Posted: April 8, 2015 Filed under: Entertainment, Humor | Tags: Adam Wainwright, Chicago Cubs, Jason Heyward, Mad Men, Matt Carpenter (baseball), Matt Holliday, Matthew Weiner, National League Central, Parody, Roger Sterling, Run batted in, satire, St. Louis Cardinals, Wrigley Field
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 »
Posted: April 5, 2015 Filed under: Art & Culture, Entertainment, Mediasphere | Tags: Aaron Sorkin, Advertising, AMC (TV channel), Difficult Men, Don Draper, Emmy Award, Jon Hamm, Mad Men, Matt Weiner, Matthew Weiner, Television, Television program, The Mary Tyler Moore Show, The Sopranos
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?
[Read the full text here, at WIRED]
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 »
Posted: April 2, 2015 Filed under: Art & Culture, Entertainment, History | Tags: AMC (TV channel), Betty Draper, Christina Hendricks, Don Draper, Emmy Award, Helen Gurley Brown, Jon Hamm, Mad Men, Matthew Weiner, National Museum of American History, Sex and the Single Girl, Television program
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 »
Posted: April 2, 2015 Filed under: Art & Culture, Entertainment | Tags: Christina Hendricks, David Chase, Don Draper, January Jones, Jon Hamm, List of Mad Men episodes, Mad Men, Matthew Weiner, Museum of the Moving Image (New York City), National Museum of American History, New York City, PETE CAMPBELL, Sydney, The Sopranos
In 2001, Matthew Weiner writes his first Mad Men script, which goes nowhere until 2005, when AMC decides to shop for its first original scripted series.
Matthew Weiner (creator) I finished the script and sent it to my agents. They didn’t read it for three or four months. (They’re not my agents anymore.) I was advised not to send it anywhere because that was at a time when there were big overall deals for comedy writers. People would pay for the anticipation of what your project would be, and actually having one was going to hurt you. I kept trying to get into HBO, but I never got a meeting. And I met with FX, which Kevin Reilly was running at that time. He talked to me about making it into a half‑hour. Then people started talking to me about a feature. It was my manager’s assistant who gave AMC the script. That’s who they were pawned off on.
Rob Sorcher (former executive vp programming and production, AMC) I’d relocated to the East Coast, and I’m working at this network, AMC, that has a collection of shit-ass movies. It’s like the lesser TCM, and I’m supposed to turn it into something. [What the network needed was] a show for cable operator retention. You want something that can’t be replicated elsewhere — like a Sopranos — because if you have a signature show, then you won’t be dropped [by cable operators]. So your strategy becomes: Let’s go for quality. But we have no money. So I hire Christina Wayne, who’s never done a thing in her life in terms of an executive.
Christina Wayne (former senior vp scripted programming, AMC) Years earlier, I’d wanted to option Revolutionary Road [Richard Yates‘ novel about suburbia in the 1960s]. But I was a nobody screenwriter, and [Yates’ estate] held out for bigger fish, which they got with Sam Mendes. So when I read [the Mad Men script], it resonated with me. This was a way to do Revolutionary Road, week in, week out. When we had lunch with Matt for the first time, I gave him the book. He called me after and said, “Thank God I’d never read this because I never would have written Mad Men.”
Weiner [My agents] were like, “You’re going to be coming off The Sopranos. I know you love this project, but don’t go [to AMC]. It’s really low status, no money, and even if they do it, they’ve never made a show before, and you don’t want to be their first one.”
Sorcher Every possible reason on paper why this should not work was cited: It’s super slow, it’s [about] advertising, everybody smokes, everybody’s unlikable and it’s period. We couldn’t sell it.
Jeremy Elice (former vp original programming, AMC) We sent it out looking for potential partners and got some nice responses, but generally speaking it was, “Yeah, not for us,” and “Who the f— is AMC?”
Wayne So we self-financed the whole thing ourselves. The pilot cost $3.3 million, and we did it in New York in the downtime when Sopranos was [on hiatus]. We used all of their crew.
JANUARY JONES AS … PEGGY?
Casting for the pilot begins in 2006. Weiner and AMC agree on hiring unknown actors.
Weiner There were famous people who came in to read. The guys from That ’70s Show came in — not Ashton, but the other guys. I’m still impressed by Danny Masterson. But at a certain point, it was working against them. My theory was that The Sopranos casting was great because you didn’t know who any of those people were.
Jon Hamm (Don Draper) Some people went in once and got cast; there was a little more reticence with me. I was on the bottom of everyone’s list. The one person who was an early champion of mine was Matthew.
Weiner Back in , there were no handsome leading men. It was not the style. Not that Jim Gandolfini‘s not handsome, but he’s not Jon Hamm. There are moments in time when it’s Dustin Hoffman and moments in time when it’s Robert Redford. It was a Dustin Hoffman era. People like me or Seth Rogen got the girl, and people likeBradley Cooper were standing on the side of the street being like, “Come on!”
Wayne Matt sent us two actors: Jon Hamm and Mariska Hargitay‘s husband,Peter Hermann. The quality of the that we were using sucked, and you couldn’t see how good-looking Jon Hamm was. We were like, “Really, this is who you think?” And Matt said, “Absolutely.” He’d been in the room, and he felt something with Jon. We had him come in again. We had to be sold, so we flew Jon to New York and took him for a drink at the Gansevoort hotel. He was nervous, but I knew that he had star potential. I whispered in his ear before he left, “You got the job.”
Elisabeth Moss (Peggy Olson) I was the first person to audition for Peggy. Matt showed us all our audition tapes at a gathering, and it’s hilarious because I don’t look anything like Peggy [in the tape]. I’m 23, blond, tan. I look like I just walked off of the beach.
John Slattery (Roger Sterling) I went in to read for Don; they wanted me to play Roger. Matt Weiner claims I was in a bad mood the whole [pilot]. I had a couple of scenes, but I wasn’t as emotionally invested as some of the people because there wasn’t that much of Roger in evidence yet. Being a selfish actor, I didn’t necessarily see the full potential in the beginning.
Christina Hendricks (Joan Holloway) I was up for another pilot, and I chose Mad Men. The [agency I was with] was like, “It’s on AMC, it’s a period piece, it’s never going to go. Are you crazy? You’re not going to make money for us …” I thought it was a little impatient of them. So I moved on.
January Jones (Betty Draper) I came in for Peggy twice. Matt said, “Well, there’s another role, but I don’t really know what’s going to happen with her.” He didn’t have any scenes for me, so he quickly wrote a couple.
Weiner It had been years since I wrote anything in the pilot. And all of sudden, I need a scene by tomorrow for a character who only has three lines.
Vincent Kartheiser (Pete Campbell) I only auditioned for Pete. My agents aren’t delusional enough to think that I’m a Don Draper.
Alison Brie (Trudy Campbell) I looked up a picture of Vincent Kartheiser and was like, “Oh my God. We kind of look like brother and sister. I could totally be his 1960s wife.” Couples kind of looked alike then.
Weiner Alison Brie was a big lesson because we couldn’t afford to make her a series regular. And we gambled [Community] wouldn’t happen. We were wrong.
HOW DICK BECAME DON
Weiner shoots the pilot on location in New York in 2006, but AMC struggles initially to line up financing.
Sorcher Matt had an extremely clear vision for the show. We had only one or two notes that were key.
Wayne We said to Matt, “OK, this is a great show about advertising, but what are people going to talk about week in, week out? What’s the bigger story for Don?” He went off, and a few months later he came back and pitched the entire Dick Whitman/Don Draper story. We were mesmerized. Read the rest of this entry »
Posted: March 25, 2015 Filed under: Art & Culture, Entertainment | Tags: #MadMen, AMC, Christina Hendricks, Elisabeth Moss, January Jones, John Slattery, Jon Hamm, Mad Men, Manhattan, Matthew Weiner, Museum of the Moving Image (New York City), Photography
“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
Posted: August 14, 2014 Filed under: Art & Culture, Entertainment, Food & Drink | Tags: AMC TV, Beef Wellington, Mad Men, Matthew Weiner, Oysters Rockefeller, Roger Sterling, World War I, World War II
Posted: May 26, 2014 Filed under: Art & Culture, Entertainment | Tags: Baylor University, Bert Cooper, Don, Don Draper, Jon Hamm, Mad Men, Matthew Weiner, Thomas S. Hibbs
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.
[Order Thomas S. Hibbs‘ book Shows about Nothing: Nihilism in Popular Culture from Amazon]
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 »
Posted: April 30, 2014 Filed under: Art & Culture, Entertainment, Humor | Tags: Buzzfeed, Don Draper, Jon Hamm, Mad Men, Matthew Weiner, Twitter
On the red carpet at Mad Men’s Season 6 premiere, BuzzFeed asked the show’s stars where their characters would be in the ’80s. Here’s what they’re predicting, along with our interpretations of them as contemporary ads.
(see more) Buzzfeed.com
Posted: April 28, 2014 Filed under: Art & Culture, Entertainment, Mediasphere | Tags: AMC, Facebook, Mad Men, Matthew Weiner, Recreation, Simpson, Television, YouTube
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Posted: September 17, 2013 Filed under: Entertainment | Tags: AMC, Chinatown, Dramatic programming, Last Detail, Mad Men, Matthew Weiner, Robert Towne, Sopranos
A sign of confidence? Or uncertainty? Mad Men hits the final stretch.
Cynthia Littleton writes:
“Veteran screenwriter Robert Towne (pictured) is among Matthew Weiner’s new recruits to “Mad Men’s” writing staff for the upcoming seventh and final season, which AMC announced Monday will unfold in two seven-episode batches in spring 2014 and spring 2015.”
I question the decision to break up the final season into a two-year boutique-sized spread. Is this a creative decision? Or is AMC milking the popularity of the series for additional commercial or prestige reasons Or is the Mad Men staff pressed to conclude the series to Matthew Weiner’s satisfaction, and AMC is giving him more time? Let’s hear what you guys think. — The Butcher
“Towne is serving as a consulting producer…. He won an original screenplay Oscar for 1974′s “Chinatown” (a source of many oft-quoted lines including: “Forget it, Jake. It’s Chinatown”). He earned three other Oscar screenwriting noms, for 1973′s “The Last Detail,” 1975′s “Shampoo” … Recent credits include “Mission: Impossible II…”
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Posted: September 15, 2013 Filed under: Entertainment, Mediasphere | Tags: AMC, Arts, Don Draper, Jon Hamm, Mad Men, Matthew Weiner
Recalling Don Draper’s creative peak, his most poignant pitch, to Kodak. Before his unresolved personality disorder, cracked identity and mid-life crisis led him to his epic season 5 meltdown.
Posted: August 31, 2013 Filed under: Mediasphere | Tags: David Chase, Gary Gilbert, Laura Ramsey, Mad Men, Matthew Weiner, Paul Thomas Anderson, Sopranos, Weiner
There’s a growing consensus among filmmakers that television, not film, offers the more hospitable climate for innovative work. While this might be true, here’s the anomaly: The very innovators who brought about this change still go back to movies to create their “personal” projects.
David Chase, who turned TV around with “The Sopranos,” shot his own personal story in his 2012 movie “Not Fade Away,” which pulled a fast fade earning less than $650,000 domestically. And now Matthew Weiner, who is prepping his seventh and final season of “Mad Men,” is unveiling his first significant feature directing effort, “You Are Here,” at the Toronto fest next week. His new film is a far cry from his first feature, a low-budget black-and-white pic in which he also starred, which was never released.
And while Weiner commands an imperial presence in TV land, he arrives at Toronto as a humble near-first time director, aspiring for some good reviews and, more importantly, for a distributor.
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Posted: June 23, 2013 Filed under: Mediasphere | Tags: AMC, Carousel, Don Draper, Hershey, Mad Men, Matthew Weiner, Roger Sterling, Sharon Tate
Note: Do not read on if you have not yet seen the Season 6 finale of AMC’s “Mad Men,” titled “In Care Of.”
Could Don Draper finally be growing up?
Most fathers are not a mystery to their children; most adults are not quite so hobbled by tortured pasts. But most people are not Don Draper, who, in the course of “Mad Men’s” six seasons, has tried to shield his kids from the most basic truths about himself. Where he’s from, how he grew up, what kind of life he had: Those were all things that he lied about, to co-workers, clients and those closest to him. But as viewers saw in the show’s Season 6 finale (which I wrote about here), Don is in the process of shedding that false skin.
The final image of Season 6 was Draper showing his three children the house of ill repute in which he grew up. We don’t know yet if his bold gamble will pay off, or if his daughter Sally, who grew especially disenchanted with her father this season, will continue on her path of rebellion and barely-suppressed fury at her father.
Don also revealed the truth about his origins during a meeting with an important potential client, and everyone in the room was appropriately stunned. According to “Mad Men” creator and executive producer Matthew Weiner, however, Don’s behavior in the Hershey meeting is not what got him fired (or placed on leave). That meeting, shocking though it was, was “a very minor infraction in all this,” Weiner said. As he explained, the entire penultimate season of the show (and all the questionable behavior it contained) was meant to lead Don to the point where he felt he could — and had to — start to be at least partially truthful about himself to the people around him.
In the interview below, Weiner discusses the events that led Don to this moment, as well as his future (or lack thereof) at SC&P, the paths that Joan and Peggy took this season, the conspiracy theories surrounding the show and Megan Draper’s infamous “Sharon Tate” T-shirt, among other things.
This interview has been edited and slightly condensed.
Don went in to that Hershey meeting thinking they weren’t really serious about taking on an agency, so in a way, there wasn’t much at stake for him. But could you talk a little bit more about his motivations for coming clean about his past in that setting, especially given how his colleagues were likely to react?
I think that he is not thinking about his colleagues and I think that he is in a crisis. As you can tell, he’s planning on going to California; he has quit drinking. Ted has just told him that he wants to go to California, and I think a lot of what Ted said is resonating in his mind. But our whole goal for the season was to put Don in a position where he knew whether he was going to change or not. At least looking in the mirror and admitting who he was, in some ways, was going to make him feel better, and alleviate that anxiety that he has been feeling all year — [the anxiety] that led to him destroying his relationship with his daughter, that led to him destroying his business and his role in his business.
It’s not that the Hershey meeting has no stakes. It’s that the Hershey meeting actually has a very personal connection to him. You see him get up there and just lie his head off. And we know that everything he is saying isn’t true. We were sort of building to one line the whole season, where the client says, “Weren’t you a lucky little boy?” [In that moment, Don was] looking over at Ted and realizing that he was a liar and that he had to confess. That’s what I think that was: a confession.
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Posted: June 23, 2013 Filed under: Mediasphere | Tags: AMC, Bob Benson, Don Draper, Emmy Award, Los Angeles, Los Angeles Center Studios, Mad Men, Martin Miller, Matthew Weiner, PETE CAMPBELL, Season finale, Weiner
‘Mad Men’ creator Matthew Weiner says his central character, who is becoming maddening to some fans, is not the devil
If nothing else, AMC‘s “Mad Men” has been the deliberate and artful chronicle of the psychological undressing of the secretive Don Draper. In its current season, the drama laid the character even more bare when he was caught with another woman — and with his pants down — by his 14-year-old daughter.
The excruciating moment, a culmination of self-imposed humiliations in a season awash in shame for the Emmy Award-winning show’s central character, prompted a fresh round of howling at the depraved depths of its charismatic antihero. He’s a terrible father. He’s a monster. He’s the devil.
But Don Draper is none of those things, counters the show’s creator Matthew Weiner, who after Sunday’s season finale will only have 13 episodes left to tell the troubled ad executive’s tale. Don, he says, is 1968.
“People expect Don to be out of touch, but given society’s identity crisis in 1968, he’s never been more in touch,” said Weiner, who spent much of this season exploring the tumult of one of the nation’s most painful and divisive years. “It’s like the entire world is in a state that Don is in all the time — the id has overtaken the culture.”
It was a state some critics found wearisome this season, particularly when it came to Draper. While there were new examples of his morally reprehensible behavior, the most common complaint among many of the show’s devoted legions of episode recappers and social media commentators was they’d had enough. The New Yorker’s television critic Emily Nussbaum wrote midseason that “Don, instead of being the show’s engine, has become its anchor — heavy, even in the sixties sense.”
In an interview at his Los Angeles Center Studios office earlier this week, Weiner talked about his penultimate season and the critical reaction to it, as well as elaborating on some of the key narrative developments. The 47-year-old show runner, famously guarded about revealing plot details, also hinted at what might lie ahead for his leading man.
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