Studio 60 on the Sunset Strip - The Complete Series

So you understand where I'm coming from ---- I own the complete series of West Wing and Newsroom, and have watched both multiple times start to finish.- I don't own but have watched the entirety of SportsNightStudio 60 is a good, almost very good TV series, but for whatever reason, it just hasn't grabbed me like West Wing and Newsroom.It's still got Sorkin's fast-paced dialogue, interesting storylines, and fun "side quest" episodes, but there's just a tiny piece of missing magic that West Wing and Newsroom have that Studio 60 is missing.It could be that in some ways it feels like it's sort of an immediate extension of the "West Wing" era, even using the same font for the title sequences as the West Wing (which is actually very distracting; visually I want there to be a much stronger distinction).I know Sorkin left West Wing after Season 4 due to legal troubles (pretty clearly hinted at with Brad Whitford's character in Studio 60), so this 2006 release date is between the end of his 4-year run at West Wing in 2002, and the start of Newsroom in 2010.And maybe that's kind of the problem for me too --- the themes of Studio 60 seem to be veering in the same direction that ultimately landed in Newsroom, but in a less realized, raw form. Too, the mid-"Aughts" were kind of a weird transition period for everything in culture. The internet was there, but it wasn't ubiquitous quite yet. The iPhone didn't exist yet. Social media was still in its infancy. Google was just beginning its ascent to most important company in the world. Facebook didn't exist. Twitter didn't exist.There's just so much going on in Studio 60 that no longer even seems culturally relevant, per se. It feels dated, its themes feel dated.Too, the characters just don't feel as sharp, as well drawn, as well motivated as other Sorkin shows.But --- in spite of all of that, it's still highly entertaining. Amanda Peet is fabulous, and her character has by far the most gravitas and chops. Brad Whitford is always good.There's just something off about Matthew Perry's character that I just have no connection to him. I can't quite put my finger on it, but his character and his love interest (played by Sarah Paulsen) are by far the least interesting parts of the show.Yet for $25 (Or just over $1 per episode), it's still a great little side excursion into well-written television as entertainment. So if you're a Sorkin fan, don't hesitate to dive in.For others, try an episode or two to see if it's to taste.

If more television shows were like this, I'd probably watch more television shows.

I've watched this show a dozen times over the years. It's not a background noise show. It's a show you have to pay attention to or your will miss the good stuff. Amazing writing. Witty. Just awesome.

For a used DVD, I don't care so much what the case looks like, just that the content plays. This one plays.

The first five minutes of the Pilot of Studio 60 on The Sunset Strip (Aaron Sorkin's brilliant and short lived television series after The West Wing)will explain beautifully why it is that this - the finest and most intelligent piece of television in history - lasted for only one season. Aaron Sorkin is a world class writer. In fact, not since William Shakespeare has a playwrite managed text as though each word were a notated piece of music. Sorkin has the respect of every executive, actor, crew member and writer in both Hollywood and New York, but the average television viewer is comfortably enteratined by "Married With Children" the formula crime shows of Dick Wolf and the formula direction of Jay Sandrich and Jim Burrows.Studio 60 is a behind the scenes look at what happens on a weekly live comedy satire show. It's modeled after the classic "Saturday Night Live" and what we see on the scrfeen moves as fast as what happens in the studio. Backstage is like Boston's route 128 without road dividers and Thomas Schlamme, the director, knows how to film it, cameras moving as fast as toyotas, fvery few cuts, famous "walk and Talks, where w2e feel as though we're wlking with them. The subject magtter is brilliant and it FEELS realistic- the truth- though who would know. Though the show is written like a symphony and is about a TV show what it's really abo0ut is people. Family.And the pilot for this- as well as each subsequent episode, is clearly expensive, a remarkable set and the finest most reverred actors alive today. Matthew Perry and Bradley Whitford are remarkable. We know him as Chandler, but tis is a different man entirely and Matthew Perry is a remarkable actor. Amanda Peet, as beautiful as can be imagined, is a class act, first rate actor. Th4e supporting cast is all remarkable and many of them you know (Simon Hedburg who does a remarkable Nicholas Cage, is now a household name as Howard Wolowitz on "{The Big Bang Theory".) In addition, on the first 45 minutes we have Steven Webber (who makes you forget his irresponsible jokester chanracter from "Wings" within ten seconds) Ed Asner, Fellicity Huffman, Donna Murphy and Judd Hirsch. The budget for actors salaries alone show that the network was well invested here. I suppose that it's much like the music publishers and recording executives who, back in the 1970's and 80's, lost money on the work of Stephen Sondheim because they knew that one day he'd be recognized and they'd more than make their money back. Soprkin';s work requires an audience who must think and listen; watch and connect. It's not the sort of television that one can miss half of and still be able to chat about it at work the next dayt.like Sondheim, we'll all catch up. Now Sondheim is rehgarded as the finest composer alive and the all time best writer of musical theatre. I predicted that in 1979. Here's my prediction now: Aaron Sorkin is the next Shakespeare.This is likely the case here. You won't find a better DVD set anywhere and given the brillliance, the comedy, the speed and the acting here, you won;t want to rent it because you can watch it over and over. (John Goodman does a remarkable two episoded arch as a Nevada Judge that is some of the best work ever seen on television)We learn, we love and we see another one of Sorkin's family shows. Mom and Dad are executive producers instead of a President and CHeif of Staff, but they're all here, there's love and support and every single episode is as impressive as a major motion picture written by Aaron Sorkin- Charlie Wilson's War, A Few Good Men, Social Network.Cause if you don't know Aaron Sorkin, it's time.

coming just after Sorkin's success on The West Wing, Studio 60 presented a unique challenge. How do you follow that kind of prestige and popular hit? Turns out he decided to transpose the same mindset people had in a show about people who worked at the White House, to people who produced a live sketch comedy show, a-la SNL. And that didn't work. At all. They spend a large part of this series talking about the importance of comedy. In the same tone that they talked about hostage negotiations on The West Wing. No. If a joke sucks, write another joke. If they were actually doing a 90 minute live show every Friday night, that'd be an impossible standard to maintain anyway. Matthew Perry and Bradley Whitford star in this show as the Head Writer and director, respectively of a late night sketch comedy show. They're largely clones of Sorkin or Sorkin and Schlamme, although they do a great job with huge mouthfuls of interesting dialogue. The supporting cast is also stellar, if their characters are not. Amanda Peet, Steven Webber (the standout of this series), and recurring performances by Ed Asner, and John Goodman, who won an Emmy for it, stack this show pretty deep with talent and ability, which only makes it sadder when you see what they're doing. That being said, the show has moments of brilliance. For all his writing arrogance and unbearableness at times, Sorkin can write fantastic pieces of dialogue. And when its good, it's West Wing level good. It's just not interested in being that good that often. Instead Sorkin spends a large part of the 22 episode season rehashing a religious VS Atheist argument with a clone of Kristen Chenoweth, portrayed very well by a then unknown Sarah Paulson, also one of the standouts of the show. This could have been a good show. Its production values are of the highest caliber. It's almost fascinating when you understand that, even though most of the parts are excellent, they can still be mashed into a final product that yields mediocrity. Standout moments of the season include a then topical Katrina tribute with the NOLA musicians, and what was the promise of a story about a fight with the FCC over things people are allowed to say on air on television, that ended up going nowhere, because it was clear Sorkin was writing towards a series finale, and not a season finale.

Many reasons to rejoice. Superb scripts. Much inspired casting. Matthew Perry and Bradley Whitford terrific as Matt and Danny, hastily brought in to revitalize the studio's weekly live satirical show. Once a flagship winner, it has been brought to its knees by the demands of blinkered network executives, advertisers, religious bigots, political extremists. Away with pap - back with teeth and claws, fearlessly mocking and provoking discussion!The series has everything. Much to amuse (as when in Nevada, guest star John Goodman hilarious as the sheriff). Much to move (as with the Christmas tribute to stricken New Orleans; then that reminder of dark days with so many blacklisted - a heartrending performance by guest Eli Wallach). Much to excite and uplift (as with the four episodes finale - a time of crisis and desperate measures with lives in danger)."Studio 60" works better on DVD - especially with all the flashbacks to when Matt and Danny previously worked there. These confused a bit when originally shown on television with advertisements intervening. Not everything is perfect. Sarah Paulson no doubt shines elsewhere but seems miscast as Harriet - the love of Matt's life, but without the charisma needed to indicate why. The character is also meant to be funny, surely not such an irritant?That reservation aside, five stars are still awarded - recognition of the writing and acting that throughout exhilarate. So often it makes the viewer sit up and take note. For example, that hefty fine threatened for an expletive on air. This was not in the comedy show but in a live newscast, the war reporter narrowly missed by a rocket. Censorship gone mad and needing to be challenged.We need shows that keep us alert and increase our awareness. They may not win ratings but certainly earn respect. Recommended to all who enjoy a series that truly stimulates.

Aaron Sorkin - of Aaron Sorkin fame - wrote his series for NBC, which showed it in 2006-2007 and promptly killed it off because it never pulled big enough audiences. Stars Matthew Perry, previously of F*****s, and Bradley Whitford, previously of the West Wing.Too talky for Americans, probably. But that's what you expect of Aaron Sorkin. I'f have though NBC would have realised - he'd written almost every episode of the first four seasons of the West Wing for the network.Sorkin, in case you wondered, went on to write The Newsroom for HBO, as well as the movies Charlie Wilson's War, Moneyball and The Social Network. For some reason he'd never in the bundle of names at the top of an Amazon page on something's he'd written. Only the people delivering his script get a look in there.He'd good with words. Not so good with woman characters but newsrooms, politics and backstage at TV shows aren't places I've ever found feminist discourse flourishing.

The worst aspect of this series is that it is too cheesey. All these top television producers who would have shopped their own Grandma for shop-lifting if they felt it would move them up another rung suddenly have major attacks of conscience and put their integrity on the line: "I feel I have to resign - I really believe in America's freedom of speech even if it does upset the authorities..." type speeches fall out of virtually every corporate mouth. Oh come on! And then there is the "lurve" element - no-one has meaningless sex but are there to meet their soul-mate and swear undying love, always,and I mean always, at the end of an episode when the singing/music artiste is on and acting as the sound track. Oh come on!And another thing - no-one ever rats on anybody or tries to claim the credit for something they didn't do, everybody,even the bad guys, are decent human-beings and are just awaiting their chance for redemption - oh come on! This is American television and to survive you have to be as sharp as a government spin-doctor and have the integrity of a New York lawyer - this lot have about as much spunk as a dead gerbil.And I agree with one reviewer who says that the comedy it was supposed to espouse was about as unfunny as it gets. However, I did give it 3 stars - one star for the acting; one star for the episode with Sting (who stole the show - brilliantly)and one star for the Corporation who cancelled a further series - they knew it was unrealistic and unbelievable and unfunny because it was supposed to be about them and no-one recognised themselves.....

Anyone who enjoyed the magnificence of the West Wing will find this a superb addition to their collection. Looking at the world inside a weekly live comedy show, Mr Sorkin provides a brilliant collection of characters that enthrall with the dynamics of their own drama - on and off the screen. Thoroughly engaging stuff.