The Newsroom (2012–2014)
9.2/10
1,308
2 user 3 critic

What Kind of Day Has It Been 

The team looks forward as they mourn the loss of a coworker.

Director:

Alan Poul

Writers:

Aaron Sorkin (created by), Aaron Sorkin | 2 more credits »
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Cast

Episode credited cast:
Jeff Daniels ... Will McAvoy
Emily Mortimer ... MacKenzie McHale
John Gallagher Jr. ... Jim Harper
Alison Pill ... Maggie Jordan
Thomas Sadoski ... Don Keefer
Dev Patel ... Neal Sampat
Olivia Munn ... Sloan Sabbith
Sam Waterston ... Charlie Skinner
B.J. Novak ... Lucas Pruit
Adina Porter ... Kendra James
Jane Fonda ... Leona Lansing
Rest of cast listed alphabetically:
Jon Bass ... Bree Dorrit
Christina Blevins ... Funeral Guest
Rootie J. Boyd Rootie J. Boyd ... Ticket Taker (as Rootie Boyd)
John F. Carpenter ... Herb Wilson
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Storyline

The events that led to the inception of 'News Night 2.0' are explained, as Charlie tries to convince MacKenzie in accepting a TV role. Sloan and Don recount the events that led to Charlie's heart attack, both accusing themselves of contributing to his death. Maggie and Jim continue to face questions about their relationship, whilst Will and ACN staff have trouble keeping a secret. Written by Peter Iannazzo

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

TV-MA | See all certifications »
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Details

Country:

USA

Language:

English

Release Date:

14 December 2014 (USA) See more »

Company Credits

Production Co:

HBO Entertainment See more »
Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Color:

Color

Aspect Ratio:

16:9 HD
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Did You Know?

Trivia

Jane Fonda (Leona Lansing) & Sam Waterston (Charlie Skinner) also worked together on Grace and Frankie (2015) as Grace Hanson & Sol Bergstein respectively. See more »

Goofs

(at around 34 mins) There is a laptop with a YouTube video titled "Schumacher Breaks Record", but the F1 cars in the video are the Ferrari of Nigel Mansell and Alain Prost, and the McLaren of Ayrton Senna from the 1990 season. At that time Michael Shumacher wasn't racing in F1 yet. See more »

Quotes

[last lines]
Will McAvoy: Good evening.
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Crazy Credits

Silent end credits. See more »

Connections

References The Descendants (2011) See more »

Soundtracks

That's How I Got to Memphis
(uncredited)
Performed by Tom T. Hall
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Frequently Asked Questions

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User Reviews

 
Sorkin's swan song is really a writing clinic
3 January 2015 | by A_Different_DrummerSee all my reviews

One's fantasies are not merely a function of one's upbringing and temperament, but also one's age.

My current fantasy (will kindly spare you the earlier versions) would be to see Sorkin and Moffat co-write something. Each is arguably among the best writers of our generation, if not actually THE best. To see them work together would be something.

This episode hit all the right notes but lacked the emotional punch of episode 5 because, to match that, Sorkin would ACTUALLY HAVE TO COME TO YOUR HOME AND WALLOP YOU IN PERSON.

Oddly, it reminded me of the EMBER ISLAND episode of THE LAST AIRBENDER, an animated series which (justifiably) had aspirations far above its station. In that 'sode, one of the best of the series, the writers took a timeout to have the main characters attend a local play where their own story (ie, the story of the main characters, their legend) was being acted out on stage by amateurs.

In the time of Shakespeare, that device was a "play within a play" and the extensive use of flashbacks here (made possible by modern tech) achieves essentially the same effect.

If you are fan of the series (probably the only reason you would be reading this, methinks) then the effect is mesmerizing. You watch these snippets and you realize that Sorkin and his team IN BARELY THREE SHORT (very short!) seasons have made these characters feel like family.

Your family.

You will hear a lot of fans tell you a lot of reasons why this episode is brilliant (or not brilliant, as the case may be) but I humbly suggest that the real power of this one lies is its ability to remind the viewer, to bring to the surface, to underscore, how potent, how powerful, this production has been.

And it has.


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