Well, look, we ran long with that discussion, but I had fun.

It is time, I think, to turn to matters more directly related to Aaron Sorkin.

I did actually find an old profile of him, which I thought might be a nice kind of soft launch

for our discussion of the sixth episode of the newsroom.

This is a piece from 2000, I think quite aptly named Aaron Sorkin is a man of many words.

For the writer of the West Wing and Sports Night, dialogue is music to his ears.

I got one word, hack.

This is by John Leveck, and it was originally published in the post-intelligencers.

I'm not going to read the whole thing, but I will say the reason that I wanted to

bring this into discussion is because now that we're, you know, six episodes into the newsroom,

you know, we've done Studio 60. I've seen the West Wing probably three times in full, like,

over the course of my life. You know, I felt like an expert on Aaron Sorkin before we discussed

Studio 60. And I'm like a

Sorkin super saan. Like, you and me, Will, we are so on his, his wavelength now. I didn't choose

this lifestyle. This lifestyle chose me. That's right. Every man has a destiny and this is ours.

But I think there are certain things about how he writes dialogue about, you know, as we've

periodically tried to say anyway, you know, the things that he's good at, the things he does

well, the things that are distinctive artistic signatures, but also, you know, the, in my view,

kind of higher quantity of things, higher volume of things that he does poorly or that amount to pretty serious

limitations. And I think we are arriving at, just as you predicted Will, a few weeks back, we are arriving at some

pretty serious structural flaws in the newsroom as a show. I'm very disappointed with where the trajectory is at right now.

Yeah, in much the same way we did with Studio 60.

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