Come on. Admit it. Just looking at this picture is making you laugh again …

Great, great, great episode of "The Office." Am dying to see more of the fabulous Amy Ryan as Holly, the new HR rep. In addition to the whole Kevin confusion (and how long can they keep that going?), there's her Michael side. And how it's going to be for Michael to work with someone who is so clearly his soul mate while also trying to be part of Jan's pregnancy.

Beyond Holly, too, there's the Dwight/Angela/Andy situation (and of course you all stayed for the very last shot). And Pam and Jim, of course.

Phyllis triumphant.

"Goodbye Stranger."

"Did you go near my Propecia?"

Andy yanking away Daryl's keyboard.

The raccoon.

The Jim/Dwight phone bit at the beginning.

Ryan's arrest. All right, we knew something bad was going to happen to Ryan, and that this sets up the possibility of Jim taking the corporate job if Pam decides not to come back after Pratt, and — oh, stop! I'm making myself crazy just thinking about the long wait until next season.

But what a great way to wrap up this one.

"Grey's Anatomy" nicely demonstrated that last week's episode wasn't a fluke. It seems to have really found its voice again. Good mix of humor and drama. Nice character flourishes with Cristina, Meredith, Callie, George, the Chief, Hahn, Sloan. I'm still not a Lexie fan but I'm getting used to her. I just hope that next week's show doesn't try too hard for the Big Statement.

One more note re "Grey's": Anyone else get spoiled by watching the opening credits? When I saw Jeffrey D. Sams's name, but he wasn't in the early part of the episode, I knew that he would show up as the "imaginary" boyfriend.

A lot of stuff on Thursday. Pre-posted on "30 Rock," below, and got to "Survivor," also below. Not sure when I will get to "Lost" or "CSI" or "Earl." Did manage to see these two. One stumbled, one was steady. And the loser is …

"The Office." Bad episode. The show always has to walk a line between its characters' incompetence and overly farcical incompetence, and this time there was too much of the latter; Andy's behavior on the golf course was the worst example, but some of the Michael stuff at the job fair was close. In both cases, I would have expected someone else to take a hand — Jim finding a way to get Andy out of the way, for instance — but instead both plot lines dragged. And having Jim at the end finally make the sale was just weird; nothing we had seen up to that point suggested that a deal could be made, let alone by stopping a guy as he was leaving the parking lot.

It was almost as if the writers felt as lost as the characters ended up seeming. Pam thinking about another career (and where exactly was this job fair she went to? or were we supposed to think she had done that during the job fair that Michael et al. were attending?). Jim deciding that he should care about his job, a feeling that obviously made him uncomfortable. Dwight and Angela having nothing to say to each other. Kind of a mess.

On the other hand, during "Grey's Anatomy," I kept looking at the bride and saying that this felt like "Grey's" back when I really liked the show. Good balance of humor and drama. Nice character bits. Cristina's monologue about Burke, very touching. McSteamy's crisis, and the way that Eric Dane played genuine hurt as it dragged out. The Chief and his wife (always nice to see Loretta Devine). Bailey's irritation-to-rage. Callie's way of handling her self-doubt. OK, so the Chief would have been smart enough to know that he couldn't leave anyone out of the survey, including Bailey. And there were a lot of speeches, and they sometimes overused that "Grey's" tic of starting and ending with the same basic line. But I was still much happier with the episode than I've been since the show came back from the strike.

Of anger management, sweeps and sandwiches, after the jump …

Not a great night for either comedy, although I'd give a slight edge to "30 Rock." (Maybe "Earl" was good. I've been slower about watching it lately because the whole coma/sitcom plot left me cold. I know that it was wrapped up last week, but still didn't feel any need to lose sleep to catch up with it.)

"The Office" was interesting on paper, with three different elements involving anger: Michael's conflict with Stanley, Dwight's jealous determination to punish Andy and the Ryan/Toby alliance against Jim. But I kept feeling as if scenes were missing. Why wouldn't Michael have tried Daryl's suggestion for dealing with anger — and didn't you want to see a fluffy-fingers fight? (Also, loved Daryl's listing of gangs ending with Newsies. He obviously likes to see how gullible Michael is, but when he got to Newsies it was so clear that Michael will buy anything that there was no point in going on. And what would be next anyway? Wild Hogs? Fordham Baldies?)

In the Dwight-Andy duel, I thought there should have been some kind of intercession by Angela. Yes, she likes having the guys fighting about her, but this was a situation involving money and I don't think Angela would have let Andy get so thoroughly snookered. Then again, as we saw with Mad Libs, Angela is just too darn happy these days.

So while there were good bits in the episode, such as the way the staff knew that Michael had been pushed too far — and someone was going to pay — followed by his private question to Stanley. But overall I've seen better episodes, even recently. This one felt more like they had to build something around plot elements they're planning for the remains of the season — Dwight/Andy and Ryan/Toby/Jim in particular.

Obviously, "30 Rock" devoted a fair amount of time to setting up next week's season finale, with — as the promo warned — Jack working in Washington and Liz facing a big issue. And it pushed too hard for some jokes; the "Brady Bunch"/football/nose gag was a real reach. And even the drinking-with-the-Teamsters bit kind of drifted off; it was hard to imagine that the show wouldn't let the guys win, but the payoff was still kind of a letdown. Would have been much more interesting to see Jenna keep drinking. (And how about that reference to her drinking problem?) Even the Cleveland jokes weren't great. Why is it that nominally blue-collar towns are subjected to bowling alley jokes? I remember "The Odd Couple" dropping a similar gag about Buffalo 30-some years ago.

Still, Alec Baldwin playing Jack under pressure is almost as good as Jack triumphant. The stuff with his new boss was priceless in spots — loved the bathroom door bit — and Liz getting glammed up. But it wasn't as good as last week's show.

An amazing, terrifying, weirdly hilarious episode. More after the jump. …

From the moment Jan declared that the wine Jim and Pam brought would be good to cook with, I knew we were in for some inspired madness.

Actually, I kind of knew before that. I was so paranoid about NBC juggling start times in a way that would make me miss something, that I set the DVR running a single recording (instead of a series of dubs for individual shows) from "Earl" on through the entire lineup. And when I was scrolling through to get to "The Office," I saw that stupid, stupid, stupid capsule of what was to come that gave away entirely too much. "The Office" is a smart show. Its viewers, one would think, were also smart. That opener seemed to assume that we're all still enrolled in Ding Dong School.

But when the episode got going, it was so fine. Jan and the wine, as I said. Jan's takeover of Michael's condo. Michael's sad little plasma TV. The three hours needed for cooking. Jan dancing to her former assistant's CD. (This was such a good episode for Jan, and for Melora Hardin. It did more than show us how batso Jan is. It showed us that she is, at heart, Michael's Michael. And Hardin carried it off splendidly.) Jim trying to escape, and more than willing to leave Pam behind, and Pam making sure it did not happen. (Of course, it's also another hint that Jim-Pam is doomed, but even if it is, Pam is proving to be the strong and sympathetic one — and, if doom is in the offing, I can see her dumping Jim because he just hasn't met expectations.)

Jan's jealousy. Michael trying to get the guys to invest in her candle company. The beer-lamp scene. The smudges argument. And I can't forget either Angela's really hating that she's on a date with someone else, and Dwight with the turkey leg.

Oh. My. Gosh. What a joy to have it back. Anyone want to disagree?

A very special Dwight Schrute bobblehead is up for grabs. Detailed announcement after the jump …

Even Dwight Schrute, Dunder Mifflin's #1 paper salesman from NBC's hit show "The Office," would be impressed with this sales performance. The NBC Universal Store has sold more than 150,000-and counting-Dwight Schrute Bobbleheads, modeled after the character portrayed by Rainn Wilson. Since hitting shelves in April 2006, the figure, whose nodding head features Dwight's signature glasses and haircut, has become the biggest seller in the eight-year history of the store.

Dwight Schrute bobbleheads are available for $19.00 at the NBC Experience Store in Rockefeller Center or online at www.nbcuniversalstore.com.

I did get through "Earl," "The Office" and "30 Rock." I may post some longer thoughts late. For now, my amusement was at best piecemeal — the Joy stuff in "Earl," the trash-talking in "The Office." …

I will note that reaction to "The Office" and "30 Rock" seems to vary widely, based on my requisite Friday-morning office conversations about the shows, and some of the discussion over at Sepinwall's blog. And I have wondered if some of that is a function of the writers strike, that we've gotten into episodes that were written a little too hastily, or didn't get much on-set tweaking, either of which could have polished some things that didn't quite work. (I think, for instance, that as many good lines as Alec Baldwin had on "30 Rock," and as fine as Edie Falco is, it could have been much better. And that I'm in the minority on "The Office's" "that's what she said" part of the deposition, where it felt as if, I don't know, slightly different line readings would have made it funnier.)

I also watched "Grey's Anatomy," where I disliked Bailey going all schoolgirl, even if it led to a big Bailey moment. And in that moment, I would have much preferred if she had been angry instead of getting a little weepy. Be strong, woman! Be strong! (Also, I dread the upcoming "Grey's" "event" because that probably means that the show will be big as all outdoors and swing for the fences … and whiff.)

Probably more about that later, too, as well as "Private Practice," where it doesn't trust its ability to do good drama enough to avoid piling on. (Three baby-delivery stories, one of them good.)

And I still need to catch the last two "Heroes," because I know I'll have something to say about that.

But I've been feeling a bit blah about TV in recent days, and I keep thinking that it's anticipatory regret — that I know that soon enough we will have seen all the episodes of things made before the strike, and we'll have to get by some way until more new stuff comes along.

In another year, this wouldn't feel so bad, because late November brings reruns and Christmas specials anyway. But we all know that, as of right now, nothing's waiting in January, so I want the stuff we're seeing now to be especially good.

Also, here's a link to my review of "I'm Not There," Todd Haynes's contemplation of Bob Dylan, which ran in the Beacon Journal today.

Half interesting, not all that funny …

The interesting half was not Michael in the wilderness, with the sole exception of the "I tented my pants" line. The wilderness trip served only as a way to get Michael out of the office so that we could see Jim try to run things. And, in keeping with the recent downgrading of Jim, he proved to be a not-good boss.

Combining birthdays, not listening well, getting snappish about people's requests — it didn't add up to proof that Michael is in fact a good boss, but it sure added up to evidence that Jim would actually be much worse. But the best thing about this was probably the look on Pam's face when Jim explained his Big Birthday Idea. She knew he was going to fail, and she did not mind at all. Clearly, she has not forgotten his recent disrespect, especially when it came to the Finer Things Club.

Still, as laugh-getters go, this was a pretty mild, and coming off of last week's riotous adventures, it was a disappointment.

But I am wondering what exactly was in Creed's cobbler.

This video from the staff of "The Office" explains it about as well as anyone has. Note how much work they did without compensation for the sake of "new media." (Thank you to TV Tattle for posting the link.)

Sorry …

I know, it wasn't it a typical episode on Thursday. But it was also both extremely funny — and a meaningful moment in the Jim-Pam relationship. …

Can't remember all the hilarious parts. The eye/groin comparison. Oscar's The Colin Powell line. Dwight with the can in the car. The mustaches. Yes, it was very "Three Stooges" in its way, but I also laughed at the Three Stooges. And I think the extreme absurdity of it was part of a larger point — that Michael defines himself, first and foremost, through his job.

Didn't he buy the greatest-boss mug for himself? Isn't his one continuous male-female relationship with a woman he used to work with? It was bad enough for him when Karen tried to steal one of his people. It was worse by far when, playing turnabout, he was told what a terrible reputation he and Scranton had — hitting Meredith, the disatrous branch merger. So, when he threatened to burn Utica, it wasn't the sheer lunacy of Dwight unleashed. It was his own, angry, innermost, mama-bear impulse to protect himself and his own from an intruder.

But as wildly over the top as his reaction was, it was counterbalanced by the latest sad installlment in the Jim saga. I've mentioned here before that we're seeing some more unlikable aspects of Jim since he settled into his relationship with Pam, and there was more of that tonight. Not entirely unlikable, of course. His discomfort over seeing Karen again demonstrated how much he knew he had hurt her — but he still went on to hurt her more in his inept and spiraling declaration that he had not come to Utica to see her.

Then there was the Finer Things Club, and Pam's keeping him out of it because "some people think that you monopolize the conversation by trying to be funny." Which, of course, is precisely what he does once he gets invited. And then adds to the insult by not having read "Angela's Ashes."

And his actions are made worse because we've already seen Kevin, Phyllis and Andy's moves to either be a part of the club or to disrupt it. (Another great line: Phyllis's not wanting to make popcorn in the other microwave because it smells too much like popcorn.) Jim gets a seat at the table and doesn't appreciate the honor. Like his bulldozing Pam's work on her computer to show something he is interested in, Jim is once again putting himself ahead of Pam. And I think this may be the first time we've seen Oscar (that is, "some people") with a real dislike for Jim, which of course suggests that other people in the office feel the same way.

In the early going, we were so focused on Jim in the context of (a) his adoration of Pam and (b) his tweaking of Michael and Dwight that it was easy to think that other people in the office liked him the way the audience did. Now, not so much. Even Phyllis's earlier warning to Pam not to give sales calls to Jim takes on an extra layer of meaning; was it just Pam that Phyllis was irked at, or was it also about Jim?

Goooood episode.

I have been jammed up. Early Thursday evening I was out (and thank you to the Bath-Richfield Kiwanis for inviting me to speak), I've been staring down some work deadlines and I have had a family issue to handle. So I'm a bit behind on viewing and way behind on posting. I hope to elaborate later today but will make a few brief points now. "The Office" was utterly ridiculous and absolutely hilarious. And "Grey's Anatomy" was pretty uneven; did it not occur to anyone just to have the observation area cleared? And I'm looking foward to a complete viewing of "Survivor: China"; I saw the wild tribal council and the bride tells me that the events leading up to it were priceless — as anything leading to the presentation of a wrong immunity idol would have to be. Anyway, I hope to have more later.

Not everything on Thursday night was my cup of tea, but …

Alec Baldwin demonstrated once again he is a genius on "30 Rock." Yes, the basic surprise of the bit — playing everyone in Tracy's family — was spoiled in the promos. But it was still a tour de force to see. And the episode needed that. The battle of the pages was one of those ideas that even the show knew couldn't go anywhere; hence the abrupt end. The Carrie Fisher subplot had some good bits (and Carrie even let some of her own autobiography in there) but it wasn't as riotous as it might have been. But my gosh, Baldwin.

Another nice piece was Michael's ad for Dunder Mifflin. A small reminder that every now and then he knows what he is doing, while still managing to be funny. (I would have loved a scene where he talked Stanley into the orange jumpsuit.) Nice point, too, about the people in the office wanting even a little, odd recognition. But the episode staggered on its way to that point. There's a lot that's unsettling in the show right now, not only in the Dwight-Angela saga but in Jim-Pam. I've mentioned before that we're not seeing a nice side of Jim and it appeared again tonight, when he bulldozed over Pam's animation work to show her Dwight's online world. Yes, there was a good payoff in seeing what Philly Jim, but the bulldozing felt more than a little like something Roy would have done to Pam. So, was Pam always attracted to Jim because of some Roy-ness she recognized, or is Jim being changed by the relationship into something he thinks Pam expects, or what?

"My Name Is Earl," so-so episode (no "Respect the Meat") and I'm not convinced Alyssa Milano is adding anything to the mix. On the other hand, the show had some more good lines: Joy's about her water, Earl's prison-date dialogue about surgery.

Finishing the comedies, I've had a disc of the season premiere of "Scrubs" sitting around, and wasn't excited enough to watch it. It's just never been one of my shows. I finally put the disc in this afternoon, and wasn't excited enough to finish it. Still isn't one of my shows.

"Grey's" once again felt as if it has gotten back on track. Still don't want to see Izzie and George. And when the heart-transplant dad was being intransigient, I told the bride, "George is going to say something wise," and he did. We all knew Ava wouldn't be waiting for Alex. The foot and the chainsaw was really gross. But the stuff with McSteamy and McDreamy was amusing. Cristina and Callie as roommates: potentially very amusing. Meredith isn't annoying me right now. Liked the earless kid, and Bailey's speech.

Anyone care to comment on last night's "Friday Night Lights"? Are we in better territory than at the start of the season, or worse?

As for Thursday, was that the worst "Office" episode ever or what?

Also, in case you missed them, you can link here to my reviews of "Things We Lost in the Fire" and "Gone Baby Gone."

Getting back to "The Office," it was draggy, overly somber, redeemed only by Jim's look in the stairwell as he told Dwight about his feelings for Pam. And part of a not-great night overall. Best part of "My Name Is Earl" was "Respect the Meat" (which has been available for re-viewing over at NBC.com), but the other stunt beats were only so-so. "30 Rock" started well (liked Tracy's happy "I'm whipped" speech) but floundered; nothing really for Steve Buscemi to do, and no matter how hard and well he performed, Baldwin couldn't save the cookie-jar story.

So is it just me, or was that a really blah round of comedies?

"You're so hot, you could melt all this stuff."

I'll elaborate later, after I finish a couple of assignments. But, in brief, it felt like the weakest episode so far this season, and the second half-hour was especially draggy. …

The kidnapped pizza kid didn't work, for one thing. Did like the Phyllis-Angela duel. And it's interesting that a happy and secure Jim is also a bit of a jerk. Taking an entire pizza for himself and Pam and their own private party was not an endearing act, as the reactions made clear. And he was either oblivious or indifferent to Dwight's pain, pushing the prank way too long — when Pam knew that it was time to give Dwight a break.

But Andy-Angela? Such possibilities.

And I see that I have begun elaborating after all. Maybe more later. Anyone else care to share?

In light of the discussion over Jim's behavior, both here and over at What's Alan Watching
I offer this photographic evidence of the reaction to Jim's pizza snag:

Neither Kevin nor Creed looks pleased.

Just as a reminder that I wear a movie hat, here's a link to my review of "Into the Wild." I've also been meaning to post some thoughts about "The Kingdom," which I saw last weekend, and about the style of director Peter Berg. Maybe over this weekend.

As for the continued march through Thursday's shows, talk about "The Office," "My Name Is Earl" and "Mad Men," with spoilers, after the jump …

Best line in "The Office" was probably Dwight's description of his grandfather, Argentina and visa problems. Second best: Phyllis's little speech to Pam about sales-call etiquette. Third wasn't a line but an expression: Kelly's head-shake after telling Ryan she was pregnant. Fourth: Creed's trying to bond with Ryan about Red Bull.

That said, I wasn't crazy about the episode overall. Michael's gift-basket mission just didn't work. Michael would have picked up on Dwight's emotionalism at some point. And going back for the gift basket was wrong — the kind of thing that could give Ryan an excuse to fire Michael, and Michael would have known that.

As big a Dunderhead as Michael is, we have repeatedly seen that he has an instinct for self-protection. Indeed, once he learns the meaning of ageism, he knows that it's a good weapon against Ryan. He may go over the top with it, but he has also made the basic nuclear threat: calling Ryan's boss about it.

Nor does Ryan prove to be much of a rival. Even though he has the corporate job, he's already looking bad at it — the call to corporate about Kelly shows the depth of his incomprehension about management; it's pretty much a Michael conversation — and Ryan does not have the sales rep that Michael built, gift baskets or no gift baskets.

So, funny stuff here and there, but not rock solid.

"My Name Is Earl" was OK. Some laughs, and it has now set up a way for Earl to continue his good deeds in prison, courtesy of the reduced-sentence gift-certificates. Craig T. Nelson is a good choice for the warden. Not sure about Randy becoming a prison guard, though. Kind of liked his having to deal with Joy.

As you know, I thought "Mad Men" was a good one. Loved the stuff with Peggy and the exercise device, especially the scene where she's trying to explain without explaining — hoping that what she wrote down will spare her embarrassment. And, of course, she was bound to use the device again. Interesting juxtaposition of that with Betty doing the laundry. And while it's certainly possible that Pete is just taking Don's package to his new office, he's such a weasel that I find it hard to believe that Pete won't open it; if he admires one thing about Don, it's Don's ruthlessness, and opening a guy's mail is about as cutthroat as you can get.

As for Don making partner, doesn't it feel as if disaster is around the corner? The AMC online teaser says for next week: "On election night, the Sterling Cooper staff pulls a rowdy all-nighter while watching the returns. Pete's ambitions cause him to directly challenge Don."

Besides watching the (not available for preview) "Cavemen" premiere last night, as well as recent doses of "Carpoolers," "Everybody Hates Chris," "Aliens in America," "30 Rock," "The Office," "My Name Is Earl," "How I Met Your Mother," "Two and a Half Men," "Girlfriends" and the overall picture is, well, mixed. …

That list should demonstrate that the sitcom is far from dead. It may be getting tweaked ("Arrested Development" appears to have been as influential as it is unsuccessful). Still, that something as mind-numbingly dreadful as "Cavemen" could get on the air is an argument that networks have faith in the sitcom form.

"Cavemen" actually took a pilot with some interesting edges — cavemen as oppressed minority — and retooled it into a dull, formless mess. (This is not the first time a pilot has been screwed up. "The Wedding Album," a not terrible-seeming show, was revamped into the unrecognizable, dismal "Wedding Bells.") "Carpoolers," which ABC has paired with "Cavemen," is not the next great sitcom but it at least offered a couple of laughs.

But there are alarm bells going off in other parts of sitcom land. "How I Met Your Mother," capable of great style and humor, was a big old lump of boredom on Monday. Well, except for Robin's hair in Guatemala. But after a decent season premiere, this week's show was uncertain — and I'm really puzzled by the seeming shift in Robin toward an overly sexualized creature (the note about Ted's size in the season premiere, the Robin-attracted-to-Robin moment this week — shades of Kira and "Deep Space Nine.")

Then there's "Everybody Hates Chris," a show that I like a lot but haven't watched as much as I should have. During my absence — or possibly just over this summer — Tyler James Williams, who plays Chris, has gotten taller and deeper of voice, and the show's not as cute because of it. I know, young actors get older and change. But when a show still calls upon its main character to run upstairs crying "Daddy!" it doesn't sound as amusing when his voice has deepend. In fact, playing opposite Chris Rock — yes, Chris Rock, not Kid Rock — Williams's voice was deeper than the real-life adult his TV character is supposed to grow up to be.

The show still has its virtues, notably Tichina Arnold and Terry Crews as Chris's parents, but even they are getting pigeonholed. This week's show indicated there are only so many ways you can do a Terry-is-cheap story.

Not so much bad news as iffy news is "Aliens in America," a show that's charming and warm about its characters, but isn't all that funny. I've seen two episodes of it and thought, well, it's nice, and Scott Patterson is almost channeling Joe Flaherty's performance on "Freaks and Geeks." But when I sit down to watch a comedy, especially when I'm in the middle of weary times, I want to laugh. And "Aliens" at best made me smile.

So what made me laugh? Well, tomorrow's "30 Rock," with Jerry Seinfeld as himself, is pretty funny. Don't miss any of the bits from NBC shows, real and fictional, that Seinfeld has been put in. And always listen to Alec Baldwin — especially when he's listing his most recent program concepts for NBC. Pirates, yes! Unfortunately, next week's episode is not as funny. But I have higher hopes of this bouncing back than I do for "HIMYM." Although I hope for it, too.

"Two and a Half Men" knows exactly what it is — often crude comedy of aggravation — and its two shows this year have delivered more of the same. And I still laugh. I was encouraged by the season premieres of "The Office" and "My Name Is Earl," but I haven't seen this week's shows yet, to be sure that they can maintain momentum.

And, among the shows that don't get talked about as much as they should, there's "Girlfriends." I haven't checked in with it in some time, but I still found a sturdy comedy-drama that understands its characters and their follies very well. And it's not afraid to push things. When Joan (Tracee Ellis Ross) was arguing with her fiance Aaron (Richard T. Jones), the intensity was so high that you could almost feel a threat of violence underlying their words.

So where does all this leave us? Pretty much where we've always been with comedies — some good, some bad, some vacillating between two extremes. No reason to kill the form, and plenty of reason to keep trying to make it better.

Notes and spoilers if you haven't watched yet, in series alphaetical order, after the jump …

"How many Emmys do you get for treating a deer?"

Well, I fudged a little with "CSI," fast-forwarding to near the end to see if Sara bought it or not. And it's a testament to William Peterson's acting that I still felt a tug of emotion as he looked at Sara in the helicopter. But that may not mean she's going to be around long; TVGuide.com is reporting, based on sources, that Jorja Fox still doesn't have a new contract with the show and she will be gone in November. And TVG's Michael Ausiello is chummy with Fox, and has an interview with her online — although Fox is coy about her future in the formal interview.

"Grey's Anatomy" was a disappointment in almost every way. One diehard fan told me this morning that she may not be back for more. I did like the milder tone (that is, no one died in this episode), and I'll always watch Bailey and the Chief, and Cristina with her interns was fun. Also, Alex's smirk after he told his interns not to complain. But let's look at some of the big gaffes.

Starting with three words for Izzie: CALL A VETERINIAN!! She has time to sit and study deer anatomy online, but doesn't think to call a vet? She's an idiot, and still poison for George.

Another gripe: Meredith's sister has been to med school, and doesn't know that introducing yourself in the middle of an ER crisis is a bad idea? Another: They're doing an Addison on Callie, taking a formerly strong character and making her soft and weak. And obviously there's more punishment to come for Callie, what with George being a complete idiot about Izzie.

Speaking of George, if the intern gossip has included Izzie's killing a guy, don't you think someone would know that he's repeating his internship — and he's married to the chief resident? Anyone? Anyone?

Too much aggravation.

"My Name Is Earl," which I had seen before telecast but didn't get around to blogging about, was a sturdy show. And it did a nice job of maintaining the issue of the list while keeping Earl in jail. Lots of comic possiblities there for the future. And the present included such delights as Joy's rubber band and Randy's car theft.

And how very funny was Ben Foster?

Two connective thoughts about "The Office": Between it and "Grey's," it was not a good night for animals. Between it and "Earl," we saw that an hour of a sitcom is plenty manageable, even when those hours are structured so they can be neatly split into two half-hours for syndication.

And, while there have been weeks when I found "Earl" to be funnier than "The Office," this was not one of them. "Earl" was sturdy. "The Office" was creepy-brilliant.

Meredith hit by the car. Kevin and Oscar studying the mating habits of Jim and Pam. Jan threatening Pam.

Here's an episode I would like to see: Jan suspecting Angela has her eyes on Michael. What a throwdown that could lead to.

More goodies: The deep blush on Jim when the documentary makers show them the car footage. (That was one of several reminders about the docu crew; there was also the doctor eyeing the camera.) Dwight, Angela and Sprinkles. This was really creepy in my house, where one of our cats died not long ago, but still funny. And I should note that the actress who plays Angela has been on the cover of at least one cat magazine.

I read them at the vet's.

Creed's creeds. The guys' escaping the 5K. The way the route wasn't in a circle. Michael's knowing the "nurse." It was just nonstop funny.

Finally, "Survivor." Goodbye, Ashley, fangs for the memories. Mildly entertaining but I'm not yet feeling must-see about it.

I have been badgering the "Office" fans in my office into watching this three-minute bit. Very funny, and a great way to get revved up for the new season. (Another great way is the upcoming DVD of the third season, where the deleted scenes are copious and as funny as stuff they left in.)

Looks like oodles of extras on the set, arriving Sept. 4. Announcement after the jump …

Universal's announcement:

Clock in to The Office for even more inappropriate remarks, uncomfortable silences and petty behavior in the complete third season, recently nominated for nine 2007 Primetime Emmy® Awards including Best Comedy, Best Actor (Steve Carell), Best Supporting Actor (Rainn Wilson) and Best Supporting Actress (Jenna Fischer). Carell (40 Yr. Old Virgin, Evan Almighty) is back in his Golden Globe®-winning role as ignorant but harmless boss Michael Scott. And now there is even more of him to love — the Season 3 four-disc collection contains all 22 hilarious episodes and tons of exclusive bonus features! You’ll want to stay late at The Office to relive every entertaining episode of this must-see, must-own TV show that demands to be watched again and again.

DVD Bonus Features:

Fans of The Office will rush home from work to watch the DVD’s outrageously funny bonus features, including:

· Over 3 hours of never-before-seen, hilarious deleted scenes.

· Over 16 minutes of laugh-out-loud bloopers.

· Eight cast commentaries on some of the most comical episodes.

· “Lazy Scranton” video.

· The Dwight Schrute music video.

· The creative videos from NBC’s “Make your own promo” contest.

· And so much more!

Show Synopsis:

With unshaken enthusiasm, Michael (Steve Carell) believes he is the office funnyman, a fountain of business wisdom and his employees' cool friend. Painstakingly trying to be liked and look cool, Michael comes off alternately absurd and pathetic. His prize possession is his "World's Greatest Boss" mug — which he had to buy for himself.

Joining Michael are fellow Dunder Mifflin employees Pam Beesly (Jenna Fischer, "Blades of Glory"), the friendly office receptionist who bears the brunt of Michael's routines; Jim Halpert (John Krasinski” "License to Wed"), a likable sales rep with a good sense of humor who should have found a better job years ago, but is too comfortable with his office mates and routine to leave; Dwight Schrute (Rainn Wilson, "The Last Mimzy,” “Six Feet Under"), the arrogant assistant to the regional manager and Ryan Howard (B.J. Novak, "Punk'd") the young, smart, former temp, who quickly figured out the real office politics despite Michael's attempts to instill the official point-of-view.

Season 4 Debut: Season 4 of The Office premieres Thursday, September 27 (9 p.m. ET) on NBC.

Additional Information:
Website: www.TheOfficeDVD.com

My buddy Sepinwall called this morning and it was a conversation filled with laughter, since we were talking about "The Office." (Spoilers, and some questions, after the jump)

So insanely fine was the episode that just thinking about it gave me the giggles — and reminded me of all the delights. To wit:

Jan's enhancement and the office staff's reactions to it.

Creed's "blog." (There's an excerpt over at nbc.com.)

The surprise phone call to Ryan, and his response to Kelly. (More about this directly.)

Jan in the car with Michael, from her complete emotional spin to the stretch-pants scenario. Must we wait until fall to see how this living arrangement goes?

Schrute bucks and Stanley nickels.

Angela's vision for Kelly.

Pam's face when Jim asked her to dinner.

Considering how wrong comedies can go when they stretch to an hour, this was a demonstration of how you do it right. That's especially good news with five "Office" hours due next season.

Now, the questions:

Did Karen get the corporate job? I know, corporate offered Ryan A job at the end but I don't think it was THE job. Anyone else feel the same way?

With THE job, it appeared they were ready to offer it to Jim. If he didn't get it, I would think Karen would be next in line. So is this the end of Karen?

Rashida Jones is signed to another show on Fox next season, so she may have wanted a graceful exit. But the Fox show, "The Rules for Starting Over," isn't set for air until Spring 2008 (although with the chaos in prime time that could end up meaning this October). It's possible that, if Karen didn't get the job, she could come back to Scranton for at least an episode or two of uncomfortable scenes with the now-dating Jim and Pam. Or so I would hope.

Also, isn't it time for Angela to start looking past Dwight? He's not exactly living up to her vision of strength and power.

After I finish up some projects, I want to talk more about how good "The Office" was (the look on Pam's face at the end, Jan in Michael's car, Ryan to Kelly … ) and what a drag "Grey's Anatomy" was (except any time James Pickens Jr. and Loretta Devine were working). But until I have time to elaborate, you can check out my review of "Shrek the Third" and a tale of the tape for the "American Idol" final two, where you can find a link to my latest podcast with Malcolm X Abram. (And hear what I sound like with a cold.) Also some reminders of the people "Idol" left behind – until, that is, the tour starts.

All after the jump …

Even with a piece missing from the end, that was a terrific episode of "The Office." Pam's monologue was splendid. Andy floating is still making me laugh. But my favorite thing was probably Creed with the fish.

Good "Earl," too. Cute couple of the week: Jason Lee and Marlee Matlin. Very nice work by Jaime Pressly and Eddie Steeples. And the ending set up a third season where Earl may get back to being a more flawed character than he has been this year. Wouldn't you expect some considerable bitterness that his good deed landed him in jail? The list may go on, but I suspect Earl is going be creating some new items for it in the fall.

"Grey's" was better than last week if only because it wasn't shoehorning in the Addison pilot. But it was also blah in a lot of ways, and the multiple-jeopardy ending was a real case of trying too hard. And I was expecting there to be a cannibalism element in the frostbite subplot, so the head shot at episode's end was a letdown.

On the other hand, "Grey's" covers a lot of flaws just by the caliber of actors that are around. James Pickens Jr., as the Chief, plays every note right. And Jeff Perry, playing Meredith's Dad, managed to do drunk, enraged and miserable simultaneously, and do them all well. And look at Isaiah Washington's face in the bar; whatever his off-camera issues have been, he's good at his work.

Still, I am sick of Izzie, especially in the context of George-Izzie-Callie. And Izzie's attempt to brush off George was way too reminiscent of McSteamy's pre-emptive brush-off of Addison. The Alex and Amnesia Girl story has dragged on way too long.

I've been in and out of "Survivor Fiji," but I gave it a full shot last night and marveled once again at the way people overthink things. Yau's enlisting of Dreamz had disaster written all over it — the bride and I were both saying that Dreamz would try to take Yau out before he had to keep his part of the car bargain — and was a big example of not trying to be too smart. Indeed, if Yau hadn't made the deal with Dreamz, he might not have had to use his immunity idol this go-round.

That said, Yau was smart enough to believe the "bad vibes" he felt — and used the idol to save himself. But what's his option next week? Lots of pressure to win immunity, since he knows there were four votes to oust him. Otherwise, he may have to hope that Earl will protect him — but Earl should also be thinking about protecting himself. Working for him, though, is that Dreamz's scheme failed spectacularly.

For all that, I'm still not all that excited by "Fiji." There has been some good stuff, and I really like the way Yau has played, but I'm not feeling passionately against anyone at this point.

One more note: I am really feeling some season-ender fatigue, and a staggering indifference to the networks' new-season announcements next week. Am ready for shows to wrap up, and looking forward to a summer where I can try to do some catching up, especially on "Heroes," "Jericho" and "The Shield."

Apparently NBC neglected to let DVR services know the exact running time of "The Office" last night. Sat down this morning with my DVR and it cut out as Pam was heading toward the water. Caught an extra line in the two-minute replay on NBC.com (where there are tons of comments from other distraught show-recorders), but it still feels as if something was missing. Anyone want to fill in the gap?

Thoughts after the jump, in case you haven't watched yet. …

Maybe you were lured into "My Name Is Earl" by the laugh-and-sniff stunt. Not my thing. But I was pretty well amused by the rewriting of "Rudy" as an appliance-store saga, with all the details from casting (Charles Dutton, Sean Astin, Chelcie Ross) to Dutton's monologue and the laying of the cards on the desk. Although, overall, the best thing in the episode may have been Crab Man's look when he urged the absent Joy to run.

And I do see at least one similiarity between "Earl" and last night's "The Office," which was one of those episodes that said "You think we made you cringe before? We'll show you cringing!" In both cases, the shows are just going out and doing whatever they think is funny, no matter how off the track it is, no matter how uncomfortable it would make some viewers.

"The Office" certainly showed no fear in taking Michael's insensitivity to a greater extreme — then spinning off that into his discomfort about being with Jan. I wasn't surprised to know Jan had some quirks — we'd already seen indications of that — but liked the way they were used to underscore how very innocent Michael is.

Winners include "Friday Night Lights," "Scrubs," "Brotherhood," "Baghdad ER," "Boondocks," "Ugly Betty," more …

The list of winners, straight from the Peabodys is below. (You can also find a more detailed announcement here.)

Mental Anguish and the Military National Public Radio
Using candid, sometimes startling interviews, NPR investigates how Iraq War veterans coping with post-traumatic stress disorder are treated, socially as well as medically, at one U.S. military base.Produced by National Public Radio

Crossing East: Our History, Our Stories, Our America Public Radio International
In the first radio series to explore Asian-American history in depth, eight, 54-minute installments drew on sources that included more than 500 hours of oral history interviews conducted for the project.
Produced by MediaRites Productions

Crossing Borders Arizona Public Radio and some 230 public-radio stationsThe nighttime desert seems to have a voice of its own in this vivid audio chronicle of illegal immigrants from Mexico, what dangers their journeys can entail, and why they still take the risk.
Produced by HearingVoices.com

This American Life: Habeas Schmabeas WBEZ, Chicago, and some 500 public-radio stations
This report, about the denial of habeas corpus to terrorism suspects, focuses on the stories of two former Guantanamo Bay prisoners and explains why the right is so fundamental in American law.
Produced by WBEZ Chicago Public Radio

StoryCorps National Public Radio

This ambitious, nationwide project gathers oral histories that will ultimately be archived at the Library of Congress. It also provides NPR`s "Morning Edition" with a stream of moving first-person accounts by Americans ranging from Civil Rights veterans to Hurricane Katrina survivors to Alzheimer`s victims.
Produced by StoryCorps

Defective Parts on Blackhawk Helicopters WTNH-TV, New Haven, CT
WTNH reporters` investigation of quality-control issues at an important local employer, Sikorsky Aircraft, prompted corrective action and a corporate shakeup.
Produced by WTNH-TV

Left Behind: The Failure of East St. Louis Schools KMOV-TV, St. Louis, MOIn 21 reports broadcast over a seven month period, KMOV exposed the school district`s violation of state and federal rules regarding special education and uncovered the school board`s awarding of more than 100 political or nepotistic jobs.
Produced by KMOV-TV

The Education of Ms. Groves NBC

Inspiring but not schmaltzy, this program tracks the learning curve of a wide-eyed, first-year middle-school teacher in Atlanta who discovers her job demands skills and resources as well as idealism.
Produced by Dateline NBC

60 Minutes: The Duke Rape Case CBS

A "60 Minutes" team led by correspondent Ed Bradley delved into the allegations of rape against Duke University lacrosse players and stopped a prosecutorial rush to judgment in its tracks.
Produced by CBS News.

Prescription Privacy/Cause for Alarm WTHR-TV, Indianapolis, IN

A pair of reports – one on inadequate tornado-warning sirens, the other on drug stores` willy-nilly disposal of clients` personal data were enterprising investigations, calls for action – and great local television.
Produced by WTHR-TV

ABC News Brian Ross Investigates: Conduct Unbecoming

Brian Ross` broadcasts and web postings about Rep. Mark Foley`s sexually explicit emails to young Congressional pages triggered new revelations, speeded Foley`s resignation and may have affected the outcome of the November elections.
Produced by ABC World News Tonight, ABC News Nightline, ABC News.com "The Blotter"

Command Mistake WISH-TV, Indianapolis, IN
In a local-station investigation that spread to three continents, WISH demonstrated that U.S. Marines are sustaining head injuries that can kill or cost millions to rehab – merely for lack of helmet padding that costs $30.
Produced by WISH-TV

Galapagos: Born of Fire BBC Two
The Galapagos islands, a fascinating microcosm of Earth, inspired this melding of cinematography and musical score cited by Peabody board members as "stunning," "amazing" and "astonishing."
Produced by BBC, co-produced by National Geographic, BBC Worldwide

American Masters: Andy Warhol: A Documentary Film PBS
Ric Burns`s documentary places Warhol at the center of the late 20th century art world and shows how his work, notoriety and life embodied and influenced the culture of his time.
Produced by Steeplechase Films Inc., High Line Productions, Daniel Wolf Inc., Thirteen/WNET

For My Country? Latinos in the Military mun2

This probing but even-handed documentary examines the social, cultural and economic realities that lead a demographically disproportionate number of young Latinos to enlist in the military and questions whether they are being targeted by recruiters.
Produced by mun2

Baghdad ER Home Box Office

Filmed at the 86th Combat Support Hospital and presented without commentary or narration, this documentary is a horrifying and humbling testament to the dedication of medical personnel confronting the overwhelming brutality of war.
Produced by Home Box Office, Downtown Community Television

Braindamadj`d…Take II CBC

A television producer who suffered a brain injury confounds a dire prognosis. He not only makes a significant recovery but creates a wildly inventive film about his experience.
Produced by Apartment 11 Productions, CBC Newsworld, Canadian Television Fund, RDI, Knowledge Network

When The Levees Broke: A Requiem in Four Acts Home Box Office

Spike Lee`s examination of Hurricane Katrina`s devastation and the government`s neglect of New Orleans in the storm`s aftermath is an epic chronicle of destruction and broken promises, a heartrending document and a profound work of art.
Produced by HBO Documentary Films in association with 40 Acres & A Mule Filmworks

Out of Control: AIDS in Black America ABC
In a prime-time news hour, ABC explored the reasons for and consequences of a shockingly underreported fact – that blacks, who make up 13 percent of the U.S. population, now account for more than 50 percent of new cases of HIV infection.
Produced by PJ Productions, ABC News

Why We Fight CBC

Masterful simply as filmmaking, disturbing as connect-the-dot reportage, this documentary links President Eisenhower`s famous warning about the "military-industrial complex" to six ensuing decades of American interventions abroad, to terrorism and to the war in Iraq.
Produced by Charlotte Street Films LTD, CBC TV (Canada), BBC TV (United Kingdom), ARTE GEIE TV (France/Germany), TV2 TV (Denmark), YLE TV2 TV (Finland), WDR TV (Germany), VRT TV (Belgium), SVT TV (Sweden), VPRO TV (Netherlands), NRK TV (Norway), ETV TV (Estonia), European Union Media Plus Program, TVE (Spain)

Brotherhood Showtime

Uniformly splendid acting and a strong sense of place characterize this serial drama about two Providence, R.I. brothers, a rising politician and a smalltime gangster, and their morally compromised pursuits of the American dream.
Produced by Showtime, Mandalay Television

Billie Jean King: Portrait of a Pioneer Home Box Office
Unusually substantial for a sports biography, the film persuasively confirms the tennis champion`s heroic status in women`s history as well as athletics.
Produced by HBO Sports

Elizabeth I Home Box Office

Helen Mirren`s artistry as an actress mesmerizes throughout this beautifully produced movie that focuses on the latter half of Queen Elizabeth I`s reign — a splendid rendering of historic events and intimate details.
Produced by Company Pictures and Channel 4 in association with HBO Films

Boondocks: Return of the King Cartoon Network
An especially daring episode of the animated series based on Aaron McGruder`s syndicated comic strip imagines Dr. Martin Luther King Jr. reviving from a 32-year "coma" and outraging Americans of all colors and creeds by confronting them with truths that he, at least, still holds to be self-evident.
Produced by Rebel Base, Sony Pictures Television

Scrubs NBC

A sweet-and-pungent "Wizard of Oz" parody was just one testimonial to the continuing creative vigor, six seasons into its run, of Bill Lawrence`s hellzapoppin` comedy about the staff of a Los Angeles hospital.
Produced by Touchstone Television

Ugly Betty ABC

Inspired by an internationally popular telenovela, this Americanized version defies category. It`s part comedy, part drama, part soap opera, part fashion-industry satire – but is unmistakably graced with wry intelligence and heart.
Produced by Touchstone Television

Gideon`s Daughter BBC America

This delicate character drama uses a complex father-daughter relationship to explore grief and the cult of celebrity against the backdrop of a nation mourning Princess Diana`s death.
Produced by BBC, BBC America, Talkback

The Office NBC

This American adaptation of the Peabody-winning British hit of the same title — a comedy of workplace manners and politics presented in faux documentary form — has firmly established its own precise voice and studied brilliance.
Produced by Reveille Studios in association with NBC Universal Television Studios

Friday Night Lights NBC

No dramatic series, broadcast or cable, is more grounded in contemporary American reality than this clear eyed serial about the hopes, dreams, livelihoods and egos intertwined with the fate of high-school football in a Texas town.
Produced by NBC Universal Television Studio in association with Imagine Entertainment and Film 44

Good Eats Food Network

Rarely has science been taught on TV in such an entertaining – and appetizing – manner as it is in Alton Brown`s goofy, tirelessly inventive series.
Produced by Be Square Productions Inc.

The Music In Me Home Box Office

What better way to inspire the study of music than with this irresistible collection of artfully photographed vignettes of young musicians, ages 7 to 11, playing everything from classical cello to zydeco accordion.
Produced by HBO Family

Beyond Borders: Personal Stories from a Small Planet Independent Film Channel (Independents Shorts Showcases I & II) and IFCTV.org
Written, shot and edited by young filmmakers, ages 13-19, the nine short films in this series introduce budding artists who convey unique visions of what it`s like to grow up in different lands, under different social and economic conditions.
Produced by Listen Up! Youth Media Network (New York, NY) with Polimorfo (Bogota Colombia), iEarn Sierra Leone (Freetown, Sierra Leone), Evanston Township High School (Evanston, IL), La Camioneta (Guatemala City, Guatemala), Sawtona (Amman, Jordan), Frame By Frame Fierce (New York, NY), Light House (Charlottesville, VA), Spy Hop Productions (Salt Lake City, UT), Our Voice (Kiev, Ukraine)

The Three Amigos HIV/AIDS Prevention Programme SABC (South Africa), OMNI (Canada), SBS 6 (Holland), TVM (Mozambique) & many others

A trio of anthropomorphic, cartoon condoms star in this hilariously memorable HIV/AIDS-prevention campaign that has been made available in 41 different languages.
Produced by Chocolate Moose Media Inc., Quintet Productions

Being A Black Man http://www.washingtonpost.com

This revelatory website created by Washington Post staff defied stereotypes and went far beyond dire statistics and inspiring testimonials, allowing visitors to see, hear and respond to a huge range of history and personal experience.
Produced by washingtonpost.com, The Washington Post

FourDocs http://www.channel4.com/fourdocs
This curated, ever-changing trove of independent documentaries under four minutes in length also teaches the history and how-to of nonfiction filmmaking and creates a community site for filmmaker-citizens.
Produced by Magic Lantern Productions, Channel 4

A great episode for a reason that surprised me, after the jump

Who would think that "The Office" could make people cry? Not laugh-until-you-cry tears but I-am-genuinely-moved tears. Little ones, at least. They came when Michael not only showed up for Pam's art show, not only admired her art, not only saw value both in her and in himself from what she had done — but in the look in Pam's eyes when she hugged him. Real people having a real moment.

And then there was Chunky.

I wasn't sure about last night's episode when I started watching it (and would have been even more uneasy if I had watched it after "My Name Is Earl" and "30 Rock," neither of which was at its best). Jim pretending to be a vampire? Very funny. (And, in case you missed it, directed by Joss Whedon of "Buffy" and "Angel" fame.) Michael in the business class? More cringing than funny — and we were coming off Phyllis's wedding, which was an almost nonstop cringe. And the bat was a sideshow.

But the Pam thing played so well. People's indifference to even attending, which suggests that she has moved out of the office loop — especially with Jim teamed with Karen in the vampire prank. Roy's reaction when he realized no one from the office had come to the show. And then Michael. Too good. Capped by the Chunky joke and, for a great closer, Kelly and Ryan as office-mates.

Night of the nonstop nicknames and other stuff, after the jump …

Haven't gotten through all the Thursday night shows I wanted yet, but here's a start:

Boo, Rocky, Dreamz — "Survivor" was indeed the night of the nonstop nicknames. Reasonably diverting episode, especially for the premiere, but I'm still trying to sort out characters. It was better, though, to have put aside the deliberate racial baggage from last go-round, since the issue will arise anyway just from the people interacting. I'll be back for more.

"Grey's" felt off. Probably the burden of coming up with a big, multi-part sweeps story. Didn't buy Izzie spending so much time with one patient. Meredith's end-of-episode plunge was silly. There was a real lack of urgency in the way everyone approached the disaster, at the scene and at the hospital, and a distinct absence of organization at the scene. Bailey when written properly doesn't allow that level of chaos. And, while it may have been partly because I was so tired when I started watching, the whole episode felt slow — dragged out, again probably a function of having to keep the story going for at least another week.

"The Office" was one of those make-you-squirm episodes more than a make-you-laugh, as Michael longed to be the center of attention at Phyllis's wedding. My buddy Alan Sepinwall mentioned this morning that the cake scene at the end felt out of place, and it is — Michael should have been kicked out of the reception by that point. My guess is that it was a deleted scene they decided to tack on before the credits, knowing that it gives them an easy cut for syndication.

In case you're wondering if I had anything to say about Anna Nicole Smith, you can find today's column here.

Things I loved about tonight's episode, after the jump …

– That we have no idea what kind of gunk Michael had to scrape.

– The bra-removal demonstration.

– That Pam knows how to read the back of Jim's neck.

– "Separate but equal." "So that's what that means."

– ""Ruddy cheeks. Thick calves. No tats, no moles."

– "I want some man meat!"

– The wonderful awkwardness in the Karen-Pam chat.

– "You know what I find sexy? Pam's art."

– "And I am sure you have a boyfriend in prison or something."

– "I don't care what Jim says. That is not the real Ben Franklin. I am 99 percent sure."

– The look on Jim's face when Pam said she was ready to be set up.

What did I miss?

Another good episode of "The Office" last night, especially in the detail it has given its characters and their relationships.

I love the direction taken with Dwight and Angela — before, during and after Dwight's unsuccessful coup attempt. Michael, Dwight and the M&M's offered a remarkable moment — have we ever seen Michael look so knowingly mean? — topped when Michael revealed his knowledge of Dwight's betrayal.

I've been thinking, too, about what Jan's shopping habits mean; is her misery — whether fundamental or from real feeling about losing Michael — so deep that she's desperately seeking new earrings? (And what is the deal with Dwight and breakfast food?)

Then there's Stanley's acidic reaction to Dwight's seeming promotion, and Pam's wardrobe dilemma, and Jim's struggle to fit into an office as odd as his old one. Once again, it shows that while Michael's domain is full of specific weirdness, it's working in any office that can be toxic and dispiriting, not just working for Michael. And Creed!

After the disappointments of "Survivor" and "Grey's," "The Office" sent me to bed on a happy TV note.

One of my little pleasures during the week is watching "My Name Is Earl" and "The Office," together the best hour of comedy in prime time.

"Earl" had an especially good episode recently, when it flashed back to Y2K events to show how Earl and the people around him marked the occasion; it was insanely hilarious. This week, it was "The Office" that showed its daring and skill.

The thread for the episode was Michael's birthday, and how he expected the office to celebrate it. That was funny enough, but "The Office" went a step further, having Kevin waiting to find out if he had skin cancer — an event that spread through the Dunder Mifflin staff while Michael was obliviously anticipating birthday merriment. Then, as if that wasn't enough, there was a lovely little bit with Jim and Pam shopping. A lot of different things to juggle, and "The Office" pulled it off, making viewers squirm and giggle practically in the same moment.

I did like the twist in the middle of "Veronica" — when we found out she wasn't as innocent as we have come to expect from watching shows that aren't as well made as "Veronica." And it was a nifty way to tie up some storylines, while starting a new one for Wallace. But I set a high bar for "Veronica" and it didn't always reach it. The end suggested the FBI is all done with Veronica, when there seemed to be enough evidence to keep interrogating her as a witness if not as a suspect. And I hope that the settling of this story means that at some point we'll get back to the bus mystery.

"Earl" and "The Office" had good things. But I've also felt as if I'm trying to shake a bug today, and it seemed especially pronounced when I was watching TV. Have you noticed that, when you're even a little bit sick, TV feels slower? It's as if your brain has reduced the pace at which you receive images because you can't process them very quickly.

I checked on last week's "CSI" for a couple of reasons. One was that I wanted to see how scary-looking Faye Dunaway had gotten; she had looked bad when she did that WB reality series and I was hoping it was an aberration. No such luck. Age and what appears to be some cosmetic surgery have not been kind to her. In a strange way, though, the look fit her character; I think there's a real-life Vegas star who had a romantic connection to a mobster, and who in more recent years looked as overdone as Dunaway did on "CSI."

The other reason I watched was that this spring the bride and I are going to Las Vegas; she has been there before, while it's something I have just dreamed about for years. (The dream was very specific, too: Renting a convertible in L.A. and driving across the desert, hitting Las Vegas at night, with its lights a beacon out of the darkness.) So I have not only been reading up on modern-day Las Vegas — and watching cable specials about it — but thinking about the mythology I have accumulated from books and movies and shows like "CSI." Thursday's episode was awash in the mythology, from the lavish modern settings to the echoes of the city in the '60s. I'm really curious about how the real thing will measure up. For instance, will it look as startlingly colorful as "CSI" in HD?