TVSquad

If you are avid readers of TV Squad you know that Studio 60 on the Sunset Strip is taking a little break. Okay, it may be taking a long break. All right, the next time we see it may be on the Brilliant But Cancelled website! Regardless of whether or not it returns to the NBC schedule (which is should, since it does have a full order) I am still rooting for the show. Not because of Aaron Sorkin, or the subject matter, or even for the walk-and-talks. I am rooting for Studio 60 to succeed due to one cast member . . . Sarah Paulson as Harriet Hayes.

Oh, wait a minute. That's for my 'The reason I'm NOT rooting for Studio 60' post. Who I meant to mention was Matt Perry as Matt Albie. Well, also Bradley Whitford as Danny Tripp, Amanda Peet as Jordan McDeere, D.L. Hughley as Simon Stiles, and pretty much everyone else on the cast except Harriet Hayes. But, mostly I'm rooting for Matt Perry.

Something isn't right in Sorkinland. In last Monday's episode, Matt Albie and Andy Mackinaw are feeling nostalgic. In a scene early in the show Andy asks Matt if he remembers his first office . . . the one that was so small that you could write on both walls if you reached your arms out with pencils in your hands. Matt mentioned that was his second office, and that his first was actually the floor in the middle of the hallway.

Now, the reason methinks something is afoot is because I just finished reading Gasping For Airtime, the excellent Jay Mohr autobiography that chronicles his two year stint on Saturday Night Live in the mid-1990's. In this book he talks about the dressing room that he had during his second season on the show. . . the one that was so small that he could take a pencil in each hand, stretch his arms out, and write on the walls. He also mentioned a conversation he had with SNL alum Mike Myers about his first office. It turns out that it was on the floor in the middle of the hallway.

Hmmm.

After viewing the frighteningly accurate parody of Studio 60 that MADtv performed I got to thinking (which is always a bad thing). I can't remember a producer/creator of any television show in recent history who has carried so many of his or her trademarks from one program to another. I guess you could say Dick Wolf does this from show to show, but the Law & Order series is probably considered a franchise. Aaron Sorkin has produced three different shows that have had similar structural elements, including actors and actresses. When viewers watch these shows they anticipate those features and are disappointed when they don't see them.

So, with that in mind, here are the five trademarks that Aaron Sorkin puts in his shows.

The walk-and-talk: Others shows have people walking and talking all of the time, but usually slowly down a straight hallway. Aaron has taken this concept and perfected it, making it all his own. His walk-and-talks feature characters going up-and-down stairs, through security gates, behind bleachers, and around corners. He sometimes makes these strolls seem like a relay race: two people will talk for a while, then one person will tag-out and a new conversation will begin with another character. Meanwhile, as they walk they begin and end conversations with so much information that you need to record the show so you catch everything missed. And, speaking about those conversations . . .

I thought it was just me.

I've tried to get into Studio 60 on the Sunset Strip like I did with Aaron Sorkin's two other network creations . . . The West Wing and Sports Night. I wanted to like Matthew Perry and Bradley Whitford in their roles as the saviors of a long-running, comedy sketch show. I really did. But, there's just something missing; a last piece of the puzzle that would make this show very enjoyable. However, I thought I was the only one who felt that way.

Fortunately, I'm not. Not only do many of you feel the same way, but we also have Robert Bianco, USA Today's television critic, in our court as well.

(S01E04) Unlike many people, I like the Harriet Hayes character. And I like the way that Sarah Paulson is playing her. It's a distinctive performance: very precise in her delivery, graceful, even when she's yelling about something or irritated. And she's a very religious person, but one that's on a late night show doing satire. I don't see anything wrong with what she's doing or how she's written. I actually find the way she acts really believable. I know people like Harriet Hayes.

Having said that, I didn't really enjoy the opening scene of this show. I thought that (for the most part) Matt and Harriet had made up an episode or two ago. And I thought the argument (Matt's upset that Harriet gets a signed bat from a pitcher) was a little too forced, and I thought the Matt and Harriet love plot was going to take over the entire show. But then something happened in this episode, around the 19 minute mark, like something snapped and the episode started to soar, started to click, and showed how dramatic the backstage goings on at a TV show can be.

• Best Week Ever has video of Clay Aiken's appearance on Good Morning America today.
• Another great post from Ken Levine, this time shattering the dreams of men everywhere (including me).
• Radar asks about the new CW: does the merger of two mediocre networks add up to one good one?
• I didn't catch this during the debut, but Studio 60 creators Aaron Sorkin and Thomas Schlamme kept a live blog the other night (read from bottom to top, of course). Funny cameo from Nate Cordrry. (And check out Defaker.)

(S01E01) OK, I'm going to make a bold statement here, so I hope you're sitting down. I assume you are because you're in front of a computer, but if you're standing for some reason, please, sit down.

All set? OK, here goes: Studio 60 on the Sunset Strip is the best new show of the fall.

And I say that even though I haven't yet seen the other show being touted as the best new show, ABC's The Nine. The tape is sitting to the left of me as I type this, so I'll be watching it soon (thanks ABC for sending me a tape instead of a DVD. What, is this 1999?). But I can't imagine that the show has the combination that Studio 60 has after two episodes. One is the obvious quality right out of the gate (creator, writer, director, cast, etc), and the other is this incredible, palpable feeling you get watching it that, even though everything doesn't work across the board, you know it could get even better. That the strong moments far, far outweigh the bad moments.

And it's straight out entertaining as hell.