It started, and now all the great things started in the streaming craze. Somewhere between insomnia, jet lag, nostalgia and the desperate need to be some kind of idealism in a very monotonous world, I find myself re-watching West Wing, aThen News Editorial Room. Then Some good people,,,,, Social networkeven that short, ambitious love letter, Studio 60, watching the video with Stephen Colbert of New York.
Before I knew it, I walked deeply in the Sorkinverse – half of the spread Bartlet theory was Bruno the Spaniel's Bruno, and halfway, why no one in real life is an epiphany of 90 miles an hour on the White House stairs.
This hit me – the reason these monologues are still raking in my skull, the reason I rewind like the old C90 is the reason I return to Shakespeare time and time again.
Because Aaron Sorkin and William Shakespeare both do the same thing in their own different, completely precise ways: they put the human soul on the stage, hand it to the microphone, and let it speak until the wall sways.
That's why I wrote this. Not as a television critic or frustrated playwright, but a man who truly believes in Sorkin is the bard of our time – exchanging swords for subpoenas, not Soliloquies for Senate Smacks.
Now, I can already hear British professors how they scream in their feathers. “Sorkin? That caffeinated chatterbox with the West Wing fetish?” Yes. he. Walking King. Master of monologue. Jeff Daniels’s cruel words to exorcism in America by Jack Nicholson News Editorial Room. Say what you like, but that man write a letter.
Crucially, like Shakespeare, Sorkin gives us more than just talking – they testify.
Shakespeare's Hamlet's “Is it a dagger?” Lear's original wailing on the wasteland. Sorkin had Colonel Jessup, sting his fingers on the bench and growled, “You want me to be on the wall!” He let Bartlet stand alone in the National Cathedral, soaking his skin, screaming to God in Latin. His Zuckerberg appeared on the face of a stone on the conference table, one of the most tangible crimes in legal history: “If you were the inventors of Facebook, you would have invented Facebook.”
I mean, come on.
If Shakespeare was the master of poetry introspection, then Solkin would be the winner of the caffeine conviction. His words are not whispering in the blanks. They cross courts, newsrooms and corridors of power. They have to think about mortality or fate—they hit bureaucracy in the face, then put down the microphone and strode in perfect posture and rolling windbreaker.
take News Editorial Room. The pilot can only be described as an ambush in the mind. Jeff Daniels wore a haggard face of a man, who read too many poll results and saw too many idiots on Twitter, making our monologue so sharp that it almost pierced the American flag.
“We stood up…we reached for the stars…we longed for wisdom…”
This is Shakespeare's Julius Caesar and economist. This is really bloody.
Then President Bart West Winghis secretary, Mrs. Landingham's death was sad – a woman with a more moral compass than half his cabinet – and raised God in a deserted cathedral. The lighting is Gothic, with rain bulging and the president is angry.
“You are the son of bitch, do you know?”
you do not know The love of Labour is lost.
That's it. Sorkin, like Shakespeare, learned that the most important theater is not always in the palace or parliament – it is in the hearts of flawed, angry people, trying to do the right thing, while the world insists otherwise.
He gives us a character that burns purposefully. Strange Speech Writer Sam Seaborn actually burns with idealism every time he opens his mouth. In one episode, he blurted out:
“Education is a silver bullet. We don't need to have almost no change, we need huge changes.”
He was like Henry V, if Henry could enter the Princeton debate team and the MacBook Pro.
Of course, Shakespeare has his shortcomings. The long side. (Seriously Bill, Just stabbing. ) and Sorkin? OK, he has his. Speech fireworks technology sometimes becomes dramatic gymnastics. The character sounds a bit…Sorkiny. It was like they all attended the same Ivy League dinner and decided not to leave.
But even this sameness has its purpose. Sorkin doesn’t write that much, but rather the idea of wrapping it with his hair and a tailor-made suit. Like the bard, he unabashedly doctrine. He is not here to reflect life. He promotes life here should Yes – rational, decent and much less educated.
Yes, have self. Its mountains. But find me a playwright who doesn't believe they have something to say, I'll tell you a person who will eventually write Emmerdale or Corrie…
Sorkin is at his best when he gets angry – but it's a kind of hopeful anger. A righteous indignation still holds to the belief that the argument of good structure provided in the form of 90 miles per hour may actually change something. In this glacier, bureaucratic circus, we call it modern democracy, it is not a small miracle.
Yes, Sorkin is our Shakespeare. Not because he wrote with the five-piece iambic table, but because he gave the language weight. Because he knew that sometimes a man could still move the ground beneath his feet when he talked in the abyss.
Look, I understand. Sorkin is not perfect. He is not subtle. In a minimalist sense, he is not modern. But he is ours. Our generation of bards. Less code, more wired news. Less storms, more western wing. But every point is necessary.
if you still Don't believe me, just watch the last scene Some good people again.
“You can't handle the truth!”
It's more than just one line. This is a challenge. Gloves. Tragedy among the twelve syllables.
Like all great writers, Sorkin dares to handle it with his hands and fries side.
