The Paper review: A charming spinoff worthy of The Office

The Paper isn’t, as one character from The Office said, a run-out-the-clock scenario. This is a sitcom that’s not only worthy of its beloved predecessor, but it has the potential to become a cozy, long-running favorite; Dundie-worthy, even.

In 2001, Ricky Gervais and Stephen Merchant pulled off one of the most wonderfully depressing magic tricks in TV history: The Office, a peerless, potent snapshot of working on the grey mile with an icon of the small screen, David Brent. 

Four years later, it got an American remake (two words that’d fill any Brit with abject horror; I still have PTSD from The Inbetweeners). Its first season felt samey, diluted, and awkward, but after Season 2, it began a slow climb to the highest echelon of sitcom legend; it’s like the Friends to the UK’s Peep Show, and somehow, it works. Netflix is partly to thank, but the US version is among the most rewatchable shows ever made; easy, heartwarming, and frequently hilarious.

In short, they are two all-time greats. So, when The Paper was announced, I was among its countless doubters; even if it wasn’t a cash-grab, even if it was watchable, could it be good enough to be perceived beyond what came before? Well, well, how the turntables. 

What is The Paper about? 

It’s been over 10 years since a documentary crew followed Dunder-Mifflin (♪ “the people person’s paper people” ♪). Now, they’ve found a new subject: the Toledo Truth Teller, a local newspaper that repurposes wire copy and spouts ad-riddled, clickbait copy for its online readers. It’s part of Enervate, a company that sells paper products (toilet paper is its prized export).

No spoilers, but the Truth Teller isn’t a totally random choice. Enervate has a familiar face: Oscar Martinez (Oscar Nunez), an accountant who is not happy to be in another documentary (the series also has another hilarious reason for his inclusion).

Secondly, it’s about to undergo a revolution at the hands of Ned Sampson (Domhnall Gleeson), the paper’s ambitious new editor-in-chief. Some people are excited, like Mare (Chelsea Frei), his unofficial, de facto deputy. Others aren’t pleased, like office diva Esmerelda (Sabrina Impacciatore) and corporate mouthpiece Ken (Tim Davies). 

It’s a strong hook, and unlike the Truth Teller’s website, it never feels like a cheap conceit, with observations that are honest, fair, and often very amusing. It’s also a brisk 10-episode opening batch, with more plot progression than a standard season of The Office (plus a few side quests) – but the pay-off is great, and if everything goes to plan, this could easily run for at least five seasons… and I’d watch all of them. 

The Paper has one (slight) problem 

Peacock

If you think Greg Daniels had a tough task, spare a thought for the cast; how do you follow the likes of Michael Scott and Dwight Schrute? With the exception of Key’s Ken, who’s effectively playing Brent if he were a side character (and he’s absolutely brilliant, by the way – a constant scene-stealer) and Oscar (even funnier than before), it’s a distinct ensemble that’s mostly likable. 

Gleeson is the perfect lead: bumbling, endearing, shameless, and shameful all at once, and he has particularly great chemistry with Frei. If you liked Impacciatore in The White Lotus, she is delightfully loathsome in The Paper – and, in typical Office style, the series finds heart under her thorny, machiavellian exterior.

If there’s one problem with the series, it isn’t its writing, plotting, and it certainly isn’t any admirably restrained nods to the original series (no spoilers, but there’s one line that made me want to cheer). When The Office began, much like its UK counterpart, every character felt profoundly normal; low-key, ordinary people with small quirks. The exception was the boss, be it Michael Scott or David Brent. 

In The Paper, almost everyone is operating on a higher comedic register, something the original series allowed its stars to build to, so it felt like a gentle evolution. Here, it’s clear that everyone is trying to make you laugh; they mostly act like they’re in a sitcom, not subjects in a documentary that happen to be funny. 

The Paper is better than you’re expecting 

Peacock

That’s a small criticism, and nobody leaves an outright bad impression (special shoutout to Allan Havey’s Marv, who’s like an older David Wallace, only even nicer). 

For the most part, this is a show that’s true to its predecessor while also standing alone; its office politics aren’t tired or trite, relationships are carefully telegraphed, and one episode (Episode 7) is so exquisitely cringe-worthy, it will (or should) make you believe in the whole endeavor. 

Plus, despite the concern sparked by Peacock and NBC’s change from weekly releases to dropping the whole series at once, it benefits from a binge. The whole thing is a pitch, and a brave one at that, and this will allow people to give it the fairest chance it deserves. They’re not trying to save face: audiences are simply trained out of watching half-hour sitcoms every week.

One last thing: the show’s theme, composed by Nick Thorburn and Patrick Ford, is a certified head-bobber. Every time it played, it made me smile; that’s no small compliment.

The Paper score: 4/5

Andy Bernard famously said, “I wish there was a way to know you were in the good old days before you actually left them.” 

The Office was respected in its time, but its legacy is one of discovery; people still find it, watch it, and love it with the benefit of televisual hindsight. That’s why it’s so popular, even now. The Paper can’t measure up to years of comfort and familiarity – but it’s an opportunity to experience and appreciate the good days now, while you’re in them.

All episodes of The Paper will drop on Peacock on September 4. For UK viewers, it’ll be available via Sky and streaming service NOW on September 5. Until then, check out our 2025 TV calendar to see what else is dropping this year.