Toby's Office TV (Attack Ad)

Toby and Will fix their eyes on the television screen in Toby's office as it runs a political attack ad. A reporter introduces the spot, cutting to a front-seat soccer mom gripping the wheel while her husband relays rising crime stats that terrify their family. The ad's blunt fear tactics draw ridicule from Toby and spark Will's defense, fueling their clash. Will kills the power during the debate. Later, the set drones in the background as Charlie shares gossip and Quincy chases leads.

6 appearances

Purpose

Displays and broadcasts a political attack ad

Significance

Ignites Toby and Will's dispute over ad ethics and strategy, forcing Will to commit to a counter-ad and exposing their rift on messaging principles

Appearances in the Narrative

When this object appears and how it's used

6 moments

S4E11 · Holy Night

A Confession Rejected — Julie's Past, Toby's Boundary

Toby's office couch is the practical instrument by which Toby turns confrontation into care: offered as temporary refuge for Julie, it concretely separates hospitality from absolution and marks a boundary between moral judgment and filial obligation.

Before: In Toby's night‑dimmed office as an unoccupied piece of furniture, neutral but available.

After: Designated as Julie's place to sleep for the night (intended occupancy), functioning as a practical compromise between refusal to forgive and willingness to help.

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S4E11 · Holy Night

Reluctant Couch, Fragile Truce

Toby's office couch is the concrete object Toby offers to end the confrontation — a pragmatic refuge that contains tension through hospitality. It functions narratively as a boundary: an offered bed that does not equal forgiveness but prevents further escalation tonight.

Before: Located in Toby's dimmed office, unused in the immediate argument, functioning as ordinary office furniture.

After: Designated as Julie's sleeping place for the night; possession shifts to Julie temporarily while Toby maintains emotional boundaries.

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S4E21 · Life on Mars

Soccer Moms and the Ethics of an Attack Ad

The office television displays the ad and broadcasts the reporter's voiceover, visually and audibly delivering the manipulative family image that spurs the debate and the eventual decision to respond.

Before: On, playing the videotape in Toby's office.

After: Turned off by Will at the end of the clip and during the argument.

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S4E21 · Life on Mars

Frustration to a Counter-Ad: Toby Forces a Plan

The office television projects the ad's images and voice, serving as the immediate catalyst for debate; its screen supplies visual cues (mom, dad, kids, Rex) that Toby reads and rebuts aloud.

Before: On and showing the videotaped opposition ad.

After: Turned off by Will during the exchange but remains the medium through which the ad's effect was transmitted.

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S4E21 · Life on Mars

Helen Baldwin's Book Deal — A Lead and Toby's Salad Confession

The television plays tennis in the background and acts as a domestic prop that underscores Toby's distraction and the banter tone; Charlie teases Toby about the gallery wanting to watch tennis and eat a sandwich while heckling him.

Before: Turned on in Toby's office, tuned to a tennis match that contributes to the scene's casual atmosphere.

After: Remains on in the background as the conversation pivots to more serious matters, a constant domestic noise against rising professional alarm.

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S4E21 · Life on Mars

Quincy Spots Baldwin Link and Exits with a Lead

The television in Toby's office shows a tennis match and frames the informal atmosphere; it underscores the casual tone of the opening banter and contrasts with the sudden turn to professional urgency when Quincy arrives.

Before: On and tuned to a tennis match; providing background noise in Toby's office.

After: Remains on as ambient TV; its presence becomes narratively secondary after the legal lead is raised.

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