‘The Paper’ creators hope a struggling newspaper is ‘something to root for’ — ahem, so do we

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This article contains spoilers from the first season of “The Paper.”

The process of creating the American adaptation of “The Office” has, up until this point, been a drawn-out and gradual one. (A classic, but clean joke reference for good measure!)

Originally struggling on NBC with a low-rated first season, “The Office”, an unconventional workplace comedy based on a British series, surprisingly transformed into a beloved pop culture phenomenon and one of the most watched sitcoms in TV history. Discussions for expanding “The Office” universe started as early as Season 3 when another branch office was introduced. Initially planned as a spinoff, “Parks and Recreation” ultimately became its own series. However, a show centered around socially awkward character Dwight Schrute (Rainn Wilson) was not developed further. Ending its nine-season run in 2013 without any spinoffs, it still remained relevant as fans continued to watch it on syndication or streaming platforms.

In 2020, when “The Office” started getting noticed as the most-streamed show in America, Greg Daniels, who led the U.S. version and initially worried about damaging its reputation with spinoffs, was starting to see that it had enough resilience to handle efforts to expand its quirky universe without any risk of harm.

In the end, around 10 years since “The Office” ended its run, Peacock is banking on “The Paper,” a spin-off series, to tap into some of the original’s popularity while carving out its unique identity.

The storyline moves towards the employees at the Toledo Truth Teller, a financially strained local newspaper in Ohio, as they are under the lens of the same documentary team who previously captured the antics of their Scranton, Pa. counterparts at Dunder Mifflin, led by the somewhat inept Michael Scott (Steve Carell). Given the reality of the U.S. losing over a third of its newspapers since 2005, it seems fitting that this could be an engaging documentary subject. Daniels and Koman are the brains behind this series, having previously worked on “Nathan For You” and “How to With John Wilson”.

The first season’s 10 episodes were made available on Peacock last Thursday, with a second season already confirmed. Earlier this month, Daniels and Koman had a visit at The Times, followed by subsequent video calls, where they discussed the comedic possibilities of struggling industries, why Oscar is an ideal character for a spinoff crossover, and whether they intend to incorporate references to the president’s comments about the media. Below, you will find selected portions of our conversation that have been edited for clarity.

Initially, the show was planned to debut with four episodes and subsequently move to a weekly release format. However, a recent update revealed that the entire season will be available simultaneously instead. One might wonder what led to this change, and I’m curious if you have any strong opinions about different release models?

Daniels: Each business is unique, and I must say that [NBCUniversal] seems exceptionally helpful, with a large team meticulously planning each move. I’m confident they mean well and have thoughtful strategies in place. Initially, I had planned to sneak onto the air without any fanfare whatsoever, perhaps advertising later – but it appears that was overly naive. One potential advantage of this approach is that our dedicated fans can watch at their leisure, possibly before they’ve seen too many promotions. I’ve always believed that the show should serve as an introduction in itself. The more you know jokes from later seasons, the more you might unintentionally anticipate what’s to come. It could play better for all the superfans, especially if it remains fresh and clean. At first, I thought the paced-out model would work because that was how “The Office” aired on NBC. However, they explained that most “The Office” fans likely watched it through streaming, allowing them to binge the entire series.

Personally, the topic isn’t something I specialize in, but I enjoy observing it at my own pace. I find great joy in having control over my routine, and I usually breeze through things rapidly.

Television

In a Midwest newspaper, the charismatic Irish actor portrays the role of a dedicated editor-in-chief, striving to rejuvenate the publication with the assistance of an unconventional team.

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The predicament that local journalism is currently facing doesn’t seem like an ideal setting for humor – it’s more of a mixture of uncontrollable laughter to keep from shedding tears. Can you tell us how you ended up in a newsroom as your backdrop and what was the idea behind your pitch?

Daniels pointed out that the idea of setting a show in a stationery store might not seem amusing or glamorous at first glance. However, this show has its unique twists as we aimed to avoid resembling “The Office” too closely. I was quite protective of the original series and its cast, and had been waiting for a long time before embarking on something similar. The original “Office” cast were supportive once the idea came about. As it’s a documentary-style show, we needed to consistently keep in mind that there are actual camera people present, not just there to capture funny moments at work but rather to cover an authentic story. The decline of local newspapers is an intriguing narrative that could attract a PBS documentary crew. Since it’s a comedy, the background events and interactions among employees trying to accomplish tasks are what make the show humorous. We also wanted to differentiate this show by portraying Michael Scott’s relationship with his staff differently – instead of being an inspiring boss, Ned Sampson (played by Domhnall Gleeson) tries to inspire them. The question is whether he’s taking on more than he can handle or if they should have faith in him.

In simpler terms, I believe that real-life situations often provide the most compelling settings. It’s advantageous when your characters face obstacles, as it gives viewers someone to cheer for.

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1. In the photo, taken clockwise starting at the top left, you’ve got Rainn Wilson as Dwight Schrute, Jenna Fischer as Pam Beesly, John Krasinski as Jim Halpert, BJ Novak as Ryan Howard, and Steve Carell as Michael Scott from “The Office.”

2. Here’s a snapshot of Carell, Krasinksi, and Wilson in an episode of the NBC comedy series. (Courtesy: Justin Lubin / NBC Universal)

How did you land on Toledo?

Daniels mentioned that he found the alliteration of “Toledo Truth Teller” fascinating, and he felt the same way about “The Cleveland Plain Dealer.” The name, to him, evoked a sense of independence characteristic of big Midwestern newspapers, which differs from today’s major papers based in Los Angeles, New York, Washington, D.C., and Dallas. Although he acknowledged that the Cleveland Plain Dealer remains healthy, there is an old-fashioned charm about Midwest newspapers that Daniels finds appealing.

Ohio, particularly Toledo, springs to mind when I reflect on the golden age of print journalism. The state was home to numerous influential newspapers and talented journalists, which gives the impression that if someone were to reinvigorate this industry, it could be successfully done in Ohio or even specifically in Toledo.

Daniels: Toledo holds a somewhat “office-like,” Scranton-esque charm. At one point, we were considering Dunder Mifflin’s other branch locations, and the list is quite amusing. It includes places like Yonkers and Nashua, New Hampshire. These names sound delightful when you say them.

Review

‘The Paper’ is a spot-on commentary about the sad state of American journalism. But you’ll laugh.

Discussion revolves around how ‘The Paper’ stacks up against ‘The Office’, focusing on aspects such as its portrayal of modern-day journalism and its comedic value.

Hi Greg, why have you become more open to broadening the scope of “The Office” universe, when initially “Parks and Recreation” was intended as a spin-off but ended up diverging from that concept? What prompted this change in your perspective?

There are two aspects to your question. The first one is, why now? This is because my series “Upload” on Prime Video is concluding. Initially, when we started discussing it, I wasn’t sure about the future of “Upload.” After selling it and agreeing to be its showrunner, it continued getting picked up, so I had to keep postponing thoughts about a “The Office” spinoff. However, the final season of “Upload” will release on August 25. The second part of your question pertains to the fact that since the finale, “The Office” has gained immense popularity on Netflix. It seemed like this show is almost invincible at this point. Even if we create a spinoff and mess it up, it won’t affect the original “The Office,” which was my concern. The original “The Office” was such a unique blend of cast, time, format, writers, etc., that it felt arrogant to attempt recreating it. But after some time, I realized that you have to take a chance and not let fear stop you from trying anything.

How did you determine that Oscar Núñez’s character from the former Dunder Mifflin, Oscar Martinez, serves as a link between the two series?

Daniels commented on how “The Office” finale showed each character moving off in their own direction, concluding their stories satisfactorily for him. For instance, Jim and Pam went to Boston with Darryl, while Toby was in England. However, Oscar didn’t seem to have a significant story development. Instead, he remained consistent as the character we knew throughout, making it unnecessary to alter “The Office” by keeping Oscar involved.

On a purely business standpoint, it was logical that if one company was taken over by another, some employees might transfer to the new company. Among them, he seemed like the most likely to remain in place.

In simpler terms, Daniels might have been the most composed among all characters, exuding a notable sense of dignity. The crew’s reunion with him felt fitting, given that he had sought political office at the end of “The Office.” This suggests he could be motivated and take action for his community. Given this background, he seems like someone who could be persuaded by Ned’s idea.

Additionally, he exhibits a global or diverse character, much like the city is approximately three times larger than Scranton.

Television

Jenna Fischer and John Krasinski reminisced on “The Office,” the NBC sitcom celebrating its 20th anniversary, discussing why Pam and Jim’s romance remains relatable and the mementos from set that they took home.

Greg, your portrayal of Jim and Pam’s relationship on TV is considered one of the most memorable ‘will they/won’t they’ relationships in television history. Now, there are budding office romances on ‘The Paper’. By the end of the season, Ned and Mare (Chelsea) share a kiss. What specific challenges arise when crafting a slow burn in the streaming era? How did you plan to handle things differently this time around?”

In this version, I’ve tried to make the language more conversational and easier to read while maintaining the original meaning and structure.

In simpler terms, Daniels is stating that for a story to be realistic and relatable, the main focus should be on personal relationships and emotional conflicts, such as love, rather than extraordinary events like battling aliens. He mentions an article in The New York Times about real-life couples, implying that there are countless unique stories of how people meet. Daniels wants to avoid creating characters who are expected to resemble iconic television couples like Pam and Jim from “The Office”. However, this doesn’t mean that other characters won’t have their own romantic interests.

In one of the scenes from “The Office,” the characters Pam Beesly, portrayed by Jenna Fischer, and Jim Halpert, played by John Krasinski, are depicted. Often referred to as JAM, they represent a unique pairing of close friends who develop romantic feelings for each other in the series. (Paul Drinkwater/NBC)

In the series titled “The Paper,” we find characters such as Esmeralda, played by Sabrina Impacciatore, who serves as the interim managing editor; Mare, portrayed by Chelsea Frei, a former compositor now turned reporter; and Ned, acted by Domhnall Gleeson, who assumes the role of the new boss. There’s an intriguing will-they/won’t-they dynamic between Mare and Ned throughout the show.

As a fan who felt like “The Office” was set within our own world thanks to characters like Kelly Kapoor and her pop culture references, I’ve often wondered if the show would ever address real-world issues more directly. Given the setting and Ned’s ideals about journalism, with President Trump frequently commenting on the press, I can’t help but consider if there might be an episode where such remarks or ideas are referenced in some form. However, I’m curious to know your thoughts on this. Would you prefer to avoid such topics?

Daniels: From a comedic perspective, I’m finding myself growing weary of the endless discussions about certain topics. Moreover, the strong opinions abound. My instinct is to focus on the basics – it’s character-driven comedy. The characters are journalists and their world is filled with conflicts between people and ethics. Exploring these stories can be worthwhile, regardless of one’s perspective. If what’s presented has truth, one might gain something meaningful from it.

Koman: Essentially, they need to approach this as a community newspaper. Their goal is to authentically share local happenings, which I believe is crucial for the city – a platform that keeps residents informed about what’s happening around them. Additionally, I think it’s crucial for the show to maintain a sense of current reality and authenticity, as if it’s unfolding in the present moment. In essence, their focus should be on becoming a reliable news source for Toledo.

When you learn about a new series based on an existing one, it’s natural to wonder about character comparisons and categorization. Can you share the types of characters you aimed to develop within the setting of this newsroom?

As a dedicated cinephile, I’d rephrase it like this: In my opinion, we aimed to steer clear of such predictability. Why settle for creating another character reminiscent of Dwight when we can offer something fresh and unique? Our protagonists are journalists, guided by a visionary and idealistic chief. He’s passionately committed to uncovering the truth with unwavering rigor and ethics. However, he steps into the shoes of the temporary managing editor, Esmeralda, brilliantly portrayed by Sabrina Impacciatore, who champions a different approach. She’s less concerned with digging deep for facts; instead, she focuses on attracting viewers.

Newspaper jobs differ from other professions because individuals often begin with eagerness for their tasks. However, over time, this initial enthusiasm wanes in many of these professionals, leaving them demotivated. The morale is generally low. Yet, there’s an opportunity for a newcomer, who may be unaware or hopeful, to believe that they can rekindle the fervor.

Daniels remarked that the current state of low morale seems reminiscent of the setting in the TV show “The Office,” although he didn’t intend to imply that the characters were similar. Instead, he was referring to the familiar atmosphere of work-related camaraderie and tension present in both scenarios.

What does your connection to newspaper-based journalism look like, considering they’re often used in creative or unconventional ways beyond just reading them? Could you share how you engage with printed news sources?

Initially, upon relocating here, I was a subscriber to the Los Angeles Times, and the number of papers would arrive in such enormous quantities. They were bound together using white ties. Due to their size, I fashioned furniture in my apartment from stacks of the L.A. Times. Therefore, for two weeks’ worth, I could construct a stool, and even a table if I stacked a week’s worth together.

Certainly, I’d put it this way: Digital media is great for most things, but when you need to read the fine print, like looking for the glasses prescription, you find yourself in search of a real newspaper instead.

One of my very first recollections is watching my parents read the newspaper in their bedroom, and in an effort to get their focus, I’d often scatter the papers by rolling onto them and looking up at them. This action used to drive them up the wall, as they were quite a household that relied heavily on newspapers.

Similar to how news media organizations are dealing with financial limitations and technological upheaval, leading to adjustments in their business structures and content strategies, what are your current worries regarding the evolution of your industry?

One key topic is the resurgence of advertising. Streaming platforms have all introduced ad-supported tiers, which will undoubtedly influence their content slightly. It’s not necessarily a negative shift in my view. When we consider the golden era of Netflix, much of their successful content was produced under the old advertising model. Sometimes I liken this to the French film industry, where it seems as if they don’t worry about profitability but rather focus on who’s part of the exclusive club and gets to keep making movies repeatedly. I’ve always felt that there’s a more egalitarian aspect to: You actually need to find ways to get people interested in your content to keep producing it.

In a unique twist, this industry frequently undergoes significant transformations, yet the creations you’re crafting are essentially everlasting. They serve as narratives. There’s an aspect that resembles, “Eventually, this will be completed and showcased somewhere,” but its evolution beyond your control is unpredictable. However, the essence of what you’re striving to create must withstand any circumstances.

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2025-09-04 22:32