A necessary evil west wing
Kane goes into convulsions and can't respond. At the end of the first season, after prostituting his wife to one of Chicago's major financial players, Kane locks himself in his bedroom while Meredith, his wife, weeps on the other side of the door. But where Bartlet's multiple sclerosis manifested itself sporadically, under the careful eye of his doctor-wife Abbey, Mayor Kane's disease, disclosed in ethically hair-raising drama to the American public, is faster, fiercer and lonelier. He has a Lewy body, which causes a slow, incurable degeneration of mental faculties that leads to dementia. He's getting news that Jed Bartlet had to wait two seasons to give. Its opening scene pans to an empty warehouse in some bombed-out, post-industrial economic waste played out across countless cities.
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Read against each other, the trends look less like an emergent conservative coup, and more like a coming disaffection, a dystopian disbelief in the foundational institutions of the modern moral order.īoss certainly reflects that sentiment. But the second part tempers that enthusiasm: Canadians are also more distrustful of government and politicians than ever before. First, Canadians are coming to expect less and less of their governments, putting more stock in self-reliance and communities. It reads like a good news story for Canada's conservatives, but in actual fact it may be a bad news story regardless of your political agenda. In their 2012 annual poll of Canadian attitudes, the Manning Centre tracked a shift in perspective on politics. What Canada lacks in prime-time political blockbusters, we make up in statistically sound polling. Neither is this battle of political dramas confined below the 49th parallel. And the battle over which story will define American politics and society is more than mere punditry. The Newsroom feels nostalgic Boss feels contemporary. It is in its frankness, urgency and adult candour a counternarrative that gained ever more cultural dominance in the run up to the American election. But while Boss lacks the walk-and-talk trope of Sorkin's fame, its corrosive bleakness is a counterpoint to The Newsroom's enduring idealism.
A NECESSARY EVIL WEST WING SERIES
Sorkin's fandom is justly rooted in his snappy dialogue from The West Wing, a series that borrows the same notes of idealistic, fast-paced political sentiments as The Newsroom. For all the fuss about Aaron Sorkin's Newsroom, this fall's runaway political favourite, a counterdrama is unfolding in the more obscure, certainly more explicit, Chicago-centred drama, Boss.