Does anyone know the name of the song that is playing when Don leaves Pete's apartment, in the end of this episode? Also, what is the song that is playing when he kicks down the door to the art department? Please help, been trying to find this out for a couple weeks now.
Stefanie said: "Seeing this group of men and women react with such immaturity to such a grave event was jolting." Richard, if I could re-title this episode, I think I'd call it Ã¢â¬ÅBabysitting.' And I'm not talking about hangin' out with Sally or Bobby or even Roger Sterling's now-wedded offspring and watching Disney movies and braiding their hair. Nope. I'm talking about the adults. This episode opened up another Pandora's Box 'the Kennedy assassination that you so astutely predicted would ruin Margaret Sterling's wedding ' and it made whatever lingering ambivalence we may have had about the characters abundantly clear. Betty is a baby. Pete is a baby. Peggy, Roger ' both babies. I have a disclaimer: I did not experience the horror and shock of the Kennedy assassination. I'm too young ' and perhaps desensitized to it. My generation's equivalents are probably Princess Diana's death and, of course, 9/11. I remember where I was on both of those days. So seeing this group of men and women react with such immaturity to such a grave event was ... jolting, to say the least. Thankfully, each had his or her own 'Åbetter half' to talk them down from the proverbial ledge ' Pete had the surprisingly stoic Trudy, Roger had Joan, Betty had her silver-haired fox, and Peggy had Duck. These better halves emerged, then, as the 'grown-ups' to which the title of the episode refers ' but where does that leave Don Draper and Jane Sterling? Perhaps ... their futures are unclear? No way! That would be silly. Maturity levels aside, it was quite fascinating to see how the news spread and how people reacted. I know that Betty's reaction ' that she couldn't stop crying ' was not uncommon to the time. In fact, it was refreshing to see her let loose a little and display some of her better parenting skills, like letting the children actually watch the news. Once Don came in, switched off the TV, and covered every little corner of the problem in his signature salve, it was clear how much of a change had taken place in both of them ' and how vital next week's season finale will be to the story of the Draper marriage. Joan's story was also rather delicious. It's obvious that she's unhappy, it's obvious that she enjoys reconnecting with Roger, and it's obvious that she's still the rock she always was. She is the definition of clutch Ã¢â¬â she can think of an ad campaign on the fly, MacGyver a tourniquet, and comfort a powerful man after another powerful man has been shot. Roger even says to her, Ã¢â¬ÅNobody else is saying the right thing about this.Ã¢â¬ï¿½ But to have Joan transition from ho-hum Greg to long-lost love Roger so quickly would be too smooth. Too easy. Too un-Mad Men. There have to be some rocky points in the future of this love triangle. What do you think, Richard? I canÃ¢â¬â¢t decide if PeteÃ¢â¬â¢s going to go off the deep end right away, or if heÃ¢â¬â¢s going to move on to DuckÃ¢â¬â¢s hep-cat firm, kick ass and take names, find out about Duck and Peggy, and then go off the deep end. TrudyÃ¢â¬â¢s been more of a pillar presence in his life than ever before, which is refreshing, but can she handle Even More Emotionally Tormented Pete? And, finally, Peggy. SheÃ¢â¬â¢s got a savory little dilemma on her hands, sleepinÃ¢â¬â¢ with the competition and whatnot. IÃ¢â¬â¢m still not so sure what she sees in Duck Ã¢â¬â their relationship is frustratingly underdeveloped, as is the tension between Peggy and Pete this season. Also, I have a hard time believing DuckÃ¢â¬â¢s character. HeÃ¢â¬â¢s one of those old guys who insists on regaining his youth with twentysomething women and a little too much jive talk. Regardless of PeggyÃ¢â¬â¢s taste in men, though, sheÃ¢â¬â¢s definitely in a pickle that will prove difficult to get out of Ã¢â¬â and will make for good television. Now, if we could just round up Sal in the season finale, all would be right in the world. Richard said: "I hope they go running and don't look back." Stefanie, I think you're right about this episode and its somewhat mysterious title. Who were the grownups here? Where were they? Like you said, we did indeed find adults, or at least adult-like behavior, in Joan and in Betty's dashing-yet-sad-eyed paramour. That wasn't terribly surprising. Joan has always known more than everyone else--it's her loneliness being out there on the forefront and her desperate attempts to reach back and be part of the gang that have made her something of a tragic figure on this show. And Betty's older would-be lover swooped in just at the right time, when she was missing her father, when she needed some kind of stern-but-loving male attention that Don was incapable of giving her. So yeah, those two folks are implicitly two of the "grown-ups" being discussed in this episode, I think. But you know who else became grownups in the most surprising way? Pete and Trudy. I absolutely adored the scene with sullen, bewildered Pete planted on the sofa, unwilling to go to Margaret Sterling's wedding--unwilling, really, to keep up the whole soul-gnawing rococo charade of his life when everything, the very fabric of the country, had suddenly and irrevocably changed. There was a true glimmer of awakening in those budding progressive words he spoke--about the coldness of corporate culture, about politics and money. And there was Trudy next to him--these sad little sailors in their said little boat bobbing sadly along alone together--having tiny epiphanies herself. Pete was right. This pretend life is stupid and hollow and provides no comfort or support when things bottom out beneath you. I certainly don't think they found the key to their happiness last night, but I think they both finally turned down the right road. Here I was thinking Peggy would be the only person to get out, but now here's Pete. I loved his sudden and budding maturity, the way he just sort of cracked and finally realized that none of the things he's been so upset about for the past few years really mean anything. It was a terrific little rescue of a sometimes irredeemable character. I hope it sticks. Other than that, I have to say I was left a little unsatisfied by the rest of the episode. Or not unsatisfied maybe, but not as riveted as I thought I would be. I mean, we've been waiting for this event all season, the Kennedy assassination, and then here it was. Just sort of here. But you know what? Now that I type that and think about it, maybe that was the point. It wasn't some sensational, rabble-rousing episode, it was just another slice of life. Like Joan said, people were still sick, babies were still getting born. Time lurched on and that was that. There were brief moments that felt like sea-changes, like Carla unabashedly lighting up on the Drapers' couch or Betty whining and raging about a quickly-changing world that she just couldn't understand. (Will she step into this brave new world or let it march away without her? We'll have to wait and see.) But other than that it was just these still same people mired in their dying lives. This increasingly empty party, everyone moving up to closer tables, huddling around their dwindling primordial flame while bonfires began to flicker into life outside, without them, surrounded by younger (or at least younger-minded) people. This older generation, this particular set of people who are grown (up), is just there on its ice floe, floating away. And maybe that's been Mad Men's chief thrust this season. Painting a picture of this option. To stay stubborn and conservative in the past or to grab a hold and participate. And I don't just mean big-picture socially. I mean in small ways too. Does Don listen to the progressive and wild-eyed Teacher and try to dig out the root of his sadness, to try to feel some hope for his life and the world at large? Does he stop trying to figure out what blue is for other people and enjoy his own color? Does Betty finally admit to herself that there are things, big important life-sized things, she's always wanted and hasn't gotten? Do Joan and Roger just cut the bullshit and tumble back into each other, where they belong, or do they stay unhappy but polished? Do Peggy and Pete realize their invaluable place in the world of Mad Men--that they're smart, young people who don't have to be left behind, who don't have to conform to some old institution they don't understand and don't like in equal measure? In the case of both of them, but especially Peggy, there's Duck. This older guy who became, like you said, a turtlenecked hep-cat, who saw some new thing on the horizon and said "Me want." Duck who is, yes, brash and silly and a bit dumb, but so are kids! So is the future of everything, all nascent and fumbling and Bambi-legged. Better to be wrapped up in that, to be on that rickety lifeboat, than put on your best furs and go down with the Titanic. Isn't it? I hope they leave Sterling Cooper, I hope they go running and don't look back. I don't know. I'm curious about next week, for sure, but I'm also curious about the future of the show. Things are gonna be really different. And I'm just not sure our central guy, our wounded hero Don, is really going to be able to hack it anymore. He's so dark--literally, has spent a lot of time in the dark this season--and so retreated into himself that I just worry he might be a casualty. Sort of historical collateral damage. Eggs broken to make an American omelet. I don't know. I'm rambling. In the words of Betty Draper, just what is going on?
In an episode that had the civil rights movement hoovering not-so-subtly in the background, sexual harassment and orientation in the workplace was shoved into the foreground. I was shocked, but not entirely surprised the way Sal's story ended at Sterling-Cooper. Lee Garner Jr. requesting Sal's dismissal following his come on was completely understandable, he wanted to keep his secret safe and to assert his position of power over the man who rejected him. When Don didn't fight for Sal's job I was surprised, I had thought Sal was a valued part of the creative department, and Don always seems to stand up for his team. I was shocked when Don had suggested that Sal should have allowed the client to have his way with him to satisfy a big client. It seems Don had assumed that because Sal is gay he therefore has loose morals and is less of a person than other men. Don seemed genuinely disgusted with Sal instead of merely disinterested which is something we would expect from Don. Do you think that the themes of sexual and racial discrimination were juxtaposed to make a specific point? To address them both at once or to draw parallels? Who else was entirely surprised by the way Don dealt with the situation?
The Emmy Awards - hosted by none other than How I Met Your Mother 's Neil Patrick Harris - are this Sunday night on CBS. That means it's time to make some winner predictions! Will 30 Rock and Mad Men dominate yet again? Refresh yourselves with the nominees from the major categories now: Drama Series Big Love Breaking Bad Damages Dexter House Lost Mad Men Comedy Series Entourage Family Guy Flight of the Conchords How I Met Your Mother The Office 30 Rock Weeds Lead Actor, Comedy Jim Parsons, The Big Bang Theory Jemaine Clement, Flight of the Conchords Tony Shalhoub, Monk Steve Carell, The Office Alec Baldwin, 30 Rock Charlie Sheen, Two and a Half Men Lead Actor, Drama Bryan Cranston, Breaking Bad Michael C. Hall, Dexter Hugh Laurie, House Gabriel Byrne, In Treatment Jon Hamm, Mad Men Simon Baker, The Mentalist Lead Actress, Comedy Julia Louis-Dreyfus, The New Adventures of Old Christine Christina Applegate, Samantha Who? Sarah Silverman, The Sarah Silverman Program Tina Fey, 30 Rock Toni Collette, United States of Tara Mary-Louise Parker, Weeds Lead Actress, Drama Sally Field, Brothers & Sisters Kyra Sedgwick, The Closer Glenn Close, Damages Mariska Hargitay, Law & Order: Special Victims Unit Elisabeth Moss, Mad Men Holly Hunter, Saving Grace (2007) Check out more nominees in all of the categories over on our Emmys Page and be sure to come back Sunday night to find out the winners! Also be sure to share your predictions in comments.
The Mad Men premiere is so close I can taste it! (Mmm, tastes like gin and cigarettes!) Mad Men returns for Season 3 on AMC Sunday, August 16th at 10/9c, so for this thrilling premiere, and in honor of Mad Men's many prestigious awards including 6 Emmys and 3 Golden Globes, we figured it needed some more fun awards as well. So who better to some newfangled, clever awards than the SideReel fans? Mad Men is all about the drinking, smoking, sleeping around, and backstabbing, so what, we asked, is exactly like that? High school of course! Okay, not in most real lives, but for the TV world! In that light, let's give the Mad Men characters some high school yearbook-style superlatives! Who's the most likely to succeed? Who's the most likely to die of lung cancer? Who's the biggest office slut? Who has the best hair? The worst dressed? Etc! We want your category nominations similar to or better than these suggestions! If you have a fun or clever category idea, tell us about it in the comments below, and if you see categories others have made up that you like, give those categories a vote! The top 10 categories will go on to the voting round where character choices for the categories will be added, then you can vote for who you think should take the win! Nominate away!
In recent times, many series have opted to forgo the full-length opening theme song/sequence and replace it with either a sort of half song (think Gossip Girl and Greek ) or just a flash of the show's name (think Lost and as of last season, One Tree Hill ). Even shows that used to have full length opening credits have recently started to abbreviate them - like Desperate Housewives and Grey's Anatomy . I agree that some shows don't need a full opening sequence (I can't imagine any sort of opening credits that would do Lost justice), but in general, it's a great way to set the stage for the show. 10 of my personal favorite opening credits/sequences that I believe are particularly defining to their respective shows: 1. Friends (1994) - Watch! 2. Six Feet Under - Watch! 3. Dexter - Watch! 4. Arrested Development - Watch! 5. Mad Men - Watch! 6. The Big Bang Theory - Watch! 7. The West Wing - Watch! 8. Star Trek: The Next Generation - Watch! 9. The O.C. - Watch! 10. The Sopranos - Watch! What are your favorite TV theme songs/opening credits?
Yahoo TV has a fun feature listing those characters on TV shows that are dastardly and evil, yet we love 'em anyway. Here's the full feature: When Good is Oh So Bad The list includes: 1. Janice Dickinson ( The Janice Dickinson Modeling Agency ) 2. Ari Gold ( Entourage ) 3. Benjamin Linus ( Lost ) 4. Chuck Bass and Blair Waldorf ( Gossip Girl ) 5. Amanda Tanen and Marc St. James ( Ugly Betty ) 6. Gaius Baltar ( Battlestar Galactica ) 7. Andrea ( Samantha Who? ) 8. Devon Banks ( 30 Rock , played by Will Arnett) 9. Pete Campbell ( Mad Men ) 10. Brian Darling ( Dirty Sexy Money ) Who's your favorite baddie? Who do you think is missing from this list?
There is going to be a smackdown soon. Who do you think will come out on top? Joan or Jane?
I cannot watch the maidenform video. I marked it as broken.
I was trying to watch season 1 of Mad Men and seems all the links are spam