The final season of Mad Men will be expanded to 14 episodes, but you’ll only get half of it next year. AMC announced today that it will split the seventh season of the Madison Avenue-in-the-’60s drama into two parts, with the first half airing in spring 2014 and the second half debuting in spring 2015. READ FULL STORY
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Mad Men is a series that traffics in secrets, both onscreen (Don Draper’s increasingly less obscured past) and behind the scenes (creator Matt Weiner’s famous reluctance to reveal any information about what’s coming next). But though the show’s sixth season featured plenty of unanticipated shocks, its two biggest both involved one top-secret new character: Linda Cardellini’s Sylvia Rosen, a bored housewife who a) had an affair with Jon Hamm’s Don (gasp!) which led to b) Sally Draper (Kiernan Shipka) discovering her father cheating on his wife (double gasp!!).
It was an undeniably juicy guest role — which is why the Emmy Awards honored Cardellini with her very first nomination this morning. The actress, best known previously for her work on Freaks and Geeks, is understandably over the moon: “It feels amazing!” she gushed to EW today. “When I started the part, I didn’t know what it was I would be doing. And so having it unfold the way it did was amazing. And the idea that she is sort of a catalyst for all these things that happen in Don’s life — it became such a great role. So that happening, and now this on top of all that, it’s really a dream.”
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Emmy nominations are nothing new for Elisabeth Moss. She’s been racking up nods for her role on Mad Men every year since 2009, once in the Supporting Actress category and thrice in the Lead Actress category — so today’s fifth citation can’t have been much of a surprise.
She was, however, pleasantly shocked to discover that she’ll also be competing for Lead Actress in a Miniseries or Movie alongside heavy hitters Jessica Lange, Laura Linney, Helen Mirren, and Sigourney Weaver. No wonder she calls her competitors “ridiculously intimidating” — Moss, cited for her work in the BBC Two/UKTV/Sundance miniseries Top of the Lake, is the only nominee in the category who hasn’t also been nominated for multiple Oscars.
“It sounds so crazy to hear you say that!” she said with a laugh after EW congratulated her for getting two nominations. Moss’ mother apparently reacted to her news in much the same way: “I called my mom and woke her up, and she promptly responded that she was going to jump out a window,” she said, “which I thought was an appropriate response. I talked her down from the ledge.”
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Between now and June 28, the deadline for Emmy voters to submit nomination ballots, EW.com will feature interviews with some of the actors and actresses whose names we hope to hear when nominations are announced on July 18.
Increasingly there’s the sense that Elisabeth Moss can do anything. After six seasons of playing such a marvelous character like Peggy Olson on Mad Men, some actresses would have a hard time ever sliding out of such a comfortable wheelhouse. But this spring Moss, 30, reinvented herself in Jane Campion’s dark and moody miniseries masterpiece Top of the Lake.
As detective Robin Griffin, driven wild to solve the mystery of a missing pregnant 12-year-old girl, Moss was a churning ball of opposing forces. She was brittle (“You can be very hard,” Robin’s mother warned her at one point, “and what I don’t like is, you think it’s strength.”) and vulnerable and deeply wounded and weary and magnificently capable and a total mess. She was at once the youngest and oldest person in the room. She seemed always dangerous of both cracking open and throwing down, a tricky combination she nailed in a blistering scene in episode 4 when she attacks her childhood rapist in a bar. She is magnificent, boiling with feeling, and it’s pleasure to talk about a performance outside of her Mad Men‘s walls that’s worthy of Emmy consideration. READ FULL STORY
It was no tightrope walk. But AMC’s Mad Men finale ratings Sunday evening were the highest in the show’s history.
The sixth season finale had 2.7 million viewers. That’s up just a tad from the fifth season closer last year. Overall the show is averaging 2.5 million this season.
AMC’s president praised the numbers: “There is nothing else on television like Mad Men, and for the series in its sixth season to deliver the highest-rated finale ever – and an episode that critics and fans have already declared an instant classic – is a testament to everyone who brings this world to life,” said Charlie Collier. Check out our post-finale interview with creator Matt Weiner.
Sunday offered a few major episodes in addition to Mad Men. There was the premiere of Lifetime’s Devious Maids, along with the debut of ABC’s Whodunit and NBC’s Crossing Lines. Plus there was Discovery’s live tightrope walk across the Grand Canyon, which also set a record with 8.5 million viewers.
Mad Men creator Matthew Weiner didn’t consider the power of the internet to immediately connect dots, freak out, and assume that because Megan Draper (Jessica Paré) wore the same T-shirt on the show as Sharon Tate had during a 1967 photo shoot, Megan’s character might reach a tragic end along the same lines as Tate’s. As Weiner explained during a roundtable discussion with the L.A. Times, all he wanted, really, was for Megan to wear any t-shirt!
“I always wanted Megan in a Disneyland T-shirt and [costume designer Janie Bryant] kept saying, ‘They’re not around yet.’ So I said, ‘There’s got to be a women’s T-shirt,’ and Janie brought [the photo of Tate] in and asked, ‘Is this okay?’ And I said, ‘Yes. I want that exact T-shirt.’ Little did I know…”
No one else is about to die on Mad Men. At least… not this season. “I didn’t say never!” laughed Weiner.
More ‘Mad Men’ on EW.com:
O Mother, Where Art Thou?: ‘Mad Men’ and its lady problems
‘Mad Men’ recaps
‘Mad Men’ explained: From A to Z
Jon Hamm reveals why ‘Mad Men’ keeps secrets better than the CIA — VIDEO
“I have reached the point where I have absolutely no affection left for Don Draper.”
So wrote my friend (and Entertainment Weekly colleague) Missy Schwartz on her Facebook page a few weeks ago, just hours after Don demanded that his mistress crawl across the hotel room on her hands and knees to fetch his shoes. “I’m so fed up with him and his atrocious behavior that I found myself wishing someone awful would happen to him,” she continued. “Are we supposed to feel sorry for him that he’s turned into a past-his-prime shadow of his former self at work? Who then tries to compensate for this by ordering his mistress to crawl on the floor on all fours?”
I understood what she meant. (And, apparently, so did the many others who “liked” the update.) It’s been a very long time since I’ve felt any affection for Don Draper. And for me, that’s a very different thing than saying that it’s been a long time since I’ve liked him. You can love a show even if you don’t like the main character, and I still believe Mad Men is one of the best shows on television. But being able to feel sorry for that character is crucial. That’s why Walter White has cancer. It’s why Tony Soprano was wracked by the same panic attacks as his father. It’s why Enlightened began with Amy Jelicoe having a nervous breakdown, not long after going through a messy divorce and (we soon learn) suffering a miscarriage. But I just can’t bring myself to feel sorry for Don Draper anymore, and I’m starting to question why I ever did.
Jon Hamm’s consistently excellent performance can’t erase the laissez-faire nihilism of Don’s worldview: Most of his melodramatic problems have been largely his own fault, and — unlike Tony Soprano — he doesn’t seem remotely interested in changing anything about who he is. He’d rather just marry a different secretary or find a new brunette downstairs. For Don, “evolution” just means a new person to seduce. So the show keeps returning, again and again, to the same heavy-handed origin story that’s supposed to explain why he’s so dysfunctional: he was raised in a whorehouse. These flashbacks are often clumsy (a shot of Don coughing cuts back to a shot of him coughing as a kid) and poorly written (“I defy your accusations!”). Yet this season has relied upon them so much that last week’s episode almost seemed to poke fun at them. “Every time we get a car,” Don said, “this place turns into a whorehouse!” He was joking about Stan’s hookup during the Chevy brainstorming session, but he might as well have been joking about Mad Men itself.
It’s impossible to talk about the women of Mad Men without talking about feminism. But now that we can finally discuss when season 6 picks up (the wee hours of 1968), we can also address what our working heroines think of their position in the burgeoning movement.
Peggy Olson (Elisabeth Moss) and Joan Harris (Christina Hendricks) are both in very different positions now then they were when we first met their characters five seasons ago (or eight years by Mad Men‘s timeline). Both women have made significant professional strides while suffering consistent humiliations at the hands of their male colleagues and superiors. If the beginning of season 6 is any indication, we should expect to see more of both Peggy and Joan as they try to conquer their new positions — Peggy in a more senior role at a new agency, Joan as a Partner with Sterling Cooper Draper Pryce. Though both might seem emblematic of a larger movement, it’s unlikely that it was rooted in any sort of feminist consciousness. When EW spoke to Hendricks and Moss, both were hesitant to categorize their characters as feminists.
SPOILER ALERT! This post contains information about key plot points in the season premiere of Mad Men. If you haven’t watched Sunday’s episode, continue at your own risk.
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Hey, sad Don Draper. You’re at a bar. You’re alone. You’re perhaps disappointed with your young wife’s recent decisions. Enter: Attractive Woman. “Are you alone?” she asks coyly. Cut to black.
The last image of Mad Men’s fifth season is a hard one to forget. Though we don’t know anything concrete about what decision Don made that night, opening the door for another affair was at turns dismaying, ominous, and so familiar. And it’s hard not to trace it back to Megan and some sort of undefined, fundamental disconnect in their relationship. There aren’t enough martinis in the world to make Jon Hamm, Jessica Paré, and series creator Matthew Weiner talk about season 6 specifics. But EW did talk with them about Don and Megan, where the couple left off last season, and what they both wanted out the relationship.
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It’s been a long, skinny tie-less off-season for Mad Men watchers, full of moving still imagery and bizarre lawsuits. But no longer: This morning we bring you a full, 30-second teaser trailer for the sixth season, which is just two weeks off. What’s changed since last we saw Sterling Cooper Draper Pryce?
Creator Matthew Weiner is still playing his cards pretty close to the vest, opting to use clips from season 5 to set the mood. But it doesn’t look like anyone’s going to be happy — Don, particularly (burden of the American ethos on his shoulders, didn’t you hear?). But at least he has a cure for such marital not-so-bliss: “I am who I am. The next thing will be better.”
Yesterday, AMC released a new poster for the impending return of Mad Men featuring a pair of Don Drapers. There were two ways to read that poster: This season would return the focus to the idea of Don’s double life, or this season would introduce Don’s heretofore unknown twin brother, Ron Draper, who would join Don in planning a wacky elaborate “Parent Trap” plot to finally get Roger and Joan together. READ FULL STORY
Last year, Mad Men teased its return from a very long hiatus with a pair of very cool advertisements: A minimalist teaser ad which inspired a fill-in-the-blank graffiti meme, and an evocative image featuring a pair of extremely suggestive existential mannequins. But this year the show has taken a decidedly more classical approach. A new poster that hit New York subways is actually a drawing that looks straight out of an advertisement in a mid-60s New Yorker. (As reported by The New York Times, the poster was actually illustrated by an old pro named Brian Sanders, a commercial artist who’s been working since the ’60s.)
Check out the official image below, and read on for some theories about what it means for season 6. (Click on the picture for a bigger image.) READ FULL STORY
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