(Before I commence passing my review, I would like to inform the readers of the future that the show is judged after watching the first two seasons. To date, the third season has been announced.)
After fifteen years of television dominance and winning eight Emmies, Mitch Kessler (Steve Carell) is fired by the UBA Network when the news breaks of his being responsible for multiple incidents in sexual misconduct. His on-air partner for fifteen years, Alex Levy (Jennifer Aniston) faces difficult challenges to maintain her professional stature as the show struggles to retain its domination on the American viewers. And during all this, the network hires a shocking replacement of Mitch in Bradley Jackson (Reese Witherspoon), an outspoken field reporter whose creative ideas do not match with Alex. Thus, starts a very interesting phase of the news network.
Apple TV+‘s The Morning Show is the epitome of excellent writing about corporate corruption, abuse of power, sexual misconduct, and the struggle of women empowerment. This phenomenal piece of writing reminds me of Aaron Sorkin‘s, the audience is fully sold to watch the sensationalism of the making of news programs. The functioning of the news network is detailed with meticulous care.
One of the highlights where the show surpasses the quality of presentation is giving a proper dramatization of female employees working under the same roof after one major controversy bombs the reputation. TMS is picturized in the time period of America’s socially most critical period that is the rise of the MeToo wave in the first season followed by the global pandemic in the second season. Therefore, the show heavily focuses on the impact of the MeToo movement on this news network and the mental challenge the employees have to face after Mitch is fired.
In the same given period, TMS successfully decorates the professional rivalries in both upper and lower levels and daily political games between the network biggies. The parties, the glamour, the pride, the ego, the insecurities, etc. are all crafted with command. Employee love affairs, professional secrecies, work ethics, and heated arguments are credibly natural.
I think the recently concluded second season, despite superb writing and direction, is drier than the first season to some percentage due to lack of potential continuity. Mitch/Stella and Bradley/Laura takes a lot of minutes and are not even the core concerns of the main subject. The only plus about the writing of the second season is the build-up of the global horror that knocked the American life – the coronavirus. All the related content writing about the upcoming pandemic really breaks the buzz.
If the audience observes at dramatizing of employee relationships and scuffles, this will remind you of USA Network‘s Suits. Another excellence is handling the tragic events of the California Wildfire and the Global Pandemic magnificently. The productional dynamics and dramatic changes in the continuity are so compelling that the viewers can easily go into the heart of the show and grow in it.
And why not? The show is blessed with a potentially favorable cast of Steve Carell, Jennifer Aniston, and Reese Witherspoon in the lead, with the splendid support of Billy Crudup, Mark Duplass, and Karen Pittman, giving powerful performances. The Green sisters of Friends, Jennifer and Reese, were not only reunited but also became the first actors to be paid $2 million per episode.
There are numerous intense and brilliant argument and speech scenes. And this is what the audience wants, make a show blended with a favorable cast, fabulous writing, hot topics, hard-hitting dialogues, all orchestrated under a supervision of a thoughtful team of directors.
TMS has an interesting plotline, an exciting setup of aesthetics, a wise application of dark comedy, a very sound direction to build our enthusiasm for the show. And holds a lot of promises for the next season; and like me, I am certain that all the TMS fans are wishing that the new season happens this year instead of another two-year gap.
Sami Naik | Film Critic 