At The A.V. Club, I examine how Mad Men uses images of cowboys and astronauts as symbols of freedom — and just as often, as avenues of imagined escape:
These superficially discordant visions of cowboy and astronaut are fundamentally similar: exploring a frontier, expanding the mapped world, and returning home to tell the tale. Astronauts orbit and return to Earth. Cowboys ride the range and bring the livestock home. These connotations of repetition and return undermine the frontier’s twin promises of opportunity and escape.
That contrast is at the heart of Mad Men, which asks whether people are capable of change—and whether they want to be. Amid the show’s flamboyant parade of changing styles and social mores and its characters’ shifting families and career trajectories, it’s easy to ignore how often they lapse into repeating old patterns and recreating the relationships they learned in childhood, no one more than Don Draper.
At The A.V. Club, my open letter to Lady Edith Crawley. GodDAMNit, Edith.
My notes for the next Downton Abbey review at The A.V. Club.
St. Valentine’s Day is an excuse to express our most intense or obscure passions. But words can be a frail tool to capture the complications and complexities of this thing we call love: the sweet blush of infatuation, the kinship and kindness of true companions, the frenzy of unfettered lust, the torments of jealousy, betrayal, or heartbreak. So perhaps it’s no coincidence that three films set on Valentine’s Day hinge on the fragility and feebleness of words, creating worlds where meaning and reason fall apart.
Orson Welles’ iconic “Citizen Kane” has been set for its first-ever showing at Hearst Castle on March 13 as part of the San Luis Obispo International Film Festival.
The movie will be screened at the private theater at the massive hilltop estate — the inspiration for Xanadu in “Citizen Kane” — for about 50 people. Tickets will cost $1,000 each and proceeds will benefit the festival and The Friends of Hearst Castle preservation group.
No, wait, there’s more. It’s not just that the Hearst Castle is hosting an elaborate, expensive screening of Citizen Kane, the film William Randolph Hearst famously tried to suppress, using every threat and contrivance at his considerable command.
The event will also include live auctions of a pair of Hearst Castle party packages — a movie night for 10 and a pool party for 10 at the indoor Roman Pool — with bidding starting at $7,000.
Because if there’s one message to take from Citizen Kane, it’s that extravagant outings and ostentatious gestures lead to happiness.
“Sure, ya gimme things! But that don’t mean nothing to you!”
Other suggested auction items for the Hearst/Kane pleasure parties:
Starting at $50: One good cigar, wrapped up to look like toothpaste or somethin’, delivered to your door.
Starting at $5,000: Enjoy a week of private lessons from Signore Matiste, vocal coach to the stars. His motto: Some people can sing, some can’t. 10 packages available, schedule inflexible.
Starting at $20,000: Spend one thrilling night as the star of your very own opera house! Only one package available! Bid early, bid often!
Flat $1 donation: An anonymous account will tweet @ you, then delete, an image of a girl in a white dress holding a white parasol. You will see it only for a moment, but you may revisit the image as often as you like for a lifetime.
I could have mentioned this back when the season started: I’ve been covering Benched, a legal sitcom created by Michaela Watkins and Damon Jones and starring Eliza Coupe and Jay Harrington, for The A.V. Club. USA wraps up the first season with back-to-back episodes tonight, and you can catch up with my reviews for the full season here.
It started out as a whip-fast workplace comedy that leaned heavily on Coupe’s facility with physical comedy and open-ended rambling and a plausible but predictable will-they/won’t-they romantic angle between the leads to the detriment of the excellent supporting cast. As sitcoms went, it was entertaining and zippy, but nothing special.
But as the season went on, Benched evolved from a show I enjoyed into a show I loved. The characters developed and deepened (including great roles for Maria Bamford and Oscar Nuñez), the tentative flirtation broadened into a friendship, and the show set its sights audaciously on the legal system, portraying a world where there are no villains, no antagonists, no bad guys or good guys, just an overburdened institution and overworked, underpaid lawyers working within it. I began the season happy to review a new show; I’m ending it hoping — hoping — to see it return for season 2.