Crown MRS. AMERICA

Article first published as TV Review: MRS. AMERICA on Seat42F.

FX and Hulu both make terrific shows in their own right. Now, a partnership has formed where viewers get FX series exclusively on the streaming platform. One of the first of those is MRS. AMERICA, a new miniseries based on the true story of the push for the Equal Rights Amendment in the 1970s. It completely lives up to the best programming from both sides.

Setting aside the politics, MRS. AMERICA is an extremely well-made, well-acted, compelling history lesson. It’s fantastic as a story, brilliantly directed and executed, with terrific production design. As a piece of television, it’s wonderful.

MRS. AMERICA begins with Phyllis Schlafly (Cate Blanchett, Carol), a housewife who has run for Congress twice. When the opportunity comes up for her to run again, her husband, Fred (John Slattery, Mad Men), balks because she might actually win. So to satisfy her own political ambitions and keep the peace in a marriage where she is subservient, she pours her attentions into organizing a national effort to stop the newly-passed Equal Rights Amendment, which must be ratified by thirty-eight states to become law.

It’s a good thing MRS. AMERICA shows us Phyllis before she embarks down this path. It doesn’t stop her from being a villain, but it does make her sympathetic at first, which viewers can hold in their minds as the rest of the story plays out. We get to see what motivates her, and why she makes some of the choices she makes. She is trapped in a patriarchal world and tries to grab power playing by the mens’ rules, even though her desire for power is antithetical to the system in the first place. This does allow for some sympathy, even when she’s being heartless.

Along for the ride with Phyllis are, most notably, Alice (Sarah Paulson, American Horror Story), Rosemary (Melanie Lynskey, Togetherness), and Phyllis’ sister, Eleanor (Jeanne Tripplehorn). Alice and Rosemary want the movement to succeed, and struggle with Phyllis’ leadership. But Eleanor’s story is the most tragic, as Phyllis describes the enemy to be pretty similar to her own sibling, while acting totally ignorant to how it sounds to Eleanor.

Lest you think MRS. AMERICA is just a liberal fantasy version of reality, the women on the other side are far from perfect. Gloria Steinem (Rose Byrne, Spy) finds it hard to fit in with the organized opposition, preferring to chart her own course without oversight. Shirley Chisholm (Uzo Aduba, Orange Is the New Black) risks wrecking party unity by staying in the presidential race too long. Betty Friedan (Tracey Ullman) is opinionated and has the tendency to rub just about everyone the wrong way. Bella Abzug (Margo Martindale, The Americans) is willing to compromise far beyond what some of her compatriots are willing to accept. And hell, Jill Ruckelshaus (Elizabeth Banks, The Hunger Games) is somehow still a Republican! They can’t get on message together to actually accomplish anything, and they fail to take the threat Phyllis poses seriously until it’s too late, blind to people whose opinions are so different from their own.

Each of the leads could support their own miniseries. One might argue they’re lumped together because of their gender, rather than just because of the cause. I still like the format. Each hour includes all the leads, but the episode title reveals with woman will get a little more focus for that offering. Phyllis and Gloria are probably the two biggest characters overall, and that shows.

I’ll admit, that it’s impossible to judge MRS. AMERICA without political views creeping in. At least it is for me. So the next portion is written from the perspective of a liberal, straight, white man, which comes with much bias and unearned privilege.

It would be hard for many conservatives to enjoy a show, even one featuring flawed liberal women, when their own position is so blatantly misguided. But I hope they watch anyway. The liberal in me wants to say, if you have a problem with MRS. AMERICA, then don’t have such evil viewpoints. But here’s the thing: this is an inspiring underdog story of the rise of feminism, made all the more tragic by the lack of progress of the heroes’ central goals nearly fifty years later. Though, now it’s common for both parents to be forced to work outside the home to make ends meet and the classic family dynamic has eroded by necessity, not choice, so really, we all lost.

The real take-away, in my opinion, is the reflection on modern society. We see the misinformation and twisting of facts to serve an agenda, and how masses of people buy into it. We also see what happens when good people fighting for a just cause fail to unite in their mission. There are plenty of strong reasons for individuals to draw the line in different places, but speaking with one voice can prove very effective, even when that voice is wrong.

Will this story have a happy ending? That remains to be seen, and it certainly won’t within the span of nine episodes, as the battle still rages on in 2020, reignited by the last presidential election in ways it hasn’t been since the events depicted in MRS. AMERICA. Hopefully, those that want to finish what was started learn a few lessons and draw inspiration from this story.

The first three episodes of MRS. AMERICA are available now on Hulu, with new installments weekly.

Be Sure to Attend WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP

Article first published as WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP Review on Seat42F.

I love that we live in the modern age where television can be done in many different models, not just the strict, twenty-some episodes per year for an indeterminate number of years commitment. If things had not been shifting as they are, we would never get a gem like WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP (premiering this week on Netflix) due to actor availability alone. Just look at the cast list, which includes Janeane Garofalo, Jason Schwartzman, Paul Rudd, Chris Pine, Elizabeth Banks, Christopher Meloni, Amy Poehler, Bradley Cooper, H. Jon Benjamin, John Slattery, Josh Charles, and many more. It would not have been possible to get them all together in a longer-format series.

WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP is actually a prequel to the 2001 film, Wet Hot American Summer. Whereas the movie covers the last day of the year at Camp Firewood, the eight-episode series is set eight weeks earlier, to the first day of the season. Practically all of the adult actors from the original, both major and minor characters, reprise their roles, with a new batch of kids tossed in, and a ton of guest stars who are often as famous, if not more so, than the central cast.

The question might occur to you, as it did me, is this necessary? The movie is terrific; I just re-watched it last night and laughed frequently. But it’s also irreverent, with a loose plot and relatively under-developed characters. It succeeds because of the jokes and the performances, not because of its depth.

Well, if the new version were an exact copy, I’m not sure it would work. Sure, we could enjoy a goofy sitcom over a longer period of time, but it would certainly get tiring if binge watching, as many Netflix subscribers prefer to digest their shows. Instead, WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP builds a much more complex story (i.e. can of vegetables), interweaving a number of running subplots, intriguing mysteries, and origin stories fans may not have known they even wanted.

Lest you worry that will take away from the style of humor that worked for Wet Hot American Summer, it does not. The silly gags are still present, Arty (recast) still the radio station, and the characters are the same as they ever were. They just have a little more to do, and what they do sometimes (but not always) has a little more importance. Continuity remains intact, as much as it ever was.

Given the short bits this four-hour comedy is broken up into, not everyone can show up right away. Most of the biggest stars are back in episodes one and two, with a lot of the smaller ones joining in episode three. The original ensemble is supplemented mostly by cast members from writer David Wain’s other TV show, Childrens Hospital (which also has Wet Hot American Summer stars), and Mad Men alum, along with Wain himself, so it takes even longer to get around to everyone.

Yet, it doesn’t feel crowded. Sure, Michael Ian Black, for one, doesn’t have a lot to do in the first few installments, but I’m optimistic that will change as the season goes on. Like the movie, WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP jumps around a lot, and that allows for lots of subplots.

Most importantly, though, it just feels like the magic is back. True, the actors don’t pass for sixteen-year-olds, but they didn’t in 2001, either, and the only adds to the conceit. I was enjoying the show so much, I couldn’t stop to write this after one or two episodes, and barely tore myself away after the third. As someone who loves the film, I think this iteration adds to, not takes away from, the work. I hope we eventually get to see even more of this terrific summer of 1981.

WET HOT AMERICAN SUMMER: FIRST DAY OF CAMP was released last Friday on Netflix.

MAD MEN Travels Through "Time Zones"

Article originally published as TV Review: 'Mad Men' - 'Time Zones' on Blogcritics.

AMC’s Mad Men is finally back. True, it’s only seven episodes, before the network makes us wait a full year before delivering the second half of the season, but at least we get these characters and this story on our television for some fresh installments.

The season premiere, “Time Zones,” picks up less than two months after the previous season ends, one of the shortest time jumps Mad Men has ever done. In a way, that feels a bit like a cheat, since most of the threads in this hour are direct continuations of those from last season; there is no reset going into the victory lap. On the other, this does provide a through line, and most of the players are at very pivotal points in their lives.

A major theme in the advertising for this season of Mad Men is air travel, and it certainly seems like all of the major players are on lay-over. They’ve made quite a journey from who they were at the start of Mad Men to who they are now, but at this point, they must take stock of the lives they’ve built and decide where to head next. Should they continue on the same path, or maybe change their flight to somewhere else? They have 14 episodes to decide.

Don Draper (Jon Hamm) is on the verge of losing everything. Suspended from the job he loves, the only constant happiness in his life, and living all the way across the country from his wife, Megan (Jessica Paré), whom he hasn’t seemed to have told about his job troubles, he’s floundering (he’s still getting paid, so I guess it’s not a huge deception). He has a plan to hang onto both, flying out to spend time with Megan and using Freddie (Joel Murray) as a patsy to deliver his ideas to SC&P via freelance, but both are tenuous.

Don’s work is good again. We can tell this by the stellar pitch Freddie gives Peggy (Elisabeth Moss) at the start of “Time Zones,” a mystery presented and not solved until the end. However, Peggy doesn’t know it’s coming from Don; no one does. So does it even count in Don’s favor?

It may be that Don will have to chose between Megan and SC&P. Giving up heading the West Coast branch cost him, and now his grip is slipping. There’s no telling when the firm might welcome him back, and Megan has grown distant, building a life for herself in California that doesn’t include him, annoyed by his intrusions into it. Hopping back and forth is costing Don, his emotional state seeming very precarious in the closing shot, his life as broken as the sliding door, and he just can’t do everything.

Strangely, Betty (January Jones) and Don’s children, Sally (Kiernan Shipka), Bobby (Mason Vale Cotton), and baby Gene, don’t even appear in “Time Zones.” As we see Don trying to define what’s important in his life, these people do not factor in. They absolutely should, though. Whatever Don decides, he’s still a father, and should keep that in mind.

There is one positive sign in Don’s favor, and that’s that he doesn’t sleep with the woman he meets on his airplane ride home (Neve Campbell, Scream, Party of Five). Well, technically, he does sleep with her, but no sexual play is had. In each of the first six seasons, it’s hard to imagine Don passing up nudity with a beautiful girl. Now, he has more important things to worry about, and he’s committed to doing better. Or maybe he’s just too worn out to perform, getting older.

Believe it or not, Don is not the only, or perhaps even the most, messed up person in the cast right now. Peggy is still dealing with her anger and resentment towards Ted (Kevin Rahm), playing the scorned mistress. Roger (John Slattery) is in a total destructive spiral, sleeping with whoever happens to wind up in his bed, multiple people of both genders at once, and doing drugs. Not to mention, his daughter, Margaret (Elizabeth Rice), might just be in a cult. Pete (Vincent Kartheiser) is trying desperately to play the consummate Californian, while clinging to any shred of New York he can find. Ken (Aaron Staton) is over-stressed and falling apart in his new position, and Don’s replacement, Lou (Allan Havey, Hancock), is uncaring and strict, and not in a helpful way.

Never in Mad Men‘s run can I think of a time where things are falling apart more. SC&P’s future will surely be effected by the fraying ends on both coasts. Can the firm survive such an upheaval, or has its time passed and it’s doomed to sink into irrelevance as the season unfolds?

The only character who is doing well, besides arguably Megan, in “Time Zones” is Joan (Christina Hendricks). Talking to college professors about graduate-level business and single-handedly working to save important accounts, she even finds time to flirt with Wayne Barnes (Dan Byrd, Cougar Town, Easy A). She’s got a good head on her shoulders, and without serious men to distract her, Roger not being an option and Bob Benson (James Wolk, who’s currently over on The Crazy Ones) ensconced in Detroit, she can be even more fully committed to bettering herself than she has been in the past. No matter who else falls, Joan will be fine.

“Time Zones” is a depressing episode, but it’s also a good one. It serves the characters well and continues the trajectories began in seasons past. It’s the natural evolution of the story and does seem to be inching closer to the end, even if we can’t yet see the light at the end of the tunnel. It doesn’t give us any groundbreaking new developments, but it does show us yet another aspect of the players we’ve come to care about, and a taste of what this year will be like.

Mad Men airs Sundays at 10 p.m. ET on AMC.

MAD MEN Preview

Article originally published as MAD MEN Review on Seat42F.


AMC’s MAD MEN is one of, if not the, most anticipated returns this spring. The final season premiere (though only seven episodes will air this year, with the other seven being held for another twelve months) is finally here. Called “Time Zones,” the hour reacquaints us with almost all of the familiar faces, continuing the story of Dan Draper (Jon Hamm), Peggy Olson (Elisabeth Moss), Roger Sterling (John Slattery), Pete Campbell (Vincent Kartheiser), Joan Harris (Christina Hendricks), and others.

Disappointed that the first paragraph didn’t give anything away? Well, I will tease what I can, but don’t expect this preview article to be full of revelations, either. AMC is extremely strict about keeping things a secret, as fans have long gathered from their sparse episode descriptions and nearly opaque commercials. I am not allowed to tell you how much time has passed, where Don is professionally, who any of the new characters are, whether the firm has successfully expanded to the West Coast or not, or quite a few other things. So I’ll do my best to tantalize you without spoiling anything at all.

I will say “Time Zones” is a very unexpected hour. It may not be as large scale as some of the other MAD MEN premieres, checking in with everyone, but slow to show us anything new. It’s an intriguing start and it does keep true the tone and arcs of the previous year, but it isn’t going to give any “wow” moments that has everyone talking the next day. OK, maybe one or two, including one excellently structured twist. But certainly no earth-shattering developments that change the series forever.

Much of MAD MEN’s success is in making us care about those depicted. “Time Zones” serves each of those main characters mentioned in the first paragraph well, as it also does a host of other long-time performers on the show. There are some wonderful growth moments, and satisfying interactions. Joan, in particular, catches my attention. I’m excited to see how a few of these develop over the next few weeks.

The commercials that have been running of the characters at an airport is apropos, even if it’s not exactly what happens. Airports and plans do figure into this first hour, and likely will for a number of future installments as well. I think it’s not hard to guess why, considering where last year ended, but other than mentioning that, I can’t expound upon it. I will say, there is a scene featuring two of our main players outside the terminal that does feel completely stolen from the ad, including their slow moving and the music, but may not line up with what one would assume it means.

More importantly, the airport is a metaphor for where these people are. They’re all in a transitional state, not where they want to end up, but not where they started, either. The possibilities are endless, and it’s up to the individuals which destination they’d like to choose. I think a strong theme of season seven will be in line with this, a group on layover, and a number of characters may fly off in separate directions before it’s all over.

I’m not allowed to tell you about any new characters, but there are some very recognizable faces in the first episode. Two, in particular, are people that have graced the television screen before, and whom I am a fan of. I think it’s vague enough to say one starred in a horror movie franchise and another is currently a main player on a sitcom that’s been around for a few years and is still currently running. One of the two is poised for a possible arc, and the other could just be a one-off. And that’s the end of the hints about those.

A recurring player who hasn’t had a major role on the show in awhile also returns and appears to be staying for at least a little bit. I am definitely a fan of this plot.

As to when the story takes place, while I can’t tell you that exactly, I will say this was also not what I expected. Given the dramatic climax of season six, I had formed in my own head a picture of where the plot was heading, but not being privy to the writers’ discussions, I got it completely wrong. As did everyone else whose comments or articles I’ve read. I suspected early in my viewing of “Time Zones” how much time had passed, but it was not confirmed until much later, so even MAD MEN itself isn’t quick to reveal this important nugget.

And that’s about all I can think to say without getting into trouble. I supremely respect this series and this network, and they’ve served fans well by keeping a tight lid on things. In the modern world, spoilers are all too common. It’s nice to see someone buck that trend, putting major effort into letting audiences be surprised. For this reason, I am happy to comply with the rules, as difficult as it is, and assure you that “Time Zones” is true to form and the start of a fitting final story.

MAD MEN premieres Sunday, April 13^th and 10 p.m. ET.

MAD MEN Makes Don "Care"

Article first published as MAD MEN Makes Don "Care" on TheTVKing.

AMC's Mad Men only has a single season left, so one should expect this week's season finale to have more than a few big changes and surprises. One would not be disappointed. In the episode, "In Care Of," there is some serious movement, including in some of the show's biggest arcs.

The thing most shocking is Don's (Jon Hamm) firing from the firm. Well, technically it's a forced indefinite leave of absence, but the intention is clear when the partners ask Don to go and Duck Phillips (Mark Moses) immediately shows up with his replacement. Don, the man who brought the firm most of its success for the past six seasons, is no longer employed by Sterling, Cooper, & Partners.

Is this a mistake or a betrayal? Well, despite all of the business that Don has earned the firm in the past, he has lately been costing them money. Lots of money. And given that Don is only getting worse and worse, from a professional stand point, they have to cut him lose or risk losing the company. It's a no-brainer, as hard as it might be personally for Roger (John Slattery), Cooper (Robert Morse), or Joan (Christina Hendricks) to vote Don out.

The reason for Don's change is because he just can't stand to lie any more. Don's entire life has been clouded in secrecy, and his real name isn't even Don. While a handful of individuals have found out bits and pieces about Don over the years, most of who he is and what goes on in his head is kept hidden. This might be why he is so good at advertising, because he is always selling a version of himself, and now that he's losing that ability, it spills over into other aspects of his life, too.

At the end of "In Care Of," Don takes his kids to visit the whore house where he grew up. Sally (Kiernan Shipka), in particular, is affected, seeing her dad for the first time as a real person. She cannot stand the lies her dad has told,  but seeing how he grew up, begins to feel sorry for him. This could be the beginning of a healing in their fractured relationship.

I don't know what Don will do next, but I think he is better off being true to himself. He could go back into advertising, running his own small firm where he is free to be who he wants to be and reinvent his career. This might be what he needs to find peace and break the cycle of drinking and cheating. A new Don could still be brilliant at his work, but without the baggage that comes with the old Don.

As part of his new start, Don may need to find a new wife. He tries to salvage things with Megan (Jessica Pare) when she walks out of their home, furious at having called off their plans to move to the West Coast. Now that he doesn't have his job, he could follow her, maybe with Sally in tow. But considering he doesn't fill Megan in on the extent of what he is going through in "In Care Of," it's hard to see how she might reconcile with him unless he confesses the depths of his pain and emotion.

Pete (Vincent Kartheiser) also is faced with reinventing himself. His wife, Trudy (Alison Brie), is done with him, and he is assigned to the West Coast office of Sterling, Cooper, & Partners under the leadership of Ted (Kevin Rahm). For Pete, this is the opposite of everything that he wants, but he doesn't realize that until it's too late. Trudy's "Well, now you know" is a great comment on where Pete is, and now perhaps he can seek out the life he wants going forward.

Pete has changed and grown over the last six years. He doesn't go after Bob (James Wolk) when Bob's secrets come out. He doesn't annoy and pester Trudy when he loses her. He accepts the transfer, humbled after losing his spot with Chevy in Detroit. Pete, someone who is very hard to like on Mad Men, may finally be on the path to redemption and happiness.

Meanwhile, Peggy (Elisabeth Moss), someone most viewers like and root for over the years, is at her lowest point, completely at a loss over who she should be. Now done with her long-time boyfriend and abandoned by her married lover, Ted, Peggy is aimless. Her career goals are always her focus, but once she becomes like Don or others that she looks up to, she is where she doesn't want to be, having failed to cherry pick the best parts of her mentors, inheriting their bad traits, as well.

With Don, Pete, and Ted gone from the New York office, though, Peggy has the opportunity to flourish. Her distractions are removed and she can re-focus on what's important. This may be the time for her to step up and be the heart of the agency, landing the big accounts. It will be interesting to see how she turns out.

I really love the glimpse of family "In Care Of" gives us when Roger attends Thanksgiving at Joan's apartment with their son and Bob. I still can't decide if Bob is gay and just a good friend of Joan's, or if there's something romantic between them, but they've formed a bond that has allowed Joan to be healthy enough to permit Roger into his son's life. And Roger, seeing the depths of his mistakes with daughter Margaret (Elizabeth Rice), is ready for a do-over where he can be the right kind of father. This grouping may be unconventional as a unit, but is sweet, and is very beneficial for all of them to be involved in.

More minor characters don't get much story in "In Care Of," and that's OK. Mad Men services quite a few faces on occasion, but the core group is Peggy, Don, Pete, Roger, and Joan. Rizzo (Jay R. Ferguson) has a small part in the beginning, but that's it. However, as we move into the final year, time is limited. As much as fans enjoy all of the supporting players, as long as the series serves its main players well, I think the end will be satisfying.

Mad Men will return next year for its seventh and last season on AMC.

Mad Men Goes Through "The Doorway"

Article first published as Mad Men Goes Through "The Doorway" on TheTVKing.

As we go through "The Doorway" into Mad Men's sixth season on AMC, we can immediately see that a lot has changed. Some of it is surface, such as the hair styles, an excess of marijuana smoking, and the bustling, busy, successful, two-story Sterling Cooper Draper Pryce agency. But some of it goes deeper, as the unhappiness that has long-festered in several of the leads comes to the surface even more now, making "The Doorway" a pretty depressing and dark installment.

Don (Jon Hamm) is our main character. As "The Doorway" opens, after a cut scene of an unknown man having a heart attack, he lounges on the beaches of Hawaii, reading Dante's Inferno. There is a stark contrast between the white sands and blue water and Don's choice of reading material. Plus, Don himself is silent, letting life happen around him, but not really participating in it.

We've seen Don like this before. While, last year, he is an active participant in his marriage with Megan (Jessica Paré) and the firm's work, guiding the ship, prior to that he is shown as a sort of numb robot. The season premiere returns Don to that unhappy state, not connecting with the others around him.

We don't know why Don is this way. Obviously, the advertising agency he helped found is doing well, so there aren't professional woes. And Megan is still in love with him, despite her successful career as a TV star, presumably working on a soap opera, so he's not neglected at home. Could it be that Don only functions well when there is a crisis that he must solve, and once that goes away, he returns to his old self? Could he be spurred to go introspective after witnessing his doorman's heart attack, and didn't like what he found inside himself?

I think there is a clue when Don participates in a wedding ceremony on the beach, one he doesn't tell Megan about, but which we see affects him deeply, even after they return from vacation. Something about that young soldier bothers him. Does he represent lost promise? Remind Don of his somewhat shady past? Who knows?

Don brings this attitude back to the office with him, and it's here where we realize that he may not himself understand how unhappy he is. The Hawaii trip is a working one, and he pitches an ad idea for the hotel he stays in. But his vision is one interpreted by many as invoking suicide. Don sees escape as a pleasant thing, but there's a gray area when considering how big of an escape he might actually want to make. A permanent one, perhaps?

The sign of hope we see for Don is his friendship with his new neighbor, a Jewish doctor (Brian Markinson, The Killing, Caprica). We've never seen Don have a friend like this, an equal who is not connected with him professionally. They seem to understand one another and have mutual respect for the work that they do. This looks to be the makings of a wonderful outlet for Don to be Don, and help him cope with disappointments in other areas of his life.

Unfortunately, as we find out at the end of the hour, Don is sleeping with the good doctor's wife. I can't decide if I feel the betrayal more deeply on behalf of Megan or the doctor. After all, Megan knows the kind of man Don is before marrying him, and Don has a history of cheating when he gets restless, as he is now. The doctor, on the other hand, has no reason to suspect Don's activities, which makes it doubly bad. It also means that their friendship will never last.

All of this points to a very dark ending for Don. With only two seasons left, it is doubtful he will be content to stay where he is. Will he end up running away, taking on a new identity again, as he did when he became Don Draper? Or might he decide it's better not to live at all?

Roger (John Slattery) is just as unhappy as Don. He has never found peace in the arms of a woman for long, and professionally he does have a purpose, but it is not an obvious or constant one. In "The Doorway" we see him hamming it up around the office, but not doing anything of note.

Until he gets the news that his mother has died. Those around him are upset by this, Roger's secretary bawling, and Don getting wasted and puking at the funeral. Roger is more frustrated, as he tells his psychiatrist, that he feels nothing. He is fully numb, unable to work up the sadness he thinks he should feel, and regretful of the way he has lived his life, as his mother's passing forces him to face his own mortality.

Roger isn't actually emotionless, of course. Once he gets over the shock, a near-stranger's death sends the tears flowing. But it's one of those defining moments in life, where one takes stock of oneself, and like Don, Roger doesn't like what he sees. Roger doesn't have anyone close to him to share himself with, or to mourn his passing. Not even his daughter, Margaret (Elizabeth Rice), cares, only wanting his money. This starts to affect him negatively, more so than we've ever seen before.

While many show up for Roger's mother's funeral, including ex-wives Jane (Peyton List) and Mona (Talia Balsam), the latter of whom actually offers sound advice, there is a glaring absence: Joan (Christina Hendricks). They may no longer be lovers, but Joan knows Roger better than anyone, and likely has cared about him more than anyone. Why does she not come to him in his hour of need? Have things deteriorated that much between them? How incredibly sad!

The third character that gets much focus in "The Doorway" is Betty Francis (January Jones). Betty identifies with one of her daughter, Sally's, friends (Kerris Dorsey, Brothers & Sisters), who has lied about getting accepted to Julliard, but still wants to run away to New York City at the ripe age of fifteen. Betty, who lived the poor life as a model in the big city when she was young, tries to talk the child out of it, then goes in search of her when the kid disappears.

This plot may show Betty being a good mother figure to a child who is not her own, but it's also about Betty's past and missteps. She is in a good place now, with a loving husband and a nice house, but she definitely has her rocky times. She has a lousy first marriage, has trouble connecting with her own daughter, Sally (Kiernan Shipka), which is still an issue, and has a hard time finding the right path for her life. Betty wants to not only spare the young teen from making the same mistakes, but also seems to hope it will make up for her own spotty past. And she's willing to go into a truly scary area of town to do it.

Peggy (Elisabeth Moss) has less to do in the season premiere, but we do get to see how she has adjusted to her life away from SCDP and Don's shadow. She is flourishing, her genius shining through, though she is still struggling with managing others, as she doesn't see herself in a position of power, and doesn't have full confidence in herself. She looks and acts like a grown up, and it's pretty clear that, while she does still have a few professional skills to hone, she is well on her way to being a strong, independent woman, the breadwinner for her household, the kind of woman that little girls look up to. It's nice to see someone doing well!

In the office of SCDP, many changes have happened. The layout is totally different, and while "The Doorway" doesn't show us much of the upstairs, it does seem that all the young guys are up there, leaving Don and Roger down in the old section, which makes obvious a distinction. Has the firm somewhat split into two pieces? Are the new guys becoming more relevant than the old, or at least staking their claim as an equally important element? The separation is tangible.

We are also introduced to a new employee (James Wolk, Political Animals), who kisses the butts of the partners enthusiastically, earning him the resentment of Ken (Aaron Staton). Is the newbie earnest, or manipulative? Are his motives pure, or selfish? Should we admire his drive, or does he only have his charm, lacking the talent to back it up? I admit, I am immediately intrigued by him, much more so than the smattering of other fresh faces we see around the building.

Overall, it's hard to say that I truly enjoyed "The Doorway," since it is quite depressing, but I did very much appreciate it. I am interested in the direction the characters are going, and intrigued by the slow and steady departure away from who they were.

Mad Men airs Sundays at 9 p.m. ET on AMC.

Mad Men continues evolution as another year comes to an end

AMC's Mad Men characters have undergone quite a bit of change throughout the fifth season. Society around them continues to evolve at a rapid pace, and as one era ends, another moves forward. This can be unsettling to many, as the series embraces this new world order, as well as the differing reactions the characters have to it, with realism and skill. "The Phantom," this week's season finale, is a superb example of this, enhanced by the artistic, beautiful image of the five partners in their new, empty office space.

Lane's (Jared Harris) suicide still haunts, but the firm moves on without him. He helped them get the ball rolling, but is not necessary for the future of the company. The things he tries to promote, not always successfully, such as financial stability and caution, fall to the wayside as the other partners think about expanding their offices. And why not? They've made a lot of money, and things are looking up. Plus, Lane's insurance policy provides an influx of cash.

How long will this last? Only Joan (Christina Hendricks) voices any concern, but this quickly falls to the wayside. Everything is fleeting, and they've all lived through the volatility of their industry. They would do well to remember those lessons, and the hardships of the lean times, as they move forward.

Sterling Cooper Draper Pryce is not remotely the same company it is when season five begins. A lot happens. They are now integrated. They have a female partner. Said partner, Joan, sells her morality and her body to satisfy her ambition and to prove her loyalty. Roger (John Slatterly) tries to find inner peace, and does briefly, before collapses in on himself again. Bert (Robert Morse) shows signs of his aging, and the loss of his firmly held beliefs. Don (Jon Hamm) deals with the absence of his drive and talent. Employees come and go. Old friends are looked in on. And the business grows, but at what cost?

Does Don feel guilty for his role in Lane's passing? After all, it is not long after Don confronts and fires Lane for his embezzlement that Lane ends his life. There is definitely a connection, and Don realizes this. However, not being pulled down too much by grief and regret is not something for Don to be ashamed of. After all, Don is kinder than he has to be to Lane, and he does not expose Lane's wrongdoing to the other partners. Whatever Lane's wife (Embeth Davidtz) may say, Don shouldn't take the blame personally, and I don't think that he does.

Instead, Don has his toothache to worry about. Yes, the physical ailment is real, and may even be the reason that Don hallucinates his departed brother (Jay Paulson). But the underlying cause of the uneasy feelings stem from the rocky place his marriage with Megan (Jessica Paré) currently is in. Megan wants to be an actress, but Don is afraid that Megan's professional life may drive a wedge between them, taking her far away. These feelings are not without merit, but that doesn't mean that Don should hold her back. He realizes this, and is willing to let her go so that she can follow her dreams.

Will Megan keep returning to Don's arms as she promises, now that she is building a life apart from him? The question as to whether the character will return next season remains unanswered, and it seems like Don is contemplating life without her as "The Phantom" comes to an end. It could honestly go either way, as Mad Men has proven unpredictable. What is certain is that Megan isn't content to be a housewife, and Don truly loves her enough to want what is best for her, irregardless of the cost to himself. That alone shows major positive development for him. He may lose her, but he has a better self to compensate.

It is Peggy (Elisabeth Moss) that helps Don make this decision in "The Phantom." Peggy has long been Don's protege, and he does not take the news of her striking out on her own very well. But encountering her in a movie theater, things are good between them. Don is proud of the successful woman that she has become, and she is grateful for his help, though determined to now spread her wings outside of his influence, a logical next step.

If Peggy returns to the firm, and hopefully she will, the dynamic will be drastically different. They may even have to make her a partner to entice her back into the fold. It's also possible that Peggy will return defeated, though that is less likely, and not a happy possibility.

Though Don is probably thinking more about Megan than Peggy during their conversation, as the parallels between the two stories are obvious and intelligent. Don may say things that Peggy takes as applying to her, but his main concern is Megan.

Interestingly, Pete (Vincent Kartheiser) begins Mad Men wanting to be just like Don, the big man on campus. By season five, Peter has gotten his wish. He lives with a beautiful wife (Alison Brie) he doesn't really love in the suburbs, and fools around with an unavailable woman (Alexis Bledel, Gilmore Girls). This is exactly Don's past, golden on the outside, rotten within. Pete is dissatisfied and frustrated, not sure what will fill the hole that he feels. A great lesson can come from the old adage, "Be careful what you wish for." Don found an escape from the prison; will Pete?

There will be much speculation about season six, but the truth is, there aren't a lot of clues as to the direction that Mad Men is heading in "The Phantom." It has always been a show full of twists, which usually seem natural when they occur, but are hard to see coming. Rather than characters always forcing change because of their actions, many of the stories are driven by outside events, and explore how the characters deal with these growing pains. With only two seasons left, there is not yet a sign of any slow down, and it should remain a fantastic ride through the end!

Mad Men will return to AMC next year.

If you like my reviews, please follow me on Twitter! Please click here to catch up on Mad Men with streaming episodes and DVDs. Article first published as Mad Men continues evolution as another year comes to an end on TheTVKing.

Mad Men finds drama "At the Codfish Ball"

In this week's installment of  Mad Men "At the Codfish Ball," Don (Jon Hamm) is honored by the American Cancer Society for his infamous Lucky Strike letter. His family accompanies him to the dinner that goes with the recognition. This includes Megan's parents, Emile (Ronald Guttman, All My Children) and Marie (Julia Ormond, Law & Order: Criminal Intent) Calvet, who come to town for the occasion. But considering that the couple doesn't exactly approve of Don's marriage to their daughter, and that their own union is on the rocks, the night doesn't exactly go so well.

Megan (Jessica Paré) really comes into her own in "At the Codfish Ball." Not only does she come up with a brilliant idea for the Heinz campaign, she also masterfully finagles the business dinner to sell said idea just before Raymond Geiger (John Sloman, The Ugly Truth) fires them. She proves her creative and business acumen quite nicely. Not only does this show that she deserves the position she now holds in the firm, but it also demonstrates why she is a great match for Don.

Side note: Harry's (Rich Sommer) telling of the Heinz dinner story and Ken (Aaron Stanton) admonishing him with "You weren't even there!" is one of the best Mad Men bits ever. Classic!

Don could not be prouder of Megan in "At the Codfish Ball." He celebrates with her, and makes sure she gets credit in front of her co-workers, despite her initial protest that she doesn't need it. To the client, sure, Don has to play the master, sharing ownership of her idea. But Megan doesn't seem upset, understanding the nature of the business. Their excited sex afterwards should erase any doubts of those who still don't think they don't have good chemistry or belong together. They have challenges like anyone else. But they also complement and challenge each other, and she can hold her own with him, something few women have been able to do.

It's too bad Megan's parents have to spoil her happiness. They come to town with their bickering, making everyone around them miserable. Emilie feels emasculated, and Marie cheats on him. It's not a healthy relationship, and one wonders how the pair is in any position to judge Megan and Don. Yes, Emilie's concern that Megan may be giving up her dreams may be valid, but Megan seems to feel fulfilled and satisfied where she is. So why do they have to be such a drag?

Don is riding high in "At the Codfish Ball," and why shouldn't he be? He has a wonderful wife, who just saved a major account, and is now being honored in front of lots of important people! But he soon gets a reality check from Ken's father-in-law (Ray Wise), who helps Don make an important realization. What good is respect if no one trusts you? Don's success may make people say good things about him, but it won't necessarily bring him business. Roger (John Slattery) is right. The letter is a mistake.

Sally (Kiernan Shipka) also attends the ceremony. She is feeling so grown up being included, and in her dress, she looks the part, too. After viewers see her talking to Glen (Marten Holden Weiner) on the phone, she seems even more of an adult. But then Sally witnesses Marie giving Roger a blow job. It's a startling scene to her, and one that disgusts her. In that moment, Sally is shown to still be a child. She has not yet reached maturity; this much is clear. It's a wonderful contrast for her, and "At the Codfish Ball" illustrates her awkward age well.

Which leads to a fantastic scene where Don, Megan, Emilie, Marie, and Sally all sit with their heads hanging low, a stark contrast to the picture of glee they begin the evening with. Fantastic!

While Don is off getting his dues, Peggy (Elisabeth Moss) faces some tough choices. Abe (Charlie Hofheimer) forces her to prioritize himself over her work. What may be most surprising is that Peggy does so. Up until now in Mad Men, Peggy's professional rise has been her focus. "At the Codfish Ball" reveals that she wants something more out of life, too. She may not be a traditional woman in many ways, but she does desire a loving husband. Might Abe be the one? Joan (Christina Hendricks) certainly thinks so when Peggy goes to her for advice.

But Abe doesn't propose marriage. Instead, he simply wants to move in together. Peggy readily accepts. Is this a mistake? Peggy's mother (Myra Turley) thinks so, telling Peggy that Abe will only use her for practice until he finds the woman he actually wants to get hitched to. This doesn't seem likely. Peggy and Abe are of a different generation, and Peggy's mom just doesn't understand that. For them, living together first is right.

It's great that Peggy stands up to her mother a bit. She understands what her mom is saying, but also reserves the right to believe her mother is wrong. Peggy is neither naive nor immature anymore. She has earned the ability to make her own decisions. Living with Abe is going to make her happy, so she should do it, and she does. No one else's judgment matters. Kudos to Peggy for reaching a point where she realizes this, and also begins to see that a career is nice, but it isn't everything.

Roger is also in a good place in "At the Codfish Ball." Free of his wife now, he meets with his first spouse (Talia Balsam), and they get along. Roger even asks her for a favor! This is not really something he could have done while still married to Jane (Peyton List). Yet, Jane matters not at all in this situation. Roger is finding some peace in his life, Mona can see that, and it really strips away the conflict that has long boiled between them.

Roger credits his LSD trip for his new worldview. Is he right? Well, that's hard to say. Taking drugs certainly does make Roger see some things in a new light. But the experience only enhances reality and brings out things within himself that he may have found anyway. It is a catalyst for Roger to make some much-needed changes in his life, but that doesn't mean he should run off and drop acid again, as enjoyable as that episode is, for him and Mad Men fans.

This serenity is in total contrast of Roger allowing a married woman to blow him, but then, some things never change. Roger remains a horny little bastard, a descriptor meant in the fondest sense.


Mad Men continues its amazing (and somewhat different) season five run Sundays at 10 p.m. ET on AMC.

If you like my reviews, please follow me on Twitter! Please click here to catch up on Mad Men with streaming episodes and DVDs. Article first published as TV Review: Mad Men - "At the Codfish Ball" on Blogcritics.

Mad Men's "Tomorrowland" packs some surprises

     Wow. That is the first word that comes to mind when thinking of AMC's Mad Men season four finale, which aired Sunday night. The show is used to delivering some twists, but things went to an unexpected, and described by many as weird, place. That's not to say it wasn't good; the episode was excellent. Many fine performances were delivered, some personal plots were advanced, though not the big economic plot the last few episodes have concerned, which I'll get to. It was a fine hour, with plenty left unresolved until next summer.

     The biggest humdinger concerns series star Don Draper (Jon Hamm), who, after spending most of the season in an adult, healthy relationship with a fellow professional, Dr. Faye Miller (Cara Buono), suddenly got engaged to his secretary, Megan (Jessica Paré). I like Megan, I really do. And it's not like there wasn't some set up. Don had slept with Megan when he had problems with Faye, and took Megan to watch his kids on a trip to California earlier that same episode, where he slept with her again. But was he pushed into the decision by his grief for Anna (Melinda Page Hamilton), his worry about his firm, and his anxiety over his true identity being found out by the government? Because Faye has been there for him, and she's a much more appropriate spouse.

     Megan is a lot more like Don's ex-wife Betty (January Jones) than Faye is. Megan is young and pretty. She's not crazy or immature like Betty is. Sort of the next step above Betty, really. Don is not the first partner to marry his secretary; Roger Sterling (John Slattery) wed Jane (Peyton List) not too long ago. And Don has always gone after plenty of women. I can't really point to one factor that led to the rash choosing of Megan, but I don't doubt they'll make a good couple. For awhile anyway. Don will surely cheat on her soon enough.

     Betty was less annoying than usual, towards the end of the episode, anyway. In the beginning, she fired long-time maid Carla (Deborah Lacey). But by the end of the episode, having finally moved out of the house she shared with Don, she stood waiting for him in their old kitchen, more serene that she's been lately. Obviously, her world is falling apart. She actually seems jealous that Glen (Marten Holden Weiner, son of show creator Matthew Weiner) is now infatuated with Betty's daughter, Sally (Kiernan Shipka), instead of her. Her far-too-quick marriage with Henry Francis (Christopher Stanley) is not at all healthy. I thought she might make a play for Don again, though she didn't. Was it because she found out about his engagement? Was she disappointed? Or surprised? It's hard to tell with Betty.

     Sally Draper has had a banner year. Despite not getting much plot in the season finale, her parents' divorce has allowed the girl to step into the spotlight. Between befriending a boy her mother doesn't approve of, to running away to the city to find her father, Sally has been in trouble quite a bit. But she still seems sweet and innocent, much more so than when she was throwing tantrums the season before. The young actress playing her has handled the much-increased role admirably. Surely Sally will only continue to grow as the series continues, after such a successful season.

     The other big bombshell dropped in the episode was the revelation that Joan (Christina Hendricks) had kept Roger's baby. Not only that, but per Roger's earlier suggestion, she lied to her husband, Greg (Sam Page), who is overseas, and told him that the baby is his. Surely, Roger will know the truth. After all, Joan will have had no opportunity to sleep with Greg since the incident. How far will Roger go to try to claim the child that is biologically his? Will he ruin Joan's marriage? Although he said he was ok with stepping back, he was also pushing for a renewed relationship with Joan, and Roger sometimes does stupid things. This plot is a fantastic set up for season five drama. Although it reminds me of the Peggy (Elisabeth Moss) / Pete (Vincent Kartheiser) baby, which is still an open story, in my opinion, even though the baby was born at the end of season one. But what did Henry Francis say this week? You don't get any fresh starts, life just continues.

     Peggy has had an interesting year. Thrust into a leadership position at the new firm, she now is essentially a boss to several employees. Her clashes with them have been enlightening, and her growing friendship with Don is a high point of the series, as long as they don't ever sleep together. However, Peggy's scene this week with Joan, whom she has never fully gotten along with, where they griped about how the men don't respect and value them, was pitch perfect. One of the best exchanges of dialogue in the series, the two characters have also avoided the cliche trap of sticking together just because they're in similar situations. They don't like each other a lot, and that won't change, but they finally respect and understand each other, and it was oh so satisfying.

     Season Four of Mad Men marked some major casting shakeups. Although we (thankfully) got Lane (Jared Harris) full-time, and Fred (Joel Murray) returned, original cast members Kinsey (Michael Gladis) and Sal (Bryan Batt) are gone. Sal screwed up a major account, and Kinsey probably wasn't that valuable to the company, obviously, or they wouldn't be left out. However, it's still sad to see them go, not to mention plenty of secretaries and other workers we routinely saw around the office. In the new agency, without the big, open space, the amount of extras are cut down, but so are the amount of familiar faces we see working among our main characters. This is further exacerbated by the firing of a number of new supporting characters as Sterling, Cooper, Draper, Pryce struggled to stay afloat. I just hope that the abrupt departure of Cooper (Robert Morse) doesn't stick.

 

     All in all, an excellent ending to a wonderful season. I can't wait to see what Season Five holds.

 

For frequent mini-reviews and occasional tv news, follow Jerome on Twitter.

 

Article first published as TV Review: Mad Men's "Tomorrowland" Packs Some Surprises on Blogcritics.

 

 

2010 Emmys: Drama Part 2

     Last week, the Emmy nominations for this year were released.  This is television's biggest awards show, and as a television reviewer, I couldn't help but be excited.  Sure, there were some snubs, but there were also some pleasant surprises.  With 51 days left until the statues are handed out on August 29th, there is plenty of time to examine who's up for what.  In this second in a series of articles, I'll look at the the supporting player categories for Dramas.

 Outstanding Supporting Actor in a Drama Series: Aaron Paul, Breaking Bad (AMC), Martin Short, Damages (FX), Terry O'Quinn, Lost (ABC), Michael Emerson, Lost (ABC), John Slattery, Mad Men (AMC), Andre Braugher, Men of a Certain Age (TNT).  This is a very tough category.  I didn't initially like Mad Men, but am just now getting around to watching it, as I purchased the first three seasons on DVD some time ago, and I'm tired of them just collecting dust.  I'm still on season 1, so I don't know how Slattery did this year.  I watched all the episodes of the shows the other five nominees are in, though.  Braugher was good, though I was surprised to see him in the Supporting category instead of Lead.  And where are his co-stars?  O'Quinn and Emerson area always good, but neither match previous season appearances.  Not that it's a detriment to them, but their earlier work on Lost was so spine-tingling good, I just can't see them taking it for the final season.  Short was also incredibly enjoyable, and proved he can do serious drama just as well as he does comedy.  However, as tempted as I am to support Short this year, Aaron Paul was incredible.  Season 3 brought so many big moments for his character, from dealing with the death of his girlfriend, to struggling to stay sober, to almost getting killer, and then contemplating murder.  I have to say, Paul all the way.

Outstanding Supporting Actress in a Drama Series: Sharon Gless, Burn Notice (USA), Rose Byrne, Damages (FX), Archie Panjabi, The Good Wife (CBS), Christine Baranski, The Good Wife (CBS), Christina Hendricks, Mad Men (AMC), Elisabeth Moss, Mad Men (AMC).  I am ashamed to say that I only saw two of these fine women in their entirety.  As stated above, I'm way behind on Mad Men.  I missed the boat on The Good Wife, though in my defense, I already have the season one DVD pre-ordered, and I certainly won't continue to be delinquent any longer than necessary.  That being said, I always love Baranski, so maybe she should get.  Byrne did a fine job on Damages, but like some of the man above, she had a much better chance to stretch her talent prior to this season.  She was relatively balanced by this past year, so I wouldn't give it to her.  I am pleased to see Gless in this category, a completely unexpected turn.  When Burn Notice began, I really didn't care for her character.  But now she was forced her way into the group and proven her mettle, so I do enjoy her contribution.  I guess, still being unsure, as this is the rare category I don't feel prepared to judge because of all the Good Wife and Mad Men nominees, I am still putting my money (figuratively) on Baranski.

     The 62nd Primetime Emmy Awards will air live Sunday, August 29th at 8pm on NBC.