Returning to television after collecting a screenwriting Oscar for THE SOCIAL NETWORK and another nomination for MONEYBALL, writer AARON SORKIN is polarizing critics with THE NEWSROOM, an insider’s look at what might go on behind-the-scenes at a liberal cable news show headlined by a reformed sellout now pledged to bringing the “truth” to the American public. Calling SORKIN “preachy” is a lot like calling DOLLY PARTON “busty”: it is what it is and it’s not going to change. SORKIN’S proselytizing in the first couple of episodes exists for the sake of exposition and lightens-up considerably by episode three but that hasn’t stopped some critics from taking him to task and predicting doom for the new series.
Our advice: stay the course and enjoy the ride. If you liked STUDIO 60 and THE WEST WING, you’ll get very comfortable with THE NEWSROOM.
Returning to television after collecting a screenwriting Oscar for THE SOCIAL NETWORK and another nomination for MONEYBALL, writer AARON SORKIN is polarizing critics with THE NEWSROOM, an insider’s look at what might go on behind-the-scenes at a liberal cable news show headlined by a reformed sellout now pledged to bringing the “truth” to the American public. Calling SORKIN “preachy” is a lot like calling DOLLY PARTON “busty”: it is what it is and it’s not going to change. SORKIN’S proselytizing in the first couple of episodes exists for the sake of exposition and lightens-up considerably by episode three but that hasn’t stopped some critics from taking him to task and predicting doom for the new series.
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