Entertainment
Even 20 years after 'The Office' premiere, Jim and Pam still make us swoon
The physical mementos Jenna Fischer kept from her years making the beloved comedy series “The Office,” which debuted on NBC 20 years ago today, have become invaluable artifacts from a cherished time now preserved onscreen for posterity.
In the American reimagining of the British show created by Ricky Gervais, Fischer played Pam Beasley, the kindhearted yet spunky receptionist with artistic aspirations.
While discussing these keepsakes during a recent Zoom interview, I asked Fischer about the teapot that the charmingly quick-witted salesman Jim Halpert (played by John Krasinski) thoughtfully gives Pam in the show’s first season as a loving secret Santa present.
“John got the teapot! How does that make sense? But I got my Dundies,” the actor says as she walks to a different corner of the room to grab the statuettes that Michael Scott (Steve Carell), regional manager of paper supplier Dunder Mifflin’s Scranton branch, awarded to Pam.
“I have both [Dundies], for Longest Engagement and Whitest Sneakers. I kept a bunch of stuff,” Fischer says. “I kept one of Pam’s sweaters and one of her shirts. I kept her watch, her purse, and I kept the necklace that she wore for Jim and Pam’s wedding.”
“I kept one of Pam’s sweaters and one of her shirts,” says Jenna Fischer, the actor who played Pam Beasley in “The Office.” “I kept her watch, her purse, and I kept the necklace that she wore for Jim and Pam’s wedding.”
(Byron J. Cohen / NBC Universal)
The list goes on, and every item among her “little treasures,” including a medal made out of a yogurt lid and paper clips from the “Office Olympics” episode, is a tangible reminder of how significant this period remains for Fischer.
“I kept this pen that was on her desk. It doesn’t even work, but I kept it.” She then points to yet another souvenir that survived an accident. “This cup was Pam’s cup on the show, and in the ninth season, it fell off the desk and broke. But the crew knew that I had wanted to take it, and so they glued it back together for me. I can’t use it, but I have it.”
Via email, Krasinski fesses up to how he obtained the teal-colored teapot that’s so symbolic to Pam and Jim’s enviable relationship.
“She ratted me out! Yes, I have the teapot, which I realize is quite the memento,” says Krasinski, writing while in production on an upcoming project. “It actually came to me by happenstance as our incredible prop master Phil Shea sent me a box of props some time after we had wrapped.”
But just like Fischer, that’s not the only “Office” keepsake in his possession.
“[Phil sent] things he thought I’d like to have, and it was a veritable treasure chest with my bag from the show, my name plate from my desk, even the copy of ‘The Adventures of Jimmy Halpert’ comic book,’” Krasinski added.
These items also are symbolic of the tight-knit relationships that developed over the course of the show. When Shea died in 2023, Fischer said the cast and crew came together for his memorial. She says they communicate often: “We have an ‘Office’ text thread. We get emails from Greg Daniels, and it’s a really special community of people, and we will be bonded for life.”
At the onset, back in 2005, no one on the production could have anticipated the legs the show would grow, but Krasinski knows exactly when he realized “The Office” would be his breakthrough. “I remember the moment vividly,” says the actor, who hadn’t yet made the move to Los Angeles in between seasons because no one involved had any certainty of what would happen with the show.
“I was back in New York, and I was walking down the street and a guy looked up at me, pulled earphones out of his head and said, ‘Hey … you’re on my iPod!’ And held it up. In that moment, I’m pretty sure my brain melted,” Krasinski recalls. “For one I was trying to comprehend what the hell an iPod was, as they had only just come out. And secondly, on that 2-by-2 screen was … my face. I remember thinking a whole lot had just changed.”
Since the show’s ninth and final season aired in 2013, Krasinski has established himself as a prolific and successful film director with the “A Quiet Place” films while also expanding his acting horizons.
John Krasinski and Jenna Fischer in a scene from the final season of “The Office.” The NBC series ended in 2013 after nine seasons.
(Byron Cohen / NBC)
But even now in hindsight, he can’t fully understand why “The Office” embedded itself so strongly into pop culture. “I think we’re all blown away by its staying power,” Krasinski says.
Fischer believes one of the reasons the show has withstood the test of time is that the relationships were modeled to feel authentic to any setting and not just for those who’ve had desk jobs.
“We have a lot of younger fans who have never worked in an office and are still in school, and some of the office relationships can mimic some of your classroom relationships,” Fischer says. “Maybe in class you’re seated next to someone who’s driving you nuts, or you have a teacher who thinks they really are a comedian.”
As for why Pam and Jim’s love story still makes viewers swoon, Fischer attributes it partly to the show’s mockumentary format, which allowed them to show “stolen moments” where people have their guard down. “You’re watching a romance bloom. And it just gets you right in the gut,” she says. “That’s something that isn’t captured a lot in movies and television.”
Above all, she thinks, audiences root for them to recognize how they feel about each other because that type of mutual adoration is what most people yearn for.
“You always hope that you will find and marry your best friend, the person who looks at you the way Jim looks at Pam, or the way Pam looks at Jim,” Fischer explains. “In those early seasons, we capture so much of their longing for one another. Everyone wants to be longed for in the way these two long for one another.”
Fischer hasn’t strayed too far from Dunder Mifflin. In 2019, she and co-star Angela Kinsey, who played Angela Martin on the show, launched the podcast “Office Ladies.” Over the last five years they’ve rewatched all 201 episodes of the show to share candid, behind-the-scenes anecdotes.
“There was a desire to give back to fans. Since we can’t give them any more new episodes of the show, we thought we could at least give new insights,” she says. “It was also a way to honor our crew who worked so hard and their contributions.”
“You always hope that you will find and marry your best friend, the person who looks at you the way Jim looks at Pam, or the way Pam looks at Jim,” Jenna Fischer says.
(Chris Haston / NBC)
For Fischer, this exercise in revisiting old memories presented a new opportunity to work with Kinsey. “One of the great gifts of my life was finding my best friend on the show, and getting to go to work every day with a person who I trust so much and hold so dear,” she says.
Although the show was mostly shot in Los Angeles, the two friends plan to visit the real Scranton, Pa., for a special episode of their podcast, where they’ll tour sites meaningful to the show (like the statue of a giant Dundie at City Hall) and Cooper’s Seafood House.
While some actors may feel burdened by their perpetual association with one successful project and want to leave it behind, Fischer has never felt such ambivalence. When she moved to L.A. from St. Louis in the late ’90s, Fischer recalls wishing that one day she’d be part of an ensemble comedy show that would endure. The actor has now more than satisfied that goal.
Fischer is now also a bestselling author thanks to her book “The Office BFFs: Tales of ‘The Office’ From Two Best Friends Who Were There” (co-written with Kinsey). On top of that, their ongoing podcast has been a hit since its debut.
In the future, once her kids are older, Fischer wants to do more theater. But even if her role on this show that ended long ago was all she had, that would be enough.
“I wanted to play a role that touched people’s hearts, and I did it with Pam and ‘The Office.’ How many bites at the apple do I need?” Fischer says. “I don’t mind if I am just always remembered for being Pam Beasley. Nothing would make me prouder.”
That said, Fischer doesn’t think the show should come back, even if it were feasible to bring the cast back. The characters, she thinks, have been sent off to their lives beyond Dunder Mifflin and finding a way to reassemble them would be challenging.
“Before I rewatched the show I was one of the people who was all for us coming back and reviving the show,” she confesses. “But now that I’ve rewatched it, I think we should leave it just as it is. I don’t think we should open it back up.”
Fans, of course, will always be curious about the fates of the characters they’ve spent so much time with. Asked if he thinks that Jim and Pam are still together in “The Office” universe all these years later, Krasinski answers with endearing certainty.
“Oh, I know so. They’ve got a cool house just outside Austin where they’ve loved raising their kids,” he said. “Pam’s found a cool art crowd at UT. And they’ve probably snuck away for a date night as we speak, grabbing Whataburger takeout and sitting in the park by the bridge waiting for the bats to fly.”
Movie Reviews
Movie Review: Here comes “THE BRIDE!”, audacious and wild – Rue Morgue

That’s both a promise and a challenge she delivers, since what follows may rub some viewers the wrong way. Yet Gyllenhaal’s full-throttle commitment to her vision is compelling in and of itself, and she has marshalled an absolutely smashing-looking and -sounding production. The story proper begins in 1936 Chicago, which, like everything and everyplace else in the movie, has been luminously shot by cinematographer Lawrence Sher and sumptuously conjured by production designer Karen Murphy. Her involvement is appropriate given that her previous credits include Bradley Cooper’s A STAR IS BORN and Baz Luhrmann’s ELVIS, since among other things, THE BRIDE! is a nostalgic musical. Its Frankenstein (Christian Bale), who has taken the name of his maker, is obsessed with big-screen tuners, and imagines himself in elaborate song-and-dance numbers. (Considering the reception to JOKER: FOLIE À DEUX, one must applaud the daring of Warner Bros. for greenlighting another expensive film in which a tormented protagonist has that kind of fantasy life.)
THE BRIDE! may be revisionist on many levels, but its characterization of its “monster” holds true to past screen incarnations from Karloff’s to Elordi’s: His scarred appearance masks a lonely soul who desires companionship. Frankenstein has arrived in Chicago to seek out Dr. Cornelia Euphronious (Annette Bening), correctly believing she has the scientific know-how to create an appropriate mate for him. Rather than piece one together, Dr. Euphronious resurrects the corpse of Ida (Jessie Buckley), whose consorting with underworld types led to her brutal death. Previously chafing against the man’s world she inhabited in life, she becomes even more defiant and unruly as a revenant, apparently possessed by the spirit of Shelley herself, declaiming in free-associative sentences and quoting rebellious literature.
Buckley, currently an Oscar favorite for her very different literary-inspired role in HAMNET, tears into the role of the Bride (who now goes by the name Penny) with invigorating abandon that bursts off the screen. Unsure of her identity yet overflowing with self-confident bravado, she’s the opposite of the sensitive “Frank,” but they’re united by the world that stands against them. That becomes literal when a violent incident sends them on the lam, road-tripping to New York City and beyond, on a trail inspired by the films of Ronnie Reed (Jake Gyllenhaal), Frank’s favorite song-and-dance-man star.
With THE BRIDE!, Gyllenhaal has made a film that’s at once her very own and a feverish homage to all sorts of cinema past and present. It’s a horror story, a lovers-on-the-run movie, a crime thriller, a musical and more, and historical fealty be damned if it makes for a good scene (as when Penny and Frank sneak into a 3D movie over a decade before such features became popular). In-references are everywhere: It might just be a coincidence that the couple’s travels take them past Fredonia, NY (cf. “Freedonia” in the Marx Brothers’ DUCK SOUP), but it’s certainly no accident that the former Ida is targeted by a crime boss named Lupino, referencing the actress and pioneering filmmaker whose works included noirs and women’s-issues stories. Penny’s exploits lead legions of admiring women to adopt her look and anarchic attitude, echoing the first JOKER (while a headline calls them “Twisted Sisters”), and the use of one Irving Berlin song in a Frankensteinian context immediately recalls a classic comedic take on the property.
Whether the audience should be put in mind of a spoof at a key point in a film with different goals is another matter. At times like these, Gyllenhaal’s pastiche ambitions overtake emotional investment in the story. As strong as the two lead performances are (Bale is quite moving, conveying a great deal of soul from behind his extensive prosthetics), it’s easier to feel for them in individual scenes than during the entire course of the just-over-two-hour running time. The diversions can be entertaining, to be sure, but they also result in an uncertainty of tone. The dissonance continues straight through to the end, where the filmmaker’s choice of closing-credits song once again suggests we’re not supposed to take all this too seriously.
There’s nonetheless much to admire and enjoy about THE BRIDE!, and this kind of risk-taking by a major studio is always to be encouraged (especially considering that we’ll see how long that lasts at Warner Bros. once Paramount takes it over). Beyond the terrific work by the aforementioned actors, there’s fine support from Peter Sarsgaard and Penelope Cruz as detectives on Penny and Frank’s heels, with Sandy Powell’s lavish costumes and Hildur Guðnadóttir’s rich, varied score vital to fashioning this fully imagined world. Kudos also to makeup and prosthetics designer Nadia Stacey and to Chris Gallaher and Scott Stoddard, who did those honors on Frank, for their visceral, evocative work. Uneven as it may be, THE BRIDE! is also as alive! as any film you’ll likely see this year.
Entertainment
These 3 Disney movie songs, animated with sign language, are headed to Disney+
New animated sequences of songs from “Encanto,” “Frozen 2” and “Moana 2” are headed to Disney+.
Disney Animation announced Wednesday that “Songs in Sign Language,” comprised of three musical numbers from recent Disney movies newly reimagined in American Sign Language, will debut April 27 in honor of National Deaf History Month.
Directed by veteran Disney animator Hyrum Osmond, “Songs in Sign Language” will feature fresh animation for “Encanto’s” chart-topper “We Don’t Talk About Bruno,” “Frozen 2’s” poignant ballad “The Next Right Thing” and “Moana 2’s” anthem “Beyond.” Produced by Heather Blodget and Christina Chen, the new versions of these songs were created in collaboration with L.A.-based theater company Deaf West Theatre.
“In the majority of cases, we created entirely new animation,” Osmond said in a press statement. “There were a lot of adjustments that we had to do within the animation to be true to the original intention.”
Deaf West Theatre artistic director DJ Kurs, sign language reference choreographer Catalene Sacchetti and a group of eight performers from Deaf West worked together to craft and choreograph the ASL version of the musical numbers for “Songs in Sign Language.” The creatives focused on being true to the concepts and emotion of the songs rather than direct translations of the lyrics.
Kurs said his team jumped at the chance to collaborate and integrate ASL into “the fabric of Disney storytelling.”
“Disney stories are the universal language of childhood,” Kurs said in a statement. “The chance to bring our language into that world was a historic opportunity to reach a global audience. Working on this project was very emotional. For so long, we have known and loved the artistic medium of Disney Animation. Here, the art form was adapting to us. I hope this unlocks possibilities in the minds and hearts of Deaf children, and that this all leads to more down the road.”
Osmond, who led a team of more than 20 animators on this project, said animation was the perfect medium to showcase sign language, which he described as “one of the most beautiful ways of communication on Earth.” The director, whose father is deaf, also saw this project as an opportunity to connect with the Deaf community.
“Growing up, I never learned sign language, and that barrier prevented me from really connecting with my dad,” Osmond said. “This reimagining of Disney Animation musical numbers helps bring down barriers and allows us to connect in a special way with our audiences in the Deaf community. I’m grateful that the Studio got behind making something so impactful.”
Movie Reviews
Maxime Giroux – ‘In Cold Light’ movie review
(Credits: Far Out / Elevation Pictures)
Maxime Giroux – ‘In Cold Light’
The action is relentless in the complex thriller In Cold Light, a tense combination of crime and fugitive tale and family drama. It is the third feature and first English language film by Maxime Giroux, best known for a very different kind of film, the critically acclaimed 2014 drama Felix & Meira.
The tension and high energy of In Cold Light almost overwhelm the film, but are relieved, barely, by moments of character development and introspection that keep the audience pulling for the restrained and outwardly cold main character.
Speaking at the film’s Canadian premiere, director Giroux admitted he found creating an action film a challenge. Part of his approach was using very minimal dialogue, especially for the central character, letting the action speak for itself, and allowing silence to intensify suspense. Giroux has said he likes the lack of dialogue and speaks highly of the importance of silence in cinema; he prefers using “physical aspects of communication” in his films.
Young Ava Bly (Maika Monroe) is a competent and businesslike drug dealer, working in partnership with her brother Tom (Jesse Irving) and a small team. As the film begins, Ava has just been released from a brief prison sentence. She is hoping to return to her former position, but her brother’s associates consider her a risk due to her recent incarceration. While she works to re-establish herself, a shocking encounter with a corrupt police officer sends Ava’s life into chaos and forces her to go on the run.
Ava’s fugitive experience introduces a new character, to whom Ava turns for help: her father, Will Bly, played by Troy Kotsur, known for his excellent performance in CODA. Their first interaction is handled in a fascinating way, as Will is deaf and the two communicate through sign language. This, of course, provides another form of the silent interaction the director prefers; he explained that much of the father-daughter interaction was rewritten with the actor in mind. Their conflict is nicely expressed through a scene in which their initial conversation is intermittently cut off by a faulty light which goes out periodically, making communication through sign momentarily impossible, nicely expressing the rift between father and daughter.
As Ava continues to evade danger, her escape becomes complicated by new information, placing her in a painful dilemma. We gradually learn more about Ava, her background, and her character through occasional flashbacks and glimpses of her dreams. The plot becomes more complex and more poignant, and gains features of a mystery as well as an action tale, as she is pressed to choose from among equally unacceptable alternatives.
The climax of her efforts to protect both herself and those close to her comes to a head as she meets with the director of a rival drug gang. Veteran actress Helen Hunt is perfect in the minor but significant role of Claire, the rival drug lord, who plays odd mind games with Ava in an intriguing psychological fencing match. It’s an unusual scene, in which Ava’s personality is made clearer, and Claire’s understated dominance and casual speech do not quite conceal the threat she represents.
The frantic pace and emotional turmoil are enhanced by the camera work, which tends to focus tightly on Ava, and by a harsh, minimal musical score that sets the tone without distracting from the action. Giroux chose to shoot the film in Super 60; he describes digital as “too perfect” for the look he was going for, and since “Ava is rough,” the film portrays her better. The director describes the entire movie as “rough,” in fact, and deliberately chose a dark, washed-out look for much of the footage, occasionally using light and colour, in the form of fireworks, lightning, or a colourful carnival, to both relieve and emphasise the darkness.
The dynamic, intense story holds the attention in spite of the lengthy, sometimes repetitive chase scenes and subdued dialogue. Ava’s predicament, and the difficult decisions she is forced to make, are made surprisingly relatable, from the initial disaster that starts the action to the surprising flash-forward that concludes the film, on as high a note as the situation could allow. Fans of action movies will definitely enjoy this one.
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