There’s a particular string of questions that idly races through my mind on a regular basis: What am I going to do after college? Where will I end up in 10 years? How exactly am I supposed to feel after I watch an Old Navy commercial?
Most recently, however, I’ve found myself inquiring about HBO’s “The Newsroom” and its unreasonably low ratings. Honestly, why aren’t more people watching this show?
Starring Jeff Daniels (yes, that is the guy from “Dumb & Dumber,” but stay with me here), Emily Mortimer, Dev Patel, Olivia Munn and a host of other great actors, “The Newsroom” follows the news department of the fictional television network, Atlantis Cable News, and their quest to “fix” the problem with TV news.
What is the problem, you ask? It’s the conflict mentioned incessantly in our journalism classes: profit vs. public service. Does the news tailor their content to optimize their company’s profit, or does it provide a space for citizen participation and honest accountability? In other words, it’s the classic tension of media providing us with what we want to see rather than what we need to see.
Daniels plays Will McAvoy, the gruff anchor of “News Night” whose world is turned upside down when a new executive producer, MacKenzie McHale (Mortimer), takes the reigns of his nightly broadcast. She challenges Will to “wake up” from his uninspiring news coverage and instead lead the crusade for quality journalism. Obviously, Will becomes conflicted about which side to fight for with each story he comes across. And did I mention that MacKenzie is also an ex-girlfriend who shattered his heart? There’s that tension too.
The show is another brainchild of Aaron Sorkin, who is known for writing other critically acclaimed works like “The West Wing” and “The Social Network.” And in “The Newsroom,” Sorkin writes his scenes with the kind of rich dialogue that I dream about. There’s comedy from the snarky comebacks and witty side remarks, and you can practically see passion fuming from each character who wants to preserve the integrity and sanctity of TV news. And like most characters penned by Sorkin, they talk fast and sharp, so it’s wise to listen carefully.
Another noteworthy component of “The Newsroom” is how it follows real life events. The pilot episode recounted the infamous BP oil spill off the Gulf of Mexico, providing a suitable platform for character introductions and what they’ll bring to the table. One of the more emotional episodes followed the shooting of Congresswoman Gabrielle Giffords in Tucson, and how most news stations were too hungry for ratings to realize they misled their audience into believing she had succumbed to the tragedy. In another, the News Night team was conflicted about covering the trial of Casey Anthony over topics of more importance.
I love this part of “The Newsroom.” It turns the show into this exciting hybrid of fictional and non-fictional television. I’m not ashamed to admit that I’ve actually learned a lot about current events from each episode. I like watching important people do important things, and you can call me corny, but it’s uplifting to feel like good journalism is viable in a market being taken over by gossip blogs.
So I urge whoever reads this column to start watching “The Newsroom.” Binge through it on the HBO app, or start when its sophomore season premieres July 14. It’s hard to stop once you’ve started.
You’ll be engrossed with the charmingly intellectual dialogue. You’ll feel the familiarity of a growing love triangle (an unspoken necessity of television dramas, but I’m not complaining). And you might even find yourself inspired by Will and his gang of crusaders.
While the show may seem naive at times — especially with their never-ending journey to change the world of journalism — it’s important to remember that “The Newsroom” isn’t just about the news. It’s also about loyalty, integrity and taking pride in what you do.
My new question: How could people _not_ want to watch this show?
