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His father was a violent man, who would physically and emotionally abuse his two sons as an obedience measure, and his mother did little to prevent it. Like the best pilots, that's a snapshot of exactly the kind of story you're getting into.Michael Westen was born on January 7, 1967, and raised in Miami, Florida, the first of two sons to Frank and Madeline Westen.
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Even in his perpetually even inner voice, it's a very practiced rationalization, and by the end of the episode, he's teaching a school kid how to fight off bullies and smiling to himself as he watches him do it.
In his first episode, after escaping from the enemies the CIA abandoned him to when burning him, Michael's voiceover monologue explains why fighting for the little guy is for suckers.
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His love for the "legitimate" spy life he lost is enough to make him try to overlook the corruption in the branches that begin entertain the possibility of taking him back as the series progresses.Īlong with the espionage intrigue and the psycho-of-the-week adventures, the show is about Michael's struggle to balance what he loves with whom he loves and what he stands for. The same inhuman level of obsessive focus that allowed him to become as skilled as he his also prevents him from sparing any attention for what normal people find important, to the point where even his fellow action hero lifers can't tolerate it indefinitely. His practice treating people as assets or marks has given him something close to a learned form of sociopathy that strains all of his close relationships, even though he's capable of putting on flawless charm on a superficial level. Michael doesn't have the social awkwardness or anxiety of many Holmes-inspired archetypes, but he has the opposite problem. It's a technique that rarely works onscreen, but the cerebral nature of what Michael does demands an avenue of explanation, and Michael's pokerface makes a direct window into his head necessary for the audience. One of the trademarks of the show is Michael's voiceover explanations of the strategy and psychology of everything he does, and depending on the tone of the scene, the narration can go from a casual school lecture on gun safety to a diary page, all in Michael's eerily controlled, detached voice. That's how good he is.Īnd like only the best of genius characters and characters with want-to-be-them cool abilities, the serious problems with what it's like to be Michael are explored deeply, while never completely crushing that want-to-be-him fantasy. Really, there's no other way they could react. With nothing but a snazzy red shirt, a few more well-timed explosions, and pure, icy, unflappable confidence.Īnd after so many seasons of watching him destroy people like these before breakfast, over and over again, this isn't pushing things.
He's a guy who once convinced a criminal that he was the devil. He's a guy who infiltrated a group of criminals by impersonating a dorky methhead in order to be underestimated.
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This is a guy who once foiled a bank robbery, as a hostage, by pretending to be a doctor, sabotaging a gun to put one of the robbers in need of said doctor's skills to get himself in on the conversation, and spinning a tale of the robbers’ imaginary enemies so terrifying that one well-placed explosion set by his friends outside sends them into full retreat. He can be anyone, assume any accent and subtle or unsubtle set of mannerisms, talk or fight his way out of any situation with the most minimal of resources, and there's a Sherlock Holmes-esque satisfaction to watching him work.
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And he uses guns and explosives and all the spectacle allowed by a pretty impressive TV stunt budget, but what makes him special is his intelligence, creativity, body of knowledge, and talent for lying.
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