It’s Funny, Because It’s Not That Funny
by Kelly Tong
I recently received an email unofficially declaring February 15, 2007, “That’s what she said” day. To most people, it might be a comment that a crude uncle or an immature jock would jest at an inappropriate time. But to any fan of the American version of the sitcom The Office that line has a special place in your heart. When character Michael Scott (Steve Carrell), regional manager of the fictional paper distribution company Dunder Mifflin, abruptly interjects with a “that’s what she said” after overhearing a coworker innocently uttering, “Do you really think you can go all day long?” it is still immature, but for some reason, it’s no longer creepy. In fact, most audiences would commend the writers on a cleverly placed line. Have America’s television audiences developed a more juvenile sense of humor?
It is always the context of the punch line that determines the hilarity of a joke, and to analyze what viewers truly love about The Office, we must examine the original creator of the premise, comedic genius Ricky Gervais. In July 2001, the BBC debuted Gervais’ and co-creator Stephen Merchant’s series of the same title. The show was a mockumentary about a paper distributing company located in Slough, England. Gervais played the regional manager, David Brent, who most critics of the show like to refer to as “the boss from hell.” However, that title is rather misleading, since Brent is not a slave driver. He never has any malignant intentions for any of his employees.
The problem is that he is too friendly, seeming almost desperate to befriend those that work below him. Think of David Brent as that high school teacher or shady uncle that shows up to family reunions and is convinced he is cool, because he listens to the music of your generation. You feel awkward around him, but you cannot bring yourself to hate him.
Gervais had brought to audiences a type of comedy that they have not seen since Larry David introduced Seinfeld and Curb Your Enthusiasm. Critics have likened the humor in The Office to that of Larry David because the source of hilarity lies in the awkward and embarrassing. This is not to say the novelty in the series lies solely in humiliating moments – in fact, almost all sitcoms search for laughs in uncomfortable scenes. However, Gervais’ documentary-style cinematography and use of actors who can be very subtle are the aspects that make his sitcom unique.
Most sitcoms root their plotlines in absurdity. That is, a central character commits a minor faux pas that eventually escalates into inanity. Oppositely, the humor in The Office is subtler. Since it is a fake documentary, there is no accompanying laugh track to assure the audience that they should be laughing. Some of the awkward moments are just allowed to brew, until even the viewers are embarrassed. For instance, one of the most memorable scenes from The Office involves David Brent attempting to upstage a rival manager by showing his employees his dance moves. What should have turned out to be a ten second display ultimately drags on for at least thirty seconds, leaving the office employees speechless.
The Office is also a sitcom that carries somewhat of a dark side. Unlike most sitcoms, it is rather obvious that most of the characters are unhappy with where they are in their lives. They are trapped in an office, yet want more out of life. The boss, whether it be Michael Scott or David Brent, is in the midst of a mid-life crisis. However, this is perhaps what causes audience to sympathize with the characters, despite some unappealing attributes. “It's an affectionate look at those people really. As I say, their worst crime is that they might be wasting their lives because they haven't admitted to themselves they're not happy,” insists Gervais.
All of the aspects of the British The Office has been brought over to the American adaptation for NBC. More versions of the sitcom are being produced in France, Germany, and French Canada. Ricky Gervais had revitalized the sitcom, bringing a new muted type of humor to primetime television that was refreshing to audiences globally. Therefore, when Michael Scott blurts, “That’s what she said,” it is not a lazy attempt on behalf of the writers to obtain a cheap laugh. When viewers are asked about what they exactly find funny in such a line, the best response would be, “It’s just something Michael Scott would say.”
The Office has shown viewers that dialogue does not need to be consistently snappy. If the timing and the context is just right, a simple immature line can induce the loudest laughs. At the very least, Gervais can be thanked for imbuing the phrase “That’s what she said” with a little wittiness.
