The series transforms a story that captured something of the experience of war into a familiar melodrama.
The film wants to treat Jeffrey Dahmer like a character, but it invariably frames him like a specimen.
The film seems more interested in its art design then in fully developing the story’s underlying sexual ethics.
The title of last night’s episode of Mad Men comes from a handbook for hobos written by Nels Anderson.
The dark truth at the center of “Time & Life” is that business is always personal.
The more overwhelming intimation of the title is the idea of making plans in general, and the unwavering fallibility of said activity.
Showrunner Matthew Weiner and company crafted an episode riddled with allusions to business as a love affair.
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
Addiction has played an important role through most of this season, most explicitly through Don’s struggles with alcoholism.
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.
Outside of the flashbacks, Mad Men gets a little meta on Emmy weekend by making Don’s winning an advertising award (a Clio) a major plot point.
As usual, it’s Pete who is most eager to prove that the need to consume crosses all social barriers.
The early going of Mad Men’s fourth season has given us a whole lot of Don Draper and his nonstop cycle of disintegration and reinvention.