Tag: Vincent Kartheiser (Page 3 of 4)

A Look at “Mad Men: Season 4”

And we mean that literally: we just received a collection of photos which AMC released in conjunction with the screener of the first episode of Season 4.

I’m not going to have my ass handed to me for spilling any secrets of about Season 4, so don’t go looking for any spoilers, but here’s a bit of text from AMC’s press release to keep you going ’til July 25th:

“Mad Men” riveted audiences with a cliffhanger finale in season three, as Don Draper’s professional and personal lives unexpectedly imploded. This season, the series’ breakout ensemble cast continues to captivate as they grapple with an uncertain new reality.

In season three, “Mad Men’s” unflinching look at the human condition continued as characters faced the realities of dramatic change in the country – from the birth of civil rights to the assassination of a president – and in their personal lives. Whether it was corporate politics, homophobia in the workplace or the frustration of betrayal, they dealt with an unsettling loss of the familiar. Audiences were stunned by the self-destruction of protagonist Don Draper, including a confrontation with wife Betty that forced him to reveal the truth about his past and identity, and the resale of Sterling Cooper by British parent company Putnam, Powell and Lowe (PPL), which left its partners on the brink of a new beginning.

The consequences of the shattering secrets exposed in season three will continue to reverberate in “Mad Men’s” fourth season, as the lives of the men and women of Sterling Cooper Draper Pryce continue to evolve. As relationships are redefined and people are forced to face themselves and the world around them in new ways, the series will continue to question the traditional norms and the simmering societal frustrations between women and men with compelling storylines and resonant moments that are sure to enthrall as the new season unfolds.

Check out the photos after the jump!

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Frank Loesser centenary movie moment #1

If you were listening to NPR news this morning, you might have caught a very nice interview with Jo Sullivan Loesser, the widow of Broadway legend Frank Loesser, best known for his songs for “How to Succeed in Business Without Really Trying” and “Guys and Dolls,” a real contender for the best musical comedy score of all time.  The occasion is that this is the year Loesser, who died in 1969, would have turned 100.

So, here’s the key number from “How to Succeed,” in which young, extremely fast-rising executive and ex-window washer J. Pierrepont Finch serenades his favorite person in the world. The film version, directed by David Swift, isn’t a particularly brilliant piece of cinema in terms of taking the piece from stage to screen, but it documents the play on film rather nicely, as you’ll see below.

Of course that’s a young Robert Morse up there as Ponty. I’m not sure how widely known it is to younger viewers of “Mad Men,” but Morse is better known these days as the conniving and sagacious Bertram Cooper, until recently the senior mucky-muck of ad firm Sterling Cooper. (Any similarities between the often somber TV show and the sprightly satirical musical aren’t, of course, all that coincidental.) Morse is an even better actor today, but the above shows how skilled he was at age 35 back in 1966-7 (when he still looked about 20).  Daniel “Please don’t call me ‘Harry'” Radcliffe, who really is still practically a zygote, is going to be taking on the role shortly on Broadway, which will be interesting.

After he’s done…well, I wonder if Vincent Kartheiser (i.e., Pete Campbell) can sing at all. I’d pay to see that.

TV in the 2000s: The Decade in Whedonism – 10 Small Screen Masterpieces from Joss Whedon

Like an awful lot of film and TV geeks, and just plain geeks, I’m a pretty big Joss Whedon fan. In fact, my devotion to his unique blend of fantasy and science fiction melodrama, sometimes arch old-school movie-style witty dialogue blended with Marvel comics repartee, strong characterization, and often somewhat silly plots has at times gotten almost embarrassing. A few years back some of my very adult friends were suggesting in concerned tones that I should really marry the man if I love him so much.

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More recently, I thought my fandom was under relative control. But now, I’ve been asked my opinion on the ten best examples of small-screen work in this decade from the creator and guiding force of “Angel,” “Firefly,” the already canceled “Dollhouse,” and, of course, “Buffy, the Vampire Slayer.” I only have to be thankful for the fact that first four seasons of “Buffy,” which contain most of that show’s greatest episodes, are disqualified because they appeared on TV sets before 2000. We take our mercies where we find them. (And, yes, if you’re about to catch up with these on DVD, there are a fair number of spoilers below for the various series, though I’ve tried to keep a few secrets.) One word of warning: my relative ranking of these shows is a matter of mood and borders on the random. In other words — don’t hold me to these choices!

Out of competition:

The Body” (“Buffy, the Vampire Slayer”) – This episode usually ranks extremely high when people make these kind of lists. Entertainment Weekly named it as pretty much the best thing Joss Whedon has ever done and maybe the best TV thing ever. The truth of the matter is that, yes, the episode where Buffy Summers (Sarah Michelle Geller) discovers the already cold body of her mother, Joyce (Kristine Sutherland, a wonderful asset to the show for the five previous years), dead from an entirely natural brain tumor, was probably one of the most remarkable episodes of television ever shown, and probably the only thing I’ve seen that comes close to capturing the essence of what it feels like when someone dies unexpectedly. The problem was, I didn’t find it depressing; I found it real. I didn’t feel any more like repeating the experience than I would the death of an actual loved one.

Whedon – who wrote and directed the episode himself – deserves all the credit in the world for the brave choices he made, including shooting the episode in close to “real time” and not using any music. If I have one complaint with , it’s his tendency to close emotional episodes with, dare I say it, somewhat drippy montages. His choice to eliminate music from the kind of “very special” show where other creators would lay in with three or four montages of Joyce frolicking in the woods or what have you, shows Whedon is, at heart, an outstanding filmmaker. I’ve never had a problem with his much-noted tendency to kill off sympathetic and/or popular characters. It might anger some fans, but especially if you’re dealing with inherently violent material, there’s something morally wrong about not dealing with the fact that good people are just as mortal as bad people. Still, I don’t enjoy watching this episode. If this were a movie, maybe I’d be more in awe or eager for profundity. However, if I’m going to be honest, I can’t call “The Body” a favorite and I can’t be sure it’s one of the “best.”

#10, Shiny Happy People (“Angel”) – Fans of the spin-off about Buffy’s ex, the vampire-with-a-soul detective (David Boreanaz), and various assembled demon-hunters and occasionally friendly demons, will be scratching their heads at this choice. It’s an unpopular episode from a widely and justly derided storyline involving a very weird affair between Angel’s unbalanced super-powered teenage son from another dimension, Connor (Vincent Kartheiser, now of “Mad Men“), and a suddenly evil Cordelia (Charisma Carpenter), a former high school mean girl turned lovably complex grown-up foil for her vampire boss. And, yeah, it was a little freaky for Cordy to give birth to a fully grown creature called Jasmine.

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However, as played by the wondrous Gina Torres of the then recently-canceled “Firefly,” Jasmine was freaky in a good way. A being whose god-like ability to create an instant sense of peace, happiness, and complete obedience, is somewhat set off by the fact that she’s actually a deformed and decaying, if not entirely evil, monster who must consume people to live, she was every charismatic leader and every great screen beauty rolled into one monstrous ball. More than anything else, “Shiny Happy People” reminded me of Don Siegel’s 1956 film verson of “Invasion of the Body Snatchers.” It was another believable demonstration of how we humans are only too willing to surrender our our humanity to the first apparently completely beauteous and 100% wise being who comes along. You know, like Oprah, only less powerful.

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Mad Men 3.8 – Rome If You Want To

There haven’t been many episodes in the history of “Mad Men” which have quite as streamlined as this week’s entry: it was split evenly down the middle between Don and Betty and Pete. Oh, sure, other characters made appearances during the course of the hour, but when you look back at the description of the episode on TiVo (“Don and Betty go on a business trip; Pete helps a neighbor”), it’s hard to argue against its simplicity because, well, those were the two stories this week.

When we first see Pete Campbell this week, he’s reading…”Ebony”? Has the world gone topsy-turvy…? No, of course not. This is just the residual effect of his discussion about how African-Americans have specific purchasing tendencies. Leave it to Pete to dive headlong into the concept. But what else has the guy got to do? His wife’s away…and it shows, with his offer to buy the guys a drink. The poor bastard is definitely one of those guys who can’t stand to be alone, and his tendencies toward alcoholism are evident, if only by his television viewing habits. (Many a member of AA has testified that they took their first drink while watching “Davy & Goliath.” But don’t quote me on that, since I just made it up.) In his quest to keep busy, Pete helps out his neighbor’s au pair, Gudrun, by offering to help solve her dilemma with the dress that she accidentally messed up, which results in a couple of interesting developments. The first, of course, is that the trip to the store leads to an unexpected encounter with Joan, whose face is almost as red as her hair when she’s outed by Pete in her post-Sterling-Cooper gig. She replaces the dress for him, he asks her not to mention the incident to Trudy, and it’s pretty evident that she’d prefer that he kept his mouth shut about seeing her, too. When he goes to return the dress to Gudrun, he promptly hits on her and gets shot down when she assures him that she has a boyfriend. He shrugs and accepts her claims until he gets a few drinks in him, at which point he returns to the apartment in the wee hours, says he deserves the chance to see her in the dress, and then quickly gets her out of it.

Yes, Pete’s still just as lecherous now as he was with Peggy in Season 1. The difference this time…? He gets nailed to the wall by the au pair’s boss, who basically says, “If you can’t keep it in your pants, at least don’t take it out in the building.” When Trudy gets home, we bear witness to the incredibly awkward elevator ride with her, Pete, and Gudrun, and once they get back into their apartment, Pete has something approximating a nervous breakdown when Trudy comes on to him. Surely it’s not out of guilt…or is it? I really thought he was on the verge of asking for a divorce for a second. Instead, he admits to no wrong-doing (or if he did, we didn’t actually get to see it), but he does inform her that she shouldn’t leave him alone again. Translation: whatever happened while she was gone is her fault, not his.

As for the Don and Betty storyline, it’s really far more about Betty than Don this week. When their storyline kicks off, Don’s off to catch lightning bugs with the kids while Betty continues on her quest to try and save the reservoir. As it turns out, the quest proves successful when her dear Mr. Francis turned up at the city council meeting and, by throwing his weight around as the governor’s right-hand man, saved the day and got the reservoir a reprieve. In return for his assistance, Francis decides he deserves a kiss. The sexual tension immediately prior to the lip-lock was downright palpable, and although Betty didn’t exactly seem ready for a roll in the hay afterwards (she just wore her usual pissed-off expression), she neither pulled away during the event nor complained afterward. It seemed clear that there would be more to this relationship…but, then, the Drapers flew off to Rome on a Hilton-related business trip and seemed to rekindle some of their marital magic. Betty put on her best beehive (or a hairstyle not entirely unlike one, anyway) and utilized her knowledge of Italian to shoot down a couple of rico suaves, seemingly doing a bit of roleplaying with Don up until the point that Connie turned up. I liked his description of Don as “an indecently lucky man,” and, indeed, Don got nice and indecent with Betty while in Rome, so much so that it really looked like the two of them had finally fallen back in love with each other.

Unfortunately, it seems that what happens in Rome stays in Rome: almost as soon as they got back, Betty had returned to full bitch mode, a move made all the more surprising by Don’s attempt at being romantic via his jewelry purchase. I guess we can blame that on Sally, whose macking on neighbor boy Ernie in her parents’ absence led to her treating her teasing brother like he was her opponent in Mike Tyson’s Punchout. Upon her return, Betty actually offered a moment of sweetness and understanding to her daughter about her first kiss…but, apparently, the conversation led her on a trip down Memory Lane that made her learn to hate Don all over again.

All told, it was another slow week on “Mad Men.” Let’s hope things pick up a bit next week.

Mad Men 3.1 – On your mark, get set, get out of town

Welcome back to the Sterling Cooper Advertising Agency…and, yet, although this is the premiere of the third season of “Mad Men,” it’s actually the first time that Premium Hollywood has gotten around to blogging the series. It’s certainly not that we haven’t been watching (the series did, after all, end Season 2 at the top of Bullz-Eye’s TV Power Rankings), but…well, the reasons why we haven’t done it before now are moot. We’re here now, so let’s get cracking, shall we?

I have to admit: the opening flashback sequence left me uncertain at first, and I wasn’t entirely sure if we were supposed to infer if it was Don’s own birth or not, but, yes, it does indeed appear that not only does Don have someone else’s identity, but it’s highly possible that he’s never really known who he was. Well, that would make it easier to escape into someone else’s life. As it turns out, not nearly as much time has passed as we might have expected: Betty is still in the final stages of the pregnancy we learned about in the season finale, so we haven’t even moved forward nine months. As ever, though, series creator Matthew Weiner managed to tease us a little bit about the timeline by having us presume that Don was warming formula for the new baby when he was, in fact, just getting Betty a bit of warm milk to help her get to sleep.

Time to jump over to the offices of Sterling Cooper, where there’s clearly been a bit of a British invasion since we were last around. John Hooker could be an interesting character, given the way he’s carving his niche as an assistant rather than a secretary. Could a relationship with Joan be in the cards? Too soon to tell. Based on the comments around the office, some firings have clearly been taking place (clearly, it’s not the least bit coincidental that the conversations about job loss, medical insurance, and taxes echo just as strongly now as they did in the 1960s), but I can’t imagine any of the others have been nearly as entertaining as Burt Peterson’s. It’s always good to see Michael Gaston’s face – I still think of him as Gray Anderson from “Jericho” – and he made a great explosive show of Burt’s departure. Burt’s screaming behind the closed door of his office was hilarious, but I think the biggest laugh came from Roger Sterling’s late arrival to Burt’s farewell. (“Oh, it’s that meeting.”) By the way, after all of the intense discussion last season over the meaning of the painting in Bertram Cooper’s office, I enjoyed a chuckle when Cooper’s premiere appearance involved a discussion about new pieces of artwork.

Vincent Kartheiser never fails to impress me with his work as Pete Campbell, running through the gamut of emotions this episode. First, he’s scared shitless that he’s destined to suffer the same fate as Burt, only to have his nervous twitching turn into a full fledged dance of glee when he gets the news that he’s being given the title of Head of Accounts. Then, when he learns that Ken has gotten the same news and that the higher-ups are basically playing the two of them against each other, he develops a stone face that would put the heads on Mount Rushmore to shame. And just as you think he’s going to go whine to Don (as he’s already done to his wife), he’s put in a situation where he has a chance to toady up to both Sterling and Cooper simultaneously, which you can bet he takes advantage of. You probably wouldn’t want to watch an entire series revolving around Pete, but for my money, he’s arguably an even more deep and complex character than Don is. I know Kartheiser has gotten recognition through the Screen Actors Guild, but it’d be nice if the Emmys threw a little love his way next year.

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