Director: David Semel
Cast: Sarah Paulson (Harriet Hayes), Bradley Whitford (Danny Tripp), Amanda Peet (Jordan McDeere), Nathan Corddry (Tom Jeter), Matthew Perry (Matt Albie), D.L. Hughley (Simon Stiles), Timothy Busfield (Cal), Steven Weber (Jack Rudolph), Ayda Field (Jeanie Whatley), Merritt Wever (Suzanne), Nate Torrence (Dylan Killington), Simon Helberg (Alex Dwyer), Columbus Short (Darius), Eli Wallach (Eli Weintrob), Mystro Clark (Willy Wilz), Sarah Smith (Treasure), Lauren Graham (Studio 60 Host), Nancy Lenehan (Mrs. Jeter), Randy Oglesby (Mr. Jeter), Diana-Maria Riva (Lilly) & Edward Sears (Darren Wells)
Danny tries to get Matt's mind off Harriet, a drunken Jordan makes friends with the cast during an after-show party, Tom gives his parents a tour of the studio, Simon makes a plea to hire black writers and Cal deals with a mysterious old man backstage...There's a lot going on in episode 6, centred around the titular wrap party, although a great deal of it has little consequence. But that's not to say this is a waste of time, as there are a few engaging plot strands and character development, with Sorkin taking the time to deepen some of the supporting cast...
Tom Jeter (Nathan Corddry) is given the most thankless storyline, as he basically shows his naive parents around Studio 60, giving voice to Sorkin's meticulous research into showbiz history. Tom's mother (Nancy Lenehan) is smiley but nonplussed by everything, while his curmudgeon father (Randy Oglesby) isn't impressed by his youngest son's choice of career.
This subplot is a little ancillary, but it nicely touches on a subject I've been asking myself about Studio 60 in recent weeks: why should any of this stuff matter? The truth is, there are far important things in the world than television, and Sorkin uses this subplot to contrast showbiz with real issues like the Middle East. No conclusions are drawn, but it's nice to see it addressed.
Jordan (Amanda Peet) seems increasingly unlikely as a Network President, floating around the wrap party, tipsy and desperate to make friends with Harriet and the cast. Peet's a lovely presence on the show, but her character veers all over the place; naive, misguided, idealistic, and shrewd -- it all depends on the scene she's presented with.
Cal (Timothy Busfield) is involved in an intriguing subplot about a mysterious old man called Eli Weintrob (Eli Wallach), who has a poignant link to the studio's history. This story begins promisingly and there's a great scene between Busfield and the wonderful Wallach when the old man's identity is discovered, but it's a little plodding and worthy.
The best subplot belongs to Matt (Matthew Perry) and Simon (D.L Hughley), as Simon provokes racial discussion over the lack of black writers on staff. The pair soon head off to a comedy club to scout for talent, leading to an interesting scene where they watch a bad black stand-up called Willy Wilz, who deals in lazy ethnic stereotypes. Later, they notice another comedian dying on stage, but using interesting material that just needs sharpening...
I really liked this storyline, as it threw the spotlight onto comedy writing, stand-up performances and racial issues in Hollywood. Perry and Hughley spark well off each other and have a great scene at a bar together; with Hughley elaborating on his character's standing on the show and in society.
While most of the plots are undernourished or mere diversions, there's a general slowness that I actually appreciated from this episode. The characters on Studio 60 are very likeable, even the "unlikeable" ones like boss Jack Rudolph (Steven Weber). It's just a shame poor Bradley Whitford is again sidelined by Sorkin's script as Danny. The expected firm partnership between him and Matt just hasn't really materialized, despite their strong cohesion in the first few episodes.
Sorkin's dialogue also remains a problem, in some respects. It's as polished and intelligent as always, but nobody speaks like this. Whenever Sorkin tones it down to be more natural, it works much better, but he likes to OD on his own words, making characters throw verbal curve balls at each other with every sentence. It's sometimes dizzying to pay attention to, and takes you out of Studio 60's reality.
For a show that's supposed to be a behind-the-scenes look at the making of a comedy sketch show, I think the dialogue should be more natural sounding. I never really believe we're peeking behind the curtain at real people, making a real show. Compare Studio 60's "reality" to the malaise of Ricky Gervais Extras, which may be a parody, but contains more hum-drum reality in its behind-the-scenes sequences than Studio 60 sometimes.
Overall, this is definitely filler material (which is worrying given we're only on episode 6), but a few subplots are worthwhile and the general vibe is pleasant. But I can feel my concentration slipping from the show, which began as fascinatingly flawed... but is becoming less interesting with each episode.
30 August 2007
More4, 10.00 pm
