The Office’s Shadow: Why ‘The Paper’ Season 2 Struggles to Define Its Own Identity
In the second season of The Paper, a recurring, uncomfortable question looms over the newsroom: Can a series rooted in the legacy of The Office succeed by intentionally deconstructing the very tropes that made its predecessor a cultural touchstone?
In the second episode, a particularly revealing moment occurs. Ken Davies (Tim Key), the corporate strategist for Enervate—a man whose intellect is best described as lacking—finds himself entangled in a fake office romance with Esmeralda (Sabrina Impacciatore). Despite his general incompetence, Ken stumbles upon a profound, if unintended, observation: "There is a certain satisfaction that you can get when you work with someone, and you may mistake that for love. But in actual fact, it’s just that you’re working with someone."
This accidental nugget of wisdom serves as the thematic anchor for The Paper’s second season. It asks whether the show’s central couple, editor-in-chief Ned (Domhnall Gleeson) and his star reporter Mare (Chelsea Frei), are genuinely falling in love, or if they are merely mistaking the adrenaline of a shared workspace and a high-stakes profession for legitimate romance.
A Legacy of Rom-Com Expectations
To understand the stakes of The Paper, one must acknowledge the massive shadow cast by The Office. For a generation of viewers, Jim Halpert and Pam Beesly were not just characters; they were the gold standard of workplace romance. They provided the "will-they-won’t-they" tension that anchored the comedy, transforming a mundane office setting into a site of profound emotional resonance.
The Paper attempts to subvert this dynamic. While the audience is conditioned to root for the "couple at the desk," the showrunners, Greg Daniels and Michael Koman, appear to be conducting a kamikaze mission. By posing the question, "What if what you thought was love was really a lie?", the show challenges the viewer’s instinctual desire for a happy ending.
However, introducing this level of cynicism is a high-risk strategy. For those still invested in the "PB&J" (Pam, Beesly, and Jim) mythology, the prospect of a toxic, potentially delusional workplace romance is a hard sell. Rather than reinventing the genre, the show’s shift in perspective often feels like an act of sabotage, undermining both Ned and Mare as individuals and dampening the audience’s enthusiasm for their personal and professional arcs.
Chronology of a Disjointed Season
The second season of The Paper suffers from a fundamental structural problem: it feels as though the narrative is spinning its wheels rather than gaining momentum. Ensemble comedies typically require time to find their rhythm, but The Paper seems to have missed its chance to refine its strengths while pruning the dead weight.
The supporting cast is frequently relegated to the periphery. Characters like Adam (Alex Edelman), who possesses an endearingly drained, deadpan energy, remain woefully underutilized. Conversely, Esmeralda is given an abundance of solo B-plots that culminate in increasingly bizarre, almost self-parodying storylines—such as a misguided homage to 21 Jump Street—that fail to land.
Tonal inconsistency remains the show’s greatest hurdle. One moment, the series attempts a grounded, perceptive look at the dying art of local journalism; the next, it veers into absurdism, featuring chaotic funeral scenes or tornado-stricken office parties that feel disconnected from the central narrative. While there are flashes of brilliance—such as a subplot involving a billboard that inadvertently reminds customers to cancel their subscriptions—these moments are too few and far between.
The Ned and Mare Dynamic: Love or Manipulation?
At the center of this narrative instability is Ned, a character whose internal contradictions have only deepened in Season 2. In the first season, Ned was a puzzle: a former toilet paper salesman who could pivot from sleazy, manipulative salesperson to a principled journalist fighting for the Fourth Estate.
In the current season, he is all of those things, plus a romantic lead we aren’t quite sure how to read. He can be the "Jim" to Mare’s "Pam"—sweet, attentive, and protective. Yet, he is also capable of behavior that leans closer to the cringeworthy, self-important arrogance of David Brent from the original UK Office.
The most glaring issue is how this dynamic impacts Mare. As an award-winning reporter and a military veteran, Mare is established as intelligent and observant. Yet, when she is paired with Ned, she is often forced to play the straight woman to his erratic, sometimes deceptive behavior. Whether she is being talked into a "journalistic crusade" that feels suspiciously like yellow journalism, or being asked to lie for him to protect his ego at a gun range, the dynamic feels regressive.
When Ned informs Mare that his cold behavior in the office was a "cover" to avoid suspicion—without telling her—she calls him a "psychopath." The show plays this for laughs, but the audience is left to wonder: is this a charming quirk of a burgeoning relationship, or a red flag that the show refuses to address with the seriousness it deserves?
Implications for the Series’ Future
The season finale brings these questions to a head. Ned provides career advice to Mare that could be interpreted as either a selfless act of love or a calculated move to maintain his own status and proximity to her.
This ambiguity is the show’s greatest failure. Modern television rom-coms rely on clarity. Even if a couple is doomed, the viewer understands the trajectory. Whether it’s the slow-burn destiny of New Girl’s Nick and Jess or the volatile, yet inevitable, bond of You’re the Worst’s Jimmy and Gretchen, the audience is never left in the dark about the endgame.
In The Paper, it is impossible to determine the path the show is taking. It isn’t sharp enough to function as a biting satire of workplace toxicity, nor is it sincere enough to serve as a satisfying romantic comedy. By trying to occupy both spaces, it risks losing the audience’s trust entirely.
Conclusion: A C-Grade Effort
The failure of The Paper to define its own identity is a missed opportunity for a spin-off with such high potential. By attempting to dismantle the tropes of its predecessor without establishing a compelling, original framework, the show leaves its characters and its audience in a state of purgatory.
As the second season concludes, we are left with a series that is not quite a comedy, not quite a drama, and not quite a successor to the throne it clearly covets. The ambition to chart a different course than The Office is, in theory, a fascinating idea. If only the execution matched the concept. For now, The Paper remains a show struggling to find its headline, leaving viewers wondering if there is any story left to tell.
Grade: C
The Paper Season 2 premieres Wednesday, September 9, on Peacock. All 10 episodes will be available for streaming at once.
