Tanner '88

Plot summary

Representative Jack Tanner of Michigan (Michael Murphy) is an obscure liberal Democratic politician who struggles to find a voice in the early 1988 Democratic primaries. His campaign manager, T.J. Cavanaugh (Pamela Reed), uses an unscripted, impassioned hotel-room speech caught on camera as part of an advertising campaign focusing on Tanner's authenticity and integrity. Using the slogan "For Real", Tanner emerges from a wide field of contenders to battle for the nomination against two high-profile and better-funded candidates: Jesse Jackson and eventual nominee Massachusetts Governor Michael Dukakis.

With Tanner are his college-aged daughter Alexandra (Cynthia Nixon), whose illness was why he earlier left politics and who has left college for the duration of the campaign, and his girlfriend Joanna Buckley (Wendy Crewson), Dukakis' deputy campaign manager. Others who appear on camera are Emile Berkoff (Jim Fyfe), a compulsive statistician with a crush on Alexandra; Deke Conners (Matt Malloy), an East Village filmmaker hired to produce Tanner campaign ads; and Andrea Spinelli (Ilana Levine), T.J.'s innocent and ditzy but well-meaning assistant. The candidate's father, General John Tanner (E.G. Marshall), who has a contentious relationship with his son, also occasionally appears.

Although Tanner does not win the nomination, he does run a serious and credible race. The series ends on a cliffhanger after Dukakis officially becomes the Democratic candidate and Tanner considers a third party run.

Cabinet

Several members of Tanner's prospective cabinet are mentioned, with several making statements to the press accepting the appointment should he become president. Those mentioned include:

Home release

The miniseries was produced and first broadcast on Home Box Office, scheduled irregularly over the real-life seven-month campaigning period from February through August 1988.

In 2004, the Sundance Channel rebroadcast the series, adding new one- to two-minute preludes created by Trudeau and Altman to each episode "in which the actors reflect, in character, on the '88 campaign from the perspective of the present day" That October Sundance produced a four episode sequel, Tanner on Tanner.

Production

The hybrid of fiction and reality that came to be the miniseries' trademark was initially accidental. Trudeau described the concept behind the miniseries as wanting to "let the audience feel they're eavesdropping, to create a sense of authenticity by observing the process, to follow campaign culture in all its tribal rites—not to make a topical movie about 1988." Tanner evolved during production, becoming, as Altman put it, "two-thirds scripted and one-third found art." Trudeau and Altman intended to make more episodes, but HBO did not extend the run of the series.

Reception and Influence

Reviews for the miniseries seem to improve over time. In one of the earliest reviews of the pilot episode, The New York Times called the show an "interesting misfire" that "insists too much on its own sophistication about politics". The same paper held the second episode in higher esteem, calling it "humorous cinéma vérité" that's "slick and occasionally witty." In its "Best of 1988" look at television, Time magazine called it: "the year's definitive satire of media politics."

In a 2003 review of K Street, the New York Daily News said "Tanner skewer[ed] brilliantly the insanity and inanity of presidential politics." By 2004, Slate was saying:

More than a decade before the ascendancy of reality television, the series slyly blended fiction and documentary, with real-life political and media figures—Bob Dole, Bruce Babbitt, and Linda Ellerbee among them—crossing paths with, and commenting upon, Tanner's grass-roots campaign. But Tanner's formal complexity—a loose, layered blend of group improvisation, scripted set pieces, and the intervention of pure chance—manages to point up not only the laziness of reality shows like Survivor and The Bachelor but their moral and political vacuity.

While the two shows are stylistically very different, Aaron Sorkin has acknowledged that Tanner had an influence on The West Wing, which he created over a decade later, in its underlying idealism and in its view of political staffers as people who at least struggle to do the right thing.

In 2004, Altman said "I think it's the most creative work I've ever done."

Awards

Altman won a Primetime Emmy Award for Outstanding Directing in a Drama Series for the episode "The Boiler Room." Reed won an ACE Award for Best Actress in a Dramatic Series.