There's something about the opening montage, which we get instead of a cold open, that seems different -- is it a bit snappier? A little more brisk? I'm honestly sad this show was cancelled, as it could be fun. If it ever got away from Matt and Harriet relationship melodrama, or stopped being so smug about how it was so much smarter than its medium,which it rarely did.

The show is on the verge of chaos for cast, which this week includes guest host Allison Janney (I know!), when the propmasters union goes on strike. They have props, but they're in a disarray, and there are no cue cards because the guys who make and hold the cue cards? They're part of the propmaster union as well. So when Harriet slugs grain alcohol instead of water in a Nancy Grace sketch, or the squibs wired to Allison's body go off in the James Bond spoof sketch instead of the gangland shootout bit, you know who to blame. Though the strike doesn't end before Allison has to doff her pants in a parking valet sketch, and Allison has to work with an earpiece while director Cal feeds her lines and direction, the show ends, thank goodness, with Cal reminding her that while the night was most definitely Studio 60's disaster show, a low point for the series in recent years, at least they're not digging ditches.

Note: I'm posting recaps of the last six episodes of "Studio 60 on the Sunset Strip" as a lead-up to the series finale. Hence this recap of "4 A.M. Miracle", which aired originally... a long time ago. Happy reading!

Danny is followed into his office by Mary Tate, a dishy young lawyer from Gage-Whitney. For those of you who were big fans/geeks of "The West Wing", you'll remember that this is the firm where Sam Seaborn worked before joining the Bartlet campaign. If you don't, you should be ashamed of yourselves. Anyway, Gage represents Karen Salisberg, a former Studio 60 writer who is suing NBS for sexual harassment. Mary is doing depo prep, and Danny is her first interview. As Danny wasn't around when Karen was on staff two years ago, Mary has to fill him in on the charge: that Karen lost her job because she was not "one of the boys", and was subjected to a hostile work environment because of it. It's 10:00 at night -- what does Mary want to do?

Matt is tweaking in his office, unable to go home because he's still waiting for the 4 A.M. miracle that will enable him to write that week's show. Suzanne won't go home unless he does, so she gets sucked into a discussion, first about the soft core porn sketch that was kind of funny, then why Matt won't mock soft core porn (he's worried he may a potential love interest from that industry would be offended), and then how costumes don't work on him because of his work at Studio 60. So what does Matt like, besides Harriet? "An executive. Glasses. Heels. Glasses are incredibly important. She'd knock on my door. It's late..." Of course, that's when Mary knocks on his door and introduces herself. Suzanne gets Jordan on the phone, who explains what Mary already said: she's there for Gage-Whitney, preparing for the case, and asks Matt to let her follow him into the writers room to get a sense of the environment. Asking Matt is a courtesy, though, as Mary's already gotten permission from Jordan to get whatever she needs.

On the way to the writers room, they discuss the writer's case and how her experiences may have a negative impact on her career. Matt is a bit shocked to hear Mary's estimate of the "low eight figures" she anticipates the writer will sue for. Moving on, Matt explains that all of the pitches he's gotten since Monday have been rejected. Nothing he's heard from either Andy, Lucy, or Darius have been ideas he can write. It's Wednesday, and he has to write for Friday night. I'm sure this is where the pills will come in handy. 4 A.M. miracle, my ass -- that's a pharmaceutical miracle. This episode probably should have been called "Better Living Through Chemistry".

In the room, Matt asks the writers why they think Karen was fired after he's explained the case. They all reply with the same answer Danny and Matt gave to Mary previously: because she couldn't write. But none of them were there when Karen was on staff, so... When Matt asks Lucy if she's ever felt sexually harassed, she retorts "You're telling me there's money in it?" and is summarily banished to the punishment chair at the end of the table. Lucy can return to her chair if she can name Samuel Taylor Coleridge's most famous work. She replied "Ode to a Grecian Urn" -- she meant "Ode on a Grecian Urn" which was written by Keats and still wrong. It's "Kubla Khan, or a Vision in a Dream. A Fragment." And don't feel bad if you yelled out "Xanadu!" when you saw this because, frankly, that's what I yelled, too. They spend a few minutes defending their pitches until Andy quiets the junior writers down -- they'll continue working and have more ideas to pitch in a few hours.

Outside, Danny finds Matt and reminds him that they have a show to write. What, Matt didn't dig "Jason the Mason"? Harriet is also late coming back from the shoot for Luke's Rolling Stones movie. Never mind that there are no sketches for Harriet or anyone to rehearse, but that's the point. Matt whines that Harriet's on Studio 60 time until Danny explodes, reminding Matt that he (Matt) had promised him (Danny) that working with Harriet would not be a problem. Of course, that's all we've been hearing about all season. Matt bristles a bit, then sits down to try to work. He sends Danny away, who goes off to call Harriet on the set.

The set is the bedroom where Scott Cantrell shot himself while doing drugs with Anita Pallenberg, played here by Harriet. Harriet snorts coke, presses the gun against her head for a game of Russian Roulette. She hands the gun to the actor playing Scott, who presses the gun to his temple. Harriet turns to the camera and says "We're just saying she's guilty of manslaughter?" CUT! And the scene resets while Harriet and Luke argue over the premise. In real life Anita wasn't even in the house but in Luke's movie she is. Before they go back, Harriet takes a call from Danny. Danny wants her to cooperate, be nice to Matt because Matt isn't working. And when he's been working it hasn't been good. Can she make him feel better? It's worse when Matt knows she's been up all night shooting with Luke.

Jordan stops by Danny's to pick him up for dinner, but Danny can't go at that moment because everything is supposed to happen that night. Though nothing is happening, so he asks for an hour so Jordan can rest (seriously -- should pregnant ladies be running around at 10:00 at night? Isn't she supposed to be exhausted?) before they get a bite. Plopping her bag down, a baby begins to cry. Danny looks at Jordan, who routs around in her bag, finds a red clicker and, pointing the clicker at her purpose, turns off the crying. It's Jordan's "Realbaby, which cries and does all sorts of things that babies do. It has sensors which detect when it's not lying down properly, or when it's head is not supported. Jordan has two months before her baby is due, so she needs all the practice that a $599 robot can provide. Danny is appalled, though concerned. She can practice comforting, though she did turn it off with a remote. Danny's convinced that Jordan will be fine without the RealBaby, though he can't resist a bet -- $100 that Danny can't keep it alive and happy for the hour while she naps. Danny takes the challenge.

Back at the movie set, Harriet goes through the scene again. The actor is able to shoot himself, but Harriet's scream is appalling. And now she's annoyed at Luke, who needs to shoot two more times for coverage. Harriet takes the time to reset to argue with Luke again. Luke argues that Anita was responsible whether she was in the room or not, and that Harriet had the scripts for two months. Why now? Why does Harriet feel guilty? Harriet comes clean about the awful fight she and Matt had at her dinner, which was also the same night she came over to Luke's house seeking comfort and reconciliation. Oh dear.

Matt's office. His spazzing is interrupted by Mary, who has questions about staffing. Why the staff is only 3 when there are normally 15. Mary pokes him a bit, reminding him of slipping ratings, the skeletal writing staff, and how there are no sketches 2 days before broadcast. She also reminds him that he'll have to be a witness, and that he'll have to support defendants whom he does not like. Mary got him to say that he didn't dislike him when 14 witnesses have told her that he does. Was he being polite? Mary says that it's not the time to be polite, a sentiment she repeats in "K&R: Part 3". They have a drink, Matt pouring the vodka while Mary gets to Matt's relationship with Harriet and how it relates to the sexual harassment suit. How does it relate? Matt's relationship with Harriet. Matt's too polite to ask Harriet back for an all-night work session. The ratings are slipping, and have been for the last few weeks. Isn't Harriet the reason Matt's having problems, and isn't the writing connected to the ratings? She's just saying.

Matt tries to work and take care of the RealBaby, who begins to cry. She stifles the baby with a sweatshirt before taking it out of his office. Jordan reminds Danny that he has two minutes before it registers neglect. He tries rocking the baby, patting it, and manages to soothe it with the bottle.

Tom and Simon are pondering Karen's case. There are directions, warnings, on things like shower caps and irons. You know what the risks are and what to expect from these warnings, and from the nature of the objects. What did Karen think the writers room at a late night comedy sketch show was going to be like? Anyway, Tom couldn't remember her well, though Simon admitted flirting with her. Actually, he slept with her, but hasn't yet said anything to Mary. Tom and Simon start arguing when Danny comes in to drop off the baby. Because leaving a infant simulator with them, neither of them parents (as far as we know), sounds so great.

Back at the set, Harriet explains the fight to Matt. All Matt did was bid to be her date to the dinner because he thought Luke was bidding against him. She forced the idea of Luke on Matt, even though she knew it would hurt him. Harriet still feels bad, still cares. Luke? Not so much. Matt's a big boy, he'll get over it. In the meanwhile, Luke wants to get back to work, and now wants to work as long as he likes.

Simon actually slept with Karen three times. Doesn't that imperil the case, even if the sex was consensual. Cal wheels in a prop guillotine -- isn't supposed to work but of course it slices the doll's head off in one smooth motion. Danny, finding Cal holding the headless body, which isn't nearly as freaky as Tom holding the bodyless head, freaks out. While Cal leaves to take care of the baby, Simon comes clean to Danny about his assignation(s) with Karen.

Matt's reading the complaint -- she was subject to a conversation about bulimia. Matt finds the part where the male writers talked about Harriet, specifically how "the different ways they might have intercourse with Harriet Hayes." Why did he need to read this? Some of these guys are his friends. Mary needed to know that Matt was still on their side.

The movie set. Harriet listens to the scene without her in it. While resetting, Harriet apologizes to Luke for bringing up Matt on his set. Luke finally reads her the riot act. She fought with Matt, then ran to Luke. She brings up Matt, then confesses the real reason why she came to Luke. Harriet takes up for Matt when Luke calls him arrogant and selfish. She could never let anybody talk that way about Matt when Matt never let anybody talk that way about her. Lastly, Luke and Matt used to be friends, and she expects more from Luke than working her three extra hours just to get back at Matt. "Print takes 4, 7, 12, 14, and 15. You got the shot. I'm outta here."

Matt is still going through the list of Harriet scenarios, each having a "Christian" take -- on her knees at communion, under a crucifix, during confession. Baptists don't even go to confession, but that's not the point. Matt's is incensed, but he is still her witness. Tom and Simon come in so Simon comes in. He tries to remember the specific encounters, which he can't remember well. He remembers Karen, though -- tall redhead. Mary corrects him -- Karen is a short blonde. So Simon may be off the hook, but he's still a bit of cad. But who was the redhead? Connie Breyer! Simon goes off to call Connie. Mary leaves, slipping Matt her card and asking him to ask her on a date. Oh irony, how I love you. Matt should probably wait until he gets over Harriet, but it's a good sign he's interested after she asks. Danny, having heard the whole thing, thinks Matt is crazy not to jump. Meanwhile, Matt takes Danny to task for keeping the ratings news from him. While Matt doesn't come clean about the pills, he does finally talk about the effects of Harriet's absences. She doesn't come by anymore -- since when did Matt need her around? Mind cleared, Matt swears they've got more than they need, and assures Danny things are under the control. I'm sure he had the pill bottle in his hand, ready to go, as Danny walked out of his office.

Danny takes the restore RealBaby back to Jordan, who asks after the baby. Though Danny is sure the baby is fine, Jordan wants to download the baby's information to her computer. Before she can do that, the head pops up and Danny has to explain what happened to the baby. How did the baby end up in the guillotine? No matter -- Danny is out $100, and Jordan will still be an okay mother. At least they know not to put the baby's head in a guillotine. Which they knew before but it's always nice to remind oneself.

Matt is ranting on the balcony, where Harriet finds him. She's come back to unstick him. But is she back for good?

Note: Studio 60 on the Sunset Strip airs its final episode, 'What Kind of Day Has It Been', on Thursday, July 28. Those of you who have been following the show may have noticed that my recaps appeared almost as erratically as the episodes did this past winter. My apologies. As some kind of closure, I'm posting recaps for the last six episodes prior to this week's series finale in order. Notice, though, that the recap of "K&R: Part 3" will be absent, as I posted that recap over the weekend. Happy reading!

This episode jumps between the present, where Matt, Danny, and Cal have to cut 28 minutes from the show before that night's broadcast, and the past -- 1999, specifically -- where Matt is struggling to get a sketch on the air. If you were wondering which half I preferred, the past or the present Studio 60, I'd say 1999. Frankly, Studio 60 seemed to be a much more interesting place to be than 2007. The writing staff seemed a lot bigger, full of competitive people who, I hope, would be writing better material than the sketches that we've caught in episodes set in the present. Matt is nervous and, most importantly, is not putting viewers through another boring episode of "Matt Loves Harriet -- Or Does He?" because, thank goodness, he hasn't actually met Harriet yet. That's not true for long, though, as Harriet stumbles into her first writers' meeting, the newest cast member and token Christian.

The more I watch Studio 60, the more I miss Sports Night. But I'll stop short of rhapsodizing about Aaron Sorkin's late lamented sitcom. I've come to bury Studio 60, not to kick it while it's down.

In 1999, the primaries are just coming up, Matt gets space in a proper office -- a step up from the spot on the floor where he'd been writing before -- and tries to get a sketch on the air. A possible source of inspiration arrives in Harriet, the newest and prettiest Studio 60 castmember. Before Matt knows it, he's offended Harriet when he goes off on "values voters" (hello, "Crazy Christians" anyone?), and given Luke a way in. It also doesn't help, of course, that the sketch Matt writes for Harriet, "Being Neve Campbell" doesn't even make it to dress, while Luke's sketch for Harriet, the world's worst singing teacher, is still playing in the present. Though the bickering "chemistry" we've come to expect from the Matt and Harriet hour is fully present, that isn't enough to distract Matt from the other thing bothering him: fellow Studio 60 writer Tim Batale has been fired for pill-taking. Depressed after his girlfriend left him, Tim refuses to go to rehab and slinks out, carton in hand and baseball cap pulled firmly over his brow. Tim doesn't go, though, without one last grasp -- he has Joe submit a sketch to the pile for him, hoping that he could write his way back in...

Back in 2007, Matt can't get anyone to remember Tim, not Cal or Danny or anyone else. He decides to try the music director -- maybe she remembered Tim? Instead, Matt finds Diane Valdes, this week's busy musical guest. Diane doesn't know who Tim Batale was, but she can tell Matt's high. Handing him some eye drops, she extols the virtues of class II narcotics and talks about the wonderful (albeit fucked-up) hallucinations one suffers under the influence. Matt ponders this back in his office, where he finds Cal and Danny still working on the board. Matt tells them to to cut anything Matt wrote for Harriet, which magically makes the show the right length. While Cal runs off to tell everbody in the crew, Matt tells Danny about his latest fight with Harriet at dinner, and that she's back with Luke. Danny is convinced they can get back together, and maybe Matt feels the same, as he gets up to walk to Harriet's dressing room. Finding Luke there, he forgets the "note" he was going to give Harriet, and returns to the office. On his way, he runs into Andy, who doesn't remember Tim, either. Andy gestures to a wall of writing staff photos from years past, asking him to point Tim out in the 1999 snapshot. Matt leans in and is confused -- he can't find Tim either.

Elsewhere in the present, Jordan is trying to get the grandmother of a victim of gang violence, a young man currently in medical school, to appear on reality chief's reality show about reconciliation. Hallie reports that the grandmother refuses. Jordan, figuring it's either because she had a genuine change or heart or wants more money, gets on the phone with grandma. Grandma still refuses, saying that she makes her heartfelt decisions when she prays at church, and her decision is not to allow her grandson to be exploited. Though Hallie presses on, Jordan thanks grandma for her time and hangs up the phone. She busts Hallie for keeping grandma's refusal from Jordan -- grandma made her decision on Sunday, a fact which Hallie kept from Jordan until Friday so they would have to go with Hallie's first choice, a porn star meeting with the swim coach who molested her as a girl.

Matt couldn't find Tim in the picture, and neither Andy, Danny, nor Cal could remember Tim, because Tim never existed. The guy in the baseball cap, blue shirt, and khaki pants was Matt, as confirmed by the staff photograph. Diane wasn't kidding when she said the hallucinations and blackouts were real, a thought Matt considers as he goes back to his office, leans his head back, and pops the pills Diane gave him.

2:45 AM. Jack's feet walk into Studio 60, past the press who have been camped out there since the story of Tom's brother's kidnapping broke. His feet, followed by that of a security guard, make their way up to Danny's office. Simon broods in the dark. Jack isn't happy, and tells Simon why: "No wonder those guys want to kill us. I live here and I want to kill us." Simon's last words may in fact be his last as a performer, unless he gives the apology Jack wants him to give. Of course, Simon tells him to fuck off (though not in those exact words), which sends Jack searching for the booze. It's going to be a long night.

I have to confess the idea of writing this recap, the last in a three episode arc which sets the denizens of "Studio 60" on a roof, at a dinner full of Catholics, and somewhere undearneath the studio floor, made me want to throw up my hands in the air, put down my laptop, and surrender to Aaron Sorkin. I understand that the business of writing about relationships concerning such tiresome people is exhausting, but I assure you, recapping the goings-on of said tiresome folks can be so much more so. I'm just saying that when this show goes on hiatus in March, I will not be sad.

The thing about "Studio 60" is that I feel exhausted after watching an episode of "Studio 60 on the Sunset Strip." Not because there is so much action and suspense, but because almost nothing seems to happen but there is so much to say. I mean, I'm a pretty smart girl, and I'm still not 100% sure if Jordan returns Danny's feelings for her. Then again, I'm pretty sure that Jordan isn't sure of that, either. In this double-recap, I'll update you by character, as opposed to by episode. We'll see if this works or not. Normal recapping format to return next week.

For those of you fortunate enough to catch last week's episode of "Studio 60 on The Sunset Strip", you no doubt got choked up when some New Orleans musicians, displaced and gigging around Los Angeles to make money to send back to family, played a soul-stirring rendition of "O Holy Night". Those of you who missed it -- too bad, suckas! Just kidding -- NBC is actually going to rebroadcast <a href="http://tv.yahoo.com/studio-60-on-the-sunset-strip/show/37168">"The Christmas Show"</a> on Monday, December 18. And iTunes will make the song <a href="http://entertainment.blogs.nola.com/default.asp?item=380537">available for free</a> sometime soon. Yay, Christmas!

A brief note: seriously, you guys, I don't know what's wrong with me. I spent most of last week eagerly anticipating Thanksgiving then the rest of it in a tryptophan-induced coma. I seem to read nothing in the press that has anything positive about "Studio 60" and its future. So I get lazy and I think "Ah, who cares if I don't recap this week's episode? Doesn't everybody have DVR and just watch the shows at their leisure?"

But really, I do care. And so does the New York Times, apparently. While I was prematurely mourning the demise of my favorite show, Alessandra Stanley was working up what turned out to be a positive piece on both Studio 60 and 30 Rock! Granted, she was not without her criticisms: "'30 Rock' is periously close to a flop", and while the three plots in "The Wrap Party" ep of "Studio 60" were "beautifully written and acted... together the emotionalism grows cloying."

True that.

But on to the recaps!

After the jump, you will find (long overdue) short recaps of "The Wrap Party" and "Nevada Day Part 1", followed by a (surprisingly early) longer recap of "Nevada Day Part 2". Enjoy!

So you know how the trailers for last night's week's episode "The Long Lead Story" had this voiceover saying something like "Will two broken hearts" blah blah blah over a shot of Matt and Harriet looking all serious in a balcony? Well, nothing happened, I'm sorry to tell your Matt/Harriet 'shippers.

Yeah, I'm not all that shocked myself. I guess NBC will want to leave the fireworks until sweeps, right?