The dead horse is to be flogged no more.I should be upset about this, and if it had happened three years ago I would have been bouncing off the walls. There was a time when there was nothing to touch this programme. Simplistic on occasion, frequently preachy and more-or-less suffused with moments apparently designed purely to encourage vomiting among all non-Americans (and probably some Americans too), it was nonetheless so fearsomely well-written and for the most part so flawlessly interpreted, so impeccably directed, so beautifully shot and so sympathetically scored that you just had to let slide the clunky moments of patriotic fervour or those times when the actors might as well have turned to face the camera for all that the pretence that they were addressing each other and not the audience was successfully maintained.
So what happened? It's a rare fan that doesn't know, so if you don't know now would be a good time to become a fan.
The West Wing was created by Aaron Sorkin in 1999 subsequent to the commercial, if not critical, success of his film
The American President. Anyone who's seen
Sports Night will know that Sorkin's not a chap with nothing to say, and if on occasion he proved susceptible to schmaltz, he also managed to corral a dizzying array of facts into the average
West Wing episode. While he received much assistance on the wonk side of things from White House staffers such as President Clinton's 1st press secretary Dee Dee Myers, the actual writing is very much him, very much of the time. An astonishing achievement, considering most TV shows of
The West Wing's size generally have between seven and ten writers. It couldn't last, of course - particularly not with a drug habit like Sorkin's and a hypocrisy like the average US TV network's.
After four years of consistent board-sweepage at the Emmys (keeping out
The Sopranos and
Six Feet Under inter alia, no mean feat) and two Peabody Awards (for the first two seasons, fittingly), Sorkin was fired from his own show, apparently for consistently missing script deadlines. Now, I don't know about NBC, but I'd probably be prepared to wait the extra day or two for scripts of the quality of those Sorkin produced for
The West Wing, if the alternative were the stultifying lumps the cast had to contend with from Season 5 onwards. I don't think there can be much doubt that it wasn't his late scripts they fired him for.
Creative control was handed over to John Wells, who had been on board as Executive Producer from the start. His show
ER served as a pretty good template for Wells-era
West Wing: hackneyed melodrama vying for screentime with tedious foreign-policy (ie medical jargon) exposition, and well-crafted, funny dialogue
that still managed to get the point across nowhere in sight (I started dubbing
The West Wing "
Executive Room"). Sorkin had (perhaps spitefully) written Wells into the mother of all corners at the end of Season 4, and Wells' self-extrication was slightly inelegant, but better than it might have been. Early S5 episodes showed promise; it was all-too disheartening to learn that they were from Sorkin's treatments.
The West Wing soon went into freefall. Seemingly determined to carve his own
West Wing niche, Wells set about changing anything he could think of. Immediately the White House became a different building: not geographically but in terms of its ambience, specifically its cinematography. Where Sorkin's was all reds and oranges (to be honest Thomas Del Ruth created the most whorishly lit Oval Office you'll ever see), Wells went for colder blues and greys. CJ started dressing like a whole different woman, and I'm not convinced she wasn't made up to look older, presumably to lend the slightest air of credence to the absurd and utterly unrealistic promotions that were made in a futile attempt to give the show a freshness that Sorkin's writing had brought it effortlessly. Suddenly the NSA was staffed by glossy thirtysomethings with a decidedly Goth line in eye makeup. Revisionism was leaned on heavily that characters might be pulled out of positions they held and more-or-less discarded by the wayside, occasionally to wander into someone's office in search of termites or to deal with the plumbing. Without succumbing to the general hysteria surrouding these issues, this was mainly imposed on the one black regular. Most egregiously, probably in an effort to hasten Martin Sheen's departure from the show (either following pressure from the network to lose the lefty, or due to Wells' desire to get his own president), a year was lopped off the timeline, which had until then been very stricly observed, with no explanation whatsoever. Now, I'm not so curmudgeonly that I demand the satisfaction of a full eight-year term for Bartlet. But there are plenty of ways to get him off the show that are dramatically satisfying. The guy had MS, after all. He could die; or be assassinated or impeached. He could simply resign if necessary. That stuff can be written at the drop of a hat. What Wells chose to do instead was creepily Orwellian: he just had all his characters start getting into election mode a year early. Not only that, he gave interviews to anyone who'd print one saying, "We were 18 months into the administration when the show started," when in fact they were six or seven: the US TV season runs from September to May and Bartlet had been elected (as it were) in November 1998, inaugurated in January 1999 and Season 1 picks up in Spetember 1999. That's why he's
re-elected in the November of Season 4, in 2002, and inaugurated again in the January of Season 4, in 2003. But rather than deal with it, Wells chose to insult his audience by assuming they wouldn't notice, or not caring if they did.
Changes made at the behest of the network in the final two years did little to help. Toby and Josh had the most unlikely of fistfights in what was otherwise the best episode of a bad lot in Season 6. There was an interesting "live" debate episode for this one-year-early election that two people you don't care much about are contesting, here in Season 7. John Spencer's tragic death spared him this particular humiliation, for no-one gave as much to
The West Wing as the incomparable Spencer. Just buy the first four seasons, and if you must watch the rest, be grateful they put it down now before Wells could drag it down any further with his cheap hackery.