The Great West Wing Rewatch: 1.2 Post Hoc, Ergo Propter Hoc

Joel: There’s going to be a large amount of death on this show. Not of main characters (Though we will be addressing that later in the series. Stay tuned), but because of the nature of the show and the position of power that these characters are in. The President and his staff make decisions, or recommendations that can drastically alter the lives of hundreds of people. For the most part, these deaths happen off screen and we only know about them because of a single line of dialogue informing us of a death, or a body count, or whatever consequences of a decision that was made earlier in the episode. In a lesser show that’s all that line of dialogue would be. Just some information for you the viewer. But on this show the impact and the weight of the information that is felt by the characters is felt by you the viewer as well. The first example is in this episode. There is a character that we meet for maybe six minutes of screentime in total. And in those six minutes we bond with the character, grow to care about the character, can see how he relates to other characters and are looking forward to the next time the president gets a checkup so we can get some more of the back and forth we got to enjoy. And just like that, he’s gone. No dramatic music. No weeping from the characters getting the information. Just a simple line of dialogue, and it gets you like one of the series regulars is gone. I knew it was coming this time around and it didn’t get any easier, but I was able to marvel at how fast this show can build a three dimensional character that’s worth caring about.

Alexa: Before I dive into the second episode, I’ll share a few thoughts on the beginning of the series in general since I completely dropped the ball on reviewing the pilot (I’m a late addition like Charlie, who, incidentally, I forgot wasn’t in the first couple of episodes). It’s an interesting experience re-watching this show, knowing how much changes and how much stays the same. It’s a great show early on, but it evolves into something truly exceptional, and the elements that define it as such steadily shift into place throughout season one. Aaron Sorkin’s signature dialogue style is present from the start, adeptly ricocheting back and forth between witty exchanges and emotional depth. And the chemistry among the core cast members is already palpable at this point, with one notable exception. Mandy, who at the conclusion of the second episode becomes a media consultant for the Bartlett administration, is a significant character thus far whose role is expanding, but even at this juncture in the show, she doesn’t quite click with the rest of an ensemble whose connection is already seamless. I like her character just fine, and Moira Kelly’s portrayal is admirable, but Mandy is one factor that inhibits the show from reaching its full potential. One Sorkinism that resonates just as strongly in the second episode as it does throughout the show’s run is his ability to elevate minor characters so that they connect strongly with viewers – and in this case, he abruptly and unapologetically eliminates said character to devastating effect. I’m talking, of course, about the tragic death of Morris Tolliver, a character whose limited screen time doesn’t make his loss feel any less substantial. It’s that kind of character development that drives the show’s gradual ascension from great to exceptional.

Chris: Here’s the first of yet another running theme for this series: Josh scores a win that only ends up making his life miserable in the end. Also, we’re introduced to a character and given a lengthy scene in which we are charmed by his personality and wit only to be crushed later by finding out that he’s dead after his plane is shot down. This has occurred in numerous shows, sometimes multiple times in the same show (looking at you Walking Dead). And even to a lesser extent, every year on HBO’s Hard Knocks, they’ll present a video package telling a compelling story about a player they’ve never mentioned before to make you care about him 20 minutes later when he gets called into the General Manager’s office to be notified that he’s been cut and his dreams of playing in the NFL were brutally murdered in an alley.

Side note: the main characters are essentially a bunch of grammar Nazi’s that somehow tricked us all into caring about them. A true triumph.

The “This is Scott from the Falcons” award winner for this episode: Captain Morris Tolliver #RIPCAP

A Good President never allows anyone to tell you what to eat or else their plane will blow up on the way to Jordan.