Mad Men the Morning After: Critics get “The Good News”
August 9th, 2010
Things are a bit busier today, and in fact for the foreseeable future, so today’s Mad Men the Morning After will be a little different: there’s one review I want to dialogue with, but I might have to settle with links and quotes for the rest of them, as much as it pains me to not go into further detail, especially since “The Good News” was an episode with a lot of subtext and, as it turns out, some disagreement.
This is actually the format I’m likely to be going with from now on: writing about each review is great in theory, but I just won’t have the time to keep it up: however, I like the idea of the critical dialogue involved, so I think I’ll be finding an hour of my Mondays to collect the reviews in the future.
“The Good News”
August 8th, 2010
I spent a good half hour stumbling over how to start confronting this episode before eventually deciding to sleep on it, and upon waking up this morning I discovered why. “The Good News” is a tremendous episode of television, but it’s an episode of television which confounds how I normally confront these reviews. It’s difficult to write about, for me, because its continuities are largely unrelated to the season thus far: while parts of Don’s story theoretically connect with his behaviour thus far this season, it connects even more with his past as Dick Whitman, and since Joan Holloway and Lane Pryce are getting their first showcase of the season we’re required to dig back into the third season as if this were their premiere.
There are connections between the two sides of this story, but the episode is so clearly divided by Don’s time in Los Angeles (or Dick’s time in Los Angeles, more accurately) and Don’s return to New York that it’s not unlike two entirely different episodes – that it still feels cohesive is a definite accomplishment, but it’s something that makes tackling every minute detail of the episode as I tend to do more challenging.
However, it also makes it entirely possible to address it more briefly while leaving some material for a “Mad Men the Morning After” later today or tomorrow, so let’s get to “The Good News.”
“Who Won The Amazing Race Season 16?”
May 9th, 2010
I don’t know if it’s because this season of Survivor has been so full of twists and turns, or whether it’s just the format showing its age, but I really can’t say I was invested in the conclusion to The Amazing Race’s sixteenth season (or in the episodes leading up to it, as I’ve fallen away from reviewing the show). The show has remained engaging this year – I haven’t stopped watching, after all – but it just hasn’t felt like “must-see” TV. The people running the race didn’t seem to have a lot of energy, and there wasn’t the sort of tension that we’re used to seeing on the race.
If I were to look at just the teams themselves, this finale seems pretty exciting: you have Jet and Cord as the fan favourites who have remained endearing and positive throughout the race, you have Dan and Jordan as a scrappy team who have a good story (Dan participating so that Jordan can achieve his dream of running the race), and you have Brent and Caite as the young and attractive team that we tend to root against. However, the show never quite figured out how to tap into these various roles, and spent so much time on Caite’s self-centered attempts to prove herself to the world that they missed creating any other narratives. I understand that Carol and Brandy were bitchy enough that they needed to be featured, but I don’t feel like the series’ narratives have been well drawn in the editing room this year (which isn’t something I’d normally say about the show).
However, tonight’s finale still managed to bring enough tension to keep me on the edge of my seat, as there were enough strategic moves and enough clever bits of race logic to keep things interesting as the race gets its sixteenth winners – unfortunately, the episode stumbles at the finish line, stumbling with late clues and allowing the drama of the race to spoil the ending.
“The Jet Set”
October 12th, 2008
When most people arrive at their travel destination without their suitcase, they’re angry; when Don Draper arrives without his luggage, it provides a freedom that allows him to break free into (long) uncharted territory.
“The Jet Set” follows Don on a journey of sorts, as he flees the rigidity and direness of Cold War aerospace technology and the schmoozing of pie in the sky engineers searching to create the superhuman astronaut, instead jumping in a car with a young woman named Joy who, more than his meetings, offers hope for her her eponymous emotion. As he encounters those filthy rich and adventurous individuals known as the Jet Set, he also encounters a life that is so unlike his own it nearly scares him back to safety, but then surprisingly scares him back to something difference altogether.
There’s a lot of people who are reverting back to older perspectives here, some in desperate search of former glory or others who are simply collateral damage in the wake of the office’s bigotry. For the most part, it’s a stark reminder that the lives of our characters are the polar opposite of the show’s airborne guests: while they fly from exotic location to exotic location, our characters are stuck in place, struggling to expand their horizons at anything close to jet speed.