One among the most uplifting new comedy series on TV, The Office chronicles the inner-workings of a fictitious Pennsylvania paper company called Dunder-Mifflin. The name itself touches on some form of bureaucratic maze carried out by dunderheads, and in actuality, it is. Sadly, what makes The Office so funny is the ability of viewing audience to associate to the onscreen office culture.

The branch agency of Dunder-Mifflin viewers are privy to is handled by the politically-incorrect, borderline lunatic Michael Scott (Steve Carell). Using distorted logic to set company strategy, worn down clichés as a surrogate for leadership, and an never-ending collection of trite group action to bring up employee team spirit, he produces an office situation that makes the occupation of Dilbert seem worthy in contrast.

Carell, celebrity of the recent box office hit The 40-Year-Old Virgin, radiates in the character of the mad and eccentric office superior, and his talents are substantially complimented by Rainn Wilson who represents the part of Michael’s rule-Nazi lackey, butt-kiss Dwight Schrute. Dwights extraordinary pranks conflict with the rest of the office, noticeably workfellow Jim Halpert (John Krasinski) whom Dwight want to give the sack.

A  delightful unexpressed office crush between  Pam Beesley (Jenna Fischer) and Jim works a remarkable and recurrent subplot. Both Jim and Pam typify the rest of the cast of Dunder-Mifflin workers who run across as logical, well-reasoned, and average persons. Common people caught in a atypical reality where half-wits like Michael and Dwight preside over their employed hours.

Akin in theme to the every bit amusing feature film Office Space, The Office gives us with a a good deal of more high-keyed Bill Lumbergh lording over an army of Peter Gibbons-like employee bees. For maker Stephen Merchant and Ricky Gervais, who initially received success with the concept in the UK, it’s a formula for perfect, unmitigated laughter.