You can debate the comparative strengths of Aaron Sorkin’s most recent offering, Newsroom. Has he pushed the model he began with Sport’s Night too far? Has something in that idea of dialogue-driven storytelling gotten broken by being revisited time and again, through Studio 60 on the Sunset Strip and now through Newsroom? Is Newsroom itself fraught with too much ideological grandstanding to lure viewers into the inherent dramas of cable news?
You can debate the various merits and the comparative strengths of Sorkin’s miscellany of TV shows. And if you know Sorkin as a producer and as a writer, you know that he takes on a Woody Allen-like aura for his fans—each fan defending their own favorite Sorkin project.