Studio 60 on the Sunset Strip
Watched, last night, the pilot episode of Aaron Sorkin's new NBC drama Studio 60 on the Sunset Strip. It hasn't aired yet but I've got connections that get me certain things such as these well in advance of their actual air-date.
(Smug satisfaction... wary glance... shoulders slump in resignation)
Okay, fine, I got it through Netflix. They're doing some sort of promotion thing with the network, pimping out pilots on DVD to drum up interest in the new Fall line-up.
Anyway, it was still exciting because Sorkin is one of my... well, I don't want to say "idols" because that makes it sound like I've got a statue of him cast in bronze tucked away in my closet. I also don't want to use the word "hero," because that makes me sound like I'm twelve. I do admire the man a great deal, that's for sure; he's arguably the best writer working in Hollywood today and I'd personally put him on the short list for All Time Greats. The stories he creates are fraught with drama and tight plotting, true, but it's his dialogue that earns him all the gold stars and thumbs-ups that can possibly be chucked at someone. He writes dialogue with a distinct rhythm that's uniquely him; he creates his own verbal jazz that's instantly recognizable. All of his work bears his signature patterned patois (A Few Good Men, The West Wing, etc.) but it's most present in his short-lived mini-masterpiece Sports Night, which is basically a two-season long lesson on how to write words for actors to speak. The series, despite it's unpopularity and quick network death, is available on DVD and if you haven't seen it, I hate you until you have.
Anyway, I'll stop licking the man's neck now. He's great, so says me; you get it.
So how's his new show?
Judging by the pilot, it's going to be vintage Sorkin. His dialogue is certainly there, though much more in it's serious West Wing-ish incarnation. That is to say, it's less rapid-fire, more grounded and with the quirkiness dialed down to a realistic level. Which isn't a bad thing. Sports Night, while brilliant, isn't at all a reflection of how people actually talk. It's mannered and theatrical; a less-testosteroned version of David Mamet's style. In West Wing and in his movies, it's tethered to reality with a bit more strength and that certainly seems to be the case with Studio 60.
As is his wont, it's another ensemble piece, this time concerning the behind the scenes going-ons of a very SNL-ish late night comedy show. As always, he's loaded the deck with actors that aren't hugely famous (save for one), but are talented as all get out. The stand-outs, at least in the pilot, are Matthew Perry and Bradley Whitford as the two halves of a writing/directing duo, respectively; the former going a long way to put Friends behind him with some solidly meaty acting and the latter, fresh off of Sorkin's own West Wing, settling into his part like it was his own comfy bed. Amanda Peet, whom I've never really liked (mostly because she seems to only do shitty movies) is great in this as well, already owning her part as the new studio chief.
The rest of the cast seems great too, but we don't get a lot of them this go around, as there's only so much story you can tell in 45 minutes.
Overall, I'm optimistic. I think the only real issue this show is going to face is dramatic mileage. That is to say, how much drama can be rung out of it's premise; I'll be the first to admit that I could have, up until this show came around, given a crap about what goes on behind the scenes at SNL.
But I have faith in the man. My not-an-Idol, my not-a-Hero. He hasn't let me down before and there's no reason to think he will this time. But, as with everything in life and on television, we'll just have to wait and see.
(Smug satisfaction... wary glance... shoulders slump in resignation)
Okay, fine, I got it through Netflix. They're doing some sort of promotion thing with the network, pimping out pilots on DVD to drum up interest in the new Fall line-up.
Anyway, it was still exciting because Sorkin is one of my... well, I don't want to say "idols" because that makes it sound like I've got a statue of him cast in bronze tucked away in my closet. I also don't want to use the word "hero," because that makes me sound like I'm twelve. I do admire the man a great deal, that's for sure; he's arguably the best writer working in Hollywood today and I'd personally put him on the short list for All Time Greats. The stories he creates are fraught with drama and tight plotting, true, but it's his dialogue that earns him all the gold stars and thumbs-ups that can possibly be chucked at someone. He writes dialogue with a distinct rhythm that's uniquely him; he creates his own verbal jazz that's instantly recognizable. All of his work bears his signature patterned patois (A Few Good Men, The West Wing, etc.) but it's most present in his short-lived mini-masterpiece Sports Night, which is basically a two-season long lesson on how to write words for actors to speak. The series, despite it's unpopularity and quick network death, is available on DVD and if you haven't seen it, I hate you until you have.
Anyway, I'll stop licking the man's neck now. He's great, so says me; you get it.
So how's his new show?
Judging by the pilot, it's going to be vintage Sorkin. His dialogue is certainly there, though much more in it's serious West Wing-ish incarnation. That is to say, it's less rapid-fire, more grounded and with the quirkiness dialed down to a realistic level. Which isn't a bad thing. Sports Night, while brilliant, isn't at all a reflection of how people actually talk. It's mannered and theatrical; a less-testosteroned version of David Mamet's style. In West Wing and in his movies, it's tethered to reality with a bit more strength and that certainly seems to be the case with Studio 60.
As is his wont, it's another ensemble piece, this time concerning the behind the scenes going-ons of a very SNL-ish late night comedy show. As always, he's loaded the deck with actors that aren't hugely famous (save for one), but are talented as all get out. The stand-outs, at least in the pilot, are Matthew Perry and Bradley Whitford as the two halves of a writing/directing duo, respectively; the former going a long way to put Friends behind him with some solidly meaty acting and the latter, fresh off of Sorkin's own West Wing, settling into his part like it was his own comfy bed. Amanda Peet, whom I've never really liked (mostly because she seems to only do shitty movies) is great in this as well, already owning her part as the new studio chief.
The rest of the cast seems great too, but we don't get a lot of them this go around, as there's only so much story you can tell in 45 minutes.
Overall, I'm optimistic. I think the only real issue this show is going to face is dramatic mileage. That is to say, how much drama can be rung out of it's premise; I'll be the first to admit that I could have, up until this show came around, given a crap about what goes on behind the scenes at SNL.
But I have faith in the man. My not-an-Idol, my not-a-Hero. He hasn't let me down before and there's no reason to think he will this time. But, as with everything in life and on television, we'll just have to wait and see.
posted by Clinton at 9:33 AM
2 Comments:
Gorramit, I thought I'd be the first to write about Sorkin's new show. I almost did.
You can read this almost article here:
hmmb://mmm.truwebshirt.moc/awkward-title-w/-lots-o'-hyphens.hbmq
Anyway, glad to hear the new show's pilot isn't Balls A La Mode.
It's ok. You can admit that Sorkin is a god. Anyone who has half a brain in his head will agree with you and maybe even help you start a new religion.
And Amanda Peet hasn't done only shitty movies. Igby Goes Down. Was pretty darn good. Not cinematic genius, but definitely not shitty.
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