From the mind of Aaron Sorkin, creator of The West Wing and screenwriter of The Social Network and Moneyball, comes "The Newsroom", a behind-the-scenes look at the people who make a nightly cable-news program.Free Download Video The Newsroom 15th July 2012 Episode On ABC Family Tv Online Tv Live Streaming Video. Online Watch The Newsroom Full Episode Watch Stream HD Video on Internet TV.Focusing on a network anchor (played by Jeff Daniels), his new executive producer (Emily Mortimer), the newsroom staff (John Gallagher, Jr., Alison Pill, Thomas Sadoski, Olivia Munn, Dev Patel) and their boss (Sam Waterston), the series tracks their quixotic mission to do the news well in the face of corporate and commercial obstacles-not to mention their own personal entanglements.'Be the moral center of this show, be the integrity," an impassioned executive producer begs news anchor Will McAvoy (Jeff Daniels). This comes late in the second episode of "The Newsroom," by which point it's clear that Will is determined to be exactly that. Clear, too, that the preening virtue that weighs on this Aaron Sorkin series like a great damp cloud—the right-mindedness oozing from every line—isn't going away. It's the heart of this enterprise about a cable-news show led by anchor Will; his crusading executive producer and inspiration, MacKenzie McHale (Emily Mortimer); and their like-minded boss, news-division head Charlie Skinner (Sam Waterston). They've declared war on news devoted to sensationalism, on corrupt networks and journalists driven by ratings lust and in league with politicians.
Will explains all in a solemn televised apology for having been part of an establishment that failed the public. He is now, he informs the audience, joining the very small number of journalists still around who have some integrity—people who "don't stand a chance." In the ratings, he means. "I'm going with the guys who are getting creamed."
Mr. Daniels's Will manages—however hampered by toxic quantities of integrity—to maintain an appealing down-home presence. He even manages at least once to look dubious at comparisons between his new role as a fearless broadcast journalist and that of Edward R. Murrow. When his news director points out what news anchors with opinions have achieved—Murrow brought Sen. Joseph McCarthy down; Walter Cronkite brought the Vietnam War to an end—Will grumbles that he's not those guys.
It is hard, of course, to imagine Murrow embarking on a crusade against every party, every elected official, every network whose politics he detested, which is what Will ends up doing by the third episode. Not to mention Will's adventurous interpersonal life, which finds him getting into headline-making trouble with one beautiful mental case after another while he nurses a still-unhealed heart broken years earlier by the love of his life.
She happens to be his new executive producer, MacKenzie—a newswoman who has, we're told, endured years of battlefield hell embedded with troops, seen more wars and more people die, etc., etc. Portrayed by Ms. Mortimer—a dubious piece of casting—MacKenzie turns out to be wispy, adoring, cloying in her devotion to the highest principles of broadcast journalism and, much like all the sanctimonious twaddle here, well nigh unbearable.
In the tradition of his earlier 'behind-the-scenes of TV' shows, Aaron Sorkin's The Newsroom takes a hard (and witty) look at the behind the scenes of cable news. And like all his other shows, The Newsroom deals as much with themes of honour, ethics, loyalty, idealism and love, as it does with the news. It's also written in Sorkinese – Aaron Sorkin's fast-paced, back-and-forth, sing-song dialogue that'll leave you heady on a good day but with a headache on a bad one.
So, like critics have lambasted, is it "weighted too heavily toward sermonizing diatribes (LA Times)?" Maybe. Does it "choke on its own sanctimony (NY Times)?" Perhaps. Is it "yet another platform in which to Set the People Straight is a worthwhile purpose (Huffington Post)?" Most definitely yes. But is this all really so horribly, terribly bad? NO!
The main bone of contention for critics for this show seems to be that it tries too hard to be good, do good and instill good, just like all of Sorkin's earlier work. But when did that become a crime, in times of shows about becoming the next scrawniest supermodel, douchiest reality housemate or Tim Allen's 30th comeback? What's wrong with a show fantasizing about a world upheld by a long-forgotten morality in a time infested with shows that fall over each other to portray a stark, grim reality and apocalyptic futures?