The Office Spinoff The Paper Is, For Better or Worse, a True 2000s Throwback

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NBC’s “The Office” left an indelible mark on television, making it effortless to overlook its origin as an adaptation. This groundbreaking series catapulted actors such as Steve Carell, John Krasinski, and Mindy Kaling into A-list Hollywood stars, while giving rise to a wave of successful TV creators including Mike Schur and Justin Spitzer. While the single-camera setup was not entirely new among prime-time comedies when it debuted in 2005-shows like “M*A*S*H,” “Arrested Development,” and others had already paved the way-its more realistic style soon became synonymous with modern sitcoms (even “Seinfeld” featured a laugh track). Moreover, its mockumentary format established the foundation for a subgenre that has since spawned hits like “Parks and Recreation,” “Modern Family,” “What We Do in the Shadows,” “Abbott Elementary,” “St. Denis Medical,” among others.

Greg Daniels, who previously collaborated on shows like “Parks and Rec” and “King of the Hill”, and lightened up the original British version of “The Office” for American audiences, is now teaming up with Michael Koman from “Nathan for You”. They are creating a spin-off titled “The Paper”, which will be available on Peacock starting September 4. The series focuses on the documentary crew from “The Office” as they visit the headquarters of a struggling newspaper. While only one original cast member, Oscar Nuñez, is reprising his role, it still offers a nostalgic feel reminiscent of the last sitcom everyone watched simultaneously. However, despite its potential for growth over time, the show seems somewhat outdated – not just because many other sitcoms have drawn inspiration from “The Office” in the 20 years since its debut, but also due to its overall style and themes.

In addition to Oscar Martinez’s Nuñez, both series share a common theme: paper. The PBS filmmakers discover that the Dunder Mifflin Paper Company office in Scranton, Penn., is now under new ownership – Enervate, based in Toledo. Unfortunately, no one seems to have informed them about this change ahead of time. When they visit Ohio, a slick British executive named Ken (Tim Key, known for his recent humor in “The Ballad of Wallis Island”, streaming on Peacock) clarifies that Enervate deals with products made from paper. This could mean office supplies, cleaning paper such as toilet paper and seat protectors, and local newspapers. The quality of the products ranges from highest to lowest.

Introducing the revamped “Toledo Truth-Teller”: Once a highly respected daily newspaper with a workforce of a thousand, it now operates with only a few remaining staff members, many of whom share their workspace with the Softees toilet paper team. Our Jim Halpert analogue is Mare Pritti (Chelsea Frei), a witty former military veteran who previously wrote for Stars and Stripes; her current role involves copying and pasting Associated Press articles to produce the print edition. The online version of TTT, however, is an entirely different beast, overseen by flamboyant Italian managing editor Esmerelda Grand (Sabrina Impacciatore from The White Lotus Season 2), who keeps the site running with sensational celebrity news like “You Won’t Believe How Much Ben Affleck Tipped His Limo Driver.” She bears a resemblance to Dwight Schrute in her constant pursuit of personal gain.

The new editor-in-chief of Truth-Teller, Ned Sampson, portrayed by Domhnall Gleeson, is unlike the infamous Michael Scott and shares similarities with pre-Ozark Jason Bateman in terms of his innocent demeanor. Unlike his chilling roles in The Patient and Black Mirror, this new character brings a charming and awkward charm to the table. Born into a paper business dynasty, Ned sold soft drinks before pursuing journalism in college and admiring Superman’s alter ego, Clark Kent. With dreams of revitalizing the newspaper, he manages to secure an assignment with the expectation that it will transform the newsroom. However, unbeknownst to him, Enervate has no intention of providing him with the necessary budget for such a task. The only remaining staff reporter, Barry (Barry Duane R. Shepard Sr.), displays questionable work behavior that suggests early-stage dementia.

Despite his resolve to protect the Truth-Teller at all costs, Ned enlists volunteers from various departments to help. Detrick, a sales representative (portrayed by Melvin Gregg), harbors an adolescent infatuation towards the serious TTT Online data scraper Nicole (played by Ramona Young, who delivers the funniest line in the premiere: “You could say that we gather more information from the readers than they do from us”). Adelola (Gbemisola Ikumelo) brings a bit of office rebellion. Comedian Alex Edelman takes on the role of Adam, a father of four struggling with repression. Travis’ (Eric Rahill) entire character is defined by fishing. Despite his reluctance to join another documentary and the show’s seemingly repeated oversight in utilizing him effectively-either a nod to The Office or a lack of learning from its errors-Oscar eventually invents number games. None of these individuals have any background in journalism, making Ned and Mare the seasoned experts in the field.

The comedy series, titled “The Paper,” is filled with numerous humorous elements. Characters like Ned’s naive rich-kid idealism and Esmerelda’s persistent attempts to undermine him bring a dose of humor reminiscent of small-town comedies like “Parks and Rec.” TTT Online offers a comical portrayal of internet mishaps. For those in the print journalism field, the irony of laughing at a struggling fourth estate while it’s needed most is not lost. Daniels and Koman explore all these angles in the series. Interestingly, despite Nathan for You once being the edgiest show on TV, The Paper seems somewhat reluctant to delve deeply into the political issues surrounding the troubled news media, even compared to more conservative shows like Abbott Elementary and St. Denis Medical that discuss public education and healthcare.

This show harks back to the 2000s in its preference for lighter, rustic storylines. It’s filled with slow-developing office romances that mirror the dynamic between Jim and Pam from The Office. For fans who enjoyed watching the saner employees of Dunder Mifflin express their exasperation at their certifiably odd colleagues, there’s plenty of that here too. Those who are fond of The Office may find this workplace comedy comforting. As a casual viewer, I found it to be not just reminiscent, but also a squandering of a compelling concept.

The show sometimes appears outdated in its portrayal of media, internet culture, and society at large, as if its scripts were written during the mid-2010s. A joke involving a rainbow toilet paper references the height of mandatory corporate Pride, yet the world has since transitioned into a period of backlash against DEI initiatives. The character who trolls comments sections, a relic from the time when readers had to vent their anger through comments rather than directly contacting journalists, causes chaos in the newsroom. One episode features Ned butting heads with a teenage local-news blogger, as if Gen Z were discovering their voice on Blogspot instead of Substack, TikTok, or YouTube. Instead of exploring the influence of AI like ChatGPT on media, or the escalating crisis in cultural criticism, the right-wing attack on truth and truth tellers, wouldn’t it be more relevant to discuss?

Despite some areas for improvement, the creators Daniels and Koman have managed to produce a show with enough charm to warrant a potential second season, much like how The Office found its footing in Season 2. In today’s fast-paced streaming landscape, patience might not be as abundant as it once was during network TV’s golden age.

Impacciatore’s performance is reminiscent of Janelle James’ sharp and biting portrayal in Abbott. Additionally, Gleeson, Frei, Key, Gregg, and Young deliver commendable performances (although some characters may get lost within the large ensemble). The scripts show improvement as the season progresses. The final line of Episode 7 is a surprising and emotional moment that left me breathless-and it paves the way for a finale that neatly resolves several storylines from earlier in the season.

Episode 8 dives into the ethical complexities of reporting on one’s own company, as Mare attempts to cover an Enervate-related sewer clog incident, resulting in a mix of thought-provoking drama and humorous one-liners. Ned’s quip to Ken: “I’m not calling your ass-wiping glove ‘the penicillin of personal hygiene.'”

As a devoted film enthusiast, let me say that “The Paper” will never mirror the charm of “The Office,” and here’s why: Firstly, its environment is distinctively politicized and niche compared to Dunder Mifflin. Secondly, the global landscape has undergone dramatic shifts over the past two decades. However, if Daniels and Koman can capitalize on these differences, “The Paper” could potentially blossom into an exceptional series. If a revival like “The Toledo Truth-Teller” can captivate audiences, then certainly “The Paper” has a fighting chance too.

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2025-09-03 19:06