By John Keegan and Edmund Boys
The gloves come off in “The Newsroom” as “The 112th Congress” convenes. Some of the show’s disparate strands come together and the main event comes sharply into focus. What also becomes clear is that, despite the real-world events swirling outside, life inside the Atlantis World Media tower is firmly embedded in the Sorkin-verse. Like ”The West Wing”, this is a show about idealism and wish fulfillment, only this time around with a license to reinterpret the history we already know.
"White Collar" has become one of those old, reliable shows that I can count on for its consistency. The show is never so dramatic or dark as to seriously challenge me as a viewer, but it's also never been disposable fluff, either. It may never be as gripping or emotionally involving as other standbys such as "Fringe" or "Supernatural", but the characters are always given enough depth and development to make the journey a worthwhile one. The return of "White Collar" was a reminder to me of just how fond of the show I've become, and the premiere is a great example of the show's strengths.
Despite some of the casting changes that had been announced during the between-season hiatus, I somehow managed to overlook the clear implication that the series was moving towards a major overhaul. So it's understandable that I wound up backtracking more than once during the course of this episode, trying to wrap my brain around the shifts in the status quo. I imagine Annie Walker was in much the same situation.