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Absofreakinglutely great!
mlincoln
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'The West Wing' Assumes the Role Of Moral Compass By Tom ShalesFriday, October 5, 2001; Page C01 Where do we turn when we want lessons in morality, political science and human relations? Why, to Hollywood, ofcourse! Or so some of that tinselly town's more pretentious armchair philosophers seem to think.Thus did Aaron Sorkin, producer of "The West Wing," delay the season premiere of his White House drama seriesWednesday night to offer instead a "very special episode" that wrestled with issues related to the monstrous terroristattacks on New York and Washington.Sorkin apparently felt America was waiting to hear what he, and the show's faux president, played by Martin Sheen,had to say about the tragedy. So instead of a drama, he offered up a lecture, a sermon, a seminar. It wasn't a story, itwas a scripted talk show about the threats of terrorism and of racial prejudice.Whatever one may think of Sorkin's diatribe, it certainly drew a crowd. Nielsen ratings show that more than 25 millionpeople tuned in. No network TV series takes itself more seriously than "The West Wing" does, but even by its own standards, theepisode, called "Isaac and Ishmael," came across as pretentious and pietistic hubris.The hour began with cast members stepping out of character and speaking solemnly into the camera. "We're eager toget back to our continuing story line, but tonight we want to stop for a moment and do something different," said thatdistinguished master of the dramatic arts Rob Lowe. "Now don't panic, we're in show business," said Bradley Whitford, who plays the deputy chief of staff, "and we'll getback to tending our egos in short order." Whew! What a relief. He could have continued, "but tonight we'll stick totending the ego of our show's creator, Aaron Sorkin."Whitford also told viewers, "We suggest you don't spend a lot of time trying to figure out where this episode comes inthe timeline of the series." Lucky he said that. Otherwise, there's no telling how much time we might have spent tryingto figure out where the episode came in the timeline of the series. Are these folks just a wee bit over-impressed with themselves or what? Has Sorkin perhaps just slightly overestimatedthe importance of what he has to say? Perhaps he is to be commended for quickly producing an episode that attemptedto respond to the crisis, and there's no question the show was provocative. But Sorkin's "message" turned out to bemore heavy-handed and simplistic than usual.Most of the episode took place in one of two rooms. In the White House mess, a group of bright high school studentsasked questions of staff members, everyone having been detained because Secret Service officials feared a suspectedterrorist might actually be on the premises. It turns out the suspect was next door in the Old Executive Office Building, which is where agents found him smokinga cigarette. The rest of the show consisted of intercutting between the interrogation of the man -- whose name, RaqimAli, matched one of the aliases used by a terrorist who had just entered the United States -- and the heavy-duty chatsession in the mess.Students asked such questions as "What's the deal with everybody trying to kill you?" That's Sorkin's idea ofaverage-guy dialogue. Meanwhile poor Ali was questioned relentlessly (but politely) about his background, affiliationsand activities.Terrorism is definitely bad. That was established by the talk with the students. It was pointed out that "the Taliban isn'tthe recognized government of Afghanistan," and it was said that Islamic extremists are to Islam what the Ku Klux Klanis to Christianity.But the main thrust of the episode was summarized in another line: "Bad people can't be recognized on sight. There'sno point in trying." What if they're carrying guns and have bombs strapped to each limb? That wasn't asked oranswered.What was really on Sorkin's mind was the mistreatment of the apparently guiltless American-born Muslim who, asplayed by Ajay Naidu, maintained a tone of suffering moral superiority throughout.Ali, it was revealed, had once been arrested for taking part in demonstrations against the presence of U.S. troops inSaudi Arabia, but he was indignant -- and Sorkin was indignant -- that investigating such a thing might be consideredappropriate for a person working in the same building as the president of the United States. How dare they?It was also considered outrageous for Chief of Staff Leo McGarry (played by John Spencer) to bring up the politicalactivities of Ali's dad. "If you drag my father into this pitiful exercise, I'm afraid I'm going to get angry," Ali said.Instead of saying, "Well, wouldn't that be a shame?" McGarry started looking sheepishly ashamed of himself. By theend of the show he was essentially apologizing to the kid. Spencer looked as guilty as a puppy caught soiling thecarpet.Obviously, discrimination against Arab Americans and against people who even just look Arabic has been a seriousproblem in the wake of the terrorist attacks. And is to be deplored and, one hopes, stopped. But the attention given that problem by the "West Wing" episode, as well as by some talk shows and newscasts, seemsto suggest that it's the major issue arising out of the attacks. Viewers of MTV, for instance, have heard morecondemnation of discrimination ("Fight for your rights") than of terrorism itself.In the gospel according to Hollywood, the possible abridgment of civil liberties (even during wartime) isas morallyworrisome as those murderous acts of madness that resulted in the deaths of thousands of innocent people.One fan of "The West Wing" said yesterday that the preachiness of the episode didn't offend her because "West Wing"is always preachy. A valid point. Sorkin has turned the show into his personal pulpit. "No one out here ever says a badword about the show," a veteran Hollywood writer said yesterday. "It's like a reverse blacklist or something."It is fair to note that in April, Sorkin was arrested at Burbank Airport and charged with two felony counts of drugpossession when cocaine, hallucinogenic mushrooms and pot were found in his carry-on bag.This would seem to have some bearing on his status as moral arbiter for the nation.Meanwhile, the very special episode of "West Wing" ended with that scolding oldie from the '60s "For What It'sWorth," by Buffalo Springfield. It's the song that begins, "Something's happening here, what it is ain't exactly clear."No, it ain't exactly clear, but the implications are unsettling -- that even in this moment of pain, trauma, heartbreak,destruction, assault and victimization, Hollywood liberals can still find some excuse to make America look guilty. Forwhat it's worth, that's crap. c 2001 The Washington Post Company
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