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.

'Magic City' fails to cast a spell

Starz's newest series is Magic City, which officially premiered last night with "The Year of the Fin." Ike Evans (Jeffrey Dean Morgan, Grey's Anatomy, Watchmen) runs a successful hotel in Miami Beach. But on New Year's Eve in 1958, his business is threatened by striking workers. Refusing to meet their demands because, after all, Ike has Sinatra coming, he turns to a mobster named Ben Diamond (Danny Huston, John Adams, X-Men Origins: Wolverine) to clean up the mess. Ben does so, however, what is the true cost to Ike of such an arrangement?

First of all, the setting looks fantastic. Period buildings, cars, and clothing come across as pitch perfect, really helping to capture the spirit and tone of the piece. All of the cigarettes and cigars being smoked add to the atmosphere, and there is no shortage of eye candy, both males and females, often nude. Morgan is great as the complicated protagonist who is essentially a good man doing bad things when pushed into a corner. Huston chews the scenery like a pro, making his villain deliciously evil.

Unfortunately, there are also a lot of negatives about "The Year of the Fin." For one thing, most of the dialogue and music points to a cheesy noir style. This isn't necessarily a bad thing, except that Magic City takes itself way too seriously for cliché or goofiness to resonate properly. Many of the characters aren't distinctive or layered, especially the women. This may change in time, but that's not how they appear in the first episode.

It's tempting to give Magic City the benefit of the doubt. Like Mad Men and Boardwalk Empire, the pilot is slow, setting things up with a few tasty bits to entice, but overall, not much movement, story-wise. And yet, those other series have established themselves as excellently made period pieces that grow in excitement, popularity, and quality with each season. Thus, one might expect Magic City to follow that path.

However, what's working against Magic City is the overall sense of a lack of depth. Much like the world the story takes place in, there is plenty of glitz and magic, but is there anything beneath it? Like hearing Sinatra but not seeing him, Magic City is like a facade of something great, but look behind it and you will see the sound stage. This is a first impression, and is subject to change (or not) depending on future installments.

Watch Magic City Fridays at 10 p.m. ET on Starz.

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Mad Men deserves more than just "A Little Kiss"

After a hiatus of nearly a year and a half, AMC's Mad Men returns with "A Little Kiss." Pete (Vincent Kartheiser) begins to resent Roger (John Slattery), not believing Roger is pulling his weight at Sterling Cooper Draper Pryce. Roger isn't concerned much, spending money to poke fun at another agency in the paper, which results in Joan (Christina Hendricks) fearing that her job is in jeopardy and the firm having to hire minorities on their already tight budget. Amid this, Megan (Jessica Paré) throws Don (Jon Hamm) a surprise birthday party, but does not get the reaction that she hopes for.

"A Little Kiss" is a little disappointing. Just a little. It's not that there's anything wrong with the episode. It's just that, after such a long absence, one expects a big, splashy return. That's not what this episode is. It does an adequate job catching viewers up with what is going on for the characters, and there are some amazing moments sprinkled in, but it is mostly a routine installment.

Megan gets her due, to say the least. Now promoted to series regular, she is central to multiple stories in "A Little Kiss." At work, she is a junior member of the creative team, no longer a simple secretary. Her position is shaky, being that she is obviously promoted because of her marriage to Don, but Peggy (Elisabeth Moss) seems to be warming up to her, slowly. If Megan can win Peggy over, she'll be fine. Megan contributes, proves she is up to the job, and willing to work for it. This should result in her acceptance, given time.

At home, Megan's birthday party doesn't go so well. Many of the co-workers enjoy Megan's sexy song, "Zou Bisou Bisou," for Don, but Don is embarrassed by her. Setting aside just how stellar her gift is, one can see why, given the sexy moves Megan performs in front of others, but the moment is still a highlight of the episode. However, the fight between the couple does spill over into the work place, and makes things awkward, especially for her.

The thing is, Megan's relationship with Don is more important than her connection to her colleagues, and the former is on pretty solid ground. In stark contrast to Don's disastrous marriage to Betty (January Jones), Megan doesn't allow Don to get away with his behavior. Nor does she act like a little child. She does resort to some antics to get his attention, but it's to challenge him, rather than punish him. They work out the matter, rather than ignoring it. It's a healthy sign for their union.

Another healthy sign is just how happy Don seems. There is a rough patch in "A Little Kiss," but overall, he seems much more at peace than at any other time during the series. This can surely be credited to Megan, and thus, her presence is welcome. Their nuptials do seem a little fast, but she's proving to be a good match who can inspire Don to be his best self. Better still, he already told her his secrets between seasons, including that he is really Dick Whitman, so there is no dark cloud hanging over them.

Pete's marriage to Trudy (Alison Brie) in Mad Men, on the other hand, seems far less suitable. Pete is clearly unhappy no longer living in the city as of "A Little Kiss." He doesn't exactly cheer the advice of his buddy on the train, who suggests that Pete stay at work later, if he comes home at all, but it does appear that Peter considers the words. How long before Pete begins to act on them? And how long after that before Trudy leaves him?

Roger, too, isn't happy in his marriage. He ignores his wife, Jane (Peyton List), or tells her to shut up. It's not like Roger has ever been happy with anyone (except for Joan), but this is the bed that he made. If he doesn't want to stay married, then get a divorce. Having an unhappy home is not doing him any favors, and with everything else going on, Roger needs some sanctuary where he can feel at ease. At present, Roger is lacking that.

Pete's relationship with Roger is even more tenuous in "A Little Kiss." Pete wants to push Roger out, and makes a play for his office. Roger holds him off, for now, by bribing Harry (Rich Sommer) to switch with Pete instead. Not exactly what Pete wants, since the office isn't really the issue. But this struggle is far from over. And might Pete just be lashing out at Roger because he is unhappy at home?

The thing is, while Pete is right about Roger not bringing in a lot of new business, or really, any, Roger does have value. Clients love him. Potential clients love him. Roger has great people skills, and is fantastic at entertaining with alcohol and fun. This can be very important for a firm that needs all the business it can get, and is still growing. Not giving Roger his own secretary may make sense, but trying to oust him does not.

Is Cooper (Robert Morse) on his way out of Mad Men? He doesn't seem to have an office anymore, and he is treated a bit like a dolt. Not that Cooper seems to notice. He asks to be included in a status meeting in "A Little Kiss," right after it takes place without him. He's just through a glass wall at the time, so he could have noticed, if he were more alert. His mental acuity has definitely suffered, and it looks like he's merely a figurehead these days. But how long can they afford to keep him if he's not contributing?

Joan's position with Sterling Cooper Draper Price is definitely secure, despite her fears. Seeing the ad in the paper in "A Little Kiss," Joan is understandably worried. She may not want to show that in front of her annoying, controlling mother (Christine Estabrook, Desperate Housewives), but who can blame her? She has been away from the office for awhile, with her baby, and she wants to make sure that she has a place to come back to.

Thankfully, Lane (Jared Harris) lays her concerns to rest. No one can run an office as efficiently as Joan, and SCDP cannot wait to have her back. This is a load off not only the character's mind, but fans' as well. Mad Men would just not be the same without Joan at all.

Joan is not the only one shaken by the ad. It's a stupid prank by Roger, but Roger does not consider the consequences before acting. A crowd of African American job applicants show up. It's an unexpected twist, that reminds fans how brilliant the writing on Mad Men can be. All of the sudden, SCDP has a new challenge, and has inserted themselves squarely into the civil rights movement. They cannot send all these people away without hiring them. They would look like fools and bigots themselves. They will have to find money somewhere to provide jobs to at least a couple new diverse employees. Otherwise, their reputation could be ruined.

How will hiring African-Americans change the dynamic of the office? In modern society, of course, many, many offices are integrated without problem. However, in the world of Mad Men, advertising is a white male-dominated business. There is no ethnicity in their workplace. Each characters has a varying comfort level, with a number of them not having been exposed to many people different from themselves. It will make good drama to see who adapts, and who does not.

The final plot in "A Little Kiss" involves Lane finding a man's wallet in a taxi, and falling for the girl whose picture is in said wallet. While Lane is in a good marriage, for the most part, other than some money worries, he is considering straying. Thankfully, nothing comes of it, but not because Lane doesn't want it to. Where is Mad Men going with this character? He's been such a welcome addition to the cast, it would be sad to see him ruined.

"A Little Kiss" deserves at least a solid B+. As mentioned, it is a little uneventful for a long-anticipated season premiere. But as a standard episode, it succeeds, and moments such as Megan's dance, angry floor sex, and the joke ad situation even soar. And anyone else not miss Betty? Best of all, it's great to have the series back in our living rooms with all new stories, and that alone is worth a lot.

Watch Mad Men 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: Man Men - "A Little Kiss" on Blogcritics.

Stay home from The Playboy Club

    The Playboy Club just premiered on NBC. In the "Pilot," Clyde Hill (Randy Steinmeyer) tries to rape new bunny, Maureen (Amber Heard, Hidden Palms). Maureen kills him, only to learn that "Clyde" is a mob boss. Luckily for her, lawyer Nick Dalton (Eddie Cibrian, CSI: Miami, Ugly Betty) is around to help her hide the body. Nick's girlfriend, Carol-Lynne (Laura Benanti, Eli Stone) catches the two of them together and gets the wrong idea, causing her to end things with Nick. Clyde's death does not go unnoticed, and soon Maureen grows frightened.

     The biggest problem with The Playboy Club is the writing. Character after character delivers cheesier and cheesier dialogue, constantly taking viewers out of the moment. This begins immediately with the opening monologue, delivered by Hugh Hefner himself, who substitutes "every bunny" for "everybody." It continues, though, and before long one is left wondering if there are any experienced writers at all working on the series.

     The mob angle is interesting, because it provides plenty of action outside of the club, and raises the stakes. Plus, it seems logical for 1960's Chicago to be heavily involved in mob affairs, and thus, it makes sense. Action can be good, and the sight of Maureen stabbing "Clyde" to death with her stiletto is actually amusing and cool. Too bad the threat represented by the next mobster who comes to talk to Maureen, all but disappears when she delivers some "snappy" banter.

     The Playboy Club looks great. The period costumes are welcome, especially those as iconic as the Plaboy bunny outfits. The club, with it's bright, primary color paneling, and dark, smoky main room is authentic. Nick's apartment is even better. Sure, it's stocked with neat, vintage furniture and sliding bathroom doors, but this look could still be considered "in" under the right circumstances. Many people would love to live in that apartment, even today.

     The acting isn't too bad. Heard is decent. Benanti is fantastic as the first "mother bunny," showing club manager Billy (David Krumholtz) that she can't be fired or pushed out. Her victories are triumphant, and her musical numbers showcase her talent nicely. Cibrian isn't bad, per se, but his character evokes a wimpier, weaker Don Draper, so he kind of falls flat. Don Draper would take state's attorney with no problem, while Dalton just dreams about holding the job. The other bunnies, each with their own hook (gay, married, black) are just not all that memorable.

     As far as the claim that The Playboy Club shows just how empowering it could be for women in that time period to be a Playboy bunny, that's bull. Some of the girls do have strong personalities, but none, except Carol-Lynne, has the slightest chance of making major decisions for themselves anytime soon. This would be OK because it's period correct if the series didn't try to pretend that's not the case. It feels forced and fake.

     Many reviews for The Playboy Club have been scathing. I wouldn't go quite that far. There are some good elements in place. But, as mentioned, the dialogue is trite and horrible. If it doesn't improve quickly, it will likely sink the series before it even gets the chance to start.

     You can catch The Playboy Club Monday nights at 10 p.m. ET on NBC.

     Click here to catch up with streaming episodes of The Playboy Club.

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The Hour ticks away

     It's 1956 when BBC America's The Hour begins. Freddie Lyon (Ben Whishaw, Criminal Justice, Layer Cake) and Bel Rowley (Romola Garai, The Crimson Petal and the White) are growing more and more frustrated with their job working on inane newsreels for BBC. A glimmer of hope shines, as they interview with Clarence Fendley (Anton Lesser, Primeval), who is putting together a more serious news program called The Hour. Bel is awarded the producer role, and Freddie is forced to settle, after much consideration, with riding the Home Affairs desk. But a chance encounter with an old friend (Vanessa Kirby, Love/Loss) draws Freddie into a much bigger story.

     It's hard not to compare The Hour to Mad Men, as many have done, because of the time period. Even though The Hour takes place in 1956, it feels more like the 1960s, and some mistakes, such as 1960s telephones, contribute to that. Yet, the tone is slower and darker, the people less defined, and the action more plot-driven than character-driven, so it's certainly not a copy. Overall, the first hour is intriguing, but pacing needs to be ratcheted up, and viewers must be made to care about the characters more, if the series wants to truly succeed.

     There's nothing wrong with a conspiracy plot that will span the season, and Freddie is drawn into the plot by his friend. The first clue, involving an academic killed by a mysterious man (Burn Gorman, Torchwood) whom the academic sought to kill is pretty interesting. But Freddie, the main character in solving the plot, is abrasive and stubborn, which make him a little hard to like. He almost passes up a job at The Hour just because he can't take the position he wants, in front of the camera. Never mind; he will get to keep working with Bel, whom he adores, and have the freedom to pursue the types of scoops he likes.

     Bel is a much better character. She is kind and tough, though the series doesn't focus on how unusual it is for a woman to rise to such a high ranking position in a 1950s newsroom. Was it that different in England than in the states? Anyway, it's a bit refreshing, though odd, that in 1956 Bel is treated just like any other professional, other than the fact that she isn't allowed to gather in the brandy room after lunch. The impression is quickly given that Bel can handle her job, and will prove herself without making unnecessary waves.

     Joining Bel and Freddie is Hector Madden (Dominic West, The Wire, 300), a playful anchor. Hector's first appearance on screen is loathsome in the way that he treats Bel, but once viewers realize he is simply messing with her, it's hard not to be won over. He seems like a decent human being, if a bit ornery. He has the right look for the role, and should provide a good third angle in the Bel/Freddie love triangle. Yes, Bel has a boring banker boyfriend, but only Freddie and Hector seem to actually engage her in a way that she likes. She will dump her beau soon enough.

     With a great cast, it is up to the writers to make The Hour worth watching. The seeds are planted for a very interesting, somewhat original show. But the plant is far from sprouted.

     Watch The Hour Wednesday nights at 10 p.m. ET on BBC America.

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     Please click here to watch streaming episodes or preorder The Hour on Blu-ray and DVD.

Article first published as TV Review: The Hour - "Pilot" on Blogcritics.

Conan - TBS Premiere

     Last night, after spending the better part of a year "Legally Prohibited From Being Funny on Television" (as was the name of his comedy tour), Conan O'Brien returned to TV; still sporting his time-off beard. His new show — airing on TBS — is called Conan, which, according to the host, was to make it harder for him to be replaced. In fact, there were a number of jokes told last night about his brief run as host of The Tonight Show, and made at NBC's expense.

     Ironically — as Conan did not want to do The Tonight Show at midnight, hence his departure from NBC — Conan's 11pm timeslot means that TBS's other late night show, Lopez Tonight, was bumped from 11pm to midnight. However, George Lopez has been warm towards Conan since the announcement of the new show, and seems to harbor no ill feelings. In fact, having the more famous Conan as an opener will likely help Lopez's ratings.

     Everything that fans love about Conan has come back with him. NBC allowed him to take his characters, and so the Masturbating Bear made an appearance in last night's premiere. Andy Richter has returned as sidekick, and most of the show's creative team has moved over from NBC with the host. The glaring exception is the departure of long-time bandleader Max Weinberg, who has been replaced by Jimmy Vivino. Max has recently suffered health problems, and his family stayed in New Jersey when Conan's crew moved to California. The band is now known as The Basic Cable Band, or BCB on certain logos.

     Long-time fans of Conan should have few complaints. The new series sticks to the brand of humor viewers are familiar with; TBS even allows Conan to push the envelope a little further in terms of content than network television. It's a comfortable gig that will hopefully last a long time. It should be helped along by the flight of many television viewers from network into cable.

     Last night's premiere featured guests Seth Rogen and Lea Michele (Glee), as well as Jack White, whom Conan sang with. There were also cameos by Ricky Gervais and Don Draper (the Mad Men character portrayed by Jon Hamm).

     Conan airs Monday through Thursdays on TBS at 11pm.


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Article first published as TV Review: Conan - TBS Premiere on Blogcritics.

Community grew into consistent funny

     I wasn't a fan of NBC's Community last year.  I think I watched two episodes, maybe a bit of a third, last fall, and found it much more stupid than amusing.  A friend told me that it improved by winter.  I gave it another chance, and the first episode I sampled at that time didn't impress me.  At her urging (she usually has really good taste in TV, especially comedies), I tried one more episode, and found it pretty funny.  And so, more because she was so excited about it, than because I wanted to, I pre-ordered the first season DVD and watched the whole season in a few days this fall.  I'm glad that I did.

     Community took a little time to find it's footing, but the reason that I wasn't much into it from my winter sampling was because it really builds on itself over time.  It's not exactly serial, although there are serial elements.  Most episodes are stand alone, though.  It's just that the characters go through a lot together, and somehow, the more you watch them, the more you grown fond of them, they way they have with each other.

     Last week in "Basic Rocket Sciene", most of the group is trapped in a KFC space simulator, except for Abed (Danny Pudi), who was so excited that he ran home to change into a space suit.  The episode parodied a number of astronaut movies as the study group tried to finish the simulator, while Abed and Dean Pelton (Reno 9-1-1's Jim Rash - why isn't he a main character yet?) guided them in.  And Pierce went crazy, an oppurtunity for Chevy Chase to act more weird and outlandish than he has in awhile.  He's a great comic actor, who has made some of the best and worth movies of all time, but I can see why he is enjoying himself in this show.  It was very funny.

     I'm still trying to figure out how Senor Change (Ken Jeong) fits into the show, though.  He was the mean teacher the first season, but then was fired, and has become a student.  Will he eventually integrate into the central study group, a friend to the other misfits?  He's not any more screwed up than the rest of them, after all.  Or will he morph into an even greater villain, intent on taking them down?  I can't decide which I'd rather see.

     The basic cast is led by Joel McHale (The Soup) as Jeff, but also includes Mad Men's Alison Brie as Annie, the aforementioned Chase, and occasionally, The Daily Show's John Oliver and the hilarious John Michael Higgins.  The lesser know actors, Donald Glover, Gillian Jacobs, and Yvette Nicole Brown have all also been around for awhile, and hold their own.  It's a true ensemble, and that's what works best.

     I have changed my mind on Community.  It's certainly not my favorite sitcom on television, but it's earned a season pass on my TiVo.  I hope it can do the same for you.  Community airs Thursday nights at 8pm on NBC.

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