Workplace sitcoms often succeed because they tap into the unique dynamics of a work environment. Whether it’s a hectic metropolitan police station or the bustling backdrop of a late-night television show, these settings provide rich soil for conflict and comedy. On the other hand, a dull, monotonous job can lead to camaraderie and frustration among characters, as perfectly depicted by the paper company in The Office, where the mundane product mirrors the endless monotony of office life.

DMV, a new sitcom from CBS, set in a dilapidated Hollywood motor vehicle office, strives to spin humor out of a setting already notorious in American culture for frustration and inefficiency. The real-life dread of DMV visits is a well-worn subject for jokes, meaning any show set here needs to bring a new twist to avoid falling flat.

Unfortunately, the series, crafted by Dana Klein and based on Katherine Heiny’s short story “Chicken-Flavored And Lemon-Scented,” ends up rehashing familiar sitcom clichés. Scenes include elderly women obliterating rows of cones during driving tests, wealthy complainers who can’t Google the requirements for a Real ID, and a communal fridge that’s a biohazard. Customers engage in exaggerated antics while waiting in line, and so on. Despite Tim Meadows’ calming presence as Gregg, the long-time employee who remains unfazed by the chaos, the ensemble cast fails to deliver the vibrant interactions seen in shows like The Office.

In the office, we see the typical division between those who conduct driving tests and those who push paper. Meadows portrays Gregg with his trademark subdued sarcasm, while Tony Cavalero’s Vic takes his driving test candidates through fast food drive-thrus, and Harriet Dyer plays Colette, a character whose optimism and clumsiness make her the de facto protagonist. Colette’s crush on the new document window clerk Noa (The Rings of Power’s Alex Tarrant) places her at the center of the storyline, supported by Gigi Zumbado’s brash ID photo technician Ceci and Molly Kearney’s Barbara, a former SNL star who’s just been promoted to manager.

The cast has potential. Dyer has shown her romantic comedy chops in Australia’s Colin From Accounts, and Kearney’s portrayal of the enthusiastic but unsure Barbara is compelling. Cavalero’s performance might remind some of Adam Devine’s roles, bringing a needed balance to his character’s rougher edges.

However, the characters often fall into overly familiar types without enough depth or uniqueness to truly stand out. Dyer doesn’t fully embrace Colette’s mishaps or her thwarted attempts to do good, while Kearney’s portrayal of Barbara lacks the depth seen in comparable characters like Michael Scott from The Office, hampered by repetitive jokes and misunderstandings about common objects.

The show’s biggest struggle is in trying to develop a workplace romance between Colette and Noa, which feels forced and hampered by predictable sitcom plot devices. Their budding relationship faces too many contrived barriers, and neither character is particularly compelling. Episodes focus on trivial subplots such as Colette pretending to be a veterinarian to impress an actor friend, rather than developing meaningful story arcs or character growth.

The narrative attempts to comment on the bureaucracy and essential nature of the DMV’s work, claiming a sort of democratic importance regardless of a person’s background. However, these moments of potential insight are lost amid trivial complaints and lackluster execution. Meadows’ Gregg occasionally delivers moments of subtle brilliance, but these are too rare to save the overall lackluster atmosphere of the show.

While a workplace comedy set at the DMV could potentially be rich with humor and social commentary, the version presented in DMV is as uninspiring as the chore of renewing a vehicle registration. Despite the occasional clever idea, the show does not manage to make a memorable impression.

DMV debuts October 13 on CBS