Sometimes, there really is no justice in the world.

Aaron Sorkin’s Studio 60 On The Sunset Strip (S60) is a fitting example of this oft-used phrase. Putting ‘real-world’ injustices aside for a few minutes, this axed programme has all the hallmarks to be screaming from the rooftops whilst the rain pours around its forlorn body in a recreation of many a Hollywood movie, as it really deserved so much more.

From the stellar cast, through to the clever interplay between past and present that is relied on with ever-increasing regularity through the 22 episodes, S60 became a show that was befit for the label of ‘massive potential’. It could be argued that the TV show within a show, within a show concept should’ve been flawless, but the hallmarks were there for it to grow and progress in a sea of big-money dramas.

The primary focus of head writer Matt Albie (Matthew Perry) and producer/director Danny Tripp (Bradley Whitford) taking the reins of the late-night comedy show turns out to only be half the story, with their relationships with the network president (Amanda Peet, The Whole Nine Yards), writers and cast members coming to the fore, sometimes demoting the two leads to ensemble places.

Aaron Sorkin’s pedigree of being the creator of NBC’s hit show, The West Wing does unfortunately seem to overshadow the show, with the feverish anticipation of the show prior to its release on US television causing some viewers and critics to feel disappointed by the mid-point of the series, where there is a noticeable lack of steam behind the episodes.

An inclusion of a number of political scenarios in the series doesn’t seem to help the show either, with some of the post-9/11 plots feeling a little too close to cliché for them to really work as they rightfully should.

However, the show does pick up pace after crossing the final third, with secondary characters and taking the lead and carrying the series, complete with a number of two-part specials to keep the interest levels high, that include a wealth of sub-plots, played by key writing staff Tom Jeter (Nate Corddry) and Simon Stiles (D.L. Hughley).

One of the main pluses of the show is how tuned in it is to modern day events. From the news broadcasts that turn the show into a political tailspin, to their inclusion of musicians for promotional slots (The White Stripes saga provides some additional entertainment), it’s these additional grievances that provide the real depth and pseudo-reality to the programme.

As in reality, the red pen wielding network bosses, played by Peet and Steven Weber (Wings), bring along additional annoyance for both Albie and Tripp, although these can quite often transcribe to be additionally irritating for the viewer, as things fail to move on fast enough.

It’s left down to the old addition of a love story to really show up some of the shows’ best bits. The relationship between Albie and writer/performer/devout Christian Harriet Hayes (Sarah Paulson) relies on past history and subtle verbal exchanges for their long-running relationship to grow.

It’s in stark contrast to Tripp and Jordan McDeere’s love, which is a near-traditional love scenario, with denial, trauma, adversity and final acceptance all going through the mill. Its here also where you see human imperfections and frailties interwoven into plots, which provides a considerable depth to the programme.

It’s these little additions that were sorely overlooked when making the decision to cut this show from the network back in the real world. Even though Albie and Tripp managed to save Studio 60, its real-life network execs shamefully couldn’t do the same.

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