Daniels has said in interviews that these characters are in charge of answering the 4,000 unanswered customer complaints that Kelly never got around to, but that wasn’t made clear in this episode. Andy’s skill at nicknames hasn’t improved over the years. The exit of Ryan and Kelly led to the introduction of the titular new guys, Clark a.k.a New Dwight a.k.a. My heart aches for the going away party we didn’t get to see. But it still feels like a wasted opportunity to not properly conclude the stories of these two solipsists. (It certainly could have used some more oomph.) Now, I know television deals are a perilous thing and I don’t blame anyone for not committing to sending Ryan and Kelly off until The Mindy Project was a done deal, and as a result they probably didn’t have a lot of time to write them out of the show. We didn’t quite get that (Dwight hanging on for his life by a jerry-rigged trapeze bike is many things, but it’s surely not quotidian), but this beginning-of-the-end episode did seem to indicate that returning executive producer Greg Daniels is bringing back some of the some of The Office’s most admirable, mostly-shelved-of-late features: a willingness to let its characters grow, and a willingness to go dark.įirst off, let’s point out that while Kelly’s exit to Miami … er … Ohio was appropriately bitchy and name-dropping (see you on Tuesday, Mindy) and Ryan’s resultant exit to Ohio “for unrelated reasons” was appropriately pathetic, it’s a shame they didn’t give these two fan favorites the more elegant send-off they deserved during last Spring’s season finale. Yesterday, Vulture’s Margaret Lyons urged the show’s writers to get back to the more relatable, small-scale petty drama of The Office’s heyday.
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