Aye aye AYE! There are several truths to Sunday's episode of Mad Men, Misery Date Mystery Date. The first is that I was more shocked during several scenes of this show than Game of Thrones, so good onya, MM. The second is that I almost passed out watching every scene with Sally... I don't think I'm the only one who holds her breath the entire time she's on the screen. I have said this before and I will say it now: Somebody give this girl an Emmy! (Aside: why don't they create a child actor category for the Emmy's? Something like "outstanding performance of an actor or actress under the age of X." My guess is that perhaps there would be a year without any candidates, to which I would counter, then eliminate the award that year. I just feel like Kieran Shipka who plays Sally, and now Maisie Williams who plays Arya on GoT have so much talent and bring such depth and weight to their respective roles that they should be recognized and won't through the traditional awards methods. And there are plenty of others who would fit this category. === runs to write letter to Emmys)
you're sickos!
It's not like Sunday's episode is the first time we have seen sexual violence manifest itself in various ways on Mad Men, especially from a dominant male point of view. However, this might be the most graphic, and the most prevalent as a theme throughout an entire episode. With the Chicago student nurse murders serving as a backdrop and also a focal discussion point for many characters, several male characters are portrayed as being misogynist or at the very least, uncaring towards women, specifically the women in their lives (I'm looking at you, Greg). Obviously, the scene where a feverish Don strangles Dream Andrea after having Dream Sex is the most egregious. But the argument could be made that Greg's indifference to Joan in volunteering to back to the war is, to a lesser extent, similar in its treatment of women. Is it possible that loose-canon newcomer Michael Ginsburg is the only male voice of conscience when he says "you're sickos" when Peggy, Stan and others are gathered around looking at pictures from the grisly murder scene. It's not a coincidence that Dream Andrea says to Don about their Dream Sex "you loved it and you'll love it again because you're sick." Interesting play on words since this is what sends Don into the craze that results in strangling her and stuffing her under the bed like dirty laundry, but also, you know, he's fevery sick.
And then there's Sally. Oh, Sally... how does this girl even stand a chance? No one cares about her hair! Just when we thought Betty would be the worst role model/ guardian she could have, now we have StepNana Pauline, who not only further terrifies Sally with gory details of the Chicago nurse murders (after Sally sneaks a newspaper to read about it), but then drugs her to sleep. Nana of the Year!
In probably the most genius visual puzzle-piece maneuver ever, we see Don shoving Andrea's body under the bed in one scene, then we cut to a pull-back into a wide shot of living room and, oh, Sally is UNDER THE COUCH. Shivers! Poor Sally was probably scared out of her mind and went there to feel safe, and we are reminded here (like a brick in the face) that the lone survivor of the Chicago Nurse murders saved herself by hiding under the bed. Unsettling to say the least.
Other:
awesome
- Can I say again that Keirnan Shipka's portrayal of Sally is just out of this world? First, her on the phone with Don, with perfect pre-teen boredom, whininess and snark. But Sally's interrogation of Pauline "was your mom strict?" and her reaction to PAuline's story of being hit for no reason and being better for it, which was at once interest, confusion, disgust and shock, was played so subtly on her face it deserves an Emmy in itself.
- Peggy! Her negotiation with Roger was probably one of her very best moments. Her eyeing her purse when Dawn is staying on the couch is probably not.
- oh, Roger... what's happening? Y U have so much cash? My guess is this is the only power he has left, since the world is evolving around him and he's being disrespected at every turn. Money still gets him what he wants.
- Joan! This girl is a survivor, she's gonna make it... she finally kicks Greg to the curb with a "you were never a good man, even before we were married. I think you know what I'm talking about." IT will be tough, but she's ready to kick ass solo style.
- I thought this blog entry on the episode had a fantastic insight into our new friend Ginsburg, and how the whole dark Cinderella mythology plays itself out in the episode, especially embedding itself in the psyche of Don and that one red shoe
one red shoe
So many layers to this episode, and so many shocking moments. Were you duped by the dream sequence? What's next for Joan? What's next for poor Sally? Hit the comments!
Last night, TV was SO AWESOME that my brain almost exploded. Three of the best TV dramas ever were on, two with season premieres. Of course I am talking about the season premieres of Game of Thrones and The Killing (back to back eps!), while the third episode into the new season of Mad Men was also on last night. Let's just say there was some hyperventilating happening at about 8:45. All of these shows were deeply engrossing in their own, super fabulous ways. And while they are probably three of the most different shows possible, one unifying theme (besides strong characters in general) has to be the boatload of mom issues on these shows: missing Mitch, powerhungry-powerless-powercrazy Cersei and thyroid complications for Betty.
Where to start? To fully bask in my joy, I will start in order of viewing...
The Killing
Due to a DVR glitch (*shakes fist in general direction of Comcast*), I had to wait until the 10PM viewing of The Game of Thrones, so I watched the first hour of The Killing, then took a GOT break, then came back to TK. This required more switching of gears than you would think.
The genius of this show is that dialogue is used sparingly and the weight of meaning and communication relies very heavily on facial expressions, or lack thereof. Because of this, the acting on this show is just incredible (sings: ...innnnncredibbbbbbble...). Also, EVERY.WORD.IS.LOADED. I spend a fair amount of time rewinding to make sure I have heard every word correctly. Last night's episode picked up pretty much right where we left off at the season finale.
~~ rant break ~~ Last year The Killing, after an absolutely phenomenal season, took a beating from reviewers and bloggers in regards to the fact that their season finale did not reveal the killer of Rosie. I found all of these negative comments to be preposterous. Besides the fact that the season finale had a terrific twistaroo in the last few seconds to set up season 2 with Linden realizing that some of the evidence against xx had been faked and/or planted possibly by her own partner (Holder) AND some seriously crazy shizzle happening with family friend Belko, no one ever promised that we were going to find her killer in season 1. Isn't it much more exciting to have a twist where the guy who you think all along has done it, hasn't? The Killing is such a far cry from your traditional murder mystery in just about every way, that I almost can't explain this backlash. Why would anyone think The Killing would be typical? I love this show so much and find it so brilliant, that I actually feel differently about Stephen King now, who publicly came out and criticized the show's finale. ~~ rant end~~
Stan emoting through his eyes, and stuff
As far as the gut-wrenching, slammed-by-a-truck emotional impact every episode had last year, this year is slightly different, if only because Moms (Mitch Larsen played by Michele Forbes) has disappeared and she was just heartbreaking in every scene. Picking up the emotional load are the sons, sis-in-law and hubby, although they had their fair share last year as well. Brent Sexton as Stan Larsen (hubby/dad) is probably the greatest emotional actor on TV. He comes off gruff with his boys who are so lost in this impossible situation, but you can see him breaking just underneath the surface. He just doesn't know any other way to deal with it. In the Most Opposite Statement Ever, Stan says, "the less we talk about this stuff the better" to sis-in-law Terry, who is basically taking care of the boys and is desperate for acknowledgement that the boys need to talk. You can see his turmoil on his face, when he wants to be comforting but just doesn't know how. Of all his emotions, anger is winning out, so that's what you get. His scene with Belko in the police interview room, when Belko is proudly telling Stan that "he got him" (meaning: shot primary Rosie murder suspect Congressman Richmond after killing his own sexual deviant mom) is just pure, amazing, dig-down-deep acting. His face conveys sadness, confusion, guilt, love, disillusionment... so perfectly that Belko exclaims "don't look at me like that!" repeatedly and ends with "that's not fair." It's not. Nothing in this crazy world of The Killing is fair. So, this is why after Belko kills himself in police custody, the police not providing security for the Larsens, and the police not getting the right guy for murdering his daughter, Stan goes to his mobster friends and puts a hit on the real killer. Will the mob find the right guy before Holder and Linden? dun-dun-duuuuuuuh...
Linden is talking to the wrong guy
Speaking of confusion, guilt and disillusionment, we start off with Linden figuring out there's been some shady police shenanigans messing up her Rosie Larsen case. When she finds out the photo from the tollbooth, the most crucial piece of evidence against Richmond, is fake (!), she has no other choice but to think that her partner (who tracked down the photo) is dirty and goes to her Lieutenant with this info. My reaction: "NOOOOOOOOO! NOT HOLDER!! AAAARRRGH...". But we believe along with Linden, because that's what the evidence is pointing to. As we follow Linden in her continuing investigation, all expressionless and snapping gum, do we know everything she is feeling, thinking? No, but we know that she is always thinking, those wheels are always turning. And emotions? She has them, but you'll barely know it. (Aside: her tiny, mini-explosion of emotion towards her son Jack (<-this poor dude) with "you are my son and you belong with me" and subsequent vending machine confession of "I love you" to Jack are kind of painful, but sum up her entire character.)
Holder and.. wait, aren't those corroborating witnesses back there?
As for Holder, he is smarter than your average crackhead bear. He begins to suspect some similar dirty cop shenanigans and submits a different backpack into evidence (to a very specific forensics dude very specifically determined by the Lieutenant) than Rosie's very bloodied pack that showed up on the Larsen's doorstep (...from the real killer who we now know is still out there but now the police can't help or admit to it because that would make them look stupid.... *gasp* *inhale*). When the info comes back that the only prints were Rosie's, we know along with Holder that some crazy shizzle is happening and he is soooooo in the middle of it. We already know that his friend and confidant Gil, who supplied him with the photo, is a bad dude from earlier scenes that show him talking to the opposing candidate for Congress' team. Holder only finds out when he tells Gil what happened with the backpack and then it's out: Holder was specifically chosen for this case because he was a crackhead who needed a chance and who was going to believe him if dirty secrets got out? Gil says "you wanted the badge more than you cared that you were taking shortcuts."
When Holder figures out how messed up everything is, he goes to see Linden who still suspects him of being the dirty one. Frustrating for us to watch, as Holder begs Linden to talk to him while Linden quietly waits on the other side of the door. Holder waits in the hallway, twirling his new Detective badge, then ultimately leaves the badge in the hallway as he walks away. This better get cleared up fast, because I need Holder and Linden on the same team. I think the world does. Well, my world.
Other stuff:
- Duck is the new Lieutenant! (Mad Men peeps will get this.)
- This Seattle hospital is the worst. A Congressman gets shot on live TV and it's the biggest story in the city and the doctors and nurses are all "whatever. he can't walk. whatever." They should definately have taken Richmond to Seattle Grace.
- Sooooo... the other candidate running for Congress is the one planting all the evidence within the police department to get Richmond arrested? how is this going to play out now that we know Richmond is not guilty?
- What, if anything is going to happen with Stan and Terry? I think it will be horrible, but I think it might be inevitable. They are both so lonely and sad and overwhelmed. I feel sick just even writing about it here.
- Linden... someone's watching you watching other people... snap, snap, snap goes the camera
Game of Thrones
Switching gears to some medieval fantasy awesomeness, Game of Thrones came back with a jam-packed premiere - woot! I'm not sure how they pack an hour of TV into, like, 14 minutes... at least it only feels like 14 minutes. Must be some R'holler Lord of Light magic for sure.
First, I have to say that the casting on this show is amazing... everyone looks pretty much like I picture them in my head from the books. My one exception is Stannis, who I expected to be bigger, broader, and sterner. I didn't think he looked this way particularly last night, but in previews for next week, he looks more the part.
I wish she had killed him instead
Fraking Joffrey. The most hateful character in the history of ever. He is played so perfectly by Jack Gleeson that I wonder if he regularly gets slapped walking down the street. In the opening scenes, we see what the boy king is all about: his right-hand man "Dog" slaying opponents for sport, then it's nearly death by wine for drunkard ex-knight Dontos when he commands that he get "more than his fill." Sansa and Dog to his rescue on that one, when he instead makes Dontos his fool, but we know Sansa will pay for that. Later, we see Joffrey talking to his moms, Queen Bitch Cersei and he confronts her about the "disgusting rumors" he's hearing about her and his Uncle Jamie. She denies of course, but Joffrey then demands to know about any of his father's bastards that may be hanging around. He asks in the most loathsome, vile, Joffrey way possible which results in The Slap Heard 'Round the Seven Kingdoms from Cersei. Like Tyrion's slap last season, it was cathartic (see epic 10-minute slapping session here). But last season, Joffrey wasn't king, he was just a sneering, sniveling, privileged, overindulged kid. Last night's slap was riveting, not only because it was his mom doing the slapping, but because Joffrey is now King Douchebag and in that instant you're not sure if he will have her killed on the spot or not. He says as much (that he has the power to kill her) and Cersei's face shows that while she loves her child, she has groomed a monster. We then see scenes of babes and children being ripped out of mother's arms and stabbed on the spot by the king's knights - Joffrey is having all of his father's bastards killed. Just one is not found: Gentry is on his way to the wall.
Jon Snow, you beautiful bastard
To the Wall! At the Wall, our Jon Snow (*swoon*) is no longer even at the Wall, as a group of the Night's Watch have started an expedition beyond the wall to see what's happening with the wildlings and see if more intel can be discovered on those pesky undead wights. They stop by ol' Craster's - nasty wildling Craster who makes his daughters his wives on an infinite loop. "What happens to the boys?" asks Jon Snow. Oh, wise, clever, amazing Jon Snow! (No matter what that bitch Ygritte says... but I digress into unseen territory - sorry!) We don't get an answer to that $100,000 question in this episode. There is much made of Jon Snow's good looks here, but just somewhat more importantly we learn of Mance Rayder, a former wearer of the black who abandoned his vows, now calls himself King of the Wildlings and is gathering an army to march South of the Wall.
South of the Wall, all hell has broken loose. Joffrey's kingship is being challenged by several players: Stannis Baratheon, Robert's oldest brother, who sends out word to all corners of the world the truth that Joffrey is not a Baratheon but a product of Cersei-Jamie incest (along with sis Myrcella and lil bro Tommen); Renly Baratheon, Robert's youngest brother who believes himself most kingly and beloved by the people; Robb Stark, son of Ned Stark, who declares himself King of the North and seeks vengeance against Joffrey and the Lannisters for the death of his father at their hands.
Speaking of hands... THE BEST PART OF EVERYTHING: Tyrion Lannister returns to court in place of his father as The Hand to the King. This dude. Tyrion and his whipsmart cleverness returns in fine form: "Don't get up. More ravishing than ever, dear sister. War agrees with you." The truth is I could fill this whole blog entry with just Tyrion quotes and rhapsodize about this character endlessly. For now, and for your sanity, I will post the video below of the best Tyrion scene ever and say that Peter Dinklage plays this part to perfection. Perfection! I smile every time he is on the screen because he is just that awesome. And, things are going Tyrion's way, so I can.
Tyrion being the freaking MAN
The red comet means only one thing: Dragons. We find Daenerys and her dragons struggling in some far-flung desert, miles away from anything. Her horse given to her from Drogo, symbolically collapses and instead of collapsing, Daenerys finds the strength to give strength to her followers (encouraged, of course, by her right hand man Jorah who gives her her strength, you see? lots of stregnth talk here.) and gives instructions for her guards to go in all directions to find civilization. I'm pretty sure dragons and people alike eat the horse, but we didn't see that.
So much else to talk about, but as things evolve, I will delve more into various factions of characters. Here's some of the other stuff I didn't even get to:
- Robb Stark has Jamie Lannister captive, knows about the incest, knows about him pushing Bran off the wall, is sending word to the Lannisters with a list of demands for Jamie, and is preparing to send mom Catherine to treat with Renly to see if they can all be friends. Let's just say Robb's busy.
Call him what he is: Kingslayer
- Bran is seeing things in his dreams as his direwolf, or we are to assume
- Great use of direwolves in this episode: Although I don't think we saw Jon Snow's Ghost, we see Bran's direwolf Summer in the weirwood, and we see Robb's direwolf Grey Wind menacingly in the cage with Jamie.
- We are introduced to new characters Melisandre and Davos, both loyal to Stannis. Melisandre says Stannis has been chosen by the Lord of Light to be the King of the World, so he abandons his old gods. Davos shares others views that this is not right, but keeps quiet, as he is a loyal subject of Stannis. We find out Melisandre has legit powers when someone tries to poison her and there is no effect. In other news, I heart Davos Seaworthy.
- I didn't even talk about Littlefinger and that very cool albeit not very character-like chiding with Cersei. Littlefinger says knowledge is power, Cersei instructs her men to slice his throat and stops them just before it happens demonstrating that indeed, power is power... for however briefly you may have it. - Much to P's chagrin (he has not read books), I groaned every time I saw freaking Theon Greyjoy on the screen. I can't help it - it's visceral.
I feel like this episode is somewhat of the calm before the storm... or rather, the gathering before the war. You get the sense that even though some things seem positive, things are changing minute to minute.
Mad Men
Switching gears again into a different kind of unrest, Roger sums up the whole episode with "When are things going to get back to normal?" HA, oh Roger! Normal is gone, whatever that was. You're getting old, you gotta get hip to the times of 1966. Nothing is going to be the way it was, silly.
As part of the overarching theme of old vs. young/new, there's a pivotal scene where Roger is experiencing a downward spiral in his struggle to be relevant in his own ad agency ("I'm tired of holding on to the ledge") as a result of Pete's public coup of a client, and then Don tries to give him some perspective with the real downer that "Betty has cancer." Really? Well, maybe. Roger replies: "oh, real life. I gave up on that."
Betty gets the "good" news
Oh, Betty. Betty's back, and there's more of her to love (*air quotes*). Mostly to cover January Jone's real-life pregnancy, the character of Betty has put some weight on. We knew things weren't perfect in the Francis household, based on Betty herself saying so at the end of last season. But what is this? The doctor finds a lump on her thyroid and we see her weight gain as a symptom of possible cancer, whereas up until that moment, it was just a symptom of ennui (<-- also the name of my new emo band). When she finally hears the results that the lump was benign and says "I love to be put through the ringer and find out I'm just fat," you would think she would be more relieved, but she seems almost disappointed. Did anyone else notice that Betty was seemingly more relaxed, more affectionate and generally less toxic in this new body? Yes, a lot had to do with this life threatening news, but I'm feeling that the moral of this story should be "eat ice-cream, doubles if you want, and just enjoy what life has to offer, especially your kids." But this is just not going to happen with Betty Francis. Despite her husband proclaiming, and actually demonstrating, his love for her no matter her size, she will not believe it. I predict a trip back to the doc for diet pills and we will have a raging, pill-popping Betty she-devil to deal with in the very near future. And then Sally will run away and become the youngest hippie in history.
Betty's Sundae is the name of this pic and my band
How very appropriate that as Betty is looking for Mother's Little Helpers (sorta), Don is being sent to see the Rolling Stones about a possible ad campaign based on the client's teenage daughter's listening choices. This is a new Don, as an old Don would have told the client "not gonna happen." But new Don has a 20 something wife and is trying to... what? fit in? renew? go with the flow? Or maybe it's just Don realizing he is NOT in the know anymore with what resonates with people these days, thus the interrogation of the teen backstage at the show. His age shows there, though, when the girl says "You guys don't want us to have any fun just because you never did," and he replies "No, we're just worried about you" as if he is talking to Sally.
Are you the secretary? And she still hires him!
In the other great sub-story line supporting the big themes of change and evolution, two words: Michael Ginsburg. I LOVE this dude. The addition of the Michael Ginsburg character represents so much: will he be the Pete to Peggy's Roger? will he in fact outshine Peggy as seemingly everyone is telling her? if nothing else, he represents a sign of the changing times, and specifically evolution in diverse personnel as he will be the first Jewish person on staff, and this quickly on the heels of the hiring of Dawn, Don's secretary and the first black person hired at SCDP. But above all that, this dude is fantastic and rivals Roger for best one liners (something Roger will resent immediately). Who doesn't love a guy who says his stomach sometimes sounds like the F word when it growls? When he says "I have no hobbies, no girlfriend, no friends" I simultaneously wanted to yell "Danger! Danger, Peggy Olsen!" and "awwww...". He is different and a bit irreverent and definitely not conformist, so he is about to shake up the place. A little more shaking up is a good thing... maybe some French duets in the hallways?
Tell that stomach to watch it's mouth
Other stuff:
- Don called Betty "Birdie"... I swear I have never heard him say that before, but I Googled it and I guess it's a thing (I recall other nicknames such as Betts, but not this one). In any case, on the one hand it was kind of shocking to hear him using such a personal nickname when talking to her, given all of their history. On the other hand, it was endearing and heartfelt and comforting to her in her time of need.
- Sally didn't finish her sundae. Probably because of the horrible eating disorder she has as a result of Betty's cruel mothering, specifically that awful scene at the dinner table. I don't think any of us forget that.
- What up, Harry Crane? Dude is 10x more cringeworthy this season, which is fantastic.
- The look on Don's face when backstage and one of the girls says "advertising? like Bewitched?" is absolutely priceless
- Megan, getting washed over with advertising. I love that skill.
So much to talk about here! What are your thoughts on all of it? I am trying like heck to figure out this commenting problem, so give it a try and see if it works. If not, email me and I can post for you!
I distinctly remember having a very meaningful
discussion with my friend about two years ago regarding the genius of Mad Men and the the organic tension presented in every scene:
Me: "nothing is happening up here"
*flails arms above head* "everything is happening down here"
*gently motions just above table*
Him: "okay... another mojito?"
Zou Bisou Bisou roughly translates to "what the WHAT?!"
And with the return of Mad Men last night, I stand by these statements,
but times, they are a'changin'. Early on in the Season 5 opener A Little Kiss, there are lingering scenes where you
are just waiting, WAITING for something to happen. And then, true to form, BLAM... nothing
happens. There's a bunch, but two jump out in my memory last night: Don
shaving (with the brush his kids gave him for his birthday) and pausing to look
in the mirror; and the scene where Megan goes out to the balcony with her drink
after getting an earful from Don about the party and how he's embarrassed. Don's scene is not really new to us... how many times have we seen that expressionless face in a mirror? But Megan is new to us, an unknown character who throws surprise parties! sings in French! makes very public displays of affection! What the hell is this?! People don't do this on Mad Men! When Megan goes out to that balcony, we are very unsure about what's about to happen... will she start smashing glasses on the floor? will she start drinking everything in sight? will she jump? Nothing happens up there (*motions up*). But everything has already happened *down here* at table level. At table level, Megan has already shaken things up: besides her performance and the party itself, much was already made of Megan's "last minute" invites to the party and her hip, young, and at least one black, possibly gay? friends. Stuff is breaking through! The next day, Megan actually confronts Peggy about something she said about working the weekend and plainly states "What's wrong with you people?"clearly establishing her as not only the outsider, but representing the cultural changes happening in these mid-to-later years of the 60's (in this episode, we're in summer of '66). We see Megan really struggling to understand this old-school way of thinking, of working, of being and is not shy about expressing-slash-confronting-slash-exposing these dusty old conformities. As for how the fight about the party with Don and Megan is resolved, Megan starts to clean their post-party apartment in her undies while telling Don that if he doesn't want people to know he's "getting this" then he doesn't get to "get this." Bwahahahahaha.... nice try, honey. Have you met Don Draper? It goes without saying, they do it on the nasty, cheese-curl-ridden floor.
A smile usually reserved for clients
So, as much as Don Draper stays the same with his sexy-time, things are definitely changing for this man. First, Megan knows all about Dick Whitman. This in itself is a new way of living for Don. Now there's someone to bear his burden, or at least make his burden bearable. Don seems to be reveling in this newfound lightness. This is not lost on Peggy, as burdened as ever, when she says of Don's decidedly I-don't-have-your-back-Peggy moves in the board room with big client Heinz, "Clients are right all of the sudden? I don't recognize that man. He'skindandpatient!" Indeed, Peggy. Indeed.
Boys Club is about to get shaken and stirred
Of course, Megan is not the only thing challenging the old ways. Interwoven throughout the episode is the backdrop of the civil rights movement. Could there be a more perfectly arranged visual representing this culture clash than the scene of the good ol' (white) boys of Sterling Cooper standing in the doorway while the waiting room is full of hopeful (black) candidates for possible job openings? A thousand words in this picture.
Notes:
- Poor Sally Draper seems to have grown into the responsible one (p.s. I always and forever will refer to Sally as "poor Sally Draper." Always.). However, with the changing times and her on the cusp of teenagedom, if anyone is going to "turn on, tune in, drop out"it will be this girl.
Titled: Ashes on baby's face. Oh, the sixties.
- Joan's baby! Adorable baby bums aside, Joan seems to be having a time of it. In another example of *up here* the baby is Joan's hubby's, we really know that *down here* this is Roger's baby and everyone is playing along. Well, Roger is playing along as best he can. Even he can't help shouting out "There's my baby!" when Joan arrives for a visit, then plays it as if he is talking to Joan. If Joan's heart dropped then, we didn't see it.
- Oh, Roger. Still trying to be relevant, he is worming his way into any business meetings he can crash. Of course, these are mostly Pete's since he is bringing in the most business (or so he reminds everyone at every chance). Thus setting us up for continued rivalry. Lots of great Rogerisms last night, but Best Rogerism actually came from Jane (she's learning a lot from him): Roger to Jane: "Why don't you sing like her (Megan)?" Jane: "Why don't you look like him (Don)?"
- Pete still being Pete. Besides the same ol' same ol' with Pete and his love of tantrums, and general ungratefulness of his life, how fantastic was the scene with Peggy with Joan's baby and Pete? Again, if any signs of history being acknowledged happened there, we didn't see it, even though Peggy's personal discomfort with the baby was palpable.
- Love that Peggy is still with underground journalist Abe! I hope this one lasts.
- This whole story line with Lane is so creepy: Lane finds wallet, distrusts cabbie to return completely, takes wallet to find owner, finds picture of girl in wallet and basically has the 60's Lane version of phone sex with said girl. I mean, I guess it fits in with his character where he is more than unhappy in his marriage and this life his abusive father is making him live. But really how desperate to proposition a stranger on the phone? I guess most telling of Lane's mindset is his meeting with Joan, where Joan is emotional and professes to feeling lonely not being at work. Lane replies essentially that you don't always find everything you need at home. You don't say, Lane.
- No Betty, but she sure was mentioned when Don says to his children at the drop-off outside of Betty's house "Say 'hi' to Lurch and Morticia for me." Nice. Dad of the year.
- Megan sings sings Zou Bisou Bisou, not Zoo Be Zoo Be Zoo. I'm here to educate. Also, I love that she calls Joan's baby "a little chou (cabbage)." Tres francais!
Hit the comments with your thoughts! Please keep all comments in French, or in song. Preferably both.
I think I will start this entry by saying at the :38 mark of last night's The Walking Dead finale, I said (out loud to the room) "It's only been 38 minutes?!?!" So now that we have established that it was a jam-packed episode, let's dive in to the awesome chaos (oh, and turn your speakers up for the soundtrack).
Herd is the word
LCT: AHA! So THAT'S where that gigantic herd of walkers came from! This was such a revelation, because it pieces together a bunch of things: first, Rick saw that helicopter when he was in the city back in Season 1 Episode 1, so those damn zombies have been walking since then! Second, this means we are getting closer to potentially figuring out where that helicopter went (or where it's from, or both). This also raises the question, how long has it been since Rick woke up? Given that winter is coming (evidently) and it was hot and summery at the start, it has to be only 3 or 4 months, right?
KC: Yes, I loved how this episode started! I thought it all made perfect sense and really, it was just damn bad luck! I was so intrigued by the helicopter - I didn't remember Rick seeing it in Season 1. You're thinking it was a flashback to the time he saw it and it's taken all these months for the walkers to make it that far? Interesting: you would think they might repeat that scene of Rick seeing it the first time to remind us if that was the case, but I can still buy your theory. I guess that means they were eating Rick's horse, no? Great set up for whatever is coming up next. By the way, is this the first time we've seen events that were outside the perspectives of our characters?
LCT: I totally thought that was Rick's horse they were eating. Rick saw the helicopter and then tried to follow it on said horse, then turned and found the hoard of walkers in the street with the tank. So, maybe it's not from when Rick was there (we saw some stuff happening in downtown after that) but soon after? I don't know if we have had that "outside" perspective before, but I think they did it as a reminder of sorts as to Rick's journey. Now that he's the king.
In other news, RIP Herschel's Farm. That was a pretty amazing scene, and finally Carl is doing what his parents tell him (give that kid a cookie!) Also, ewwwwww.... zombie brains on Herschel.
KC: Poor Herschel... I'm not going to miss the farm though, good riddance (of course, they'll probably be stuck in that prison we see at the end for the entirety of season 3). So many disgusting/AMAZING gore-tastic moments in this episode. It's hard to believe this airs on non-pay channel television. Oh sad background characters who were just there to be zombie fodder. I don't remember your names, but I'm sure you were lovely people.
Total crap
LCT: Fucking Lori... never mind that all of a sudden she's crazed because "where's Carl? he was supposed to be upstairs!" (crazy eyes everywhere) and all that crap. I mean, I think I've beat that to death and I don't think there's a viewer left in the world who thinks she does even an okay job. But I wanted to leap through my TV and punch Lori in the face when Rick was telling her what happened with Shane. How dare she? HOW DARE SHE?! Yes, fine, so "she's mad at herself" or whatever... but this is unacceptable. I can't even find suitable words to express how much I hate this character. I am so sick of her and her not-watching-her-kid-driving-off-by-herself-stupid-crazy-eyes-all-the-time. ALL.THE.TIME.
KC: Agreed. Her ridiculous freak out over Carl aside, her reaction to Rick's truth telling was mind boggling. SHE GOT WHAT SHE WANTED! Bad acting and terrible writing.
LCT: I don't know what they are doing with her character. The creative team seems to defend her actions and write her into ridiculous situations... how will they ever turn that character around if they are in denial?
I need a heroooooo...
Now let's talk about Daryl... racing off on his motorcycle to get Carol with the sounds of Bonnie Tyler's Holding Out for a Hero blasting in the background! Oh wait, maybe that was just in my head. (Note: this was back when I wanted a Caryl thing to happen. Those days are long gone, my friend. long. gone. See further down for details.)
LCT: Andrea - FREAKING BADASS SURVIVOR ANDREA! (insert Destiny's Child here). I kept telling her to climb a tree, but now I'm not sure that would have helped because, you know, those things walked all the way from downtown Atlanta, so they're not gonna let a little thing like a tree stop them. So she ran, she ran so far away... and then whoooopah! HOODED AWESOMENESS with 2 chained walkers (with no arms, and no jaws) and a machete! For peeps who read the comics, you know who it is. KC - I am VERY interested to know what your reaction was to this scene. My reaction was to hit P's leg and yell "SHUT UP! SHUT. UP!" I couldn't believe she showed up right then! Also, there's this about Andrea: she doesn't know Shane is gone, she doesn't know who this hooded character is, and she may or may not know that the farm is gone. Interesing.
DayyyyyUM
KC: Go Andrea! I wanted her to climb a tree too, but then I figured that the zombies would gather around and trap her there. I was not expecting mysterious hooded figure as I've been able to avoid any spoilers. So intriguing! Does she have pet zombies on leashes (chains)? Most of the people we've met in this world are familiar types not that different from ourselves; but as we head more into dystopia land, I'm guessing we'll see more outlandish people shaped by this strange new world. I can't wait!
LCT: The final scene with the group... lots to discuss here:
LCT: Okay, when did Carol become such an asshole? Who the... what the...? What is her problem? Daryl said it best: "What do you want?" and she says "A man of honor" but she's looking to Daryl to be that person? Daryl is the greatest thing in the world for answering "Rick has honor." See, Daryl gets it... why doesn't everyone else? Never mind... I take back all my Carol-Daryl (Caryl) musings. She doesn't deserve him.
KC: I think the writers have trouble with Carol - they don't seem to have a handle on who she is from week to week (which is also a problem with Lori). I could never get behind a Caryl situation I think because I pictured more as a mother figure to him. Now, I just hate her... you need to be zombie lunch, Carol.
LCT: So Rick knew they were already infected... SO WHAT? Why is this a big fucking deal? First, I don't think he explained very well that he wasn't sure about it. He starts to say "You know how crazy Jenner was" but never really gets to plead that case before everyone is all over his shit. Also, what would it have changed? Rick says this, but no one has an answer. What would it have helped at all?
You're all infected already. Maybe. Who knows, I'm crazy.
KC: I do understand the group feeling somewhat betrayed that he didn't tell them even as I understand why he didn't. The way it was revealed was party of the problem, during a high pressure situation when everyone is just about losing their shit.
LCT: T-Dog! I like that they are making him this alternate voice, with him saying they should go to the coast. When he first said this, I thought that makes sense. I was thinking a boat would be the place to be, and P said go on an island. But now I'm thinking, none of that is good because everyone is infected soooo... it could be more treacherous in isolation? I don't know... everyplace is effed.
LCT: Very telling after all that anger towards Rick that Rick lays down the Rick Law and says like it or leave it and no one leaves. Not even asshole Carol.
LCT: Rick! RICK! Super badass RICK!
KC: Rick rules!!! Literally!
KC: By the way, really liked the Glenn/Maggie scene when he told her he loved her. Moving, I thought. It was also so wrenching to have Herschel pulled away from his farm - I actually thought he was going down with it. Love the actor and the character, so I'm thrilled he will be around for next season, at least for a little while.
LCT: With the introduction of Michonne and the very public casting for the character The Governor, Season 3 is shaping up to be epic! I am terrified of it. Absolutely fucking terrified. Full disclosure: I stopped reading the comics because of some stuff that goes down with these new characters. So disturbing. Like, couldn't-read-another-page disturbing. Who knows if they will stick to the comic or deviate, but whatever happens, it will be unlike anything you've ever seen on TV before.
Yowza kablowza! The Walking Dead is on fire! Two major character deaths in as many weeks is a sure sign that we aren't playing by your daddy's rules in this here apocalypse anymore. So much to say about this episode, so let's get started. Guest blogger KC, where you at?
KC: There's just no other place to start: THE DEATH OF MFING SHANE. Holy Jeez. Now, I'll admit that as a general rule, when I'm watching a show, I'm usually so caught up in the what's going on that I don't anticipating plot twists (sometimes its a sign that it's too obvious if I pick up on it right away), but this was such an amazing turn of events that knocked the breath out of me. What this show lacks in finesse, it makes up for in sheer audacity. Two major characters in row, gone.
LCT: Gone and then back and then gone again! Well, at least where Shane is concerned. I know they keep touting this notion that "no one is safe" but I have to say that until last night, I would have guessed that Shane would have been around until the finale and Dale, well I just didn't think about him going at all. Noooooo Oooooone issssss Saaaaaaaafe.... (um, except maybe Rick.)
KC: Weren't you blown away by their confrontation? I loved the moment right before, when they're still in the woods: Rick gives Shane that long, appraising look. A look that says "I'm on to you, asshole." I feel like the show has been building to this moment for almost entire series and it didn't disappoint. Rick's cry of agony after he stabs Shane was wrenching. Followed by the reveal that Carl was watching (I think?) the whole thing. Or maybe he just saw the stabbing? Once again though, who the hell (Lori) was supposed to be watching (Lori) that kid (Lori)?
My new favorite meme.
LCT: That scene was very well done. Mostly because I didn't know for sure what was going to happen up until it happened. Did Rick have it in him to actually kill Shane? Was Shane so batshit crazy that he would not only face-smash a tree but face-smash Rick as well? That was a gut wrenching scene that stabbing (pun thoroughly intended!). If you watch closely, Shane was lowering his gun. I am so impressed and respect the fact that they had Rick kill Shane by stabbing him - it just drives home how personal this was. It's funny you mention that barbaric yawp that Rick lets out. I, too thought it conveyed so much pain. But mostly I thought "this is the same guy who is a classically trained British thespian and was in Love Actually, the greatest movie of all time?" Give this dude an Emmy!
Oh yes, binocular-lookin', gun-totin' Carl. First, I need to address the fact that early in the episode, Shane greets him with "Carl, what are you doing wandering around here by yourself?" Right, how god damn UNUSUAL. But during the Rick killing Shane scene, clearly we know that Carl saw them out in the field, but exactly what he saw could be debatable. I mean, yes he probably saw the scuffle, but there was time from the house to the field where he wouldn't have been able to see anything. So, from that perspective, who knows what he saw? BUT it does look like Carl is aiming the gun right at Rick so I think we were at first led to believe that he did see and was going to avenge Shane or something. At least, that was my first reaction and I was stunned... that Carl might actually pick Shane over Rick essentially. Meanwhile, Rick also thinks the gun is pointed at him, and is unloading some guilt trying to explain himself to Carl. Carl killing Zombie Shane is pivotal and will have lasting repercussions, I'm sure.
KC: The rest of the episode generally left me cold. I liked the scene with Andrea and Glenn getting the camper started - a rare moment of subtlety as they express their grief over Dale's death.
LCT: "left me cold" hahahahaha... oh, KC and your undead humor! I did like that scene with Andrea and Glenn, too. I definitely think it was meant to show how Dale was really closest to them and gave them guidance, or at least something to argue against. They were part of the original group - we don't really know how long Dale, Glenn and Andrea had been together before even Shane, Lori and Carl joined them.
KC: Speaking of Lori... Lori: now you're trying to make nice with Shane? That scene was just, I don't know, icky.
LCT: Okay, so of course I think Lori knew exactly what she was doing with that whole "I have to thank you" business. She was pushing all of Shane's love buttons by reminding him of what a hero he had been and how good they had had it "whatever it was" and how she just owes him her life, etc. Of course he is going to interpret this as a clear sign that she's coming around to his side and if Rick wasn't around just how good they would have it again. So, I might be giving Stupid Lori way too much credit here, but I feel like she was pulling her best Lady Macbeth in order to start a l'il sumpn sumpn. If not, then this scene is just ridiculously out-of-place and only used by the writers as a pretty little package so that Shane can die now. (For what it's worth, I have read interviews with writers and creators saying this scene was a result of Dale's death for Lori and that she wanted to start living life clean slate. I think this is crapola.) KC: How about T-Dog? He got another line this week. Now that the number of characters are dwindling, maybe he'll get a personality.
LCT: Oh, yeah, he got some knee slappers in, too. I thought that he had so many lines (comparatively) that he might bite it in this ep. Alas, the writers were thankfully not so obvious.
KC: And now Glenn: dude, you got Herschel's watch, why are you pushing Maggie away?
LCT: I totally agree. This dude has to get over himself super quick. I mean, what's his big beef anyway? "Oh no, she loooooves me?" Glenn is one of my faves, and I don't know what the hell they're doing with this story line. With Dale now gone (sort of his father figure, don't you think?) he has to man up and stop being so mopey.
KC: Question: where did all those walkers come from that showed up at the end?
LCT: Ah, the hoards of zombies... I think this is a fantastic display of subtlety in divulging information. If you recall, after they bury Dale and they are moving and shaking to secure the farm house, Herschel says "those creeks have been a natural barrier and they're all about dried up" and then Maggie chimes in "with our livestock it's like we're ringing a dinner bell." So knowing this, plus then Carl's shot heard 'round the world, it does makes sense that all these zombies would be heading their way. But DAMN that's a freaking crapload of walkers. So as to where they're coming from? Dunno. But all of this leads to: aaaaaaaah, Daryl and Glenn are IN.THE.WOODS!!!!
KC: Another question: How did Randall (and Shane) zombify without getting bitten? Is the virus airborne? Maybe you know the answer, LCT, from the graphic novels?
LCT: Twisteroo! Not to get all toot-toot, but last week I pointed out that Shane and Rick were looking at zombified bodies that didn't appear to have bites or scratches. And then in this episode, Daryl says the same about Randall. But it's not until Shane bolts upright after Rick kills him that we know this is actually happening. So yes, it seems that everyone is already infected. If you think about it, everyone they buried had been shot or traumatized to the head, most recently Dale. So they're not coming back. I have read that they were very careful throughout all of the scenes, especially the blocked highway scene, to show non-zombie bodies with obvious head trauma. ALSO, many people speculate, as do I, that this is what the CDC dude whispered to Rick. I love this whole turn of events!
Other interesting stuffs to talk about:
- Daryl! I wish there were a way to write his name with pink puffy hearts around it. (Working on it.) He is just the greatest character. Did you seeeeeeee the waaaaaaay he was looooooking at Carol at Dale's funeral? Oh yeah you did. I am hoping we are closer to Caryl or Darol. - Daryl! Again! Master tracker... dude was like Prince Humperdink ("there was a mighty duel"). He stopped short of determining that Crazy Shane smashed his face into the tree, but he was thisclose to figuring that out, I'm sure of it. - Andrea... with Dale and now Shane gone, her guides have left her. I really hope she grows into herself and becomes super kick-ass. As it is, I think her character is just meh, but I think she has so much potential. - Did anyone else think the crazy cut-ins of ferocious zombies as Shane was "changing" was overkill? Like all of a sudden we are seeing from the dead POV? Also, that happened super fast. But I guess the speed was pretty much explained at the CDC.
...OR "We Only Kill Some Live People, and Sometimes Only When We Vote On It" ...OR "How to Raise a Sociopath in the Zombie Apocalypse." There's many a blog title that comes to mind. I could hardly watch the opening torture scene where Daryl went all Sayid on Randall, and right afterwards I said "That might have been the most difficult scene to watch on this show yet." Foreshadowing! Because now I would argue that the scene with Carl in the woods and Dale getting ripped open like a pinata were equally as difficult. A few months ago I read that the team at TWD said the rest of Season 2 was going to be much darker and more violent. Darn tootin'.
Here's the riveting dialogue between myself and guest blogger KC:
KC: Well, that episode literally ended with a bang... and it took me completely by surprise, so good for you, "The Walking Dead" creators. Poor Dale. I went from liking him in Season 1 to finding him insufferable during the first half of Season 2. But I found his efforts to convince the group that they're giving up on their humanity by killing the kid in cold blood to be pretty compelling. The confrontation scene was fantastic, and I was glad Andrea backed him even though it was to no avail. Talk about survival of the fittest - I should have known that bit was foreshadowing.
LCT: I was so surprised! Especially since there had been an accidental spoiler by AMC on their website last week that did not have to do with this at all. And I was totally bummed out. Like him or not, Dale is the voice of conscience here and a strong character. This will shake things up for real. Will Andrea now become the voice of what's right and wrong? I doubt it, but it seemed like they were somewhat setting up for that with her ultimately siding with Dale during the debate. Side note on debate: Watching Dale go around trying to muster up votes was like watching the weak link on Survivor try to gain votes to make it through tribal council. Maybe Shane's right and the new apocalyptic motto should be Outwit, Outplay, Outlast. Only here when you get kicked off you don't go to a hotel and eat a buffet. You are the buffet.
I am hearing on the interwebs that a lot of peeps are disappointed with the manner of Dale's exit on the show vs. what happens in the GNs. I would have to say that at this point, the stories are so different it's hard for me to compare. I do think Dale's death will set quite a few things in motion here on the show, not the least of which is how will Carl deal with his complex emotions regarding the fact that he could have offed that walker in the woods. That and his seemingly growing indifference to violence. And at the very least, we won't have to watch Dale and Andrea getting it on in a prison.
What was Dale doing walking away from the farm at night anyway? Was he taking a walk to get away from the killing of Randall? Was he walking the perimeter for security? Was he fixin' to leave this broken group?
KC: Dale and Andrea getting in on in prison? I'm not sorry we missed that. I was never sure if Dale's interest in Andrea was romantic or paternal on the show although it was leaning towards romantic when Dale started to become jealous of Shane. LCT, do you think killing Dale was a long term plan? I'm thinking they came up with this on the fly but it's just a guess.
LCT: First, the story lines are so different from the GNs, so the reason for Dale to be around as a character is different. I'm thinking that through this season it was becoming clear that things were going to come to a head with this whole "how do we function in the apocalypse" thing. My guess is it became evident that Dale would become a broken record if he stuck around... in fact, he was kind of getting that way in the first half of Season 2. So give him his big hurrah speech and make his death meaningful. So, I don't necessarily think it was on the fly, but I do think it came out of how the story developed this season.
Don't get fooled by that cow, Dale!
KC: Carl: Was that Carl's walker that killed Dale? What the fuck is up with that kid? Creepy.
LCT: Oh, you mean the walker that Carl taunted in the woods because where else should a ten year-old be during a zombie apocalypse? Oh yeah it was. I'd recognize those milky cateracts anywhere. I'll tell you what's up with that kid: he's watched many people he cares about munched on by zombies or shot or both, including probably his best friend in this stupid zombie world (Sophia) and he has a stupid mom who doesn't watch him. (More on parental neglect below.) We rarely, if ever, see his parents or anyone trying to talk it out or help him cope. Which is fine. But it's all "go over there" or "don't listen" or "roam freely however you choose because we 'say' stay where we can see you, but we're not really paying attention to you at all." Actions speak louder than words here, my friends. I'm not sure Rick's advice of "don't speak, just think" is helping this kid any either. In short, they are mixing up a recipe for creepy, nasty awfulness in this poor kid. He is the precursor to Randall (who took a little too much enjoyment in stabbing a walker last week): do what you need to do to survive, laws and rules are for suckers and there's a nasty thrill in killing.
KC: Lori MacBeth: she didn't do anything really stupid this week... except that she was NEVER WATCHING HER KID. I guess Rick is at fault too, but he had to, like, play executioner.
LCT: ... and judge and jury, too! Rick has his hands full. But no matter who's actually "responsible" for Carl, I am here to tell you that as a mom, my kids would be full-on tethered to me every flippin' second. Aside: I fully expect this show to incorporate a running line every week à la Perry the Platypus on Phineas and Ferb: "Where's Carl?" Cue laugh track and zoom in on Lori's crazy eyes. Lori is always stupid. She sucks.
"Where's Carl?"
KC: T Dog: when he popped up while they were waiting for the execution to happen I thought, "oh, he's still on the show?" I thought maybe he'd wandered off between episodes never to be spoken of again like Mandy on "The West Wing." And Ainsley on "The West Wing." But no, he's still around. Maybe next episode, he'll get to say something.
LCT: Oh, West Wing... sigh (looks out window, wistfully... and remembers this scene regarding Ainsley Hayes). They need to do something with T-Dog. I just hope they can give him something strong and not make him zombie feed.
KC: Andrea: I like that she gave Lori the smack-down last week, and, as I said before, I liked how she backed up Dale. Excellent character rejuvenation. I have a feeling that she'll have some good moments next week when they mourn Dale. Have we always known that she was a human rights lawyer? I don't remember it being mentioned before, but I'm sure I could have missed it.
LCT: Ha! I said the same thing... did we always know she was a civil rights lawyer? If we both thought it, I bet we didn't know. I like that they're building some back story on Andrea so her actions and words have more context. I don't think the rest of the "broken group" will necessarily turn to her for advice on right and wrong, but she is definitely finding her voice, and that will probably continue.
KC: Some fascinating questions raised tonight... really, the most important one the show has ever raised: what does it mean to be human now in the new world order? Do the rules that governed society in the world before the zombie apocalypse still apply? As much as I respect Dale's argument, the others may be right. This IS a new world: the old rules don't apply anymore, and your only choice may be simply that you must do whatever it takes to survive and keep your family safe. Dale was unable (too old?) to adapt and was therefore doomed.
LCT: I'll take this one step further and say, what does it mean to be human in the apocolypse right now? Meaning, at the start of the show these people were all thrown together and had to trust that things would work out. When they got to Herschel's farm, they had to learn to trust each other as strangers. Now all of a sudden this particular stranger is a threat. Dale was articulating this when he said "What makes us so much better?" Also, they save him from town, fix up his leg (miraculously, it seems) and were gonna let him go in the wild and now they are gonna kill him for something that might happen? Actually killing this kid locked and tied up in your barn because you saved him is way different than killing live people when they draw a gun on you. This is the genius of the show, because you feel like there should be another way. But maybe there's not. P.S. Why don't we hear Maggie saying she knows him or not?
KC: I love what you said here... it does feel like there should be another way, but I certainly couldn't think of one. Plus, like Dale also said, will killing Randall keep the other men away? Probably not. But they still can't let Randall go. As for why Maggie didn't say whether or not she knew him - didn't Randall say last week that he knew her, but she wouldn't remember him? He's willing to say anything to survive though, so who knows what's going on?
LCT: Totally agree that Randall will say anything and he did say "she (Maggie) wouldn't know me." But here's the thing: they're in the middle of East Bum and I'm pretty sure everyone knows everyone. My guess is if they asked her, she'd say no way. But what does that get us? So they can drive him out 25 miles and drop him off now? Not sure. All conscience issues aside, you know this kid is bad news. Too bad they can't kill him.
