Tag: Matthew Weiner (Page 2 of 2)

Mouse reshuffles, Leo the lion on the block, and other tales

* In the real world Obama appears to be rethinking Afghanistan; in the cable TV world Lou Dobbs is relieving CNN of his xenophobia and is threatening to go into politics while The Onion has the real scoop. Meanwhile in the movie world, Disney’s new chairman, Rich Ross, is reorganizing. It sounds as if technology will be leading the way in the new regime. Also, the structure of the organization will resemble more a television network, we’re told, than a movie studio. Once upon a time that might have worried me, but these days TV is hardly any worse than movies. I’m not sure if that’s good news about TV or bad news about movies. (A little of both?)

* The lion of Hollywood has been a bit mangy for a long time now. Peter Bart reports that MGM is about to be sold and the whole thing, 4,000 titles and all, is worth about $1.5 billion, which would be a lot of money to you and me but to a once mighty film studio sure sounds paltray. One factor, even the older titles in the library ain’t what they used to be, either. The studio’s signature titles: “The Wizard of Oz,” “Gone With the Wind,” and “Singin’ in the Rain” are now available on Warner Brother’s DVD along with a good chunk of their best known classics.  The ghosts of Culver City’s glory days are restless tonight.

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* Apparently being a movie critic these days is such an unstable, lousy position that some of the best known reviewers are jumping ship and becoming film festival programmers. Yesterday, it was Newsweek’s David Ansen. Today, it’s the L.A. Weekly/Village Voice’s Scott Foundas. Anne Thompson has the depressing news that might nevertheless be creating more opportunities for some of the better known online folks.

* The fruits of my compatriot Will Harris’s London sojourn are appearing in the form of some extremely worth-your-time interviews. First with writer/director Richard Curtis of the criticially underrated “Love, Actually” and the soon to be released “Pirate Radio.” Also roly-poly movie superstud and general all around good guy Nick Frost of “Shaun of the Dead,” etc., as well as “Pirate” newcomers Tom Sturridge and Talulah Riley gets the Harris treatment as well. Bob says collect ’em all.

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Mad Men 3.13 – “Do We Vote or Something?”

DAMN, that was good.

Tonight’s season finale of “Mad Men” was one of those blessing / curse episodes: it took threads from throughout the season, tied them together into a happy ending of cheer-worthy proportions, but just as you start to think, “Oh, man, I can’t wait to see what happens next,” you remember that you’re watching the season finale and that your wait is going to last for the better part of a year.

When we first see Don, he’s a goddamned mess. He looks like crap, he’s been kicked out of his own bed, and even worse, his alarm didn’t go off, leading him to show up late for a meeting with Conrad Hilton. Not exactly the best start to a day, and it only gets worse: Connie drops the bombshell that McCann-Erickson is buying Putnam, Powell & Lowe, and since PPL owns Sterling-Cooper…well, so much for the Draper / Hilton partnership. Given his already rough morning, it’s no surprise that Don quickly descends into mouthing off to Connie about his treatment, leading Hilton to snap back with the suggestion that Don’s being a bit of a whiner. In the end, the two shake hands and depart as…not exactly friends, but still on some semblance of friendliness, at least from a business standpoint.

It’s after this encounter, though, that the ball really starts rolling, and, man, there are some points where you feel like the ball in question is the boulder that chased Indiana Jones in “Raiders of the Lost Ark.” Seriously, this was about as fast-moving an episode of “Mad Men” as I can ever remember. After we have a quick flashback to Don’s childhood, wherein we see that he has some personal experience to abrupt business transitions, Mr. Draper blows into Mr. Cooper’s office and drops on him the bombshell that he’s learned from Hilton. The result, surprisingly enough, is little more than a shrug. (“It makes sense,” says Bert. “All that short-term thinking.”) When Cooper falls back on his “we’ve got a contract” mentality, Don lashes back and suggests that they try and buy Sterling-Cooper back from the Brits, making for an absolutely fantastic back-and-forth between the two of them, delivered with impeccable timing by Jon Hamm and Robert Morse. The buyback isn’t such a bad idea, but, of course, it involves Don and Roger Sterling having to start speaking again, which would seem to lower the odds considerably…and, yet, it doesn’t. Instead, it leads to a reconciliation between the two of them, though not before Morse and John Slattery get their chance to do some verbal sparring, with Cooper offering his “Join or Die” speech and Sterling openly mocking his tactics. Even after returning to speaking terms with Roger, however, Don still can’t catch a break, returning home only to get the word from Betty that she’s moving forward with her plans to divorce him.

The Trio of Power – that’s what I’ve decided to start calling Don, Roger, and Bert – soon reconvene and invite Lane Pryce in for a cup of tea, springing it on him that they know all about the situation with PPL and Sterling-Cooper. He tells them they’re slightly misinformed. Turns out that he’s slightly misinformed, once again getting the shaft from the company to which we’ve consistently seen him giving his all. This time they’ve gone too far, however, and he’s not afraid to let them know it. I gotta tell ya, I almost cheered when Lane began working out specifics with the Trio of Power about a possible partnership. This scene was even more enthralling than the ones which had preceded it, with the Trio more than willing to acknowledge Lane’s worth to them. And as soon as the quartet decided on their new plan of attack – to let Lane fire them and immediately begin working a back-door plan to start their own brand new agency – the tone of the episode officially turned into something not terribly far removed from “Ocean’s 11,” with a “we’re getting the band back together” vibe.

But what do you do when not everybody in the band wants to get back together?

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Mad Men 3.2 – The Sky Was Falling, Heaven Was Calling

Okay, before we really get rolling on this week’s “Mad Men” blog, I really think we should start things off in much the same way that tonight’s episode did: by reminding the world just how incredibly hot Ann-Marget was in the early ’60s.

I mean, seriously, was she smoking or what?

It’s no wonder that Peggy immediately slid into catfight mode with that comment about how, if the client was looking for someone like Kim McAfee (Ann-Margret’s character from “Bye Bye Birdie”), they were looking for someone who’s 25 but acts 14. It was a hilariously bitchy line, almost as funny as Sal’s character-perfect reaction when the clip ended. This obviously isn’t the first time Peggy’s been so annoyed by the goings-on within Sterling-Cooper that she’s stepped out of her comfort zone and tried to be someone that she really isn’t, but, wow, her attempts to duplicate Ms. Margret’s moves and vocal stylings made for some highly uncomfortable viewing. Nonetheless, she at least ended up feeling sufficiently empowered to go out for a one-night stand with a hyper-excited college boy.

No surprise, though, that she slowed down his base-running – as well she should have, since he was clearly headin’ for home plate at a fast clip – in order to avoid a possible repeat of the Pete Campbell situation. As she slipped out of bed in a failed attempt to avoid a walk of shame, I couldn’t help but notice just how much more attractive Peggy looks when she’s out of her work clothes…but, then again, you could probably say that about most women.

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Rich Sommer is one of TV’s happiest “Mad Men”

As any television fan worth his salt knows, the new season of “Mad Men” is just around the corner — and if you’re a fan of the series, you’ll be happy to know that Bullz-Eye’s Will Harris just so happens to have had a chat with series star Rich Sommer recently. It will come as no surprise that the ever-intrepid Harris tried to pry some tidbits about the upcoming season out of Sommer…and it should be equally unsurprising that Sommer, not wanting to run afoul of show producer Matt Weiner, begged off, saying “You might be able to get that out of someone else, but I can’t be the guy, because I have a good relationship with Matt Weiner…and I’ve got to keep it that way!”

Of course, even if he wasn’t leery of breaking Weiner’s trust, Sommer might not be able to tell us what to look for. As he says in the interview, that kind of information doesn’t exactly flow freely on the “Mad Men” set:

Matt (Weiner) is a little bit impish and likes to sort of tease you with things. Like, in the first season, when Harry was going to sleep with Hildy, he sort of would tease me and say, ‘Oh, you’ve got a little story coming up in a couple of episodes.’ I would say, ‘Oh, that’s awesome. What is it?’ He would say, ‘You have to guess.’

Okay, so you won’t find any “Mad Men” spoilers — but that doesn’t mean Sommer’s Bullz-Eye interview is a bore. Far from it: Over the course of two discussions with Will, he discusses life behind the scenes of one of television’s best-reviewed series, reflects on his other high-profile gigs (The Devil Wears Prada, The Office), and provides some perspective on how he went from endless fruitless auditions to a steady job on the boob tube:

It was my final audition of the pilot season. It had been three miserable, horrible months where I had zero callbacks, zero positive reception, one of those pilot seasons that makes you pretty sure you are never going to be an actor and never want to be an actor. And then that happened.

To read the rest of the interview, just follow this link!

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