“The Summer Man”
September 12th, 2010
“All he knows of the world is what you show him.”
There has always been a disconnect between Don Draper’s external persona and his internal struggle, but this season has largely broken down that expectation. Now, Don is incapable of hiding his sadness from the outside world, lacking the glossy exterior to trick those around him into believing that he is truly a happy man.
“The Summer Man” throws light on this reality by taking us inside Don Draper through what I believe will be a fairly divisive decision to have Don’s journal serve as narration for the episode. By all accounts, including his own, Don Draper is dedicated to changing his current path, but the real test is whether or not those around him believe this transformation – while I would share the reservations that some have regarding the narration, I would ultimately argue that it helps crystallize the episode’s key theme of the difference between self-perception and how Don and others are perceived by those around them.
September 5th, 2010
“Open or Closed?”
Not writing up last week’s Mad Men was inevitable: I watched the episode in the wake of writing about the Emmys, and then it was my first week of my PhD program, and there were just too many reasons to let it go. I also didn’t feel like “Waldorf Stories” was particularly rife for critical analysis: it was a very good episode, but it was fairly devoid of subtexts. Don Draper continued his self-destructive behaviour, but the episode fairly elegantly laid it out for him, analyzing his behaviour itself and making my job more “pointing out the obvious” than “examining the episode.”
However, “Waldorf Stories” was another strong bit of escalation in a season which is unafraid to be “slow”: a lot of time has passed so far this season, but Don Draper seems to be stuck in a single moment, best exemplified by the scene where Don wakes up to discover someone entirely different in the bed beside him, an entire weekend gone like sand through the hourglass (and yes, these are the days of our lives).
“The Suitcase” is memorable because it is the point at which the show slows down to meet Don’s shattered life: as he lets Peggy into his world, the show stops to capture a single evening in the life of a broken man, an evening where he regains his connection to reality on the same evening where he loses the one connection to his past. It is the moment the season has been leading up to, that moment where Don less regains his previous form and more admits that he is entering a new stage in his life.
And, simultaneously, Mad Men’s fourth season heads into its next stage with a truly stellar episode of television.
“The Chrysanthemum and the Sword”
August 22nd, 2010
Ted, the Don Draper-equivalent over at rival agency CGC, is not in Don Draper’s league: he is neither visionary nor genius, and yet by virtue of his insistence that he is a competitor he has been elevated to Don’s level. It’s the ultimate example of self-definition, of putting something out there (in this case, to the New York Times) and then turning it into reality. It doesn’t matter that Jai Alai went with another agency because its owner is delusional, or that Clearasil was a conflict rather than business lost: as it would appear to the outside world, Sterling Cooper Draper Pryce lost two accounts and CGC (under Ted’s leadership) gained both of them.
“The Chrysanthemum and the Sword” is filled with various examples of situations where appearance becomes reality, to the point where it even becomes a meta-narrative when the series’ positioning of Betty as a child-like figure becomes rendered in three-dimensions. It’s not the most pleasant or subtle of episodes, but it ends up making some fairly interesting observations regarding Sterling Cooper Draper Pryce as an agency, as well as the series’ general approach to simulating the past.
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.
Mad Men the Morning After: “Christmas Comes…” for Critics
August 2nd, 2010
When it comes to critical reviews of AMC’s Mad Men, each week is more about understanding the nuances of the episode than ripping it apart. And this week, with very little from January Jones’ Betty Draper (who is the series’ most divisive character) and a welcome return for a few fan favourites, the critics are largely in holiday spirits outside of their understandable frustration with the actions of one Don Draper.
It may not be quite like Christmas morning, but opening the collection of Mad Men reviews in various tabs is sort of like opening presents, so let’s take a look at what came down the chimney.
“Christmas Comes But Once a Year”
August 1st, 2010
“I don’t hate Christmas – I hate this Christmas.”
When Don Draper sits down to take part in a demonstration of a new form of customer research, he finds a questionnaire which asks him to describe his relationship with his father – the question, according to the Doctor heading the study, is designed to create a sense of intimacy which will then influence a more honest or meaningful answer to the following question about who makes household decisions. Of course, the test is not designed for someone like Don Draper, who has trained himself to shut down at the mere mention of his past – he walks out on the test because he cannot fathom that someone would want to return to their past in that fashion.
“Christmas Comes But Once a Year” is about what happens when people who are still running away from their past run smack dab into the present, people who are either so focused on not repeating past mistakes that other parts of their lives suffer or people who have lived so much of their lives covering up their past that they have no idea how to live in a present which no longer has the same rules. All of them are hoping that what they feel now won’t last forever: they remember happier Christmases, Christmases before their lives were thrown into a state of upheaval, and they hope that those Christmases will come again.
However, Don Draper also seems to think that it will happen without having to actually do anything.
Mad Men the Morning After: Critics Relate to “Public Relations”
July 26th, 2010
When I was somewhat incredulous about why anyone even the least bit afraid of spoilers would read pre-air reviews of a show like Mad Men, part of that response came from the fact that I think pre-air reviews are a horrible medium for capturing the complexity of a show like Mad Men. I am a firm believer that the best analysis from television critics comes after, and not before, an episode airs, and so while I avoided reviews before “Public Relations” aired I spent the morning (or, more accurately, the early afternoon) reading some really intelligent thoughts from the critical community.
And, as I’ve done in the past with other shows, I figured the intelligence of those comments warrants some further discussion, so let’s take a look at what the critics are saying about Mad Men’s “Public Relations.”