaining that a surprise party is one of life’s best gifts, but that odd bit of selflessness on Frank’s part goes ignored until Dennis, caught up in charitable frenzy, suggests Dee go with Charlie. It works, and Dee surreptitiously invites Charlie to a Spa Day (not a “Spaghetti Day,” as he interprets it). I’m not going to do justice to this by dryly summarizing it, so from here on, I’ll just summarize the summary and note a few highlights:

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The amazing thing is that the further anyone distances themselves from The Gang, the more like an actual human being they appear. Dee seems to be, sort of, doing pretty well as a substitute drama teacher, despite her own glaring lack of talent, and Charlie, well, was born to be a janitor, and, with his eidetic memory, ingratiates himself to the students. He even takes a young Juggalo (leave it to Sunny to make an ICP reference—is this 1998?) under his wing to teach him…uh…whatever it is he has to teach.

And Dee is showing a surprising amount of commitment to her duties as teacher, even though there is a distinct lack of understanding the allowances granted to a substitute and, indeed, the art budget, neither of which permit a field trip to New York.

And the rest of The Gang (Frank, Mac, and Dennis) is discussing their fan film of Lethal Weapon 5, specifically whether going in blackface to portray Danny Glover is morally superior to playing him as a white guy. Frank stubbornly insists on blackface, noting that Laurence Olivier played Othello, and, you can guess where it goes from there.

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Another season of Eastbound & Down wrapped up, and this week we leave Mexico. Kenny, Stevie and his new wife Maria are headed back to North Carolina so Kenny can reclaim April, but a lot has changed since he’s been gone.  April’s moved on, giving up her teaching job to become a real estate salesman with her partner, referred to by Kenny as simply “the black man.” And she’s pregnant.

Sensibly, April wants nothing to do with Kenny since he abandoned her at a random gas station last season. So Kenny does the only thing left: coke and pool, followed up by crashing Dustin and Cassie’s date night (white wine and Grace Slick—nice) for a little advice, which is pretty much leave her to live her life. And like many of the hard truths Kenny’s had to face this season, he accepts it, but as a last act of good will, gives the tapes of his book to April, so she can try to understand his reasons for leaving her.

And in a final grand gesture, she shows up just as Kenny’s about to leave for Myrtle Beach to make some kind of amends…and reveal that the baby’s his.

All I can say is, “Wow.” And, after a few seconds in awe of this show and its season, I’d go further and say that Season 2 is superior to EB&D’s powerhouse first. Kenny went from vulgar curiosity to halfway decent human being—and all without the aid of the first-season cast (save, of course, Stevie).

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The Christening introduces an interesting element in the characters of The Office that, given the number of times the gang has visited a church, has curiously not been explored much before: religion.

The plot revolves around Cice’s titular christening, and Jim and Pam (I refuse to refer to the couple as “Jam”) invite the office to the celebration. The context had me dreading that Michael was going to make a scene and embarrass himself in front of everyone else, but, like Niagra, the writers wisely choose to keep him under some restraint—save for a few misplaced Godfather impersonations.

But, as I wrote, the focus is on how each Sabre employee treats religion, which is handled with a lot of humor and, oddly, some profoundness. Angela, the most overtly “religious” character, uses the church, both literally and figuratively, as a free pass to criticize and admonish everyone around her while maintaining an unearned feeling of superiority.

Here she takes aim at Jim and Pam for whatever reason while cooing over Cice (to such an extent that when Cice goes missing,  Jim immediately accuses Angela of baby-napping, and his admission of that mistake is both blunt and very funny). Jim and Pam themselves don’t seem especially pious and treat the christening more as something that is simply done than anything holy.

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