This is a "smart" drama, which requires a relatively high IQ for the audience. This is the style of producer and screenwriter Aaron Sokin. His later "Studio 60 on the Sunset Strip" was referred to as "too smart for TV", which is also a drama I like.
Specifically, the style is that the characters inside are very busy, walking around and interspersed between the scenes all day long, and the dialogue is fast and a lot of allusions, quotes or unique nouns. The plot is from time to time that the people in the play realize what is happening, but the audience has to wait another ten or twenty minutes to understand.
Sometimes I admire and like these people. They always seem to be busy (without having to stop and spend a lot of time thinking about life issues). Even the feelings or the trivial matters of life are easily passed away in the workplace-at least to make the audience look like this. Many things are not too big a deal, are they?
The many characters are also one of the characteristics. Of course, the number of actors who can recognize faces in cameo performances is not counted, so I won't list them all. Even the protagonist and the conventional supporting roles add up to ten or twenty. The characters inside seem to have a very fulfilling life. Busy may be a synonym for fulfillment. They also have sufficient ability to cope. To cite a single point, I often fail to keep up with the speed of conversation and the amount of information.
The depth, sense of humor, the ups and downs of the plot itself and the excellent performance of the actors ensure it is outstanding. Aaron Sokin often involves sensitive political and social topics, trying to objectively express contradictions from multiple angles (also more roles are better than multiple angles...). Taking "The West Wing" as an example, the audience can have a deeper understanding of the advantages and disadvantages of the American political system. Many issues can also understand the positions and reasons of others.
The reason why I want to write a comment after seeing the end of the fourth season is because this season is really good-looking. Of course, we have also discovered that while looking at it all the way, although this is a political drama set with White House staff as the background, it is not limited to reality, it must be dramatic. "Dramatic" was well reflected in the last few episodes of the fourth season.
It’s no wonder that in "Secret Diary of a Call Girl", the heroine said: "I wasn't abused by a relative, I've got no children to support, and I've never been addicted to anything, except maybe the fourth season of'The West Wing' ".
Looking at it, "The West Wing" is about to become "24", but the protagonist is not the lonely hero Jack Bauer, and there are not so many conspiracies, but the political situation has changed suddenly, and the degree of beauty is more and more repetitive. "twenty four". I don't want to do too much spoiler here, nor do I mean to pull "24" fans to watch the show-after all, there is still quite a difference. It's just that this is a good show, worth recommending, and it can be so exciting.
The style of the director of "The West Wing" is full of aftertaste. For example, the main event of the whole episode is to prepare an important speech, but in the end you can't see the scene of the speech at all. Or a certain military and diplomatic incident, the whole episode was tense and finally received news to report, and finally resolved, but the follow-up processing will not be explained. The most common thing is that you feel that the topic of this episode is still unfinished, and the next episode will not continue at all, or put it aside for the first time, because there are always new events happening.
For example, the emotional drama in it really depends entirely on the mood of the screenwriter... Maybe they really don't have that leisure to entangle all kinds of complicated relationships. You see these two people today that seems to be something like that, and you didn’t perform anything when you look back (sometimes the screenwriter’s conscience finds that there will be a sentence or two with a verbal meaning). Perhaps it should be said: There is no real emotional scene in this film at all. It's just for enriching and consummating the plot.
Each character has its own personality and is not ordinary, has its own dilemmas and problems, and also has unknown or well-known personality characteristics or hobbies, specialties and other trivial things. All in all are great people. It is the abundance of characters, incidents, stinginess and often digging up some seemingly boring details that make this group of characters plump and three-dimensional.
The final episodes of each season are usually accompanied by big events, which provoke the audience's excitement, and it is often this time that it feels a bit "24". The shootings in the first season; multiple sclerosis and the presidential election in the second season; the accidental death of an agent in the third season, a meeting between presidential candidates of the two parties, and the decision whether to assassinate Qumar (the fictional Middle Eastern country in the play) defense minister; The resignation of the vice president’s scandal in the fourth quarter, the kidnapping of the president’s daughter, the temporary resignation of the president and the resignation of the Republican speaker as the executive president...
I have sometimes watched a few gatherings and stopped unconsciously and watched again at intervals. Because its plot structure is not always as tight and uncomfortable as "24" or "Prison Break"-even if your interest is provoked at the end of this episode, the next episode may not develop as you wish, so... But the end of each season can still make people want to stop. I'm probably still going to watch the fifth season.
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