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The Phantom: Thoughts on the Season Finale of Mad Men

"Are you alone?" I had a feeling that there would be some discontent among the viewers of Mad Men when faced with the finale of Season Five, after such a breathtaking and momentous episode as last week's "Commissions and Fees," which saw the death of one character and featured startling and concrete change. Airing directly after, the season finale ("The Phantom"), written by Jonathan Igla and Matthew Weiner and directed by Matthew Weiner, could feel a bit anti-climactic. To me, however, "The Phantom" offers a necessary coda for the fifth season, paying off the season's diverse themes and allowing the viewer to see the after-effects of the suicide of Lane Pryce (Jared Harris) on both Don Draper (Jon Hamm) and the firm as a whole, exploring the ways in which we seek out what we believe will offer us happiness--however temporary or fleeting--in order to assuage the rot inside us. Once we achieve the thing that we dreamed about and want

The Daily Beast: "Mad Men Season Five's 13 Most Memorable Moments"

Troubled Don! Ascendant Peggy! Poor Lane! Following the finale of a controversial season of Mad Men on Sunday night, I examine the 13 most memorable moments from its fifth season. At The Daily Beast, you can read my latest feature, " Mad Men Season Five's 13 Most Memorable Moments," in which I explore and analyze 13 of the fifth season's most memorable moments, including two from the season finale ("The Phantom"). Mad Men’s fifth season, which came to a close on Sunday, began with the joy and optimism felt by newlyweds Don Draper (Jon Hamm) and Megan (Jessica Paré), only to slowly let in a narrative darkness that manifested itself in squandered dreams, hopeless enterprises, larceny, and even the death of a major character. Husbands and wives warred, ex-spouses sniped, children grew into adults, and partners fell out. This all played out against a backdrop of monumental social and political change during which Sterling Cooper Draper Pryce hired its f

The Daily Beast: "True Blood Season Five: Has HBO’s Vampire Drama Lost Its Bite?"

HBO’s True Blood returns on Sunday. Over at The Daily Beast, I review the first four episodes of the fifth season and ask: what happened to the vampire drama? You can read my latest feature, " True Blood Season Five: Has HBO’s Vampire Drama Lost Its Bite?" , in which I examine the first four episodes of Season Five of True Blood and write, "The first four episodes of Season Five… reflect what’s wrong with the most recent seasons of the HBO drama: they lack focus." I also explore how the lack of baseline normalcy--and the sense that everyone in Bon Temps is somehow "special"--has robbed the show of dramatic stakes. HBO’s popular True Blood has never been known as a slow-burn drama. Instead of advancing the plot minutely from episode to episode, the Southern Gothic vampire drama has, during its four seasons to date, zoomed at a breakneck speed, hurtling toward its cliffhanger ending each year at a maximum velocity. While that can rev up viewers’

Elegant Exits: Commissions and Fees on Mad Men

"Everything you think is going to make you happy just turns to crap." If that's not a statement about Mad Men 's major themes, I don't know what is. While it's outsider Glen Bishop (Marten Holden Weiner) who utters those words at the end of the episode, they could be said by just about any character on the drama, offering a prism through which to see that our expectations are often dashed against the rocks when faced with the reality of our situations. Happiness, as Don Draper (Jon Hamm) would argue, just begets more happiness, but more importantly, the sensation of happiness demands further happiness. It's elusive and short-lived and, as one gets older, the simple things that might have once made us joyful--driving a car, an illicit cup of coffee with tons of sugar--turn to ash in our mouths. Happiness, it seems, is as much about anticipation as it is expectation. When things fail to match up to the ideal we set in our heads--an ideal established by D

Valar Morghulis: Thoughts on the Season Finale of Game of Thrones

Everything ends. Life, love, and even dynasties: nothing lasts forever. They all turn to dust, a charnel cloud of smoke, reducing even the stones of a fortress that has stood for thousands of years to ash. Everything crumbles, everything rots, and everything eventually ends. And even this, Season Two of Game of Thrones . The season finale ("Valar Morgulis"), written by David Benioff and D. B. Weiss and directed by Alan Taylor, concluded the second season of Game of Thrones with a powerful episode that built up on the magnificent set piece of the Battle of the Blackwater that last week's episode provided. Despite the fact that, after such a momentous event, the final episode could have felt more like a denouement than a riveting installment in itself, "Valar Morgulis" instead further teased out more tension, drama, and dread, offering an ending to the season that was flooded with possibility, both of life and and of death... but ultimately of change. Whi

Summer 2012 TV Preview: 14 TV Shows Worth Watching This Summer

Summer has arrived and you might be tempted to think that, with the departure of spring, anything decent to watch on television has evaporated in the warmth and sunshine. Not so. Over at The Daily Beast, you can read my latest feature, "Summer 2012 TV Preview: 14 TV Shows Worth Watching This Summer," in which I offer 14 new or noteworthy television shows to hold your interest during the sweltering months ahead. With the imminent conclusions of the current seasons of AMC’s Mad Men and HBO’s Game of Thrones , it might look as though we’re heading into a television no man’s land this summer. Not so: while the broadcaster networks are airing their usual fare of reality competitions— So You Think You Can Dance, The Bachelorette, Hell’s Kitchen , and America’s Got Talent are all on the schedule—and second-rate fare (NBC’s Saving Hope , to name one), there is still a ton of original programming to be seen. AMC’s Breaking Bad returns for the first half of its final season

The Chain: The Other Women on Mad Men

"At last, something beautiful you can truly own." At what price are we willing to sell our selves, our souls, our bodies? Is there a price or, for some, can we walk away knowing that we weren't able to be bought, no matter how much money was thrown into our faces? Or, for women in the 1960s, was there always someone who owned you outright, a pretty jaguar to be possessed whether you were wife or mistress? This week's installment brought these issues to the forefront, rendering an episode that was largely about the heartbreakingly quotidian objectification of women in the 1960s, as Joan (Christina Hendricks) prostitutes herself for a shot at a named partnership at SDCP, Megan (Jessica Paré) is reduced to a piece of meat at an audition, and Peggy (Elisabeth Moss) manages to leave Don after he literally throws money in her face. These three stories are threaded around the pitch for Jaguar, which itself deals in issues of objectification, ownership, and an easy misogy