“Oh, my god! OK. It’s happening! Everybody stay calm! Everybody stay calm! Stay f***ing calm!”

That famous alarm, memorably sounded by Steve Carell’s beloved sitcom boss Michael Scott, likely rang through the heads of The Office enthusiasts everywhere when creator Greg Daniels confirmed plans to revisit the world of NBC’s hit mockumentary. After its supremely successful run from 2005 to 2013, even the most fervent Office superfans feared that a series set in a shared universe couldn’t possibly recapture a modicum of the lightning-in-a-bottle comedy, romance, and chemistry cultivated by Dunder Mifflin’s Scranton branch. But as Michael (and some other guy) taught us, “You miss 100% of the shots you don’t take.” So Daniels bravely teamed up with Michael Koman (Nathan for You, husband to The Office‘s Ellie Kemper), crafted a spinoff titled The Paper, and proved that in rare circumstances, lightning can strike twice.

The Paper begins by checking in with the documentary crew that made Dunder Mifflin’s employees stars on the doc’s 20th anniversary. Only now, they’ve found a captivating new subject: the staff of The Truth Teller, a struggling local newspaper in Toledo, Ohio. On top of the camera crew’s ties to The Office, we learn the newspaper’s parent company, Enervate, purchased Dunder Mifflin in 2019, and that Scranton’s own Oscar Martinez (Oscar Nuñez) now works as The Truth Teller’s head accountant.

On the first day of filming, cameras welcome the perky, optimistic Ned Sampson (Domhnall Gleeson, with a top-notch American accent) as The Truth Teller’s new Editor-in-Chief. Before he arrives to shake things up, managing editor Esmeralda Grand (White Lotus Season 2 star Sabrina Impacciatore) — an over-the-top, Italian diva who runs the paper’s “fun, sexy” website, TTT Online — is proudly calling the shots. While Esmeralda finds serious satisfaction in penning “classic longform journalism” pieces like “You Won’t Believe How Much Ben Affleck Tipped His Limo Driver,” her staff is largely checked out.

The Truth Teller’s sole “intrepid” reporter, Barry (Duane Shepard Sr.), can be found playing word games or dozing at his desk. The mild-mannered Nicole Lee (Ramona Young), who works in circulation, spends the bulk of her time trying to appease Esmeralda. And Detrick Moore (Melvin Gregg), a sweet, sensitive ad salesman, devotes his days to crushing on Nicole. Adam Cooper (Alex Edelman), a 32-year-old father of four, and the cool, collected Adelola Olofin (Gbemisola Ikumelo) complete Oscar’s new accounting family. (The two also serve as writers on the series.) Meanwhile, Mare Pritti (Chelsea Frei), an army vet with actual experience writing for a military newspaper, is wasting her journalistic talents as The Truth Teller’s compositor, a job that entails dragging and dropping syndicated articles (about riveting topics like Elizabeth Olsen’s nighttime skin routine) into the paper’s daily layout.

When Ned arrives at The Truth Teller, he admits that the paper “sucks,” but having idolized Clark Kent over Superman growing up, he’s determined to become the hero it needs. Fueled by romanticized ideas of print journalism and original, on-the-ground reporting, he sets out to revive the dying publication in the face of daunting challenges. Along the way, The Paper reads like a love letter to the journalism industry; skillfully poking fun at modern-day reporters, while regularly reinforcing their significance.

While The Paper celebrates noble pursuits and shows heartwarming editorial wins, the positives come amidst a refreshing — at times painfully precise — commitment to realism. A bittersweet opening sequence kicks each episode off by highlighting alternate uses for newspapers, a reminder of looming obsoletion. Despite his buoyancy, Ned never shies away from speaking hard truths, such as, “The industry is collapsing like an old smoker’s lung” and “people hate reporters right now.” And by flexing insider newsroom knowledge, writers mine comedy gold in calling out clickbait headlines, churnalism, and the absurd ads so many of today’s publications are forced to rely on for financial stability.

As expected, The Paper’s humor isn’t as off-color as that featured in either the U.S. or UK Office, but writers still find smart ways to tackle touchy topics, and tone-deaf characters (Tim Key’s head of strategy, Ken) occasionally test workplace boundaries. Even without an over-reliance on cringe-inducing humor, scripts are teeming with dense, wisecrack-heavy dialogue that will have viewers cackling, and at times howling with glee. (Episode 5 is a personal favorite.)

Unlike Michael Scott, who regularly derailed workdays and negatively impacted morale, Ned acts as a beacon of hope for The Truth Teller’s staff, inspiring them to cultivate and sharpen their skills. Tapping Gleeson (a huge Office fan who recently played a serial killer opposite Steve Carell), as the overly-zealous, earnest newspaper nerd was a wise choice. He oscillates between gentle, approachable superior and privileged, self-aware nepo baby. But when it’s time to switch into passionate, big idea mode, the actor’s dramatic chops shine. Most affected by Ned’s ambitious vision for the paper is Mare, a tough, naturally curious realist who was days away from changing careers before he arrived. Frei’s (The Moodys) portrayal of a skeptical woman gradually regaining confidence in her dream brings an added layer of warmth to the series. And while you’ll eagerly anticipate scenes that allow her and Ned to challenge and complement each other, they’re not The Paper’s only dynamic duo; Young and Gregg’s understated performances and unconventional bond proves particularly compelling. Yet it is Impacciatore that emerges as The Paper‘s shining star. Whether she’s celebrating herself, navigating a crisis, or sabotaging Ned’s editorial success, Esmeralda’s contagious energy transcends the screen and steals every scene. Impacciatore’s impeccable comedic timing, physical comedy, and line deliveries swiftly secure Esmeralda’s status as an iconic sitcom character, one who easily has the most quotable lines of the series.

Daniels’ new series is made with the same special sauce that had The Office fans loyally flocking to their TVs week after week, which is why it’s such a bummer that Peacock opted for a single drop of all 10 episodes. For starters, the last-minute schedule shift gave the impression that the streamer didn’t believe the series had the staying power to pull weekly viewers, which an early Season 2 renewal hopefully helped correct. Beyond that, the decision to abandon the weekly release format, which worked so well for The Office, threw a real wrench in coverage. Instead of spreading takes, breakouts, and interviews through the month of September, as initially planned, the shift sent journalists scrambling to prep a season’s worth of articles timed to the premiere day. Having happily devoured The Paper‘s 10 episodes in a single sitting, I can confirm that many viewers will enjoy watching all at once, but part of The Office‘s allure was tuning in week after week, savoring seconds of slow-burn screen time, watching character development unfold at a natural pace, and having watercooler catchups over each episode’s hijinx. As ABC’s Emmy-winning Abbott Elementary proves each season, mockumentaries can still successfully draw weekly viewers, so why not build anticipation and attempt to cultivate another appointment TV hit?

The Paper arrives incredibly sure of itself, but it’s inextricably linked to The Office for better and worse. Trailing one of TV’s toughest acts to follow undoubtedly invites intense scrutiny and ruthless comparison. But those who perfected the art of the mockumentary years ago didn’t set out to rebuild the original series brick by brick. And that’s a good thing!

Office Easter eggs and returning creatives (including Paul Lieberstein in the writers’ room and Ricky Gervais and Stephen Merchant as EPs) ensure The Paper honors its predecessor with a shared style, personality, and heart. But on top of a new city, a new business, and a new staff, Peacock’s series distinguishes itself with small additions, like charming end credit scenes, and meatier creative choices, like having The Truth Teller share a floor with Toledo’s Softees branch. The team of toilet paper salespeople occasionally clash with reporters, assist them, and provide additional levity in the workplace. (Eric Rahill and Mo Welch work double duty as Softees employees and writers on the series.) The need to hunt down fresh stories also lends inherent structure and rich narrative potential. Whereas outings were a rare treat for Dunder Mifflin’s employees, The Paper’s characters have the freedom to leave the office on assignment, which opens a world of creative and comedic possibilities. By building on what worked well in the past (from workplace romances to unlikely office pairings) and experimenting with fresh ideas, The Paper finds its own identity while retaining The Office‘s lovable tone and ability to find magic in ordinary moments.

When viewed as its own entity with intriguing, at times touching, ties to a world we know and love, The Paper is a skillfully-crafted mockumentary with heaps of heart and potential. So to quote our old boss Michael one final time, if you’re an Office fan approaching The Paper with caution, as I was, I hereby to give you permission to “stay f***ing calm!” You’re in good hands.

All 10 episodes of The Paper Season 1 premiere Thursday, September 4 on Peacock.