‘The Paper’ assessment: How does ‘The Workplace’ spinoff measure up?

To say I used to be skeptical coming into The Paper can be an understatement.

In any case, producing a derivative of the U.S. model of The Workplace appeared like a idiot’s errand. How may you presumably hope to reside as much as some of the beloved sitcoms of all time? Any new characters risked residing within the shadow of Michael Scott (Steve Carell) and Dwight Schrute (Rainn Wilson), and the specter of utilizing cloying fan service to win again followers of the unique sequence loomed giant. Not even the involvement of The Workplace creator Greg Daniels and Nathan for You‘s Michael Koman may put an finish to my worries.

Then, I pressed play on the primary episode, and all my worries melted away.

From the leap, The Paper captures the spirit of The Workplace, from its mockumentary format and cringe comedy to the return of The Workplace‘s personal Oscar (Oscar Nuñez). But it surely additionally manages to forge a path of its personal, all due to its already obsession-worthy ensemble and a surprisingly pertinent tackle the present state of journalism.

How is The Paper related to The Workplace?

That new path begins with The Paper‘s major conceit. The present does not return to The Workplace‘s stomping grounds of Scranton, Pennsylvania. As an alternative, it heads to Toledo, Ohio, the place the Dunder Mifflin documentary crew has discovered a brand new topic within the native paper, the Toledo Reality Teller.

As soon as a lauded historic establishment, the Toledo Reality Teller is now an understaffed, underfunded shell of its former self. As an alternative of writing about Toledo information, managing editor Esmeralda (Sabrina Impacciatore) thrives on writing clickbait articles for the net model of the paper. Sadly, “You Won’t Believe How Much Ben Affleck Tipper His Limo Driver” is not any alternative for in-depth native reporting.

Enter Ned (Domhnall Gleeson), the Reality Teller‘s new editor-in-chief. An idealistic journalism lover, Ned’s dream is to carry again the Reality Teller‘s glory days. However with no funding from up prime, he’ll should resort to inventive options, like recruiting the Reality Teller‘s accountants and advert gross sales reps as volunteer reporters.

The brand new Reality Teller group’s lack of journalism expertise makes up a stable chunk of The Paper‘s comedy, as these inexperienced reporters bumble by means of discovering tales, neglect to fact-check sources, and perform ridiculous undercover investigations. The Paper additionally follows in The Workplace‘s cringe comedy footsteps, reveling in characters who cannot cease digging holes for themselves. From awkward exchanges about #MeToo to some severely repressed daddy points, brace your self for scenes that can have you ever screeching in discomfort. (Don’t fret, Workplace followers, no less than there’s nothing fairly as dangerous as “Scott’s Tots.”)

The Paper‘s ensemble is downright pleasant.

Chelsea Frei, Ramona Younger, Melvin Gregg, Gbemisola Ikumelo, Alex Edelman, Eric Rahill, and Oscar Nuñez in “The Paper.”
Credit score: John P. Fleenor / Peacock

Identical to in The Workplace, The Paper‘s biggest energy is the solid of characters it is constructing: a gaggle of coworkers with little in widespread apart from their office, who quickly change into a lot extra.

Main the group is Gleeson’s Ned, whom The Paper well avoids turning right into a Michael Scott copycat. For starters, Ned is definitely a reliable supervisor, one who tries to assist his colleagues change into higher journalists as an alternative of terrorizing them with “that’s what she said” jokes. That does not imply he is with out his flaws, although. His want for approval and journalistic status leads down some wildly embarrassing roads, making him certainly one of my favourite character tropes: man who appears regular however can rapidly change into unhinged with the suitable set off. (See additionally: Parks and Recreation‘s Ben Wyatt and the Cones of Dunshire.)

Ned finds a extra outwardly weird foil in Impacciatore’s Esmeralda, who yearns for the highlight of the documentary, and in addition to regain management of the Reality Teller. Her scheming and antagonistic relationship with the remainder of the employees make her The Paper‘s closest analogue to Dwight Schrute, however she’s a wild card all in her personal proper. White Lotus viewers who loved Impacciatore’s extra uptight flip as Season 2’s resort supervisor Valentina could have a blast watching her unleash right here, as Esmeralda’s delusion and obsession with “sexy” clickbait conflict properly with Ned’s concepts for the Reality Teller.

Along with Gleeson and Impacciatore, The Paper‘s ensemble runs like a well-oiled machine even after simply ten episodes collectively. As the one different member of the Reality Teller with precise journalism expertise, Mare (Chelsea Frei) makes for an amazing straight girl to the remainder of the solid’s antics. The Paper additionally establishes her and Ned’s bonding because the beginnings of a Jim and Pam model “will they, won’t they” relationship, however for essentially the most half, it prioritizes Mare rediscovering her love of reporting alongside somebody who’s truly keen to provide her assets for it. Up to now, I am rooting for them, however I am rooting for the entire paper to succeed extra!

As the one returning major Workplace solid member, Nuñez serves as a pleasant bridge between the 2 reveals. A gag about him not desirous to be on digital camera once more is a stable bonus, and permits the documentary crew to be an energetic presence early on. Rounding out the primary solid are Melvin Gregg, Ramona Younger, Tim Key, Gbemisola Ikumelo, and Alex Edelman, who, when thrown into any giant assembly scenes collectively, fire up stunning comedic chaos.

Whereas The Paper does a stable job balancing its ensemble’s roles and cooking up new character combos from episode to episode, Ikumelo’s anti-establishment Adelola and Edelman’s sheltered household man Adam get the least to take action far. Nevertheless, they’ve all of the makings of supporting roles who will take a step up in later seasons, and Ikumelo and Edelman clearly have the chops to carry extra to the desk if given the chance.

The Paper nails the present state of journalism, and I really feel attacked.

Duane Shepard Sr. and Oscar Nuñez in “The Paper.”
Credit score: John P. Fleenor / Peacock

Whereas The Workplace passed off at a paper firm, it wasn’t about promoting paper. As an alternative, it was about how Dunder Mifflin’s staff discovered human connection in an typically demoralizing office. The Paper transfers that very same seek for connection to the customarily demoralizing — and at present struggling — area of journalism. In doing so, it turns into as a lot a present about journalism as it’s a office comedy.

In accordance with a 2025 report by Muck Rack and Rebuild Native Information, there’s been a 75 p.c decline in native journalists per 100,000 residents on common since 2002. The Paper cannily displays that decline by juxtaposing the Reality Teller‘s storied previous with its bleak current. The paper’s employees used to take up a whole constructing, however now, in a painful coincidence, they’re relegated to a small part of a flooring in any other case dedicated to the Softees bathroom paper firm. The present’s opening credit add additional to the bleakness, with photographs of individuals utilizing the Reality Teller to wrap sandwiches or potty prepare their canines — mainly, as something however an precise information supply.

The Paper‘s portrayal of journalism does not simply apply to native, print retailers, however to digital media, too. Esmeralda’s ad-ridden clickbait articles are harking back to on-line content material mills, whereas Ned’s makes an attempt to seek out the Reality Teller‘s model of Wirecutter or Wordle converse to the methods wherein publications hope to stay related and worthwhile due to strategies like affiliate hyperlinks (which this text comprises!) and video games. Ned even begins beef with a excessive schooler whose native information weblog has 300,000 followers, a mirrored image of the divide between previous media and new media journalists. It is rattling humorous, but it surely’s additionally painfully correct. (For journalists, emphasis on the ache.)

Because of its give attention to native journalism, The Paper turns into the newest in a development of mockumentaries that spotlight the plight of staff in crumbling, but very important establishments. ABC’s Abbott Elementary showcases the struggles of public faculty lecturers, whereas NBC’s St. Denis Medical examines the stress on docs and nurses at an underfunded hospital. They, together with The Paper, perform each as comedies and as extra-relevant home windows into the crises employees in these fields are dealing with.

That focus is what brings The Paper over the sting. Sure, it and its good ensemble stand on the shoulders of The Workplace. But it surely’s a lot greater than a carbon copy, and it has the potential to be a sitcom that is nice all by itself.

All episodes of The Paper premiere Sept. 4 on Peacock.