STUDIO PORTRAIT

The most interesting thing on television at present is Studio 60 on the Sunset Strip. I’m sure the endgame of The Sopranos on E4 is really the high point of current British transmission but I wasn’t able to tape the first episode of the renewed screenings – it was bizarre of Channel 4 and its satellite channels to break the last series into two chunks – and when I tried to set Sky+ to catch the same-week repeat there was a mysterious block on recording that particular slot on the hard drive. So I let it go. I can wait; I’ll catch it on its C4 screening (in the spring perhaps) and that anyway will be without the disfiguring channel ID in the top left corner of the screen.

Aaron Sorkin’s successor to The West Wing shares that legend’s sensibility. It assumes an unusually literate, educated, liberally-minded and well-informed audience. There are far more allusions in the scripts than on any other programme, often to really quite abstruse matters and people, with a special concentration on British subjects, beginning with Gilbert and Sullivan in the pilot episode.

The milieu of the drama serial is a late-night satire show, televised live across the US from Los Angeles. I worked in and around British television for a quarter of a century, so this of course has a powerful interest for me. There isn’t really much reason to expect it to have wide appeal, however, insofar as viewers on both sides of the Atlantic have never been encouraged by television to take much interest in the background of the medium itself, whereas the behind-camera personalities, industry workings, history and techniques of cinema-making have been meat and drink to television for decades. Accordingly, Studio 60 never did well in the US ratings and seems not to have been inked in for a second series. It picked up five Emmy nominations, an impressive haul, but only won with John Goodman as guest actor.

Studio 60 is, I think, a failure but a most interesting one. Its failings are surprisingly large. By far the least convincing aspect of the show is the show-within-a-show. I know a lot of topical comedy doesn’t travel too well but the glimpses we get of the show that everyone is working on so earnestly are lame in the extreme. I suspect that the writing team – I mean Sorkin’s writing team, not the one depicted in Studio 60 – lacks any old pros from the television comedy game. The young drama-scripting turks, along with Sorkin himself, think they know how to mimic another genre but one of the things television drama gets most wrong is the true smell and feel of non-drama television, whether it’s news, chat shows, game shows or comedy. This is a pity and it undermines Studio 60’s credibility.

The next yawning hole in the show is the lack of a really persuasive or well-realised female character. Amanda Peet is impossibly glamorous and exquisitely clad as the station’s director of programmes. This is not the main reason why she doesn’t begin to convince as a big player in television but it doesn’t help. Sarah Poulson has to try to bring alive a gratingly flaky character as the still-smarting ex of the show’s co-resident genius. This latter is played by top-billed Matthew Perry, not my favourite actor. (One of the reasons I was never attracted to Friends was that, of the six leads, only Lisa Kudrow held any appeal for me).

Another problem is structural. Sorkin clearly made an early and surely a correct decision that he couldn’t have every episode constructed as a filleted week, climaxing with the weekend transmission of the satire show. But he hasn’t found a satisfactory substitute. The episode most recently broadcast here (#9, entitled ‘B-12’ after a virus, the role of which was not at all clear in the plot) suffered badly from what I took to be deliberate continuity shifts back and forth between different days. I say that I took them to be deliberate. More4, which shows Studio 60 here, managed after an ad break to rewind and play a second time several minutes of one segment the other week. It really is time More4 solved its problems in its presentation suite, not least the one that continually mangles its own transmitted sound. That wouldn’t matter if the linkpeople would shut up during the programmes but when they talk over the end credits the music always starts to break up because the sound is now being augmented by the permanent glitch in the presentation suite sound.

Much of Studio 60’s appeal lies in seeing how its inherent problems will be addressed in each episode. Snatches of music by guests, some of them as famous as Sting, seem a little desperate. On the other hand, a running discussion on product placement had me looking for the advertising deals that Sorkin himself has done and one just knew that the fruits of this were being flourished in a spirit of post-modern irony-and-realism mix. In a way, that is the main thing that floors Studio 60. It’s just too self-aware for its own good. Its gestures are there because they’re smart, rather than because they’re germane to story or character. That’s why in the end it’s not as successful as Ugly Betty or Desperate Housewives. But hey, like those invigorating imports, it beats anything home-grown that British television can offer since the end of Green Wing. Unless I am to except The IT Crowd. And I’m not quite sure that I am to …