But I Digress

Since this is MY blog, and no one can tell me what to do or say on it, I have chosen today to write about something that has absolutely nothing to do with beauty, fashion, or shopping. I, instead, and going to write a little about another passion of mine: TV.

In today's New York Times, there is an article saying that Aaron Sorkin and NBC are refocusing Studio 60 on the Sunset Strip as a romantic comedy. They hope that by making it more romantic their initial large audience will return to the show, which many believed had become "smug' and "arrogant" to use Mr Sorkin's words. Fine, fine, fine. I hope it works. But here is why it may not.

Mr Sorkin, in defending his show, went on to say: “In the end it’s a TV show that they’re doing,” Mr. Sorkin said of his characters. “Doing a TV show is something I take seriously, and it’s something everybody here takes very seriously. But it’s something that the average person who, for lack of a better word, works a real job, resents slightly because it doesn’t seem like a real job.”

I predict that the show will fail. And that paragraph is why. The problem with the show is not that the average person resents the people who make television because it doesn't seem like a real job, because, frankly, I am sure the average person gives it very little thought. The problem with the show is that making television is just that, a real job, and thus not that interesting. Making TV is just a nice backdrop for doing all the boring stuff people do at all real jobs- have meetings, coordinate things, etc. The zany antics of the Studio 60 comedy troupe during downtime, I am fairly sure, bear relatively little similiarity to the hard work the actual cast members of Saturday Night Live do all week.

The problem of the show is that Aaron Sorkin BELIEVES that people with "real jobs" resent TV people. But I think you can get those real people to care about just about anything, as long as there are good characters with true stakes. The world of magazines in Ugly Betty is a cream puff fantasy, but no one seems to resent that show. So why does it work? We care about Betty, because she is endearing, flawed, with everything to gain and lose. Even though she exists in a dream, she is relatable. Her challenge is to suceed in a world arrayed against her, while remaining true to herself.

Another great show, that deserves to be a hit, is Friday Night Lights. Each game feels like life or death for those kids. And as characters a lot hangs on their winning games. Matt Saracen, the young new quaterback, has a chance he never thought he would have. Stuck at home, taking care of his grandmother, football is a chance at life for him, and the opportunity he has terrifies him. Coach has his ego, his job, and morale of an entire town hanging on him. Watching the show, you get completely involved in this small town Texas world. But when you step back, it's just high school football. The magic is in making the average person care about it.

On Studio 60, you have two smart funny guys who have no stakes or obstacles. What happens if they fail? It is already established that they have other successful and more highly paying careers writing and directing films. So Danny's character (Bradley Whitford) has that drug thing, and can't shoot for eighteen months. So what? He just made a few million. That is hardly life and death. Its barely even dramatic.

The new network president who hired them, Jordan McDeere (Amanda Peet), has her job on the line, which should be a cause for tension. Except that she is a dream of an executive and never has a problem with anything they do. She fights for them, and they all win. Even Steven Weber, who is great as the nasty head of the network, comes around to their side. And when he works against them, he is all bark and no bite. Matt and Danny never take him seriously as a threat.

The reason The West Wing worked so well was that the decisions of that group of people did affect the world. But they were just people, and the stress they felt having to make those decisions was real. Personal victories and losses worked on two levels on that show; they affected the character, and the country. On Studio 60 the characters act like they are on The West Wing: we keep hearing that what they do will have a huge impact on pop culture and America. We the viewers don't really care about that, because it is false. I think SNL barely registers on peoples brains anymore (with the exception of JT's Dick in a Box, and Jake's Dreamgirls but, but that is fleeting.) More people watch Studio 60 then SNL. But it doesn't matter. We, the viewers, just want some good characters who do things we can care about, and relate to. Please get good, because Matthew Perry is awesome.