To say I was doubtful about The Paper would be an understatement. Developing a spinoff of the U.S. edition of The Office appeared to be a fool’s venture. How could it ever measure up to one of the most cherished sitcoms of all time? New characters risked being eclipsed by Michael Scott (Steve Carell) and Dwight Schrute (Rainn Wilson), and there was a significant worry about overindulging in fan service to attract viewers from the original series. The participation of The Office creator Greg Daniels and Nathan for You’s Michael Koman did little to alleviate my anxieties.

Then, I started the first episode, and all my concerns evaporated.

Right from the outset, The Paper embodies the essence of The Office, from its mockumentary style and cringe-worthy humor to the appearance of The Office’s own Oscar (Oscar Nuñez). Yet, it also successfully carves its own niche, thanks to its already captivating cast and a surprisingly pertinent approach to the current landscape of journalism.

How is The Paper related to The Office?

This new direction commences with The Paper’s core idea. The show doesn’t revisit The Office’s Scranton, Pennsylvania. Instead, it ventures to Toledo, Ohio, where the Dunder Mifflin documentary crew has discovered a new focus in the local publication, the Toledo Truth Teller.

Once a celebrated historical entity, the Toledo Truth Teller is now a poorly staffed, underfunded shadow of its prior self. Rather than covering Toledo news, managing editor Esmeralda (Sabrina Impacciatore) thrives on crafting clickbait articles for the paper’s online platform. Regrettably, “You Won’t Believe How Much Ben Affleck Tipped His Limo Driver” doesn’t substitute for thorough local journalism.

Enter Ned (Domhnall Gleeson), the Truth Teller’s new editor-in-chief. An idealistic journalism enthusiast, Ned dreams of restoring the Truth Teller’s former glory. However, lacking financial support from higher-ups, he’ll have to resort to inventive solutions, like enlisting the Truth Teller’s accountants and ad sales staff as volunteer journalists.

The new Truth Teller team’s inexperience in journalism contributes significantly to The Paper’s humor, as these novice reporters fumble through story discovery, forget to verify sources, and conduct absurd undercover operations. The Paper also follows The Office’s legacy of cringe comedy, delighting in characters who can’t stop digging themselves into deeper holes. From uncomfortable discussions about #MeToo to deeply rooted daddy issues, prepare for moments that will have you wincing in discomfort. (Fear not, Office fans, there’s at least nothing quite as bad as “Scott’s Tots.”)

The Paper’s cast is absolutely charming.

Similar to The Office, The Paper’s greatest asset is its developing ensemble: a collection of coworkers with minimal in common aside from their jobs, who soon evolve into much more.

At the forefront is Gleeson’s Ned, who The Paper wisely avoids transforming into a Michael Scott knockoff. For one, Ned is genuinely a capable manager, one who seeks to assist his peers in becoming better journalists rather than terrorizing them with “that’s what she said” quips. However, he is not without his flaws. His yearning for validation and journalistic prestige leads him down some embarrassingly chaotic paths, making him one of my favored character archetypes: a seemingly normal guy who can quickly become unbalanced with the right trigger. (Refer to: Parks and Recreation’s Ben Wyatt and the Cones of Dunshire.)

Ned finds a more overtly eccentric counterpart in Impacciatore’s Esmeralda, who craves the spotlight of the documentary, alongside reclaiming control of the Truth Teller. Her scheming and contentious dynamic with the rest of the staff makes her The Paper’s closest equivalent to Dwight Schrute, but she’s a wild card in her own right. White Lotus viewers who appreciated Impacciatore’s more uptight portrayal as Season 2’s resort manager Valentina will enjoy watching her unleash here, as Esmeralda’s delusions and fixation on “sexy” clickbait clash effectively with Ned’s vision for the Truth Teller.

In addition to Gleeson and Impacciatore, The Paper’s ensemble operates like a well-oiled machine even after merely ten episodes together. As the only other member of the Truth Teller with real journalism experience, Mare (Chelsea Frei) serves as an excellent straight woman to the rest of the cast’s antics. The Paper also sets up her and Ned’s connection as the beginnings of a Jim and Pam-like “will they, won’t they” scenario, but primarily, it highlights Mare’s rediscovery of her passion for reporting alongside someone who is actually willing to provide her with the necessary resources. So far, I’m rooting for them, but I’m even more invested in the success of the entire paper!

As the only returning main cast member from The Office, Nuñez serves as a delightful anchor.