Happy Fathers’ Day from Aaron Sorkin

Roxy,

You were born a week early and in the middle of the night. It was late on a Friday and mom was at a fashion show at the Pacific Design Center while I was on the set of The West Wing, a show you might watch one day with your friends and think, “Now I understand why I have to use ten words when one would do the trick.” Mom called me from her car and said she was going home—her stomach was really hurting—and I left the set to go meet at her at the house. When I got home she was lying in bed in a lot of pain. “It’s a strange pain,” she said. “It comes in a big wave and then goes away.” Mom was giving a pretty good description of a contraction.

Every light was red between our house and Cedars-Sanai, and it being 2 a.m. now with no one else on the road, I ran them all. Incredibly, Dr. Katz had just delivered another baby and was already there. “This isn’t gonna happen the way we talked about,” Dr. Katz said, “but it’s gonna happen and it’s gonna happen now.” And it did. I won’t bother trying to describe what it was like to hold you for the first time—or for that matter every time since. Words are useless at that and you’ll find out yourself one day.

The nurse taught me how to swaddle you. She made sure I understood that the blanket had to be wrapped very tightly around you to make you feel secure. My first try didn’t go so well. I crossed, folded, tucked and lifted you up, only to find that I was holding an empty blanket in my hands and a naked baby was lying on the bed. You had a look on your face that said, “Oh my God, my father’s a moron.”

Around 6 a.m. mom sent me to the house to get some things she wanted, and I used the opportunity to shower and shave. I also changed into a coat and tie. I thought it would be more confidence-inspiring for you if I looked like a dad. And that’s why you see me wearing ties so much. (I’ll tell you a secret—when I get to work I usually change into more comfortable clothes to write it in. Then I change back into dad clothes to pick you up at school and do homework. Something tells me I haven’t been fooling you.)

Back at the hospital the nurse wanted mom to get some rest and apparently I was annoying both mom and the nurse with questions like, “She’s sleeping an awful lot, is that normal?”, “Should I be concerned about her ears, they’re practically perpendicular to her head?”, “Can I grab that stethoscope a second, I just want to check one more time?” and “Do they sell stethoscopes in the lobby?”

A new father doesn’t need any extra incentive to worry but I had one. Four years earlier mom was pregnant with what should have been your older brother, Charlie. In the eighth month of the pregnancy, Charlie turned the wrong way in the womb and accidentally strangled himself on the umbilical cord and died. You and I have that in common. Grandma and Grandpa planned on having three kids—first your Aunt Debbie, then Uncle Noah and then my brother Daniel. But Daniel died at birth, and that’s why I’m here. I’m the understudy. (You might notice a lot of characters named Charlie and Danny in the stories I write—now you’ll know why.) This time around, come hell or high water, I was bringing my whole family home from the hospital.

Which I did—at 7 miles an hour with the hazard lights flashing the whole way. And now you had a name—Roxanne Sophie Sorkin. It took mom and me a long time to agree on a name. Mom accused me of only liking names from the 19th century like Millicent and Betsy, and I accused mom of only liking names of professional beach volleyball players, like Tiffany and Blair. People may think you were named after a song by Sting, but you weren’t. You were named after the heroine in a play by Edmond Rostand called Cyrano de Bergerac. Cyrano was a soldier and a poet who was in love with Roxanne, but Cyrano had a really big nose and didn’t think Roxanne could ever be interested in such a funny-looking guy, so he wrote her love letters and got a handsome soldier to pretend that he’d written them. In the final scene, Roxanne, who was incredibly brave, crosses enemy lines to bring the soldiers food and discovers that Cyrano is wounded and dying. She also discovers that he’d been the one writing the letters all along and can’t believe that he’d think she was so shallow that she’d only care about a man’s face and not his heart or his mind. It was Cyrano she’d loved all along but never knew it and now it’s too late because—spoiler—Cyrano dies right there in her arms. (There are also some really good sword fights.)

You know me well enough to know there’s probably a point to all this that I could have gotten to quicker.  Most of the world’s parents would give anything to trade their worries for my worries. After all, you’re healthy. You have food to eat and clothes to wear. You live in a nice house in a beautiful neighborhood and you’re getting a first-rate education. If you want to go to college all you have to do is get in and the rest is taken care of. But the thing is, outside of Saudi Arabia I’m raising you in possibly the world’s worst place to raise a young woman. I’m raising you in Hollywood.

So take a page from Roxanne’s playbook (the other Roxanne). Be brave and know that the bravest thing you can do is be willing to not fit in. Never take pleasure in someone else failing. Dare to fail yourself.  Be the one who doesn’t care as much about clothes as the person wearing them. Be kind, be compassionate and be humble. Once I saw you sit down next to a kid who was eating lunch all alone—always be that person. Once I saw you go up to a little girl who was crying on the playground and ask her what was wrong—always be that person. The girl who said, “I don’t associate with bullies”? That was you. You’ve got a giant heart and a world-class-brain-in-training and Roxy, you’ve got character.

Which doesn’t mean you’re not gonna screw up a ton. So even though you don’t need to be swaddled that tight anymore, I’m never far away.

Happy Father’s Day, Rox. (By the way, your ears turned out fine. False alarm.)

Dad

Sorkin is an award-winning playwright, screenwriter, and TV show creator. His new series, The Newsroom, returns for a second season July 14 on HBO.

(Source: TIME, via fuckyeahnewsroom)

Can’t wait can’t wait can’t wait.

This new “desert” promo for season two of The Newsroom is fucking perfect.

I can’t wait to rewatch season one for a fourth time, which is something I never thought I’d say. But man oh man The Newsroom has been on my mind lately. For all it’s faults and failures, that world and worldview and characters are a treat and I need some Sorkin romanticism in my life.

(Gifs via relatedworlds.)

How Are Things In Gloca Morra?

  • Dan Rydell: Is this one of those times when you say you don't want to talk about it, but you really do?
  • Casey McCall: No, but it's shaping up to be one of those times when I say I don't want to talk about it, but we end up talking about it anyway.

hypotheticalcoffee:

“Hey.  You wanted to see me?”
“Yeah.  Now I don’t remember why.”

(The Newsroom, 1x10, The Greater Fool)

Always reblog Sloan and Don.

(via fyeahdonandsloan)

"I don’t know who told you you’re a bad guy, but somebody did. Somebody along the way, somebody or something convinced you of it, because you think you’re a bad guy, and you’re just not. I’m socially inept, but even I know that. So, because you’re a bad guy, you try to do things you think a good guy would do. Like committing to someone you like but maybe don’t love. Sweet, smart, wholesome mid-western girl. I could be wrong. I almost always am."

Sloan Sabbith to Don Keefer, The Newsroom (via c-silvers)

I actually blogged this before, last summer, but it’s worth reblogging again. (The Newsroom returns to HBO on July 14th.)

(via fyeahdonandsloan)

Last July, the most widely ridiculed episode of Aaron Sorkin’s “The Newsroom” aired. Titled “I’ll Try to Fix You,” it climaxed with the shooting of Gabrielle Giffords. The staff of “News Night,” assembled at the office on a Saturday, quickly went into action, as the sound of Coldplay’s “Fix You” began to play on the soundtrack. Other news agencies— NPR, and then Fox, MSNBC and CNN— began to report that Giffords was dead. The crass head of ratings stormed into the newsroom and demanded that the “News Night” team “call” Giffords’ death: “Every second you’re not current a thousand people are changing the channel! That’s the business you’re in,” he shouted, looking to his typical ally, the cynical producer Don, for support. Don didn’t provide any: “She’s a person. A doctor pronounces her dead, not the news,” he said. Jeff Daniels’ Will McAvoy then made the righteous choice, deciding not to announce Giffords’ death on air, but to stick to the facts. Seconds later, word came that Giffords was alive and headed for surgery. The “News Night” team, virtuous resistor of peer-pressure, had made the right call. The Coldplay swelled.

This segment cemented what was so noxious about “Newsroom,” overwrought self-importance and self-righteousness papered over with cheese-ball sentimentality. (Coldplay, really?) The episode made the most important aspect of Gabrielle Giffords’ shooting a fictional cable news show: as Esquire put it when the episode aired,  “Sorkin isn’t interested in the story of Gabby Giffords, per se, much less in the six people who died that day, who don’t rate a mention here. He has a meta-journalism point to make.” And the tone in making that point was supremely grandiose, as if a make believe news crew, with hindsight and a script from Aaron Sorkin, really were “saving” the news.

But in the nine months since “I’ll Try To Fix You” aired, something strange has happened: while still mocked, the episode has become prescriptive and culturally omnipresent. Every time one of the cable news networks disseminates wrongful information — as CNN did yesterday when it reported a “dark skinned” suspect had been taken into custody in the Boston bombings only to spend an hour walking that particular untruth back— twitter fills up with jokes about “The Newsroom.” Every time the cable networks mess up in the way— as they did by IDing Ryan Lanza as the shooter at Newtown, as they did yesterday, as they did before “Newsroom” ever aired with the botching of Affordable Care Act decision  — we now describe it, even as we sneer, in terms of “The Newsroom.” “My Twitter feed just wrote an episode of The Newsroom,” someone tweeted yesterday.

There’s no journalism in journalism any more.

"Okay, I need just another moment of your time, then you can go back to being crazy."

— Jeremy Goodwin, “Kyle Whitaker’s Got Two Sacks”, Sports Night season two.

More than any time in recent history, America’s destiny is not of our own choosing. We did not seek nor did we provoke an assault on our freedom and our way of life. We did not expect nor did we invite a confrontation with evil.

Yet the true measure of a people’s strength is how they rise to master that moment when it does arrive.

Forty-four people were killed a couple of hours ago at Kennison State University. Three swimmers from the men’s team were killed and two others are in critical condition. When, after having heard the explosion from their practice facility, they ran into the fire to help get people out.

Ran into the fire.

The streets of heaven are too crowded with angels tonight. They’re our students and our teachers and our parents and our friends.

The streets of heaven are too crowded with angels, but every time we think we have measured our capacity to meet a challenge, we look up and we’re reminded that that capacity may well be limitless.

This is a time for American heroes.

We will do what is hard. We will achieve what is great. This is a time for American heroes and we reach for the stars.

Tell me why I don’t like Mondays.

"You shouldn’t think that just because I’m looking at you while you’re talking to me, that I’m necessarily listening to or caring about what you’re saying. It’s just something I do to be polite."

— Sam Donovan’s (William H. Macy) perfect introduction to the world of Sports Night in season two’s “When Something Wicked This Way Comes”.

What Kind of Day Has it Been?

  • Dana: What were we talking about?
  • Gordon: Dana -
  • Dana: That was a joke.
  • Gordon: Look -
  • Dana: That was a joke.
  • Gordon: I know.
  • Dana: I'm just saying, I think I'm funnier than you've given me credit for being in the past.
  • Gordon: Here's what I've been thinking in the past few days.
  • Dana: I'm just saying, if you're calling off the engagement because you don't think I'm funny enough-
  • Gordon: Would you stop?
  • Dana: You're angry right now?
  • Gordon: Dana, I'm not going to-
  • Dana: You're mad at me? You spend 6 months making me feel guilty for liking me job, then propose to me, then 2 days later you tell me you slept with the woman who wants my job? I say, "fine". I say, "fine". Then six days after that, you tell me you want to break off the engagement? Here's the thing: I think only one of us should be angry at a time - and I have a hunch it's gonna be me.
  • Gordon: I think you're hung up on Casey.
  • Dana: That's what this is about?
  • Gordon: That's what this is about.
  • Dana: I am not.
  • Gordon: You are. You don't cover it well.
  • Dana: This is a cheap excuse to get out of marrying me, which you never wanted to do in the third place, and the only reason you proposed, in the second place, was out of guilt for having slept with Sally in the first place.
  • Gordon: You say, "fine"? I sleep with Sally, you say, "fine"? Casey sleeps with Sally, you have a level-three nervous breakdown!
  • Dana: You're calling off the engagement because I wasn't made enough when I found out you were sleeping around? Let's do the whole thing all over again. And this time I'll just beat the living crap out of you.
  • Gordon: I'm leaving.
  • Dana: Don't go.
  • Gordon: Dana -
  • Dana: Don't go. [pause] Oh, what the hell, go.
  • Gordon: Maybe we can talk more about this later.
  • Dana: Yeah, let's talk about this as much as humanly possible. This is yours.
  • Gordon: Thanks. I mean...
  • Dana: Gordon?
  • Gordon: Yeah?
  • Dana: I was a lot funnier than you ever gave me credit for being.
Studio 60 reunion on last week’s Go On. I’ll take it!

Studio 60 reunion on last week’s Go On. I’ll take it!

Sally

  • Casey: I know you think I'm in love with her. I know she thinks I'm in love with her. And that's all fine, so long as it's fun and games. But I want you to know Dana's important to me. I've known her a long time and I like her a lot. And there are certain lengths I'd go to to avoid seeing her get hurt in any way.
  • Gordon: What's on your mind, Casey?
  • Casey: You're wearing my shirt, Gordon.


Sloan: “Nice tux.” Will: “I just came from a different party.”Sloan: “Was it good?” Will: “Have you ever been to a good New Year’s Eve party?” Sloan: “No.” Will: “I’ve never enjoyed myself on December 31st. No one ever has.” Sloan: “I can tell you, for me, there was this one time in 10th grade–” Will: “This is my thing I’m talking about now.”Sloan: “Okay. Why don’t you talk to someone?” Will: “I don’t need a therapist, I just don’t like New Year’s Eve.”
The Newsoom, “I’ll Try To Fix You”

Sloan: “Nice tux.”
Will: “I just came from a different party.”
Sloan: “Was it good?”
Will: “Have you ever been to a good New Year’s Eve party?”
Sloan: “No.”
Will: “I’ve never enjoyed myself on December 31st. No one ever has.”
Sloan: “I can tell you, for me, there was this one time in 10th grade–”
Will: “This is my thing I’m talking about now.”
Sloan: “Okay. Why don’t you talk to someone?”
Will: “I don’t need a therapist, I just don’t like New Year’s Eve.”

The Newsoom, “I’ll Try To Fix You”

(Source: spinningjennydollar)

One of the best moments, one of my favorite moments, from one of the best shows, one of my favorite shows.

One of the best moments, one of my favorite moments, from one of the best shows, one of my favorite shows.