‘The Paper’ evaluation: 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 might you probably hope to dwell as much as one of the vital 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 massive. Not even the involvement of The Workplace creator Greg Daniels and Nathan for You‘s Michael Koman might 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). Nevertheless it additionally manages to forge a path of its personal, all because of 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 primary conceit. The present does not return to The Workplace‘s stomping grounds of Scranton, Pennsylvania. As a substitute, it heads to Toledo, Ohio, the place the Dunder Mifflin documentary crew has discovered a brand new topic within the native paper, the Toledo Fact Teller.

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

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

The brand new Fact Teller workforce’s lack of journalism expertise makes up a strong chunk of The Paper‘s comedy, as these inexperienced reporters bumble via 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 be concerned, 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 forged of characters it is constructing: a bunch of coworkers with little in frequent other than their office, who quickly change into a lot extra.

Main the workforce is Gleeson’s Ned, whom The Paper neatly 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 is what she stated” jokes. That does not imply he is with out his flaws, although. His need for approval and journalistic status leads down some wildly embarrassing roads, making him one among my favourite character tropes: man who appears regular however can rapidly change into unhinged with the fitting 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 likewise to regain management of the Fact Teller. Her scheming and antagonistic relationship with the remainder of the workers 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 can have a blast watching her unleash right here, as Esmeralda’s delusion and obsession with “attractive” clickbait conflict properly with Ned’s concepts for the Fact 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 Fact Teller with precise journalism expertise, Mare (Chelsea Frei) makes for an awesome straight lady to the remainder of the forged’s antics. The Paper additionally establishes her and Ned’s bonding because the beginnings of a Jim and Pam type “will they, will not they” relationship, however for essentially the most half, it prioritizes Mare rediscovering her love of reporting alongside somebody who’s truly prepared to provide her assets for it. To date, I am rooting for them, however I am rooting for the entire paper to succeed extra!

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

Whereas The Paper does a strong job balancing its ensemble’s roles and cooking up new character mixtures from episode to episode, Ikumelo’s anti-establishment Adelola and Edelman’s sheltered household man Adam get the least to take action far. Nonetheless, 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 a substitute, it was about how Dunder Mifflin’s workers discovered human connection in an usually demoralizing office. The Paper transfers that very same seek for connection to the usually 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.

Based on a 2025 report by Muck Rack and Rebuild Native Information, there’s been a 75 % decline in native journalists per 100,000 residents on common since 2002. The Paper cannily displays that decline by juxtaposing the Fact Teller‘s storied previous with its bleak current. The paper’s workers used to take up a complete constructing, however now, in a painful accident, they’re relegated to a small part of a ground 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 Fact Teller to wrap sandwiches or potty prepare their canine — mainly, as something however an precise information supply.

The Paper‘s portrayal of journalism does not simply apply to native, print shops, however to digital media, too. Esmeralda’s ad-ridden clickbait articles are paying homage to on-line content material mills, whereas Ned’s makes an attempt to search out the Fact Teller‘s model of Wirecutter or Wordle communicate to the methods during which publications hope to stay related and worthwhile because of 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, nevertheless it’s additionally painfully correct. (For journalists, emphasis on the ache.)

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

That focus is what brings The Paper over the sting. Sure, it and its sensible ensemble stand on the shoulders of The Workplace. Nevertheless it’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.