The end of 'Studio 60'
February 18, 2007
BY DOUG ELFMAN
Chicago Sun-Times
Of all the TV shows that debuted in the fall, "Studio 60 on the Sunset Strip" was the best bet to be a critics' darling and a hit. It was created by the makers of "The West Wing." Surely enough "West Wing" fans would give it the ratings to stay on the air.
But more viewers abandon it every week, and after Monday's episode NBC is sending it on indefinite hiatus.
What went wrong with "Studio 60"? The sex, the lack of sex, and the long and drawn-out relationships between potential couples are what's killing this show.
Despite the "West Wing" credentials of lead writer Aaron Sorkin and director Thomas Schlamme, "Studio 60" has been drawing the most typical kinds of TV couple conflicts.
A few weeks ago, two characters -- Matt (Matthew Perry) and Harriet (Sarah Paulson) -- were going through their 14th episode of trying to mend a broken romantic relationship. But Harriet kept finding artificial reasons to stay angry with Matt.
The show introduced a secondary, unrequited relationship between Jordan (Amanda Peet) and Danny (Bradley Whitford). They hooked up two weeks ago, but only after they got stuck on the roof of the "Studio 60" building for two episodes -- two! -- while another story line took two episodes -- two! -- to deal with a loose snake in the building.
If those two relationships haven't been belabored enough, a third was started between a guy who lied about having to cancel a date with a woman. He didn't have to lie; he canceled because of a work obligation. This caused severely idiotic arguments between him and her.
It doesn't help "Studio 60" that's it's an unfunny drama about the inner workings of a a TV sketch-comedy show akin to "Saturday Night Live."
D.L. Hughley, a comedian and actor who plays a sketch performer on the show, says working with "Studio's" happy cast is a joy. But he acknowledges the show's seriousness may puzzle potential viewers.
"When you say 'drama,' it automatically has a connotation that it's gonna be heavy," he says. "We're doing a show about comedy. That confuses people.
"What I like about '30 Rock' [the NBC comedy about an "SNL"-type show] is it's just a whimsical, fun thing people respond to."
Last week, "30 Rock" star Tina Fey took a jab at "Studio 60," comparing it to the outfit she wore at the Writers Guild Awards. "I hear Aaron Sorkin is in Los Angeles," she said, "wearing the same dress -- but longer, and not funny."
Hughley says if "Studio 60" survives, it will do so by ignoring expectations of contradictory critics -- some named it a top show of 2006; Entertainment Weekly named it the worst of the year.
"I became a funnier comic when I stopped believing [audience members] had to laugh," Hughley says. "It's gonna be incumbent upon us to do a show we believe in, and take off all the expectations and all the extra bull----, and do what we think is great."
It must be frustrating for the actors to be in this situation, working for the esteemed Sorkin on a show that should be better and better-watched. (Although it is getting better; last week's couples-centric episode was the season's best.)
Peet portrays a network TV executive, with a likable intensity, and she credits Sorkin for making her character real-ish.
"He's so good at avoiding cliches," Peet says. "Every time you think she's going to be the power woman, or the bitchy femme fatale ... it never [goes that way]. Whenever it leans that way," he bends in a different direction.
"If I could stay with Aaron Sorkin for the rest of my days, I'd be a happy camper," Peet says.
But odds are low "Studio 60" will weather a hiatus. Starting Feb. 26, NBC will fill the 9 p.m. Monday slot with "The Black Donnellys," another critically notable series.
delfman@suntimes.com
THE IMPRESSIONIST
It was partly by default that Sarah Paulson earned the "Studio 60" part of Harriet Hayes, the Christian-centric sketch comedian. At tryouts, the candidates were supposed to do impressions, but "none of the other actresses did it," Paulson says.
"I took out my bobby pins and started to imitate Juliette Lewis in my audition. And I could see them sort of recoil in their chairs after I took out a prop, [as if] they thought, 'Oh gosh, she's gonna do an impression of her Aunt Fern. ... That's not gonna be funny.'"
Paulson, 32, is the surprise standout in NBC's non-hit. She was nominated for best supporting actress at this year's Golden Globes.
At a moment's notice, Paulson can pretend-voice Juliette Lewis, Annette Bening, Julia Roberts and a dolphin, among others.
"I do a lot of women. I don't do a lot of men," she says.
What makes Paulson's work special isn't just mimicry skills, but her human portrayal of Harriett as a strong-willed woman who is no stereotype. Despite a part that's not always well written, she's kept relationship-conflicted Harriett spiritually likable, and neither whiny nor overbearing.
"People are interested in seeing a Christian woman who can have a martini and talk about premarital sex. She doesn't think she's going to hell," Paulson says. (This is acting for Paulson: "I'm not religious, but I'm not not-religious. I don't go to church.")
THEY WERE BALLYHOOED, THEN BOMBED
The bigger they are, they faster they fall. "Studio 60" isn't the first TV show to start out with critical acclaim or network hype only to fall quickly by the wayside. Here's a recent look back at a few other huge losers:
Just this fall, CBS' "Smith" starred Ray Liotta, Virginia Madsen, Simon Baker and Amy Smart in a series whose first episode felt like a riveting, character-based action movie about thieves. But it quickly started to go downhill. It couldn't retain viewers and it was axed in a few short weeks.
"Commander in Chief" was the "Studio 60" of 2005. With Geena Davis starring as the U.S. president and Donald Sutherland portraying a crafty Republican senator, the drama took off like a rocket, critically and popularly. Davis won an Emmy, even. But viewers dropped off en masse after ABC forced out creator Rod Lurie for delivering scripts late. Replacement producer Steven Bochco ruined the feel of the series, and it was dead within the first season.
Fox's "Wonderfalls" was compared favorably to CBS' "Joan of Arcadia," which managed to last two seasons. It was about a young woman who helped people after talking with animated objects, like stuffed bears. Fox dumped it after a few weeks, despite a fan-generated save-"Wonderfalls" campaign.
In 2003, "Skin" offered Ron Silver as a porn producer in this soapy "Romeo and Juliet" drama in the vein of "The O.C." A few critics liked its sleek focus on porn and politics, but after much advertising, Fox pulled the plug after less than handful of installments.
"The Fugitive" of 2000 was fast-paced, patterned like the movie and not like the '60s series. The CBS drama starred Tim Daly as Dr. Richard Kimble. It died. And last fall, Daly starred in "The Nine," yet another drama that was acclaimed (though I don't know why) but also was put on hiatus. Daly can't catch a break in the 2000s.
Fox had the guts to put on "Profit," a quick-cult show about a villainous businessman, but cut the 1996 series when it couldn't cut it in the ratings chase. "Profit" had a budding star on its hands: Adrian Pasdar, later Natalie Maines' husband and now flying man Nathan in "Heroes."
BY DOUG ELFMAN
Chicago Sun-Times
Of all the TV shows that debuted in the fall, "Studio 60 on the Sunset Strip" was the best bet to be a critics' darling and a hit. It was created by the makers of "The West Wing." Surely enough "West Wing" fans would give it the ratings to stay on the air.
But more viewers abandon it every week, and after Monday's episode NBC is sending it on indefinite hiatus.
What went wrong with "Studio 60"? The sex, the lack of sex, and the long and drawn-out relationships between potential couples are what's killing this show.
Despite the "West Wing" credentials of lead writer Aaron Sorkin and director Thomas Schlamme, "Studio 60" has been drawing the most typical kinds of TV couple conflicts.
A few weeks ago, two characters -- Matt (Matthew Perry) and Harriet (Sarah Paulson) -- were going through their 14th episode of trying to mend a broken romantic relationship. But Harriet kept finding artificial reasons to stay angry with Matt.
The show introduced a secondary, unrequited relationship between Jordan (Amanda Peet) and Danny (Bradley Whitford). They hooked up two weeks ago, but only after they got stuck on the roof of the "Studio 60" building for two episodes -- two! -- while another story line took two episodes -- two! -- to deal with a loose snake in the building.
If those two relationships haven't been belabored enough, a third was started between a guy who lied about having to cancel a date with a woman. He didn't have to lie; he canceled because of a work obligation. This caused severely idiotic arguments between him and her.
It doesn't help "Studio 60" that's it's an unfunny drama about the inner workings of a a TV sketch-comedy show akin to "Saturday Night Live."
D.L. Hughley, a comedian and actor who plays a sketch performer on the show, says working with "Studio's" happy cast is a joy. But he acknowledges the show's seriousness may puzzle potential viewers.
"When you say 'drama,' it automatically has a connotation that it's gonna be heavy," he says. "We're doing a show about comedy. That confuses people.
"What I like about '30 Rock' [the NBC comedy about an "SNL"-type show] is it's just a whimsical, fun thing people respond to."
Last week, "30 Rock" star Tina Fey took a jab at "Studio 60," comparing it to the outfit she wore at the Writers Guild Awards. "I hear Aaron Sorkin is in Los Angeles," she said, "wearing the same dress -- but longer, and not funny."
Hughley says if "Studio 60" survives, it will do so by ignoring expectations of contradictory critics -- some named it a top show of 2006; Entertainment Weekly named it the worst of the year.
"I became a funnier comic when I stopped believing [audience members] had to laugh," Hughley says. "It's gonna be incumbent upon us to do a show we believe in, and take off all the expectations and all the extra bull----, and do what we think is great."
It must be frustrating for the actors to be in this situation, working for the esteemed Sorkin on a show that should be better and better-watched. (Although it is getting better; last week's couples-centric episode was the season's best.)
Peet portrays a network TV executive, with a likable intensity, and she credits Sorkin for making her character real-ish.
"He's so good at avoiding cliches," Peet says. "Every time you think she's going to be the power woman, or the bitchy femme fatale ... it never [goes that way]. Whenever it leans that way," he bends in a different direction.
"If I could stay with Aaron Sorkin for the rest of my days, I'd be a happy camper," Peet says.
But odds are low "Studio 60" will weather a hiatus. Starting Feb. 26, NBC will fill the 9 p.m. Monday slot with "The Black Donnellys," another critically notable series.
delfman@suntimes.com
THE IMPRESSIONIST
It was partly by default that Sarah Paulson earned the "Studio 60" part of Harriet Hayes, the Christian-centric sketch comedian. At tryouts, the candidates were supposed to do impressions, but "none of the other actresses did it," Paulson says.
"I took out my bobby pins and started to imitate Juliette Lewis in my audition. And I could see them sort of recoil in their chairs after I took out a prop, [as if] they thought, 'Oh gosh, she's gonna do an impression of her Aunt Fern. ... That's not gonna be funny.'"
Paulson, 32, is the surprise standout in NBC's non-hit. She was nominated for best supporting actress at this year's Golden Globes.
At a moment's notice, Paulson can pretend-voice Juliette Lewis, Annette Bening, Julia Roberts and a dolphin, among others.
"I do a lot of women. I don't do a lot of men," she says.
What makes Paulson's work special isn't just mimicry skills, but her human portrayal of Harriett as a strong-willed woman who is no stereotype. Despite a part that's not always well written, she's kept relationship-conflicted Harriett spiritually likable, and neither whiny nor overbearing.
"People are interested in seeing a Christian woman who can have a martini and talk about premarital sex. She doesn't think she's going to hell," Paulson says. (This is acting for Paulson: "I'm not religious, but I'm not not-religious. I don't go to church.")
THEY WERE BALLYHOOED, THEN BOMBED
The bigger they are, they faster they fall. "Studio 60" isn't the first TV show to start out with critical acclaim or network hype only to fall quickly by the wayside. Here's a recent look back at a few other huge losers:
Just this fall, CBS' "Smith" starred Ray Liotta, Virginia Madsen, Simon Baker and Amy Smart in a series whose first episode felt like a riveting, character-based action movie about thieves. But it quickly started to go downhill. It couldn't retain viewers and it was axed in a few short weeks.
"Commander in Chief" was the "Studio 60" of 2005. With Geena Davis starring as the U.S. president and Donald Sutherland portraying a crafty Republican senator, the drama took off like a rocket, critically and popularly. Davis won an Emmy, even. But viewers dropped off en masse after ABC forced out creator Rod Lurie for delivering scripts late. Replacement producer Steven Bochco ruined the feel of the series, and it was dead within the first season.
Fox's "Wonderfalls" was compared favorably to CBS' "Joan of Arcadia," which managed to last two seasons. It was about a young woman who helped people after talking with animated objects, like stuffed bears. Fox dumped it after a few weeks, despite a fan-generated save-"Wonderfalls" campaign.
In 2003, "Skin" offered Ron Silver as a porn producer in this soapy "Romeo and Juliet" drama in the vein of "The O.C." A few critics liked its sleek focus on porn and politics, but after much advertising, Fox pulled the plug after less than handful of installments.
"The Fugitive" of 2000 was fast-paced, patterned like the movie and not like the '60s series. The CBS drama starred Tim Daly as Dr. Richard Kimble. It died. And last fall, Daly starred in "The Nine," yet another drama that was acclaimed (though I don't know why) but also was put on hiatus. Daly can't catch a break in the 2000s.
Fox had the guts to put on "Profit," a quick-cult show about a villainous businessman, but cut the 1996 series when it couldn't cut it in the ratings chase. "Profit" had a budding star on its hands: Adrian Pasdar, later Natalie Maines' husband and now flying man Nathan in "Heroes."
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