It was the year 1999 and Aaron Benjamin Sorkin, American playwright, screenwriter and director, launched The West Wing, a series that reached seven seasons and won every year all the awards of the time, including the Emmy.
The theme does not escape reality. Each chapter tells a story of a political nature and has a solution. It includes the celebration of two electoral processes that are so real in their development that they serve as lessons and analysis for followers and scholars of political communication.
The West Wing, became a cult series, not only for its content and war room strategies that it presents, but also for its production sequences, based on walking and talking, which are complemented by long-duration tracking shots, avoiding cuts in editing that gave it a lot of fluidity.
Sorkin, in my humble opinion, is a pioneer for TV and Cinema, for the political communication sector that gave way to the creation of other great series that like his, The Newsroom, The American President and Moneyball, among others, it allows you to take notes and adjust scenarios.
The series I am referring to are House Of Cards, by Beau Willimon, with Kewin Spacey as the dark Frank Underwood and Robin Wright as Claire, the wife of this politician who craved power at all costs. Here is one of his phrases, “Politics is like Real Estate, it’s all about location, location and location”.
Compositions, intrigues, campaigns, alliances and relationships with the media are the themes that House of Cards addresses and that reveal a stark politics that aims to search for spaces and routes that lead to the Oval Room.
In 2010, Soren Kragh, a great Danish producer, launched BORGEN series of three seasons that puts into perspective the political and family life of Birgitte Nyborg, the Prime Minister of Denmark who through her solid ethics tries to win spaces for her party, and thus design better public policies.
Borgen has no waste. The series shows, in a large part of its chapters, the way in which the Danish media operate, which in turn, shares positions and strategies that are very different from the American media.
Already in 2016, Peter Morgan emerges with his prestigious series The Crown, (The Crown) the English biographical series that surprises with its attachment to reality. The fact of revealing so many stories and even secrets of the Royal Family, led by Queen Elizabeth II, suggests that the Royal House approve each of the scripts.
Otherwise, such precision and use of special locations is not understood.
Each of the series cited shows us in detail the strategies used to solve a diplomatic crisis, a war, an official visit, alliances of the English Commonwealth or the relevant issues to win an election.
The way a Staff operates, the meetings held by the cabinets in each of the aforementioned editions, and the messages that are given to converse with the citizen, are so similar to what happens in real life that it is surprising.
I personally celebrate these works that undoubtedly strengthen the political and governmental communication sector.
What’s next for the future screenwriters?
We will meet later.