Yes, and hour long shows had 56 minutes of dramatic content. Now they're down to 43.Damien wrote:When I was a kid, TV shows ran 39 original episodes each season.
Mad Men
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Big Magilla
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I adored that line, too, Tee. I haven't looked up who the actress was, but she was pitch-perfect. She would be just right for any roles that would have gone to Nancy Marchand if she were till alive. (The little girl who plays Sally is terrific kid actress, too.)Mister Tee wrote:The scenes with (I presume) the ex-Mrs. Cooper were divine. Her exchange with Roger -- "Say hi to your children" "I only have one child" "Really?" -- couldn't have more clearly said, "Including the one you're sleeping with?", and made me laugh out loud.
Wonderful things throughout the episode, but I still can't buy Don being away from the office for so long. It just doesn't ring true for the way his character's bee set up.
I can't believe there's only one episode left and then we have to wait another year. When I was a kid, TV shows ran 39 original episodes each season.
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
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Mister Tee
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Well..my favorite show was back on the air this week.
It's possible now that the Duck Phillips plot-line will avoid the soap-opera machinations that seemed certain last week (kind of the way the Pete-intercepting-the-brother's-letter development did last season). The scenes with (I presume) the ex-Mrs. Cooper were divine. Her exchange with Roger -- "Say hi to your children" "I only have one child" "Really?" -- couldn't have more clearly said, "Including the one you're sleeping with?", and made me laugh out loud.
Joan also had a great laugh line in response to "Have you heard from Don?" ("Yes; he wants you to get back to work"). But of course the most indelible element of the Joan story-line was the dark and horrifying office assault. Everything about this was perfectly set out -- the fiancee's quiet furor about her sexual sophistication; Roger's leering French food insinuation (he might has well have marked his territory); Joan's plain-spoken attempt to stop her fiancee, and her grisly realization it was going to work; the "let's avert our eyes and pretend it didn't happen" post-scene; and the heartbreaking exchange with Peggy, who can only see a good-looking well-off man, thus the perfect catch.
And one other element: Joan's fending her fiancee off also showed a certain respect for the office as an institution. Whatever nastiness Joan has shown -- toward Peggy, early on -- she has a certain work integrity. Something I think only Peggy and, of all people, Don have also shown.
In that vein: I still don't buy Don as a drop-everything guy (apparently Peggy shares my view). But, if I can just pretend the interlude with the Eurotrash never happened, I'm happy with where he went this week. The relationship with Anna is so rich -- it obviously began with some mistrust, with Don feeling he needed to buy her approval (however much she denied it was necessary). But it clearly quickly developed into a greatly trusting, non-judgmental, non-demanding relationship that nourishes both. (I worried for a second when he brought up the divorce angle, but her response was so instant and heartfelt the concern vanished) You can see from Hamm's face that he's a more carefree individual when he's with her -- he's Dick Whitman again, only with the destructive family out of the way.
And I mean BOTH families, past and present. What is up with Betty? Her friend's accusation that she was "awful" seemed absolutely on the mark. Is it because of the crack-up with Don? Or is she going off the deep end on her own?
Next weekend is the season finale, I hear. Fascinated to see where it's going. And relieved last week's dip was a one-off.
(Incidentally: the show has obviously become the meeting place of choice for grown-up fiction fans, given the showcase commercials in recent weeks for Revolutionary Road and Australia. I have doubts about both films -- I know people swear by the Revolutionary novel, but it looks like the same old soul-less suburbs thing (I'd love to be surprised). And Australia has a real generic-epic feel to it -- though it could certainly be a sets/costumes Oscar nominee)
It's possible now that the Duck Phillips plot-line will avoid the soap-opera machinations that seemed certain last week (kind of the way the Pete-intercepting-the-brother's-letter development did last season). The scenes with (I presume) the ex-Mrs. Cooper were divine. Her exchange with Roger -- "Say hi to your children" "I only have one child" "Really?" -- couldn't have more clearly said, "Including the one you're sleeping with?", and made me laugh out loud.
Joan also had a great laugh line in response to "Have you heard from Don?" ("Yes; he wants you to get back to work"). But of course the most indelible element of the Joan story-line was the dark and horrifying office assault. Everything about this was perfectly set out -- the fiancee's quiet furor about her sexual sophistication; Roger's leering French food insinuation (he might has well have marked his territory); Joan's plain-spoken attempt to stop her fiancee, and her grisly realization it was going to work; the "let's avert our eyes and pretend it didn't happen" post-scene; and the heartbreaking exchange with Peggy, who can only see a good-looking well-off man, thus the perfect catch.
And one other element: Joan's fending her fiancee off also showed a certain respect for the office as an institution. Whatever nastiness Joan has shown -- toward Peggy, early on -- she has a certain work integrity. Something I think only Peggy and, of all people, Don have also shown.
In that vein: I still don't buy Don as a drop-everything guy (apparently Peggy shares my view). But, if I can just pretend the interlude with the Eurotrash never happened, I'm happy with where he went this week. The relationship with Anna is so rich -- it obviously began with some mistrust, with Don feeling he needed to buy her approval (however much she denied it was necessary). But it clearly quickly developed into a greatly trusting, non-judgmental, non-demanding relationship that nourishes both. (I worried for a second when he brought up the divorce angle, but her response was so instant and heartfelt the concern vanished) You can see from Hamm's face that he's a more carefree individual when he's with her -- he's Dick Whitman again, only with the destructive family out of the way.
And I mean BOTH families, past and present. What is up with Betty? Her friend's accusation that she was "awful" seemed absolutely on the mark. Is it because of the crack-up with Don? Or is she going off the deep end on her own?
Next weekend is the season finale, I hear. Fascinated to see where it's going. And relieved last week's dip was a one-off.
(Incidentally: the show has obviously become the meeting place of choice for grown-up fiction fans, given the showcase commercials in recent weeks for Revolutionary Road and Australia. I have doubts about both films -- I know people swear by the Revolutionary novel, but it looks like the same old soul-less suburbs thing (I'd love to be surprised). And Australia has a real generic-epic feel to it -- though it could certainly be a sets/costumes Oscar nominee)
Don't read any further if you haven't seen the penultimate episode of the season...
Still processing the latest episode, so I don't have much to say yet, but I do have to say that this was one of the best of the season, next to "The New Girl". From Peggy's self-guided ascension up the corporate ladder to the tragedy that is Joan's life as encapsulated by what happened to her in Don's office and topped off with Don finally coming to the crux of his identity issues -- this episode had it all, and more. It was positively gripping.
Peggy had a very Don Draper-esque way about her during the popsicle ad pitch -- convincing and sort of mesmerizing.
That entire rape was triggered by the doctor's realization that Joan had some sort of history with Roger. He obviously feels threatened by her previous sexual experiences and had to re-exert control over her, sexually. What's so sad is that back in 1962, no one would considered that rape. Most likely, not even Joan herself.
The final scene between Joan and Peggy was one of the most heartbreaking things I've seen on this show, especially with the door closing on Joan, further delineating her from Peggy. Kudos to Christina Hendricks for a very brave performance.
Excellent casting of the original Mrs. Draper. She seemed like she was straight out of a '50s movie with her speaking voice, like a smooth Eleanor Parker.
Edited By flipp525 on 1224616156
Still processing the latest episode, so I don't have much to say yet, but I do have to say that this was one of the best of the season, next to "The New Girl". From Peggy's self-guided ascension up the corporate ladder to the tragedy that is Joan's life as encapsulated by what happened to her in Don's office and topped off with Don finally coming to the crux of his identity issues -- this episode had it all, and more. It was positively gripping.
Peggy had a very Don Draper-esque way about her during the popsicle ad pitch -- convincing and sort of mesmerizing.
That entire rape was triggered by the doctor's realization that Joan had some sort of history with Roger. He obviously feels threatened by her previous sexual experiences and had to re-exert control over her, sexually. What's so sad is that back in 1962, no one would considered that rape. Most likely, not even Joan herself.
The final scene between Joan and Peggy was one of the most heartbreaking things I've seen on this show, especially with the door closing on Joan, further delineating her from Peggy. Kudos to Christina Hendricks for a very brave performance.
Excellent casting of the original Mrs. Draper. She seemed like she was straight out of a '50s movie with her speaking voice, like a smooth Eleanor Parker.
Edited By flipp525 on 1224616156
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
I just watched the episode tonight and then read the relevant posts. I agree with Tee and FilmFan.
I thought that this episode was largely worthless. But the Curt announcement of being homosexual was terrific, and made sitting through the episode worthwhile. Although, having the camera focus on Sal during the declaration was so ham-handed (Phil Abraham is the series' worst director, just as he was the worst director on The Sopranos.) Altogether better was an earlier scene i which Sal is busying himself looking through a Playboy.
But nothing in the California sequences rang true -- not the characters and not the situations, and I agree with Tee that Don would never have left his post like that. The only positive aspect about the California sequences was that it did convey how Hollywood/LA was beginning to change in the early 60s and getting a more international ambience as jet setters touched down there (as opposed to the intellectual Europeans/Brits like Brecht, Thomas Mann. Huxley, Isherwood who migrated there in the 40s).
The waves of social change referenced in the show (civil rights, space race, gay lib) were also unusually heavy-handed. That Don woul;d rip out the last page of The Sound and The Fury to write down a phone number was also pretty facile.
And I agree with Tee that Duck (such an unintresting character)'s machinations are right out of Dynasty and Dallas.
All in all, worst episode ever.
I thought that this episode was largely worthless. But the Curt announcement of being homosexual was terrific, and made sitting through the episode worthwhile. Although, having the camera focus on Sal during the declaration was so ham-handed (Phil Abraham is the series' worst director, just as he was the worst director on The Sopranos.) Altogether better was an earlier scene i which Sal is busying himself looking through a Playboy.
But nothing in the California sequences rang true -- not the characters and not the situations, and I agree with Tee that Don would never have left his post like that. The only positive aspect about the California sequences was that it did convey how Hollywood/LA was beginning to change in the early 60s and getting a more international ambience as jet setters touched down there (as opposed to the intellectual Europeans/Brits like Brecht, Thomas Mann. Huxley, Isherwood who migrated there in the 40s).
The waves of social change referenced in the show (civil rights, space race, gay lib) were also unusually heavy-handed. That Don woul;d rip out the last page of The Sound and The Fury to write down a phone number was also pretty facile.
And I agree with Tee that Duck (such an unintresting character)'s machinations are right out of Dynasty and Dallas.
All in all, worst episode ever.
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
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Franz Ferdinand
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I feel the same way. This episode was disorientating, but it left a sense of major change in the air, a change that is hard to see outside of its 1960s context. It was definitely a strange and seemingly unlikely Mad Men episode, but I'd like to see it redeemed as a fulcrum upon which the show's world turns. It feels like anything is possible for the show now, I am amazed every week.flipp525 wrote:A game-changer, as it were, kind of a pivot point - for the season, for the whole show, for Don Draper's life, for the 60's - lots to think about. It was like the big curtain had been pulled back, and everyone is left looking at what the future is going to bring - the nascent Civil Rights movement, the sexual revolution, the Doomsday Clock, space exploration, the drug culture - and wondering how they fit. Some of them revert (Duck to drinking, Don to running), some of them them embrace the chance to be someone else.
A wonderful analysis I read for this episode on another message board:
"I think that this episode, as discomfiting as it was, made a great deal of sense in context. California is the land of dreams and the place of reinvention, and when Don hits an existential crisis, he prefers to run away and start all over again. Last season, the crisis occurred when Pete learned of his former life as Dick Whitman and threatened to out him with Bert Cooper. Don offered to run away with Rachel, but she refused to go. This time, the existence that he has crafted with his wife, family, house in the suburbs, etc. is on the verge of slipping out of his grasp, so his first instinct, once again, is to run away. Unfortunately, he didn't have anyone to stop his headlong slide into forgetfulness and reinvention this time, which is exactly what Rachel did for him the last time. As such, he is now floating between the immediate past and the hazily-perceived present/future. Remember how he kept asking, "Who are you?," and "Who are these people?" Don doesn't know, but if he can get an answer, he might figure out who the new "him" might be.
Someone upthread asked about the significance of The Sound and the Fury. I wonder if its significance lies in the line from MacBeth, which was the origin of the title: "It is a tale told by an idiot, full of sound and fury, signifying nothing." In some sense, that line could perfectly describe Don's life."
A game-changer, as it were, kind of a pivot point - for the season, for the whole show, for Don Draper's life, for the 60's - lots to think about. It was like the big curtain had been pulled back, and everyone is left looking at what the future is going to bring - the nascent Civil Rights movement, the sexual revolution, the Doomsday Clock, space exploration, the drug culture - and wondering how they fit. Some of them revert (Duck to drinking, Don to running), some of them them embrace the chance to be someone else.
Edited By flipp525 on 1224016330
"I think that this episode, as discomfiting as it was, made a great deal of sense in context. California is the land of dreams and the place of reinvention, and when Don hits an existential crisis, he prefers to run away and start all over again. Last season, the crisis occurred when Pete learned of his former life as Dick Whitman and threatened to out him with Bert Cooper. Don offered to run away with Rachel, but she refused to go. This time, the existence that he has crafted with his wife, family, house in the suburbs, etc. is on the verge of slipping out of his grasp, so his first instinct, once again, is to run away. Unfortunately, he didn't have anyone to stop his headlong slide into forgetfulness and reinvention this time, which is exactly what Rachel did for him the last time. As such, he is now floating between the immediate past and the hazily-perceived present/future. Remember how he kept asking, "Who are you?," and "Who are these people?" Don doesn't know, but if he can get an answer, he might figure out who the new "him" might be.
Someone upthread asked about the significance of The Sound and the Fury. I wonder if its significance lies in the line from MacBeth, which was the origin of the title: "It is a tale told by an idiot, full of sound and fury, signifying nothing." In some sense, that line could perfectly describe Don's life."
A game-changer, as it were, kind of a pivot point - for the season, for the whole show, for Don Draper's life, for the 60's - lots to think about. It was like the big curtain had been pulled back, and everyone is left looking at what the future is going to bring - the nascent Civil Rights movement, the sexual revolution, the Doomsday Clock, space exploration, the drug culture - and wondering how they fit. Some of them revert (Duck to drinking, Don to running), some of them them embrace the chance to be someone else.
Edited By flipp525 on 1224016330
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
I felt like the California scenes were vaguely disorienting, however I thought there were some great touches in this episode. As Tee mentioned, the "coming out" scene was fabulous and totally unexpected (although, I was definitely hoping that character was gay when I first saw him). I liked how he didn't leave any room for doubt ("I have sex with the men.") It was heartbreaking to watch Sal's reaction. Clearly, this will just push him further back into the closet.
Pete is such a douchebag. "I'm Peter Dykman Campbell". Like anyone gives a fuck. Poor Peggy does keep picking the wrong men: douchebags, priests, gay men. She needs a wing girl of some sort. Or, maybe Kurt can be her new gay best friend and steer her toward the quality guys.
Is Don leaving "Don Draper" behind?
Edited By flipp525 on 1224017945
Pete is such a douchebag. "I'm Peter Dykman Campbell". Like anyone gives a fuck. Poor Peggy does keep picking the wrong men: douchebags, priests, gay men. She needs a wing girl of some sort. Or, maybe Kurt can be her new gay best friend and steer her toward the quality guys.
Is Don leaving "Don Draper" behind?
Edited By flipp525 on 1224017945
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
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FilmFan720
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Mister Tee
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Okay, for the first time in a long while I have to pronounce myself unhappy with an episode.
It's not there was nothing worthy on the show. The blase "I'm a homosexual" scene was terrific -- the reactions of complete incomprehension from the staff were right on the button. (Though I do have to question whether, even in Europe, things were so loose in '62 that the character would have felt quite so free about announcing it) And it made perfect sense that Peggy, while not judgmental in the way the guys were, would have seen it in the parochial terms of Why do I always pick the wrong guy?
I was also okay with Roger/Jane's part of the show.
But the rest...
The Duck Phillips strand felt like something off a prime time soap -- more melo- than straight drama.
And the Draper thread struck me totally wrong. The whole "international wastrels drawing people into their web" felt like outtakes from La Dolce Vita. I know Draper's a good looking guy, but the idea that some young knockout would just come along and open her legs for him is more in wish-fantasy realm. Above all, while I can see Don has long been primed for a What does my life all mean? moment, I didn't see him as the sort to run off without a word like this; he's always seemed to take his job more seriously than that.
I did find his final moment intriguing; I wonder where that's going to take us. But for this episode...feh.
It's not there was nothing worthy on the show. The blase "I'm a homosexual" scene was terrific -- the reactions of complete incomprehension from the staff were right on the button. (Though I do have to question whether, even in Europe, things were so loose in '62 that the character would have felt quite so free about announcing it) And it made perfect sense that Peggy, while not judgmental in the way the guys were, would have seen it in the parochial terms of Why do I always pick the wrong guy?
I was also okay with Roger/Jane's part of the show.
But the rest...
The Duck Phillips strand felt like something off a prime time soap -- more melo- than straight drama.
And the Draper thread struck me totally wrong. The whole "international wastrels drawing people into their web" felt like outtakes from La Dolce Vita. I know Draper's a good looking guy, but the idea that some young knockout would just come along and open her legs for him is more in wish-fantasy realm. Above all, while I can see Don has long been primed for a What does my life all mean? moment, I didn't see him as the sort to run off without a word like this; he's always seemed to take his job more seriously than that.
I did find his final moment intriguing; I wonder where that's going to take us. But for this episode...feh.
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Mister Tee
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Another rich episode -- this one knit around the subject of parents and children (Betty's father, Pete's argument over adoption with his mother, Glenn/his mother/Betty, the baby shower). And another week of strong assertion by various black characters.
A favorite moment: when Betty was mildly chastised by her parents' housekeeper, the way she flounced onto the bed clearly said, This woman half-raised me and I'm a 13-year-old in her presence.
Also loved Peggy's "It's not easy for anybody". Not a big week for Peggy, but a choice moment.
Betty's father obviously has Alzheimer's, but the characters don't have the knowledge/vocabulary we do today, so they just don't know what to do or say about it.
The research department really does its job on this show. One of Glenn's comic books was Metal Men -- a truly obscure DC title that I read back in the day but of which I haven't had a single thought in 40 years.
Telstar was a perfect choice for the close -- not only that it was a '62 hit, but that of course it was in honor of the launch of the first telecommunications satellite, which is going to change all the characters' lives. To couple it with a flight to the West Coast -- a relatively new phenomenon, at least as non-stop -- creates a real sense of the future coming. (And, perhaps I'm just slow, but it was only on this show that I finally caught the irony of the John Glenn/plane crash show -- that it was celebrating the extraordinary reach of aerospace techology, while in the same breath showing its tragic limitation. What brought it to mind was Pete saying, tonight, that astronauts love golfing -- when he had made that sick joke about the bay near the airport turning plaid from all the golfers on board)
Where do we think this show is heading for season's end? The Cuban missile crisis seems a logical end-point, but it is too big and obvious? (Similarly, I wonder if, when the show resumes next year, they'll have skipped past the assassination, or will they plunk the characters right into it?)
A favorite moment: when Betty was mildly chastised by her parents' housekeeper, the way she flounced onto the bed clearly said, This woman half-raised me and I'm a 13-year-old in her presence.
Also loved Peggy's "It's not easy for anybody". Not a big week for Peggy, but a choice moment.
Betty's father obviously has Alzheimer's, but the characters don't have the knowledge/vocabulary we do today, so they just don't know what to do or say about it.
The research department really does its job on this show. One of Glenn's comic books was Metal Men -- a truly obscure DC title that I read back in the day but of which I haven't had a single thought in 40 years.
Telstar was a perfect choice for the close -- not only that it was a '62 hit, but that of course it was in honor of the launch of the first telecommunications satellite, which is going to change all the characters' lives. To couple it with a flight to the West Coast -- a relatively new phenomenon, at least as non-stop -- creates a real sense of the future coming. (And, perhaps I'm just slow, but it was only on this show that I finally caught the irony of the John Glenn/plane crash show -- that it was celebrating the extraordinary reach of aerospace techology, while in the same breath showing its tragic limitation. What brought it to mind was Pete saying, tonight, that astronauts love golfing -- when he had made that sick joke about the bay near the airport turning plaid from all the golfers on board)
Where do we think this show is heading for season's end? The Cuban missile crisis seems a logical end-point, but it is too big and obvious? (Similarly, I wonder if, when the show resumes next year, they'll have skipped past the assassination, or will they plunk the characters right into it?)
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FilmFan720
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Robert Morse had what could be my favorite comedic moment of the season...poor Bertram is really going down the drain.
Did anyone else think Betty's father looked a lot like John McCain...a little political jab there?
Did anyone else think Betty's father looked a lot like John McCain...a little political jab there?
"Go into the world and do well. But more importantly, go into the world and do good."
- Minor Myers, Jr.
- Minor Myers, Jr.
The relationship between Betty and Glenn is so interesting. She seems to be the only person in his life that he can trust and he seems like the only person in Betty's life who loves her without any conditions (even more than Don Draper does, it seems). It's a fascinating dynamic and I'm glad that they revisited it this week. I like the fact that the writers are willing to acknowledge that two people can just have a connection, regardless of age, race, sexuality, etc. It does happen. Glenn's mother has obviously picked up on the strangeness there. Glenn is still a tad bit odd, but I really don't find the relationship as creepy as I think other people do. The actors have struck just the right balance at portraying two people who somehow, against whatever odds, need each other in their life.
The Campbell family drama was a little drawn out for me. I would at least liked to have seen Trudy, a character I really enjoy. Are they setting up a twist wherein the child they adopt will turn out to be Peggy's or do I watch too many soaps?
Joan's little bon mots delivered to Paul in front of everyone at (was it a baby shower for a guy?) was a delicious moment that she very obviously enjoyed. He totally deserved it too. What a pompous ass.
Betty's father is a dead-ringer for John McCain. And he's suffering from dementia. Hmmm… I liked how even in his Alzheimers-riddled state, he saw through the fog to call Don out on his phoniness and "un-trustworthiness".
The lack of pictures of Betty's mother reminded me, only tangentially, of a story from my family. After my divorced grandmother (a mother to five boys including twins, one of whom is my father) married another man in the early 1990's, this new step-grandfather of mine put pictures of his daughter all over the house, including her wedding portrait at the top of the stairs. His daughter is a complete bitch who gave my grandmother the cold shoulder when she first began dating her father. My grandmother is a very wealthy woman and he was moving into her house along with his little rat of a dog named Baby II (Baby I was purportedly the nickname for his daughter). The new step-grandfather was a curmudgeon and spent much of every holiday we visited on the computer away from the family. We couldn't stand him, nor could we stand all the pictures of his daughter lying around the house. When he finally died, it was like the house (and my grandmother) were reborn. And all those pictures were quickly removed.
That last shot with the sun from the airplane window shining on Don's face as "Telstar" began playing was magnificently rendered.
I think calling Don Draper evil is a rather facile rendering of his character. Don has definite faults, yet the complexities and duality of his character always keep him from appearing one-note. He falls in line with several anti-heroes in recent TV history (James Gandolfini's Tony Soprano on "The Sopranos", Michael Chiklis' Vic Mackey on "The Shield", Glenn Close's Patty Hewes on "Damages"). As a man straddling a troubled past, his present and future are always tempered and precariously-drawn.
And someone clue rolo into the sudden appearance of another magical Negro in the form of Betty's mammy!
Edited By flipp525 on 1223307721
The Campbell family drama was a little drawn out for me. I would at least liked to have seen Trudy, a character I really enjoy. Are they setting up a twist wherein the child they adopt will turn out to be Peggy's or do I watch too many soaps?
Joan's little bon mots delivered to Paul in front of everyone at (was it a baby shower for a guy?) was a delicious moment that she very obviously enjoyed. He totally deserved it too. What a pompous ass.
Betty's father is a dead-ringer for John McCain. And he's suffering from dementia. Hmmm… I liked how even in his Alzheimers-riddled state, he saw through the fog to call Don out on his phoniness and "un-trustworthiness".
The lack of pictures of Betty's mother reminded me, only tangentially, of a story from my family. After my divorced grandmother (a mother to five boys including twins, one of whom is my father) married another man in the early 1990's, this new step-grandfather of mine put pictures of his daughter all over the house, including her wedding portrait at the top of the stairs. His daughter is a complete bitch who gave my grandmother the cold shoulder when she first began dating her father. My grandmother is a very wealthy woman and he was moving into her house along with his little rat of a dog named Baby II (Baby I was purportedly the nickname for his daughter). The new step-grandfather was a curmudgeon and spent much of every holiday we visited on the computer away from the family. We couldn't stand him, nor could we stand all the pictures of his daughter lying around the house. When he finally died, it was like the house (and my grandmother) were reborn. And all those pictures were quickly removed.
That last shot with the sun from the airplane window shining on Don's face as "Telstar" began playing was magnificently rendered.
The premise is that Jon Hamm is short-changing the show by failing to let Don Draper's innate evil shine through.
I think calling Don Draper evil is a rather facile rendering of his character. Don has definite faults, yet the complexities and duality of his character always keep him from appearing one-note. He falls in line with several anti-heroes in recent TV history (James Gandolfini's Tony Soprano on "The Sopranos", Michael Chiklis' Vic Mackey on "The Shield", Glenn Close's Patty Hewes on "Damages"). As a man straddling a troubled past, his present and future are always tempered and precariously-drawn.
And someone clue rolo into the sudden appearance of another magical Negro in the form of Betty's mammy!
Edited By flipp525 on 1223307721
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
I agree, Tee. If Don was innately "evil," he wouldn't be a very interesting character and the show would soon become tiresome. It's the ambiguity of almost all the people who inhabit Mad Men which makes it so fascinating. Don's a womanizer and is hugely egotistical, but that doesn't make him evil, it makes him a complex and believable human being. What Heffernan gets wrong is that what defines Don more than anything else is his identity as an outsider and a self-created presence.Mister Tee wrote:There's a piece in the NY Times Magazine this week that I'd describe as...odd.
The premise is that Jon Hamm is short-changing the show by failing to let Don Draper's innate evil shine through. The writer, Virginia Heffernan, compares him unfavorably to Gandolfini on The Sopranos, and Glenn Close on Damages, and suggests he has the actor's failing of wanting the audience to like him, something not the case with those other two. (She also seems to take him to task for not having the stage/method background they had)
Is it just me -- or is the fact she considers Don Draper evil a rather complete misunderstanding on her part?
I don't know anything about Glenn Close's show or her character, but Gandolfini certainly make Tony Soprano likable -- the evil he committed was just his doing his job, the same way that navigating around office politics is Don doing his.
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell