Rob Reiner’s film fails to do justice to both the man and the fraught times he so fundamentally influenced.
Before one can start new business, one must settle old business.
It’s easy enough to say that this is the most substantial and refreshingly untamed episode of Mad Men’s seventh season so far.
Model Shop served as a stern reaffirmation that you can’t go home again, and much of “Field Trip” revolves around an inability to notice that resilient adage.
Don’s Hawaiian “experience,” as he calls it, is so intense and unsettling that it creates a noticeable breach in his disposition.
As it turns out, the low-profile “Tomorrowland” is an apt distillation of a largely low-profile season
For the umpteenth time this season, Don has thrown himself into a drinking binge, precipitated by an urgent call from Anna’s family in California that he can’t bring himself to return.
Of course change comes for literally everyone, as news of Kennedy being shot fills the airwaves and the uncertainty moving forward becomes much more explicit.
My grandfather always said that nothing good happens after midnight.
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.