Tag Archives: January Jones

Mad Men – “The Summer Man”

“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.

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2010 Emmy Award Predictions: Lead Acting in a Drama Series

Lead Acting in a Drama Series

August 26th, 2010

The Lead Acting awards on the Drama side this year are polar opposites: one has a clear frontrunner and a slightly tired set of nominees, while the other category has a ridiculously packed lineup of potential winners where no clear frontrunner exists and where I’d be happy with anyone winning the trophy.

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Season Premiere: Mad Men – “Public Relations”

“Public Relations”

July 25th, 2010

“It was going great until it wasn’t.”

Mad Men has always been a series grounded in duality, logical since Dick Whitman’s double life represented the central conflict within the series. Very rarely did the series ever move beyond the existential, largely avoiding direct action in favour of short glances, conversations with unintended prescience, and the growing sense that the balance could no longer hold. At the end of the third season, that duality was broken: Don’s secrets were revealed, Betty ran off with Henry Francis, and even the identity crisis at Sterling Cooper – caused by PPL’s influence over the company’s holdings – was eliminated when the pending purchase led to the formation of the independent Sterling Cooper Draper Pryce.

The third season was Mad Men’s two worlds finally colliding, and the fourth season premiere, “Public Relations,” demonstrates how that collision has never truly stopped. The direct conflict the series has always avoided has become something these characters fetishize and desire, and unfortunately something that has become untenable within the new business world in which they operate. Before, Don Draper was a sly yet self-destructive force operating with what he considered a safety net, and now he’s a sly yet self-destructive force who refuses to change his behaviour despite the newfound risk. And so his entire life becomes a collision, sometimes to his benefit and most times to the detriment of his business, his sanity, and his personal relationships.

However, the benefit of a collision is that you ask yourself important questions, wondering what went wrong and re-evaluating just what you want from the world around you. “Public Relations” is Don Draper seizing the day, choosing to stop running into the same brick wall at every turn and steer the car in a new direction – it’s possible that a collision waits just the same down this new path, but it’s a collision he can control, manage, and perfect.

And until it isn’t, it has every chance of being great.

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And Your Winner, by Submission…: Analyzing 2010’s Emmy Tapes

And Your Winner, by Submission…: Analyzing 2010’s Emmy Tapes

July 15th, 2010

Last week, I wrote a piece for Jive TV which described the next step in the Emmy Awards process, and the ways in which this post-nomination period is honestly more interesting for me than the pre-nomination period: as my Twitter followers have noted, I’m a bit obsessive about the submissions process, where the nominated series and performers choose episodes to represent their work over the past season.

It fascinates me because of how unnatural it is: performers can’t simply put together a reel of their strongest moments from throughout the season, they need to find a single representative episode (which, for supporting players, is cut down to only their scenes), and so what they choose is incredibly telling. For example, the cast of Glee have very clearly been instructed to submit episodes which feature big musical performances: Chris Colfer submitted “Laryngitis” because of the show-stopping “Rose’s Turn,” while Lea Michele submitted “Sectionals” based on her take on “Don’t Rain on My Parade.” These might not be their more consistent episodes in terms of overall material, but musically they are character-defining performances, and Glee has decided that this will be its Emmy focus. And yet, for Matthew Morrison and Jane Lynch, their submissions don’t work as well when oriented around their most show-stopping musical performances, and so sometimes a series’ approach doesn’t match with each performer.

It’s a delicate balance, and one which I think best captures the equally maddening and addictive nature of this process, which is why I will now take a closer look at the submissions strategy from a number of series: for a look at how they look as categories, and for more submissions I don’t talk about here, check out Tom O’Neill post at Gold Derby.

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The Trick is to Actually Watch TV: The 2010 Emmy Nominations

The Trick is to Actually Watch TV: The 2010 Emmy Nominations

July 8th, 2010

The Emmy nominations (which you can find in full here) are less a sign of what’s truly great on television and a more a sign of what the Emmy voters have actually been watching.

Series and performers are nominated for Emmys for one of two reasons: either the Academy members watched episodes carefully and saw them deserving of an award, or they looked at their ballots and chose a familiar name, a much buzzed-about series, or the first name on the ballot. And, frankly, most years the latter seemed to be their modus operandi, to the point where I’ve started to disassociate voters with any notion of television viewership – I’m not even convinced most of them own televisions.

However, for once, I’d say that the 2010 Emmy nominations seem to have been made by people who actually enjoy the medium, with plenty of evidence to demonstrate that voters actually watched many of the shows they nominated and discovered not only the most hyped elements of that series but also those elements which are truly deserving of Emmys attention. There are still plenty of examples where it’s clear that Emmy voters didn’t truly bother to watch the series in question, and all sorts of evidence which indicates that the Emmy voters suffer from a dangerously selective memory and a refusal to let go of pay cable dramedies, but the fact remains that this is the most hopeful Emmy year in recent memory.

It isn’t that every nominee is perfect, but rather that there is evidence of Academy voters sitting down in front of their television and watching more than a single episode of the shows in question, making them less like soulless arbiters of quality and more like actual television viewers – it might not stick, but for a few moments it’s nice to finally see some nominees that indicate voters aren’t so much different from us after all.

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Handicapping the 2010 Emmys: Drama Acting

Handicapping the 2010 Emmys: Drama Acting

June 3rd, 2010

On the drama side of things, there’s fewer trends that we can follow through to the nominees than there are in comedy. There, we can look at Glee and Modern Family and see some logical directions the awards could take, but in Drama there’s really only one new contender (The Good Wife), and the other variables are much more up in the air in terms of what’s going to connect with viewers. Lost could see a resurgence with voters in its final season, or it could be left in the dust; Mad Men could pick up more acting nominations now that its dynasty is secure, or it could remain underrepresented; Breaking Bad could stick to Cranston/Paul, or it could branch out into the rest of the stellar cast.

That unpredictability isn’t going to make for a shocking set of nominations, but I do think it leaves a lot of room open for voters to engage with a number of series to a degree that we may not have, so it’s an interesting set of races where I’m likely going out on some limbs.

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Mad Men – “The Gypsy and the Hobo”

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“The Gypsy and the Hobo”

October 25th, 2009

“Where do you want me to start?”

Writing these reviews has been a strange experience this season, as the critics are all receiving screeners which means that by the time I get to the episode on iTunes (no cable/satellite provider in my province carries the channel) I’m invariably late to the party. As such, you see that I resisting using perhaps the show’s most  “on the nose” final line in its history, as Carlton asks Don who he is supposed to be for Halloween as he takes Sally and Bobby out trick or treating. It’s the kind of line that everyone has already jumped on, to the point where I will simply acknowledge it was a clever reminder of the act he’s been playing for the better part of his adult years and move on.

What’s interesting about “The Gypsy and the Hobo” is that we’re now at the end of October, which means that the series’ handling of the single most important event of 1963 is just over the horizon. What’s most interesting at this point is how concerned the show is with the past during a time when we, as the audience, know how concerned they should be for the future. What the episode depicts is how it is only at a point of desperation, when you see everything in front of your eyes melting away, that you truly turn to the past in a way that is both vulnerable and enlightening. It is only when you see no future ahead of you that you’re willing to open the pandora’s box of the past, or in this instance unlock a drawer.

It makes for an enormously compelling episode that demonstrates how moments you thought would be explosive turn out to be the exact opposite, while moments which may have normally been handled with grace turn into a vase over the back of the head. Such is Mad Men, and such is a pretty damn fine episode.

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Mad Men – “Seven Twenty Three”

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“Seven Twenty Three”

September 27th, 2009

It’s always interesting to see how viewing Mad Men changes when you have certain pieces of information.

One of the key themes of “Seven Twenty Three” is knowing certain information, or having certain contraptions which allow you to better view your situation. The eclipse is obviously the central image of this, but across the board we see characters who know things which make the actions or words of others particularly dangerous. It’s like everything is a trap waiting to happen, where saying the wrong thing can push someone to do something you couldn’t expect. Of course, this being Don Draper’s show at the end of the day, it is Don who says the wrong thing, and who is slowly losing what he thought was control of his life as he waits until the eclipse gets more interesting before donning his sunglasses.

For me going into this episode, I had heard about the walks of shame, and had pieced together what I would consider to be one of the most traumatizing (if not in the same way as Joan’s Season 2 predicament) images Mad Men has offered to date. However, much like an eclipse, there is something powerful about seeing even what you know was going to happen, especially when the important thing is not so much what happens but rather how it changes the person at the centre of it all.

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Mad Men – “The Fog”

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“The Fog”

September 13th, 2009

“He’s never where you expect him to be.”

When it comes to Mad Men, titles are often a sign of a major theme in an episode, often the only real quality an episode has (with most remaining light on plot in favour of atmosphere or thematic importance). But I don’t think there’s been a title in a while that has seemed so expansive, so all-encompassing. “The Fog” could mean any multitude of things both in terms of what we already know about character relationships and in terms of new develops in the span of the episode, which leaves us critics fumbling to decide just what direction we’re going to take it in.

For me, I think the moment where the title really connected with me was when Don was chatting with his prison guard friend in the Solarium and tells him an anecdote that a nurse told him when Sally was being born. “Your wife’s on the boat, and you’re on the shore.” And while it was never explicitly stated, there’s a fog between those two locations, and Mad Men is essentially a show without a lighthouse. Betty, stranded out on that boat and struggling through a difficult birthing process, comments in her crazed state that Don isn’t where you expect him to be, that once the fog lifts he’s disappeared or gone off somewhere else. While she views this in some ways as an abandonment, for Don it’s about being restless.

Much of “The Fog” is about Don Draper’s own self-awareness or lack thereof, finally admitting to himself that for all of his problems in the past he is the one on solid ground while Betty, and Peggy, and Sally are out on boats struggling to maintain course in the midst of a growing storm. He’s the one who has everything and who can help guide them safely into the years ahead, but the problem is that he is distracted: by women, by his job, and by his own insecurities buried deep beneath the surface. If he is the one in charge of climbing up the lighthouse steps to break through the fog and win the day, the boats are going to crash on the rocks.

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2009 Emmy Award Predictions: Lead Actress in a Drama Series

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Lead Actress in a Drama Series

Predictions

Like with Lead Actor, chances are there are going to be a lot of familiar faces in this category, as veteran actresses in showy roles are unlikely to disappear from last year’s ballot. The difference here, though, is a bit more uncertainty in terms of how the popular vote will fall and who will benefit from the extra spot and someone potentially dropping from the category.

Glenn Close, who won last year for Damages, is a lock for another nomination, as are Sally Field and Kyra Sedgwick who will remain perennial nominees at this stage. This leaves three spots, which could go in a number of directions. The safest bet may be to give two of them to last year’s nominees, Mariska Hargitay and Holly Hunter. However, I have an odd feeling about Hunter, and Hargitay is one who I think benefited more from screeners than she may have from the popular vote, which creates some opportunity for some new blood.

While that may seem like a logical segue into another actress, I think the most likely individual is January Jones. Mad Men’s ladies were entirely unrepresented last year, a sin considering how great they are, but this year one would expect either Jones or Elisabeth Moss to break through. The reason Jones is the obvious choice is that Moss really had her big storyline in the first season; she was great in the second season, and part of me prefers her to Jones, but there is something iconic about Betty Draper and her connection with her husband (guaranteed nominee Jon Hamm) that is likely to pull voters towards her.

Also circling is Mary McDonnell, whose portrayal of President Laura Roslin on Battlestar Galactica reportedly made the Top 10 last year. It’s a showy role, and SciFi did their best to remind voters that this is their last chance to nominate her for her stellar work. At the same time, it’s still a science fiction series, and the emotion of her final scenes in “Daybreak” or her anger in “The Hub” are more powerful for fans than voters.

Speaking of fans, Anna Paquin has to be considered a contender; no, winning the Golden Globe doesn’t mean anything when it’s a Golden Globe, but she’s a former Oscar winner (if you haven’t seen The Piano, do so immediately) and the show has garnered a real following and has HBO backing its campaign. The show’s a bit too campy in order to break into the series race, but Paquin’s character shows some skin, has an accent (a bad one, but still), and has highly emotional storylines – that’s a solid recipe for Emmy.

Also on the periphery: Jeanne Tripplehorn, who is now the only of Big Love’s wives to be submitting in the category, Patricia Arquette, who continues to garner attention for newly-relocated Medium, and Jill Scott, whose Botswana-shot No. 1 Ladies’ Detective Agency was well-received critically and where she has a highly dramatic, engaging performance that could sneak in under the radar. I’m aware that she’s a definite long shot compared to former Oscar nominees slumming in television, but sometimes doing predictions I get bored and want to go out on a limb.

Predictions for Lead Actress in a Drama

  • Glenn Close (“Damages”)
  • Sally Field (“Brothers & Sisters”)
  • January Jones (“Mad Men”)
  • Anna Paquin (“True Blood”)
  • Kyra Sedgwick (“The Closer”)
  • Jill Scott (“No. 1 Ladies’ Detective Agency”)

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