‘The Paper’ review: How does ‘The Office’ spinoff measure up?

To say I was skeptical coming into The Paper would be an understatement.

After all, producing a spinoff of the U.S. version of The Office seemed like a fool’s errand. How could you possibly hope to live up to one of the most beloved sitcoms of all time? Any new characters risked living in the shadow of Michael Scott (Steve Carell) and Dwight Schrute (Rainn Wilson), and the threat of using cloying fan service to win back fans of the original series loomed large. Not even the involvement of The Office creator Greg Daniels and Nathan for You‘s Michael Koman could put an end to my worries.

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

From the jump, The Paper captures the spirit of The Office, from its mockumentary format and cringe comedy to the return of The Office‘s own Oscar (Oscar Nuñez). But it also manages to forge a path of its own, all thanks to its already obsession-worthy ensemble and a surprisingly pertinent take on the current state of journalism.

How is The Paper connected to The Office?

Sabrina Impacciatore and Domhnall Gleeson in “The Paper.”
Credit: John P. Fleenor / Peacock

That new path begins with The Paper‘s main conceit. The show doesn’t return to The Office‘s stomping grounds of Scranton, Pennsylvania. Instead, it heads to Toledo, Ohio, where the Dunder Mifflin documentary crew has found a new subject in the local paper, the Toledo Truth Teller.

Once a lauded historical institution, the Toledo Truth Teller is now an understaffed, underfunded shell of its former self. Instead of writing about Toledo news, managing editor Esmeralda (Sabrina Impacciatore) thrives on writing clickbait articles for the online version of the paper. Unfortunately, “You Won’t Believe How Much Ben Affleck Tipper His Limo Driver” is no replacement for in-depth local reporting.

Enter Ned (Domhnall Gleeson), the Truth Teller‘s new editor-in-chief. An idealistic journalism lover, Ned’s dream is to bring back the Truth Teller‘s glory days. But with no funding from up top, he’ll have to resort to creative solutions, like recruiting the Truth Teller‘s accountants and ad sales reps as volunteer reporters.

The new Truth Teller team’s lack of journalism experience makes up a solid chunk of The Paper‘s comedy, as these inexperienced reporters bumble through finding stories, forget to fact-check sources, and carry out ridiculous undercover investigations. The Paper also follows in The Office‘s cringe comedy footsteps, reveling in characters who can’t stop digging holes for themselves. From awkward exchanges about #MeToo to some seriously repressed daddy issues, brace yourself for scenes that will have you screeching in discomfort. (Don’t worry, Office fans, at least there’s nothing quite as bad as “Scott’s Tots.”)

The Paper‘s ensemble is downright delightful.

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

Just like in The Office, The Paper‘s greatest strength is the cast of characters it’s building: a group of coworkers with little in common aside from their workplace, who soon become so much more.

Leading the team is Gleeson’s Ned, whom The Paper smartly avoids turning into a Michael Scott copycat. For starters, Ned is actually a competent manager, one who tries to help his colleagues become better journalists instead of terrorizing them with “that’s what she said” jokes. That doesn’t mean he’s without his flaws, though. His desire for approval and journalistic prestige leads down some wildly embarrassing roads, making him one of my favorite character tropes: guy who seems normal but can quickly become unhinged with the right trigger. (See also: Parks and Recreation‘s Ben Wyatt and the Cones of Dunshire.)

Ned finds a more outwardly bizarre foil in Impacciatore’s Esmeralda, who yearns for the spotlight of the documentary, and also to regain control of the Truth Teller. Her scheming and antagonistic relationship with the rest of the staff make her The Paper‘s closest analogue to Dwight Schrute, but she’s a wild card all in her own right. White Lotus viewers who enjoyed Impacciatore’s more uptight turn as Season 2’s resort manager Valentina will have a blast watching her unleash here, as Esmeralda’s delusion and obsession with “sexy” clickbait clash nicely with Ned’s ideas for the Truth Teller.

In addition to Gleeson and Impacciatore, The Paper‘s ensemble runs like a well-oiled machine even after just ten episodes together. As the only other member of the Truth Teller with actual journalism experience, Mare (Chelsea Frei) makes for a great straight woman to the rest of the cast’s antics. The Paper also establishes her and Ned’s bonding as the beginnings of a Jim and Pam style “will they, won’t they” relationship, but for the most part, it prioritizes Mare rediscovering her love of reporting alongside someone who’s actually willing to give her resources for it. So far, I’m rooting for them, but I’m rooting for the whole paper to succeed more!

As the only returning main Office cast member, Nuñez serves as a nice bridge between the two shows. A gag about him not wanting to be on camera again is a solid bonus, and allows the documentary crew to be an active presence early on. Rounding out the main cast are Melvin Gregg, Ramona Young, Tim Key, Gbemisola Ikumelo, and Alex Edelman, who, when thrown into any large meeting scenes together, stir up beautiful comedic chaos.

While The Paper does a solid job balancing its ensemble’s roles and cooking up new character combinations from episode to episode, Ikumelo’s anti-establishment Adelola and Edelman’s sheltered family man Adam get the least to do so far. However, they have all the makings of supporting roles who will take a step up in later seasons, and Ikumelo and Edelman clearly have the chops to bring more to the table if given the opportunity.

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

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

While The Office took place at a paper company, it wasn’t about selling paper. Instead, it was about how Dunder Mifflin’s employees found human connection in an often demoralizing workplace. The Paper transfers that same search for connection to the often demoralizing — and currently suffering — field of journalism. In doing so, it becomes as much a show about journalism as it is a workplace comedy.

According to a 2025 report by Muck Rack and Rebuild Local News, there’s been a 75 percent decline in local journalists per 100,000 residents on average since 2002. The Paper cannily reflects that decline by juxtaposing the Truth Teller‘s storied past with its bleak present. The paper’s staff used to take up an entire building, but now, in a painful twist of fate, they’re relegated to a small section of a floor otherwise devoted to the Softees toilet paper company. The show’s opening credits add further to the bleakness, with images of people using the Truth Teller to wrap sandwiches or potty train their dogs — basically, as anything but an actual news source.

The Paper‘s portrayal of journalism doesn’t just apply to local, print outlets, but to digital media, too. Esmeralda’s ad-ridden clickbait articles are reminiscent of online content mills, while Ned’s attempts to find the Truth Teller‘s version of Wirecutter or Wordle speak to the ways in which publications hope to remain relevant and profitable thanks to methods like affiliate links (which this article contains!) and games. Ned even starts beef with a high schooler whose local news blog has 300,000 followers, a reflection of the divide between old media and new media journalists. It’s damn funny, but it’s also painfully accurate. (For journalists, emphasis on the pain.)

Thanks to its focus on local journalism, The Paper becomes the latest in a trend of mockumentaries that highlight the plight of employees in crumbling, yet vital institutions. ABC’s Abbott Elementary showcases the struggles of public school teachers, while NBC’s St. Denis Medical examines the stress on doctors and nurses at an underfunded hospital. They, along with The Paper, function both as comedies and as extra-relevant windows into the crises workers in these fields are facing.

That focus is what brings The Paper over the edge. Yes, it and its brilliant ensemble stand on the shoulders of The Office. But it’s so much more than a carbon copy, and it has the potential to be a sitcom that’s great all on its own.

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