by Alice-Ginevra Micheli, Contributing Writer
The Office as a franchise has had many iterations throughout the years, starting from its original limited U.K. run, to its adaptations across markets, including the even more successful U.S. one, which launched the careers of many a current star. So it was surprising when suddenly a new kind of completely different interpretation was greenlit to be produced with an (almost) entirely new cast.
Sure, the format is the same — after all, it’s set in the same universe as that of Michael Scott and his team — however, the show is now not only in a new city, but a new way of working, adding to the possibility behind it not simply being a clone of the original, but something wholly its own. The question now remaining: Is that actually the case?
This isn’t the first time legacy sequels have been talked about in this format, and it certainly won’t be the last. However, as unexpected ones go, the ultimate comfort show making a return onto the small screen in a companion-story format was one that was less expected.
The Paper finds the same documentary crew that focused on The Office’s Dunder Mifflin years prior — they discover their new subject in the people and goings-on of a dying Midwestern newspaper that is trying to eke back its reputation one volunteer report at a time.
When it comes to the big series of network television from the late ‘90s and early ‘00s, there seems to be a relatively accepted understanding that they likely won’t make a comeback. except in a perfunctory manner. Maybe a special elaborates on the making-of experience, or a podcast helmed by a couple of the cast members that lets fans in on exclusive stories, or maybe even a movie. A new show, or direct sequel is almost never one to be considered for fear of marring the perfection of its original with a lesser version, which makes this review all the more unlikely.
Somehow, some way, The Paper does manage to find its feet and define itself wholly unlike the original it came from. While, yes, the packaging and sense of humor might be the same, the situational awareness and plot devices have been made with enough care to ensure it stands on its own.
A crucial element of achieving this comes from the fact that the characters aren’t simply caricatures of the ones audiences already know. The manager archetype isn’t a cringy, desperate-to-be-liked company man, but a nepo baby who comes in with hopes and dreams, and actual talent behind those. The key romance at its center isn’t a will-they-won’t-they that mimics Jim and Pam’s quintessential love story, but on that takes on a different comedy of errors, friends-to-lovers journey that modern audiences would enjoy significantly more. The kind-of antagonist isn’t a robot-man who lives on the outskirts of society while thinking everyone around them is lesser, but a twofer made up of an Italian reality star and British exec who are both desperate for recognition in their own way.
In fact, once a few episodes have been watched — and hopefully enjoyed — viewers are likely to no longer think about The Office in such a front-of-mind way, and simply start enjoying the journey this small news team who are trying to bring the news back to their area in a real, expert way — something that especially hits home in today’s climate.
Much of this also has to do with the cast’s chemistry, which, like the original, hits off from the word go. Having a respected actor such as Domhnall Gleeson in the protagonist role is already a great start, wherein he leads the show with a kind affability that immediately gets most onside for his plight. Pepper in some great character actors like Sabrina Impacciatore, Chelsea Frei, Ramona Young, and a familiar Oscar Nuñez, among others, and there are enough characters, personalities, and possible combinations for hilarity that manages to hit in its own unique way.
So the quality of the show is quite good. Good enough to at least justify its own existence at this point. However, unlike the original, which operated in a time where 22-ish episodes were released on a weekly schedule, The Paper has decided to go for the typical streaming method of dropping all 10 of its episodes at once. This allows for immediate enjoyment and bingeability. However, there is a worry that the immediacy of consuming what is essentially only three to four hours of content might result in it not memorializing itself enough in the social consciousness as well as the 2005 version did.
Although, as the aforementioned one also started with a smaller season order, there’s hope for an extension, should the success of the viewership follow its surprise quality. This is an uncertainty that many will have to live with now that the golden era of television continues to spout out an almost impossible level of content for people to watch.
Overall, however, The Paper triumphs where many before have fallen. While it has a familiarity of purpose, it has enough of a spark of originality in how it is presented to keep those interested watching, and fully invested come season’s end. Hopefully in this new era of television there will be enough to keep more seasons coming, as this little newspaper that could might very well be a necessary injection of lighthearted humor.
Rating: High Side of Liked It
The Paper is currently streaming on Peacock
You can read more from Alice-Ginevra Micheli, and follow her on Instagram and Letterboxd