An Analysis of Studio 60 on the Sunset Strip
P.J. Worsfold, 1/24/2007
By the time its September 18, 2006 debut rolled around, NBC's Studio 60 on the Sunset Strip had critics and audiences abuzz. Aaron Sorkin and Thomas Schlamme, Studio 60's writer/director duo, were fresh off their Emmy Award-winning work on The West Wing and expectations for their next project were high. On the corporate side, executives at NBC were busy doing their part to contribute to the show's hype. After beating out CBS in a fierce bidding war, agreeing to an almost record setting licensing fee (Adalian) and recruiting a star-studded cast, which included Matthew Perry, many at the network were clearly pinning their hopes and perhaps their jobs on the show's success. Studio 60 was to be a smart and edgy, hour-long dramatic look at the production of a fictional, late-night comedy sketch show entitled, Studio 60 on the Sunset Strip.
Like many, I found myself caught up in the Studio 60 buzz. I thought the show looked interesting and unique and I was ready to tune in. While I will admit to watching my fair share of Friends, I was never a fan of The West Wing and I was not familiar with the aesthetic or the political commentary that had characterized Sorkin and Schlamme's past work. As I sat down to watch, my only expectations were based on Studio 60's marketing blitz and the description blurb on my TV's onscreen guide.
Within five minutes, Studio 60's first pivotal event took place. After network executives reject a sketch for fear that it will upset the Christian right, Studio 60's executive producer, Wes Mendell, played by Judd Hirsch, commandeers the set and launches into an on-air tirade about the pitiful state of today's television programming. In a moment reminiscent of Howard Beale's meltdown in Lumet's 1976 film Network, Mendell declares, "this show used to be cutting-edge political and social satire. But it's gotten lobotomized, by a candy-ass broadcast network hell-bent on doing nothing that might challenge their audience" (Sorkin 18 Sept. 2006). As chaos ensued on the screen, I felt a rush of 'TV gold' reminiscent of James Spader's first appearance on The Practice. By the time Hirsch's character asserted that, in the struggle between art and commerce, "art is getting its ass kicked" (Sorkin), I was hooked.
As the closing credits rolled, Studio 60's premise was clear. Following the necessary firing of Mendell, newly appointed National Broadcast System (NBS) president, Jordan McDeere, played by Amanda Peet, calls on, Matthew Albie and Daniel Tripp, played by Matthew Perry and Bradley Whitford, to be Studio 60's new executive producers and to bring the show back to its former glory.
Given the 14 share and the over 13 million viewers (Zap2It) that Studio 60's premier episode enjoyed, it seems that many people shared my first impression of the show. However, in the coming weeks, Studio 60's audience plummeted by nearly 50% (Kaplan) and it was not long before critics were calling Studio 60 the dud of the season. While I remain a part of Studio 60's audience, my opinion of the show has changed as well. Instead of 'TV gold', I now consider Studio 60 to be a show where great concepts are marred by poor execution. In an effort to better understand the reasons for Studio 60's shortcoming, I will use the remainder of this essay to analyze various elements of the show. The first portion of this analysis will look at Studio 60's level of innovation, its production techniques, and its recurring themes. Following this discussion, I will offer a brief evaluation of the show, wherein I will comment on why, in my mind, Studio 60 misses the mark. The reader should note that, although 12 episodes of Studio 60 have aired to date, in order to keep this analysis brief, I will base my discussion on episodes one through seven.
Evaluating a TV show's level of innovation is a highly subjective task and one that is dependent on the depth of one's knowledge of television's oeuvre. Very few works of any artistic endeavour can be said to be truly innovative; practically everyone references, borrows, re-contextualizes, or copies the works of others before them. In Studio 60's case, by taking on the Christian right, the gun lobby, the FCC, and the Bush administration, the show asks important questions and offers valid social commentary. However, while such commentary is in short supply in today's media landscape, it can hardly be said to be innovative. Shows such as M*A*S*H took on similar issues over 30 years ago, and other shows have dealt with these issues since.
Studio 60's greatest innovation comes from the show's frequent references to a variety of real-world political events and pop culture phenomena. Examples of such references range from the war in Iraq and Hurricane Katrina to Saturday Night Live's 'Toonces the Driving Cat' and the social impact of blogging.
Although Studio 60 is not the first show to use real world references in plot lines, the show's writers do so in such specific terms and with such high frequency that Studio 60 stands out amongst its competition. An example of this innovative technique can be observed, in episode three, entitled The Focus Group. In this episode, the audience learns more about executive producers Albie and Tripp, who had worked on Studio 60 as writers in 2002, but were forced out under much controversy. Through a heated argument between Albie, Tripp and two coworkers, it is revealed that in 2002, when Bill Maher made his controversial 9-11 comments on his show Politically Incorrect with Bill Maher , Albie spoke publicly in Maher's defense. Following this action, Albie was fired from Studio 60, this prompted Tripp to resign from the show in an effort to support for his friend.
Through this reference to the real-world events of 9-11 and Bill Maher's subsequent remarks, Studio 60's writers call upon a number of issues that stir powerful emotions and likely morally align the audience with the show's protagonists. To understand this effect, one must first consider the obvious power of any 9-11 reference. Next, by introducing the Maher controversy to the discussion, Studio 60 raises the issue of free speech as well as the tendency for the political majority to label those who question government actions as unpatriotic. Additionally, because Maher's and Albie's publicly expressed opinions lead to their termination, Studio 60 is able to comment on the extent to which the corporate elite control our media. Finally, given the fact that Maher's remarks occurred over four years ago and may now be relatively obscure, Studio 60's writers congratulate viewers for being 'in the know'.
Through its innovative use of the real world, Studio 60 is able to evoke not just emotion, but a sense of understanding with its audience. Moreover, this technique brings relevant and contentious issues to the forefront of Studio 60 storylines in a manner that supports character development and does not detract from the dramatic quality of the show.
Just as The West Wing offered a behind-the-scenes look at the Whitehouse, Studio 60 goes behind-the-scenes of live television production. Although the two shows deal with different subject matter, in both cases, effective production techniques demonstrate how the effective work of a diverse team of people can deliver a smooth running production from backstage chaos. In Studio 60, Schlamme achieves this effect in a number of ways.
Studio 60 is set almost entirely on the fictional show's elaborate stage or in the well-appointed NBS offices next-door. These environments provide many opportunities for the application of Studio 60's most notable production technique, the 'walk and talk'. This variation of a tracking shot, involves the camera following the actors in a continuous shot as they walk through the set in conversation. The 'walk and talk' is now a trademark of Schlamme's work. Through its use, he demonstrates that, while the lead characters appear confident as they stride through the backstage chaos onto the brightly lit stage, in reality, as the audience learns from their conversations, they are filled with same anxieties that we all feel. Indeed, many of Studio 60's production techniques draw parallels between the public façade and backstage workings of the television show and the public façade and inner feelings of the individual.
Aside from the 'walk and talk', Studio 60's quick edits help contribute to the show's rapid pace and sense of tension. Schlamme's camera work frequently relies on doorways and hallways to frame group action. This technique, coupled with his use of behind the shoulder angles, reminds the viewer that the fictional show is dependent on the collaboration of many different people working in various capacities throughout the building.
The costumes and casting of Studio 60 continue to express the theme of value in diversity. As the bookish and frumpy creative team hammer out the show's sketches, the immaculately dressed NBS executives define long-term strategy. While they may not like each other, they are dependent on each other and both groups must accept the differences of the other in order to succeed. Finally, in contrast to the show's lush visual environment, Studio 60 makes sparse use of music. There are however, the notable exceptions of the fictional show's musical guests, which have included Three 6 Mafia and Sting, and the real show's upbeat theme song, written by W.G. Snuffy Walden.
Although Studio 60 raises important religious, political and sexually oriented themes, which each merit their own discussion, the struggle between art and commerce is easily Studio 60's most apparent recurring theme. As I mentioned earlier, this struggle first serves as the impetus for Mendell's departure and Albie and Tripp's arrival. However, in the following episodes, the struggle becomes a theme prevalent in many character actions and plot conflicts.
Through Mendell's tirade, Sorkin positions Studio 60 as the artistic rebuttal to the kind of commercially driven television that has us "eating worms for money" (Sorkin 18 Sept. 2006). Studio 60 suggests that along with 'dumbing down' society, such commercially driven fare is "making us mean… making us bitchy, (and) making us cheap punks" (Sorkin). After rallying audience support for the cause, Studio 60 introduces Matt, Danny, and Jordan to strike a blow for art's comeback to television. However, in a medium that is supported by market share and advertiser revenue, this task proves to be challenging. And, the struggle between art and commerce continues as the audience sees in Studio 60's first two episodes, where rather than hoping for a comedic success, the show's lead characters are obsessed with audience retention rate. If Studio 60's fictional broadcast failed to retain 90% of its debut audience, everyone would have lost their jobs; fortunately for Sorkin et al., the same was not true for the real Studio 60. The art versus commerce theme again appears in episodes 6 and 7, where after passing on yet another reality show, McDeere signs a show called Nations to her network. While Nations was hotly pursued by HBO and its creators were very highly regarded amongst television's creative community, McDeere's superiors are furious. The audience is left wondering if her decision to place artistic value over monetary value may ultimately cost McDeere her job.
Aside from creating compelling story lines, Sorkin's frequent reference to the struggle between art and commerce serves two important purposes. First, this theme gives Studio 60 the necessary framework to pose deeply introspective questions on the nature of today's media landscape. Secondly, it reminds the viewer that conclusions drawn from this introspection must first take into account the medium's commercially imposed limitations.
Studio 60 is clearly a show that leans to the liberal left of the American political landscape, and there are many underlying social messages within the show that support this ideology. However, if one looks past the narrow view of political rhetoric to our society's greater hegemonic structure, there exists in Studio 60 a more disconcerting message.
Studio 60 looks on the surface to be a show that challenges the status quo. However, after careful analysis, I am left wondering if the show's very existence on the prime time broadcast of a major American network suggests that Studio 60 and its edgy ideals have merely been packaged and commodified. As I have said, Studio 60 addresses important social issues, yet it is not, by any means, the first show on television to do this. Moreover, although I have commended the show for its innovative use of the real world, it does so in such obvious and specific terms that at times its biting commentary seems contrived. The more I consider its slick pop culture references and its glaring product placements, the more I am left with the impression that today's hegemonic values are telling me that it's now okay to question American foreign policy and to laugh at the religious right, as long as I keep watching TV and keep buying things.
Studio 60 tackles socially relevant subject matter in terms that are understandable and yet not overly simplified. Furthermore, the show makes valid criticisms on the current state of television. I have to respect the fact that a show aired on NBC included a line of dialogue where one of its main characters declares, "HBO is better!" (Sorkin 11 Nov. 2006). Studio 60 is well produced and well paced. It features a strong cast and great guest appearances. Even with its questionable underlying social messages, I find many elements of Studio 60 incredibly refreshing. However, Studio 60 suffers from a sense of self-awareness, which borders on pretentiousness. This is most noticeable in the show's dialogue, particularly between Albie and Tripp. The smug and sarcastic banter between the pair reminds me of poorly imitated Kevin Smith dialogue, which I find difficult to take at the best of times. Studio 60 is a show where a very diverse group of people rise to the challenge and put together a sketch show that uses intelligent satire to comment on some of America's most divisive social issues. I understand the importance of comic relief. However, the inclusion of dialogue that is better suited to Chandler Bing than to Matt Albie, only serves to trivialize the important topics that the show tackles and add to the sense that Studio 60 is as much a product as the reality shows that it criticizes.
Works Cited
Adalian, Josef. "Peacock on 'Studio' Beat". Variety. 20 January 2007 http://www.variety.com/article/VR1117931024.html?categoryid=14&cs=1.
Kaplan, Don. "Stumbling Studio Skips a Beat". New York Post. 24 January 2007 http://www.nypost.com/seven/10202006/tv/stumbling_studio_skips_a_beat_tv_ don_kaplan.htm>
Zap2It. 2006. Season's First Night Goes to NBC. 24 January 2007 http://www.zap2it.com/tv/ratings/zap-ratings091806,0,3760783.story?coll=zap-tv-ratings-headlines
Studio 60 on the Sunset Strip. Sorkin, Aaron, writ. and Schlamme, Thomas, dir. CTV. CIVT, Vancouver. 18 September 2006.
Studio 60 on the Sunset Strip. Sorkin, Aaron, writ. and Schlamme, Thomas, dir. CTV. CIVT, Vancouver. 5 November 2006.