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maxxfisher |
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That look on her face, it's like she's burning my soul
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Ann Margret Thatcher |
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Cheers for making it up that far.
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PAPAYOKE |
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Damn, that Christina Hendricks shol' is PURTY!
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maxxfisher |
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StarrEise |
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Now THAT'S what a real woman looks like.
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ginaf20697 |
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Ann Margret Thatcher wrote: |
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Regardless |
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Was anyone besides me worried for Joan's safety? I initially worried that she would be the victim of the lawnmower in the office last night. My feelings of
fear and dread turned to outright laughter at how the scene ended. I still laugh audibly when I think of the secretary crashing through the glass walls while
driving the lawnmower. So hilarious.
I don't think Joan will be leaving to go become a nurse. I think that scene was meant to emphasize that Joan had "brains in her fingers" unlike her husband; women at the time were nothing more than nurses in the medical field, despite women being just as capable (more so in Joan's case) as men in the field. Anyhoo, I loved last night's episode. It was fantastic! Joan and Don love, Betty hate |
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Angelica2003 |
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There was a big LOL moment for me last night (don't know if anyone else noticed it) when the London crew was being given the big tour: Everone was trying at act important/on their best behavior, and there's douche-bag Kinsey acting douchey, sitting on his desk, playing his guitar like some folk singer-hippie wannabe :lb He is such a TOOL! I almost peed myself laughing at the whole scenario. It really was a hilarious episode. |
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SuitSnob |
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ImCrushingYourHead |
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Regardless wrote:Yes. It was shot very cleverly. You see the lawn-mower going too fast through the office, then you hear it loudly as Joan & Peggy talk over it, and you kind of think it's headed toward them. Then, when you see it isn't, there's a moment of relief, until the screams and the blood, and you realize there actually was a casualty. I don't remember the exact sequence (anyone?) but it was perfectly orchestrated. eta: CH is perfection! |
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sadllama |
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This was probably the funniest episode in awhile and probably my favorite of the season. Joan is the perfect woman. The way she instantly knew exactly what to
do in that situation with the guys foot made me realize she truly can do anything.
I also loved the scene of Don doodling in his note pad as soon as he realized he wasn't going to be promoted. Also, good call on whoever originally pointed out that was Conrad Hilton a few eps back. |
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TV MA LSV |
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porkfriedrice |
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Wow. One of the best episodes ever.
Check out the Time cover of Connie... http://www.time.com/time/covers/0,16641,19630719,00.html |
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ImCrushingYourHead |
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The cover beside it says "Mad Man" - although it's about Glenn Beck ... intended advertising cross-over?
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2Legit |
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What if Joan goes to work for Duck as one of the first "cherries" he picks away from Sterling-Cooper?
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ImCrushingYourHead |
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Maybe he'll get Joan, Peggy, and Pete.
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ImCrushingYourHead |
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Okay. I finally have caught up with this thread. I'm bothered by this "get rid of the children's scenes" idea ...
I LOVE the scenes with the children. They have been some of the most telling, poignant, & heart-breaking. The way Don & Betty interact with them speaks volumes about their characters. Betty's hostility towards them is shocking, and you can see her stress and entitlement play out with every mean thing she says & does to them. Don is more sensitive toward them, I see his rough and painful childhood in every kind thing he does toward them, though he can be cold at times too. I think one of the greatest themes of the show (and, well, psychoanalysis for that matter) is that we can't escape our parents' influence. This was alluded to ironically in the scene with Don & the CO in the hospital waiting room. The CO says that all the prisoners he deals with blames their criminal lives on their parents. He and Don laugh at this 'ridiculous' claim, but Don's complex issues all seem stem from his dark childhood, belying his ridicule. Also, as mentioned, Don & Betty seem to represent the repressiveness of the 50's/early 60's culture. The children represent the impending reaction of the woodstock generation. What better way to show this than the scene where the young daughter is screaming the raw passionate UNREPRESSED truth about the grandfather's death, to the stone-cold foursome of the repressed generation, who act like nothing much has happened? Ohmygod, brilliant. I can't imagine this layered show without the kids - they add so much dimension to the ideas, story, & characters of MadMen. |
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TV MA LSV |
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ImCrushingYourHead wrote: I so agree that the kids are important to what makes Mad Men work. I love the kids. Especially Sally. (I might love the little boy too, but in every Ep he seems to be played by a different kid actor. I hate all of this fucking re-casting.) But (I think) you are wrong about that death reaction being about "the repressiveness of the 50's/early 60's culture." Fuck that. You young viewers use "repression of the time" as too much of a crutch when viewing this show. Things are just as repressed now as they ever were. You yoots do not get that yet. You think you are so above that. You FAIL, in the parlance of our time... Sally vs the "stone-cold foursome of the repressed generation" is about death, not about the culture of the time. Sally is a child. Her first experience of death. Her reaction is expected. The family around the table has been to this dance before. They are experiencing what you never want to have folks experience when YOU die... Relief. Gene was an asshole. And a burden to all those that had to deal with him in his declining years. Yes, there was sadness because no one wants people to die. But Gene's passing was not "acting as if nothing had happened." Gene's passing was "thank God, Gene is finally gone.(God rest his soul...)" Crying and pouring out your every thought is not the expression of an advanced culture. It is what I expected from Sally. A child. No disrespect, but y'all need to check this "repressiveness of the 50's/early 60's culture" bullshit. If you don't see it in your own "culture" then you are beyond hope. |
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TV MA LSV |
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And that was not directed at you, Crush. You are one of my favorite posters.
You are just the most recent to bring up this "repressed culture" argument. I wanted to respond. Hell, I like all y'all young people. You bring great wisdom to the game... |
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ImCrushingYourHead |
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I totally agree TV that there's just as much repression today as back then, and that people mistakenly think there isn't. And I also think it's a
good point that the adults were relieved at Gene's dying. Whereas because Sally brought out the best(?) in Gene, she therefore suffered a different kind of
loss.
And while I ALSO agree that "Crying and pouring out your every thought is not the expression of an advanced culture" (nicely put), I still think that a) it points to a philosophy that did take hold, rightly or wrongly, of Sally's generation, and b) there was something pointed about the way Sally repeated the truth about Gene's death, that felt like more than just a child's rant. For people to say that someone, child or adult, who is in the throes of grief over a big recent loss is being 'hysterical' is VERY repressed. Betty is obviously repressed, and the list of her behavior that comes from that is long. I don't think there would be a lot of argument there. (maybe I'm wrong?) But the question I'm thinking is, can you say that Don is repressed? Or is he actually fully realized in the sense that he knows exactly what's going on inside of him? I really don't know, but it's part of the mystery of him that keeps me addicted! |
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