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Kind of an obvious insight, but the problem with Sorkin is that when you criticize his shows, you turn into a Sorkin character. — emilynussbaum (@emilynussbaum) December 7, 2014 I had no plans to comment on "Oh, Shenandoah," the now-infamous penultimate episode of Aaron Sorkin's final (?) TV series The Newsroom.  I've tried not to think about Sorkin since I gave up on The Newsroom two episodes

When I first heard about The Social Network, I had what I imagine was a near-universal reaction: why would anyone want to make a movie about Facebook?  That bewilderment persisted even as the film's buzz and reception grew more and more ecstatic, so that it wasn't until a few weeks ago, when I finally gave up and let myself look forward to seeing it, that a more pertinent reason for feeling

Now that it is over, let us take a moment to praise a show that did not, in life, receive nearly its fair share of accolades. A show about show-making, which starts with the realization, by a respected creator and long-time veteran of the battle between commercial and artistic considerations, that he has stagnated, and allowed the venue for which he has been responsible for decades to stagnate

Over at Strange Horizons, Dan Hartland writes about Battlestar Galactica so I don't have to, and is, as usual, thoughtful and eloquent on the subject: Moore these days seems almost exclusively interested in the endpoint rather than the journey. So "Unfinished Business" needs to be a story about Apollo and Starbuck's relationship, and thus crafts an entirely unconvincing sequence of flashbacks to

Strange Horizons's reviews section published a piece yesterday that I've been looking forward to for quite some time: Graham Sleight's retrospective on The West Wing, in which he argues that Aaron Sorkin's political drama can and should be read as science fiction. On one level, of course, the claim is silly: there is nothing in the series outside the canon of current political or scientific