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“In the future, if you’re wondering, ‘Crime. Boy, I dunno’ is when I decided to kick your ass.” Aug 18

Before we can move on to the canonical episodes of season 3 of The West Wing, we first must deal with the “play” that was broadcast in place of the season opener in response to the events of 11th September 2001. It’s called “Isaac and Ishmael” and I didn’t like it when it was first broadcast. It’s grown on me a little but I’m still not a fan. A friend saw it in America when it was first shown and commented that he thought it should be shown in every classroom there. He’s probably right, but it demonstrates the audience to which “Isaac and Ishmael” is pitched. The main plot involves a group of swotty schoolkids visiting the White House who are taught by the regular cast the meaning of right and wrong. Well, about the terrorist threat, but it’s not far off. I don’t have a problem with the message, which is reasonable and balanced, but it’s not delivered in the most subtle way.

What redeems “Isaac and Ishmael” is the other plot, in which Leo interrogates an Arabic staffer suspected of being a terrorist. It takes quite a risk in painting one of the lead characters as a little bit racist, but it works well – and as Lord Stevens comes out with unpleasant stuff about passenger profiling, it’s worth noting Leo’s subsequent apology:

“That’s the price you pay… for having the same physical features as criminals. That’s what I was gonna say. […] I’m sorry about that.”

Back to the series proper, which begins with the President kicking off his re-election campaign, resolving season 2’s cliffhanger in flashback. There is a sense that, compared to the previous years, episodes are a little less self-contained, with the series becoming more of an ongoing story. Nevertheless, episodes still tend to be defined by a specific incident. The cast continue to hit the mark throughout – and the several Babish/Mrs Bartlet scenes are very welcome.

Highlights include “The Indians in the Lobby” – not so much for the Native American A-plot, but for the delightfully silly scene in which the President calls an information line to get their advice on cooking stuffing.

“If I cook it inside the turkey, is there a chance I could kill my guests? I’m not saying that’s necessarily a deal-breaker.”

CJ’s character goes a little over the top in “The Women of Qumar”, but this is quickly forgotten as it is followed by “Bartlet for America”, another flashback to the campaign trail, in which Leo takes centre stage. It introduces Joanna Gleason as Jordan Kendall, who makes up a top double act with John Spencer, and is funny as well as poignant. “The Two Bartlets” offers another enjoyable and dramatic two-hander between Martin Sheen and Richard Schiff, and leads to the welcome return of Adam Arkin in “Night Five”. “Dead Irish Writers” is great fun: Roger Rees makes another entertaining appearance as John Marbury (to tackle the US’s conflicting attitudes to Islamic extremism and Irish terrorism) and Stockard Channing gets several good scenes as Abigail Bartlet celebrates her birthday. “Stirred” is a nice little episode about the Vice-President, Ian McShane pops up in the following episode with a memorable appearance as a Russian diplomat (even if his Russian accent is a little less than convincing), and then we’re into the final three: “The Black Vera Wang”, whose final scene is rather sinister for The West Wing; “We Killed Yamamoto”, which is pretty much a setup for the finale; and “Posse Comitatus”, which features historical Shakespeare on stage and political intrigue, murder and assassination off it. There’s a great Sam and Toby scene with the press outside the theatre in New York, and the final shots of the tainted President in shadow and in silhouette are evidence of yet more quality direction. I couldn’t help feeling though, as Jeff Buckley sings over a sequence of tragic, dialogue-free scenes, that the production team had decided that “Brothers in Arms” had worked so well over the climax of “Two Cathedrals” that they should do the same thing again. Despite the dejà vu, it’s still a marvellous episode.

Look out for: CJ mentions Freedonia, later used in more detail in a season 6 episode of that name. Several different characters say, “Don’t talk to me like I’m other people,” a line which has cropped up in previous seasons too. CJ calls Simon Donovan “Agent 99“. CJ (again), singing Right Said Fred’s “I’m Too Sexy” in “Gone Quiet”.

Don’t look out for: Armin Shimerman off of Buffy the Vampire Slayer and Star Trek: Deep Space 9. Although credited in “Posse Comitatus”, you’ll struggle to find him. I suspect his dialogue was cut.

Six degrees of Alan Dale: even more actors from The West Wing who pop up in Lost or 24. Connie Britton from Spin City plays adviser Connie Tate; she also appears as Diane Huxley in 24 Day 5. Kevin Tighe, who plays Indiana Governor Jack Buckland, is Locke’s father Anthony Cooper in Lost. Randy Thompson, who has a small role as a potential donor in “Bartlet for America” is a bomb technician in the finale of the third series of 24. Gregory Itzin pops up in one scene in “Enemies Foreign and Domestic”; he went on to play rubbish president Charles Logan in 24. Now the biggies. Jenny Gago appears in “The Indians in the Lobby” and uncredited in an episode of the first series of 24; she also appears as a CIA agent in the first season Lost episode “The Greater Good”. Finally, Evan Handler plays Doug Wegland in three episodes of The West Wing, is in an episode of Day 4 of 24 (as mentioned in my review of that), and plays Dave in the Lost episode “Dave”. He is also one of many West Wing to appear in the pilot episode of Studio 60 on the Sunset Strip.

Best episodes: Bartlet for America, Dead Irish Writers, The Black Vera Wang, Posse Comitatus

“By day they churn butter and worship according to their own beliefs and by night they solve crimes.” Aug 15

Without pausing for breath, the second series of The West Wing picks up where the first left us hanging. The President, his daughter and his staff haved been fired upon; somebody’s going to emergency, somebody’s going to jail…

The two-parter “In the Shadow of Two Gunmen” is the perfect opportunity for the series’ first flashback episode, showing us how the various aides came to work for Jed Bartlet. The pace is maintained in “The Midterms”, which provides one of the most memorable scenes in the run when the President confronts a right-wing radio agony aunt, tossing biblical quotes at her in response to her Old Testament views on the gays.

We meet Ainsley Hayes, annoying-voiced token Republican who is a useful devil’s advocate as well as a provider of light relief. The series remains funny while it negotiates the pathos of Chinese Christian refugees and post-traumatic stress disorder, the latter being Bradley Whitford’s “This is for the Emmy” episode (I discover after writing that that he did indeed win one).

The weakest episode is “The Stackhouse Filibuster”. It’s relatively self-contained and a pleasant, memorable little tale, but it crosses the line from sentimental into mawkish. The framing narrative – staffers writing emails to their parents – is an interesting experiment but doesn’t come off at all, merely exaggerating the schmaltz.

Fortunately, the following episode is “17 People”, and from here on it’s five episodes of TV gold. The character of Toby comes centre stage and much of the episode is a dialogue between him and the President. It’s followed by “Bad Moon Rising”, which introduces new and entertaining White House Counsel Oliver Babish played by Oliver Platt (the teaser alone features a textbook example of Chekhov’s gun). Babish’s scenes with Mrs Bartlet – sorry, Dr Bartlet – are a delight. If, like me, you’re watching on DVD, you have to stick with it from here until the end.

The regular cast have grown into their roles and are marvellous in almost every scene. Aaron Sorkin continues to knock out fast-paced, intelligent, witty scripts and the directors – notably Thomas Schlamme – do a great job. nd if that wasn’t enough, the season ends with the tear-jerking marvel that is “Two Cathedrals”, possibly the single best episode of the entire series. As Leo McGarry says in the last line of that episode: “Watch this.”

Look out for: the “Who saved CJ?” plot, which doesn’t tally with what we saw in the season 1 cliffhanger; the marvellous character of Bernard Thatch; Felicity Huffman off of Desperate Housewives running rings around Toby in “The Leadership Breakfast”; the president of Columbia, President Santos; Dr Bartlet, Sr., Jed’s father, played by Laurence O’Donnell, a writer, executive story editor and producer on The West Wing, in his first TV role.

Don’t look out for: Mandy. She disappears from the cast without a word (and amen to that).

Six degrees of Alan Dale: more actors from The West Wing who pop up in Lost or 24. The most notable is Glenn Morshower who makes the first three of nine appearances as Mike Chysler. He served more than one other US president in all five series (so far) of 24 as Secret Service agent Aaron Pierce. Timothy Davis-Reed, who made the first of 51 appearances as reporter Mark O’Donnell in Shibboleth, appeared in an episode of the fourth series of 24. Sam Anderson, best known as Holland Manners in Angel and Bernard in Lost turns up in the same episode. And Devika Parikh, who appears as communications assistant Bonnie from the pilot episode until season 5, appeared in the first series of 24 as Maureen Kingsley. (I may have to give this pointless list its own page.)

Best episodes: In the Shadow of Two Gunmen, Ellie, 17 People, Two Cathedrals

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“I am the Lord your God. Thou shalt worship no other god before me.” Aug 07

At the weekend, I finished watching the first series of The West Wing. It’s a series that hits the ground running, but even so you can see it evolving. The top-billed characters of Sam and Mandy begin to fade early on: although Rob Lowe is the notional star, he quickly becomes an equal part of the ensemble, while the annoying Moira Kelly is sidelined with little to do and disappears entirely after this season. The charismatic President Bartlet, meanwhile, brought marvellously to life by Martin Sheen, takes centre stage from the moment he silences a roomful of arguing people by proclaiming the First Commandment.

It’s my impression – although until I’ve made my way through the next few box sets I won’t be able to confirm it – that the writing is a little rawer to begin with. Issues – and particularly moral ones – are dealt with less subtly than in future scripts and very occasionally a character gives a slightly unrealistic speech (of the sort to which characters in Babylon 5 were regularly prone). The humour is there throughout though, proving not only that you don’t have to be a comedy or a “comedy drama” to be funny; indeed, good drama needs humour. The whole season stands up well seven years on and it’s immediately clear why it was such a hit.

I’ve mentioned before the crossover of actors between 24, Lost and The West Wing, so my Six Degrees of Kevin Bacon Kiefer Sutherland brain was on the look out for more. The most notable in this season is Reiko Aylesworth – Michelle Desslar in 24 – who pops up in the penultimate episode playing a fellow student of “Sam’s friend”. Also making an appearance – in “He Shall, From Time To Time…” – is Harry Groener as the Secretary of Agriculture. He later appears in Inauguration Day Part 2, in which he turns into a giant snake and eats everyone. (“I’m suffering from relapsing-remitting gargantuan snakeitis.”)

One other actorly observation: in “20 Hours in L.A.”, Donna spots Matthew Perry at a party; apparently in season 4 she is too polite to mention to Joe Quincy that he’s the spitting image of the Friends actor.

Best episodes: “Six Meetings Before Lunch” (if only for CJ doing “The Jackal”), the recently much-cited “Let Bartlet Be Bartlet”, and the excellent finale, “What Kind of Day Has It Been?” (which, in retrospect rather ominously, features a problem with the Space Shuttle Columbia).

Oh, and to my chagrin, I am Sam Seaborn.

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