Mad Women: Unhappy Thanksgiving
The title of Sunday night's Mad Men was "Dark Shadows," but let's call it by its more colloquial name. This episode was about that darkest of dysfunctional family holidays, the one with the turkey.
You can't change your life until you change who you are.
The title of Sunday night's Mad Men was "Dark Shadows," but let's call it by its more colloquial name. This episode was about that darkest of dysfunctional family holidays, the one with the turkey.
We kind of love the meticulous attention and historical accuracy that Matthew Weiner and his team bring to Mad Men, so for your Monday morning reading consideration we present Victor S. Navasky's 1966 New York Times Magazine article on hip (not "hep," Bert) ad agencies which totally ruined Pete Campbell's Sunday.
It has come to our attention that some people are getting bored with this season's Mad Men. Everyone's a critic, right? But it's in our power to make television whatever we want it to be. Here's our bids for some new directions.
Was it worth it for Mad Men to drop a reported $250,000 to play The Beatles' "Tomorrow Never Knows" as the end of Sunday's episode? We're guessing it was.
Women are not simply happy because they're being provided for in this post-Betty Mad Men world. They want more, and more is varied, complicated, individual, and sometimes problematic.
A legal battle between Dish Network and AMC is likely what's leading to Dish dropping AMC's channels starting this summer, which could put your Mad Men viewing party plans in serious jeopardy.
Sunday's episode of Mad Men ended with three generations of characters in various states of abject despair, sitting at a table at a fancy dinner.
Sunday's Mad Men brought us three main plot lines. They all had to do with angry women.
In Today's New York Times, Brian Stelter uncovers a burgeoning problem in American living rooms: Too much good Sunday night TV. But is this quality television overload a real problem?
Yesterday we learned that HBO's new series Girls, perhaps more written about than any new show this year, premiered to only so-so numbers. And by "so-so" we mean for premium cable.
Sunday's Mad Men brought us a return of the Pete Campbell we all know and used to despise. And it was somewhat beauteous, in a horrors-of-domesticity sort of way.
We've enlisted the help of a former '60s-era ad exec to run down the factual inaccuracies and anachronisms of Mad Men.
Sunday's Mad Men took a darker than usual turn, set against the backdrop of the actual story of Richard Speck's rape and murder of 8 student nurses in 1966.
Every day The Atlantic Wire highlights the video clips that truly earn your five minutes (or less) of attention.
Today: A Quality TV victor has been decided, a gang of British teens snubs the White House, and some exciting theater news.
The second installment in Mad Men's fifth season aired Sunday night, and while it was only an hour compared to the premiere's two (and, alas, there was no Zou Bisou Bisou), many of the themes set up in the first episode carried through, including a focus on female-driven plots. But there were some surprises too!
Salon's Robin Sayers is gunning for Mad Men's Pete Campbell, who she's convinced "is about to tumble out a window."
This week, Esquire magazine joined the proud tradition of media trolling with its Sex Issue, a cocktail of self-aware misogyny, arm-chair sociology, and pinup photos that engendered near-universal disgust, resulting in lots of "buzz."
With the cable business finally reaching saturation when it comes to adding new subscribers, and viewers blessed with more on-demand choices than ever, many top cable channels have recently experienced their worst ratings declines ever.
One of the traditions of the day after a Mad Men season premiere is the realization after endless hype is that few people watch the show -- last night's episode drew a paltry 3.5 million viewers -- but the way the show survives as a business is a good lesson in the changing entertainment landscape.
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