August 22, 2010 · 11:50 pm
“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.
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Filed under Mad Men
Tagged as AMC, Analysis, Baudrillard, Benihana's, Bethanny, Betty, CGC, Commercial, Don Draper, Entertainment, Episode 5, Erin Levy, Faye Miller, Haircut, Honda, Japan, Joan, Kiernan Shipka, Lesli Linka Glatter, Masturbation, Matthew Weiner, Mrs. Blankenship, Pete Campbell, Pleasure, Psychiatrist, Racism, Review, Roger, Roger Sterling, Sally, Season 4, Sterling Cooper Draper Pryce, Ted, Television, The Chrysanthemum and the Sword, Translation, TV, World War II
May 12, 2010 · 2:10 am
May 11th, 2010
When Ryan Murphy said that the back nine episodes of Glee were going to use “Wheels” as a template, I didn’t know that the show was literally going to take plot elements of “Wheels” and just sort of spin them off into different variations on the same story. “Laryngitis” is the latest in a series of episodes which feels repetitive of what we’ve seen before, as we get a focus on the relationship between Kurt and his father, focus on the tensions created by Rachel’s substantial ego, and even the introduction of disability as a way of putting other concerns into perspective (with Tina’s stutter being replaced by Rachel’s tonsillitis).
The episode embodies many of the thing that I’ve found problematic in recent episodes, so it may seem strange when I say that it was ultimately quite successful. Yes, the show doesn’t entirely work as an out-and-out after school special as Ryan Murphy seems to want it to be, and I still think the show’s all-or-nothing attitude is reckless in ways that only the show’s best characters can really handle, but the stories the show rushed into this week featured characters who I like to spend time with, and reached conclusions which felt honest to those characters in ways that previous episodes did not. The reason is that the show doesn’t try to haphazardly connect them to broad ongoing storylines: for once the show sort of settled into a groove, capturing a sustained moment within the lives of the Glee Club rather than periods of intense conflict.
Those elements were still present, but they didn’t feel like they were being used as a shortcut to something more substantial, which helps me accept this episode as a singular statement of musical enjoyment when it may not have worked as part of a larger arc.
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Filed under Glee
Tagged as Amber Riley, Brandy, Brittany, Chris Colfer, Emmy, Episode 18, Finn, FOX, Haircut, Jessie's Girl, John Mellancamp, Kurt, Lady is a Tramp, Laryngitis, Mark Salling, Mercedes, Mike O'Malley, Miley Cyrus, Monica, One, Pink Houses, Puck, Quadriplegic, Rachel Berry, Rose's Turn, Ryan Murphy, Santana, Season 1, Television, The Boy is Mine, The Climb, Tonsillitis, TV, U2, Wheels