The rant from Will McAvoy in the first episode of The Newsroom remains a delicious gem. Maybe the people who loathed it — and there are many — did jeux de mots avec pierre so because it was “typical Sorkin” or dramatically manipulative. But I’m guessing it comes from the overuse that would follow in The Newsroom and the overuse that saturated Studio 60. What we learned from those shows was that Sorkin loved a monologue and a soapbox and intellectual showmanship. But the real lesson was that to make his very personalized style, which barely deviated from show to show, work for a third or a fourth time, it had to be set, thematically, in a perfect place. Both with Sorkin’s distinctive writing style and both — this is essential — able to sustain that style.
- This is the only sentence needed for the defense of supporting this being the final season.
- That is why Season 2 had a series finale feel to it.
- And then Don presented the tie to Sloan as reassurance that Charlie didn’t harbor any ill will against her either.
- I think the reason this show tanked with critics is because it takes direct aim at media journalists in multiple episodes.
- But, in the end, I suspect that the news as an institution is a little bruised and bloodied from Sorkin’s jabs.
- Will is fiercely loyal, protective and can be a bit of an ass.
Marcia Gay Harden was the epitome of allure and intellect in her guest turn, and few things on television in recent years were as glorious as Jane Fonda high as a kite preaching why she was going to stand behind her altruistic newsmakers. Then there’s Jeff Daniels, who knew a role of a lifetime when he saw it and dug into it with gusto and finesse. Critics will continue to deride the irresponsible way, according to them, that Sorkin writes women, especially after the many, many issues so many had with the arguments laid out in that campus rape episode. The hullaballoo over the female writer who came forward saying that her objections to the episode were ignored will be remembered. The trade-rag fodder over Sorkin’s hiring-and-firing practices in the writer’s room will be remembered.
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I’ve recorded seasons 1 and 2 and have watched them numerous times. I have purchased the first season and now wait for the second to be released. I can only agree with the previous comments in that if the creator of this brilliant series is unable to continue then I want him to know that I am thankful for his most recent creation, West Wing and Sports Night etc. The message put forth in The Newsroom is badly needed today.
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However with The Newsroom, it was different, fresh and from the very first episode was involving and I think it is pathetic for Sorkin to just let the characters go like that because he bored or has a lack of enthusiasm in the premise. HBO..pay him off and find someone to replace him..there are lots of Americans out here who could replace Sorkin and also enjoyed Will and parties battle with humanity. They’re not the ones writing comments on an Internet article about a show they don’t care about. Can’t believe Newsroom will be ending after it’s 3rd season. One of the best shows on TV and they are pulling the plug on it. ‘s news program, which was formerly based in Los Angeles and aired in the evenings, moved to mornings and New York City in January.
It features an ensemble cast including Jeff Daniels as anchor Will McAvoy who, together with his staff, sets out to put on a news show “in the face of corporate and commercial obstacles and their own personal entanglements”. Other cast members include Emily Mortimer, John Gallagher Jr., Alison Pill, Thomas Sadoski, Dev Patel, Olivia Munn, and Sam Waterston. The Newsroom is an American political drama television series created and principally written by Aaron Sorkin that premiered on HBO on June 24, 2012, and concluded on December 14, 2014, consisting of 25 episodes over three seasons. Not only that, but also Hollywood is full of actors who think they can write. I’ve done that, but you don’t do that with Aaron Sorkin.
I’ve been making movies and I’ve been hitting marks for 38 years. You look for new things to do and for new challenges that are still creative. Writing has always been of interest to me. It’s very difficult to do, and I like the challenge of that. I like the challenge of playing live in front of people without a band and having all the guitar players stare at your hands waiting for you to screw up and you don’t.
He’s the kind of celebrity musician who replies to individual tweets. “If you look on my Twitter feed, it’s always the same names popping up, and they become my friends,” he said. After one episode, one of this show, would have been canceled as there would be serious gaps in the script, with several key issues being explored in extreme detail.
The first season required a retooling of premise, and the second season was where the show stopped being about how Sorkin would have covered news stories if only he’d had a time machine. The hinted story is one of moral complexity and at least would have showed some fallibility on the part of the news team, some fallibility that frankly Sorkin hadn’t really been willing to demonstrate except in the context of telling a joke. The second is the further canonization of people who’d been overexalted to that point anyway. The show had to be retooled for the second season to stop doing this, which was a good thing because watching someone Monday morning quarterback can be a profoundly grating experience. Scott Rudin signed on as executive producer.
And you certainly don’t do that on Broadway. Aaron worked very hard to hand you this script, so you don’t throw his words back at him with what you think they should be and what you think it is he intended. Aaron writes every word of every episode, and that isn’t the standard way to do it on a series, whether it’s six, 10 or certainty 22 episodes. You write Episode 2, someone does Episode 4, another does 5. That isn’t how Aaron works, which means every 12 days, a new episode has to land on everyone’s desks, and it has to be great.