Hilary Clinton is the present smart money choice for the US Democratic Presidential nomination with Barack Obama a way behind. If Sorkin could be persuaded to write speeches for either he could tip the balance. Why with his help, one of them might even win the White House. There is no sharper, more articulate, committed written ‘voice’ of American liberalism currently working in the US media. And in a politically polarised country where ‘liberal’ is a term of abuse, such a voice of sanity and bi-partisanship is sorely needed.

Set in the context of US Network TV, Studio 60 obviously lacks the intrinsic political gravitas of Sorkin’s television masterpiece – The West Wing. But as with the pre-cursor to TWW, Sorkin’s award-winning Sports Night (1998), he uses his intimate knowledge of the television industry to question its values, highlight its commercial and political pressures, and make us laugh and think at the same time. That’s some combination. And no one does it better.

In it’s critical edge, Studio 60 recalls Paddy Chayefsky’s (no slouch in the writing stakes himself) 1976 movie satire – Network, directly referenced here in a stunning Emmy-nominated opening show. When Studio 60 director Wes Mendell (Judd Hirsch) loses a behind-the-scenes political battle over a satirical sketch about crazy Christians, he goes live on camera to excoriate his own show, his network (NBC) and the US media, for dumbing down, and sacrificing journalistic values to shareholder pressure and strident lobby-group opposition. If the action recalls Network, the spirit of the argument echoes the more recent Good Night And Good Luck (George Clooney – 2005).

All the Sorkin trademarks are there: quick, deft establishment of a range of interesting and diverse characters whose conflict is inevitable, therefore enticing, and situations designed precisely to generate this essential dramatic spark. Talented, flawed people in a madly stressed industry whose personal and professional challenges and screw-ups engage and absorb us from the get go. Familiar faces from Sports Night and TWW abound: Felicity Huffman who in pre-Desperate Housewife days, anchored Sports Night through 40-odd episodes, guests in the pilot; plus Bradley Whitford (Josh Lyman), and Timothy Busfield (Danny Concannon) from TWW. Music, production, direction are all in the hands of TWW stalwarts. So it’s as professional as it gets.

As TV producer/director Danny Tripp, Bradley Whitford links up again with Matthew Perry who, escaping the shackles of Chandler in Friends, guested very creditably for a few weeks on TWW. Perry plays Matt Albie, comedy writer with an edge – echoes of Sorkin perhaps. Danny and Matt used to produce Studio 60 but were fired for displaying precisely the kind of independence of thought and humour that Wes laments in the opening sequence.

Into this mix comes the beautiful, ruthless, head-hunted TV Executive Jordan McDeere (Amanda Peet – looking promising. If you know what I mean). Jordan fully exploits her classy sexuality to take on the smug macho male executives of NBC. Like a cut-throat razor edged with novocaine – you’re going to die, but it isn’t going to hurt – Jordan’s no-rules game-playing is totally amoral and delicious – we just relish all those inflated male ego’s in for a good pricking. Prick pricking, I guess we might say. And we just know, that her amoral ruthlessness is eventually, once the characters are well enough established, going to smash, in bed and studio, head on into Matt and Danny’s journalistic and artistic commitment. An inescapable moral train-wreck, yet to come, but eagerly anticipated.

Inevitably Sorkin has stirred some romantic spices in to the mix to give flavour - sweet and sour. But as with TWW he writes ballsy, intelligent women and then unlike most Hollywood movies, gives them ballsy, intelligent things to say and do. Casting as ever with Sorkin looks faultless though Sarah Paulson as star Studio 60 performer Harriet Hayes, in the first two episodes looks a bit cutesy and bland. However as she is a committed ‘liberal’ Christian stuck in a lion’s den of godless egomania I’m sure Sorkin has interesting places to take her character. ‘Harry’s’ throw away this week that “Jesus must have been funny – to get so many people to listen to him” though hardly top flight Marxism (Groucho) does hint at interesting things to come.

In my final review, I likened The West Wing to Dickens. Well Dickens Studio 60 ain’t. But if you want entertaining, articulate, absorbing comedy drama that makes you laugh and think and engages rather than insults your intelligence - don’t miss this one. The last, 22nd episode aired in the States on June 28th. Future uncertain. Gotta make money in the States and Sorkin doesn’t compete in the mass market of games shows and sitcoms; but he does appeal to a segment of the ‘market’ much prized by advertisers. With a cast of over 60 and production values to match Hollywood, Sorkin doesn’t make cheap TV. So high programme cost, narrow ‘market’ base and exploring critically, serious media issues likely to upset the very people who control scheduling and placement, must put a big question mark over more.

More4 Thursdays 10.pm. Repeated Sunday 11.05. Enjoy.