PICARD Engages

Article first published as TV Review: STAR TREK: PICARD on Seat42F.

I am a huge STAR TREK fan from way back. Even when I didn’t watch much television, I watched STAR TREK (admittedly, mostly the films and spin-offs; I was an 80s kid). I mourned it when it went away, and forced myself to be excited by the movie reboots of the last decade, even though I now admit that only one of the three is any good. (It’s Star Trek: Beyond, for the record, despite a few flaws.)

So when CBS All Access started bringing STAR TREK back, I was super excited. I mean, not about All Access, which is an overpriced gouging of Trek fans. But about the content. Star Trek: Discovery is amazing, a fitting evolution of the franchise that honors the legacy. The Short Treks series are more of a departure, sometimes experimental, but also very good on the whole.

And now, we have STAR  TREK: PICARD. Jean-Luc Picard is one of my favorite characters, and Patrick Stewart is a fine actor inside and outside of Trek. It’s a tall order to continue his story, and the modernization of Star Trek as evidenced by Discovery and Short Treks, not to mention Stewart’s own standards, demanded it be more than just a continuation of The Next Generation.

Three episodes in, it is succeeding admirably by just about every measure. Stewart is delivering a mesmerizing performance that imagines a future very different for Jean-Luc than where we left him, but in line with The Next Generation series finale, “All Good Things,” and the Romulan and Starfleet developments we know about in the intervening years. It’s a slow burn mystery, perfect for Picard the Dixon Hill fan. It embraces the aging themes of the excellent Kirk-led motion pictures, and also tells us something completely new. It’s a character study of a man who has been disillusioned and dissatisfied, but is determined to restore himself to someone he can live with before he dies. Yet, desperation is not present, instead showing his core personality tempted by discovery.

If that were all STAR TREK: PICARD was, it would be enough. And yet, it’s not. It’s a truly interesting story of Romulan politics and lore, a feat because I never found the species all that intriguing. It brings in lots of hanging plot threads from The Next Generation that I wish had been explored in a more serial nature and now they get to be. Data (Brent Spiner) is dead, but his presence haunts Picard and informs the current story, with dream sequence cameos feeling meaningful and necessary, not gratuitous, especially that perfect opening of the show with the Enterprise-D rendered more beautiful than it ever has been before. We hear again about Dr. Maddox (he’s got to be coming back, right?), Hugh (Jonathan Del Arco), the Borg, and so much more. Thank goodness, they left B4 in a drawer, right where he deserves to be.

The new characters are as equally fascinating as the lead. Raffi Musiker (Michelle Hurd, Blindspot) and Chris Rios (Santiago Cabrera, Big Little Lies) are new versions of Starfleet officers, those no longer with the service for traumatic reasons, a character type hinted at in Deep Space 9 and echoing Picard’s current status. Soji (Isa Briones, Takers) is deliciously unpredictable and hard to define yet. Narek (Harry Treadaway, Penny Dreadful), Commodore Oh (Tamlyn Tomita, The Good Doctor), and Lt. Rizzo (Peyton List, Mad Men) are a cadre of magnetic villains. Dr. Jurati (Alison Pill, The Newsroom) is terrific heart and comic relief. I love Zhaban (Jamie McShane, Bloodline), and Laris (Orla Brady, Fringe) has quickly become one of my favorite Trek characters of all time. I will be heartbroken if we don’t check back in with those latter two in the vineyard as the season progresses. Also, Voyager’s Seven (Jeri Ryan) hasn’t even made her much-anticipated return yet, which will surely be great.

By finding the most promising bits of TNG to continue and letting the story and situations evolve as circumstances and modernity demand, STAR TREK: PICARD is a triumph and perfect example of how to do a continuation decades after the original. It has something new to say, but is very much rooted in the existing mythology. It makes us rethink the TNG episodes as we realize the idyllic future we all admired from that show existed on the Enterprise, but not everywhere else (as DS9 also pointed out). It’s truly an amazing series that I am totally hooked on because of strong writing, direction, acting, and perspective.

Like I said before, All Access sucks in its pricing and depth of offerings. But you can’t miss this show, so I recommend you do as I have done, suck it up, and just give CBS your money. STAR TREK: PICARD deserves to be seen.

New episodes currently release Thursdays on the streaming service.

The Right FREQUENCY

Article first published as FREQUENCY Review on Seat42F.

The CW continues television’s reboot / adaptation trend with FREQUENCY. Based on the 2000 film of the same name, FREQUENCY finds a police officer, Raimy Sullivan, communicating with her long-dead father through a ham radio. When Raimy tries to change the past and save his life, the consequences spin out in a butterfly effect, and she soon has a litany of other problems to deal with.

If one wasn’t aware of the plot of the film, one might think, based on the beginning of the pilot, that this is going to be your typical cop show. Being a TV reviewer and having to watch hundreds of shows every year, I have gotten very tired of the repetitive formula that pervades so much of broadcast network programming. Thus, I was already well on my way to tuning it out when the twists started to occur. If you’re like me and pretty much done with that genre, hang in there, because FREQUENCY doesn’t stay in it too long.

Instead, we’re getting a relatively straight-forward mystery that soon becomes convoluted through changes in the timeline. It won’t surprise you to learn (and this is spoiled on Wikipedia and in press materials) that Raimy (Peyton List, Mad Men, The Tomorrow People) manages to stop daddy Frank (Riley Smith, Nashville, The Messengers) from dying. Which Raimy barely has time to be glad about before her mother, Julie (Devin Kelley, Resurrection), disappears, having been taken out by a serial killer in the new narrative. How is the serial killer connected to Frank’s death? Assuming Frank isn’t the killer, which seems unlikely, we don’t yet know.

This is an intriguing question, to be sure, and one that promises to get more tricky as time goes on. The format of FREQUENCY looks to be that Raimy and Frank will have to work together across time to keep making their lives and their loved ones’ lives better, but every time they achieve that in some way, there will be a backslide. Thus, things will continue to get messy, and a happy ending will be a long way off.

There are a few interesting decisions FREQUENCY makes that I’m not sure every version of this story would choose. Frank is still dead in 2016, albeit from a different cause quite a bit later in life, so they can’t be side by side, nor, given the second cause of his passing, is this likely to change over the course of the show (at least not until the end), keeping Frank and Raimy ever separate. Raimy gets to retain her memories of both timelines, though no one else does. And adult characters, including Frank’s pal Satch (Mekhi Phifer, ER) and co-worker Stan (Anthony Ruivivar, Banshee), are played by the same actors in both time frames, set twenty years apart. (Raimy, being an eight-year-old child in 1996, obviously isn’t List in the past, nor is her pal, Gordo, likely to be Nurse Jackie’s Lenny Jacobson in both.)

This last element is something I’m in favor of in general; twenty years is a long time, but also not super long in the scheme of things, and the looks of two different individuals were likely to be too far apart. The problem with it here is that the CW doesn’t exactly give a huge budget to their shows, so the aging makeup and hair coloring isn’t all that great. It is easy to spot early on that Julie is played by a much younger actress than the character’s 2016 age. Which I guess makes sense, given it would be easier to add years than take them away. But it doesn’t quite look authentic.

What will probably keep me from being a total fan of FREQUENCY is that it does seem to rely a little too heavily on the cop show format, despite the great sci-fi elements, and it has a little bit of cheesy shallowness about it that goes beyond just the makeup issues. But it’s pretty good, and I’m sure it will quickly gain a loyal following.

FREQUENCY premieres Wednesday, October 5 at 9/8c on the CW.

Not Yet TOMORROW, PEOPLE

Article first published as THE TOMORROW PEOPLE Review on Seat42F.

The CW doubles down on the Amell family this fall by launching THE TOMORROW PEOPLE, starring Robbie Amell (1600 Penn), airing on the same night as Arrow, which is fronted by Robbie’s cousin Stephen. To make things more confusing, Robbie’s character is named Stephen. Both shows are action-packed and dabble in abilities not normally attributed to human beings, but both are grounded in the real world, as well.

THE TOMORROW PEOPLE introduces us to the next stage of mankind’s evolution in the “Pilot.” Genetic mutations are creating a new form of the species with three abilities: telekinesis, telepathy, and teleportation. Stephen Jameson is one such person, though he doesn’t understand that as the show begins, accidentally teleporting in his sleep to end up in bed with the neighbors, even when he straps himself down. This is causing no end to the stress and frustration of his mother, Marla (Sarah Clarke, Covert Affairs, 24), and Stephen’s own bad attitude about his situation has driven away all of his friends, save Astrid (Madeleine Mantock, Casualty).

Is Stephen’s tale a metaphor for adolescence, hit a little too squarely on the nose? Well, yes, but then again, so are a myriad of other shows and books involving super humans and supernatural types. THE TOMORROW PEOPLE is a superhero tale, though one more firmly rooted in science than most, and set during the present day as homo sapiens boldly move into the future and the next stage of life as we know it. And while Stephen is a familiar “savior” type, I still find him interesting.

It may be a stretch to define THE TOMORROW PEOPLE as realistic. After all, for decades much the same developments have been predicted by the more fanciful dreamers among us. But there’s just enough authenticity and earnestness present to make for a convincing plot, dare I say a step higher in ambition than the fare the CW is mostly known for? I’m not saying THE TOMORROW PEOPLE quite hits that upper level, but at least it’s trying.

Stephen isn’t left to fend for himself in the “Pilot,” soon introduced to two distinct groups, each offering a choice. The first is made up of other teenagers, instantly recognizable to viewers as the “good guys.” The faces THE TOMORROW PEOPLE focuses on in this gang are Cara (Peyton List, Mad Men), Josh, (Luke Mitchell, Home and Away), and Russell (Aaron Yoo, 21). They have a secret base in the subway tunnels, complete with other fellows, whom are just extras thus far, and a super-computer named Tim. They want Stephen to live with them.

What’s interesting to me is how underdeveloped these characters are, and that’s the “Pilot”’s biggest weakness. Yes, the trio who are main characters have their own personalities, but they don’t have a clearly defined mission, other than just to try to find others like themselves. They need Stephen because of who his father is, but don’t have a cohesive plan on how to recruit him and get him to help them. They just expect Stephen to go along with whatever they say. And they seem to have no lives or relations outside of this group.

Stephen has a second option in Dr. Jedikiah Price (Mark Pellegrino, Being Human), the man at the head of Ultra. Ultra wants to protect mankind by neutralizing the powers of THE TOMORROW PEOPLE, and uses some of those abilities for its own purpose. It’s shady, both in description and action, and so we immediately know these are the villains.

Stephen doesn’t immediately recognize that, though, even when Jedikiah’s claims seem suspect. Considering himself a member of the human race, although many on both sides insist that he’s not, Stephen is sympathetic to Jedikiah’s mission statement, even after he is mistreated by Ultra.

Now, there is a perfectly reasonable explanation as to why Stephen would work for the bad guys, secretly staying friends with John, Cara, and Russell: Jedikiah can hurt Stephen’s family and friend. With something to lose, Stephen is vulnerable to manipulation. The “Pilot” makes it seem like Stephen realizes this, and may decide to cooperate with Jerikiah as a ruse, to protect those he cares about. Yet, the story is murky on this, making it feel like Stephen betrays those we want him to work with, even as the show doesn’t quite lay all this out.

It’s this lack of definition that seems the most obvious failure of THE TOMORROW PEOPLE. A few extra scenes, some more dialogue, and the vulnerabilities in the “Pilot” can be patched up. Which is why I think this will probably be a pretty good show, even if the first episode is only good, not great. That, and Jedikiah is a little too evil for my taste, leaving me wishing the complexity he exudes could be taken further, but there is wiggle room to grow.

THE TOMORROW PEOPLE premieres Wednesday at 9 p.m. ET on the CW.

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 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.