The West Wing (1999-2006)

From major political take-downs to heated, passionate debates, Aaron Sorkin’s The West Wing showcases topics of great relevance, covering the overarching themes of duty, sacrifice, morality and teamwork. The show spanned along the presidency of George W. Bush, and either battle the rampant perception of greedy and power hungry D.C. politicians in the 1990s and early 2000s, or sets a parallel model of public servants, filled with liberal ideals and integrity. The show is known for its realistic portrayal of world issues almost in every episode, such as the sobering reality of terrorism in ‘Isaac and Ishmael’, the war on drugs, or the outbreak of AIDS in Sub Saharan Africa in ‘In This White House.’ However, what puts this particular TV series, for me, right over the top of all the million other political dramas is its quick paced (watch with captions, it can be hard to follow), witty, yet terribly touching dialogue. Speech doesn’t seem to exist in Sorkin’s works as a mode of communication, or simply as a device for plot development, but rather as a weapon to enhance the story itself by banter and intellectual discourse.

Even though The West Wing is fully stocked with brilliant, complex, awe inspiring characters (except Mandy, ew), my favourite one would undoubtedly be CJ Cregg, Press Secretary and later Chief of Staff to the President. As the seasons progressed, we saw her mature into her role amongst the senior staff with great elegance, until she turned into its most trustworthy and loyal members. The show took great care in exhibiting the nuances of her character, both flawed and spirited in her need for perfectionism in every aspect of her life, be it her work, health, romantic life, or in simply doing the Jackal. While her job description restrained her ability to weigh in on and structure foreign policy, she never shied away from speaking her mind to the people who did, even when she knew it wouldn’t affect any measureable change. Episodes such as The Women of Qumar do very well in portraying this well-placed frustration within her, where one could see the very values she carried that permitted her the belief that she could change the world, and that made her leave her media career in Los Angeles in a heartbeat to work for the Bartlet administration. Personally, as much as I would like to work in the White House, I would not want her job for fear of concocting another secret plan to fight inflation much like Josh. CJ’s well spokenness and charismatic nature go a long way, and it was extremely interesting to watch her daily routine in the special episode Access, or the love-hate relationship she bears with the White House reporters.

When it comes to the president himself, the show never ceases to amaze me in its portrayal of various forms of his intelligence through the numerous obstacles and impediments thrown his way. President Bartlet has every quality that I admire and respect, both as a leader and a public servant without losing his much-loved feel of a nerdy father figure. His own excitement and passion for his beliefs, his iconic ‘what’s next’ line, were all key factors in keeping me interesting in continuing to watch the next episode. My favourite dynamic may have been that between him and Charlie, as their quick paced back and forth between meetings was always entertaining and heart-warming to watch. In fact, a major reason I took up economics in high school was because president Bartlet was a Nobel laureate in that very subject. One of the major arcs of the show, the presidents’ multiple sclerosis, was very tough to see, as we watched him watch his family, closest friends and staff members process this news. The fact that one of the most powerful men in the world, or at least in position, was diagnosed with a fatal illness may have been symbolic of man’s inevitable mortality, notwithstanding his accomplishments or even his greatness. This was depicted very well in the later seasons, as the president’s health worsened to the extent he couldn’t stand up in the bathroom, and his fight with Abbey, the First Lady, afterwards.

“There was a line you never crossed with the President of the United States. And playing jump rope with that line may have been the only exercise Toby Ziegler got in his years at the White House.”

That seems to best describe the moody, grumpy, and other synonyms: Toby Ziegler, the Director of Communications. Listening to, not just his speeches, but even his offhand commentary (often, they were complaints being muttered) on the goings on at the White House made me realise he more than deserved the title of Sam’s favourite writer (Sam, his deputy, was not so bad himself). I will forever be disappointed at his ending, for the Toby we knew for five strong, opinionated seasons, would never, never, leak classified government information for a personal vendetta. But that’s just my opinion. Speaking of unjust endings, Sam Seaborn’s character was built in a way, filled with promise and aptitude, that I had expected him to run for High Office himself. Instead, he lost the democratic vote in the unknown unheard of Orange County, never to be seen again.

So Josh, Deputy Chief of Staff, took Sam’s place as the semblance of youth and new leadership as he ventured into building his own presidential candidate in season 6. I grudgingly fell in love with the brain and campaign of Matthew Santos, but it would never equal the sentimental connection the audience felt for the Bartlett administration. I feel the need to also mention my respect and admiration for Arnie Vinnick, the guy was something. Josh and Donna’s slowburn relationship over the seven years many a times saved the show, however when they finally got together it surprisingly lacked the feel of the tension filled build up promised to provide. The entire show’s display of romantic and sexual relationships seemed half hearted; most story lines having been dropped or never taken place despite adorable build ups for them (Ainsley Hayes, Laurie and Mallory for Sam; Joey Lucas and Mandy for Josh; the smart lawyer whose name I forgot for Leo; and Simon Donovan for CJ). This abruptness, however, may be justified by the shows’ focal theme of duty, and this signifying and highlighting the personal sacrifice made by these characters in service of the President.