Small Town, Big Laughs, and a Few Familiar Faces

TV SERIES REVIEW
The Paper
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Genre: Comedy, Sitcom, Workplace, Mockumentary
Year Released: 2025
Runtime: 10 x 25m episodes
Director(s): Greg Daniels, Ken Kwapis, Yana Gorskaya, Paul Lieberstein, Tazbah Chavez, Jason Woliner, Jennifer Celotta, Matt Sohn, Dave Rogers, Jeff Blitz
Writer(s): Greg Daniels, Michael Koman
Cast: Domhnall Gleeson, Sabrina Impacciatore, Chelsea Frei, Melvin Gregg, Gbemisola Ikumelo, Alex Edelman, Ramona Young, Tim Key, Oscar Nuñez, Tracy Letts, Molly Ephraim, Eric Rahill, Mo Welch, Allan Havey, Nancy Lenehan
Where to Watch: premiering all 10 Episodes on September 4, 2025

RAVING REVIEW: Greg Daniels and Michael Koman’s THE PAPER is not simply a spinoff of THE OFFICE; it’s a spiritual cousin that knows how to respect its roots while finding its own. The premise follows the same documentary crew that made Dunder Mifflin’s Scranton branch famous, now turning their cameras toward a historic but struggling Midwestern newspaper, the Toledo Truth Teller, and the publisher desperate to keep it alive. It’s a concept that plays perfectly into Daniels’ strengths: ordinary workplaces transformed into observed comedies of human behavior.

Much like its predecessor, THE PAPER thrives on awkward humor and observational comedy, but it isn’t content to just recycle what worked for THE OFFICE. Instead, the series utilizes its newsroom setting to explore more contemporary themes: the decline of local journalism, the peculiar economy of clickbait, and the enduring absurdity of workplace hierarchies. The documentary theme still allows for talking-head confessionals and fly-on-the-wall comedy, but the Midwestern setting and focus on community stakes make it feel distinct rather than derivative.

The cast is solid across the board, anchored by Domhnall Gleeson as Ned Sampson, the anxious but earnest publisher trying to resurrect the Truth Teller. Gleeson’s dry humor plays well against the more chaotic personalities surrounding him. Sabrina Impacciatore brings an odd, if not chaotic, energy as Esmeralda, a character whose unpredictability keeps the newsroom on its toes. Melvin Gregg, Gbemisola Ikumelo, Alex Edelman, Ramona Young, and Tim Key all contribute memorable quirks, each embodying the type of underdog energy Daniels loves. Oscar Nuñez returns to the mockumentary world with his signature deadpan charm, making his appearances a delightful treat that doesn't feel like just a cameo. Yet, it’s Chelsea Frei as Mare that offers the series something more; it's a performance with heart that makes the series stand out while still being familiar.

Where THE PAPER succeeds most is in its balance of character-driven humor and industry satire. The writers don’t shy away from poking fun at the absurdities of modern journalism—episodes cover everything from churnalism to scam-bait headlines to church-and-state editorial battles. At the same time, the series never feels mean-spirited toward the profession. It acknowledges the noble side of local news, even as it mines comedy from its dysfunction. It’s this tightrope that makes THE PAPER more than just another mockumentary; there’s heart behind the humor.

If there’s a critique to be made, it’s that some early episodes lean heavily on callback humor, referencing The Office’s documentary framing a bit too much. While those nods will delight longtime fans, the series is at its best when it carves its own identity. Episodes like “Churnalism” and “Matching Ponchos” showcase the writers’ ability to satirize the modern media landscape without relying on old formulas. By the time the season builds toward “The Ohio Journalism Awards,” it’s clear that THE PAPER has established itself as its own entity, capable of the same heartfelt absurdity that made Daniels’ earlier shows resonate.

Stylistically, the mockumentary format remains a perfect vessel for this kind of humor. The talking-head moments allow for sharp one-liners and awkward self-reflection, while the handheld camerawork captures both chaos and subtle character beats. The Midwest setting also adds texture: shots of the aging newsroom, small-town press events, and community oddities make this feel grounded in a way that sets it apart from urban-set workplace comedies.

What elevates THE PAPER is its underlying optimism. While it satirizes the struggles of journalism, it never loses sight of the idea that local news matters. Daniels and Koman find comedy in failure, absurdity, and human error, but they also show why these characters care about what they do. It’s this sincerity that makes THE PAPER more than just a workplace comedy; it’s a love letter to community storytelling, warts and all.

In an era crowded with reboots and nostalgia plays, THE PAPER stands out by respecting its heritage while carving out a new lane. Fans of THE OFFICE will appreciate its familiarity, but newcomers can jump in without prior knowledge and still enjoy a sharp, heartfelt comedy about underdogs with a cause. It’s a promising start for a series that has plenty of potential to grow, and it's a mix of old and new creative voices. It’s odd because it doesn’t feel necessary, but it also feels absolutely at home!

Whether you come for the mockumentary humor, the ensemble, or simply a reminder that print isn’t dead, THE PAPER delivers a charming, clever, and surprisingly moving experience. Daniels and Koman have crafted a workplace comedy that feels both timely and timeless—a tricky feat that lands thanks to a cast and crew who know how to make the mundane feel magical.

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[photo courtesy of PEACOCK, 3 ARTS ENTERTAINMENT, BANIJAY AMERICAS, DEEDLE-DEE PRODUCTIONS, ELECTUS, REVEILLE PRODUCTIONS, UNIVERSAL TELEVISION, WDM]

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