The West Wing – another double bill
Feb. 13th, 2021 10:56 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
shallowness‘The Short List’ and ‘In Excelsis Deo’ worked better as a double-bill than the last one for me, perhaps because there was more from the first episode picked up in the second, and the second, their first Christmas ep,
was more emotional, though I always find the show engaging. Anyway, despite my previous experience, I didn’t think to pause as one episode slipped into the next, and this time it worked fine. They were linked by the use of timestamps, too.
I enjoyed the physical acting from Janney and Whitford in the pre-titles scene in ‘The Short List’ as Josh and CJ celebrated (later, a newly woken Sam walking into boxes also) and got all caught up in their win, which even the ceiling knew was hubris, and titles did I wonder, ‘Wait, was that walk and talk (and celebrate) all one take? Oh, SHOW.’
Given that I’m now catching up on BSG, I also noticed that Edward James Olmos was cast as Mendoza, (classic case of the credits giving the episode’s plot away.) I can’t say that I remembered Mendoza (whereas I’d been all ‘FITZ’ in ‘The Proportional Response’.) The moustache in here is more impressive than the ones in BSG although maybe I should stop mentioning that.
While I accept that the position on privacy was previously unknown, the more I think about it, the more how badly Harrison responded to Sam’s ‘riding him hard’ feels like something that should have come up earlier and made him a more problematic nominee. Dude, just imagine he’s someone in your confirmation hearing, although it was satisfying to watch. As Sam argued that privacy would be important in the next twenty years (still a live issue), I reflected on how it was good that the administration had a mix of ages feeding in their views. Leo and Jed comment on Josh’s age in one of these two eps, and there were a couple of reference to Charlie’s age in the next ep, as a contemporary of Zoey’s and Mrs L’s dead twins.
So, the carryovers were that congressman talking about staffers on drugs, putting Josh into a thematically relevant tizzy over privacy, but leading to the revelations about Leo, and the CJ/Danny, with Gail the goldfish as a present getting him a kiss. There was also the possibility of the administration turning a corner, being willing to fight for Mendoza, the second choice, but the right one (echoes of Toby) and, obviously, for Leo.
‘In Excelsis Deo’ got to me emotionally, Mrs L talking about her sons, and what could Charlie say? Toby trying to do something for the homeless vet, everyone’s loyalty to Leo.
On the shippy front, the goldfish food was adorable, as was the decoration on Gail’s bowl. Despite this and other sweet bits, CJ’s concerns about their jobs making a relationship difficult were perfectly valid and the tensions had been shown in the last episode in particular. It also seemed to me that CJ was lonely over Christmas, what with trying to invite Sam and Josh, then Leo, so maybe that fed into her asking Danny out at this time, as well as everything else.
The framing of Donna’s face by the fairy lights when Josh popped his head back to see how she took her gift/his note some more was beautiful, and the serious conversation between them about Leo was gorgeous. It felt very much like a woman talking to a man about what manner of man he was, if that makes sense.
On the other hand, Laurie, JUST CLOSE THE DOOR ON SAM.
Bartlett’s breezy optimism that things will come right with Leo seem unfounded, though (i.e. I don’t remember how they get out of this.) I’m sure they will because of this new sense of resolve (and I know Leo sticks around.) But Mandy still feels on the outs. Oh and while I agree with Toby’s pedantry on when the turn of the millennium was, you can’t say that in one breath and ‘I could care less’ in the next, though I think he also said ‘I could care more’ in an attempt to cover the solecism.
Leo having Josh and Sam tailed was hilarious, though I was a bit bemused at Margaret getting Leo to sign Christmas cards so close to the day. Oh well, the White House probably has access to a super speedy postal service.
was more emotional, though I always find the show engaging. Anyway, despite my previous experience, I didn’t think to pause as one episode slipped into the next, and this time it worked fine. They were linked by the use of timestamps, too.
I enjoyed the physical acting from Janney and Whitford in the pre-titles scene in ‘The Short List’ as Josh and CJ celebrated (later, a newly woken Sam walking into boxes also) and got all caught up in their win, which even the ceiling knew was hubris, and titles did I wonder, ‘Wait, was that walk and talk (and celebrate) all one take? Oh, SHOW.’
Given that I’m now catching up on BSG, I also noticed that Edward James Olmos was cast as Mendoza, (classic case of the credits giving the episode’s plot away.) I can’t say that I remembered Mendoza (whereas I’d been all ‘FITZ’ in ‘The Proportional Response’.) The moustache in here is more impressive than the ones in BSG although maybe I should stop mentioning that.
While I accept that the position on privacy was previously unknown, the more I think about it, the more how badly Harrison responded to Sam’s ‘riding him hard’ feels like something that should have come up earlier and made him a more problematic nominee. Dude, just imagine he’s someone in your confirmation hearing, although it was satisfying to watch. As Sam argued that privacy would be important in the next twenty years (still a live issue), I reflected on how it was good that the administration had a mix of ages feeding in their views. Leo and Jed comment on Josh’s age in one of these two eps, and there were a couple of reference to Charlie’s age in the next ep, as a contemporary of Zoey’s and Mrs L’s dead twins.
So, the carryovers were that congressman talking about staffers on drugs, putting Josh into a thematically relevant tizzy over privacy, but leading to the revelations about Leo, and the CJ/Danny, with Gail the goldfish as a present getting him a kiss. There was also the possibility of the administration turning a corner, being willing to fight for Mendoza, the second choice, but the right one (echoes of Toby) and, obviously, for Leo.
‘In Excelsis Deo’ got to me emotionally, Mrs L talking about her sons, and what could Charlie say? Toby trying to do something for the homeless vet, everyone’s loyalty to Leo.
On the shippy front, the goldfish food was adorable, as was the decoration on Gail’s bowl. Despite this and other sweet bits, CJ’s concerns about their jobs making a relationship difficult were perfectly valid and the tensions had been shown in the last episode in particular. It also seemed to me that CJ was lonely over Christmas, what with trying to invite Sam and Josh, then Leo, so maybe that fed into her asking Danny out at this time, as well as everything else.
The framing of Donna’s face by the fairy lights when Josh popped his head back to see how she took her gift/his note some more was beautiful, and the serious conversation between them about Leo was gorgeous. It felt very much like a woman talking to a man about what manner of man he was, if that makes sense.
On the other hand, Laurie, JUST CLOSE THE DOOR ON SAM.
Bartlett’s breezy optimism that things will come right with Leo seem unfounded, though (i.e. I don’t remember how they get out of this.) I’m sure they will because of this new sense of resolve (and I know Leo sticks around.) But Mandy still feels on the outs. Oh and while I agree with Toby’s pedantry on when the turn of the millennium was, you can’t say that in one breath and ‘I could care less’ in the next, though I think he also said ‘I could care more’ in an attempt to cover the solecism.
Leo having Josh and Sam tailed was hilarious, though I was a bit bemused at Margaret getting Leo to sign Christmas cards so close to the day. Oh well, the White House probably has access to a super speedy postal service.
no subject
Date: 2021-02-14 03:25 am (UTC)Seriously. YOU CAN DO BETTER, GIRL. I had forgotten when you were discussing the last eps that The State Dinner is the one where Sam is so gross and petulant to her about her job after she turns up there. Ugh, go away, Sam.
the more I think about it, the more how badly Harrison responded to Sam’s ‘riding him hard’ feels like something that should have come up earlier and made him a more problematic nominee.
They really did push Peyton Cabot Harrison III as being a 'good on paper, awful in reality' nominee very hard, didn't they. I feel like in 2021 it has even more nasty shades of 'privileged old white dude' layered onto it than it did in 1999. He couldn't have been more obviously labeled 'out of touch' if it was stamped on his forehead. But, as you said, satisfying to watch him get taken down.
The framing of Donna’s face by the fairy lights when Josh popped his head back to see how she took her gift/his note some more was beautiful
The whole secret-bookstore-trip subplot is one of my favorites, and of course this scene caps it off beautifully. Apparently the director (Alex Graves? I can't remember if this ep was him or Chris Misiano) was the first one to look at Brad and Janel and go "yeah, let's just dive into this obvious tension HARD." Thank goodness for him!
no subject
Date: 2021-02-16 08:14 am (UTC)Yes, I thought his behaviour was so wrong and inexcusable.
They really did push Peyton Cabot Harrison III as being a 'good on paper, awful in reality' nominee very hard, didn't they.
Absolutely. It's there, just in the contrast of th judges' resumes that Mandy(?) makes, except even then we were taking different conclsions from her and my first response in the 90s would have been 'ugh, he plays golf.' But now those extra layers around privilege you mention are more potent.
Ah, remember browsing in bookshops?
The director was Alex Graves, and yes, it's A Moment for the ship.
no subject
Date: 2021-02-16 09:42 am (UTC)To be fair to Mandy, she is absolutely right from a PR standpoint, as is her job - Harrison would be easier to sell as a nominee. She just doesn't mention that he'd be easier because of racism, and classism, and the deeply ingrained idea in the American psyche that our leaders are supposed to be culled from the elite class. The episode hammers it home a little hard, and of course our heroes do the right thing in the end, but it does a neat job of exposing that ugly truth.
Ah, remember browsing in bookshops?
I DO. I can't wait to go back and get a book that I don't have to read in electronic form.
it's A Moment for the ship.
It's funny, teenage me was absolutely not into politics (prior to this show, that is), and only watched cause the commercials had some funny lines and Rob Lowe was very attractive. But I kept watching cause Brad Whitford was someone even more attractive, and I fell hard for him and Donna! Much love for that moment, for sure. I probably squealed.
no subject
Date: 2021-02-18 08:34 am (UTC)Indeed. Mandy is professionally right and all of those things were in our heroes' minds, if not examined, when they were first deciding on Harrison. Because all of that happened offscreen, before the episode and because they change course, we get to gloss over that.
I was into politics, but this show was extremely important in explaining US politics to me, which in turn offered a contrasting view of our system. I think it was the characters that hooked me.
I fell hard for him and Donna! Much love for that moment, for sure. I probably squeale
Whereas I don't remember how I responded to ths ship. Pro, increasingly so, I think, but I was more invested in other ships on other shows at the time, IIRC.