"The Newsroom" (HBO, Sundays). Aaron Sorkin's cable-news comedy-drama returns for a second season, the first having been the cause of vigorous conversation (annoyed, offended, disappointed, disgusted -- though some positive, too), much of it surprised despite the fact that the series was wholly in the vein of every other show he's made. (Just a little more so, which is possibly why the shock.) The third Sorkin show to be set in the world of television, it combines the political pondering and posturing of "The West Wing" with the "we're-live-in-two" backstage dramedy of "Sports Night" and "Studio 60 on the Sunset Strip," and shares their signature mannered theatricality, gussied up with a kind of naturalism that still looks theatrical. Like its predecessors, this is a wish-fulfilling story of an idealized workplace, overseen by a boss who really, really cares and staffed with people who love, love, love, love their jobs -- while still finding time to moon and spoon from here to June, in a George Stevens-Howard Hawks kinda way. Politically, Sorkin arranges voices pro and con around whatever hot topic is up for discussion, albeit usually weighted toward the humanist take -- this year, which is set in 2011, giving the writer the benefit of hindsight, you will hear of Twitter, Libya, the presidential primaries and the Occupy movement. The new season looks to be more focused, but I care less about the point-making and plot, anyway, than I do for the music and the motion -- I just let them wash over me, and it feels all right.