No FEUD Over This One

Article first published as FEUD Review on Seat42F.

Ryan Murphy, who has had great success with the anthology series format on FX in American Horror Story and American Crime Story, brings his next show to television tonight in FEUD. The first season is subtitled BETTE AND JOAN, and covers the film the two legendary actresses made together, What Ever Happened To Baby Jane? As you might expect, FEUD is excellent.

Jessica Lange (Big Fish, Horace and Pete) has been Murphy’s muse before, and as a grand lady herself, it makes sense for her to play Joan Crawford, the catalyst that gets the plot moving. Once a big Hollywood star, now a widow who hasn’t worked in awhile, Joan is disappointed by the dearth of strong roles for women of a certain age and sets out to force her own picture through. Latching onto the book What Ever Happened To Baby Jane, she recruits director Robert Aldrich (Alfred Molina, The Normal Heart, Spider-Man 2) and her long-time rival, Bette Davis (Susan Sarandon, Thelma & Louise, The Lovely Bones), to help with her comeback. That’s where this story begins.

I cannot emphasize enough the quality of acting in FEUD. Alongside Molina, we get Judy Davis (Maria Antoinette), Jackie Hoffman (Birdman), Stanley Tucci (Spotlight), Alison Wright (The Americans), Kathy Bates (American Horror Story), Catherine Zeta-Jones (Chicago), Reed Diamond (Underground), Kiernan Shipka (Mad Men), and more. Each delivers a quality, layered performance that greatly enhances the world of the series and puts the audience right into this time and place, both familiar and interesting.

None of these actors compare, though, to our two leads. Sarandon and Lange are masterful here, as they have been so often in the past. These are two ladies who can capture a moment like few others. There’s a bit in the pilot in which Lange, as Crawford, has to act in a scene for the movie, and she is brilliant, highlighting the actress as much as the character.

There’s a certain parallel that cannot be avoided that Sarandon and Lange are women of a certain age, just as Bette and Joan were. The difference here is that they can get good work, as evidenced by both FEUD and all of the other projects they continue to do. The very existence of this show proves how far things have come.

Yet, at the same time, the sexism highlighted in FEUD is still an issue, timely in its expression. While Hollywood may be getting better, there is still a long way to go, and with the current political climate, some of the small-mindedness is currently front and center.

Those themes aside, though, FEUD would stand on its own in any time simply because it involves terrific performers doing impressive things in a highly-stylized, yet crumbling, world. The glamor that everyone wants to pretend is there stands in stark contrast to the reality of pretend that reigns in Los Angeles. FEUD shows us both sides, the charade and what’s behind it, in delightful ways. Far from being fake, the actress’ (and others’) attempts to present their best selves is calculated and says a lot about the authentic personalities behind it, which each shot seemingly carefully constructed for maximum dynamic impact.

I’ve only watched one episode so far, but I can already tell that Ryan Murphy has done it again. Far from complaining about all his varied works on the network, I appreciate that he keeps churning out such good stuff with such a strong cast month after month. We’re in the golden age of television, and FEUD is a worthy example of that era. Expect to see it garner a lot of nominations, and hopefully even wins, come award season.

FEUD: BETTE AND JOAN premieres tonight at 10/9c on FX.

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 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.

 

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