Framing this as a story about someone attempting to create a marital home - and only being to be able to do it within the confines of an enclosed television set (as beautifully articulated by that final shot) - is a strong move by Sorkin, who characteristically compresses a historical timeline to put these creative powerhouses in a pressure cooker.

Being the Ricardos perfectly captures the experience of gnawing uncertainties in one’s personal life feeding into endless, obsessive finagling over seemingly trivial creative details on set. Of all the things weighing on Lucille Ball in this film, we hear the most about the staging of the "trimming the flowers" scene. Because that’s where your mind takes you - that’s what you latch onto as a way of “fixing” something, particularly when the larger forces in your life (marital infidelity, public image) are completely out of your control. It’s this element of Sorkin's film that resonated most with me.

Here’s another film that, to me, is full of so much life and energy - and is being outright dismissed by critics. I don't particularly mind that the movie doesn't have a ton of "I Love Lucy" fan-service, and I genuinely enjoy the rhythmic sound of Sorkin's highly intelligent characters sparring with one another. The film is impeccably staged and blocked, and Nicole Kidman and Javier Bardem perform the hell out of the material.