THE STORY – Following up on the story from “The Office,” the documentary crew that immortalized Dunder Mifflin’s Scranton branch discovers a disappearing Midwestern newspaper and the publisher trying to revive it with volunteer reporters. This mockumentary follows the daily lives and struggles of dreamers in love with journalism, and their less-than-competent co-workers, trying to deliver accurate news without the resources or training to do a great job.
THE CAST – Domhnall Gleeson, Sabrina Impacciatore, Chelsea Frei, Oscar Nuñez, Ramona Young, Melvin Gregg, Tim Key, Alex Edelman & Gbemisola Ikumelo
THE TEAM – Greg Daniels & Michael Koman (Creators)
Last year, “The Paper” struggled to establish itself as a worthy successor to one of television’s most successful long-running comedies, “The Office.” But as with its predecessor, it took most of the first season to establish each character’s personality and quirks before finding its footing with a rock-solid season finale. It’s with this hope of that season-ending momentum that I entered into season 2 with optimism, and perhaps too high of standards, and was mildly let down. “The Paper” season 2 continues to marginally improve its character building and plot advancements, but not at a standard to excite die-hard fans of “The Office.”
“The Paper” season 2 sees Domhnall Gleeson’s Ned and Chelsea Frei’s Mare start a secret relationship after much back-and-forth in the previous season, a main focus of the second season, but to a less exciting degree. There’s something a bit less satisfying watching a relationship unfold after seeing a couple get together, especially after only a season. While the slow burn romance can be frustrating at times, the payoff and subsequent satisfaction of seeing a couple you love finally so in love is one of sitcoms’ greatest and most successful (and overused) tropes, but for good reason. The excitement and mystery of their relationship in season one takes a step back in season two, but it’s still one of the better stories in the show. The rest of the season continues to see expected plots – the journalists seek out stories with comedic results, but do little to build toward a larger narrative or give the season any real sense of momentum.
The biggest issue – and difference – with “The Paper” vs “The Office” is the chemistry and development of the characters. Most of the characters are built and played with the intent of delivering quotable one-liners. And for the most part, they succeed. But in leaning so heavily into witty dialogue, the show sacrifices the cohesive storytelling and engaging plots that its predecessor once excelled at so valiantly. Each season also lacks a compelling overarching arc, one that steadily builds toward a consequential, satisfying third act. Instead, the series leans into a more episodic, procedural structure, with individual episodes often feeling self-contained rather than contributing to a larger, cohesive narrative. The first season built up enough exciting chemistry between Ned and Mare in a predictable but satisfying will-they-won’t-they, but the sophomore slump struck both the couple and the series.
The actors themselves are strong across the board in their own insular characters. From Gleeson’s endearing turn as Ned to Frei’s Mare and Ramona Young’s Nicole, who serve as straight-woman foils to their more ridiculous male counterparts, each character and performance lands squarely within its isolated lane. Highlights of the series continue to be Eric Rahill as Travis, the somehow both far too serious and completely unserious Softees employee who earnestly and enthusiastically dabbles in journalism with varying degrees of success and absurdity. Alex Edelman’s Adam veers a little too childlike and immature at times, especially for a man who is supposedly a father to a gaggle of children. Still, Edelman’s knack for observational comedy shines through the disjointed characterization. Balancing their off-kilter comedic styles is Gbemisola Ikumelo’s Adelola, the ensemble’s perpetually burnt-out realist with a deadpan cynicism that any office worker can relate to. Paired best with Edelman’s incompetent Alex, Ikumelo excels as one of the show’s more understated but consistently amusing presences.
Sabrina Impacciatore’s Esmeralda Grand remains the series’s endearingly cringey comedic foil, but to a less successful degree than the Michael Scotts and Leslie Knopes of the past. What made Michael Scott so effective was his connection to his coworkers – during his absurd, agent-of-chaos antics, his love of his work family was always clear. Esmeralda spends the first half of the second season separated from the main ensemble, sidelined in a storyline of her own that, despite some genuinely funny moments, ultimately feels more distracting than additive. Her funniest bits come in the season’s finale, an impressive feat of physical comedy and some of the series’s best. Her absence from the main cast isn’t necessarily felt, given how few opportunities she’s had to establish her chemistry in holding the cast together. Impacciatore plays the character well, landing the jokes and the air of narcissistic incompetence with ease, but too often it feels like she’s on her own show. This is ultimately a function – and likely an intentional choice – of the writing, but I’d like to see Esmeralda more fully woven into the ensemble in future seasons, with a more substantial role in the A-plots. What’s really missing is significantly more Tim Key, playing the delightfully deadpanned head honcho Ken Davies. The highlight of any ensemble, Key is woefully underused but a bumbling scene stealer for the few he’s in.
The best addition to the cast (and to any show, really) is Lisa Gilroy playing a hilariously inappropriate HR rep that’s desperate for the office gossip. Gilroy’s high energy and quick one-liners hearken back to her improv roots, and she lands every joke with a unique ability to make even the most ludicrous moments feel effortless and spontaneous. Lisa Gilroy is a comedic force, and I hope to see her elevated to the main cast in seasons to come.
As a critic, I naturally take a critical lens to anything I’m reviewing. The series has flashes of incredible brilliance and humor, but more often than not falls victim to its own constraints. And while there’s much to improve, the series does a fine job in emulating the successful mockumentary comedies of the early to mid 2000s, bringing a warm feeling of nostalgia to those just looking for a light-hearted show to throw on while you fall asleep. It may not be winning any awards, but “The Paper” remains an easygoing, consistently amusing addition to “The Office” universe, even if it doesn’t live up to its predecessor. A disjointed ensemble of comedic gems carries it and has just enough of the originals’ charm to make it worth the visit.
THE GOOD – A consistently funny, easygoing mockumentary with strong performances. Lisa Gilroy is a comedy powerhouse and welcome addition to the cast.
THE BAD – Minimal character building and plot developments leave the series feeling disjointed and lacking chemistry between some of the main characters. Ultimately, it’s a forgettable comedy that’s enjoyable if you remember to turn it on.
THE EMMY PROSPECTSÂ – None
THE FINAL SCORE – 6/10
