[PHOTOS] ‘Don Draper Staring Blankly’

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[Via Tumblr site Don Draper Staring Blankly]


‘Mad Men’: The Ending Doesn’t Really Matter

January Jones as Betty Francis, Jon Hamm as Don Draper, Elisabeth Moss as Peggy Olson, Vincent Kartheiser as Pete Campbell, Elisabeth Moss as Peggy Olson and John Slattery as Roger Sterling - Mad Men _ Season 7B, Gallery - Photo Credit: Frank Ockenfels 3/AMC

The “Mad Men” finale will be analyzed and rated, debated and recapped. Meaning will be ascribed to it that the writers likely never intended, and much of fans’ pleasure and disappointment will be expressed in real time…(read more)

Variety


Imaginary Playboy Magazine Cover: Joan Holloway, ‘The Ladies of Madison Avenue’

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Eric Thurm: Mad Men Is Back—And With it, the End of Great Navel-Gazing TV Dramas

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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 Difficult-Menexamples 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.

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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.

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“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 »


Mad Men Actor Ben Feldman Talks About Ginsberg’s Cuckoo-Bananas Breakdown

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Spoiler Alert: On Sunday’s episode, his advertising copy writer character Michael Ginsberg had a mental breakdown tipped off by the introduction of a computer to the office.

NEW YORK (AP) — Actor Ben Feldman says he showed up Monday at NBC’s preview to advertisers to promote his new romantic comedy “A to Z,” expecting to get hammered with questions about “Mad Men.”

“Matt Weiner and I sat down a few weeks before that episode and he told me everything that was gonna happen and my jaw just dropped to the floor.”

— Actor Ben Feldman

If it sounds crazy it’s because it was. The character began trending on Twitter soon after. Read the rest of this entry »