Disclaimer: All of the following works in this article are unedited submissions to The Vector’s Fall 2024 Writing Competition. The content of these works does not reflect the views of The NJIT Vector.
WINNER
The Office: A dramatized comedy show or realistic depiction of the modern workplace?
by Atharva Katkar
If one is asked to think of a popular 2000s comedy sitcom that has captured the attention of millions through its hilarious storylines, meaningful moments, and memorable characters, The Office is certain to cross many people’s minds. The mockumentary-style TV show has been given a whopping 9/10 on IMDb, with its popularity skyrocketing after premiering on streaming services such as Netflix for newer audiences to satisfyingly binge-watch.
The show’s premise is simple: it follows the lives of the employees who work at Dunder Mifflin, a paper company, documenting their daily antics, stories, and relationships as they trudge through their 9-5 day in Scranton, Pennsylvania. The sitcom centers around the socially inept, unprofessional, yet kind-hearted boss, Michael Scott, who often subjects his employees to random activities or irrelevant meetings that distract them from their actual tasks. Additionally, characters such as the carefree Jim Halpert, caring Pam Beesly, and strong-willed Dwight Schrute contribute to form an interesting workplace dynamic with the rest of the employees who boast a variety of personalities that evolve with depth and maturity.
Yet the show is far from your typical, monotonous office narrative — rather, the show plays into stereotypical jokes (much of which would be deemed culturally inappropriate and offensive nowadays) and dramatized plotlines that are intended to be subtle humor. For example, in Season 5, Episode 14, Dwight simulates a fire drill with real smoke, fireworks, and heat-sensitive doorknobs without telling his employees so they believe there’s a real fire. Soon, panic and chaos ensue and even ends with one of his co-workers, Stanley, fainting into a heart attack. Even more controversial, in Season 1, Episode 2, Michael forces his employees to engage in an activity that embraces diversity, when, in reality, the coworkers are reluctantly forced to frame divisive racial stereotype-based questions to guess their chosen race.
Moments like these stray the show away from a realistic portrayal of a work environment, which becomes especially more prevalent as the show continues to steer into more outrageous side plots. Additionally, many have noticed how The Office succumbed to sitcom “flanderization,” where writers unnecessarily exaggerate aspects of characters’ personalities for heightened audience effect (such as Kevin Malone’s transition from a dim-witted individual to a complete moron by the end of the show).
However, there are glimpse moments that remind viewers of why The Office remains a cherished show that is reminiscent of their day-to-day lives. Between the squabble over who is responsible for cleaning the microwave, emergence of heartfelt friendships, frivolous conversations in the kitchen, and even constant disdain for the boss, the writers craft scenes that add a depth of realism. The side characters, such as Dunder Mifflin’s CFO David Wallace and the warehouse workers, also root the show in reality by making Dunder Mifflin appear to be a real, operational company.
The sitcom’s greatest strength, though, lies in its portrayal of relationships. The Office offers a unique dynamic of workplace relationships that complement each other. Some are close friendships nurtured over many years while others include ongoing, implicit animosity. Specifically, a fan favorite includes the early rivalry and late bromance between Jim and Dwight, the main protagonists of the show. Viewers also often connect to Michael Scott, as they notice how his inappropriate antics and attention-seeking behavior are often a facade for the loneliness he experienced in his childhood and in his current life.
The balance between the amusing dialogues and meaningful scenes coupled with the varied relationships between the ensemble of characters keep viewers engaged from one episode to the next. At its core, The Office offers an interesting perspective on the modern workplace as it teaches its viewers how to appreciate the small things in life, despite how exciting or mundane they may be.
HONORABLE MENTION
‘Woman of the Hour’ Film Review
by Faarah Rexach Peters
This review contains spoilers.
Who needs the supernatural when reality is horrifying enough? In her directorial debut, “Woman of the Hour,” based on a true story, Anna Kendrick intertwines the main storyline following aspiring actress, Cheryl Bradshaw, with victims of serial killer, Rodney Alcala, to create a tense movie that casts the greatest fears of women onto the audience with a brilliant social commentary on the treatment of female victims.
The opening two scenes of the movie sets a precedent for the rest of the film, establishing an eerie tone in a unique way. While horror films use dreadful music and a dark environment to put off viewers, this film opts for the minimal use of audio effects and colorful sets, allowing the fascinating performances put on by the cast and incredible cinematography to convey the danger.
Taking the first scene as example, Rodney Alcala – played by Daniel Zovatto – and a woman named Sarah – played by Kelley Jakle – are alone in some plains as Alcala photographs Sarah. The scene is initially innocent, but as she opens up about her ex-boyfriend and pregnancy, the mood darkens. He continues to photograph her, clearly more concerned with capturing her pain rather than experiencing it with her, an apathetic – but not uncommon – reaction. When he gets closer to her, he rubs his hand on her shoulder, mirroring a soothing gesture, but exuding absolutely no warmth. The scene continues to grow tense as Alcala grows more physical, until he attacks the woman.
Zovatto’s prior experience in horror films shows through in his chilling performance. Throughout the film, he is able to switch between a charming individual who lowers the guard of those around him (and the audience) to suddenly a clearly sadistic killer. This switch is so apparent, yet flawless, and makes for a sickening viewing experience in the most impressive way. In the opening scene, the initial mask of normalcy is so believable, allowing Alcala to get closer and closer, until this mask is suddenly dropped, and it is clear it is too late.
Jakle’s performance also doesn’t go unnoticed. Her attempts to get away and screams feel so real, that the audience can’t help but experience this fear with her.
The cinematography also allows for a tasteful and effective portrayal of this horror. During violent scenes, the most typical choice made is shooting from the perspective of the victim or the attacker. Instead, Kendrick opts to rarely show the violence. For the majority of the attack, all that is seen are the vast, empty plains, as Sarah’s struggle is heard.
Most women can agree that the violence against them portrayed in movies is overly graphic, and while it does leave the desired effect of making the audience uncomfortable, it more often than not leaves a bad taste in the mouth. This is avoided entirely in “Woman of the Hour.” Kendrick makes sure to hardly show the attack, preventing it from being turned into a spectacle, without sacrificing fear factor.
The film’s unique take on the genre continues to shine through in the second scene. Greeted with just a black screen, two men have a conversation about something unknown to the viewer:
“It’s just not quite right.”
“Yeah, I don’t feel sorry for her. She’s not that sympathetic, is she?”
“Because she seems angry.”
…
“What about her look?”
While they are just talking about Bradshaw’s audition, the initial ambiguity was not just a random choice; It parallels discussions surrounding female victims. While anyone’s initial reaction should be one of pure empathy, it is not uncommon for people to critique the decisions victims made or their character. This need for a “perfect victim” is prolific when crimes are committed against women, rather than women being humanized and sympathized with. With this choice, Kendrick forces the audience to reflect on their own attitudes towards victims.
While Anna Kendrick is a fine actress, her skills as a director are phenomenal. Every choice from the cinematography, to the set design, to the actor’s choices, feels so intentional. This film will miss the mark for those looking for an exciting true crime story, but it was never made to satisfy that craving anyway. The real horror of this film comes from how hauntingly realistic it is, which can be largely attributed to a talented female director.
Rating: 4.5/5 crabs
