Tag: Studio 60 on the Sunset Strip

“Studio 60”: Post-Mortem Commentary

When NBC announced their fall line-up a few weeks ago, it was no surprise that Studio 60 wasn’t among the returning programs. The flailing Aaron Sorkin vehicle had been touted to be one of the must-see shows of the 06/07 roster, but ended up not only with weak viewership, but critical dis-acclaim for reasons I’ve touched on before.

Though they axed it, the network decided to show the unaired episodes starting May 24 that were originally shelved. After watching both “The Disaster Show” and “Breaking News,” I think NBC made the right decision in pulling the plug – the quality really was heading down the tubes.

Something about Studio 60 just didn’t feel right, or as right as its West Wing predecessor. Whether it was the casting (Kari Matchett as an Ainsley Hayes/Amy Gardner hybrid last episode just didn’t work for me), the political situations (the abduction of Tom’s brother in Afghanistan felt hollow; Justin Walker’s redeployment to Iraq in Brothers & Sisters had a stronger resonance), or the storylines (the B-plot about the importance of ratings was exhausting to follow), the show had degenerated into an all-out vanity project for Aaron Sorkin.

The show did have its moments (Allison Janney as herself, and Sarah Paulson was a light throughout), but I’m of the opinion that Studio 60 had to die in favor of better projects Sorkin has yet to dream up.

“Studio 60” Reprieve

I was getting ready to write a post titled “In Memoriam: Studio 60” when NBC officially granted the flailing drama a full season on Thursday.

I loved Aaron Sorkin’s previous effort, The West Wing. I quote the show incessantly, compare moments in real life to scenes in an episode, and talk about the characters as if they were actual people. But that’s it – the world Sorkin created was so rich, so palpable, and so true that it’d be a wonder if the audience wasn’t affected in such a way. The characters were three-dimensional, not stock in any sense, and developed gradually over time. Moreover, the political forum was a medium that allowed issues to be brought up and debated, so education ended up an appropriate and inadvertent byproduct of the show.

By contrast, Studio 60 on the Sunset Strip seems to be on a mission to force the viewers to not only like the characters, but also to bow down to high-brow television too. The show’s “Big Three” are part-stereotype, part-political touchstone: Harriet is the liberal Christian entertainer, with values that continuously conflict with Hollywood expectations; Simon is the black comic who grew up in the ‘hood, with interest for equal representation behind the scenes; and Tom is the young actor from the Midwest with a brother in Afghanistan and parents who don’t understand his career decision. Critics and the general public alike have chastised the show for being too pushy and pedantic, overindulgent in its adoration for itself. Who really cares about the ratings of a sketch-comedy show, or whether or not a politically incorrect piece makes it on air? Whereas West Wing‘s POTUS dealt with an assassination attempt, impeachment, genocide and terrorism, NBS network chief Jordan McDeere frets over censors, negative publicity, and signing the next bit hit.

Despite my criticism, it hasn’t been all bad. My favorite scene so far is a tender moment between Matt and Harriet, the show’s will-they-or-won’t-they couple, underscored by a lute version of Sting’s “Fields of Gold.” Lovely.

I will continue to watch simply because it’s Sorkin. However, I do hope that the talk about the show coming down from its pedestal is true – Studio 60‘s longevity depends on it.