Peak Television?

Thoughts on the 25th Anniversary of West Wing

I watch a lot of TV. Late at night, every night, with my wife on our family room’s 42” Samsung with Roku player.  At the dinner table, catching MSNBC evening prime time hosts with their guests and commentators. On weekends, during meal prep time, that same small 22” portable in the breakfast room is tuned to sports events or Law & Order SVU reruns. Indeed, TVs are glowing and barking in my house much of the time. But I think I enjoy it less than I did just a few years ago. And that even applies to my proliferating streaming subscriptions – not merely to the horrible, commercial-infested cable bilge.

Ten years ago, reviewers were crowing about “peak TV” in the new age of streaming platforms – so much variety, so much talent. It had started even earlier on the “premium” channels like HBO (The Sopranos, The Wire), then streaming competitors proliferated. Netflix was first and production studios started contracting with the competing platforms: Paramount, Warner Bros (Max), AMC, and Apple. Soon both Paramount and Hulu (Disney-owned) hoovered up the struggling production assets of network TV (CBS, FX, ABC) and cable channels (Comedy Central and Showtime on Paramount+). Netflix has purchased libraries from AMC and other producers (favorites like Breaking Bad and Better Call Saul), Amazon’s Prime Video has more – including exclusive rights to Thursday NFL game broadcasts.

Looking back to network TV drama series in that golden age of the early 21^st century – just before cable, then streaming, grew to dominate the creative environment – NBC’s The West Wing stands out. It debuted in September 1999 and ran for seven seasons, competing directly for Emmy awards with HBO’s The Sopranos. For those of us who fantasize ourselves immersed in the world of Washington politics (I’ve lived here most of my adult life, but only as political observer, never participant), no series came close to the feel-good, self-justified vibe that show exuded. House of Cards was far too dark, but West Wing brought tears and many heartfelt sighs to its loyal viewers. Aaron Sorkin, the show’s creator and chief writer in its early seasons, conceived of the show as NOT being about politics at all, but a workplace drama, not unlike the office milieu familiar to much of its audience. Exploring season one recently – out of curiosity, since I missed those early seasons back in the day — the show reveals to me, at least, a setup far more political than Sorkin admits. It’s true that the specific issues raised by the fictional White House team seem rather dated (never very realistic even 25 years ago — a flag burning amendment to the Constitution, really?), but the decision-making process that consumes the ensemble cast – and President Bartlet – is very believable, very politically motivated! And, most important for our present cynical age, it’s dominated by truly moral reasoning … these were all GOOD PEOPLE. Toby Ziegler arranges for an Arlington Cemetery burial for a homeless veteran he runs into on the street, and Jeb Bartlet himself is clearly wracked by his immoral, but political, decision not to commute a death sentence. One principal character motivated by his better angels, and the ostensible center of gravity for the entire series unable to rise above his political instincts. Really quite profound. Hopeful, yes – unfortunately not in sync with the third decade of this century. We could use more of that. And some issues raised in that first season long ago have remained vexing for the country – still unresolved (e.g., reparations for slavery). Sorkin made clear ideological positions with supporting statistics (number of dishonorable discharges of service members in 1998 under “don’t ask, don’t tell” policy of Clinton years).

Martin Sheen’s recent speech at the White House in commemoration of the show’s 25^th anniversary makes a gushing tribute to how he felt about the character of President Bartlet when he proclaims: “Let our country awake!” and asks: “Is there nothing worth fighting for?” But maybe this is all too maudlin for our jaded tastes in the 2020s. Was The West Wing just a trifle too innocent? Even for its times? After all, we were, as a country, ready to embark on an elective Global War on Terror (GWOT) — an attempt after 2001 to create a unified national purpose through violence against the periphery. Seems a little wrong-headed now. (I guess I should watch West Wing season 4 to see how the show covered the invasion of Iraq, if at all). My recollection of the last seasons is that the fictional circumstances of the characters, and their very real relationships with each other (including romantic), grew to overtake the more high-minded ideals of the early seasons. Some characters left (Leo died in real life, was written out with a funeral), Sam quit (also in real life), Toby was fired, and by the end, a new President Santos (Jimmy Smits) takes over from Jed Bartlet.

Thus ended a rather long run for a network drama – and there were many more episodes per season back then, one per week from early fall until mid-May – we don’t see TV like that anymore, at least not in the “high-quality” sphere. Typical streaming seasons are ten episodes or less. And the latest trend in drama seems to be the “limited series” which stipulates no renewal for a second season, and possibly as few as five episodes – not nearly enough to form any sort of attachment to a character, much less an ensemble like West Wing’s. The only things one can judge in these limited series are technicalities of production or novelty of the story. I have not seen any where I find the characters memorable. I’ll keep trying with Baby Reindeer, but not holding my breath. Is it studio economics that have conspired to give us such short seasons? Barely an appetizer, surely not a meal! I miss the days of those ensemble casts and multiple, continuing, story lines (The Good Fight, now on Paramount+, is a more recent example than West Wing). You can’t convince me that the new aesthetic for television is better than that golden age of 20-25 years ago. Perhaps this is why the latest trope among the TV reviewer commentariat is not “peak TV,” but “trough TV.” Like a peak, however, a trough isn’t forever. Eventually, we should expect to see an upside from the depths of that trough. I can’t wait!

— William Sundwick