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1 hour ago, roarlions said:

Regarding the one night stand between Peggy and Pete, I remember when I saw it that I thought a prior relationship between them was implied or hinted at. I'll have to rewatch the episode at some point to figure out why I thought that. Did anyone else get that impression? It always bothered me because I don't think a prior relationship was ever discussed/explained.

i don't think that i ever got that impression.

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23 minutes ago, wikkidpissah said:

i took a lot of crap here backinaday for lauding January Jones's acting ability. i had seen her do a great turn as trailer trash in in a flick called Three Burials and then to see her inhabit the convoluted ego of the Bryn Mawr types i had specialized in wrangling when i had repertoire, well, that and the Grace Kelly looks had me captivated. pretty much everybody here laughed when i gushed over her chops and subsequent roles proved them right, then right, then right again.

I think she played Betty so much and Betty hit so close to who she really is that she just got stuck in that mode. Her IG account is basically if Betty Draper was born in 1980. 

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It' tough not just binge-watching episode after episode like I did with Band of Brothers, The Boys and Parks and Rec.  At least providing a little write-up is slowing me down a little, which helps savor them, just like the scotch I'm starting to dabble in. Going to at least watch episode 6, "Babylon" later on tonight, maybe with some Sir Edwards...

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30 minutes ago, Charlie Steiner said:

It' tough not just binge-watching episode after episode like I did with Band of Brothers, The Boys and Parks and Rec.  At least providing a little write-up is slowing me down a little, which helps savor them, just like the scotch I'm starting to dabble in. Going to at least watch episode 6, "Babylon" later on tonight, maybe with some Sir Edwards...

Great episode.  

Roy: How do you sleep at night?

Don: On a bed made of money.

 

Keep an eye out for David Carbonara, the show’s musical composer, as the guy playing the zither(?) at The Gaslight. 

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5 minutes ago, OrtonToOlsen said:

Great episode.  

Roy: How do you sleep at night?

Don: On a bed made of money.

 

Keep an eye out for David Carbonara, the show’s musical composer, as the guy playing the zither(?) at The Gaslight. 

A zither? Really?  The dad of one of my old neighborhood friends played the zither. My friend was somewhat embarrassed about it, although TBH his dad embarrassed him a lot of different ways.

I've started it but I'm also obviously watching at a leisurely pace.  Just past Roger and Joan in the hotel room. Reason #84735987 I don't like Roger. Not liking Don right now, either, after the way Betty was talking about how much she wanted him.

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On 7/16/2020 at 1:29 PM, Dr. Octopus said:

It ranks only behind the Sopranos for me. After my initial binge of both shows I would have put in behind Breaking Bad as well but watched them both again from start to finish alternating shows and Mad Men was much more impressive to me and held up better on rewatch.

Have you rewatched Soporanos? Because that aged really, really poorly for me. Definitely way behind BB and Mad Men on the TV list.

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I think I'm finally starting to get Peggy. It's like she understands everything going on around her and is confused that everyone around her doesn't.

Still not sure if 'basket of kisses' was intentional on her part or not, but if it was, then she's playing 3-D chess while everyone around her is playing checkers.

On to episode 7...

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23 minutes ago, Charlie Steiner said:

@OrtonToOlsen, that's an autoharp, not a zither.

Good tune. Haunting. Wanted Don to punch the hippie in the face, but getting the better of him verbally was better.

 

Ahhh...thanks.  I knew it was one of those string thingies.   

And the dude who played Roy is now on that “Yellowstone” show.  He plays a cowboy.  

 

 

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22 hours ago, Long Ball Larry said:

i don't think that i ever got that impression.

I just rewatched the episode. I think my impression of Peggy and Pete having known each other before she started working for Don was that she seemed so unsettled by Pete's behavior in the office but then was so easy when he showed up at her apartment. Also the way Pete talked to her at her door. Granted he was drunk and wanted to close the deal, but him saying that he had to see her that night just didn't make sense to me unless they already had a relationship. I'm probably just trying to reconcile what seems like bad writing and contradictory behavior by both people happening in such a short period of time.

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I'm up to season 2, episode 2.

Peggy really IS bat#### crazy. Would it be a safe bet to say we are going to also learn about a suicide attempt in her past?  Or is it just implied by her sister that told her the state of New York and the doctors didn't think he was capable of making her own decisions?  I had to re-watch that part 2 more times after the initial shock.

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3 minutes ago, Charlie Steiner said:

I'm up to season 2, episode 2.

Peggy really IS bat#### crazy. Would it be a safe bet to say we are going to also learn about a suicide attempt in her past?  Or is it just implied by her sister that told her the state of New York and the doctors didn't think he was capable of making her own decisions?  I had to re-watch that part 2 more times after the initial shock.

might be covered in eps you aint seen yet, so...

cant be certain, but i believe the she underwent a psych eval because she wouldnt look at her baby

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  • 2 weeks later...
9 hours ago, Charlie Steiner said:

You know how sometimes a writer inserts himself into a story?  I think I figured out who's representing Matthew Weiner--Glen.

Enh, in part.  There's another surrogate for him, though . . . stick around

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On ‎8‎/‎5‎/‎2020 at 5:25 AM, Aerial Assault said:

Enh, in part.  There's another surrogate for him, though . . . stick around

If you mean Ginsberg, I disagree; I think Ginsburg is Weiner's take on Aaron Sorkin. Plus, the kid that plays Glen is Weiner's kid.

Also, feel really bad about Sal and don't like how his last appearance went.

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On 8/5/2020 at 5:38 PM, Brunell4MVP said:

I liked Mad Men.  But by season 64 it felt like the same exact show I watched in season 1.  Like being stuck in time.

It jumped the shark for me in season 39.

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  • 9 months later...

I've liked TV shows before and watched them ad nauseam, but this show is a whole different level of addiction right now. I'm on either my 4th, 5th or 6th time through in less than a year since my first go-round. I've been watching sometimes 2-3 episodes per night with maybe a night or two off and maybe a few days off before starting again once I've reached the end. I even went back to the beginning of this thread to pore over your comments and insights to broaden my perspective on the show. Many things were said that I'm still trying to catch up with, especially the internal struggle to reconcile Dick Whitman and Don Draper.  All I can say is that it's probably a good thing I didn't get into the show when it originally aired because I don't think I would have dealt as well with the time between episodes. I'm currently near the end of season 3 and even though I've been here 4-5 times before, I look forward to seeing new details. 

Also, I have a ton of random thoughts about the show and just feel the need to get them out of my head.  I don't expect them to be earth-shattering, just more thoughts about a show most of us in this thread followed and/or liked...

1. The Barbie that Betty gave Sally after Gene was born looked like Meagan to me.

2. When Don is at the beatnick bar with Midge, as the song 'Babylon' progresses, I'm positive I saw the look on Don's face ever so subtly change to anger of all things, as if the sorrow portrayed in the song was his alone and no one else had the right to it.

3. Speaking of subtle facial expressions, Christina Hendricks is no doubt is a master. There were countless moments she got to to do this, but when they were meeting with Jim Hobart and he enticed all of them except her with big name clients, I felt she gave an entire soliloquy using only her eyes and facial expression. It was apt that she got to say 'The medium is the message' way back in season 1.

4. It wasn't until this 4th/5th/6th viewing of the series that I finally saw nuance in January Jones' portrayal of Betty.  On one hand, Betty was set up early in the series that her mother's death shortly before the series began had a profound effect on her (I remember Don telling the therapist "she wasn't always this way"), so it should have been a concession from the beginning that she was 'damaged'. Where Betty came alive for me were the times she was able to get out of the house, mainly when she got to dress up and go to fancy places, Rome, etc., and I thought she hit her 'peak' in season 3, during the arc where she starts getting involved with Henry, through her confrontation with Don about his past.  Not saying that means Jones is a great actress, more that there was more going on with her character than how she portrayed it, which I think was less accidental than she gets credit for.

5. Sal's exit from the show still doesn't sit well with me, mainly because the scene behind him when he's on the phone talking to his wife is not supposed to lead to any other conclusion than that he's at some sort of place where men hook up with each other. I think I don't like it mainly because I've been so conditioned by pop culture over the last 20 years to not assume anything, yet that's exactly what we're basically forced to do here.  I think a great ending for him would have been that in the last episode, when everyone was getting their send off, that one of the guys that went to McCann would have had a pitch meeting with Belle Jolie, and the guy that hit on Sal back in season 1 would have been promoted and he would introduce Sal as their creative director. 

Anyway, there's more, but these are some of the thoughts that have come to me via multiple re-watching. I doubt I would have had most of these thoughts if I had watched the show as it was originally aired, but there they are.

 

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36 minutes ago, Charlie Steiner said:

I've liked TV shows before and watched them ad nauseam, but this show is a whole different level of addiction right now. I'm on either my 4th, 5th or 6th time through in less than a year since my first go-round. I've been watching sometimes 2-3 episodes per night with maybe a night or two off and maybe a few days off before starting again once I've reached the end. I even went back to the beginning of this thread to pore over your comments and insights to broaden my perspective on the show. Many things were said that I'm still trying to catch up with, especially the internal struggle to reconcile Dick Whitman and Don Draper.  All I can say is that it's probably a good thing I didn't get into the show when it originally aired because I don't think I would have dealt as well with the time between episodes. I'm currently near the end of season 3 and even though I've been here 4-5 times before, I look forward to seeing new details. 

Also, I have a ton of random thoughts about the show and just feel the need to get them out of my head.  I don't expect them to be earth-shattering, just more thoughts about a show most of us in this thread followed and/or liked...

1. The Barbie that Betty gave Sally after Gene was born looked like Meagan to me.

2. When Don is at the beatnick bar with Midge, as the song 'Babylon' progresses, I'm positive I saw the look on Don's face ever so subtly change to anger of all things, as if the sorrow portrayed in the song was his alone and no one else had the right to it.

3. Speaking of subtle facial expressions, Christina Hendricks is no doubt is a master. There were countless moments she got to to do this, but when they were meeting with Jim Hobart and he enticed all of them except her with big name clients, I felt she gave an entire soliloquy using only her eyes and facial expression. It was apt that she got to say 'The medium is the message' way back in season 1.

4. It wasn't until this 4th/5th/6th viewing of the series that I finally saw nuance in January Jones' portrayal of Betty.  On one hand, Betty was set up early in the series that her mother's death shortly before the series began had a profound effect on her (I remember Don telling the therapist "she wasn't always this way"), so it should have been a concession from the beginning that she was 'damaged'. Where Betty came alive for me were the times she was able to get out of the house, mainly when she got to dress up and go to fancy places, Rome, etc., and I thought she hit her 'peak' in season 3, during the arc where she starts getting involved with Henry, through her confrontation with Don about his past.  Not saying that means Jones is a great actress, more that there was more going on with her character than how she portrayed it, which I think was less accidental than she gets credit for.

5. Sal's exit from the show still doesn't sit well with me, mainly because the scene behind him when he's on the phone talking to his wife is not supposed to lead to any other conclusion than that he's at some sort of place where men hook up with each other. I think I don't like it mainly because I've been so conditioned by pop culture over the last 20 years to not assume anything, yet that's exactly what we're basically forced to do here.  I think a great ending for him would have been that in the last episode, when everyone was getting their send off, that one of the guys that went to McCann would have had a pitch meeting with Belle Jolie, and the guy that hit on Sal back in season 1 would have been promoted and he would introduce Sal as their creative director. 

Anyway, there's more, but these are some of the thoughts that have come to me via multiple re-watching. I doubt I would have had most of these thoughts if I had watched the show as it was originally aired, but there they are.

 

I still haven't been able to get through the whole series.  I think I am in season 3 but I haven't watched in a few months.  It is great acting and interesting story lines but It is easy for me to not go back to it.  For some reason it isn't as "binge-y" as some other lesser shows.  I am not sure why.  

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dang, now you've made me homesick...

i miss my two-eps-a-wk since they took it off Prime (which is precisely when i took Prime off, tho only part of why) and left me without existential mileposts for guidance. lightning in a bottle, to be sure - nobody from the show cept maybe Peggy (havent see Handmaid's yet) has done anything close since.

i dont atomize my media unless i have a special reason to - my subconscious does it better and leaves me with more room for wonder - but your notes make note of perhaps Mad Men's greatest aspect: its two living dolls. 

there will never be another Betty or Joan, thank goodness, but that's the key to the show's magic - revealing who we were just at the point we began to wonder who we were. before the glass ceiling was the gilded cage and either one of these portrayals would be the best-ever capture of the plight of the songbird, so the double miracle of nailing Cool Blonde & Big Red in one story is epic. and to find two actresses who could both physically match the point of envy they were and aware of all the telling points of that level of attractiveness makes me swell with admiration. dang, i miss that show....

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5 minutes ago, Gilroy34 said:

doesn't ring a bell, no pun intended

the closeted gay art director, whose "secret" was exposed to Draper during a fire alarm on a bidness trip

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6 minutes ago, Gally said:

I still haven't been able to get through the whole series.  I think I am in season 3 but I haven't watched in a few months.  It is great acting and interesting story lines but It is easy for me to not go back to it.  For some reason it isn't as "binge-y" as some other lesser shows.  I am not sure why.  

I think part of the reason I passed on it the first time around was that I wasn't interested in that time period and the stereotypical associations we have with the 60's. However, as clips of the show appeared on youtube and I watched them, I got the feeling of something deeper resonating with me, and I think that's why I keep going back again and again: the tone and writing for this show speaks to how I view the world as well, not 100% but in ways I didn't expect.

3 minutes ago, wikkidpissah said:

dang, now you've made me homesick...

i miss my two-eps-a-wk since they took it off Prime (which is precisely when i took Prime off, tho only part of why) and left me without existential mileposts for guidance. lightning in a bottle, to be sure - nobody from the show cept maybe Peggy (havent see Handmaid's yet) has done anything close since.

i dont atomize my media unless i have a special reason to - my subconscious does it better and leaves me with more room for wonder - but your notes make note of perhaps Mad Men's greatest aspect: its two living dolls. 

there will never be another Betty or Joan, thank goodness, but that's the key to the show's magic - revealing who we were just at the point we began to wonder who we were. before the glass ceiling was the gilded cage and either one of these portrayals would be the best-ever capture of the plight of the songbird, so the double miracle of nailing Cool Blonde & Big Red in one story is epic. and to find two actresses who could both physically match the point of envy they were and aware of all the telling points of that level of attractiveness makes me swell with admiration. dang, i miss that show....

Funny you mention Prime, as that's how I'm seeing it.  IMDb is one of the channels Prime carries, albeit with commercials, but I've been watching it pretty steady for the last 10 months.

As for Betty and Joan, I've gone full circle on both of them.

As I was reading through this thread I saw a lot of disdain for Betty and January Jones' acting ability. I admit that was how I felt as well and why I'm glad I have the luxury of watching her story in a more accelerated yet leisurely pace, meaning I didn't have to stew on my first impressions for a week before getting the next snippet but rather I've been able to watch her for longer stretches with the ability to make sense of her character and the portrayal of it. Yes, JJ was the perfect actress to play the part, but that also didn't mean she had to portray a great range to nail the performance. In a way, she was like the Rothko painting in Cooper's office, mostly one color but with an array of shades and depth on display yet still just one color.

As for Joan, by the end of the show's run, I no longer felt pity for what she had been through, but rather sadness over her hubris, which was actually on display from her first interactions with Peggy all the way to her exit from McCann, where she only used women's rights/sexual harassment as a threat for her own financial gain and not for the 'greater good' of the women's movement.

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51 minutes ago, Gally said:

I still haven't been able to get through the whole series.  I think I am in season 3 but I haven't watched in a few months.  It is great acting and interesting story lines but It is easy for me to not go back to it.  For some reason it isn't as "binge-y" as some other lesser shows.  I am not sure why.  

 

It's as close to perfect as it gets, imo.

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Just now, Leeroy Jenkins said:

I wanted to re-watch during the pandemic and was sadly surprised that it was no longer on Netflix.  Is it streaming anywhere at all??

I'm watching it on Prime, by way of their IMDb channel. They have the show with commercial breaks.

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2 minutes ago, Leeroy Jenkins said:

I wanted to re-watch during the pandemic and was sadly surprised that it was no longer on Netflix.  Is it streaming anywhere at all??

As mentioned above, Amazon Prime, but with ads

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1 hour ago, Charlie Steiner said:

I think part of the reason I passed on it the first time around was that I wasn't interested in that time period and the stereotypical associations we have with the 60's. However, as clips of the show appeared on youtube and I watched them, I got the feeling of something deeper resonating with me, and I think that's why I keep going back again and again: the tone and writing for this show speaks to how I view the world as well, not 100% but in ways I didn't expect.

Funny you mention Prime, as that's how I'm seeing it.  IMDb is one of the channels Prime carries, albeit with commercials, but I've been watching it pretty steady for the last 10 months.

As for Betty and Joan, I've gone full circle on both of them.

As I was reading through this thread I saw a lot of disdain for Betty and January Jones' acting ability. I admit that was how I felt as well and why I'm glad I have the luxury of watching her story in a more accelerated yet leisurely pace, meaning I didn't have to stew on my first impressions for a week before getting the next snippet but rather I've been able to watch her for longer stretches with the ability to make sense of her character and the portrayal of it. Yes, JJ was the perfect actress to play the part, but that also didn't mean she had to portray a great range to nail the performance. In a way, she was like the Rothko painting in Cooper's office, mostly one color but with an array of shades and depth on display yet still just one color.

As for Joan, by the end of the show's run, I no longer felt pity for what she had been through, but rather sadness over her hubris, which was actually on display from her first interactions with Peggy all the way to her exit from McCann, where she only used women's rights/sexual harassment as a threat for her own financial gain and not for the 'greater good' of the women's movement.

i took a lot of flack at the time for failing to recognize that Miss Jones' talents might not be all that convertible. i had also just seen her in Tommy Lee Jones' Three Burials, where she has an almost perfect scene where she's trailer trash leaning on a kitchen counter, watching her stories when her husband crosses behind, just has to have datass, and does so with the camera rarely leaving a one-shot of her reactions (or lack of same) thruout. nailed it.

but they both just absolutely got "trapped", the trophies who showed us their case

Edited by wikkidpissah
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54 minutes ago, wikkidpissah said:

i took a lot of flack at the time for failing to recognize that Miss Jones' talents might not be all that convertible. i had also just seen her in Tommy Lee Jones' Three Burials, where she has an almost perfect scene where she's trailer trash leaning on a kitchen counter, watching her stories when her husband crosses behind, just has to have datass, and does so with the camera rarely leaving a one-shot of her reactions (or lack of same) thruout. nailed it.

but they both just absolutely got "trapped", the trophies who showed us their case

The thing is about JJ, if she had any menace to her, she'd be her generation's Christopher Walken.

As for Christina Hendricks, her build unfortunately overshadows her acting talent.  She had so many memorable scenes that took place from the neck up yet most only remember the ones from the neck down. TBH, her face/smile at times impressed me more than her curves.

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1 hour ago, Leeroy Jenkins said:

I wanted to re-watch during the pandemic and was sadly surprised that it was no longer on Netflix.  Is it streaming anywhere at all??

I watched it for the 3rd time at the start of the pandemic. Might have to fire it up soon again.

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19 minutes ago, Charlie Steiner said:

The thing is about JJ, if she had any menace to her, she'd be her generation's Christopher Walken.

As for Christina Hendricks, her build unfortunately overshadows her acting talent.  She had so many memorable scenes that took place from the neck up yet most only remember the ones from the neck down. TBH, her face/smile at times impressed me more than her curves.

Miss Hendricks just flat dominated that role - the bravado & insouciance, the outer flair & inner life, the GalFriday & HeadHen, the casuistry & resignation of being a woman around whom it was then socially acceptable to bite one's knuckles, fall to the knees & groan over in passing.

And she is otherwise talented - as on display in a version of my all-time favorite musical, Company, which she did w a bunch of TV stars for PBS a few yrs back. i have a running dialogue with my famous director cousin (Chicago, Mary Poppins Returns) because i've been trying to get him to make a movie of it for twenty yrs (my concept of it is to do it on four split-screens throughout - the non-musical outer life of the singing characters being flashed on the extra screens during their numbers. he says he'll look at it if i storyboard the entire thing, but i'm not that talented) and we've had long disagreements over which couple in the original we'd change to a gay couple in an adaptation (which i won when a recent WestEnd production picked my choice). very crisp in a difficult role. the rest of her post-MadMen work as entirely unremarkable as with the rest of em, however.

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6 minutes ago, wikkidpissah said:

Miss Hendricks just flat dominated that role - the bravado & insouciance, the outer flair & inner life, the GalFriday & HeadHen, the casuistry & resignation of being a woman around whom it was then socially acceptable to bite one's knuckles, fall to the knees & groan over in passing.

And she is otherwise talented - as on display in a version of my all-time favorite musical, Company, which she did w a bunch of TV stars for PBS a few yrs back. i have a running dialogue with my famous director cousin (Chicago, Mary Poppins Returns) because i've been trying to get him to make a movie of it for twenty yrs (my concept of it is to do it on four split-screens throughout - the non-musical outer life of the singing characters being flashed on the extra screens during their numbers. he says he'll look at it if i storyboard the entire thing, but i'm not that talented) and we've had long disagreements over which couple in the original we'd change to a gay couple in an adaptation (which i won when a recent WestEnd production picked my choice). very crisp in a difficult role. the rest of her post-MadMen work as entirely unremarkable as with the rest of em, however.

I had to look up Company. I was surprised to see the name George Furth attached to it. Only knew about his acting. If you need storyboard help, you should see if Sal is still working.

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2 hours ago, wikkidpissah said:

Miss Hendricks just flat dominated that role - the bravado & insouciance, the outer flair & inner life, the GalFriday & HeadHen, the casuistry & resignation of being a woman around whom it was then socially acceptable to bite one's knuckles, fall to the knees & groan over in passing.

And she is otherwise talented - as on display in a version of my all-time favorite musical, Company, which she did w a bunch of TV stars for PBS a few yrs back. i have a running dialogue with my famous director cousin (Chicago, Mary Poppins Returns) because i've been trying to get him to make a movie of it for twenty yrs (my concept of it is to do it on four split-screens throughout - the non-musical outer life of the singing characters being flashed on the extra screens during their numbers. he says he'll look at it if i storyboard the entire thing, but i'm not that talented) and we've had long disagreements over which couple in the original we'd change to a gay couple in an adaptation (which i won when a recent WestEnd production picked my choice). very crisp in a difficult role. the rest of her post-MadMen work as entirely unremarkable as with the rest of em, however.

She was only in two episodes of Firefly but stole the show in both (especially her first appearance.) Heck, she stole the show with just a few minutes of screen time as a bar wench in Angel.

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So I'm watching the scene where Ginsberg is talking about being born in a concentration camp, and I never noticed before that the only way we see his face through the whole thing is via his reflection in the mirror. I don't know if that detail was talked about when it first aired, but it really hit me this time.

Man, I love this show...

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  • 3 months later...
On 8/4/2020 at 8:35 PM, Charlie Steiner said:

You know how sometimes a writer inserts himself into a story?  I think I figured out who's representing Matthew Weiner--Glen.

I'd like to revise this thought.  I now believe Matthew Weiner inserted himself at the very end of the series, in the form of the guy in the encounter group who shares the dream he has of being in the refrigerator.  I don't think it was coincidence that he was balding like Mr. Weiner, and the sense of loneliness he imparts with his story encapsulates the entire theme of the show such that it can't be a coincidence. Also, the more I've watched this scene, the more impressed I am with that actor's performance and would rank it up there with any single scene of the entire series.

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