STUDIO 60 ON THE SUNSET STRIP 1.11 - "The Christmas Show"

Writer: Aaron Sorkin (story by Cinque Henderson & Christina Kiang Booth)
Director: Daniel Attias

Cast: Bradley Whitford (Danny Tripp), Amanda Peet (Jordan McDeere), D.L. Hughley (Simon Stiles), Matthew Perry (Matt Albie), Nathan Corddry (Tom Jeter), Sarah Paulson (Harriet Hayes), Steven Weber (Jack Rudolph), Timothy Busfield (Cal Shanley), Columbus Short (Darius Hawthorne), Nate Torrence (Dylan), Josh Stamberg (Lucas Scott), Mark McKinney (Andy), Lucy Davis (Lucy), Merritt Wever (Suzanne), Edward Asner (Wilson White), Kevin Tyrone Eubanks (Himself), William Stanford Davis (Floor Manager), John Mahon (George), Teresa Huang (Nurse), Mimi Cozzens (Mrs White) & Scott Lawrence (NBS Legal Counsel)

With Christmas on the horizon, Matt is determined to bring the festive spirit to Studio 60. Meanwhile, Danny confronts his feelings for Jordan...

“How is it I’m Jewish, and I’m the only one with Christmas spirit? Come to think of it, how is it I’m in the only Jew in a comedy writer’s room?”

-- Matt Albie (Matthew Perry)

I'm now convinced Studio 60 has played all its cards. I can't see it ever improving beyond being slick, overconfident and dramatically dead. Thankfully, The Christmas Show plays to the show's strengths; an engaging cast, snug atmosphere, slick production and zingy dialogue.

Events get underway with Danny (Bradley Whitford) taking Jordan (Amanda Peet) for a pregnancy scan, highlighting the pair's increasing ease with each other personally. Indeed, Danny will spend this episode debating whether or not to reveal his feelings for Jordan, as Jordan finds herself unable to button her lip in a meeting with Jack (Steven Webber) and some network lawyers...

The lawyers are on hand because NBS broadcast a reporter swearing after a RPG blew up next to him in the Middle East. They can expect a $325,000 fine, which Jack and Jordan aren't very happy about. It's another example of Sorkin's West Wing politics mixing with Studio 60 showbiz, but works quite well. Again, the corporate, office politics of NBS are often more engaging than the trivial plots going on at Studio 60.

Speaking of which, Matt (Matthew Perry) demands the writers come up with a festive show to celebrate Christmas, but finds the cast and crew become fixated with debunking various myths surrounding Jesus and Santa Claus. Bah, humbug! It's more an excuse for Sorkin's research into this subject to reach the airwaves, but throws up some amusing pieces of trivia.

I enjoy anything with a festive atmosphere, so The Christmas Show generally provided a warm viewing experience. The jokes were a little better this time, too -- particularly a Nazi-saluting Santa and excellent interplay between Matt and Harriet (Sarah Paulson), who's been offered a movie project. But I could have done without the revelation Tom fancies Lucy (Lucy Davies), as it probably means Davies will be given more time to sit around, doing her best kooky, twee little English girl routine. Yuk.

The spirit of Christmas is really invoked in a late subplot for a gifted trumpet player, who wows Danny during a rehearsal, and subsequently is rewarded with a 4-minute starring role on the show... leading a small band in a tribute to the New Orleans disaster following Hurricane Katrina. Sure, it's a little schmaltzy, but what's Christmas without a bit of schmaltz?

By the episode's end, the positive vibe is really on a high, as Jack's boss proves to be a decent, upstanding humanitarian, by choosing to side with Jack over the potentially messy situation with the news report swearing. Quite why the NBS bigwig is shoved in a tiny ancillary room, with his young family, to watch the Studio 60 Christmas Show is anyone's guess, though!

In a surprising move, Matt kisses Harriet, which comes as a welcome relief after so much build-up these past weeks, and fits with the festive atmosphere. I'm just relieves this will they/won't they storyline actually seems to be progressing now. Likewise the sudden Danny/Jordan "relationship", with Danny announcing his love. Cue a snow-dappled cut to black.

Overall, The Christmas Show is as syrupy as you'd expect from a US drama series, but the focus on relationships works better than the TV-related dilemmas we're supposed to find tense and interesting. If you work in TV, you can probably sympathize with Studio 60's production-related dramas, but to the general public they're interesting (like this episode's indecency rules), but ultimately seem like a lot of fuss over nothing.

Studio 60 is flawed in many areas, but the ensemble cast are always been enjoyable to watch, and this episode gives them plenty of opportunities to sparkle. It's a safe, predictable, cosy episode (as befits a Christmas episode), with enough heart and development for the characters to make it worthwhile.


4 October 2007
More4, 10.00 pm

STUDIO 60 ON THE SUNSET STRIP 1.10 - "B-12"

Writers: Eli Attie & Aaron Sorkin
Director: Bryan Gordon

Cast: Nathan Corddry (Tom Jeter), Sarah Paulson (Harriet Hayes), Steven Weber (Jack Rudolph), Timothy Busfield (Cal Shanley), Amanda Peet (Jordan McDeere), Bradley Whitford (Danny Tripp), D.L. Hughley (Simon Stiles), Matthew Perry (Matt Albie), Mark McKinney (Andy), Simon Helberg (Alex Anderson), Nate Torrence (Dylan), Lucy Davis (Lucy), Merritt Wever (Suzanne), Columbus Short (Darius Hawthorne), Camille Chen (Samantha Li), Ayda Field (Jeannie Whatley), Monica Garcia (Nurse), Christopher Murphy Carley (Jeff), William Stanford Davis (Floor Manager), John Carpenter (Herb Sheldon), Amanda Tepe (Bobbie), Howie Mandel (Himself), Corinne Bailey Rae (Herself), Wendy Phillips (Shelly), Stephen Alvarez (Anchor), Christine Lahti (Martha O'Dell), Todd Stashwick (Bill), Tate Hanyok (Carrie) & Amy Honey (Personal Assistant)

A virus threatens the cast and crew, Matt has to cope with a reduced writing staff, and Jordan tells Danny a secret...

This is a very curious episode; quite interesting, sometimes enjoyable, often a boring mess. Tellingly, it's the first Studio 60 Aaron Sorkin has co-written, meaning Sorkin was either upstaged at times by writing partner Eli Attie, or Attie crippled an episode with promise. We'll just never know for sure.

B-12 is another studio-based episode, which comes as a strange relief after the gallavanting location-based episodes recently. I like watching these characters work together as a team, even though the show is stuck in a formula. Yes, the dilemma-of-the-week rears its ugly head (again) to threaten the smooth-running of Friday's live show. This time it's a virulent sickness, causing one actor to faint whilst in drag, and everyone to be given B-12 injections.

Howie Mendell is this week's guest host, an unfamiliar face to UK audiences, but he's the US equivalent of Noel Edmonds -- in that he presents Deal Or No Deal. Cue a lame "deal or no deal?" opening sketch with Danny Trip pretending to call The Banker. And, y'know, I often grumble about Studio 60's weak comedy sketches, but this sketch is actually quite accurate about how lazily obvious such shows can be. So I can let this predictability pass. But, combining reality show The Bachelor with Ancient Rome is funny? Ugh.

Oddly, the sickness affecting Studio 60 doesn't become anything more than a background event. The emphasis is instead on Matt's situation with a staff that now consists of quietly goofy Lucy (Lucy Davies) and naive Darius (Columbus Short). If, like me, you were expecting a serious problem for Studio 60, now that it has three writers, you'll be disappointed.

Lucy and Darius are tasked with penning an "incompetent criminal" sketch, but the show is apparently not reliant on them actually coming up with anything! There are other sketches to be performed, perhaps stored up for just such an emergency? Weird. I was under the impression the stakes were going to be very high after last week's mass walkout... but apparently I was wrong.

Despite this plot being undermined, it's still enjoyable, particularly once downbeat former writer Andy (Mark McKinney) arrives to mentor Lucy and Darius. Lucy Davies is also less annoying this week -- probably because she keeps her mouth shut. McKinney is also a great antidote to the perky, motormouth smart-asses that populate Studio 60, so I'm glad he'll be sticking around.

I also lap up any scene with Jordan (Amanda Peet), who surely deserves a spin-off series. Or, failing that, just give Peet her own show! As network president, Peet's cute as a button, but with a tongue sharper than a steak knife. A great scene where she humourously pokes fun at a Time magazine reporter who's been sent to interview her, eventually belittling his intentions, is one of those moments that makes the rest of Studio 60 look uninvolving by comparison. That said, Jordan can be annoying occasionaly, as she's very blinkered when it comes to self-publicity and office politics.

Throughout B-12, an ominous thunderstorm rumbles above L.A and a CNN news report about a hostage crisis on Grosse Point becomes a recurring motif. Uh-oh. These are obvious omens that bad times are ahead, so it comes as no surprise when the hostage crisis has a knock-on effect with a prized sketch. Predictable stuff, sadly.

It's also very strange to see ace reporter Martha O'Dell (Christine Lahti) reappear on the show, as I'd forgotten about her character's potentially disastrous article on how Studio 60 runs behind-the-scenes.

Apparently, her article has been published and Danny didn't like it, so he snubs O'Dell here. But I don't understand Danny can't just make her leave the set! Isn't he an executive producer? Now that her report has been published, what business does she have being here, anyway?! And why does she have a folding chair with her name on it? It would also have been nice to get an indication of what her column actually said, too -- so, ultimately, the O'Dell storyline has been badly treated and has outstayed its welcome.

Overall, B-12 is just a very schitzophrenic episode. You can tell there were two writers involved, but I'd love to know who was most responsible for which aspects, as the episode veers from bad to good nearly every scene...

The writing staff dilemma is enjoyable (despite the weak ending), the hostage news report is too predictable, Harriet's inability to remember jokes is good for a giggle (if bizarre for a comedienne who has to remember lines), Jordan's scenes are spicy fun (ignoring her climactic soap-opera style announcement), and there's an unecessary plot-device that jumps back in time.

Solid, but flawed.


27 September 2007
More4, 10.00 pm

STUDIO 60 ON THE SUNSET STRIP 1.9 - "The Option Period"

Writer: Aaron Sorkin (story by Christina Kiang & Mark Goffman)
Director: John Fortenberry

Cast: Matthew Perry (Matt Albie), Sarah Paulson (Harriet Hayes), Amanda Peet (Jordan McDeere), Timothy Busfield (Cal), Bradley Whitford (Danny Tripp), D.L. Hughley (Simon Stiles), Nathan Corddry (Tom Jeter), Columbus Short (Darius), Lucy Davis (Lucy), Ayda Field (Jeanie Whatley), Evan Handler (Ricky Beck) & Carlos Jacott (Ronald Oswald)

Ricky and Ron plot to leave the show, along with the writing staff, to pursue a fresh writing challenge. Meanwhile, Harriet considers doing a sexy lingerie photoshoot, and Danny wrestles with pending budget cuts...

We're about half-way through Studio 60's only season... and it's easy to see why the viewing masses didn't flock to Aaron Sorkin's drama. For, no matter how likeable the actors and deft the dialogue, the sad fact is that Studio 60's premise just isn't relevant or flexible enough to sustain interest...

The Option Period is another example of Sorkin plucking a few ideas from the air, outlining three plots that could each be summarized in 10 minute scenes, then doubling their length with his frothy, buzzing, unrealistic dialogue. The verbal ping-pong matches can be amusing and sometimes dazzling, but 60% of them are indulgent and pad shallow plots.

The main story has Danny (Bradley Whitford) informed of likely budget cuts by Jordan (Amanda Peet), unless he concedes to product placement appearing on the show. Their discussions on this matter prove to be enlightening, as Sorkin's done his research, but it's another example of research being shoehorned into chit-chat. They chat so eloquently on specific topics, using exact information, it's like listening to quirky robots, not flesh and blood human beings.

The secondary plot has Matt (Matthew Perry) discovering prickly writers Ricky (Evan Handler) and Ronnie (Carlos Jacott) are being sidetracked by a private project to adapt the Peripheral Vision Man sketch into a sitcom. No, really. It all becomes clear when the live show underuns by 30 seconds because Ricky and Ronnie forgot to change the show's script format back to 40-second-page, having used the software to pen their spec.

The supporting plot (I say "plot", but it's more a "sustained discussion") involves Harriet (Sarah Paulson) debating whether or not to pose in lingerie for a magazine. Simon (D.L. Hughley) and Tom (Nathan Corddry) are against it, as the magazine are fetishizing Harriet's pious public profile. It's a mildly interesting debate, but hardly a satisfying subplot.

While nothing in episode 9 is particularly bad, it's mostly filler. Mind you, what else can Studio 60 do but fill time? There are no ongoing plots to care about, beyond Harriet and Danny's weak romance, and Jordan's potential sacking.

Also, by its very nature, Studio 60 is about fixing problems before Friday's live show, then quickly forgetting about them to move onto next week's dilemma. Sure, there are plot-strands that occasionally get tied-up (like the bad blood between Ricky, Ronnie and Danny), but nothing that demands you tune in each week.

A good drama needs big stakes? But what's the wost that could happen on Studio 60? That a bad episode of a sketch show will air across America? That happens most weeks; if Science Schmience and a guy dressed as a lobster is any indication! Of course the characters care about the show's success, but why should we?

In the end, Ricky and Ronnie part company with Studio 60 to write Peripheral Vision Man, but it's a moment that just doesn't ring true. Anyone with half a brain wouldn't leave Studio 60 to peddle a crap sketch being stretched into a sitcom! Are Ricky and Ronnie really that deluded? I can only assume Sorkin's plan is to have their awful show become a ratings hit, as a not-very-subtle commentary on the bad taste of viewers.

It also wasn't clear to me how Ricky and Ronnie's exit meant all the writing staff had to follow! All the writers are willing to give up their paid, secure, comfortable jobs creating sketches for the network's flagship show... to help make a sketch-turned-sitcom? Ridiculous.

So anyway, Matt is left to write next week's show by himself, with help from Darius (Columbus Short), the promising black writer introduced weeks ago, who's had nothing to do since, and Lucy (Lucy Davies), the twittering irritation with the clipped English accent. Davies exhibits none of the charisma and naturalism she showed on The Office.

Overall, I'm just getting fed up with Studio 60's self-satisfied smugness, limp storylines, preachy tone, repetitive sparring and that magic way everything eventually comes good. Here, in the dying moments, Cal (Timothy Busfield) magically solves Danny and Jordan's budget woes by suggesting they build a set full of advertising billboards -- as it common on the real Sunset Strip.

The fact Studio 60's original set designer never considered that obvious idea (given the show's title), provides this episode's biggest laugh. Actually, I take that back; Sorkin's idea to have every discussion about product placement take place in front of various products was worth a chuckle.


20 September 2007
More4, 10.00 pm

STUDIO 60 ON THE SUNSET STRIP 1.8 - "Nevada Day, Part 2"

Writer: Aaron Sorkin (story by David Handelman & Cinque Henderson)
Director: Timothy Busfield

Cast: Amanda Peet (Jordan McDeere), Bradley Whitford (Danny Tripp), Matthew Perry (Matt Albie), Nathan Corddry (Tom Jeter), Sarah Paulson (Harriet Hayes), Steven Weber (Jack Rudolph), Timothy Busfield (Cal), D.L. Hughley (Simon Stiles), Nate Torrence (Dylan), Lucy Davis (Lucy), Julia Ling (Kim Tao), Columbus Short (Darius), Ayda Field (Jeannie Whatley), Simon Helberg (Alex Dwyer), Camille Chen (Samantha Li), Diana-Maria Riva (Lilly Rodriguez), Edward Asner (Wilson White), John Goodman (Judge Robert Bebe), Raymond Ma (Zhang Tao), D. David Morin (Finney), Jennifer Lee (Flight Attendant), Jah Shams (Office P.A), Jay Paulson (Deputy Boone) & Michael Kostroff (David Langenfeld)

Jack pleads with Judge Bebe to let Tom return to work for Friday's live show, while the situation between Matt and Harriet hots up...

"The show must go on," comments Matt. But, while Nevada Day Part 2 is a mild improvement on Part 1, it doesn't justify this story being divided in two. Events continue directly from last week, with the plot's limpness exposed by the absence of Part 1's "flashback reveals" -- meaning the central plot about Tom Jeter's arrest just runs around in circles.

The only notable enjoyment stems from Studio 60, where Matt (Matthew Perry) is making contingency plans to film Friday's show without his missing cast members. In particular, nervous replacement Dylan (Nate Torrence) has some nice comic scenes, as Matt engineers people's fake reactions and lies to boost his confidence to star alongside Harriet (Sarah Paulson) in a sketch.

Harriet herself also gets interesting development, as her devout religious views seem to include homophobia... well, until writer Aaron Sorkin loses his nerve and explains her "prejudice" as a simple misunderstanding. It's a shame really, as having a homophobic character was the most interesting development on the show in weeks! Oh well, it was fun while it lasted.

Jordan (Amanda Peet) looks to be in for a rough ride from network bosses soon, if Jack's warnings to Danny are to be believed. But we knew this last week, so it's nothing revelatory. She'll either cause ratings to nosedive with her recent, unmarketable, high-brow acquisitions; or cause a television phenomenon for them. I'm guessing the latter, as Studio 60 is always preaching against "dumb television", so her decisions will likely be vindicated.

Nevada Day Part 2 does give us two fun performances to savour; from guest star John Goodman as Judge Bebe, who's given more scenes to steal in Part 2. Goodman's "smalltown bumpkin" is a joy to watch,as he subverts the city slicker's expectations of him with relish.

Jack Rudolph (Steven Weber) also goes up in my estimation, proving himself an honourable man beneath his corporate swagger, particularly when he stands up to Bebe and impresses Danny with his loyalty, in a great scene with the Chinese businessmen.

It's an episode of small, good moments, all separate from the thrust of the main story. Tom Jeter's predicament just becomes tedious to watch unfold, not helped by a pat resolution appealing to US patriotism. It transpires that Tom was caught speeding in Nevada because his brother was leaving for his third tour of Afghanistan. It's not explained exactly why he was in a rush, but... well, that's the only explanation we're getting. It's okay to break the law if you can prove a link to the war on terror, see? If you have a family member going to Iraq, feel free to tear-up the road at 120 m.p.h, kids.

Am I the only one who finds Sorkin's ability to twist everything back to politics, a teensy bit annoying now? It seems he'd be happier writing something political outright, instead of shoehorning post-9/11 commentary into a sketch show satire.

Overall, this is basically a 20-minute resolution to Part 1, stretched to a full episode. I'm still trying to fathom how Part 1 could be based on a story by Mark McKinney, while Part 2 is based on a story by David Handelman and Cinque Henderson! Was McKinney unable to think up a satisfying resolution to his idea? There is definitely a disjointed feel between the episodes, which would have been tolerable if it were condensed into one snappy instalment.

Enjoyable diversions all come from the subplots back at Studio 60, although a terrible storyline for Lucy (Lucy Davies) should have been cut. Here, Lucy writes a weak sketch to vent frustrations over a romantic break-up, but her character is so peripheral we don't care about any of it! Oh, and who told Davies to talk in that prim, clipped manner... as if she's arrived from England, circa 1954?


13 September 2007
More4, 10.00 pm

STUDIO 60 ON THE SUNSET STRIP 1.7 - "Nevada Day, Part 1"

Writer: Aaron Sorkin (based on a story by Mark McKinney)
Directors: Timothy Busfield & Lesli Linka Glatter

Cast: Amanda Peet (Jordan McDeere), Timothy Busfield (Cal), Steven Weber (Jack Rudolph), Sarah Paulson (Harriet Hayes) Nathan Corddry (Tom Jeter), Matthew Perry (Matt Albie), D.L. Hughley (Simon Stiles), Bradley Whitford (Danny Tripp), Nate Torrence (Dylan), Simon Helberg (Alex Dwyer), Ayda Field (Jeanie Whatley), Julia Ling (Kim Tao), Lucy Davis (Lucy), Columbus Short (Darius Hawthorne), Edward Asner (Wilson White), Diana-Maria Riva (Lilly Rodriguez), Daniel R. Escobar (Jim's friend), John Goodman (Judge Robert Bebe), Michael Kostroff (David Langenfeld), Jay Paulson (Roger), Raymond Ma (Zhing Tao), Josh Dubose (Fan #2), Larry A. Macias (P.A.), Christopher Shea (Jim), Joshua Wolf Coleman (Det. Hillary), Chris Flanders (Det. Trentanelli) & Ron Ostrow (Richard)

After Tom is arrested in Nevada, some of the Studio 60 cast fly out to free him before Friday's show, but a smalltown judge complicates matters...

The first two-part episode of Studio 60 appears to be entirely unnecessary nonsense; a humdrum storyline, armed with a flashback format designed to disguise its failings.

Events begin in Pahrump, Nevada, where Tom Jeter (Nathan Corddry) is dressed as Jesus and under arrest by local police, to the chagrin of various Studio 60 work colleagues, a corporate lawyer, and two Japanese execs. John Goodman (Roseanne) successfully chomps his way through the Teaser as Judge Robert Bebe, assigned to decide Tom's fate, although after a promising start, Bebe is pushed aside by the flashbacks that reveal what's been going on...

It's mildly amusing to see how circumstances conspire to have Tom arrested, although not nearly as interesting as Aaron Sorkin seems to think. Tom's a likeable character, but I'm not bothered about whether or not he gets out of jail to star in sketch show. As I've commented before, that's the main failing of Studio 60 for me: it's a peek behind the curtains of a TV show, but written much too seriously. Sorkin tries to milk drama from events that, to industry outsiders, don't seem very important. At all. When industy outsiders are 95% of the viewing audience, that's a worry...

This week's "crisis" revolved around the possible absence of a cast member days before a live show. Don't they have contingency plans for circumstances when people are sick, unavailable, or dead? Are there no understudies for shows like this? Obviously, you want to help your friend and colleague if he's in trouble with the cops, but it all seems like a big overeaction to me.

The inclusion of two visiting Chinese execs, a father and daughter combo, with the latter a massive fan of Tom Jeter, also seems added just to complicate matters. The episode is meant to be a light, skrewy, comedy misadventure, but it's nowhere near as funny or intricately plotted as it needed to be. Of course, maybe I'll be proven wrong if part 2 is a hilarious conclusion that builds on part 1's set-ups... but I doubt it.

As always, there are nice little ideas floating around the script, particularly some insights into US TV culture (you can't say "Jesus", "God" or "Christ" as a swear word on a primetime network!) and US culture in general (people will sue you for pushing them over!) Beyond that, the spark to Sorkin's dialogue is missing, or becoming so predictable it no longer registers in your mind as anything special.

Amanda Peet remains a cute, engaging presence as network president Jordan, with her idealistic attitude about to land her in trouble -- according to slimy boss Jack (Steven Weber). The skeleton in her closet (a book being written by her ex-husband about trips to nefarious clubs) is pushed along here, which is long overdue after weeks being ignored.

Jack gets a nice scene with Danny (Bradley Whitford) on their jet to Nevada, as they discuss Jordan's standing within NBS, but the show just doesn't seem to give Whitford anything interesting to do! He just locks horns with Jack, swoons over Jordan, stares into monitors and tries to out-wiseass Matt (Matthew Perry).

It was also mildly disappointing that Darius (Columbus Short), the promising new black writer, isn't given much to do beyond look naive. I guess it's just unfortunate Sorkin decided to do a two-part episode immediately following Darius' introduction last week. But, no such excuses for Lucy Davis (The Office), who has been hanging around Studio 60 for weeks now, and still only gets a few reaction shots and the odd line!

The episode ends with the threat that -- dum-dum-duuuum! -- Matt may have to rewrite the entire show if Tom isn't released from custody, before it just drags to an end. I'm sure I'm not alone in my disinterest to see how the situation is resolved.

Nevada Day, Part 1 marks a real lowpoint for an increasingly inconsistent and frustrating series. I have no issues with the actors, who all put in perfectly fine performances, but a ficticious sketch show just isn't a great environment for relevant drama. Why should ordinary viewers care about any of this? It's all a huge injoke.

Every week brings another monotonous argument about censorship and a contrived situation that puts the running of the show in jeopardy. Yawn. Sorkin could have commented on the state of US television far more succinctly with a movie. He's just labouring the point now.


6 September 2007
More4, 10.00 pm

STUDIO 60 ON THE SUNSET STRIP 1.6 - "The Wrap Party"

Writer: Aaron Sorkin (story by Melissa Myers & Amy Turner)
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

STUDIO 60 ON THE SUNSET STRIP 1.5 - "The Long Lead Story"

Writer: Aaron Sorkin (story by Dana Calvo)
Director: David Petrarca

Cast: Steven Weber (Jack Rudolph), Sarah Paulson (Harriet Hayes), Timothy Busfield (Cal), Bradley Whitford (Danny Tripp), D.L. Hughley (Simon Stiles), Matthew Perry (Matt Albie), Nathan Corddry (Tom Jeter), Amanda Peet (Jordan McDeere), Simon Helberg (Alex Dwyer), Ayda Field (Jeanie Whatley), Diana-Maria Riva (Lilly), Merritt Wever (Suzanne), Nate Torrence (Dylan), Liza de Weerd (Agent #2), Stephanie Jeffrey (Waitress), John F. Carpenter (Herb Shelton), Christine Lahti (Martha O'Dell), Sting (Sting), Lauren Graham (Announcer), Edward Asner (Wilson White), Zeb Newman (Trevor Loughlin) & Harry Van Gorkum (Martin Sykes)

During rehearsals with Sting, reporter Martha O'Dell pries into Matt and Harriet's relationship. Meanwhile Jordan passes on a tasteless new reality series, to Jack's annoyance...

Oh, the comedy gold of a man in a lobster suit! Aaron Sorkin still can't write decent sketch show material, which is quite a disappointment considering he's writing a show about the inner workings of a hit comedy, but this certainly ranks as his best attempt. Nicolas Cage hosting a chat show was a plausible skit and Sarah Paulson got to showboat another impression as Nancy Grace (a CNN interviewer), so the hit-rate certainly improved on Science Schmience...

Many of my criticisms last week are answered by The Long Lead Story, which is more focused on Studio 60's characters than the stern-faced politics of making a sketch show. Cleverly, Sorkin uses reporter character Martha O'Dell (Christine Lahti), to explore the relationship between Harriet and Matt (Matthew Perry), essentially giving Sorkin an excuse to throw meticulous character backstories into the show itself.

Harriet's religious upbringing is actually quite enlightening, particularly the fateful way she was baptized and became a performer at the same time. Sarah Paulson is fast becoming the most nuanced character on the show, heavily involved in the show's off-camera storylines and the central performer in most Studio 60 sketches.

It appears that Harriet's arrival at Studio 60 "coincided" with Matt suddenly finding inspiration in his writing. She wasn't only his lover, she was his muse. It's interesting Matt is suffering writer's block now Harriet has re-entered his life, but not his love.

Christine Lahti is very good as the approachable reporter, although you sense a ruthlessness behind her eyes. She's playful, believable, even funny in a few scenes (particularly in the "still-switched-on-microphone" chestnut), so I hope she sticks around some more. Sorkin even seems to use her character to hit back at criticisms of Studio 60, when she says: "I think popular culture in general and this show in particular are important." That told me.

Danny Whitford is sadly underused most weeks, usually hunched over video monitors or playing "dialogue tennis" with friend Matt. I hope Sorkin gives him some impetus soon, as he's just a sounding board most of the time. Amanda Peet continues to delight me, despite her twinkly-eyed idealism coming across as naive fiction on Sorkin's part.

She's just too good to be true, and gets her way too often. Here, she turns down a reality TV hit series (pitched by a Brit -- a little dig at us, there!) and has to explain her actions to Chairman Jack, who can't understand turning down a show with "HIT" written all over it. But Jordan knows there's a prefixed "S".

This episode solidifies Jordan's intention to maintain quality control of her network, three week after Studio 60's "on-air television bitch-slap" in episode 1. Another subplot finds her trying to persuade a gifted writer to bring his political satire Nations to the masses on NBS, instead of its natural home on niche HBO.

I enjoyed seeing more of Jordan and Jack's corporate world in episode 5, as bringing in wider television matters helped branch the series out. I'll never be sold on the uberserious attitude to creating a sketch show, but it's easier to enjoy wheeler-dealer bigwigs further up the food chain.

The behind-the-scenes vibe of Studio 60 remains atmospheric and interesting, particularly seeing how rehearsals are run this week -- complete with the problems of dismantling sets in a fast-moving TV environment. That said, the shameless promotion of Sting's classical album, complete with lute playing, bordered on the eye-rolling. That said, the musician's appearance was given some credibility when a song became the backing to a scene between Harriet and Matt -- where it was what they didn't say that really mattered.

Overall, this is the best episode of the series since the Pilot, thanks to its focus on characters and the expansion beyond Studio 60 itself, finding targets in other TV-related areas. The humour of the supposed smash-hit show itself remains strained (why not get real comedians to write sketches, Mr Sorkin?), and some of the characters are sketchy, but there's a core of great talent that clearly revel in Sorkin's world.


23 August 2007
More4, 10.00 pm

STUDIO 60 ON THE SUNSET STRIP 1.4 - "The West Coast Delay"

Writers: Aaron Sorkin & Mark Goffman
Director: Timothy Busfield

Cast: Sarah Paulson (Harriet Hayes), Timothy Busfield (Cal), D.L. Hughley (Simon Stiles), Matthew Perry (Matt Albie), Nathan Corddry (Tom Jeter), Bradley Whitford (Danny Tripp), Amanda Peet (Jordan McDeere), Nate Torrence (Dylan), Camille Chen (Samantha), Lucy Davis (Lucy), Diana-Maria Riva (Lilly), Ayda Field (Jeanie Whatley), Merritt Wever (Suzanne), Fred Stoller (Lenny Gold), Amita Balla (Antonia), William Stanford Davis (Floor Manager), Amy Honey (P.A. #1), Jah Shams (P.A. #2), Michael Hyatt (Maisie), John Cabrera (Elliot), Wendle Josepher (Deb), Staci B. Flood (Staci), Karla Andrade (Karla), Kasey Campbell (Kasey), Telisha Shaw (Telisha), Kelvin Yu (Kevin Yu), Edward Sears (Darren Wells), Amir Talai (Fred), Chris Hogan (Hal), John Ennis (Denny), Christine Lahti (Martha O'Dell) & Cyia Batten (Wendy)

Harriet gives Matt a gift she once received from a fan, Jordan gives a journalist behind-the-scenes access to the show, and Studio 60 attempts to recover from 90-seconds of questionable material...

The dilemma-of-the-week for episode 4 concerns a writer submitting material for a news sketch that is apparently plagiarized. As a studio lackey comments; for a writer, being called a plagiarist is like being called a sex offender.

It's. That. Serious. Okay?

Before more enjoyable moments of controlled chaos, Studio 60 develops the increasing antagonism between writer Matt (Matthew Perry, growing increasingly Chandler-esque) and star Harriet (Sarah Paulson, who can do a passable Juliette Lewis impersonation.)

Here, Harriet makes the mistake of giving Matt a baseball bat signed by a famous pitcher, to say "well done" for Studio 60's great start in the ratings. Unfortunately, it's a gift that was intended for her specifically, as a phone number scrawled on the handle attests. Matt isn't happy. Cue another ex-lover's tiff, delivered whilst walking through sets, or around that metal spiral staircase.

If my tone is getting sillier with Studio 60, it's not because I hate the show. I enjoy it for the moments of wit and intelligence, but find plenty of misplaced humour in its premise and every character's belief that their show's success is what keeps the planet spinning. Anyway, cutting through the narrative guff and dialogue so razor-sharp it couldn't come from the spontaneous minds of real people, The West Coast Delay finally gets to its point: plagiarism.

The brown stuff hits the fan when a few gags written to plug a 90-second gap in the show are revealed to have been told by a comedian over a year ago. Oops. This causes a "panic meltdown" when Matt is appraised of the situation by Danny (Bradley Whitford), in scenes written as if Matt were the President being told terrorists had just nuked New York.

It's. That. Serious. Okay?

Cue all kinds of flapping and behind-the-scenes tension as the Studio 60 crew prepare to intercept the recorded showing for the West Coast audience 3 hours later. Curse those American time-zones! Commander-In-Chief Matt has a daring plan... but he needs up-to-the-minute cricket scores, dammit! Oh, and $20 bills to bribe street performers, prostitutes and some Hell's Angels to become a new live audience, as they apologize and shoehorn in new jokes.

I'm sure writer Aaron Sorkin (co-writing this episode with Mark Goffman) knows how silly American TV can be. There are lots of scenes that knowingly wink at the audience, give in to TV stereotypes (a writer's table crammed with more Starbucks styrofoam than ideas), or are meant to be pure silliness (Matt smashing his office window with his bat), and it works well enough.

It only seems awkward when Sorkin seems to get flashbacks to his days on The West Wing and imbues the show with so much pomp and seriousness, you're not sure if he's joking now. Should we be worried Studio 60 may have broadcast 90-seconds of plagiarized material? That's almost two-minutes, people! Again, from a UK perspective, it all seems like overkill.

I often hear jokes on TV that are copied, or similar to existing jokes. Comedy is endlessly recycling itself, really. When it's word-for-word, there's definitely copyright infringement going on, but... would you go to such lengths to "patch over" the problem like they do here? Or just take the hit. I mean, the mistake has already been broadcast to millions of people on the East Coast, hasn't it?

Of course, the Plagiarism Dilemma is solved when the definitive origin of the offending gag is traced back to their staff writer who submitted it... begging the question, why didn't they just ask him if he stole it? That would have saved a lot of aggravation... and an hour of my time.

Overall, I may be getting a slight kick from slating Studio 60's ridiculous nature and tone. But it's not all silly nonsense. There's a palpable sense of comradeship and the actors are all brilliant at wrapping their tongues around Sorkin's rat-a-tat prose. A new subplot with a Vanity Fair reporter getting behind-the-scenes access should also provide more BIG DILEMMAS in a later episode... when her article inevitably digs the dirt on everyone. What will Matt, Danny and saucer-eyed President Jordan do?

Whatever they do, you can guaranteed they'll treat it with total, stern seriousness. Working in comedy isn't about smiling and having fun, remember?

It's. Serious. Shit.


16 August 2007
More4, 10.00 pm

STUDIO 60 ON THE SUNSET STRIP 1.3 - "The Focus Group"

Writer: Aaron Sorkin
Director: Christopher Misiano

Cast: Matthew Perry (Matt Albie), Bradley Whitford (Danny Tripp), Amanda Peet (Jordan McDeere), D.L. Hughley (Simon Stiles), Nathan Corddry (Tom Jeter), Sarah Paulson (Harriet Hayes), Steven Weber (Jack Rudolph), Timothy Busfield (Cal), Ayda Field (Jeannie Whatley), Simon Helberg (Alex Dwyer), Lucy Davis (Lucy), Nate Torrence (Dylan Killington), Camille Chen (Samantha Li), Bayani Ison (Concerge), Wendy Phillips (Shelly), John Ennis (Denny), Rob Reiner (Himself), Rob Nagle (Focus Group Moderator), Mircea Monroe (Crystal), Michael Hyatt (Maisie), Tom Ayers (Participant), Kirstin Pierce (Marilyn Rudolph), Nathan Dana Aldrich (Fan), William Stanford Davis (Floor Manager) & John Carpenter (Herb Shelton)

A scare arrives from the results of a focus group, showing Studio 60's ratings success might be shortlived...

It's clear that Studio 60 is going to split audiences. Some will find its good-looking cast, slick production and polished dialogue an irresistable cocktail of showbiz drama. Others will just giggle at how seriously its characters take running a sketch show (that's not even on during primetime), and balk at how overpaid and spoiled everyone is.

It seems that every episode is going to showcase an element of US television production; we've had "the cold open", so now it's the turn of "focus groups". The episode opens on a presentation room, full of people twiddling dials and staring at a screen, unwittingly being spied on by some suits behind a two-way glass window. You'd be forgiven for thinking this was a FBI procedure, or some kind of secret experiment... but, no... it's all to determine audience reaction to the first episode of Studio 60. The focus group.

Such clinical seriousness for frivolous entertainment isn't really the target here, which is unfortunate. The characters all seem to dislike the focus group aspect of TV production, more for its ability to unnerve and disillusion performers than anything else. Nobody really kicks up a fuss about creativity being manipulated and the balls of comedy being cut off by conservative morons twisting a dial. For Brits, that seems to be the natural angle to go down. But Sorkin plays things quite straight; refusing to consider the process is anything but a slight disruption to morale.

Already, Studio 60 is clearly playing to a different audience here in the UK. A quick glance through some US reviews for The Focus Group show a lot of adoration, but I just can't take it seriously. It actually annoys me that the characters of Studio 60 treat comedy so coldly at times; it's a job to be done because they have execs breathing down their necks, not for the love of it.

The culture is just such a mirror opposite in Britain, where Monty Python worked because it was five guys trying to make each other laugh in a room. Did the BBC care that the show would be "too wacky" for certain demographics? No. Decades later, The Office became a global phenomenon purely on the merits of two men's belief in a "docu-comedy" that was ignored at first. The only British sitcom that is anywhere near the US mentality is My Family (created by an American), and it's snubbed by the comedy fraternity here.

Matt (Matthew Perry) is the show's lauded head writer and, while his professionalism and enthusiasm is great, you never get the sense that he just loves making people laugh. Surely that's the reason anyone would get into comedy? Likewise Danny (Bradley Whitford), with both men mainly using their wit to battle corporate interference and flirt with network president Jordan McDeere (Amanda Peet) or star Harriet (Sarah Paulson).

The thing is, while I wrankle at the nature of Studio 60's conception, it's more a reaction to real-life US culture. I can believe that it's an accurate pastiche of Saturday Night Live's behind-the-scenes goings-on, and it makes me cringe how comedians take themselves so seriously in America with all that self-congratulary bullshit.

Does anyone else want to punch the screen when the SNL (and S60) cast hug and kiss each other at the end of episodes? They seem to think they've just delivered a cancer cure to the nation, not starred in a series of weak sketches like "Science Schmience"!

But, despite irritations, there is something very watchable about Studio 60. The acting perfectly serves the material and the dialogue is never without sparkle. Aaron Sorkin knows how to construct scenes and make an episode flow. It's not his fault late-night sketch shows take themselves too seriously and survive on corporate approval; but it's a shame he's not doing more to show how ridiculous the culture is.

The Focus Group just didn't work for me, as it's becoming clear I have nothing in common with these people. They're comedy performers/writers that act like slaves to a system, yet are happy to quaff champagne at glitzy after-show parties instead of give viewers some originality. Seriously, the Studio 60/SNL format hasn't changed since the 70s!

Oh, and would teenaged girls really clamour for the autograph of a show's executive producer? Would they?

Only in America.


9 August 2007
More4, 10.00 pm

STUDIO 60 ON THE SUNSET STRIP 1.2 - "The Cold Open"

2 August 2007 - More 4, 10.00 pm
WRITER: Aaron Sorkin DIRECTOR: Thomas Schlamme
CAST: Amanda Peet (Jordan McDeere), Timothy Busfield (Cal), Steven Weber (Jack Rudolph), Sarah Paulson (Harriet Hayes), Nathan Corddry (Tom Jeter), Michael Stuhlberg (Jerry Jones), Matthew Perry (Matt Albie), D.L Hughley (Simon Stiles), Bradley Whitford (Danny Tripp), Camille Chen (Samantha Li), Nate Torrence (Dylan), Diana-Maria Riva (Lily), Merritt Wever (Suzanne), Simon Helberg (Alex), Ayda Field (Jeannie Whatley), Bill Escudier (Mitch), Robin Karfo (Gail Winslow), Parissa Fitz- Henley (Celia), Ursula Garcia-Schmidt (Veronica), Edward Stanley (Martin), Jane Yamamoto (TV Reporter), Mark Edward Smith (Joe Reardon), John Carpenter (Herb Shelton), Bob Jesser (Bill), Terry Urdang (Terri Walters), Amir Talai (Fred), Ben Murphy (Louis), Chris Hogan (Hal), John Ennis (Denny), John Cabrera (Elliot), John Mauceri (Himself), Margaret Easley (Constance Gower) & Wendy Phillips (Shelly)

Matt and Danny try not to crumble under the pressure of putting on their first big show, as complaints over the "Crazy Christians" sketch reach a high...

A problem facing Studio 60, from a British perspective, is that the cutthroat world of television doesn't really translate for us. We can accept that in America, the stakes are high, a fortune is spent on shows, and the advertisers drive the multi-million dollar machine, but it's not really part of our culture. In the UK, the people pay for the BBC and our commercial channels are nowhere near as slavish to the needs of its advertisers.

Therefore, it's a little difficult to care about the ups-and-downs of a fictional TV show. Writer Aaron Sorkin is giving Studio 60 the same sense of drama he employed in The West Wing, but this isn't the White House. It's just a late-night sketch show. I'm aware Saturday Night Live (of which this show is a pastiche) occupies a special place in American TV culture, but... at the end of the day... it's just a late-night sketch show. The characters rush about as if Friday's show is the climax to a NASA countdown! While it's enjoyable to watch, it all seems a bit silly through the eyes of a Brit.

The Cold Open concerns Danny and Matt's first show as executive producers, in the wake of last week's on-air rant. The episode's title is a term for a show beginning before any titles, and is something Matt (Matthew Perry) likes to get written beforehand, so the rest of the show slots into place. Faced with an empty schedule board and a countdown clock (told you it was NASA-like), Matt and partner Danny (Bradley Whitford) struggle to get 90 minutes of material written in just a few days...

It appears that a controversial sketch about "Crazy Christians" is going to inform the season, as it was the catalyst for the on-air meltdown last week, and it's mentioned here during a press conference. Interestingly, religious magazine Rapture threaten to boycott the show if it makes it to air -- and they have a readership that dwarfs Vanity Fair! It's interesting stuff, but laughable from a British viewpoint. Religious groups here are usually ignored and hold no sway over UK television content. In fact, numerous channels would actually court such controversy to boost ratings and profile.

However, while the premise is littered with ideas that make little dramatic impact on British viewers, Studio 60 is a welcome slice of slick entertainment. Aaron Sorkin's dialogue is great to listen to, even if his world is populated by people far more coherent and witty than anyone in real life! Sorkin's famous "walk and talk" scenes remain, which are amusing oddities in themselves. One moment, when Sunset 60 starlet Harriet (Sarah Paulson) interrupts Matt during a writer's meeting, forces him to leave the room... and, once out, even he can't resist going on a pointless walk up the corridor! Can nobody stay still on this show?

I also like all the actors involved. Yes, all of them. There's usually an annoying character in ensembles, or an actor you dislike, but the casting on Studio 60 is top-notch. They're mostly unfamiliar faces to me, except for Friends' Matthew Perry, Sarah Paulson (American Gothic's Merly, remember?) and Steven Weber. This anonymity helps immensely, as you feel you're getting to know a genuine group of co-workers, not watching well-known actors pretend to be behind-the-scenes crew.

In summation, Studio 60 takes another firm step with its second episode. It may seem ridiculous how seriously the characters take a sketch show, but you can accept it and just enjoy the sparkling dialogue and enjoyable performances from the talented cast. I still have reservations about Aaron Sorkin's sketch comedy writing abilities, though...

STUDIO 60 ON THE SUNSET STRIP 1.1 - "Pilot"

26 July 2007 - More4, 9.00 pm
WRITER: Aaron Sorkin DIRECTOR: Thomas Schlamme
CAST: Steven Weber (Jack Rudolph), Timothy Busfield (Cal), Sarah Paulson (Harriet Hayes), Nathan Corddry (Tom Jeter), Matthew Perry (Matt Albie), D.L. Hughley (Simon Stiles), Bradley Whitford (Danny Tripp), Amanda Peet (Jordan McDeere), Merritt Wever (Suzanne), Nate Torrence (Dylan), Simon Helberg (Alex Anderson), Edward Asner (Wilson White), Anna Goldman (Self), Rod Tate (Security Man #1), Kate Bayley (Shelly's Assistant), Josh Phillips (MC), Josh Weinstein (Michael), Vernee Watson-Johnson (Zelma), Clement Blake (Floor Manager), Anthony Friedman (Alan), Dilva Henry (Monitor Reporter #4), Shaun Cherise Robinson (Monitor Reporter #3), Glen Walker (Monitor Reporter #2), Dave Clark (Monitor Reporter #1), Jennifer Pennington (Control Room Assistant), Judd Hirsch (Wes Mendell), Three 6 Mafia (Special Musical Appearance), Wendy Phillips (Shelly), Mandy Siegfried (Julie), Michael Mantel (Howard), Jah Shams (Production Assistant # 2), Kirstin Pierce (Marilyn Rudolph), Jayma Mays (Daphne), Kris Murphy (Karen), Emiko Parise (Assistant Producer), John Carpenter (Herb Shelton), Donna Murphy (Blair), Felicity Huffman (Herself) & Michael Stuhlberg (Jerry Jones)

Sketch show "Studio 60" is close to cancellation, particularly after its Executive Producer has an on-air meltdown, so hotshot writers Danny Tripp and Matt Albie are quickly hired to save the show...

Aaron Sorkin is the man behind The West Wing, a celebrated writer with a gift for crackling dialogue. He also wrote A Few Good Men, so anyone who penned Jack Nicholson's "you can't handle the truth!" monolgue deserves special kudos.

Studio 60 On The Sunset Strip is Sorkin's latest TV project, following his departure from The West Wing during its fourth season in 2003. The West Wing was a political drama set in the White House and Studio 60 has broad similarities, with its "politics" now transferred to a TV studio. Again, Sorkin's ear for dialogue is the main reason to watch, with a handful of brilliant speeches and witty come-backs peppered throughout.

The Pilot concerns the eponymous show (a parody of Saturday Night Live) facing desperate times. In the opening ten minutes, Studio 60's creator, Wes Mendell (a superb Judd Hirsch), clashes with a censor over a controversial sketch and proceeds to have an on-air "mental breakdown", interrupting the live show and unleashing vitriol on TV entertainment to the millions watching at home.

Mendell's jaw-dropping folly leads to intense activity behind-the-scenes, involving new Network President Jordan McDeere (a sublime Amanda Peet) and hardnosed NBS Chairman-of-the-board Jack Rudolph (Steven Webber). Jordan, the dictionary definition of a capable businesswoman with a slick wit, later persuades Jack to hire two new showrunners to "save the show" and help manipulate the controversy...

Enter recovering drug-addict Danny Tripp (Bradley Whitford) and former Studio 60 staffwriter Matt Albie (Matthew Perry), two "golden boys" of television writing who were unceremoniously fired by Jack four years ago.

The meat of the episode sets up the desperate situation at the fictional Network Broadcasting System (NBS), whilst introducing some of the series' main players. They also include "the big three" performers of Studio 60; Matt's religious ex-girlfriend Harriet Hayes (a terrific Sarah Paulson), Tom Jeter (Nate Corddry) and Simon Stiles (D.L Hughley).

While Sorkin's script is the star, it would be nothing without the ensemble he's managed to pull together. There isn't a duff note with any of them, and the main players are introduced with great skill as fully-formed people. I particularly loved Amanda Peet's performance as Jordan McDeere, but Matthew Perry is also great as Matt Albie; another talented performer who has finally escaped overated sitcom Friends, along with Courtney Cox. Bradley Whitford is a new face for me as Danny, but he also shows similar shine and assuredness.

I'm no expert when it comes to running a big TV show, but the atmosphere and personalities seemed to have a ring of truth about them. I'm sure things are exaggerated for comic and dramatic effect, but it does look like a plausible look at a showbiz underbelly. It certainly has more substance than style thanks to Sorkin.

That said, there were a few niggles throughout the episode. I wasn't convinced by the plan to immediately hire two new showrunners in the wake of the on-air disaster. We're led to believe that Studio 60 is a show way past its prime (a fact that fuels Wendell's "meltdown"), so why didn't someone just hire Matt and Danny months ago to sort it out? Why will they have better success, anyway? It looked like Wendell was an intelligent man who knew comedy... but he was just usurped by Standards & Practices at every corner. Surely Matt and Danny will face the same obstacles?

I also didn't click with me that Harriet, Tom and Simon were big name stars of the show, as nothing from the actual show was shown. It might have been nice to glimpse "the big three" comedians in action, so we can identify them as being Studio 60's artistic heartbeat. They just resembled producers most of the time.

Overall though, Studio 60 On The Sunset Strip offered a great opening episode, packed with wit, some great performances and an intriguing plot mechanism. It will certainly be interesting to see how the rest of the series develops with the "new blood" in charge, and I look forward to more digs at the often-humourless Saturday Night Live sketches.

Of course, in the US, Studio 60 is very likely to be cancelled following poor ratings -- which is a crying shame. However, Aaron Sorkin only planned two seasons, so we'll be fortunate just to see 50% of his vision.