The Office producer Justin Spitzer recently addressed the highly anticipated reboot and shared his thoughts on Greg Daniels’ upcoming project. Modeled after the UK series created by Ricky Gervais, Daniels brought the U.S. version of The Office to NBC in 2005. This mockumentary-style comedy series followed the everyday lives of employees at Dunder Mifflin, a Scranton-based paper company. After its nine-season run ended in 2013, the show remained popular, finding a new audience on streaming platforms, which kept discussions about a reboot simmering in the background.
Now, years after speculation began, The Office reboot has officially been greenlit by Peacock, featuring an all-new cast. In an exclusive interview with Screen Rant‘s Brandon Zachary, Spitzer expresses his optimism about the reboot. Spitzer reflects on how he was skeptical it could be pulled off when the original American version was announced. However, Daniels was able to create an endearing sitcom. Check out his full response below:
I haven’t had anything to do with The Office reboot or spin-off or whatever they’re calling it, so all I know about it is what I’ve read in the press. But I’m very excited to see it! I remember when I heard they were going to do an American remake of the British Office , and I thought, ‘There’s no way anyone can do justice to the BBC original.’ But then Greg Daniels pulled it off. So if there’s any writer up to the challenge of bringing back everything that made the American Office great, while also finding a new perspective and ways to make it relevant, it’s Greg.
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Spitzer’s remarks echo the high expectations surrounding The Office reboot and affirms the confidence he has in Daniels’s ability to deliver. As one of the show’s original producers, Spitzer acknowledges the difficulty of recreating the magic of The Office, a show that became a staple of American pop culture. His comments highlight Daniels’s talent for adaptation, referencing the impressive feat he already pulled off when he brought The Office to the U.S., which many regarded as a risky move at the time.
This time, Daniels faces a different challenge, as the reboot shifts focus from a paper company to a struggling Midwestern newspaper staffed by volunteers, all the while keeping the same mockumentary style that worked so well in both the UK and U.S. versions. Spitzer’s trust in Daniels suggests that he believes the reboot can capture the same humor and heart as the original even with an entirely new cast and story.
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Reviving The Office is no small task, given its enduring popularity and cultural influence. With Spitzer’s faith in Daniels’s vision, there’s reason to believe that the reboot could introduce a fresh perspective while preserving the show’s humor and charm. The reboot’s new setting and cast could mean an opportunity to experience a beloved format in a different industry with a new set of workplace challenges as opposed to rehashing strikingly familiar plotlines and characters.
If Daniels can capture the essence of what made The Office special while adapting it to the world of print media, the reboot could resonate with longtime fans or even find a whole new audience. Spitzer’s comments can give audiences hope that The Office reboot will be more than just a revival—it could be a unique, meaningful interpretation of a show that has remained a fan favorite for nearly two decades.
