Mad Men continues to hit its stride most indelibly while rendering the off-kilter uneasiness of transition.
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.
The idea of attacking your opponent’s biggest strength head on is an old one.
The episode wants us to ponder the theme of parents and their children and the various ways both groups disappoint each other.
Everybody in the episode 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.
As with much of the products being pitched on Mad Men, no one turns out to be exactly as advertised.
Happily, the writers seem willing to exploit their flawed characters, especially their layered leading man.
The lack of exposition in the pilot is one of its most seductive qualities.
Jodie Foster’s Nell might describe Dandelion’s characters as tays een da ween.
This purposefully disturbing film, like Kids and Bully, is nihilistic and highlighted by Larry Clark’s singularly gonzo sense of humor.