THE POLITICIAN Season 1: A Humourless Political Satire

The Politician, Ryan Murphy’s debut project in his mutli-million-dollar Netflix deal, is a vapid political satire almost entirely void of humour and heart. This initially exciting prospect – from one of television’s most prolific showrunners – disappoints as a prime example of style over substance. In a different time, The Politician would probably miss out on a season renewal.

In the first season of The Politician, Payton Hobart (Ben Platt) is an ambitious high school senior hellbent on one day occupying the Oval Office. But he knows his journey to the White House will be long and difficult. Having studied the rise of major politicians, he has meticulously crafted a plan to secure his ascension. This involves becoming the President of his school government. The campaign, with which Season One primarily concerns itself, is messy, involving a dubious cancer diagnosis, an apparent kidnapping and the promise to bring Drake to perform at prom. Payton, in his tailored and immediately smart style, is not afforded an easy ride.

Building Payton’s profile as a politician-in-waiting is at the core of the show. Viewers are given the opportunity to decide what they think of Payton themselves. His born-to-rule, self-righteous outlook is balanced by his passion for helpful policies and his desire to make the world a better place.

What guides Payton’s political will is the tragedy he experiences early in the show and his sweet encounters with River (David Corenswet) – his dreamy, Henry Cavill-esque Mandarin tutor. These sincere moments of emotional intimacy are the highlights of The Politician. The chemistry between Platt and Corenswet is exactly where it needs to be, and Platt does a great job in brining Payton to life. And although Gwyneth Paltrow seems to be playing a more extreme version of herself, as Payton’s mother she is delightful.

A sartorially smart, satire-less political satire

That is ultimately where the praise for The Politician stops short. The aesthetics can’t distract from the emptiness of the show. Murphy’s latest TV offering is not the political satire it wants to be, nor the political satire we need. It’s no successor to Veep. Politically hot topics, such as the end of net neutrality and voter fraud, are merely name-dropped rather than scrutinised. And in painting caricatures of various corners of the Washington elite, the ensemble cast of characters rarely seem to make a point. Further, the supporting characters do not exist as independent agents outside of Payton’s orbit.

In yet another show that makes American high schools seems over-the-top to international onlookers, Murphy missed a chance to adapt national politics to a school environment in a meaningful way. And it’s not as if the writing team didn’t have a wealth of stories at their hands from just the last three years alone. The Politician is ultimately lethargic in its commentary.

A failure of the Murphy-verse

Murphy has previously been open about how a 20-episode-plus order of a television series can be artistically exhausting. He seemed well-suited for Netflix’s short season orders. And making 20-somethings play teenagers is not outside his comfort zone. Murphy even has experience in this realm with the Glee Season Three storylines.

Therefore, it comes as a big surprise that, at this stage in his career, Murphy would make something that ranks towards the bottom end of his projects. Even Jessica Lange, who plays the grandmother of Payton’s running mate, is underwhelming; achieving nothing beyond the scope of her characters in American Horror Story.

Someone needs to tell Ryan Murphy that sometimes it’s fine if his lead characters don’t find an opportunity in the narrative to belt out a song. But the performances really ought not to some as a surprise: you don’t cast a Tony winner in the lead role and expect him to not break into song. Perhaps we should be appreciative, though, as his rendition of Billy Joel’s ‘Vienna’ happens to be a treat to see.

The final episode of the season – starring Judith Light – acts as an elaborate prologue to a second season. There is truly little reason not to be sceptical that Season Two will not simply be more of the same. Surely a $300 million-dollar deal can buy more than this? Only time will tell.

Do you agree with me? Why or why not? What’s your favourite Ryan Murphy show? Please share your thoughts in the comments!

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