Exit Music (For a Film): Office Space
Tuesday, September 2nd, 2008 by Zack DennisIn Mike Judge’s 1999 comedy Office Space, its protagonist Peter Gibbons (Ron Livingston) is described by the downsizing consultants as a “straight shooter with upper management written all over him.” It’s a gross misjudgment on the part of the consultants, as Peter’s casual demeanor charmed them much the way that George W. Bush was able to charm almost half the voters of the United States of America the following year. Peter’s boss, the endlessly imitated Bill Lumbergh (Gary Cole), is a lousy manager himself, but he’s driven by enough of a sense of self-preservation to disagree with them, explaining that Peter isn’t the caliber of person they want in upper management, and that “he’s also been having some problems with his TPS reports.”
Satire is Mike Judge’s strongest suit, and the disintegration of American society into various facets of stupidity is a topic he confronted more broadly in his following film, Idiocracy (2006). But the focus in Office Space was much sharper, where work life in general was the target, but the workplace managers came under the heaviest fire. Playing a cameo as the manager of Chotchkie’s, Mike Judge himself is willing to step in as the target of ridicule, repeatedly castigating Peter’s girlfriend Joanna (Jennifer Aniston) for her insistence on wearing the minimum number of pieces of flair. It’s meaningless minutiae such as this that are clearly a source of such exasperation for Judge; cover sheets on TPS reports and pieces of flair are not important to how a business functions, and are a waste of time for management to concern themselves with.
The Film: Office Space
The Song: “Shove this Jay-Oh-Bee”
The Artist: Canibus (feat. Biz Markie)





One of of the most overlooked films of 2006 (a 
I tend to make a lot of allowances for films that translate classic literature into high school settings.
With another potential
Nobody, and I mean nobody, has demonstrated an ability to manipulate popular culture better than Quentin Tarantino. The pop-culture reference is a staple of modern entertainment. Television shows like The Simpsons take delight in finding ways to work a dozen clever references into each episode, and lesser shows like Family Guy owe their existence to pop culture cutaways. Two of the writers of Scary Movie (2000) have even managed to build an entire franchise of execrable films that consist of nothing but references to other films and stories. Tarantino is no stranger to this technique; his films are full of references and homages, even though they are often too obscure to be recognized by the average viewer. What truly sets Tarantino apart from the hordes of hacks who appropriate images and stories from other sources in order to stimulate an audience’s collective memory is that he has an unparalleled ability to weave these references (quotes, songs, even biblical verses) together in unique ways so that they instantly emerge as new memes in popular culture.
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