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- #GRACE BONNIE IN THE COMPANY OF WOMEN MARIAM PARE SERIES#
- #GRACE BONNIE IN THE COMPANY OF WOMEN MARIAM PARE TV#
Earlier in the episode, with some encouragement from McCann Erickson’s Jim Hobart (H. “Shoot” gives us one of the first great Betty Draper-centric episodes of Mad Men and-beyond that-one of the single most memorable images of the series, as the episode ends with the dead-eyed housewife plucking her neighbor’s pigeons out of the sky one by one with a BB gun with a lit cigarette dangling from her mouth. Bonnie Stiernbergīetty and those birds, man.
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When the man passing out candy looks Don in the eyes and asks, “And who are you supposed to be?” his smile fades, and it’s obvious he’ll be spending most of Season Four trying to answer. It’s fitting that the episode ends on Halloween, as Sally and Bobby take their own stab at trying on new identities for a night, dressing as the titular gypsy and hobo (both nomads, like their father). Betty knows everything, or nearly so-she doesn’t know Sally’s teacher/Don’s side-piece Miss Farrell (Abigail Spencer) is sitting in the car outside her home waiting to run away with her husband while this whole conversation is happening-and by the time the whole thing culminates with a guilt-stricken Don weeping over his brother Adam’s suicide, we have no idea where the Drapers stand.
#GRACE BONNIE IN THE COMPANY OF WOMEN MARIAM PARE SERIES#
It’s the confrontation the series had been building up to for three years, and it does not disappoint. Even Betty seems stunned by how shaken he is his hands are trembling so badly he can’t even hold on to the cigarette he’s fumbling for to calm his nerves, so she takes pity on him and offers to get him a drink. Of course, in many ways, we are once he knows he’s been caught, the smooth ad man wilts and reverts back to scared Dick Whitman. There are so few instances in Mad Men’s seven-season run of Don Draper truly, fully losing control of himself in front of others that when Betty finally ( finally!) detonates their powder keg of a marriage and confronts him over his past after nearly three seasons, it’s like we’re watching a different man entirely. “One life for yourself, and one for your dreams.” Matt Brennan “You only live twice,” Nancy Sinatra sings as the season comes to its bitter close. “The Phantom” constructs these interludes of regret with such poignant force that even the heavy-handedness of certain symbols (“It’s not your tooth that’s rotten,” Adam says to Don) cannot sink its portrait of the past’s death grip on our lives, culminating in perhaps the series’ most evocative image, one that never ceases to astonish me: As Don and the camera retreat from Megan (Jessica Paré) on an ad spot’s sound stage, the illuminated proscenium receding into the distance, Mad Men pries open the space between who we are and who we hope to be in searing terms. In the haunting finale of Mad Men’s fifth-and finest-season, the series arranges all that’s lost into a series of visitations: Don’s deceased half-brother, Adam (Jay Paulson), appears along with the ad man’s hot tooth Pete (Vincent Kartheiser) drops in on his illicit love interest (Alexis Bledel) in the hospital, her memory fuzzed by electroshock therapy, to discuss the life he’s built, and broken in the aftermath of Lane’s suicide, Joan (Christina Hendricks) glances at his empty chair in an otherwise optimistic board meeting.
#GRACE BONNIE IN THE COMPANY OF WOMEN MARIAM PARE TV#
Often darkly hilarious, almost always astute, boldly “cinematic” (for lack of a better term), and defined by its peerless attention to character, Mad Men is rightly considered one of the great TV series of its (or any) era, but not because of the gloss of “prestige.” The magic of “Mad Men” is that it brings one to tears over “Family Supper at Burger Chef” as if we were among those being pitched, but its genius was that its acknowledged it was always pitching us - “You are the product: you, feeling something” - and still managed to pull it off. Ten years after the debut of Mad Men, which Paste celebrates here by paying homage to the series’ 20 best episodes, Matthew Weiner’s period drama, starring Jon Hamm as dashing ad man Don Draper, still stirs the electric sensation of first seeing “Smoke Gets in Your Eyes.” To watch its finest entries again now-particularly its later ones, which broaden and deepen its portrait of midcentury America and so dominate this list-is to be reminded that its association with TV’s latest “Golden Age” is actually rather limiting.