The Inexplicable White House Friendship/Romance on 24

*Warning–minor spoilers for the episode of 24 airing 3/23/09

Recently I’ve developed a gratuitous interest in the relationship between 24’s President Allison Taylor and her Chief of Staff, Ethan Kanin. For me, their relationship seems a little familiar, and for that I suppose I should credit two other relationships on the show.

Season 5: Martha and Aaron – validation has its perks

This may seem like a terrible comparison at first, considering the romance that ultimately developed between these two characters. But there was a time before Martha and Aaron were not a couple. Some fans paired them up, albeit vaguely, when he escorted her out of the Archive Room at the beginning of the season. For a lot of people, the time came when the Suvarovs’ motorcade was hit, with Martha inside, and Aaron valiantly saved all their lives. Those who started to add things up at the time presumably saw the same thing in Aaron that Martha soon did. With her husband perfectly willing to let her die for a greater purpose, it was obvious that the issues in their marriage would reach a new level. And who better to step in than the man who saved her life? Apparently they only kissed in my brain (thanks to moogle and vikitty for helping me out with this one in the comments) but she clearly showed a romantic interest in him as the day went on, and eventually she killed a man to save his life. Plus, the lack of kiss really brings my point home. I often find that I’m more fascinated by these relationships when nothing tangible happens–if anything, it presents more opportunities to ask why (or why not).

I honestly found this a lot more appealing than their (brief) relationship during season 6. Martha and Aaron together, with no obstacles, with no lingering feelings that suggested it was wrong? Come on, where’s the fun in that? I’m not saying I liked the idea of First Lady hitting on a Secret Service agent behind the president’s back. But to me, Day 5 was about circumventing a corrupt political system in search of a greater justice, and that’s exactly what Martha and Aaron were doing.

Season 6: Tom and Karen – because it’s wrong, that’s why

Bill and Karen were quite appealing as a couple by the end of Day 5, and I recall being excited about the possibility that the two would end up married in the next season. They were, and it was great at first. They may have been on opposite sides of the country (Bill running CTU, and Karen advising the president in D.C.), but there were a couple of cute phone conversations to hold us over. Then Karen was forced to resign. She disappeared for a bunch of episodes, only to come back to the White House later in the season and eventually fire Bill to protect the president’s reputation. Aside from those early phone conversations, there were no opportunities to exhibit any details or positive qualities of their marriage.

But there was Tom. Tom, who fought with Karen and came out on the wrong side of a civil rights issue. Tom, who forced her to resign. It was hard not to hate him at first. But then the vice president took over, and Tom and Karen were on the same side of yet another epic disagreement. Thanks to this uniting factor, we got to see the magical dynamic between the two. When I say “dynamic” I mostly mean “Peter MacNicol being hilariously weird,” but regardless, it made for an interesting friendship between him and Karen. Without Bill in the picture, it became a little tempting to stretch the limits of that friendship on a theoretical basis.

Although I don’t remember a lot of people joining me in supporting this false relationship, there was certainly a small movement. There was also a small Jack/Karen and Karen/Daniels movement (both of those might have just been my friend Maria), presumably due to the fact that Jayne Atkinson and has chemistry with just about anything. Jack Bauer, Homer Simpson, a fire hydrant…you name it.

Season 7: Allison and Ethan – absence makes the heart grow fonder

There’s no doubt that the First Couple have a significant, loving relationship. This was evident in an early episode where Henry reassured Allison about her ability to make the right decision regarding the conflict in Sangala, and also later when he was kidnapped by Dubaku and later shot by a hostile (both of these incidents warranted powerful emotional reactions on the part of the president). But as of right now, Henry has been in surgery for a few hours. He wasn’t there when the White House was taken over by terrorists, and he wasn’t there when that particular crisis ended.

Ethan, however, was there after it ended. The second he poked his head through the door, Allison looked relieved to see him, and their lingering hug had to say something about their relationship. This could easily be a close friendship. After all, Henry couldn’t have been completely there for her after their son died, preferring to chase leads on a conspiracy and fight for justice when Allison probably needed to mourn properly. So maybe Ethan was there for her when that happened, creating the foundation for a closer friendship. Also, I have a hard time ignoring Olivia Taylor’s hatred of Ethan (mostly because he’s awesome; ergo, she is wrong). The fact that he got her fired from her mother’s campaign obviously influenced this, but perhaps it was a matter of her mother’s advisor being a source of comfort during her brother’s death, a role that would likely provoke significant jealousy on Olivia’s part.

But what if it’s not just a friendship? Anyone who has seen the preview for Monday’s episode must have noticed the arm stroking between the two. Could there be something to that? Whether or not there is something to it, I don’t really care that much. To be honest, I don’t like the idea of an ideologically-driven president showing a romantic interest in her Chief of Staff while her husband is fighting for his life, so I’d be happy with a strong friendship on the show. My mind can freely and privately explore those other possibilities at any time.

by Kelsey Norwood

 

24 vs. Soap Operas

24 fans that have been with the show from the very beginning, or who have since purchased the seasons on DVD, may understand this concept perhaps more than those who have recently joined the show. The 24 that we see on the air today is significantly different in comparison to earlier seasons. Of course, there is a wide variety of reasons why people find this show so engaging and addicting. The show appeals to an ultimate sense of justice, right and wrong that may not necessarily follow some kind of written law, but accords quite nicely with the natural law etched on our hearts and in our minds. At the end of the day, Americans don’t want to be pushed around by terrorists, and Americans don’t like the idea of backing down and capitulating to the evil people that threaten our way of life. And for that reason, 24 is their kind of show, because Jack Bauer is their kind of man. Whatever the reasons for loving the show may be, there is no denying that it’s an extremely compelling show with all the action, adventure and drama you can ask for.

A soap opera can be defined as a never-ending story that gradually evolves into a more complex story; a television show that deals with the lives of a group of characters and a story told in a melodramatic and/or sentimental way. Does this sound like 24? Maybe. Maybe not. But when you sit down and think about the structure and execution of a soap opera and compare it to that of 24, it may be a little tricky to find the similarities at first glance.

I would venture to say that each and every one of us has been exposed to a soap opera at some point in our lives. Just look at all the different shows you have to choose from: Days of Our Lives, General Hospital, The Young and the Restless, Guiding Light. The list goes on and on. If you managed to get by without seeing a single episode of any these shows, how did you do it? Grandmothers, mothers, sisters, best friends, and even the occasional grandfather, father, or brother have been drawn in to the whirlwind adventures of love, angst, torment, romance, or they can relate to and appreciate the special emphasis on family life, personal relationships, sexual dramas, and emotional and moral conflicts.

Frankly, soaps are not considered cheerful television and the majority of the time 24 isn’t either. Soaps are very dark and essentially revolve around misery and detrimental occurrences within the plot. In fact, it seems the writers can never “lighten up” on the seriousness and dramatics that soap characters must endure. We don’t have to think long and hard about the serious nature of 24 or the everyday obstacles that Jack Bauer must undergo every season. The man has been through it all: gunshot wounds, stabbings, kidnappings, the death of his wife, Teri, a heroin addiction, and countless other traumatic events that an otherwise average human being never would have survived. Over the years, he has been held responsible for the deaths of many terrorists as well as those close to him, such as Ryan Chappelle and Nina Myers, both of whom Jack killed in the third season. The serious nature of the show and the obstacles that each character is forced to overcome over the course of any given season are extraordinary. But for Jack Bauer, it’s clear that sometimes, the man just can’t catch a break.

The suggestion of art imitating life is evident on 24 as the producers and writers of the show tackle many issues that affect our country today. Many political pundits and members of the media have scrutinized the portrayal of different terrorist groups or forms of torture used on the show over the years. People might want to dismiss this kind of discussion with the conception that 24 is “just a show” and really shouldn’t be taken that seriously. Maybe they’re right. But then again, could this be an instance where the art of a culture is reflecting the values of that culture?

Many storylines from 24, like those mentioned above, may sound like that of a soap opera, but they easily make sense in the context of the show. The serious viewers tune in every Monday night and are able to take in feelings and emotions of these characters just as loyal daytime television viewers do five days a week. One could even argue that the success of primetime television is short-lived, while soaps are everlasting for a reason. Ever wonder why that is?

by Elizabeth Capobianco

 

The Structure of 24 and Character Relationships

In honor of 24’s long-awaited season premiere this past Sunday, I thought I would write about one of the things that has always drawn me to the show: the relationships.

One of the advantages of 24’s format is that it presents a unique opportunity to examine relationships at different stages. In season two, we see Tony and Michelle as coworkers, maybe friends. By the time season three begins, they’re married. This allows viewers to compare their relationship over the course of two similar disaster scenarios and several different conflicts that present within each season.

1. The Beginning
Tony and Michelle start off with a friendly relationship, and there’s a vague indication that they may be attracted to each other. At the very least, they work well together and seem to respect each other. Heeding advice given by CTU director George Mason, Michelle hits on Tony in a brief moment of calmness. It’s pretty cute. There’s obviously potential there.

2. Proving That A Working Relationship Just Isn’t Enough
The second half of the season shows that this foundation isn’t strong enough to withstand a difference of opinion regarding an international crisis. A couple of greedy oil executives try and pin the day’s nuclear threat on three countries in the Middle East (see track #10), and the US government is about to launch an attack against these countries. Michelle thinks the three countries had no part in the day’s events. Tony disagrees. So Michelle spends the next few hours helping Jack Bauer prevent World War III behind Tony’s back. Honestly, Tony’s skeptical position is understandable; however, it’s a significant difference of opinion, and it shows that Tony doesn’t exactly respect and trust Michelle in a more complicated situation.

3. United by A Shared Goal
Once the evidence wins Tony over, he and Michelle defy the powers that be and do what they can to help Jack Bauer save the day. When Ryan Chappelle, the director of Division (a superior government agency), insists they stop helping Jack Bauer, Tony and Michelle work in cahoots to subvert Chappelle’s authority. For the most part, they seem to be united by their desire to do the right thing and prevent the world from nuclear annihilation, but the sexy emotional breakdown kiss they share in a dark hallway indicates that they may still attracted to each other, so there’s hope for the future.

4. Life and Death
Tony and Michelle are now married. They have a few nice moments in the pilot, but their relationship is subjected to drama almost immediately. Tony is shot in the neck, and Michelle maintains focus for the most part as she leads CTU through the day’s crisis; however, she has some weak moments, specifically when she watches a video feed of Tony’s surgery on her computer and loses it for a minute. Presumably we wouldn’t see her react exactly like this if Tony was shot in season two. The whole scenario parallels one near the end of the season, when Michelle is exposed to a deadly virus and must wait several hours to get her test results back (determining whether or not she is immune to the virus). Because both are fully conscious in this second example, it allows for several tense, fearful conversations and one particularly touching moment.

5. Secrets
At one point in the middle of the season, Tony admits that he’s been involved in a secret operation limited to himself and only two other CTU agents. Michelle is shocked that Tony managed to keep such a big secret from her. It’s a fascinating scenario, a husband keeping something from his wife for the greater good—and the impact on their relationship is made clear.

6. Treason
At the end of the season, Tony and Michelle meet the greatest test of their relationship. The terrorist behind the day’s events kidnaps Michelle and holds her hostage, sparing her in exchange for Tony’s assistance in his escape plan. Tony does this without question, and he pays a steep price for it when he is arrested for treason. During season four, Tony and Michelle are divorced after being broken apart by this very event, and eventually Michelle is faced with the exact same decision when Tony is captured by a terrorist who needs to escape. While Michelle makes a different decision and requests CTU’s involvement, the whole event makes her realize the extent of her love for Tony, thus making it a catalyst for their future togetherness and a decision to leave CTU. This particular contrast between seasons is interesting because the two still love each other just as much as they did before, but the role reversal—and the differences between the two characters—resulted in the opposite for their relationship.

On any other show, all of this would be impossible. Tony and Michelle would have to spend two or three seasons developing their relationship and gradually increasing their trust and closeness, and when these events finally happened, they would likely have a much smaller impact on viewers. There are certainly a few things to miss out on, and some viewers may wish they could see the first date, first kiss, or day-to-day chemistry between the two as their relationship develops. But 24 is about tension and drama, so it’s at its best when every interaction is infused with those qualities. Thanks to the show’s trademark structure, we can witness several incredibly rare, diverse conflicts in a relationship over the course of two or three seasons. Tony and Michelle, through all their trials and tribulations, stand as an example of just how powerful that experience can be.

by Kelsey Norwood

 

Why You Should Watch The West Wing

I’ve decided that, in true Sorkinesque fashion, this post should be profound and completely sure of itself; therefore, if you have a significantly different worldview than I do, my conclusion here might not pertain to you at all. So I ask that you accept this cheapening disclaimer and let me continue with my overly confident statement.

It’s taken me a long time to catch up on Studio 60 on the Sunset Strip. I got too lazy to keep watching when it was on, so I ended up only seeing the first couple of episodes and have gradually been watching the rest since then. And by gradually, I mean…over the last month or two, mostly. For that reason, I saw “The Christmas Show” for the first time tonight. It would be an understatement to say that my mind has been completely blown by the final scene. For those of you who saw it and don’t remember, it’s the one where they dedicate a few minutes of the show to a performance by a group of incredibly talented homeless musicians from New Orleans. I won’t include a clip, because I believe that you have to be familiar with the show to feel the full force of this moment; however, it’s my hope that you might watch it someday.

As the episode concluded with this scene, I realized that I haven’t had the feeling of being so surprised and touched by this kind of glorious writing since I watched an equally impressive episode of The West Wing for the first time. Aaron Sorkin is just as gifted as he ever was. On Studio 60, much like everything else he’s written, his dialogue is realistic and yet intricately beautiful; his characters are deeply flawed and yet uplifting in their words and actions. His stories inspire without pushing, exemplify without giving a damn, and speak volumes of truth without saying a word.

While Sports Night and Studio 60 are both excellent, The West Wing has a special place in my heart. The writing isn’t the only extraordinary thing about it. Although I know less than I should about the impact of good directing, production, or cinematography, I can tell you that each episode falls together flawlessly. I don’t even know how to describe the cast. Every actor on the show is gifted, dedicated, and perfect for his or her character, and for some reason, they all balance to create a perfect, well-rounded ensemble.

To anyone who hasn’t watched the first 4 seasons of The West Wing, I can’t implore you enough to do so. Get the DVDs as soon as humanly possible, park your ass in front of the TV, and watch them. Even if you find it boring at first, plow through the first couple of discs until it clicks, because it will. After you’ve watched enough, the world will actually seem like a better place. Trust me.