Remember the humble, 30-minute network sitcom? It’s not exactly dead; ABC’s “Abbott Elementary” still carries the banner proudly, and continues to rack up Emmy nominations. A smattering of others dot the shrinking non-streaming world. But the days of glory, of “MASH” and “The Cosby Show,” “Cheers” and “Seinfeld,” have long passed.

Into this world rolls “DMV,” which premiered Oct. 13 on CBS. Intermittently charming, only occasionally cringe-worthy, the series serves up characters who can be swiftly defined by traits and quirks, as is the sitcom shorthand. It’s also smart enough to know the workplace is still the place to go for laughs. “The Office” nailed this concept; its sort-of spin-off, “The Paper” (which recently graduated from NBC streamer Peacock to the actual NBC), is trying. The most celebrated TV comedy of the moment, “The Studio,” is at heart about work, as is its surrealist Apple TV mate “Severance,” which might best be described as an office horror comedy.

“DMV” doesn’t have those kinds of ambitions, which is fine. It takes place at the East Hollywood branch of the Department of Motor Vehicles, and follows the interactions, frustrations, and plucky can-doism of six employees as they navigate the whims of the general public (that’s you and me) and the specter of unemployment, embodied by a pair of consultants (Gerry Dee and Reshma Shetty) seeking that great bugaboo of late capitalism: efficiency. OK, maybe “DMV” has a dash of horror in it as well.

There’s Barbara (Molly Kearney), the optimistic manager who has a habit of saying dirty things without realizing they’re dirty (she likes to call DMV headquarters in Sacramento “Big Sac”). There’s Colette (Harriet Dyer), a people-pleaser who passes almost everyone on their driving tests and has a crush on hot new guy Noa (Alex Tarrant). Tony Cavalero’s Vic is an eccentric dude-bro who power-guzzles water and likes to show off his abs; Gigi Zumbado’s Ceci takes photos for new licenses and fancies herself an artiste. As I read this, I realize that perhaps this place does have some efficiency issues.

Then there’s Tim Meadows, who plays his character, the mildly burned-out Gregg, like a great cool jazz soloist waiting in the cut. Gregg has been around this place too long to care much about the work, but he cares about his colleagues. In episode 4 he takes it upon himself to teach go-getter Noa the fine art of slacking. Walk slowly from one task to another. Never work through your scheduled break. Gregg quit smoking years ago, but he still goes outside to mime the inhale and exhale because it’s a good way to kill the clock. I would watch a show that focused on Gregg. It’s a great part for Meadows, who has always had a gift for calm comedy.

Nobody looks to a sitcom for a Kafka-esque take on the labyrinths of bureaucracy, and “DMV” is more concerned with bouncing these personalities off each other than peeling back the layers of good government work. Some of the gags are far too easy, as when Colette takes a senior citizen out for a test and the poor lady rams her car into everything in sight.

But “DMV” has a snappy pace, and Meadows, Dyer and Kearney all pass with flying colors. The sitcom is becoming an antiquated form, but there’s still a place for it, a place of quick escapism and broad comic strokes. Sometimes you wanna go where you can just chuckle a little before you hit the big sack.

DMV

Starring Tim Meadows, Harriet Dyer, Molly Kearney, Tony Cavalero, Alex Tarrant, Gigi Zumbado, Gerry Dee and Reshma Shetty. Airs 8:30 p.m. Mondays on CBS; streams on Paramount+.

Chris Vognar can be reached at chris.vognar@globe.com. Follow him on Instagram at @chrisvognar and on Bluesky at chrisvognar.bsky.social.