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Possibly the best season so far...
Review date: 2008-04-12 Rating: 10 out of 10
I'd advise potential buyers to be wary of some of the negative comments concerning this season. There seems to have been a campaign of sorts (be it orchestrated or accidental) to denigrate the show in the post-Aaron Sorkin & Rob Lowe era, which has generated a consensus among fans. Here, so the received wisdom goes, is the point at which the series fell into decline. Well, my own experience has been completely at odds this view.
Firstly, on the issue of storytelling, Season Five does coincide with a marked change in tone and style. There is, on the whole, less narrative innovation. Episodes typically follow a conventional path. On the plus-side, this means the scripts are generally less showy, and more story-centred. Also the dialogue is, for the most part, a good deal less comedic, although it must be emphasised that this does not mean there's no humour at all. There are in fact still plenty of witty lines, just a decrease in the number of those super-articulate (but sometimes glibly reductionist) exchanges that used to pass for dialogue in Seasons 1-4.
The over-riding contrast between this and previous seasons, however, is that it is more serious. By this, I don't mean that it takes itself more seriously - I think Aaron Sorkin took himself pretty seriously, too - but rather that the mode of expression places more emphasis on the dramatic, and less on the comedic. Suddenly in this season we see genuine tensions between the characters to which we just haven't been privy before, and the result is a more rounded, more grounded and more believable viewing experience. The relationships are, in essence, more human and better realised.
On the political front, Season Five is a good deal more sober and more determinedly left-wing than any of the previous seasons. "Liberal" is a dirty word in America these days (I always wonder if this makes the Statue of Liberty fee uneasy...), but I'm pleased to say that Season Five is a truly liberal-minded show. By which, I mean to say it is free from some of the reactionary nonsense that plagued the former seasons. It is puzzling to read people on other review sites (although, it seems, not this one) commenting on the show's increasingly right-wing slant. Let me state here that this is categorically NOT the case. This is the most avowedly liberal of all the seasons so far.
Aaron Sorkin is a an original stylist who brings considerable linguistic verve and intelligence to his scripts. He has a democrat's brain for domestic policy, but a NeoCon's heart for foreign policy. Hence we get Leo McGarry proposing (perhaps in jest, but nevertheless) that Middle Eastern extremism might only stop when a US flag flies over Mecca. This is profoundly offensive - not least to Americans, most of whom I'm sure do not wish to be associated with this kind of militant rhetoric. It is also a deeply foolish comment, and therefore unlikely to have issued from the mouth of someone like McGarry. Thankfully, Season Five redresses the balance on these kinds of issues.
The detective writer Raymond Chandler used to say that when in doubt, have a guy walk into the room with a gun. Sorkin's own version of this was to have a terrorist attack, or some interminable colloquy between the President, McGarry and the Joint Chiefs of Staff in the Situation Room. Many of these scenes were the dullest in the show - Seasons 3 and 4 in particular were plagued with them. If you're going to tackle the issue of terrorism and war, then you owe it to the audience to deal with these themes in an adult manner. This, sadly, seemed beyond Sorkin's reach - and I think this was the case both before and after 9/11. Sorkin always preferred demagoguery to actual debate, and on the issue of American foreign policy, he was unwilling or unable to countenance the possibility of real moral grey areas.
I believe the exit of Sorkin was the saving grace of this show. It relieved the actors of the task of uttering yet more reactionary comments (which always seemed at odds with their other views; Leo McGarry being the best example of this) , and it permitted Sorkin's creation to finally outgrow its creator. The result is a more responsible and more even-handed show. It is still of course an idealised view of the American presidency (as, indeed, it should be), but it is less fawningly worshipful of power, of military strength, or of simple soundbite solutions and ideas. It is, ultimately, more grown-up. And contrary to what you might hear, it's still very entertaining.