Vertigo...Woo.Yay.
Posts: 1111
Joined: 30/9/2005
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Studio 60 On The Sunset Strip is very good. Scratch that. Studio 60 On The Sunset Strip is very, very good. Actually, it's pretty much across the board excellent. I finished watching it about 5 minutes ago, and after I post this, I'm going to watch it again, because I think there is so much in there - just in the dialogue - that I missed first time round it deserves a second watch just to catch a gem that fell through the net. First and foremost, it's a much stronger pilot that the pilot for The West Wing (and I say this as an absolute fan of WW) - remember with that they weren't sure about the character dynamics, and it was a few shows in before they realised that it was Bartlett who was the heart of the show, the father to the family as it were. Sorkin has obviously realised that what he excells at it using the family dynamic and hits the ground running on this one. A pilot has to cram in so much - it's almost a curse for that vital first episode, but here the characters are so fully written, their interaction so clear and delineated, that someone with absolutely no knowledge of how TV works will not feel left out. ***SPOILERS AHOY*** It opens on a studio night for the SNL-like show. Producer Wes Mendell (a wonderfully haggard Judd Hirsch) is told a sketch is to be cut by the network (a controversial Christian-baiting sketch) so he invades the set, live on air, to deliver a tirade about the spineless network in a Peter Finch Network style rant. This on air controversy is the starting point for the main characters (Wes is great, but I fear he'll be an occasional guest star at best). Interstital titles introduce us to them: first Jordan, newly appointed President of the network. Her first night is going to be a hectic one. With the suits in freefall about what to do, she remains calm - and very witty - and proposes they hire disgraced ex-showrunners Matt Albie and Danny Tripp to try and control the news cycle. Head of the network isn't happy about it - he's clearly the bad guy in the setup. Danny and Matt, witer/director team - we meet them at an awards ceremony where Matt is up for an award. He's also ripped to the tits on prescription drugs including Vicadin and Percoset, so a little manic. As he wins the award, Danny is called out to take a call about the show. They're naturally suspicious. The Big Three: stars of the show, wondering if they even have a job any more. One of them, Harriet, acrtress and singer, has recently had a messy break up with Matt. The network has Matt and Danny over a barrel. They're set to start on a film, but they know (and Matt doesn't) that Danny just failed a drug test and can't get a completion bond to make a film for 18 months. They're coerced into taking on the show - but really, they want it anyway... ***SPOILERS END*** My hurried precis doesn't do it justice. It's tightly plotted and moved at a hell of a pace. The chemistry between Matt and Danny is just magnificent - Matthew Perry has never been better, and not a sign of Chandler. But it's the dialogue you'll die for. Staccato, funny, sparkling - it's vintage Sorkin here, putting into sharp relief how flat WW became until the last half of season 7, and even then... He knows how to write an ensemble piece, and this promises to be every bit as good as WW in terms of characters. It's really good. You'll love it. And in a lovely nod to WW, Bradley Whitford dons his jacket in a very Bartlett way: swooshed over the head. It was a nice touch. Of course, quality doesn't mean long running. Cross your fingers this doesn't go the way of Firefly.
< Message edited by Vertigo...Woo.Yay. -- 20/6/2006 9:37:07 PM >
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"Things are going to get pretty interesting..." "Define 'interesting'" "Oh God, Oh God, we're all gonna die?" If only we could harness Otis Ferry for good... All hail Hypnotoad
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