Over a decade after its conclusion, the spirit of The Office lives on through Peacock’s new pseudo-continuation, The Paper. Bringing back creator and sitcom legend Greg Daniels, The Paper returns to the shaky-cam, talking heads, and awkward humor that popularized its predecessor. Publicized with the tagline “from the crew that brought you The Office,” the weak story connection between the two shows surrounds the notion that the in-universe documentary crew that filmed Michael, Dwight, Jim, and Pam now follow a whole new ensemble cast of ridiculous personalities. Well, not all new. Oscar Nuñez returns as Oscar Martinez from the original cast, acting as a bridge for continuity between the shows.
The offices of Dunder-Mifflin produce paper in bulk; the employees at the struggling midwestern newspaper, the Toledo Truth Teller, publish. New head editor Ned Sampson, portrayed by Star Wars actor Domhall Gleeson, strives to revitalize the publisher’s image through good old-fashioned journalist tactics and rallying a ragtag group of chaotic volunteer reporters. Unlike the slowly built-up cast of The Office, this new show launches with a central cast of twelve or so characters. By the end of the current batch of episodes, some characters definitely feel underwritten, which proves the flaws of attempting the balancing act of these characters. Esmerelda, an eccentric, self-absorbed woman with a one-sided rivalry against Ned, appears prominently in every episode to hilarious avail. Her bumbling British sidekick Ken has some great moments as well, with potential for a laughable villainous arc, antagonizing the publishing company. While these characters shine, we barely glimpse the comedic potential of reporters Adelola and Adam. Of course, additional seasons will level out the presence of certain characters. The Paper also loses some of the comedic prowess of its predecessor, focusing more on longer story-based comedy than short bursts of situational comedy. For example, the cold-opens of The Office lend themselves to short, memorable laughs, like the fire drill scene or Jim’s pranks on Dwight, while the Toledo Truth Teller antics hone in on the comedic value of a failing news story or a surprising character flaw.
Mockumentary sitcoms have morphed into their own subgenre in recent years, and so a sequel to the originator of this genre feels less unique than it thinks it is. While the specific archetypes and shooting style of The Office shines here, the humor and tone feel a little stale when compared to successful sitcoms Parks and Recreation, Brooklyn Nine-Nine, and Abbot Elementary. Online discussion has divided over the show, with some viewing it as a worthy successor and others feeling it lacks the charm and wit of those that came before it.
I had a great time with the newspaper’s ridiculous attempts to complete impossible articles while navigating modern problems like censorship, online scams, and rival amateur blogs. Ned’s determination and the core message of the importance of the local newspaper made my journalist heart happy. While it may not have the strengths of Steve Carell, Domhnall Gleeson does a fantastic job of anchoring this cast, and while it may not have the heart of a Jim-Pam will they won’t they, it doesn’t lose that endearing and good natured underlining The Office thrived on. The Paper does not come close to the quality of The Office’s best episodes, but the show is certainly a good start, and I can’t wait to see where they take it!