Studio 60 on the Sunset Strip - Season 1

Archived review. I had this to say about the pilot (and should probably be looking for a new set of intestines right about now!):
Abbreviations aren't common round these here parts, but now it's a necessity. I think my wrists would be strained too much if I didn't condense The West Wing into WW. Studio 60 on the Sunset Strip is essentially its spiritual successor, transferring the trademark wit, strong clever characters and compelling behind-the-scenes scenarios from the White House to a Saturday Night Live - type entertainment show. NBC is hoping for a repeat of WW's initial fortunes, and after seeing the pilot episode I'm compelled to say that this seems more than possible.

It's hard not to be impressed by the amount of talent behind this show. Another brainchild of WW collaborators Aaron Sorkin (whose departure that series never recovered from) and Thomas Schlamme (promoter of the infamous ‘walk-and-talk’ style of filming), the pilot reeks of their touch, from the opening one-shot reveal of the studio to the final sentimental lines spoken to the background music of "Under Pressure". There's also several WW alumni in front of the camera, not only stars Matthew Perry and Bradley Whitford (more on them later), but Timothy Busfield whose role as journalist Danny in WW was perhaps that series' greatest non-regular role.

The plot? After Studio 60...'s executive producer rants live on TV about the state of modern TV, it's up to the new President of the fictional network NBS (a nice addition that will allow NBC to let the show be a bit more risque) to pick up the pieces. She decides a radical change is needed, and drafts in controversial writer Matt (Perry) and director Danny (Whitford) to take over the show. To use comics slang, it's nice that this show gets an origin story from the get-go (one of the most frustrating absences from the first season of WW) and also great that it's much more accessible than WW's often confusing American politics. Hell, after just two viewings of this pilot, I already feel like I've grasped the entire situation and dynamics of all the ensemble characters, and am certainly keen to see what happens next.

As for casting, it's a mostly excellent ensemble. Whitford is essentially Josh Lyman again in all but name, and WW proved that a character like that can go the distance. But it's Perry who steals the show for the pilot; He has just as much heart and can turn a damn fine dramatic performance, but it's the overly-medicated subplot that allows him to bring out the Chandler and get the laughs right where they're needed. Amanda Peet plays Jordan as 'nasty network executive with a surprisingly nice streak'. I haven't warmed to her just yet, but she certainly has potential. Some of the smaller roles, such as nice-guy controller Cal (Busfield) and Christian-but-not-preachy cast member Harriet (the magnificent Sarah Paulson) shine almost as brightly as the major ones. In fact, it's probably Harriet who gets the best line in the pilot, as she responds to a drunken no-goer making a God jibe with, "You had [just] two lines tonight, and you stepped on one of them. So until you either accept Jesus Christ as your personal saviour or make someone laugh, why don't you talk to somebody else?"

I'm prepared to bet my small and large intestines that there's no way this show will fail. It's a winning formula with a large amount of talent. I've seen only one episode, and it's probably already my favourite show of America's new season (and given that the only competition is Battlestar Galactica, it's certainly my favourite non-genre show!)

The following was written after the midseason finale ‘The Christmas Show’:
Oh dear. I reviewed the premiere a few months back with enthusiasm and delight. The second episode was even better. Then things went a bit pear-shaped. Sorkin just couldn't stop himself from teaching the viewers morality lessons and showing the inherent goodness of all mankind. Even the show's resident bastard, network chairman Jack Rudolph, has already revealed his heart of gold in "The Christmas Episode". Where's the sniping? Where's the non-love? The show has suffered from other problems, not least of them being the "what's the point?" issue. The White House is and should be a hotbed for the latest political and religious issues facing modern society. A television studio shouldn't be; It should be where they make television. OK, I'm being a bit harsh, and in all fairness the most recent few episodes have returned to the 'making a comedy show' aspect that should have always been at the forefront. Viewing figures have not been great and the future of the show is in question. This is a shame as with Sorkin wielding the pen and stalwarts such as Bradley Whitford, Matthew Perry and Sarah Paulson in front of the camera, this show is one of the most well-written and well-acted out there. Sadly Sorkin's already had his chance; Even if the show returns in January to kick some ass like The West Wing did in its heyday, viewers have already passed up on it and the harsh American network environment won't continue a show that's doing poorly. It has only avoided cancellation so far by virtue of the vast amounts of money NBC has already invested in it. Fingers crossed, both for an increase in quality and quantity.

And after the season (and indeed, series) finale:
I just watched the finale for the Aaron Sorkin-written, Matthew Perry/Bradley Whitford-starring topical drama and I'm in mourning. Not because it was an amazing series (it wasn't) or because there were too many loose ends left (there weren't), but because it seemed like the kind of show that would find its creative feet eventually. Sadly, this never happened in the first and only season. Sorkin started off by writing The West Wing: The TV Studio Years, keeping the same political banter but relocating the corridors that everyone would walk-and-talk down each episode. This worked only partially, because the issues seemed much more forced and viewers were left to wonder why these characters, whose job unlike WW is not saving the world, should care about it so much. Sorkin (and the network, presumably) realised these flaws and when the show returned in January it had magically transformed into a romantic comedy, spending much more focus on rather rushed relationships (two major characters go from single to engaged and with a child in just 10 episodes) that, again, viewers had not spent enough time to be invested in. This was the show's worst phase and ironically only recovered from this slump once all was lost; Sorkin pulled out all the stops for the final four episodes even though he knew the show was long dead. Crisis upon crisis emerge, and the plotlines are all excessive in their ridiculousness, but the politics return and the dialogue sparkles once more - it was just like watching WW 7 years ago.
It's a great shame this show didn't work. It was in fact one of the best-written, best-acted and best-directed TV shows of the year, with possibly both the best pilot episode and best finale of the year, yet the concept was so fundamentally flawed there was no way it could survive. I really hope this disaster doesn't dissuade Sorkin (and associated acting/directing friends) from attempting a series once again, he just needs to pick his next project much more carefully.