There's no longer a fear of layoffs at "The Office."

After initially low ratings, the offbeat comedy has blossomed in its second season into a key player in NBC's efforts to rebuild its Thursday comedy franchise. The show also has earned a bonus: a 22-episode third season.

Since moving to Thursdays and pairing with freshman hit "My Name Is Earl," "The Office" is averaging 9.2 million viewers, 1.5 million more than in the fall and nearly 4 million more than last spring. "The Office" also has scored strongly with advertiser-coveted young adults, recording its three best outings this month, and is a top download choice on iTunes.

Steve Carell won a Golden Globe for his portrayal of Michael Scott, the congenitally inappropriate manager of the Dunder Mifflin paper-supply office. It marks the latest success for the former "Daily Show" correspondent, whose "The 40-Year -Old Virgin" topped $100 million in theaters. "I feel very lucky to have had the level of success I've had," Carell says. "This is all very bizarre."

This domestic version of a revered British original also stars Rainn Wilson from "Six Feet Under" as Dwight, the No. 2 desperate for respect; Jenna Fischer as sweet and smart receptionist Pam; John Krasinski as Jim, who has a thing for Pam and a talent for tormenting Dwight; and B.J. Novak as office temp Ryan.

Early on, "The Office" earned praise from some critics, but others compared it unfavorably to the British series. Then it found its voice, says Angela Bromstad, president of NBC Universal studio.

Executive producer Greg Daniels "Americanized it," she says. "He went with his actors and their personalities. He made it a little louder. Greg went for a little bit of heart at the end of each show."

A little heart, which is a lot for oft-jaded comedy writers, may be helping attract viewers. And millions can relate to an office environment, the kind of routine connection not evident, for example, on Fox's Emmy-winning, ratings-starved "Arrested Development."

With a touch of emotion, "viewers become concerned about what happens to the character," Daniels says. And the office environment works both ways, he says, offering a healthy supply of story ideas from friends, family and strangers — even as many viewers can identify with the drudgery.

"Pretty much anybody who's ever worked can relate to our show," Wilson says.

To get the right feel, "The Office" tries to keep the set hermetically sealed, limiting the presence of crew members to create a more office-like feel. Actors do makeup touchups at their desks to limit the time of makeup artists, and they can use their desk phones and computers, which have Web access.

Carell says the scripts and dialogue are grounded in character and reality. Some of the best moments come from looks or awkward pauses.

The Second City veteran says he's grateful for the improvisational opportunities.

"It's a great thing to know that's available to you, to go off the page," he says. "There's a looseness to try things. There's a freedom to fail."