Toledo Truth Blog ('The Paper' NBC)
Review: The Paper - Season 1, Episode 8: "Church and State"
Travis: Guess you want my press badge back. Ned: Oh, that's not necess... Where'd you get that? Travis: I made it.
"The Paper" continues to carve out its niche as a mockumentary-style workplace comedy on Peacock, blending the absurdities of modern journalism with corporate satire. Season 1 has been a mixed bag so far—starting slow but gaining momentum as it leans into its ensemble's quirks and the ridiculousness of running a newspaper under a toilet paper conglomerate. Episode 8, "Church and State," ramps up the conflict between editorial integrity and corporate overlordship, delivering some of the show's sharpest humor yet while exposing the characters' vulnerabilities.
The episode centers on Mare Pritti (Chelsea Frei) stumbling into a juicy scandal that directly pits The Truth Teller against its parent company, Softees. What starts as a personal inconvenience for Mare spirals into a city-wide crisis, forcing editor-in-chief Ned Sampson (Domhnall Gleeson) to navigate threats from higher-ups like the slimy Ken Davies. Meanwhile, a hilarious subplot involving Esmeralda Gran (Justine Lupe) and her overzealous parenting adds levity, culminating in some cringe-worthy audition antics that feel straight out of a "Curb Your Enthusiasm" fever dream. Ned's past comes back to haunt him in embarrassing fashion, leading to workplace ribbing that highlights the show's strength in character dynamics—think old motivational videos that had me chuckling at Gleeson's deadpan delivery.
What works best here is the escalating absurdity: corporate cover-ups, sneaky evidence dumps, and a dramatic resignation that flips the power structure on its head. The writing shines in moments of quick-witted banter, like Esmeralda's savage one-liners at the kid auditions ("Why are there so many mothers and children here? Is group C boarding a Southwest flight?") or Ned's improvised insults that land with perfect timing. The ensemble feels more cohesive than in earlier episodes, with supporting players like Oscar and Barry contributing solid laughs without overshadowing the leads. It's refreshing to see a team actually unite against external pressures rather than devolve into petty infighting, and the satire on "flushable" products hits home in a grossly relatable way.
That said, not everything flushes cleanly. There are minor inconsistencies, like Ned's daily routine feeling off from prior episodes, which smacks of lazy scripting. And while the resolution ties up neatly with a clever rebranding twist, it borders on too convenient, undercutting some of the built-up tension. Ned's "salesman mode" can come across as manipulative, which might rub some viewers the wrong way, though it fits the character's arc from corporate drone to reluctant hero.
Overall, "Church and State" is a standout in Season 1, blending sharp commentary on media ethics with laugh-out-loud moments. It's not reinventing the wheel, but it's finding its groove—much like "The Office" did in its early days. I'd rate it a solid 8/10; if the show keeps this energy, it could become Peacock's next binge-worthy gem. Fans on Reddit are calling it their favorite so far, and I get why: it's hooked me too, even if we're stuck waiting years for Season 2.
Rating 4.5/5
The episode centers on Mare Pritti (Chelsea Frei) stumbling into a juicy scandal that directly pits The Truth Teller against its parent company, Softees. What starts as a personal inconvenience for Mare spirals into a city-wide crisis, forcing editor-in-chief Ned Sampson (Domhnall Gleeson) to navigate threats from higher-ups like the slimy Ken Davies. Meanwhile, a hilarious subplot involving Esmeralda Gran (Justine Lupe) and her overzealous parenting adds levity, culminating in some cringe-worthy audition antics that feel straight out of a "Curb Your Enthusiasm" fever dream. Ned's past comes back to haunt him in embarrassing fashion, leading to workplace ribbing that highlights the show's strength in character dynamics—think old motivational videos that had me chuckling at Gleeson's deadpan delivery.
What works best here is the escalating absurdity: corporate cover-ups, sneaky evidence dumps, and a dramatic resignation that flips the power structure on its head. The writing shines in moments of quick-witted banter, like Esmeralda's savage one-liners at the kid auditions ("Why are there so many mothers and children here? Is group C boarding a Southwest flight?") or Ned's improvised insults that land with perfect timing. The ensemble feels more cohesive than in earlier episodes, with supporting players like Oscar and Barry contributing solid laughs without overshadowing the leads. It's refreshing to see a team actually unite against external pressures rather than devolve into petty infighting, and the satire on "flushable" products hits home in a grossly relatable way.
That said, not everything flushes cleanly. There are minor inconsistencies, like Ned's daily routine feeling off from prior episodes, which smacks of lazy scripting. And while the resolution ties up neatly with a clever rebranding twist, it borders on too convenient, undercutting some of the built-up tension. Ned's "salesman mode" can come across as manipulative, which might rub some viewers the wrong way, though it fits the character's arc from corporate drone to reluctant hero.
Overall, "Church and State" is a standout in Season 1, blending sharp commentary on media ethics with laugh-out-loud moments. It's not reinventing the wheel, but it's finding its groove—much like "The Office" did in its early days. I'd rate it a solid 8/10; if the show keeps this energy, it could become Peacock's next binge-worthy gem. Fans on Reddit are calling it their favorite so far, and I get why: it's hooked me too, even if we're stuck waiting years for Season 2.
Rating 4.5/5