“The Paper” is a new spin-off of the cult TV series “The Office”, which tries to transfer the familiar format of workplace absurdity to a different setting. Now, instead of a paper company, we get a newspaper editorial office, where contemporary media issues are intertwined with team conflicts, and humor collides with the realities of the digital age. This is a series that immediately arouses interest for its origin, but even more so for whether it will be able to at least partially repeat the success of its legendary predecessor.
Genre mockumentaries, comedy
Showrunners Greg Daniels, Michael Koman
Starring Donal Gleeson, Chelsea Frye, Oscar Nunez, and others.
Premiere September 4, 2025, Peacock
“The Paper” is a case when the very idea of a movie arouses interest even before it is released. A spin-off of “The Office”, a cult sitcom that has become not just a series but a real cultural phenomenon, seems to be a logical step for a studio that wanted to revive a familiar format in a new reality.
After all, times have changed: it’s no longer about paper companies, but about media, digitalization, new types of conflicts and new rules of the game. Therefore, transferring the same hypertrophied routine, where drama and comedy collide within the walls of the work environment, to the editorial office of a small newspaper was a decision that had potential.
At first glance, “The Paper” does indeed retain the atmosphere of “The Office”, only more modernized, with jokes about modern technology, culture wars, and generational problems. But when you analyze the series not only by its idea but also by its realization, it becomes clear that it does not fully live up to expectations.
The creators tried to do everything right: to give the viewer a sense of familiar aesthetics with a shaky camera, awkward pauses, absurd dialogues that reach a boiling point only when you least expect it. And at the same time, they tried to create new characters who were supposed to become “their own” just like Jim or Michael in “The Office”.
But the problem is that the series is stuck somewhere between imitation and originality. When they try to repeat familiar tricks — it feels secondary. When they try to show something new, it doesn’t always have the charisma that the original was famous for. That’s why Gazeta looks like The Office, but for less money.
The humor in the new series doesn’t always work the same way. Sometimes it’s funny, sometimes it’s witty, but often the joke is too obvious, as if the writers were afraid to hit too hard or absurd. “The Office” lived off the fact that the line between comedy and embarrassment was blurred, and this made the viewer both laugh and feel ashamed at the same time.
In “The Paper”, on the other hand, it sometimes seems that the series is playing it safe. It seems to be trying to please everyone at once, but this makes it lose its sharpness. However, it is worth noting that there are moments when contemporary issues are accurately conveyed, from the crisis of trust in the media to funny situations that arise due to generational differences in the team. These episodes work and add freshness.
The series maintains the documentary style familiar to all fans of “The Office”, with the same camera looks, pauses, and a sense of improvisation, but sometimes it feels too sterile and staged. Where “The Office” lived from clumsiness, random moments, and almost chaotic energy, the new series looks too clean and thoughtful. It’s as if it’s afraid to be sharper, sharper to really sting. And that’s why it doesn’t break through the screen as much as we would like. The atmosphere is there, but it lacks the wild spark that made the original a legend.
The cast, of course, doesn’t have the charisma that the original characters had, but they can’t be written off either. Donal Gleeson definitely stands out — he skillfully conveys a mixture of irony and tired cynicism, creating a character you want to watch. He has managed to create something truly alive in a world where many characters still look like shadows of their prototypes.
It’s nice to see Oscar Nunez from the original, but he plays the same character. That is, the same character as he was 20 years ago. Without any development. The other actors also try their best, each of them has their own good moments, although not all the characters have enough space to reveal themselves.
“The Paper” looks like a series that tries to sit on two chairs at once: to be new, but also to remain familiar. And because of this, it loses some of its power. There are interesting characters, good scenes, and even moments that make you laugh out loud. But there is also a feeling that this has already happened, only better. It’s like an attempt to recapture the magic without really understanding what made The Office iconic.
The series has a right to exist: it is not a failure, it is not mediocre, it is sincere, and it is even warm in places. It is an easy watch that can give you a few pleasant evenings, but it is unlikely to become a new classic. And perhaps that’s the main problem — you expect more from a spin-off of a legend than just “having a good time.”
If “The Paper” existed on its own, without comparisons to “The Office”, it would probably be perceived quite differently. Yes, the series has its slack spots and moments where the humor seems too sterile, but there are also many attempts to hit on contemporary issues, from the crisis of print media to funny conflicts between generations. And although they don’t always sound as sharp and harsh as we would like, it would look more organic in the format of a standalone show. It’s just that there is always The Office around, and it’s almost impossible to compete with it.
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Cуб'єкт у сфері онлайн-медіа; ідентифікатор медіа - R40-06029.
