Tag: AMC

Mad Men – The Crash

Well, huh…

Due both to a debilitating but entirely undramatic injury and the drugs associated with I won’t be writing a proper review of this week’s Mad Men, but I will throw out some assorted thoughts and allow an open floor for discussion. This is both the best and worst week for this to happen because The Crash is an episode that I could write and write about, but its also one that can never be entirely contained by synopsis or criticism and nor should it. Hell, i’m not sure that my mind can much understand it. Its like a dream, a flu-driven dream more lucid and real than you can remember reality ever being, but one that you have to repress in order to go on with the day once you wake up. Lets talk now about The Crash and then forget it ever happened.

(And no, this isn’t an attempt at performance art; though Alan Sepinwall nailed that in his intro.)

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Mad Men – Man With A Plan

madmen7

It’s somewhat fitting that an episode built around repetition would borrow so heavily from the thematics of the hour that preceded it, but it doesn’t make it any less of a pain to write this review. Man With A Plan was the kind of episode that showed the screenwriters in the room clearly have one, probably up on a big board somewhere that they would have returned to again and again during the writing of this hour; doing what Ted termed an old fashioned technique, research. To mirror the plots core premise, the overpopulation of the company’s post-merger offices and the repetition and redundancies that come with such, the episode weaved in a number of references to episodes past; scaling from the blunt to the subtle. It’s no coincidence then that this is the episode where Pete’s mother is first shown to have some form of Alzheimer’s; she forgets but the show never does. Matt Weiner is the man with a plan and we best trust in it.

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Mad Men – For Immediate Release

Mad Men - For Immediate release

One question likely enters the mind of most who read these reactionary essays of mine: Are episode titles really that important? Should so much attention be paid to them? Well it seems so since this, the sixth episode of season six, was released to certain Australians four days early because of what the writer – Matt Weiner himself – decided to title it. The boffins at Apple’s iTunes headquarters saw the words that Peggy writes in the press release that closes the show and took them as a literal instruction, in much the same way as I oft seem to take them as a metaphorical one. It’s a funny story, mostly because Matt Weiner is such a notorious spoilerphobe – disallowing critics from mentioning most elements of the episodes in advance reviews, from the important to the arbitrary, like the existence of the staircase which proved this worth this week – but also because it, you guessed it, surmises much of what the episode itself was about.

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Mad Men – The Flood

Mad Men is not necessarily a very nice show, it’s inspired but not so much inspirational, and so when real life historical events intrude upon the show’s storytelling they tend to be the sadder ones, the ‘catastrophes’ as one character puts it or the floods as the title does. Tonight’s catastrophe was of course the assassination of Martin Luther King, his passing the breaking of a wave that would continue to crash and spill through American cities over the following days. A simpler show would have taken this time to show us the way that their colored characters reacted to the tragedy, they would have used it as an obvious jumping off point for a civil rights debate but Mad Men has never been such a show and so it instead took this time to convey a more complicated idea, one that Dr.King famously preached: the identicality and inversions inherent in man, that though we are all different we’re also all the same.

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Mad Men – To Have and To Hold

HaveandHld

To Have and to Hold sounds like a simple episode title on the surface, rather rote in its familiarity. Obviously the phrase is a standard sort of declaration, specifically a wedding vow; which is arguably just about as meaningless a string of words as there can be in the Mad Men universe. Step back for a second though, look at it as a sentence, and it swiftly starts to seem like something that should belong to TV’s best Primetime cable drama and not some daytime, network soap. Mad Men is all about having, is all about greed, about holding on to what you have while simultaneously trying to get more, more than you had before, more than the other guy, to have more than you can possibly hold.

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Rectify – Always There (Pilot)

rectify

Top of the Lake (Reviewed Here) was a brave, bizarre and rather brilliant show that despite its seemingly formulaic plot stood apart from near anything I had seen before on the small screen. It was also new in another way; for the Sundance network it was their first original drama series and thus is set a tone for them in the same way that Mad Men once did at AMC. It was their debut, their mission statement, their standard and now it’s time to see their follow up – their Breaking Bad, to follow the rather fitting metaphor, fitting since ‘From the producers of Breaking Bad‘ is that show’s tagline.

Rectify is that second show and like Breaking Bad it suffers not from the dreaded sophomore slump. It is both as safe and as strange as its forebear but in very different ways, it is set almost on the other side of the world but plays similarly and so it does for Sundance what AMC couldn’t (given just how disparate its two dramas were) and establishes them as a Network with both strong vision and a consistent voice. The Kid is now a real contender in the future of the cable network business, but enough business banter, what of the show itself?

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Mad Men – The Collaborators

Last season slumped dramatically in its second week, with its third hour, Tea Leaves ( an episode that only stands out as weak once you have seen the staggering streak it sets up). It was a bolt out of the blue after the stellar season premiere and flattering finale before that. Many blamed January Jones for the flop, citing the character of blown-up Betty as bad enough to burst even the best of the show’s episodes. Her character is thankfully absent here but the team collaborating behind the scenes remains the same with Weiner writing and Jon Hamm again directing the earliest possible episode for scheduling’s sake and again it is a bit of a drop from the program proceeding it. As much as it pains me to say it I think we may have found the one thing that the man is merely good at.
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Mad Men – The Doorway

Though I may occasionally like to preach I’m not really a religious man; there is something about this show though that brings that side out in me. Mad Men is a certified miracle: it’s got a ludicrous concept, alien feeling execution, is set in an era too familiar to fantasize and a main character that takes male fantasies an twists them into something unbearable to see. It’s a show that shouldn’t have worked for a season that so far has managed to get better and better with each one that passes (an I’m praying that this trend will continue). God its good to have it back and even better to be back. It was the best feeling to walk through the doorway of The Doorway and back into the world of Mad Men: back into the sixties, back into Manhattan, Back into Sterling Cooper Draper Pryce and back into the best show on television and know that I would be doing it again and again each and every Sunday, the atheists Sabbath. Praise be to TV’s lord and savior Matt Weiner (and lets hope such overzealous praise isn’t the straw to break his ego’s already swollen back).

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Breaking Bad – Say My Name

Say My Name was very much an episode about big-noting and bravado, about the many men of Breaking Bad measuring themselves to see who’s biggest. Whereas the Walt of season one would have wimped away from any such show of power we are shown almost instantly in this episode just how cocksure the character has become. I expected Walt’s big plan to deal with the gang to be something scientific, some sort of secret chemistry trick that only he could think of, but instead of using his intelligence to solve the problem he instead went with instinct; his smug staring down of a mad Mike at the end of last week’s episode was simply a warm-up for what was yet to come at the beginning of this one.

In the first of many reversals this week Walt walks out of the car without a hint of fear and instead of whimpering at the gang members, instead of begging for his life he simply tells them that he is in control here, that they now work for him and his confidence is so great that they believe every word. That same hubris that has caused so many major missteps throughout the series not only saves his life but nets him a new potential ally (though chances are t won’t actually work out this way). To add insult to injury he doesn’t simply stop at declaring himself the Alpha dog of this pack but instantly starts ordering them to do tricks: to sit, to speak and to, as the title suggests, “Say My Name!” and when they do what is the answer they give (the right answer)? Not Walter White, but Heisenberg.

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Breaking Bad – Buyout

Breaking Bad always makes very clever use of its cold opens; using those short few seconds to tell entire stories, try out crazy techniques and evoke complex emotions. Seeing just what the first few seconds of an episode has in store for you, how they are experimenting this week, is for me often the most fun part of the show. I don’t know though if I could ever use the word ‘fun’ to describe the beginning of Buyout (The titles this season have had a very strong business bent to them no?). After last week’s crazy freight (not to be confused with a certain long dead character) based caper showed off one of the shows most enjoyable modes – executing the intricate and insane plan to perfection – this week’s highlighted what is possibly its most unique: consequences.

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