The White House goes into biohazard lockdown, isolating people in sealed rooms - paging Jean-Paul! Let's take a moment to acknowledge the work of writer Deborah Cahn. Perhaps more than any other single individual, she's the reason why the post-Sorkin era cannot be dismissed. Look at the episodes she penned - it's clear that she captured his voice, and housed that voice in the right settings, far better than the rest (this one's her third offering after "Abu el Banat" and "The Supremes"). This episode is also an object lesson in why the post-Sorkin years partially failed. There wasn't enough advancing of the cast relationships, in the right way, as here. All the concerns about Will being removed from the inner circle are forgotten as he and Toby argue the way to the heart of their conflict. It's written so well that you temporarily forget we never completely buy Will's defection. C.J. and Donna have a scene of unvarnished truth that advances their characters more than the past four seasons combined. Kate's professional standoffishness gets on Josh's nerves. Leo and Abbey are alone in the residence. She pops pills. And the most enjoyable thread of all has Jed, Charlie, and Debbie showering in the basement. The greatest Fiderer episode is just one of the many reasons why this one's brilliant. Plus some Butterfield, Reed Diamond (JUDGING AMY) in the first of three appearances as Dr. Gordon, and a lil' Brent Huff (THE PERILS OF GWENDOLINE IN THE LAND OF THE YIK YAK).
Review of No Exit
