We think it’s fair to say that Hurricane Sandy was deranged (happily deranged? that’s debatable), and while we regret the target that she chose – one so close to home – we’re happy that the worst is over and we’re now into the recovery and rebuilding process. It’s not entirely fair to blame the theme song to The Adventures of Pete & Pete for all this death and destruction and general disturbance but Polaris always seemed kind of bizarre, and “Hey Sandy” always seemed kinda mysterious, something about it that we couldn’t trust. With that in mind, we have today’s A Newsroom A Day, and with it, hopefully, we say “Later, Sandy.”
Don’t you talk back.
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As promised, we’re going to quickly dip our toes into the somewhat toxic pool of The Newsroom analysis. Like with any review or analysis, anything we say is ultimately futile and inconsequential, because, in the end, it’s not going to change the way you feel about the show, and it’s certainly not going to alter Aaron Sorkin’s vision or persuade him to reconsider his writing style. But in the case of The Newsroom, anything we say, any argument we make, feels especially meaningless in the wake of all the criticism and (less so) praise it’s received. But, hell, let’s be a Greater Fool and try anyway.
In our discussion 