WEST WING: SEASON 7
7.1: The Ticket - 7.2: The Mommy Problem - 7.3: Message of the Week - 7.4: Mr. Frost - 7.5: Here Today - 7.6: The Al Smith Dinner - 7.7: The Debate (East Coast) - 7.8: Undecideds - 7.9: The Wedding - 7.10: Running Mates - 7.11: Internal Displacement - 7.12: Duck and Cover - 7.13: The Cold - 7.14: Two Weeks Out - 7.15: Welcome to Wherever You Are - 7.16: Election Day: Part I - 7.17: Election Day: Part II - 7.18: Requiem - 7.19: Transition - 7.20: The Last Hurrah - 7.21: Institutional Memory - 7.22: Tomorrow
7.1: The Ticket
Written by Debora Cahn
Directed by Christopher Misiano
First, a little background. I didn’t watch the show in first run until the third season, and then because of other commitments, I didn’t watch again until the fifth season began. I’ll admit that I was wary of Sorkin’s typical desire to soapbox through his characters, and coming in late, I didn’t have a feel for why the characters were doing what they were doing. Since then, I’ve seen all the episodes several times over with my wife, who is also a new fan. The DVDs get plenty of mileage in our household!
The point is that I don’t look at this series from the same perspective as someone who was there from the very beginning. I recognize that the show had a very different tone, but I don’t subscribe to the notion that it’s horrible now without Sorkin and his firm handle on where he wanted things to go. If anything, I find it very appropriate that the first term was overseen by one showrunner, and now the second term is under another. Each term has had its general theme, and the second term is darker overall than the first, given that Bartlet’s time in the sun is nearly over.
That’s why I really liked how this episode began. It makes one thing very clear, right from the beginning: this season is about the end of the Bartlet administration. That was clear last season, but this drives it home. (I’m inclined to think that this is also in preparation for this being the final season.) So the emphasis is on the struggle between the old and the new, even more than it was last season. Since the election plot thread was the one I enjoyed the most last season, this is a big plus for me.
One thing I really like about this series is its density. So much is happening, and it’s easy to get caught up in the plot and character details. This episode is no exception. I spent most of the time delving into the interplay between Josh, Santos, and Leo. Everyone is spot on, and it promises to be quite interesting in the episodes to come, especially in terms of Leo’s past history. Leo’s character is getting the “fish out of water” treatment that CJ received last season, and it ought to be equally precarious.
Speaking of CJ, I don’t read spoilers, so I have no idea how this mess with the security leak is going to hash itself out. I have a feeling it’s going to play into some cast restructuring again. I’m glad that the White House is still a vital part of the story, however, because I’m not ready to let go of Bartlet just yet!
Other good things: Josh and Donna’s incredibly awkward conversation, CJ and Danny finally getting together (and spawning, apparently), the hint at where the characters will end up (will this flash forward be a running thing, touching on all the characters over the years?), and Annabeth’s new role as Leo’s hot campaign manager. I love that both Smits and Alda in the credits (on opposite ends of the list, no less!).
Perhaps the most telling thing I can say is this. I forgot to tell my wife that it was starting again, and she only realized it when she saw it come up as “recording” on our TiVo. We were all set to watch something else, but she insisted that we watch this instead. Few shows are that high on her priority list. “Lost” and “BSG” perhaps, but compared to this, well…she preferred to wait on “Desperate Housewives” for another day. A solid opening was all we could have asked for, and that’s what we got.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
7.2: The Mommy Problem
Written by Eli Attie
Directed by Alex Graves
The season premiere was all about the creation of a true Santos/McGarry ticket, amid Josh’s foaming at the mouth and the White House’s leak problem. So I was a little surprised to see absolutely no follow-through on that plot thread. Apparently all is well with Leo and his candidacy, because the question now is whether or not Santos can even win the election. Vinick continues to be strong off-screen, and when the entire Santos campaign is playing catch-up after one sound bite from the opposition, it’s not a good sign.
It is, however, an interesting look at how the situation in the sixth season, where Josh was all but running for Santos, has evolved into near-disaster. Josh has been trying to control everything, including his candidate, and that hasn’t been working as well as he thinks it should. Josh has been pulling too many all-nighters and his attention is slipping. Meanwhile, the press is eating Santos alive.
This leak story has gone on long enough, I think, and it’s clear that someone on the show is going to be leaving as a result. It has all the hallmarks of a targeted plot device. My current suspicion is that Toby is the leak, based on his brother and his general desire to step over the line for what he believes in. Plus, there really is no role for him beyond Bartlet.
So we get to see Janeane Garofalo play the role of Louise, a feisty communications director that looks and sounds like she’s trying to convince everyone that she knows her stuff. She, too, plays a targeted role. It’s about exposing the weaknesses in Josh’s hand-holding and reminding him and Santos that Bartlet had an entire team working on his election, not just Leo. And Santos is right: Bartlet was the one calling the shots in the end, not just Leo.
More importantly, none of these characters (especially Santos) are direct analogues of the previous cast. Granted, the growing ensemble isn’t as compelling, but there’s a logical reason for that. By the time the series began, everyone had a certain degree of confidence, based on their previous relationships and a great deal of experience with one another. Santos has Leo and Josh. The rest of the team is still pulling together, or at least, they should be. If this series is supposed to continue past this year, then the writers need to find characters and actors with the presence of the original cast.
This was a good episode, if only because I liked the fact that Santos took the reins. I wasn’t thrilled with the White House side of the story, yet again, but something tells me that it will be more prominent and meaningful in the next episode. What I was really thinking, however, is that the producers might do better to pull a “Practice”/”Boston Legal” move after this year.
Want to save money on contracts? End the series and start new. Contracts get big with success and longevity. First season salaries are typically lower. Make the break cleanly with this series for the sake of sticking with the Bartlet administration timeline, and don’t let the series end halfway through a Santos or Vinick administration. If a spinoff dies early, it won’t drag down the original. For some, it’s too late for that, but I want this series to go out on a good note, and this season is playing like the end of an era.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
7.3: Message of the Week
Written by Lawrence O’Donnell Jr.
Directed by Christopher Misiano
Despite the promos to the contrary, this episode is entirely focused on the Santos and Vinick campaigns. With all the gains for Santos in the past two episodes, it was beginning to look like a sure thing. In fact, most fans expect Santos to win, if only in keeping with the more liberal slant of the show’s creators. Despite all that, this episode makes it clear that this will be a continually uphill battle for Santos, because Vinick is a strong contender.
But just like Santos, Vinick has a problem. In short, it’s the same problem that the Republicans had when they were losing during the Clinton years. Whenever a candidate doesn’t kiss the ring of the Christian Coalition (renamed in a cosmetic way in this episode), they don’t have enough support to win. Conversely, GOP candidates who do sell their soul get elected without much trouble.
Despite the fact that he’s calculating and can make some disturbing decisions, like knowingly going after the Latino vote and inserting an indirect racism into the campaign, I respect Vinick for standing up to that kind of pressure. There will be some who equate this episode (and my comments, for that matter) to Christian bashing and mischaracterization, but one must separate the religion from the fanatics. Most Christians don’t want to act like the Mafia, but the ones who do act that way make Christianity look like the Taliban. (“Represent just us and our values or else!”)
But Vinick, for all his clever maneuvering, has his blind spots. He correctly identifies the downside of the GOP’s past marriage of convenience with religious conservatives, and yet, he doesn’t seem to understand how dangerous they can be. As in the real world, the more fanatical and politically motivated “Christians” would rather have someone they can preach against as immoral instead of an apparent political ally who won’t be a puppet.
This may seem harsh, but it’s the political reality, and this series has always tred that fine line between addressing real political issues and behind-the-scenes drama. Vinick all but sows the seeds of his own destruction in this episode, and one gets the sense that his running mate only put a bandage on a festering wound. Vinick may want the radical religious faction of his party to stop making demands and playing games, but assuming that empty promises will work is the wrong move.
That’s not the only plot thread, of course, but it’s the main one. I will say that this was probably the most compelling episode of the season, and a lot of that was due to the absence of divergent plot elements. In the first two episodes, the “White House leak” subplot sometimes got in the way. Focusing entirely upon the ups and downs of each campaign, and the possible Achilles Heel of the Vinick campaign, made this episode move. Considering that I felt the same way last season, I suppose that’s not much of a shock.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
7.4: Mr. Frost
Written by Alex Graves
Directed by Andrew Bernstein
Before I even get into this episode, I wanted to say that this is the best episode of the season, from my point of view. As much as the action at the White House has become less and less interesting over the past season or so, there were a number of elements to this episode that brought back some wistful memories of days gone by. In short, this episode made it very clear that this is an administration, and very likely a series, in its waning months.
I’ll note that my conjecture about the leak was correct, but I take little pleasure in it. Toby used to be a character with a lot more to do, and his rapid decline in importance has been an interesting if saddening character arc. Toby was once defined by a strong desire to do the right thing, even when it’s foolhardy, and this feels like the last gasp of an idealist. This will not end well for Toby, and in a way, looking back, it’s hard to imagine how it could have been different. He’s just not someone who would slide into obscurity.
Unlike some of the recent episodes, this one was chock full of plot threads. There’s the breakdown of Bartlet’s Middle Eastern peace plan, which is another metaphor for his influence on the world. Bartlet was quite obviously searching for some place in the annals of history, beyond his censure and scandals, and he thought he had found it. Now, he’s up against an even larger force of history. Contrast this Bartlet to the man who strutted upon the stage in the first season, and the weariness and age are devastatingly apparent.
It’s an episode like this, similar and yet so very different from the early seasons, that makes me thankful that the series came this far. Sure, it would have been easy to end the series with the lighter, more energetic and idealistic administration that marked the Sorkin years. But the past few seasons have told the other side of the story. Even in the early seasons, there were darker times, moments when it was clear that the best days might never come again.
Inevitably there are those who would like to stay within the safe and comfortable confines of the first three or four seasons, when the heroes won the day with wit and endless energy and everything was full of promise. But like every administration, that cannot be forever, and there’s the need for a rightful heir.
I think Bartlet would, in other circumstances, find Santos’ answer about “intelligent design” to be a good and reasoned stance on a divisive topic. It also happens to fall squarely in line with my own stance on the subject. I happen to think that answers borne of belief in a given religion, whatever that religion might be, are best taught by the teachers of religion. Secular science is best taught within the secular realm. Overlap should be incidental. Santos framed it perfectly, and within that delicate structure of thought and reason was a reflection of the early Bartlet. Just a glimpse, but a reflection all the same.
Other moments added grace notes to the episode: Leo’s concerns about how being served might destroy the integrity of the Santos/McGarry campaign, the short bursts of a too-absent Charlie, the quirky “flirtation” from Annabeth, even the travails of CJ and her attempts to get some sleep. There wasn’t much dead space in this episode, which is a very good thing. More episodes like this would be much appreciated.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
7.5: Here Today
Written by Peter Noah
Directed by Alex Graves
I’ve said a number of times that the leak investigation and Toby’s complicity make sense in terms of the character and the larger theme of the series itself. In essence, this is not just a matter of Bartlet’s slow but inevitable decline from power; it’s also the decline of anyone left to man the ship with him. These are the twilight days of the Bartlet administration, only months away from the end, and things are falling apart. Instead of leaving office with the world a better place and an heir apparent ready to win the election, Bartlet looks to end his second term with scandal and world war.
Some might find it a stretch, but I like to think that Ellie’s very small part in the episode is a symptom of the larger problem faced by the administration. Bartlet is losing his control over nearly everything in his life, not just his health and his legacy. Ellie has always been her own woman, but in earlier years, Bartlet would have had some words. Perhaps he was just being conciliatory, but a lot of the fire seems lost.
Of course, this episode is more about Toby and how his character’s defining traits more or less presaged such an end. Indeed, that’s what I’ve been saying for a few episodes now, and it was repeated more than once in this episode. Toby has always been an idealist with a healthy dose of arrogance, and eventually, it was going to come back to bite him. This is that time, and while it’s sad to see it happen so late in the game, when so much else is stagnating, it would have been too easy to let him go out quietly.
Frankly, anyone who thought that Bartlet should have treated Toby better is letting sentimentality overrule reason and character consistency. Bartlet has been more than patient with Toby over the years, even when Toby has crossed the line in a thousand ways. A less flawed man might have actually learned something about limits, but Toby never did. Bartlet is like the father who must, despite his fervent wishes otherwise, cut loose his son with harshness if there is to ever be a lesson learned.
What struck me last night, as I was watching the episode with typical enjoyment, was how mournful this season really is. I understand that some people were expecting the possibility of a continuance next season, but everything about the series says that this is the end. Every scene in the White House is drenched in darkness (it has been steadily getting worse, I think, or it just seems so). I’m left with such a sense of impending loss and a recognition that it has been coming for quite some time, and it adds a layer of emotional resonance to the story.
Turning for a moment to the campaign trail, things are looking more and more problematic for Josh. He really needs to sit down with Leo and look back at the Bartlet for America campaign and see where things have gone wrong. Josh has never seemed like the best campaign manager in the world, but he really has hit his limit and it shows. Vinick keeps handing him openings, and nothing gets done. I’m sure that Santos will bounce back in the big debate or soon thereafter, but it’s painful watching the campaign founder.
I won’t say I was quite as taken with this episode as the previous installment, but that was largely due to the treatment of the teaser and first act. I didn’t really get into the story until after that, which was probably just a subjective reaction. By the end, I was definitely hooked, and I felt the ending was very strong. The debate over old and new will no doubt wage on.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
7.6: The Al Smith Dinner
Written by Eli Attie
Directed by Lesli Linka Glatter
A funny thing happened this week. Despite the fact that the previous episode, in all its strong storytelling, reminded me of how much has changed and how bright and idealistic everyone used to be, I found myself really engrossed in the interplay between the Santos and Vinick campaigns. So it occurred to me: the series is taking the audience through the same process of any election where strong emotions rule the day.
I’m thinking back to the end of the Clinton administration. There were a ton of people who had been devoted to Clinton and his legacy, to the point of propping up his apparent victories and downplaying his defeats. Many of them saw Gore as a poor substitute and Bush as even less appealing. They wanted things to be the way they used to be. They didn’t want to move on, and they were angry and bitter over the fact that the administration and man they believed in had seen his second term gone to shambles.
OK, the metaphor isn’t perfect, but I think the point is clear. A lot of other people moved on to support Gore or Bush, and a lot of people turned their attention away from the Clinton administration towards the election drama. Granted, neither Gore nor Bush were remotely as charismatic and appealing as Santos and Vinick, but the same process is taking place.
Three plot threads run through this episode, and they reflect this ongoing process of change. I found the Santos and Vinick campaign threads and their interplay to be a lot more compelling than the sinking ship of the Bartlet administration. And I realized that this is the theme of the “introduction” phase of the season. It’s about getting the audience through that process, recognizing that Bartlet’s administration couldn’t possibly go out on top. It just doesn’t work that way.
I wouldn’t say that this episode is on par with the previous installment, if only because “Here Today” had the benefit of deeply-rooted history. The campaign plot threads are always chaotic, and people come in and out of the story from episode to episode. If something terrible were to go down with Louise, would it have the same impact as Toby’s dismissal? Of course not.
But it makes sense that the season hits an important point in the story, ending the first act of the season, with the live debate episode. The season thus far has been about a Santos campaign in stagnation. Something has to happen to shake things up, and the seeds are being planted in this episode. Where Vinick looked unbeatable coming into this episode, things are far less certain now. It should make for one hell of a fun episode.
As for the topic at hand in this episode, I liked the fact that the two candidates held personal positions that were in strong opposition to the platform stance of their respective parties. I found the intercession of interest groups and their money on the main campaigns to be intriguing, even if it was simplified for easy digestion. How these roadblocks are overcome, presumably on both sides, will be quite entertaining to see.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
7.7: The Debate (East Coast)
Written by Lawrence O’Donnell
Directed by Alex Graves
Live episodes are always a gamble, because they can be seen as little more than a ratings stunt. And there’s the strong possibility of a disaster should the planning be incomplete; consider what happened with the West Coast version of that “ER” episode several years back. The key, it seems, is in the execution and preparation. You need to get the right people into the right plot structure within a logical context.
For me, the debate worked on two levels. First, I liked the fact that the writers didn’t try to overdo it. They could have tossed all kinds of back-stage scenes into the mix in some attempt to break up the format, but that wouldn’t have been as satisfying or risky. Far better to let it play out like the “dream debate”, where the candidates actually say something meaningful and clearly present their philosophical differences.
A lot of people are already saying that this was supposed to mark a Santos turnaround, a victory for the Democratic candidate when he really needed one to close the gap. I’m impressed that it wasn’t so clear cut. I actually came out of the debate with a newfound respect for Vinick. I appreciate Santos’ idealism, which is different yet obviously related to Bartlet’s progressive roots, but there’s something to Vinick’s experience.
Did Vinick come across as less polished and more petulant than one might have otherwise expected? Sure. This was a classic example of being careful what to wish for, because the open format came back to bite Vinick on more than one occasion. That said, Santos often looked tentative and unsure of how to answer. Both were entirely in character, which was aided by the format and the fact that both men had plenty of time to get comfortable in their characters’ shoes prior to this event.
The second level of quality, for me, was the debate itself. I love a good debate, and I always get frustrated when the candidates in the “real debates” never stray from their rehashed stump speeches. The current governor’s race in New Jersey is a perfect example; the debates did little to inform the public beyond their cemented first impressions. Did we learn anything new about Santos and Vinick? Not much, perhaps, but enough to raise some interesting questions.
Of course, the constant political battling may have been a little dry for some. I only wish it could have gone on for another hour, though that might have killed Smits and Alda! Talk about a tough script, though…all those figures and recitations had to be hard to memorize. But I really liked the fact that neither candidate was perfect, and neither candidate came across as a caricature. That was one of the weaknesses of the fourth season under Sorkin; that was less about presenting a credible contest and more about bashing a Bush-esque GOP candidate.
Was it a ratings stunt? Perhaps, but it worked within the context of the season, and if this does mark the beginning of a turnaround for Santos, then it fits perfectly within a traditional season arc structure. Logically, the next 6-7 episodes will escalate and complicate the issues already raised in the first third of the season, leading into (presumably) an election during February sweeps. I, for one, like what they are doing this season and this risky experiment was a great example.
Who else hopes they put both versions on the DVD?
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
7.8: Undecideds
Written by Debora Cahn
Directed by Christopher Misiano
In an interesting move, it looks like the campaign wasn’t changed too much by the debate. I was under the impression that it was meant to represent a massive sea change in Santos’ favor, but I suppose that would have been too obvious for this series. There was something positive for Santos, but it’s not like he’s in the lead all of a sudden.
The real change might be this episode. Ever since the campaign started, Josh has been all but carrying the burden of this effort on his shoulders. It was almost as if he wanted to make a president more than he wanted his candidate to be president (if that makes any sense). Sure, Santos showed some strong moments over the past year, but Toby strikes right at the heart of the problem: Santos didn’t want the presidency. He had to be convinced to run, and that carries a certain stigma.
But even as Josh has his worst fears aired out by someone who is working through some serious transference issues, Santos is finding his voice. Every now and then, Santos demonstrates that deep down, he does want to win. He resists the call to offer simple solutions to complex problems, but at the end of the day, he can step up to the plate. As manufactured as the final act was (it just didn’t feel as natural as, say, a Bartlet speech), it reinforced the message that has been brewing all season thus far: let Santos speak for himself and things can go quite well.
This reminds me of something noted time and again, right from the premiere: Josh doesn’t seem to trust Santos to know what to say or when to say it. And sometimes, he didn’t trust Bartlet so much either. Contrast that with Bartlet and his team during his initial campaign. The team was there to present Bartlet in the best possible light, but at the end of the day, it was (eternally) “Let Bartlet Be Bartlet”.
The Santos team has struggled time and again with the notion of letting Santos be Santos. But how many of their victories have come with the moments when Santos deviates from their script? Nearly all of them. And why? Because that’s when the man comes out and communicates. If Santos is going to win, I believe it will be in the moments when his sincerity overpowers the slick platform messages of the Vinick campaign. That’s why this episode is called “Undecideds”…what inspires them to vote is often a sense of personal resonance, and that’s what Santos needs.
As usual, the White House elements are the weaker link, especially since there was a distinct lack of balance. The material with Will the Wedding Planner was a nice counterpoint to the more serious dealing of the Santos campaign, but the problems in Asia didn’t gel well. Clearly there’s an ongoing plot thread at work there, but it’s not quite so compelling as the writers seem to think it is. It’s not just this season, though; Sorkin also struggled with this sort of plot arc in the fourth season.
Despite the weaknesses, I thought it was a solid episode. One thing did strike me, however, because my wife brought it up. She noted that Bartlet was in the episode, and with the scenes between Josh and Toby, it suddenly struck her that this really could be the end. It left her with a true sense of loss, which I found rather remarkable. For one thing, she once avoided this show like the plague. Now, it has become a cornerstone of our shared viewing experience, and a continual example of what American politics should be. Hopefully they will get everyone back for one final farewell, as planned.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
7.9: The Wedding
Written by Josh Singer
Directed by Max Mayer
I don’t pretend to be an expert on this series; others have lived and breathed every second of every episode (at least, the Sorkin years) to a far greater degree. I just love watching these characters and this stylized, idealized version of how the American presidency should be. And I’ve also been a political junkie in my day, and so there’s this little thrill I get when I see an Electoral College map. Seriously!
So when it comes to this episode, I can’t help but appreciate the fact that this White House wedding provides a nice distraction from the slow but steady decay of the Bartlet administration. I enjoy that on a certain level, because there is a hint of realism in it all, but I do love symbolism. In this case, Bartlet handing off his daughter in marriage in the White House. Chance for comedy and some nice little character work? Sure, but the metaphor is hardly lost.
But for me the heart of this episode was Josh. I remember reading in more than a few places that this was originally supposed to be the “Josh and Sam Show”, back in the development days, and I think that Josh has remained at the center of the action in a very real and consistent way over the years. (Others may argue that, but hey, it’s just my opinion.) So it makes sense that this election is as much about Josh and his failures as it is about Santos and his improbable rise to the presidency (I’m still sure that’s what will happen).
Looking back over the course of the season, the season premiere all but told us that this moment would come. Josh and his judgment was under fire for much of the sixth season, and Santos’ win at the convention only put his strategy under more scrutiny. He’s made some missteps in the past, but as the race tightens and each decision counts more and more, Josh can’t help but miss some of the details.
Part of that is his inability to let go of control. He wants to be the one who makes it happen, who puts his man in the Big Chair, the student who has become the master. But Josh often forgets that even Leo had a staff, people he trusted to give him honest and divergent opinions. It’s what made Leo such a damn good Chief of Staff, even if the man took too much on his own shoulders at times. More to the point, as much as Bartlet trusted Leo and his judgment, he also had a rapport with his senior staff before they officially took power.
Who does Santos have, beyond Josh? Nearly everyone else is still essentially a temporary fixture. Josh has never let go of the reins long enough to build a powerful and diverse team. And yet, it’s too much to take him out of the game and leave him out of the room. It’s not so much that he needs to go; he just needs someone to keep him from isolating his decision-making process. Leo can help him with that, and if that is indeed the direction the writers take, it will be a reasonable and logical progression of the season thus far.
More than that, it could serve to give Leo a more substantial plot thread. He has been largely absent this season, probably because of contractual purposes with the network, and that is not the preferable situation. Far better for him to step in, help Josh reorganize and focus. Leo has shown a remarkable loyalty to Josh in terms of support, and so he’s the one person who Josh can trust to point him in the right direction. In fact, this is how I see Santos winning.
It also means that Leo, in a more prominent role, will be more exposed. Enter more complication, since his past will be even more fair game. But since the struggle must escalate between now and, say, episodes 14-16 (the likely timing for the election itself), this is the most obvious and interesting direction to take. Meanwhile, it certainly looks as if Bartlet will be dealing with one, final international crisis. All of which, in my opinion, is more than worth the time.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
7.10: Running Mates
Written by Peter Noah
Directed by Paul McCrane
I knew better than to expect that the episode itself would be devoted to the fate of Leo McGarry, but I had the feeling that the producers would do something at the very beginning to mark John Spenser’s passing. Even expecting it, it was a kick in the gut. It was very difficult watching the episode knowing that John is dead. But it was certainly a great episode to highlight his acting ability.
Even though I found it a little odd and forced at times, I liked the idea of Leo playing things his own way for the debate, knowing how to deliver a victory out of a moment typically left to the footnotes for the footnotes of history. OK, maybe not a victory, but certainly something worthy of note, and therefore useful to the campaign. I got the impression that this was one way that Leo was helping Josh with the overall effort.
On the side of the wacky, Annabeth is getting a little bizarre, especially with the constant comments of attraction to Leo. I can’t stop thinking of those horrible Old Navy commercials, which is, as you might expect, rather distracting. I do appreciate the funny, but it’s also creepy.
The other side of the episode was the last visit home for Santos, which revealed some problems on the home front. Helen seems to have some issues with reality, even if she never was entirely pleased with the idea of the campaign and her husband’s possible presidency. But does it make sense for her to act like the concept of looking like a potential First Lady is such a shock within weeks of the election?
The writers have long since revealed that Matt and Helen are of the frisky sort, so I wasn’t too shocked by the idea of Helen in a thong. That, and Teri Polo is a fit young woman who can carry it off. Now, personally, I would have thought that the whole “broken bedframe” business back at the beginning of the season would have been more mortifying, but perhaps the issue now is the bunker mentality.
That cold, however, is going to make for one very convenient metaphor, especially if it worsens down the stretch. Santos’ chances will falter as his health reflects the state of his candidacy, and I imagine the plan was for Santos to resurge at the end as his health returns. Will that still be the case, now that the writers have to account for Leo’s absence? Unfortunately, I get the feeling that John Spenser’s death is going to overshadow whatever story the writers had in mind. Some may not mind the idea, I would be saddened if naysayers used this situation to jump down Wells’ throat.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
7.11: Internal Displacement
Written by Bradley Whitford
Directed by Andrew Bernstein
It’s been quite a while since an episode was told from one particular point of view, especially covering so many different plot threads at once. I’m not quite sure that the episode hit its mark, especially with some of the Sudan-related scenes. They felt a little forced, even knowing that CJ has a tendency to go hardball on certain issues. For all that some felt that CJ’s promotion to Chief of Staff was ludicrous, she is very capable in this episode, with her past role firmly in mind.
At the same time, this episode does highlight the fact that the Bartlet administration has been rocked back on its heels most of (if not all of) its second term. The Middle East accord was the only item of serious note; the changes to the Supreme Court were also substantial but never seemed to have lasting impact. The point is that CJ has been Chief of Staff during Bartlet’s least effective time in office, and while that is hardly new in terms of the direction of the story, it is personalized in this episode.
Just what has CJ accomplished during her tenure as Chief of Staff? Several times, the administration has tried to jumpstart the political fervor going into the final days. There was that whole episode devoted to Leo highlighting how many days were left to advance their agenda and make a difference. Has anything happened since then? And how many fires have they struggled to put out, while all but ignoring the Democratic candidate?
That, at least, gets addressed in this episode, but Josh has to negotiate to get Bartlet to support Santos, which is hard to believe. Josh is quite right: CJ and the others should be trying to ensure four more years with a Democratic presidency than one minority seat in Congress. CJ is more concerned with getting Bartlet to the end of his term without a major war on his watch or unnecessary political scandals. Leo used to do the same thing, but thanks to the timing, CJ’s situation feels a lot more hopeless.
Amid the reminders that the administration is about to end, and several careers with it, is the return of Danny Concannon. I’ve always enjoyed the dynamic between Danny and CJ, far more than the disastrous mess with Ben and the others in the fifth season, and this helps to bring context to CJ’s situation. She’s still an important part of the machine, still tied down with the responsibility, but very soon, there will be a massive gaping hole in her life. Danny is just the person to step into her life and help her through it, and that helps bring CJ’s journey over the course of the series into an interesting context.
Even so, there were some weaknesses. I think that too much was happening at once, and items didn’t always get the depth they deserved. The whole issue with Liz and her husband seemed to fizzle out at the end, and some scenes were too light-hearted. And then there’s that bizarre CJ/Kate relationship, which has never been that overtly girly in any other episode that I can remember. I have the feeling Bradley brought the funny, but it wasn’t always in the best context.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
7.12: Duck and Cover
Written by Eli Attie
Directed by Christopher Misiano
While I’ll admit that the quality of the series has been somewhat variable since the fourth season (and yes, that includes the fourth season!), I can’t find much in this episode to fault. I had my attention from the very beginning, and I found the interplay of all three plot threads to be equally compelling. I’ve been waiting for this kind of moment since the beginning of the season, so it makes sense that it would happen now, at roughly the halfway point of the season.
Taking an incident like this and making it the literal and metaphorical meltdown of the Vinick machine could have been overdone; certainly, some episodes in past seasons would have played it to the hilt. Instead, the president demonstrates much of his old fire while the two campaigns play a wonderful chess game. Each side is waiting out the other, as if playing a schoolyard game of chicken, and a part of me wished that it could go on for another hour.
Perhaps the most important element to the episode is consistency. Vinick’s defense of nuclear power was firmly established in previous episodes, as well as his tendency to speak out of turn. Thus his downfall was crafted very well, allowing the character’s own personality and platform against him. Santos’ camp was completely consistent as well, with a minimum of preaching. Sure, there was no sign of the strain between Matt and Helen from a few episodes back, but this wasn’t the time or place.
Of course, one of the strengths of the scenario, the fact that it threw an unexpected wrench into a campaign season that was effectively static, is the scenario’s main weakness. It’s an accident that just happens to be conveniently tied to Vinick, taking place at the most convenient moment possible for Santos, evening the odds. It doesn’t require anything special of Santos beyond restraint. For critics of the writers, who sometimes deify Santos, this is just another example of letting the character coast towards a victory.
But it’s not as if the incident gives Santos a massive edge; it just takes away Vinick’s invincible lead. It makes it a fair fight, and as I said, something like this was completely predictable. That being the case, I couldn’t let that get in the way of the fun. It was one hell of a chess game, with both sides losing resolve over one pivotal night. Great drama, in my book.
All of which would have been beside the point if the White House plot threads were somehow lacking. But the writers delivered on that element as well. Sheen was at his best in this episode; Bartlet hasn’t been in the spotlight that much in a long time. I was quite pleased, since in many respects, there was a resonance with the better Bartlet moments of the early seasons. This episode made it very clear that the winning candidate will never be Bartlet’s replacement, only his successor, and that made this one of the best episodes of the season for me.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
*****
7.13: The Cold
Written by Debora Cahn
Directed by Alex Graves
It was a damn long wait for this episode, but as far as I’m concerned, it was worth it. And I’m not even a strong Josh/Donna shipper, either. (For the record, I relished every bit of it, because I really do feel like they should get together already, even if I usually don’t go for that sort of plot thread!) A lot of interesting twists came along in this episode, and finally, the possible war in Asia factored into the election plot threads. That alone made me a very happy fan.
I understand that some people don’t like this season, and that’s really their right. I have been very happy with the series since Santos and Vinick were introduced, with some minor exceptions, and this episode only continues with the happy. I was expected the “cold” metaphor to be used with Santos, especially after his visit home not so long ago, but it works a bit better with Vinick in this context. Vinick’s campaign is sick, by external criticism and internal schism, and it’s in desperate need of treatment if it wants to survive.
Santos’ campaign has seldom been in a position to act with confidence, and it’s good to see it happen, even if only for a little while. After all, by the end of the episode, it’s clear that the level playing field is no longer quite what the candidates thought it would be. Vinick and Santos both look stunned and sickened by the prospect of taking control of a country in the middle of a nation-building exercise (something that the 2008 candidates should keep in mind).
The election is no longer going to be about domestic issues; it’s going to be about a nation supporting a military effort with little or no exit strategy. This actually favors Vinick, based on what the initial concerns during the primary season indicated, because Santos has very little experience with national security issues. And Asia would be spun as a national security issue.
Vinick would have to be careful, though. If he jumps after Santos now, given his recent setbacks, it could be perceived by those undecided voters as a desperate ploy. After all, many of them moved out of Vinick’s camp into the undecided column, which means they had a specific reason to change their stance. He needs to be careful to give them more than just a reason not to vote for Santos.
I was also struck by the fact that the writers weren’t going to provide Bartlet with some magic bullet of a legacy. Bartlet is exactly right: his legacy will be this military quagmire, regardless of whatever else he might have accomplished. I find that to be a bold choice. After all, it speaks to something that we know on an intellectual level yet often fail to acknowledge: even a good man like Bartlet could end up with a tarnished and devalued presidency.
If there’s one thing I might mention as a negative, it’s the use of a musical montage at the end of the episode. I seldom like these, because too often, it’s a storytelling device used to overcome an inability to close out a script in a compelling manner. It can be done artfully, and it has been done very well on this series, but this time it seemed a bit unnecessary and a little pretentious. Other than that, I was quite pleased to have the series back on the schedule, even if just for a little while.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
7.14: Two Weeks Out
Written by Unavailable
Directed by Unavailable
This had the feel of a transitional episode, especially since the previous installment started the turn towards the series finale. Usually, when there’s a season arc to be considered (and the election makes this a valid topic of discussion), the arc is broken into three basic acts: introduction, complication, resolution. The first shift is usually around episodes 6-8, which essentially places the debate episode in the right position. The “complication” phase usually peaks around the middle of the season, say episodes 10-12, which corresponds to the nuclear incident and its massive effect on the story arc.
So it’s expected that the next big turn will be coming in episodes 15-17, though it may be slightly delayed due to the fact that John Spencer’s death is being dealt with on-screen. All indications are that the election itself will hit at the right time, making this a transitional period where the complications continue to mount.
In this case, I was impressed by the fact that the possibility of scandal was addressed in a fairly even-handed fashion. It would have been easy, given the slant of the series in the early days, to paint the possibility of a Santos scandal in a way that admonished those seeking to tie personal issues to political ramifications. However, Vinick made the point that many Clinton detractors try to make through the noise: the problem is not the terms of the scandal, but the effect on the ability to govern.
I was expecting a relatively benign explanation for Santos’ problem, just as I was expecting Vinick to deal with the issue behind closed doors. What I found refreshing was the lack of resolution. Vinick and Santos make good adversaries because they are fundamentally good people with divergent philosophies on life. Vinick’s main issue with Santos is how he has decided to handle a threat to the integrity of the presidency, and he’s not wrong. He has good reason to be disappointed in his opponent, and it’s fascinating to watch these two in a room on a personal level.
Vinick could have come across as a villain, but he resisted the temptation to win based on scandal over substance. The episode provides two different paths for Vinick, with both on the table for the audience. Does he rest on the merits of his marathon press conference, where he restored much of his credibility with the public, or does he pull an October Surprise? Sure, it’s TV political drama trumping reality, but it leaves Vinick as a man with solid ethics. It ensures that the audience sees both men as viable if flawed presidents, which is something rare in recent American history.
It’s great to see Toby giving Josh advice in the home stretch, and it will be interesting to see if that proves to mend fences going into the finale. It was a little annoying for the whole war situation to be dealt with off-screen, but since it played into Vinick’s moral stance, this can be forgiven. I wouldn’t say that this was as good an episode as the previous installment, but it was still solid.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
7.15: Welcome to Wherever You Are
Written by Josh Singer
Directed by Unavailable
I wasn’t expecting Toby’s plot thread to return in any meaningful way, but once it was clear that it was coming up in a big way in this episode, I couldn’t argue with the logic. After all, this is still a transitional point in the story, and the writers were still reeling from the death of John Spenser. Unless I have the dates wrong, this is the first episode written after John’s death, and there seems to be a purposeful focus on everything else but Leo.
This isn’t the kind of episode that electrifies the audience. There’s a lot of talk about the election and how things might turn out, a lot of strategizing, but there’s precious little talk about where the polls are going overall or indications of how the election might turn out. It’s more about the frantic pace of the final days of a presidential campaign and the toll it takes on everyone involved in the process.
In that respect, it does a damn good job. Everyone in the Santos campaign looked exhausted beyond belief, and I really liked how Santos was portrayed. His good-boy image became more and more embattled with every new press conference and scheduling challenge. That little meeting with Nancy became the symbol for every single source of frustration, and when he finally exploded, it felt completely genuine and justified.
More importantly, Josh finally looked like the potential Chief of Staff that the writers always wanted him to appear to be. When Santos had his mini-meltdown, it was Josh that took the reins and focused his candidate on the big picture. I’ve been very critical of Josh and how he’s handled things, but it’s easy to forget that he’s a novice, despite all those years under Leo. But damn, if he didn’t step up to the plate in the final hours!
Speaking of Santos, I was happy that the situation in Asia was referenced so directly. That was something missing from the previous episode, I thought. Santos reacts about as strongly as I would have expected, and it just made me wish that the episode had also covered the Vinick campaign in as much detail.
Of course, that time was devoted to Toby’s realization that he’s going to jail, more likely than not, and what that will mean to his family. I was expecting that, and so it was a real treat to see Toby at his self-righteous best. I wasn’t particularly convinced that his way of avoiding a political nightmare should have worked as well as it did, but since Toby has always been a great mouthpiece for the writers, I couldn’t complain too loudly.
This is still a transitional episode, since everyone’s waiting for the next two episodes to begin the final stretch, so there’s nothing particularly distinctive about it. I love the chaotic atmosphere, but I can see how some would find it annoying. I’m just impressed by the fact that the cast took the raw emotions following John’s death and used it to give credibility to their exhaustion. Even under the circumstances, no one in this production is coasting through to the end.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
7.16: Election Day: Part I
Written by John Wells
Directed by Alex Graves
Well, the time has finally come. The final leg of the final season has begun, and already there is a palpable tone of finality to it all. The writers did a nice job of making it seem like the end of a long struggle, tying the end of the series to the end of the election and its inevitable aftermath. As the characters try to figure out where things go from here, now that the dance is over, the audience feels the same decompression coming on.
There was little doubt that the election itself wouldn’t be resolved until the second part of the episode, and anyone who thought that Leo’s death would be handled before the very end of the episode wasn’t paying much attention. The writers did the only thing they could to keep the election plot viable: wait until after the election is essentially over for his death to be discovered. I’m sure that the effect will factor into the West Coast, since the plot demands that California be the deciding factor in the election, but in essence, Leo’s death shouldn’t change the outcome.
I’m more convinced than ever that Santos will win the election, sparking a final plot arc to find someone to step into Leo’s place as Vice President-Elect. And I’m still quite convinced that Sam Seaborn will be the one to step up to the plate. It would pay off a long-dangling plot thread from the Sorkin days, and it would be the kind of plot element necessary to intrigue Rob Lowe into coming back. Besides, Sam as VP and Josh as CoS? Wouldn’t that be the logical end for both characters, looking back at the very beginning of the series?
Speaking of logical ends for characters, I have to say this regarding Josh and Donna: it’s about freakin’ time! I said it before, I’m not a shipper by any means, but this is one of those instances where it just felt right. And I like the fact that it happened when Josh needed it the most, whether his clueless self understood that or not. Throughout the episode, she was the only one able to cut through the noise.
Of course, there are those who will complain that this episode was dominated by sex and relationships. That’s true, but I saw it more as pent-up and repressed emotions finally coming out, now that all the energy really has no place to go. The question is whether or not that outlet is positive or negative, and in that regard, there was a nice bit of variation.
One thing that springs to mind is the comparison of Josh and Bruno. The two have been locking heads as the campaign managers since early in the game, and both of them were left crunching numbers after the exit polls. Josh wound up relieving some of the stress with Donna, which was the culmination of their relationship to date. There’s the promise of a new future for both, regardless of the election outcome. Bruno, on the other hand, chose what appears to be a more transitory solution. It feels like another way to show that Josh is the better man, and thus the one worthy of winning the struggle.
Although the episode had a slower pace, I wasn’t left bored or distracted, because I love elections and the tension of waiting for the returns to come in. In this particular case, if these were real-world candidates, I’d be hard pressed to choose, so I’ll be happy either way. I still think Santos will win, if only because the entire season is designed for that outcome. But something tells me that the election outcome will hardly be the most important aspect of the next episode.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
7.17: Election Day: Part II
Written by Eli Attie and John Wells
Directed by Christopher Misiano
As expected, Santos won the election. Granted, I thought California would be the deciding factor, but it didn’t make much of a difference. I still felt the giddy tension that comes with any presidential election night, even if this was completely fictional, and I was elated when Santos won. All things considered, Vinick would have been a great president and I could have lived with it, but in terms of dramatic arc and paying off the last season and a half worth of material, this was as good as it gets.
This was one hell of an emotional rollercoaster. I loved all of the reactions to Leo’s death; I felt they were all very much in character. I also found the immediate discussion on both sides regarding how the situation should be spun to be reprehensible and completely in character for American politics. I know that some disgruntled Sorkinites will bash the episode for not doing “what Sorkin would have done”, but I’ve never been particularly bothered with such nonsense. This was what it was, and for me, it worked on its own merits.
Particularly good were the moments for Josh and Bartlet. In particular, Josh in Leo’s hotel room and Bartlet quietly reminiscing about Leo with CJ. It’s clear that the cast let their grief over John Spenser’s death spill out into their performances. Those scenes were incredibly tough to watch, and I spent a good part of the hour wondering if I would hold it together myself. I have no idea how I’m going to deal with the next episode!
There’s been some talk that the producers/writers were going to have Vinick win the election, but plans changed when John died and the issue had to be handled on-screen. I’m not entirely convinced. For one thing, the entire Santos plot thread would have been a major letdown. More importantly, it would have covered the same basic material as Sam’s campaign in the fourth season. All realism aside, Santos needed to win to give the series a strong ending. A Vinick win just wouldn’t have been as satisfying.
That said, is this just a case of wish fulfillment? Sure, and that’s not necessarily a bad thing. Part of the general reception to the end of a second term of a presidency is fear over whether the successor will be there to “keep the dream alive”. The audience was drawn to love and support Bartlet, a Democratic president, for better or worse. Thus it makes sense that the audience that loves Bartlet would want to be sure that the White House would remain in good hands. As moderate and reasonable as Vinick was (where’s this guy in the real world?), Santos is the Democratic heir apparent, and thematically, it works a lot better. If the producers really wanted to make this a balanced proposition, they would have spent equal time with both sides of the campaign. As it was, there were many people who preferred Vinick, which helped generate interest and debate.
In fact, I could debate that all day (and night) long, but ultimately, I enjoyed it hands down. I enjoyed it a lot. It really felt like the culmination of so much I’ve loved about the series since the whole candidate search began in the sixth season. And the last few episodes are going to be a nice epilogue to this entire campaign arc and the series as a whole. The truth is, Santos’ victory makes me wish, on a certain level, that there was more to come. But that’s the point, isn’t it?
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
*****
7.18: Requiem
Written by John Wells, Eli Attie, and Debora Cahn
Directed by Steve Shill
This is a difficult epsiode to review, because it’s clear that the producers were trying to preserve their original plans through the end of the series while dealing with John Spenser’s passing. Whatever some producers might say about the plans for a Vinick win, it really felt like the issue slated for this episode was the first step in the Santos transition.
That side of the episode played very conventionally, at least from the “West Wing” point of view. It was clear that Santos would bow down to the logic of the situation before long; the point was the tension between Josh and Santos. Josh is beginning to realize that winning the election was only one step in the learning process. It’s going to take quite a learning curve to become the next Leo.
I say “the next Leo” because making CJ his successor had an unintended consequence. CJ got the job done, but it never felt like she had the command of the position. She kept things moving, but she didn’t drive anything to the degree that Leo did in the early years. But that fit within the “ruling the tomb” atmosphere of the late Bartlet administration. Bartlet’s second term was filled with unrealized potential.
Leo’s legacy is such that Josh has massive shoes to fill for his president. Frankly, they don’t have the deep trust that existed between Bartlet and Leo. Josh is still working out the best way to advise Santos, and Santos is still trying to get a sense of independence. They need to start working on the same page, and that means that Josh needs to settle down and work out where his life is going.
Just because Josh and his learning curve can be tied directly to his desire to live up to Leo’s memory doesn’t mean that this plot element ties into the rest of the episode very well. The funeral at the top was very well done, and I was really hoping for more. I wouldn’t have minded a few speeches in memory of the man, a ripping Bartlet monologue, a few graveside moments, but alas. I was really expecting Josh to visit the grave at the end of the day and say something personal and meaningful, even beg for some advice, just so it could all hang together.
But the wake, both public and private, didn’t go far enough or remain separate enough to provide the necessary cathartic release. There was never a time to reflect on Leo and what he brought to the characters and the series. And perhaps there’s good reason for that: the Sorkinites would have ripped into anything that was overly sentimental, accusing Wells of cheap dramatics. But caution, in this case, may have been the wrong way to go; it’s too easy to compare this negatively to “Two Cathedrals”.
Even so, the message is clear: the political demands of the transition wait for nothing. In a way, it might be the message directly to the audience from the producers: to wrap this up right, this is what needs to be done. As easy as that might be to understand, it still doesn’t take away from the fact that the audience is left wanting more.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
7.19: Transition
Written by Peter Noah
Directed by Nelson McCormick
The producers are in a difficult position as the season and series wind down. On the one hand, they want to give the audience a strong sendoff, bringing back old friends and giving the main characters a proper farewell (especially Leo). Yet how can their efforts live up to expectation? It’s nearly impossible, and even if Sorkin had been writing the episodes, I doubt the final product would please everyone.
I’ll admit that I was expecting a little bit more with regards to the Sam Seaborn return. At the very least, I wanted some indication of why he wasn’t at Leo’s funeral. All things being equal, I know that it was likely a matter of contracts and timing. Even if they had filmed something after the fact and inserted it into “Requiem”, it would have been an issue because of SAG rules: Lowe would have to be paid for appearing in that episode. Still, why not a single line of dialogue to explain things?
Yet, I understand why the writers would avoid it. What answer would be sufficient? As it stands, the logic behind Sam’s return works, and as the characters themselves note, the circumstances are neatly symmetrical. It was fun to watch Sam “protest too much” about the deputy CoS job, because it was rather clear from the beginning that he was coming back into the fold. But in some ways, the energy wasn’t there, and I’m sure that some will be disappointed that every scene wasn’t full of the same snap and crackle.
So much attention was on Sam and his return that the Bartlet/Santos gambit was neatly pulled off. It was a nice touch, because it would have been easy to assume that Santos was operating on his own. This was a clever way to address one of the issues that I had with earlier episodes. Santos was never shown reacting to the Southeast Asia problem, but apparently he and Bartlet had discussed a few things here and there in terms of strategy.
Helen’s offer to Donna resolves one of the issues with the whole impending Josh/Donna thing, since the whole boss/employee problem was one of the stumbling points earlier in the series (whether they came right out and said it or not). I thought that Donna took a very pragmatic approach to her relationship with Josh, as if the past year or so had taught her a few lessons in self-assertion. I was struck by the fact that Donna wasn’t really acting like Donna, but why would we expect the characters not to change?
Which, of course, brings us to Josh. Josh is also changing, as he realizes that his manic behavior over the past year has given way to the verge of a nervous breakdown. Sam is probably the only person he’ll listen to at this point, which proves out the logic of the script. Josh’s growing insanity sparks off some odd moments along the way (like Santos asking about his love life with Donna, which was an odd choice), but where does it end? With Sam coming back to keep Josh on track and Donna there to give him a chance to figure out who he is and who he wants to be. Even better, there’s still three more episodes for the answers to become clear.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
7.20: The Last Hurrah
Written by Lawrence O’Donnell
Directed by Tim Matheson
Focusing on Vinick in this episode was a very wise move. These last episodes cannot escape the general feeling of loss for the audience, and the writers keep finding ways to communicate those emotions without being particularly repetitive. It’s one thing to say that the party is all done and it’s time to move on; it’s quite another to show the decompression on a personal level. If the previous episode was all about Josh and his inability to deal with the emotional changes, then this touches on the inevitable loss for the loser of the election.
Vinick’s world is now all about regaining his dignity. He did the right thing by conceding the election instead of pushing for a legal challenge, but now he’s not sure what to do with himself. And he really has no interest in being used as a bargaining tool. So when Santos comes calling, he’s not particularly ready for rapprochement. It doesn’t help that Santos plays around with the inevitable offer.
I loved the fact that the promo teased at Vinick as a VP candidate, especially since it got people a little worked up. When that offer for Secretary of State came along, I was more than a little pleased. It’s the perfect ending to his character arc, since it makes a great deal of sense and represents a level of bipartisan communication that is missing from the real world.
This final “transition” arc is fun to watch, and not just because of the election post-mortem. There’s a lot that comes into play that was never covered in earlier seasons, like the struggles for the First Lady and the First Family. I’m not nearly as annoyed with Helen as some; for that matter, I happen to like Amy (she’s hot!) and like the thought of her working in the Santos administration.
I’m surprised I haven’t thought of this before, but the tone of the final episodes reminds me a lot of the final episodes of “Babylon 5”. In that case, established characters were leaving to bigger and better things, and the next command and diplomatic staff for the Babylon station was arriving. In essence, the series ended with the passing of the baton. Like these final episodes of “West Wing”, the new status quo was put into place but never followed by the series proper; it was more about the transition and the end of an era. The same feelings are coming with the end of “West Wing” this season, and I can’t think of a better way to show my regard for how well this ending is being managed.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
7.21: Institutional Memory
Written by Debora Cahn
Directed by Lesli Linka Glatter
If the previous episode was all about wrapping up the lingering plot threads for the newer characters, primarily Vinick and his future relationship with Santos, then this was an episode that highlighted the older characters. Continuing with the parallels to the end of “Babylon 5”, the characters are having their final moments and then stepping off the stage, rather than linger over the process.
I was expecting more about Josh, Donna, and Sam, and then I realized that they really have concluded their stories. Josh found what he needed to restore some sense of sanity in his world: Sam to give him a sounding board and Donna to give him a life. They didn’t need to be back after that, not when there are so many other characters to cover. No doubt some will be annoyed by that fact, but once accepted, it makes it easier to enjoy what is there.
Of the remaining characters, three fates remain undecided: CJ, Will, and Toby. CJ dominates the episode, but that feels right. Toby was around just as long, but his fate was covered previously; his story has reached its sad but consistent conclusion. But his presence in the final act is critical, and drives home the emotional closure that the writers hope to achieve. This really is the end of an era, and the characters are finally deciding how to move on.
Just as Josh and Donna had to be together in the end, CJ and Danny had to figure out their relationship. Of course, we all knew, thanks to the season premiere, that the two of them would get together; it’s more satisfying to see that CJ’s struggle with her post-Bartlet future factored into that relationship so elegantly. I’m not entirely sure about Toby’s psychoanalytical conclusions about CJ and her love life, but it was the kind of thing he would say.
I’ve never been particularly fond of Will, since he was ultimately a rather obvious replacement character for Sam Seaborn. It probably doesn’t help that his character was largely defined by the post-Sorkin fifth season, which was one of the shakiest transition periods for a series in recent memory. And while I found the Will/Kate thing to be amusing, it never caught on like the writers seemed to think it did. Regardless, this was another case of showing the audience how that “flash-forward” came to be. And I do think that’s the natural place for Will to go, given how he started on the series.
There are a couple of things still missing. For one thing, Charlie’s fate is still up in the air, but I can’t help but hope that it involves Zoey. They really were a great couple, and anything that gets Elisabeth Moss on the screen is a good thing. We should get a short explanation of where Josh and Donna will end up.
So what should the finale really cover? There’s the inauguration, for one, but that’s not the most significant moment remaining. One character has intentionally been left out of this long goodbye: Bartlet. The final episode will inevitably be a spotlight on him. For what it’s worth, I hope that Josh (and Sam, if possible) will also be there. The show may have been made by Bartlet, but it was Josh’s journey. The two of them should be there in the end (had John lived to this moment, I would have said that all three of them should have a moment together). And I would hope that the finale includes another flash-forward, because I loved the idea of bookending the final season in a way that looks to the future.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
7.22: Tomorrow
Written by John Wells
Directed by Christopher Misiano
I feel for John Wells, because this was a no-win situation. I honestly think that Aaron Sorkin would have found it very difficult to end the series in a way that would make everyone happy, especially given the expectations raised by the promotion for the episode. In the end, I think he did about as well as one could reasonably expect, even if a lot of what people wanted couldn’t be done.
The business end of the episode required that Bartlet be at the center of the drama. It was hard to see the man who was so vital and eager in the early seasons reduced to a shadow of his former self, yet he carried out his final hours in office with dignity. Here is where I think a lot of fans will take issue. This was a slow, sober look at the inauguration, and Bartlet (and the episode) was very deliberate throughout. It wasn’t the kinetic style that marked the early seasons, that’s for sure.
Yet how else could they do it? I liked the banter between Santos and his First Lady, because it brought it down to the human level. Who doesn’t banter during moments of high stress? And in keeping with the “West Wing” tradition, we didn’t hear Santos’ speech; rather, we saw how the day’s events were affecting everyone else in the old regime. (Still, who didn’t love that Aaron Sorkin cameo?)
I was a little annoyed, to be honest, with the continued focus on CJ. That was covered in the previous episode, and I thought it was covered more than sufficiently. I was hoping for a little more Josh time. For me, the series was about his journey, especially given that his work on the Santos campaign quickly took priority away from the last months of the Bartlet administration. So it was annoying to see him in such a minor role.
Similarly, while I liked the father/son moment between Bartlet and Charlie, a relationship sorely missed in recent seasons, I wish that there had been a little more, especially with regards to Charlie and Zoey. I’ve always liked the idea of those crazy kids getting together, and it looked like that was the intention. Maybe they couldn’t get the actress for the finale, but it was a missed opportunity for closure.
I think that will be the one thing most people will complain about. Too much was left to assumption. OK, so Josh and Donna are clearly a couple, so apparently Josh answered Donna’s challenge in a favorable way. But why should the audience have to assume it? There was no closure at all for Will and Kate, though I’m not so concerned about that.
Not everything has to be answered, of course, because this is dramatization of “real life”. To invoke the “Babylon 5” analogy, this is not unlike “Objects at Rest”, the penultimate episode of that series. That episode left a few things up in the air, but there was enough contextual information from previous episodes to fill in the blanks. But “Babylon 5” had its “Sleeping in Light”, which hit the emotional high notes far more effectively, because plot points didn’t need to be handled in the same hour as the farewell.
That brings me to the final annoyance. I found the idea of Toby’s pardon as Bartlet’s final act in office a neatly poetic moment. That said, if it was the only item left on the agenda, it would have been intrusive, since Toby wasn’t around at all for the rest of the hour. We know the fences are mended within three years or so, but is that enough? It was made a bit worse by the needless inclusion of that train accident in New England. It wasted time better spent on character closure.
Lest anyone think that this episode did nothing but annoy me, I must point out that these were minor offenses from my point of view. The bulk of the episode struck exactly the right tone. I just think there will be a laundry list from nearly every fan of what was missing and what they wished could have been there, and I had one of my own.
I’m glad the final scene was a Bartlet scene, and while I wish Josh was more prominent, who could resist the final Santos scene, where he asks, “What’s next?” Talk about a nice touch! Sam was underused, leaving his character with little or no closure, but his very presence accomplished enough in my book. There was no bookending flash-forward, but as soon as the episode began, I realized that it would have been out of context. And as much as the Bartlet/Charlie and Josh/CJ scenes kept a lump in my throat, that final hit with “Bartlet for America” nearly did me in.
This is the part where I would usually launch into a discussion about the season and series as a whole, but I’m doing things a little differently moving forward. The “West Wing” post-mortem/requiem will be the main focus of a special edition of “Dispatches from Tuzenor”, a new podcast started as an expansion to the written reviews conducted every season, so I invite anyone interested to drop by the archive site (www.entil2001.com) and click on the link. (It’s also available on iTunes.) I hope to have this particular episode finished at the end of the month.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
(Season 7 Final Average: 7.7)
Back to the Oval Office
Back to the Shrine
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