The entirety of the episode is dedicated to discussion of Mad Men’s third season.
Marriage and sex bring with them the promise of intimacy, but it often seems like we confuse the former two for the latter all too often.
My grandfather always said that nothing good happens after midnight.
The idea of attacking your opponent’s biggest strength head on is an old one.
The theme “The Arrangements” wants us to ponder is that of parents and their children and the various ways both groups disappoint each other.
Everybody in “My Old Kentucky Home,” written by Dahvi Waller and Matthew Weiner and directed by Jennifer Getzinger, is performing on one level or another.
The episode places itself in the midst of people trying to cope with the fact that everything is changing, both in the world at large and in their personal lives.
On Mad Men, the drama proceeds directly from the characters.
Chain reactions are the miniature explosions that drive most of the hard sciences, particularly chemistry.
What does it mean anymore to be a father? We still roughly know what it means to be a mother. Indeed, we rather know it in our bones.
Every character has had multiple moments in the run of the show to pull back, to change course, to reverse the path they have headed down.
Lost is a show fairly obsessed by notions of duality.
If there’s one thing I find a touch annoying about Breaking Bad, it’s that the show will occasionally lean on a too-easy symbol or two.
The episode plays less like an individual segment of the show and more like a long prelude to the two-hour finale.
If Breaking Bad began heading downhill rapidly last week, this week, it lets off the brake, heading into what appears to be the second season’s final act.
The more we get to know the people who are behind the scenes on Lost, the more we realize just how much our point-of-view characters are looking in on a battle they will never really understand.