Mad Men ends its first season on one hell of a high note, with what is probably the series’s most Sopranos-esque episode yet.
Kennedy and Nixon, in the context of this episode, represent dueling visions of America that have been dividing our country for more than 200 years.
Pete has the gun in his hand—now, the question is how much damage he can do with it.
This week’s episode was particularly notable where geeky continuity-oriented details are concerned.
“Shoot” struck me as a relative disappointment, even if it still offers plenty to chew on.
Matthew Weiner seems to draw inspiration from films and literary works that are actual products of the Eisenhower/Kennedy era.
AMC’s Mad Men continues to bring the funny with an episode that furthers the exploration of Roger Sterling’s personality that began last week.
The use of The Best of Everything is a bit off, as Rona Jaffe’s novel was published in 1958 and the screen version was released in October, 1959.
So much of what happens to Don in “5G” hinges on information that has yet to be revealed that it’s premature to evaluate the episode within the context of the series.
The last act of “New Amsterdam” contains what are probably my favorite Mad Men scenes to date.
“Marriage of Figaro” begins with a bombshell revelation, albeit one that’s been hinted at somewhat: Don Draper probably isn’t Don Draper after all.
Insofar as doings at SC are concerned, one of the most interesting aspects of “Ladies’ Room” is how it presents Don as seriously emasculated.
The lack of exposition in the pilot is one of its most seductive qualities.