On the Reading of Text and Your Own Interpretation - Mad Men's Final Scene

Most often we're able to write a post, say our piece, do some interpretation if needed, hit publish and then wonder, once again, what exactly it is we're doing with our life.

But every once in a while, something occurs that puts a new spin on something we wrote about, and it seems worth it to revisit the scene with the new evidence in hand.  With my readership of upward of five humans, I feel it's only fair to try to keep up and adjust to new information.  If I did not adjust as new info came to light, I'd still be wearing diapers and needing to be put in a very large stroller.

In the final scene of the show, the hard drinking, mid-20th Century picture of a man, Don Draper, has utterly broken down.  In his wanderings between New York and LA, he has somewhat accidentally come to a hippie meditation retreat in California, and is subsequently abandoned there by his ride, but - vulnerable and shattered, he seems to open up in a way he has not previously in 7 seasons.  In his final shot, he sits cross-legged with a group on a coastal bluff, comfortable in a meditative position.  The scene cuts to the 1971 "Hilltop" ad from Coca-Cola, and the series ends.

The ad is very real, and ran in various iterations even during my very early youth which began in 1975 (I have memories of it appearing on TV when I was very little, at least the Christmas spot).

Capra Watch: Arsenic and Old Lace (1944)

A wartime Frank Capra movie, Arsenic and Old Lace (1944) was a popular Broadway show, and that's about all I know about it.  Except that the original play starred Boris Karloff as a guy who looks a whole lot like Boris Karloff (no, really), and I had to do a scene from it at high school drama camp (oh, really), which we did a little heavy handed, I guess, because no one got it was a comedy scene and on the last day of camp, one of the girls told me she was surprised to find out I wasn't a creepy stabby guy the way she felt I'd been in that scene.  So go figure.

The movie is more or less the play.  And the movie is about a drama critic (Cary Grant) who has fallen in love with the girl next door (Priscilla Lane, cute as a button) and gotten married at the local courthouse.  He's from an old-money New York family, who, apparently have a strain of insanity running in the veins.  An uncle who thinks he's Theodore Roosevelt, and two sweet old aunts (one played by Josephine Hull who was in everything during the 40's), he pops in on to tell he's off to Niagara Falls, only to learn they seem to have killed someone and put him in the window seat.  And that corpse isn't the only one.

Wacky hi-jinks ensue.  A sadistic older brother returns mysteriously after decades away - and he seems to have racked up a body count himself, and accidentally gotten the face of Boris Karloff during some quick plastic surgery to hide his identity.

The material is definitely of its time, and its a curiosity that they couldn't get Karloff for the movie and had to put someone else in Karloff make-up.  But, apparently, Karloff was still in the play at the time and was busy.  Who knew?

It's not my favorite screwballish comedy from the era.  There's something off in the pacing, and it feels oddly clumsy to me.  I'd only seen the movie once or twice before, the last time being at least fifteen years ago.  I'd wondered if I'd like it better now, and I guess I kind of did, but...  yeah.  There you are.  It has all the components of something I think I'd like better, but somehow it just never quite clicks for me.

Movie Watch: Mad Max - Fury Road

Firstly, apologies to my brother, who asked I take him to see this movie at some point.  And I will!  And I am sorry I went to see it without on my first viewing, but Raylan texted me and said I should just go and when you make time, I'll go again.

Secondly, holy shit.

And so, "Mad Men" ends

There were a lot of crazy stories going around as fans speculated how Mad Men might end.   I will never understand why Mad Men was one of the most curiously misunderstood television programs to ever air, but at least the folks watching it for all the wrong reasons provided enough eyes on the show that it lasted longer than it might have, otherwise, and without becoming one of those shows that seems to live on, shuffling about, no longer certain when it should have ended, but certainly positive it no longer needs to be on the air.

My pal Matt came over to watch with us (he, his ladyfriend Nicole, and the illustrious JuanD have been Team Mad Men at our place for years now), and said "here are the two endings I heard people saying were possible".  One was that DB Cooper thing that circulated the past couple of years and which I think Mad Men was well aware of as it went into the final episodes.   The other, curiously, was exactly what happened.

I had no preference, and as I don't particularly enjoy coming up with my own ideas for how things should play out, one thing I've always enjoyed about Mad Men was that I rarely guessed anything ahead of time about the program.*   Some shows like Parks n' Rec can make a gag out of ending the show and give everyone saccharine endings, but I think if you were going into the final season of Mad Men expecting everyone to wind up just fine, you haven't really been watching that show very closely.   Nor was the show Breaking Bad, where there was only ever one real conclusion from the the half-way point of the first season.

Marvel Watch: Avengers - Age of Ultron

So... I had the benefit and/or handicap of seeing Avengers: Age of Ultron in its third weekend of release.  As always, a little context:

I was never a big Avengers reader growing up.  I was far more into Uncanny X-Men for my Marvel team book of choice, but I was also not a reader of Thor, Iron Man and most of the rest of the Avengers line up of characters, and only dipped in and out of Captain America, a book I had certain opinions about when it came to tone and what I was interested in reading.  Most of what I know about the Avengers comes from reading Marvel Super Heroes Role-Playing Game supplements and character guides, and via comic dork osmosis.

Thus, I don't have as many conceptual ideas regarding Avengers as I might about lots of other characters, especially from DC Comics.  But Marvel was always better about balancing character and plot, and so the Marvel characters have tended to be fixed points over the years in ways that DC characters so often seemed to struggle.  But if you ask me "what's Wanda Maximoff like?", I can give you a basic idea, and feel fairly confident, even if I only ever owned a dozen or so comics in which Wanda appeared.

The movie has taken it a bit on the chin from clickbait articles and folks looking to weigh in, and I was under the impression this installment in the Marvel Cinematic Universe was likely to be something endured to make sense of coming MCU movies.

But, you know, I actually liked it better than the first Avengers movie.

Marvel Watch: Captain America - The Winter Soldier (2014)

I'm way past the ability to discuss this movie from a critical standpoint.  Y'all know I'm a fan of the character and concept of Captain America, and with this movie, I felt like Marvel really finally got to the Steve Rogers I dig.  And, you know, people, all I want to see is the shockingly earnest Steve Rogers bounce his mighty shield off the cranium of a HYDRA agent.  And, here, I get that.

We're off to finally see Avengers: Age of Ultron, so Jamie threw this in the BluRay player this evening so we could review, I guess.  Whatever the reason, I am always up for this flick.  Goofy techno-thriller with 70's government paranoia that intentionally or otherwise has some curious parallels to the real world that, holy god, nobody ever seems to notice or talk about, Robert Redford out to remind everyone he gave up on handsomeness some time ago, Jenny Agutter showing up because, hey... who doesn't like Jenny Agutter?*

Let's Finally Talk Marvel's "Daredevil"

I'm not a rabid fan of The Man Without Fear, but on and off over the years, I've enjoyed reading comics about Marvel's foremost punching bag, Daredevil.  Of all of Marvel's staple characters, since the 1980's at least, Daredevil has been like a weird superhero/ noir/ gangland epic soap opera that mostly lost it's way when it veered too far into the rest of Marvel's superheroing and was at it's best when it kept even the costumed heroes and villains a bit more grounded and spent a lot of time with Murdock out of costume.*

If I were to recommend runs, I'd really recommend the Frank Miller era (the man's work just keeps bearing fruit) and the unbelievable Brian Michael Bendis era that had tremendous impact not just on Daredevil - forever changing the character while making him, somehow, even more Dardevil - but on the concept of dual identities in comics.  

So when I saw the initial previews of the Netflix-direct Daredevil show, I was a little shocked to see how much it looked exactly like a mix of Miller, Romita Jr., Mazzucchelli and Klaus Janson's work on the book and the Bendis-era Maleev tones and compositions.  And while Miller's story took place with Daredevil well established in the Marvel U, it certainly harkens back to his work.

DC TV presents "Legends of Tomorrow" and the trend of non-glowering superheroes expands

Opting to not recycle a title of a long-canceled comic is bold new territory for DC Entertainment.  Spun off from the mopey CW hit, Arrow, and its spin-off, The Flash, supporting superheroes (and popular villains) introduced in those series land in a single show.

if you'd told me 5 years ago I'd get a TV show with an Atom/ Captain Cold/ Hawkgirl/ Firestorm team-up...

Here you go:



I don't know what to say except: "really?"

That's not a bad "really" either.  That's a "you really made this show I'm totally going to watch?"  I mean, Brandon Routh as Ray Palmer!  Get out!

It's not going to be good as in The Americans, Mad Men or a few other shows I'm enjoying.  And certainly not as tonally ambitious as Daredevil.  But it does look like the brand of fun DC Entertainment seems to have remembered it was supposed to be the home for with the success of The Flash, seems to backpedaling into in the comics line and rolled over for on Supergirl.  Heck, I even expect a lighter tone on Arrow next season when I'm forced through another crossover event, and that show is the most unnecessarily overwrought business on TV.

And, if I may...  Man, from the comics, I love the Flash villains (aka: The Rogues) as much as any B-list characters in comics, and if I absolutely were required to pick a favorite, it would be Captain Cold (Grodd has a very special place in my heart, but he's not so much technically a Rogue, but I'm splitting hairs).  And, man, have I enjoyed Cold this season on The Flash.  So seeing him get extra screentime is a big win for me.

Here's to DC doing good things on TV and making up for the comics they seem to be having such a hard time making these days.

BB King Merges with The Infinite

Blues maestro BB King has passed beyond the veil.

Signal Watch Reads: Backflash - a Parker Novel (1998)

The second of the "Parker is back" novels of the 1990's, and by this time it's pretty clear heists are a damn hard thing to plot even in a pre-cell-phone era, but an era in which money is mostly moved about electronically.

Parker is called at his home by someone he doesn't know, someone already out of their depth, pitching a heist.  The score is a gambling cruise ship working the Hudson River on a trial basis, all cash for the night's take, a locked down money room floating in a river.  He calls in old favorites of the Parker novels, Sternberg, Dan Wycza and Mike Carlow as support, and a character a I didn't really remember from Plunder Squad.  More than one other party gets a whiff of the heist and try to deal themselves in, and, meanwhile, nothing about the guy setting up the heist makes sense.