Aaron Sorkin, bless him, believes that "the people who watch television shows aren't dumber than the people who make television shows." He also believes that "quality is not anathema to profit." He puts these idealistic words into the mouth of Jordan McDeere (Amanda Peet), the new, impolitic NBS TV president whose first order of business is to revitalise the network's cash cow, Studio 60 on the Sunset Strip, a long-running live late-night sketch-comedy series reeling from the Howard Beale-esque on-air meltdown of its creator (Judd Hirsch, alas, limited to the pilot episode). With this Upstairs/Backstage look at Studio 60's tumultuous network politics and stormy personal relationships, Sorkin, the creator of Sports Night and The West Wing, once again tried to raise the bar of prime time fare. That he didn't quite clear it makes this one-season wonder a fascinating object lesson of great hopes and dashed expectations. Studio 60 was perhaps the most hotly debated series of the 2006 season and, love it or hate it, all its strengths and flaws can be savoured and savaged anew with this complete-series set. Pretty much above reproach is the ensemble. Matthew Perry and Bradley Whitford head the cast as comedy writer Matt and executive producer Danny, former Studio 60 hands whom Jordan brings back to "save" the show. Steven Weber co-stars as network chairman Jack Rudolph, who clashes with Jordan over reality programming (he wants it, she doesn't), is embroiled in network negotiations with China, and must fend off angry affiliates offended by such sketches as "Crazy Christians." Jordan contends with becoming tabloid fodder after her ex-husband leaks scandalous details of their past. Meanwhile, Matt, a sardonic atheist, is in a whole Ross and Rachel thing with Harriet (Emmy nominee Sarah Paulson), who is devoutly religious and the show's galvanising star performer (she does do a mean Holly Hunter). Studio 60 has much to say about comedy in wartime, the divided states of America, the creative process, and patriotism. Some of it is deftly handled, some of it is ham-handed and some of it patronising. Most of it is delivered in Sorkin's signature chock-a-block style and with walk-and-talk urgency. But even at its most maddening, there are enough riveting moments (a performance by displaced New Orleans musicians in "The Christmas Show"), jaw-dropping developments ("I'm coming for you, Jordan," warns Danny, suddenly-turned romantic stalker), and indelible performances (John Goodman's Emmy-winning turn as a plain-speaking Pahrump, NV judge not impressed with the Hollywood types before him in the two-part "Nevada Day") to make Studio 60 a series worth revisiting, if only as a guilty pleasure. The pilot episode commentary by Sorkin and director Thomas Schlamme, as well as a behind-the-scenes featurette, were produced before the show was canceled, robbing this series' fervent fans of the opportunity for some closure. --Donald Liebenson

Similar to The West Wing in may ways, what with tightly written scripts, excellent lead characters, a great cast; it's witty, serious, mocking, romantic, engaging.

I loved it, TV is the poorer for this not being commissioned a second series.

I had enjoyed watching a number of episodes of this show when they were originally broadcast and was keen to watch the whole series on DVD, however my feelings about the show are mixed. The premise is simple. A new team are brought in to revive a struggling comedy sketch-show. Matthew Perry and Bradley Whitford play the characters who are keen to revive the fortunes of the show whilst Amanda Peet plays their boss. As the show develops it explores a range of issues including drug dependancy and workplace relationships.
The pilot starts with a dramatic diatribe referencing Network and protesting against the censorship of comedy in the media and the doctrines of political correctness. The show promises to be amusing, edgy and entertaining but this energetic start is not sustained throughout the series. There are some superb episodes such as the two parts of Nevade Day which manage to be both moving whilst exploring the prevelance of media stereotypes of rural America.However in other episodes the writing is less certain, the comedy less well-directed and we are distracted from central relationships which means that tension is not sustained from episode to episode.

To begin with: I love this show. I think the writing, production and acting were all top notch and I would recommend it to anyone.
So why four stars?
It goes without saying that Aaron Sorkin is a genius. His resume contains some of the best written film and television of the last decade.
Thomas Schlamme (Exec Producer) has been involved in some of the most successful TV dramas of our time.
The cast is of the highest calibre.
So why was it cancelled after one season?
I think the reason is that this show requires effort on behalf of the viewer, and people seem to be unwilling to give that effort unless they are emotionally engaged in the show.
In Sorkin's previous hit (and in my opinion the best TV show ever) The West Wing you were prepared to think, to strain to keep up with the pace and to follow the complex plots because the characters were believable and they were trying to run the free world, the problems they faced affected the world and they wanted to do good.
In this show the characters are equally well drawn but the problem they face is putting out a comedy sketch show every week. Thats a thin premise to make people go out of their way for.
If you give the effort you will be rewarded but you have to want to give it because the show wont grab you and take it.
That said, buy it - its great.

Let's face it, there can never be another West Wing but this will go some way towards satisfying your cravings. The fast witty dialogue is there, along with many familiar faces and some notable new ones (Sarah Paulson especially). My only criticism (if you can call it that) is that it takes a few episodes to figure out who's who and what is going on - but persevere and you'll be hooked. Hurry up Mr Sorkin and write something else!

This is a surprising show. Before watching any of it you may be inclined to think that this is a comedy, well in reality it's far more serious than that. It covers a wide range of topics (often repeatedly) that, as a Brit, I often don't hear about.

As the official review says, it's often about the politics behind the show, usually trying to reconcile comedy and the wars in Afghanistan and Iraq. Nowadays George Bush jokes are a dime a dozen and the show has a few of its own but as Simon Styles (one of the comedy performers) points out: the bandwagon has grown light and the real comedy should be about the people breaking their legs as they jump off it. The main premise of the show seems to be about the wrangling between corporate America attempting to sanitise the show to appeal for a wider audience and the exec producers trying to keep the show witty and poignant by avoiding censorship. I think they do this well: portraying the amount of stress the cast and writers go through well is the key to the success of this show. Patriotism features heavily in this 'stress' and its importance to NBS (the fictional network that airs Studio 60 in the show) is something rarely talked about this side of the pond. Brits are largely dismissive of patriotism (in fact, some might consider it a dirty word here) and it's at least fascinating to see the amount of controversy that it can cause in America.

It is also, of course, about the characters themselves too. All of the lead characters experience tremendous amounts of stress in their lives on and off set and in the second half of the series we are strongly urged to empathise with them. The casting is superb and Matt Perry's apt performance will cause anyone who was put-off by friends to re-evaluate their opinion of him. Frankly, it's his best role yet and I'm yet to see any other character that fitted him so well. There are also some very touching moments, especially involving Tom Jeter's (another comedy performer) brother who serves as a soldier in Afghanistan - the second episode with John Goodman in is a triumph by any show's standards.

Critics have given it mixed reviews, which is not a bad thing. Instead you are invited to make up your own mind. I'm inclined to say that it takes a balanced look at a number of important issues, particularly the wars. I'm not entirely sure why the ratings dipped towards the end of the series but the last five episodes are particularly gripping and, seeing as they are stretched to cover just 24 hours between them, it is particularly in-depth and we learn a lot about the many sides of the characters.

There is not much to say against this show. The ending is a little 'Hollywood' - that is to say that I expected it to be different. Sometimes the show can be a little patronising and sometimes some scenes can be irrelevant. I'm not a big fan of flashbacks either, which feature prominently throughout the final half of the series. I would much rather have the characters describe their own experiences rather than letting us 'watch' the past through a neutral perspective.

All in all I really like the show and I am disappointed that they only stopped at one season. If there's anything I learnt from Studio 60 it is that perhaps sometimes, just sometimes, it's best just to ignore the ratings and what the sponsors think and just go with it. This won't appeal to someone who's looking for "Just Another Sitcom" but for someone who likes to laugh and feel gripped this is the right show. Plenty of drama with a good helping of comedy.