We’re pleased to announce that fictional character on AMC’s “Mad Men” Roger Sterling will be a regular guest on the Spiegel and Goff Show. Sterling will appear every Tuesday at Noon during the baseball season to talk, make clever wisecracks, and enjoy a refreshing cocktail or two.
“Roger Sterling is one of the more interesting guys from the world of fictional advertising agencies,” said Jason Goff. “He’s got a renewed energy for Mad Men fans, who have been waiting for that pop, for that next big thing.”
Known for witty, zen-like sayings, skirt-chasing, and drinking on the job, Roger Sterling is as unique among fictional 1960s-era TV characters, and should bring great perspective to the show. Read the rest of this entry »
Eric Thurm writes: TV is an odd mishmash of a medium. It shares enough qualities with film that we can use the word “cinematic” as a blanket compliment, yet its traditional broadcast model more closely resembles radio. In fact, with the advent of original programming from online-only platforms, it’s increasingly difficult to tell what, exactly, TV is.
“At its core, that self-reflexivity is rooted in anxiety for the future—as well it should be. Because as it turns out, the end of Mad Men is not the end of TV, but rather the end of a particular era for the medium, one that has been repeatedly canonized in books like Brett Martin’s ‘Difficult Men’ and Alan Sepinwall’s ‘The Revolution was Televised’.”
Maybe that’s why, dating back to The Mary Tyler Moore Show, TV is so often about itself. There’s a long history of scripted TV that’s about making TV. Yet, for all the literal examples of it—Sports Night, 30 Rock—Mad Men, which returns for its final seven episodes on Sunday, is the most self-reflexive series of them all.
[Order Brett Martin’s book “Difficult Men: Behind the Scenes of a Creative Revolution: From The Sopranos and The Wire to Mad Men and Breaking Bad“ from Amazon.com]
Mad Men‘s ad firm Sterling Cooper & Partners (né Sterling Cooper Draper Pryce, né the Sterling Cooper Advertising Agency) is itself a representation of the process of making television. The writers’ room pitches, the long nights, the fights with executives over the creative integrity of material that, with varying degrees of explicitness, is ultimately about selling products. Many of the show’s most triumphant moments come not from interpersonal dynamics, but the act of intellectual conception—being struck by writerly inspiration, often in a room full of people trying to come up with their own perfect idea.
And the show’s behind-the-scenes dynamics become manifest in its characters. Critic Todd VanDerWerff has described episodes as “fan fiction Matt Weiner is writing about his own writers’ room,” something that’s especially apparent in the relationship between Don Draper and his protege-turned-peer, Peggy Olson.
“The writers’ room pitches, the long nights, the fights with executives over the creative integrity of material that, with varying degrees of explicitness, is ultimately about selling products.”
Their tempestuous creative partnership prompts fights over the ownership of everything from ad campaigns to each other’s careers, culminating in the infamous “That’s what the money is for!” scene from “The Suitcase”—an episode in which they argue over what you can and cannot do on TV.
In later seasons of the show, even that layer of metaphor has fallen away; the show has become much more explicit in enacting its own struggle to surpass the limitations of TV storytelling. In particular, the merger between Sterling Cooper Draper Pryce and onetime rival agency Cutler, Gleason, and Chaough is a self-conscious solution to the problem of keeping Peggy on the show once she had naturally grown past the point of needing Don as a mentor and professional champion.
“Many of the show’s most triumphant moments come not from interpersonal dynamics, but the act of intellectual conception—being struck by writerly inspiration, often in a room full of people trying to come up with their own perfect idea.”
Don and Betty may have gotten divorced, but their relationship is effectively unchanged from what it was in Season 1—because to send her offstage is to deny Don his true moral foil. Will any of these characters ever change?
Maybe not, but they’ll certainly keep trying, and stay painfully aware of their failures. Matthew Weiner and his staff threaten change, but it’s never real; they’re just daring us to confront what would happen if the status quo ever seriously shifted. And it’s all so artfully done that Mad Men more than justifies the level of Talmudic recap coverage it has historically received.
“Indeed, many of today’s prestige shows feel like the creative efforts of people who watched ‘Mad Men’, ‘The Sopranos’, and ‘Breaking Bad’ and then tried to replicate them without understanding what actually made them so good.”
But at its core, that self-reflexivity is rooted in anxiety for the future—as well it should be. Because as it turns out, the end of Mad Men is not the end of TV, but rather the end of a particular era for the medium, one that has been repeatedly canonized in books like Brett Martin’s Difficult Men and Alan Sepinwall’s The Revolution was Televised. The Difficult Men narrative of “visionary” showrunners provides a picture of what Good TV is supposed to look like, and how it’s supposed to be made: by exacting geniuses like Don Draper. Read the rest of this entry »
Marc Myers writes: When “Mad Men” returns to AMC on Sunday with the first of its final seven episodes, viewers will be wondering how ad-agency executive Don Draper ends the series—emotionally awakened or drifting down from his office window, as hinted by a falling silhouette in the show’s opening credits. For fans of the series’ 1960s wardrobe and sets, the more pressing question is how the show’s fashion and furnishings will evolve as its timeline inches past the moon landing and enters the shaggy, burnt-orange decay of 1970.
“Through the lens of series creator, producer and writer Matthew Weiner, the adult world of the 1960s is much more jaded and complex than the rosy, adolescent one recalled by many baby boomers who grew up then.”
The runaway popularity of “Mad Men” owes much to its dark story lines of personal demons, office power struggles and noirish character interactions with historical events. But from the start, in 2007, the series’ appeal has also been rooted in its richly detailed look that transports viewers back to an age of sleek office furniture, space-age design, meticulous grooming and colorful clothes. All are represented in “Matthew Weiner’s Mad Men” at the Museum of the Moving Image, an exhibit that celebrates both the show’s vision and visuals.
“The show is not a history lesson or intellectual exploration. It is entertainment based on tension, irony and storytelling that is closely related to today’s life.”
— Matthew Weiner, summarizing the show’s guiding principle
Through the lens of series creator, producer and writer Matthew Weiner, the adult world of the 1960s is much more jaded and complex than the rosy, adolescent one recalled by many baby boomers who grew up then. As the decade unfolds beginning in 1960, the show’s characters find themselves caught in a cultural riptide, with rock, civil rights and feminism changing the balance of power faster than they can adapt. Many turn to alcohol, drugs and serial affairs to ease the stress and hold on to the world they once knew.
Staged in a winding series of rooms, the new exhibit sheds light on how ”Mad Men” was developed by Mr. Weiner and his writers and designers. The exhibit begins with a glass case of books that most influenced Mr. Weiner’s approach, including Helen Gurley Brown’s “Sex and the Single Girl,” the “Journals of John Cheever” and David Ogilvy’s “Ogilvy on Advertising.” The book display is followed by a full-blown re-creation of the room used by the “Mad Men” writing team, complete with their 1960s Danish modern teak conference table, 10 black leather executive chairs, and character-development cards on a wall board. Read the rest of this entry »
Julia Emmanuele writes: When you have a starring role on one of the biggest television shows in the world, people are going to try all kinds of dirty tricks to get you to drop hints about the new season.
Unfortunately for Mad Men fans everywhere, Kiernan Shipka is very good at keeping secrets. After spending seven years working on the show, keeping plot details tightly under wraps has become second nature to the super-stylish actress.
Still, when we got the chance to catch up with Shipka before the final few episodes of Mad Men’s run premiere on April 5, we couldn’t help but try our luck at getting a few secrets out of her.
“Everyone kind of knows we can’t give anything away,” Shipka said apologetically. Read the rest of this entry »
“For me, Peggy and Don will always be my favorite relationship on the show. I used to hear for so long, ‘Are they going to get together romantically or is it a father–daughter thing? Is it mentor–protégée? Are they enemies? Are they friends?’ It’s all of those things.”
— Elisabeth Moss
Despite Peskov’s best efforts, the theories about what could be behind Putin’s mysterious absence have continued to swirl
Russian President Vladimir Putin hasn’t been seen in public since March 5, and depending on whom you ask, he’s either dead, has had a stroke, has cancer, is being overthrown in a palace coup, or, contrary to his spokesperson’s denials Friday, has been out of the public eye because he has fathered a lovechild.
“Information that a child has been born to Vladimir Putin is not true,” Putin spokesman Dmitry Peskov told Forbes Russia. “I am planning to appeal to people who have money to organize a competition for the best journalistic hoax,” he added.
Speculation on Putin’s whereabouts began when he canceled a high-level trip to Astana, the capital of Kazakhstan, and then several other meetings this week, including the signing of a treaty with South Ossetia and an appearance at a meeting of top brass at the FSB, Russia’s domestic intelligence service. Putin’s absence has sent the Russian Twitterverse and media into overdrive, sparking the trending hashtag #ПутинУмер (Putin Died), as well as a cottage industry of theories — some absurd and others more believable believable — to explain what is keeping the usually omnipresent Russian president from the public eye.
Peskov, meanwhile, has been on the offensive, steadfastly denying the Russian rumormill — often with colorful details. After shooting down rumors about Putin’s ill-health earlier this week on the radio station Ekho Moskvy, Peskov added that “his handshake is so strong he breaks hands with it.”
Yet despite Peskov’s best efforts, the theories about what could be behind Putin’s mysterious absence have continued to swirl. The Kremlin’s website has been posting photos of the Russian president attending meetings during his physical absence, but the Russian news outlet RBC investigated Putin’s schedule and found discrepancies. According to RBC, the meeting with the governor of the northwestern region of Karelia, reported on the official site as having taken place on March 11, had actually occurred a week earlier, and a Karelian website had actually already written about it on March 4. On Thursday, the Kremlin claimed that Putin spoke on the phone with Armenian President Serzh Sargsyan. Sargsyan’s website issued the call with an identical transcript.
On Friday, the Kremlin issued three images showing Putin in a meeting with the head of the Supreme Court in Moscow on Friday. The state television channel, Rossiya 24, also aired video footage of the meeting. However, the dates of those photos have not been confirmed, and the footage have not been authenticated. Read the rest of this entry »
And now eMC, the emotional movie channel, presents Mad Men. Mr. Draper is looking for solid ideas on the Happy Honey Bear account, ideas that are going to make him happy about honey.
Roger Sterling, Zen Master of Sloth, King of Hip, Captain of Cool, Soothsayer of Sly One-Liners, most underrated character on Mad Men, finally gets his due.
Originally posted on Inside TV:
[ew_image url=”http://img2.timeinc.net/ew/i/2013/08/13/John-Slattery.jpg” credit=”Michael Yarish/AMC” align=”left”]Mad Men is a show built almost entirely on the solid concrete foundation of its stellar character work. Sure, the dialogue is as sharp as a man in a grey flannel suit, and the metaphorical portents thrum like elevator winches—but when it comes down to it, Matthew Weiner’s dense, literary series rises and falls on the strength of the people inhabiting its world, particularly those scuttling down the corridors of Sterling Cooper Draper Price.
So naturally, when you see a headline like the one above, you might think, “No, dummy, obviously Don/Peggy/Sally/Joan/California Pete/Ginsberg’s nipple is the best character of Mad Men!” You wouldn’t necessarily be wrong. But while Ms. Olsen will always be series MVP to me, this past season belonged to Roger Sterling, SCDP’s preening cock-of-the-walk.
Roger has always been one of the show’s brightest spots, sashaying in with his half-inebriated insouciance and a fistful of sardonic one-liners. Roger’s self-ascribed lot…
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— Variety (@Variety) July 31, 2014
For National Review Online, Thomas S. Hibbs writes: With the conclusion of the first half of season seven on Sunday, May 25, Matthew Weiner’s acclaimed AMC series Mad Men has only seven episodes left (which we won’t get to see until next spring).
“…it is not difficult to see in the show’s unmasking of the illusions of the self-made man a critique of the world of capitalist advertising with its construction of images of happiness…”
Main character Don Draper began this season at the nadir of his career and personal life. The previous season began with Don on a beach with second wife Megan, now an actress. Reading the opening of Dante’s Inferno, he intones: “Midway in our life’s journey, I went astray from the straight road and woke to find myself alone in a dark wood.” The book is a gift from Sylvia, a married neighbor with whom he is having a torrid affair but whom he tells at one point, “I want to stop doing this.” The despair in his voice indicates how incapable he is of freeing himself from something he knows is wrong.
Season six proceeded to portray a descent for Don, perhaps reminiscent of Dante’s journey into the depths of hell: progressive alienation from his new wife, a heart-wrenching scene in which his daughter Sally catches him in sexual congress with Sylvia, and his self-destruction in the middle of a business meeting in which he breaks down and tells clients about his childhood in a brothel. The last move put him on an indefinite leave. Unlike Dante, however, Don has no clear path and no Virgil as his guide.
“…But Mad Men also manages to capture something of the attraction of the life of the entrepreneur.”
The question of season seven is whether, like that of Dante, Don’s descent will be followed by an ascent or at least a return to form as a Manhattan master of the universe. In the concluding episode of the first half, Don finds himself facing loss on multiple fronts: the end of his marriage, as he and Megan realize they have been leading separate lives; and the imminent loss of his job — especially with the death of Bert Cooper, who had reluctantly continued to support Don’s presence at the firm. But the episode ends on a high note, with Don’s job and his connections to the longest-standing members of the firm restored. In a final note of whimsy, Don has a vision of the now dead Bert doing a song-and-dance routine of “The Best Things in Life Are Free.” Is this a sign that Don is coming unhinged or that he has found his Virgil? Read the rest of this entry »
Unless you’ve seen this week’s mid-season finale of Mad Men, close your eyes, don’t look.
Last week, Vulture laid down ten theories on how this half-season of Mad Men might end. Suffice it to say that none of us saw this coming:
Moon landing! Moon landing! For everyone who wondered whether we’d see the moon landing, it’s all over “Waterloo”—the lead-up to it, where people worried about the astronauts, and the landing itself. The title “Waterloo” is made explicit by Bert in a conversation with Roger about Don’s attempt at a comeback.
The episode looks at defeats and comebacks.
Ted takes Sunkist clients in a plane and, for kicks, cuts the engine. Jim and Pete yell at him over the phone about how Ted expressed a death-wish. Turns out that what Ted really wants is for Jim to buy him out, so he can leave advertising.
The Don comeback comes to a head after Lou storms in Jim’s office, furious that they didn’t get Commander cigarettes. Jim snipes at him that “you’re only a hired hand,” but then writes a letter with all the partners’ names on it, firing Don for his breach of contract meeting with Commander. Don is furious and stomps into Jim’s office, then shouts for Roger, Joan and Bert. There’s an impromptu partners’ meeting in he hall—Joan sends Harry away, reminding him he’s not a partner yet. Don says they should raise their hands if they want to play parliamentary procedure. Jim says he has Ted’s vote by proxy (we know he may not), but only he and Joan vote Don out. Pete, Bert, Roger and Don vote he stays. And though Joan says she’s tired of Don losing them money, she also tells Jim, “You shouldn’t have done that.” Read the rest of this entry »
In honor of Morse’s magical musical final moments as Bert Cooper on Sunday night’s mid-season finale of Mad Men, Here’s Robert Morse the Broadway star, from half a century ago, singing the song he’ll always be identified with in the 1967 film version of “How To Succeed In Business Without Really Trying”