Contempt

This episode reminded me why we watch series. The emotions they stimulate in us that counter the drab or unpalatable in our real lives.

The seamless weaving together of multiple storylines is a Sorkin trademark, so we can be fearful of Will's consequences, irritated by inept boyfriends, in awe of the competence of legal council arguing for the public right to know when the government messed up, while buoyed up by the sweet-sorrow ending, yet feeling sad by the poignant image of Mac's kiss.

This marathon of swirling feelings reminds us that we're alive and witnessing some damn fine drama. After it, we might take time to marvel at the crew of creative talent that brought this show to light.

Key for me was the finale singer played by Katie Boeck... I couldn't find out if she actually sang this piece, but it was deeply moving for me. A lamentation that I know well and play, yet it motivated me to look more into a translation of the piece she sang.

Nice work all. I'm alive again.

This is an Edward Snowden situation. While fully sympathetic with Will and the rest of the ACN crew, any intelligent viewer has got to feel ambivalent as well. This is about the clash of conflicting principles and moral imperatives, the conflict between the First amendment and national security.

I wont spoil things, and just say: "Contempt" is superb. It is by far the best episode since the first season premiere (where Will explodes in a fiery diatribe after a naive student asks him why "America is the greatest country in the world").

"Contempt" is arguable even better. The music, the acting, the plot line, the repartees, everything.

Also: In the second season, things became almost too convoluted at times. There were so many subplots and the dialogs were so rapid and witty that it sometimes became difficult to follow all of it. So far this year, this is no longer a problem.

And one more thing: what a treat, whenever Jane Fonda/Leona appears.

Two things you need to understand to appreciate this episode: 1. There are intelligent and aware individuals who believe that Sorkin may actually be the reincarnation of William Shakespeare; and even if he is not (or if history later reveals that Shakespeare did not actually write his own plays, which is possible if not necessarily probable) then, notwithstanding that, he is still the best writer currently writing for television.

2. Sorkin has announced that this season is his swan song, hinting, in fact, that he may be retiring completely after this last season of Newsroom. Therefore, when you see the credit on the screen "teleplay by Aaron Sorkin" at the start of the episode, that means something very special. Even moreso than usual.

This reviewer is, and always has been, in awe of the writing. It is like a clinic in the correct use of the dramatic vehicle. It is showy without being obvious and captivating without beating you over the head. Best of all, if you watch the episode a second time, you will catch stuff you missed ... and how often does that happen in TV?

Also notice the traction the director gets from Olivia Munn's face. I mean that literally. Munn has one of the most expressive faces in Hollywood. She doesn't have one expression, she has an infinite supply of expressions. The director caught this early, and really gets mileage from that.