Morning Glory
Directed by Roger Michell
- drama
- comedy
- romance
The story
A young and devoted morning television producer is hired as an executive producer on a long-running morning show at a once-prominent but currently failing station in New York City. Eager to keep the show on air, she recruits a former news journalist and anchor who disapproves of co-hosting a show that does not deal with real news stories.
What it’s like
Bright, buoyant studio light over a New York morning: fluorescent-lit control rooms, glossy set desks, and the restless blue-white glow of monitors, all shot in brisk, handheld-leaning coverage that keeps pace with the office chaos. Warm sunlight spills through apartment windows in the quieter scenes, and the city reads as bustling but friendly rather than gritty. The score is light and bouncy, with pop-leaning cues that lift the scenes without ever pushing into melodrama. Its vibe is breezy, witty and optimistic, with a workplace-comedy energy: the sort of film that suits a weekend afternoon, a long-haul flight, or a lighthearted rewatch. Pacing is quick, with rapid-fire banter and tight editing, and the emotional register stays warm and playful. The arc follows an ambitious, overworked young woman learning to balance her career with a fuller life, alongside a jaded veteran slowly warming to a job he had dismissed. Intensity is very low: some mild profanity and romantic tension, with no violence, gore or fear. It suits viewers who want a cheerful, funny, low-stakes romance set behind the scenes of television.
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