Four people and two generations in front of a telly, the remote not in my hands. I couldn’t cope with another film like Disney’s nauseating Encanto. None of us could really, so I blindly play a trump card.
Aaron Sorkin writes for the stage making it look like cinema—or he writes screenplays as if they were plays. I have always found his idiosyncratic virtuoso dialogues more fun to read than to watch. His characters’ wittier-than-life eloquence often feels a little too impeccable even for a representation of life like cinema is, no matter how realistic it might appear.

BOB: Yeah, that’s exactly what I was going to pitch.
MADELYN: But I pitched it faster.
BOB: By interrupting me.
MADELYN: How do you think I got to be a woman in a comedy room?

Then again, ‘what you gotta understand’ is that this is Aaron Sorkin—one of the few working writers to really have a distinctive style, and also one of the best at picking a moment out of somebody’s lifetime making that fraction of history into a beautifully structured, rewardingly intelligent story.
To all the above, for better or worse, Being the Ricardos is no exception—it is in fact his most convincing work among those he both wrote and directed.