Sorkin bites hand that feeds him in 'Studio 60 on the Sunset Strip'
By Alissa Ponchione, Staff Writer
October 3, 2006 | 4:39 p.m.
Aaron Sorkin’s much buzzed about show “Studio 60 on the Sunset Strip” premiered Monday night on NBC at 10 p.m. And with Sorkin’s tongue sharpened, he unleashes his scathing repartee on the masses once again.
The opening scene of the fledgling satire show-writing-the-show, “Studio 60 on the Sunset Strip,” has been on a fast descent to the land of unfunny. The senior writer of the show, Wes Mendell (Judd Hirsch) can’t take it anymore after a skit that is provocative and funny is cut for its potential backlash from the Christian right.
Because of this, he has a mental breakdown on live television. He chastises the television networks for going for less smart material and opting for reality shows about eating worms. He berates commerce over art.
In a desperate attempt to save the show and the fictional network NBS (National Broadcasting System), the new network president, Jordan McDeere (Amanda Peet) fires Wes and rehires the superior senior writing/executive producers of Matt Albie (Matthew Perry) and recovering-cocaine addict Danny Tripp (Bradley Whitford) after Jack Rudolph (Steven Weber) fired them four years earlier.
We find out Matt’s ex-girlfriend Harriet Hayes (Sarah Paulson) is a cast member on the fictional “Studio 60 on the Sunset Strip.” They just broke up over her devoutly Christian beliefs specifically her appearance on the “700 Club.” Paulson’s performance has a subtle sadness that makes her character complex and compelling.
Sorkin can be called many things, but disloyal isn’t one of them. He’s a man fixated on his muses. “The West Wing’s” Bradley Whitford, Timothy Busfield and Matthew Perry are all cast in prominent roles. And in the pilot episode, Sorkin relies on his amulet, Felicity Huffman who guest stars as herself.
In a twist, we learn that Matt wrote the skit “Crazy Christians” four years ago on the eve of his firing.
As each character develops, Peet’s role provides the most ambiguity. Her portrayal of Jordan is oddly confusing as the audience either loves her as an angelic opportunist out to take risks to save the network or hates her as a cunning, scandal-wielding executive who feeds off controversy for high ratings.
Sorkin’s life is epitomized in the storyline of the show as the line between fiction and nonfiction is blurred. Sorkin was fired from the “West Wing” in its fourth year, and to some critics, it was never as good after his departure. Danny’s cocaine use mimics Sorkin’s own drug-laden past. Sorkin also dated a cast member of “The West Wing” before their bitter breakup.
The Sorkian drama’s signature style of his walking fast-paced, witty dialogue is a welcome return to prime time TV. Its superiority allows the viewer to feel intellectually stimulated just by being able to keep up with his holier-than-thou rhetoric.
Sorkin doesn’t stray from ripping apart the network that feeds him, and maybe NBC should be praised for allowing such scathing commentary about the state of television program run rampant on a show that is berating networks for failing the viewers and “the craft.”
The only complaint with “Studio 60” is that Sorkin can push the line farther. In the pilot episode, he’s testing the waters, but he has room to make his statement and be bold with it. The ironic thing is that NBC won’t cancel a hit even if it’s making fun of their executive decisions.
As Wes rants and raves about the pitfalls of the television industry, he tells the viewer the remote in our hand is a crack pipe. It’s just like Sorkin to transcend basic dramatic rules and tell us we’re all addicted to something. And, undoubtedly an addiction to this show is inevitable.