[Editor’s note: This article contains spoilers for The Paper.]  

The Paper begins in the familiar setting of Dunder Mifflin, though now the desks are filled by the staff of One And Done Laser (who claim to have “less drama,” according to Robert R. Schaffer’s character, Bob Vance). Located not in Scranton but Toledo, Ohio, this Office derivative tracks a group of volunteers at a local newspaper, including former Office character Oscar Martinez, portrayed by Oscar Nuñez. While the connections persist, series co-creator Greg Daniels explains to The A.V. Club that establishing a distinct identity for The Paper was essential, despite its visual and structural similarities to its predecessor.

Daniels, renowned for his work on The Simpsons, King Of The Hill, and Parks And Recreation, has long awaited his return to the mockumentary scene. With all episodes of season one of The Paper released on Peacock on September 4, the series carves its own niche. Ned Sampson, played by Domhnall Gleeson, takes charge as the editor-in-chief, eager to revive the Toledo Truth Teller to its former prominence, despite a somewhat unprepared team.

The A.V. Club chatted with Daniels about his motivation to revisit this genre, his approach to writing office romances, his career trajectory, and the homage to Lost in the fifth episode of The Paper.

The A.V. Club: It’s been two decades since NBC’s The Office debuted, making mockumentaries and cringe comedy more prominent on American TV. How did this shift influence your creative process for The Paper?

Greg Daniels: My thoughts on The Paper began in 2017, driven by The Office’s immense popularity on Netflix. Facing pressure to deliver another hit, I sketched out initial ideas while managing Amazon’s Upload. I discussed this new project with Michael Koman, a writer I deeply respect, and together we envisioned a return to the authentic roots of mockumentary. We were excited about the newspaper theme, believing it to be a compelling subject for a documentary crew to explore, even before introducing elements of comedy or romance.

Once we settled on the concept, we focused on creating fresh characters, with Oscar serving as a link to the past. I consulted Oscar Nuñez early on to ensure his availability. We were determined not to simply replicate any of the original characters from The Office. We also recognized that this wasn’t strictly a cringe comedy. Much of The Office revolved around evolving workplace norms, which often put Michael Scott in awkward positions. Though The Paper shares this potential for discomfort, we didn’t set out to create discomfort as a primary objective.

AVC: After solidifying the newspaper concept, did you consider making the show completely independent of The Office?

GD: Initially, I was hesitant to link it too closely to The Office because I felt we had concluded those stories effectively, and the cast seemed uninterested in revisiting their roles. I have a deep connection with that group and didn’t want to diminish our shared experiences. Nevertheless, the decision to maintain the mockumentary style led us to the concept of using the same documentary crew, which offered a way to introduce a new series while nodding respectfully to the original.

AVC: What are some lessons and key principles from your past work that you applied to developing these characters and selecting the right actors?

GD: Casting is critical. I took great care to protect the legacy of The Office. Our casting director, Leslie Woo, and I spent considerable time finding the perfect ensemble. We began with Domhnall Gleeson, who embodied Ned exactly as we envisioned. We conducted chemistry readings with him and potential co-stars, ultimately assembling a diverse group of talented actors who brought our characters to life authentically. This carefully curated cast ensured that each character stood out on their own merit.

AVC: On The Office, characters often evolved based on the actors’ input. Did you incorporate similar practices in this project?

GD: Absolutely. We embraced suggestions from our cast and were open to adapting the script accordingly. This collaborative approach, which was also a staple during my time on King Of The Hill, ensures that actors can bring their creativity to their roles. This isn’t unique to mockumentaries; it’s simply good producing practice to leverage the cast’s insights.

AVC: Are there any particular jokes or scenarios from season one that you’re especially fond of?

GD: We filmed many scenes that didn’t make the final cut, but I love the dynamic between Ned and Mare, especially Mare’s judgmental looks that speak volumes. Sabrina Impacciatore and Tim Key’s portrayal of Esmeralda and Ken also stands out, thanks to their impeccable comic timing in their joint interviews.

AVC: The fifth episode features several Lost references, including a cameo by Josh Holloway. How did that come about?

GD: During the height of The Office, I often crossed paths with Damon Lindelof from Lost. We admired each other’s work, and when we needed a charming yet misleading character for Esmeralda, Josh Holloway was a natural choice. He embraced the role enthusiastically, adding another layer to the episode.

AVC: The Paper includes some classic will-they/won’t-they relationships. How do you ensure these romantic elements resonate within a workplace setting?

GD: I prioritize authenticity and involve the cast deeply in developing their characters’ backstories and motivations. This approach allows us to explore genuine emotional dynamics, making the relationships feel real and relatable. Discussions about character psychology and motivations are key to crafting believable interactions, especially in the context of budding romances.

AVC: With a second season forthcoming, are you considering integrating more The Office alumni into the show?

GD: For the first season, it was important that The Paper establish its own identity. While guest appearances from former cast members could be enjoyable for fans, we’re cautious not to rely too heavily on nostalgia. However, I’m open to potentially revisiting these connections in a future reunion, though many cast members are apprehensive about returning to their roles.

AVC: You began your career with Saturday Night Live and The Simpsons, and now you’re navigating the streaming era with projects like the King Of The Hill revival. How do you adapt to the evolving TV landscape, especially in terms of viewer engagement?

GD: My career has allowed me to explore a wide range of formats, from sketch comedy to sophisticated animated series and everything in between. Each project teaches me something new about storytelling and audience engagement. The transition to streaming platforms offers a fresh set of challenges and opportunities, much like the evolving world of newspapers that Ned is trying to navigate in The Paper.