Tag Archives: The West Wing

Han

"It's a state of mind. Of soul, really."

Overwhelmed is a good way to describe myself after yesterday, and yet, even that somewhat hyperbolic word seems strangely inadequate.  I am so deeply moved and touched by the response to my post about my father – some of the comments left by friends and strangers quite literally brought forth tears.  And that is all my Dad, proving that what I said yesterday is true, that even twenty-five years gone he retains the ability to move and inspire everyone he touches.

Some of you shared your own inspiring stories of your parents, and of your own losses.  I think it’s important to remember in times like these that which connects us all as members of the human race; our emotions.  In our darkest and our brightest moments, we all feel the same way.  We can look at someone who is suffering and understand the depth of their pain.  More than that, we can share in our joy and celebrate mutual triumphs.  We can feel so alone in this vast universe, and yet we never are.  We have each other.  We will always have each other.  A man who was equal parts president and philosopher, John F. Kennedy, said that “we all inhabit this small planet; we all breathe the same air, we all cherish our children’s futures, and we are all mortal.”  The possibility of our greatness is tied to our capacity for empathy, the knowledge of and the desire to do good, not out of a wish for personal gain, but because we know that it is right, and that the mere doing of good makes us all better.

There is a Korean word, han, which first came to my attention when it was used on an episode of The West Wing.  There is no English translation, but it was described on the show as “A sadness so deep no tears will come, and yet still there’s hope.”  I’m not sure if I’m using it here exactly in the way a native Korean would, but for my own purposes, it captures my state of mind this morning in a way that overwhelmed does not.  I still mourn my late father, but I am lifted, given great hope indeed, by the supportive thoughts of friends, family and strangers; the great tapestry of emotional connection that binds us all in a universal truth.  Maybe that’s a lesson to take from this experience, is that even in the depths of despair, there is always hope.  And we need not look far to find it.  It’s in me; it’s in you.  It’s in us.  It is us.

The future ain’t what it used to be

It’s 2012 – wondering where the flying cars are?  The way some people drive, maybe it’s not a bad thing Ford hasn’t rolled them off the production line yet.  But as a fan of science fiction from a young age, a passionate supporter of space exploration from around the same time and a gazer at the stars from long before that, I kind of expected the future to be, well, a little more futuristic.  I’d hate to think that all those classic movies like 2001: A Space Odyssey lied to me, and yet, as 2001 came and went we weren’t boldly voyaging to Jupiter and beyond, we were mired in terrestrial disputes, our feet welded to the ground by political infighting, war, terrorism and relentless media-induced fear.  The words of Robert F. Kennedy come to mind:  “Some men look at things the way they are and say why; I dream of things that never were and say why not?”  Somewhere along the line we, collectively, stopped dreaming of things that never were and became coddled by advances in technology that heighten only the convenience of life, not its quality.  Probably the greatest step forward in the last ten years has been anything produced by Apple, and yet, really, a portable Justin Bieber catalogue isn’t exactly the sort of thing Jules Verne would have envisioned as a quantum leap.  We still get from place to place, basically, on 19th Century engines – they are faster and sleeker but the principle is the same one that propelled your great-grandfather’s old jalopy down Main Street when it was a dirt road with horse hitching posts along the sidewalks.  As Leo McGarry opined on The West Wing, “where’s my jetpack?”  Forget that – I want my damn Back to the Future Part II Mattel hoverboard.

I laud the advances we’ve achieved in communication, this forum being one of them.  What concerns me is that we are moving towards a point in our existence where we may have very little of substance to communicate about.  Human beings are needy creatures – we are forever craving stimulation to make us productive.  From adversity comes advancement.  But what happens when life is so easy, so crammed with distraction, that challenge is all but forgotten?  Look at the difference in a little over half a century – after Pearl Harbor, Americans banded together to enlist, volunteer, ration, buy bonds, collect scrap metal, anything that could be done to assist in the war effort.  Contrast that to the post-9/11 era where the President told his people that the best thing they could do to help their country was to go shopping.  Rosie the Riveter?  Nope, Penny the Power Purchaser.  And why?  Because it’s easier.  It’s yet another distraction, an erosion of altruism for self-interest über alles.  Surrounded by distractions, we do not think.  We forget about the whole and focus on the pleasure of the one.  These mass-produced trinkets are fun, but they fill the one empty space that should be uniquely our own – our imagination.  They saturate it so completely that we don’t think we are lacking for anything anymore, and thus, we are no longer compelled to create.

I am a victim of this myself.  When I was first living on my own, I had only an old computer with no Internet capability, let alone access.  I wrote constantly, generating screenplay after screenplay, thousands of pages of would-be novels.  Without distraction, I could focus on creation.  Then one day I decided to buy a Nintendo 64.  And who wanted to stare at a blank screen and flashing cursor anymore when there were so many goombas for Mario to jump on and so many princesses to save from castle dungeons?  My imagination took a huge hit and I don’t think it has ever completely recovered.  To this day I prefer surfing through a few favourite sites and catching up on the latest show business news over writing something of my own nine times out of ten.  I’ve been prolific here lately because I’m really forcing myself.  But it’s not easy.  The lethargic soul is a persistent enemy forever at the gates.  And he seems tragically immortal.

Primitive computers with barely the memory of today’s pocket calculator helped land men on the moon and return them safely to Earth.  That was in 1969.  2001: A Space Odyssey came out a year earlier, and given the pace at which things were happening then, it seemed a reasonable prediction - barring the unforeseen bankruptcy of Pan Am – of what our lives could be like as the 21st Century dawned.  Instead, HAL 9000 is the iPhone 4S, and the moon seems further away than ever.  But goshdarnit all, I’ve got 100,000 songs in a little gizmo a third the size of my wallet.  Is this what RFK had in mind when he was dreaming of things that never were?  Is this what Stanley Kubrick expected?  Is this what Aristotle, Copernicus, Leonardo or Galileo would have wanted?  Full seasons of Fear Factor streaming to my HDTV on Netflix?  Snooki with a million Twitter followers?

The capacity of what humanity can do with imagination and hard work is limitless.  But we have to force ourselves to look up from the screen and back at the stars again.  Because although they’ll be there forever, we won’t be, and I’d rather not see the ability to download Jackass 3-D at lightspeed as our civilization’s greatest lasting legacy.

Laudantium Duo Cathedrales

"Have I displeased you, you feckless thug?"

A review I found of The Grey recently (not mine) pointed out that it’s not often we see poetry in the movies.  Nor are we likely to find it on television, particularly when there is after all so much donkey semen to be consumed, and so much ritual humiliation to be suffered, in pursuit of cash and prizes.  In a way though, it’s not really surprising.  The production of episodic television can best be likened to a meat grinder churning through product ever faster.  Compromises are the order of the day to meet the schedule; creativity takes a distant back seat to speed.  Poetry, by contrast, is meditative and contemplative – it takes time and care to compose, and even more time to read and reflect upon.  That is why the rare occasion one does come across televised poetry is such a gift.  James Lipton called The West Wing‘s “Two Cathedrals” the finest hour of television ever produced, and I’m inclined to agree.  Written by series creator Aaron Sorkin with his usual brilliance and flair, it is an allegorical story of Job, a story of a man, the President of the United States - ostensibly the most powerful man in the world – whose faith is tested to its limits.  A man who is forced to confront his innermost demons, who is pushed to the edge, to breaking, and finds solace and strength once more to stand against the coming storm.  A story of the true bravery of which human beings are uniquely capable.

The setting:  The White House.  As re-election looms, President Josiah Bartlet (Martin Sheen) is about to reveal to the world that he has multiple sclerosis and did not disclose it during his first run for high office.  His beloved long-time secretary and confidante Mrs. Dolores Landingham has just been killed in a car crash.  Tragedies and misfortunes pile on and the President finds himself questioning what he sees as God’s plan, wondering if God is, in fact, merely a feckless thug.  In a series of flashbacks we see young Jed demeaned by an imposing, small-minded father who seems to resent his son’s very existence.  When the President curses God in Latin (“Cruciatus in crucem – eas in crucem”) and crushes out a cigarette on the floor of Washington’s National Cathedral, he is rebelling against God and his father as one.  He has sunk to his lowest and is resigned to defeat, advising his staff he does not intend to seek re-election.  An hour before a press conference at which he plans to announce the same to the world, Bartlet sits quietly in the Oval Office, preparing himself for the grand humiliation to come – when suddenly the door is blown open by the wind and his conscience reasserts itself.  In the form of a conversation with an imagined Mrs. Landingham, Jed reminds himself – through the voice of his departed mentor and friend – that the fight is worth the struggle, that he is in a unique position to help so many faceless people, and he cannot and will not be undone by the failings of the father.  He walks outside, and as the haunting guitar of Dire Straits’ “Brothers in Arms” starts up, Bartlet is baptized by the driving rain.  At the press conference, he throws away the script and invites the question of whether he intends to run again.  It’s established earlier on that when Jed has made up his mind, he smiles and puts his hands in his pockets.  Without speaking, he does so again, and his journey is complete.  He has descended to the depths, walked through the fire, and emerged whole and greater.

One cannot watch the episode without feeling a similar lift, regardless of whether or not one is a person of faith – and that, to me, is one of the triumphs of “Two Cathedrals.”  The allegory of God/father vs. Jesus/son is plain, but it is handled so delicately that even though the underlying themes of the episode are highly religious, it does not come across as a sermon, but rather a paean to the faith a single human being can have in himself, and the ability to overcome any amount of doubt in order to do what is morally right.  There will likely be a time in every man’s life when he looks to the image of his own father and questions why he is here, or what purpose, if any, his suffering must serve, very much as Jesus on the cross cried toward heaven asking why his father had forsaken him.  It is the paradigm of the relationship between a father and a son.  The clarity and certainty Bartlet finds as he stands in the rain is to be admired, and in many ways, to be envied as well.  We should all be so lucky to understand ourselves and our place here on earth.  Where “Two Cathedrals” helps is in throwing down the challenge, forcing us to ask the question – one of the most terrifying any man can ask, because the answer can truly shape the rest of his life.  It can come to define the limits of who he is and everything he will ever be.  That is more than mere poetry – it is the essence of truth.

Ten quick grammar lessons from The West Wing

If you want to write well in any capacity, professional or otherwise, you should watch The West Wing.  Hell, you should watch it over and over again, scrutinize, memorize, take copious notes and write countless essays on its tropes and its impact on the human psyche.  Rarely, if ever, has there been a series so in love with the peculiarities of the English language.  Truly - few writers can turn arguing over grammatical construction into entertaining television.  Not lost is the irony that if Aaron Sorkin were inclined to participate on Internet message boards, he’d definitely be considered a grammar Nazi – in the best sense of the word of course.  Presented then for your perusal, ten useful takeaways to pin to the office wall for reference whenever needed:

  1. Unique means one of a kind.  Something cannot be “very unique.”
  2. Nor can something be “extremely historic.”
  3. Alliteration can make a reader need an avalanche of Advil.
  4. It’s not “attorney generals,” it’s “attorneys general.”
  5. Writing your sentences, dangling modifiers should be avoided.
  6. “Hallowed” is not spelled with a pound sign (#) in the middle of it.
  7. Pregnancy is a binary state, you either are or you aren’t.
  8. “Frumpy,” onomatopoetically, sounds like what it is.
  9. No one knows what “redoubtable” means.
  10. The fourteen punctuation marks in standard English grammar are:  period, comma, colon, semi-colon, dash, hyphen, apostrophe, question mark, exclamation point, quotation marks, brackets, parentheses, braces and ellipses.

The most lasting lesson, however, may be that fundamentally, it’s not a bad thing to want to appear smart, and that there is virtue in forever trying up your intellectual ante.

Break’s over.

Ontario Election 2011: Waiting for Bartlet

As published on the Speak Your Mind section of the Toronto Star this morning and reprinted by their kind permission as always.

If you’re a political junkie, watching The West Wing spoils you.

Listening to imaginary politicians like Martin Sheen’s President Jed Bartlet lacerate their opponents with the inspired, honey-tongued erudition that is the trademark of writer Aaron Sorkin creates an expectation that real life should function the same way.  That our leaders should be able to articulate their arguments so clearly and incisively, that contrarians can do nothing but wither at the mere sound of the words.

Tuning into an Ontario election debate disabuses one of that notion.

I wasn’t able to attend the Burlington debate this week.  The organizers apparently did not count on much, if any public attendance, given their decision to schedule it during the Tuesday morning commute.  One of the highlights, it seems, was Conservative candidate Jane McKenna warning that Ontario’s economy risks going the way of Greece should the Liberals be re-elected.  The cradle of Western civilization, the birthplace of democracy and souvlaki, held up as the paradigm of governmental failure – by candidates seeking government office through democratic election.  One could write several college English papers on the levels of irony at work here.  What is less ironic is that McKenna probably didn’t come up with that insightful analogy on her own; it was likely scripted, shaped and poll-tested at Hudak Headquarters before being rolled out for Burlington’s ears on Tuesday morning.

A few thousand years before Greece’s economy collapsed, its scholars were shaping the fabric of democracy itself through their dialogues and discussions.  Our best literature is that which raises new ideas and examines them from all sides; thesis challenged with antithesis to generate a new conclusion.  We haven’t seen that in a political debate in ages.  Nowadays, debates are more like joint press conferences where each candidate recites his or her pre-approved script by rote and hopes not to stumble over the words they didn’t write themselves.  The one debate I was able to attend a few weeks ago, for a different riding, featured five candidates who barely acknowledged each other’s presence, let alone interacted or challenged each other to defend their ideas.  No minds were opened that evening, no fence-sitters swayed or opponents converted.  Deliver talking point, lather, rinse, repeat, snooze.

Indeed, the bar has been set so low that all a candidate need do is not knock over their podium to be judged as having given a solid performance.  It was amazing to witness the struggle with which columnists and bloggers attempted to ascribe victory to any of the contenders in Tuesday night’s leader’s debate.  Tim Hudak saying to Dalton McGuinty that “no one believes you anymore” was apparently a signature moment.  Andrea Horwath’s tale about her son being sent away from an ER with a bone fracture was another “winner.”  And the Premier garnered more ink for his animated hand gestures than for anything he actually said.

Seasoned political reporters disdain the idea of the “knockout punch,” like Brian Mulroney’s “You had an option, sir,” or Jack Layton’s “If Canadians don’t show up to work, they don’t get a promotion.”  They think it’s less important than staying on message, sticking to your platform, getting the facts out.  They’re probably right.  But the unabashed theatricality of moments like that is what makes voters not just choose a candidate, but fall in love with them.  It’s one thing to have a great platform and a solid message.  But we want to see someone alive on that stage, a true character – not a marionette who has to calculate all the potential political blowback of each word before he speaks it.

Today there is too much fear of fallout to risk letting the human being shine through – too much central control of the campaign, lest news cycles be lost to apologies, denials and explanations for rogue nominees going off-message.  The very process that selects candidates tends to weed out the most colorful, and only the blandest and safest survive the slings and arrows to make it to that podium.  Those that do rely on the same tactics – the tales of struggling souls encountered along the campaign trail whose concerns oddly happen to dovetail with the key planks of the party’s platform, the countless mentions of family, the interruptions, the use of “taxes” as a profanity.  You know what they’re going to say before they say it.  What I felt was Tim Hudak’s most clever line of the night, about rearranging his daughter’s alphabet magnets randomly to form the initials of every unnecessary Ontario government agency, was a little less fresh given that PC candidate Ted Chudleigh used the same line in the Halton debate a few weeks prior.  Or that Republicans were laying the exact same charge against the New Deal policies of President Franklin Roosevelt in the 1940’s.

Debates are a cornerstone of the democratic process.  That we only have one leader’s debate in an election cycle is preposterous.  We need more.  And just once it would be great if the debaters threw away the script.  If we junked those stilted “questions from average Canadians” and let the politicians have at it in a real sparring match of intellectual prowess, one that allowed us to distinguish clearly between which ideology we feel is best to guide us into the next decade.  To make our choice not for just the best policies, but for the best person; not a manager, but a visionary.

That’s how The West Wing got Jed Bartlet.  That’s how you pick a leader.

The Winter of Discontent – West Wing Season 5

As I’ve mentioned before, we spent the summer rewatching The West Wing from start to finish.  That marathon ended a few weeks ago and I’ve been neglectful about sharing further thoughts on this epic journey of television drama.  It seems appropriate then to return to the subject on the 45th anniversary of the debut of another classic NBC program some of you may be familiar with – Star Trek.  There is even a touch of synergy to the two in that the only appearance on TWW by a regular member of a Star Trek series cast in fact took place in Season 5.  Think about that for a moment (no running to Wikipedia to check) and I’ll reveal it at the end.

John Wells is no slouch, but even he had to be scratching his head as to how to resolve the conundrum Aaron Sorkin left him in the fourth-season finale, Twenty-Five.  Zoey Bartlet was a hostage to terrorists, President Bartlet had stepped aside and conservative Republican Speaker Glen Allen Walken was now Acting President.  I can picture Wells nursing a scotch, staring at a blank screen with a cursor blinking and hurling a stream of profanity at it.  Equally disorienting is the experience of watching the fifth-season premiere, 7A WF 83429.  The teaser begins with whip-pans, quick cuts, distorted sounds and images (such visual trickery becoming the trademark of director Alex Graves) and the audience desperate for a glimpse of the friends they’ve missed since the end of season 4.  When you do see them finally, they are disheveled, in darkness, as lost as we are without the familiarity of Aaron Sorkin’s keyboard behind the scenes.  Wells did the best he could, and the episode does have some beautiful moments – the ending montage set to Lisa Gerrard’s “Sanvean” in particular – but things just aren’t right.  I said earlier today that watching the post-Sorkin West Wing is like going back to your favorite restaurant, saying hello to your favorite waitress, settling into your usual table, reaching for the menu and finding out they’ve changed chefs.

It’s tough to say for certain, but Sorkin seemed to take great care in ensuring that characters behaved consistently from one episode to the next.  You get the sense in many of the season 5 stories that characters who would habitually go left were being wrenched right (no political pun intended) to serve the demands of the plot.  Would the Leo McGarry who saved Josh Lyman from being fired in the pilot and told him “as long as I’ve got a job, you’ve got a job” in Season 2′s Noel really strip Josh of his legislative portfolio and cut him out of the loop as he did in the three-episode arc that followed Constituency of One?  Would Leo really be willing to walk from Jed’s side to defend some other guy – supposedly his real best friend, whom we’ve never seen or heard about before – in An Khe?  Would the Bartlet administration, who had shown such hope and confidence in NASA in Galileo really become utterly disdainful of them in The Warfare of Genghis Khan?  And how in the name of all that is holy did Congressman Robert Royce of Pennsylvania from Season 3 suddenly become Senate Majority Leader in Jefferson Lives?  (I blame a casting mishap on that one – I’m guessing that the “Majority Leader” character was written with no one in mind, H. Richard Greene was cast before anyone remembered he’d already played this other role, and the character was then named Royce in a bit of retroactive continuity.)  Still, this lack of internal consistency in Season 5, an unfortunate side effect of a dozen writers working on it instead of only one, only adds to the discomfort we feel in watching it.  These people don’t feel like our friends anymore.  They’ve changed, man.

Ultimately, Season 5 was when The West Wing went from masterpiece to just a pretty good show.  And yet there was one standout gem of an episode that just for its 43 minutes made one hope that the magic could be recaptured.  I’m referring of course, to the fake documentary episode Access.  JUST KIDDING!  Heavens no.  That well-meaning misfire is best left forgotten.  I’m referring to Debora Cahn’s award-winning The Supremes.  The elderly liberal Chief Justice is ailing, a young conservative judge on the Supreme Court has died, and the White House is besieged on all sides as they attempt to choose a replacement who can survive the Senate confirmation process.  In what had to have been one of the most expensive guest casts for a single episode of television in history, Glenn Close, William Fichtner, Mitchell Ryan, Milo O’Shea and Star Trek: Voyager‘s Doctor, Robert Picardo, all lend their dramatic talents to what turns out to be a funny, erudite, wholly implausible but inspiring and thoroughly entertaining romp – ending with a scene of standing ovation that we want to join in with.  While the nitpicker in me bemoans the absence of even a mention of Season 1′s Justice Mendoza (with all those other guest stars they surely couldn’t afford Edward James Olmos as well), the episode is a little helping of vindication for those of us who stayed with The West Wing, lending some hope that all was indeed not lost.  Those beloved characters felt like our friends again.

Ironically, Season 5 would be the last time The West Wing would operate as originally intended.  Season 6, which I’ll get into at another time, saw old friends change jobs, new characters enter the picture and the thrust of the show become not the administration of President Bartlet but the race to replace him – with several episodes in the latter half of the season taking place not anywhere near the White House.  For me, the final word on Season 5 – and there could be more, but I’m trying to keep it under 1000 words – is best paraphrased from Toby’s pronouncement on Bartlet’s new Vice-President, Bob Russell.  It wasn’t the best, it wasn’t the worst, it was just what we were stuck with.

Phase Two

On this, the first day of school, I find myself in reflective mode.  It’s been about a month and a half since I started composing these missives and firing them off into the void of cyberspace as though I were Carl Sagan at Arecibo blasting radio-encoded ones and zeroes at neighboring stars, hoping for a reply.  I daresay my luck has been a little better than Carl’s.  This has been a great experience.  While we’re not changing the world or really doing anything of great cosmic significance, it’s wonderful to see your comments and know that you’re enjoying reading my fractured takes on life - to any writer, that’s the proverbial manna from heaven.

Tomorrow, we’re kicking it up a notch.  I hinted at this a few days ago on Twitter but now the curtain lifts and all shall be revealed.  I’ve been lucky enough to have been chosen by The Toronto Star as one of their “Speak Your Mind” Community Bloggers for the 2011 provincial election.  I’ll be offering commentary specifically on the race to succeed Joyce Savoline as MPP for Burlington.  This is the first race in quite a while where there is no incumbent and while Burlington is traditionally a safe Conservative seat, the local PC riding had some bumps choosing a candidate and as a result, this year all bets are off.  It’s gonna be a lot of fun covering this race and I hope you’ll enjoy reading my updates.  It won’t be all politics all the time of course, I’ll still have lots to say about what’s going on in the rest of the world and plenty of West Wing references for the new readers who found their way here thanks to the awesome Rob Lowe.

In this day and age, writing about politics is difficult without veering over the line into cruel snark.  I have my own beliefs and my own thoughts on the outcome I’d like to see, but I intend to write as fairly and as balanced as I can (unlike a certain U.S. “news” network).  What I want to see is candidates talking up to us, not down; raising the debate, not driving it into the sewer with canned sound-bite, sarcastic answers to complex questions.  I want to see this election as a contest of and for smart people.  If I think someone’s crossed the line, if I think they are trying to cruise into office on a tide of smears, no matter which party they’re in, I’m gonna call them on it.  Above all else, I will remain true to the three principles I outlined in my very first post – humanity, heart and hope.  Our politicians are only partly to blame for the state of the public’s apathy towards government today.  As writers who want to get them engaged again, we have to give them a reason to tune in other than scandals and shouting.  That’s my plan and I’m looking forward to the challenge.  Hope you are too.

Allons-y!

God save Sam Seaborn

In the absence of compelling summer television and a firm disinterest in whomever The Bachelorette picks, we are engaged in a repeat viewing of the entire seven seasons of The West Wing.  Assaulted by news feeds of corporate-backed Tea Party lunacy and the fiscal axe falling on libraries, it’s good to step away for an hour or two each night into Aaron Sorkin’s erudite exploration of the virtues of public service and the triumph of liberalism.  When TWW was originally airing during the height of the Bush administration it was a welcome salve for wounded progressive hearts and a source of hope for better days ahead – showing what it could be like when the reins were held by people who genuinely believed in government as a meaningful force for good rather than some nebulous beast to be starved lest they not be able to buy another yacht.

No character better exemplified this than the Deputy Communications Director Sam Seaborn, played by Rob Lowe in an arguably career-defining role as a fast-talking, pure-hearted and paradoxically handsome nerd, able to translate his unassailable convictions into elegant turns of phrase for the President to deliver just as smoothly.  Where Toby Ziegler was the moral conscience of the senior staff, and Josh Lyman was the warrior determined to win at all costs, Sam was the idealist, the dreamer, a bottomless well of hope never tempered by politics as usual.  Originally intended to be the focus of the show – he was the first character to be introduced in the pilot episode – Sam began to fall off the radar as the seasons progressed, usurped at the center of the series’ main plots by Josh and Toby.  As a writer, it’s not difficult to see why this may have occurred for Sorkin – a character of such upstanding value and with so few apparent flaws as Sam is very hard to write.  Usually the approach is to test the limits of their values and morality by challenging it from every angle, daring the character to retain their hope against the creeping ennui of human failings.

We saw this articulated in Sam’s best episode, Somebody’s Going to Emergency, Somebody’s Going to Jail.  Sam is struggling with the revelation that his father has been cheating on his mother for 28 years when he is asked to look into a pardon request for a man who had been accused of espionage for the Soviets during the Second World War.  Determined at the start to reverse what he feels is a mockery of justice, Sam ultimately discovers that his pet cause was, in fact, a traitor, the revelation of which combined with his father’s infidelities nearly crushes him.  In a touching scene where he breaks down in front of Donna Moss (Janel Moloney), he confesses the need he feels for certainties in life on which to hang his hope, like “longitude and latitude.”  And yet at the end Sam makes a difficult phone call to try and begin reconciliation with his father.  He has found his certainty – and his hope – again in the faces of his friends.

One always got the sense that Sam was driven to prove that hope could triumph cynicism.  After a soul-flattening career using his intelligence and skill with the law to protect oil companies from litigation, working at the White House was his chance to redeem those mistakes.  It would have been nice to see the hinted-at wounded part of his character explored in greater depth had he stayed a few seasons more.

Rob Lowe’s and Aaron Sorkin’s respective early departures from the series after its fourth season left a huge question in what the plans for Sam Seaborn ultimately would have been.  Yet a tease was dropped in the third-season episode Hartsfield’s Landing.  Discussing the intricacies of a standoff with the Chinese over a game of chess, President Bartlet comments to a stunned Sam, “You’re going to run for President one day.  Don’t be scared, you can do it.”  A flicker of reaction crosses Sam’s face, both sheer terror at an incredible notion that he might not have ever considered, replaced swiftly by a quiet confidence that if he has inspired that kind of hope in someone he admires so deeply, he might just succeed.  The currency of hope remains potent, and we are grateful that it is – making one agree with Toby’s final line to Sam as he walks out of the series in the fourth season episode Red Haven’s On Fire – “God save the United States of America… and Sam Seaborn.”

Snookered

Okay, so I am a huge fan of The West Wing.  I am burning a hole in my DVD copies of all seven seasons.  The kind of obscurities that Trekkies love to dredge up about their own holy grail, I can dish on TWW.  Episode titles.  Great lines.  Guest stars.  Writing credits.  One-shot characters.  Inconsistencies of established backstory.  The fact that H. Richard Greene appears in Season 3 as an obscure congressman worried about his re-election prospects and then turns up again in Season 5 as the same character, now Senate Majority Leader, has my mind twisting in knots in its more idle moments wondering how such a transformation could ever occur in real life.  Yes, I am a dork.  Or more precisely, a Wing-nut.  I’m sure I’ll delve further into why I dig it so much in future posts.  The reason I mention it is that today my West Wing enthusiasm led me to do something lame.  Basically, to get snookered by a Twitter impostor posing as Martin Sheen.

I’ve been following this “Not-even-an-Estevez” for a few days.  His tweets seemed pretty genuine.  But in my squealing-teenager-ness, I forgot the cardinal rule – look for the damn blue checkmark.  So in blissful ignorance, I decided to send this person who I thought was Martin Sheen a compliment.  Here’s how it looked:

Me:  “Two Cathedrals” [the acclaimed second season finale of TWW] was a masterpiece of writing, directing and especially acting.  Thank you for it.

Fake Martin Sheen responded within a few minutes.

Fakey-McFake-Fake:  @thegrahammilne Two Cathedrals was great.  I love the cameo by @Lawrence O’Donnell, who if you didn’t know also wrote for the show.

Here’s where I then go off the rails into nuttery, thinking I’m impressing “the man”:

Me:  He was great!  I believe he also wrote that wonderful scene for you and Alan Alda over ice cream in “In God We Trust.”

Sheesh.  You can practically hear the girlish giggles.  It’s not great, but it would have been not quite so egregious had whoever this person is actually been the real Martin Sheen.  Turns out not only is he not, but the real Emilio Estevez (@EMILIOTHEWAY, which does have the damn blue checkmark) has been waging a Twitter war with this impostor trying to get him to stop pretending to be dear old dad.  Something I would have realized had I been a little more studious in reading the Big Faker’s entire twitterstream.

But it got me thinking as to why someone would choose to do this.  Why they’d put themselves out there pretending to be someone else and continue to maintain the lie even when challenged by someone with an emotional connection to the real person.  Yes, I know all about internet trolling.  I just don’t quite see what the appeal is, other than the “lulz.”  This lulz of yours confuses and enrages me, to quote Lrrr.  Maybe making other people feel like idiots is really what gets some individuals’ rocks off.  I just can’t help thinking it’s a terribly transitory and lonely sense of gratification.  Big laugh followed by an equally large hollowness.

Right now, I have about 40 Twitter followers on any given day.  It tends to bounce up and down around that mark as new people follow me, decide I have nothing interesting to say and then disappear.  Were the grand scheme of Twitterati likened to the scale of the solar system, Lady Gaga and Justin Bieber would be the sun and I’d probably be a few notches past the termination shock (look it up).  But I’d rather have these 40 than the 3,300-odd that Fakerooney has conned into thinking he’s Ramon Estevez Sr.  Because I know they’re here for me – what I am saying as myself and not false sentiments I’m forcing from someone else’s mouth.  I’m not leeching off anybody else’s fame – my successes and failures are entirely my own from here on out, wherever this ends up leading.

And I (me, the real Graham Milne) think that’s pretty cool.  Or, put another way, pathetically hipster.  But I’ll stick with the former.

What’s next?