New Gilmore: Just What We Needed

[Heading out to a Gilmore Girls gathering this weekend and was told my outfit looked familiar...]

"I wanna remember it all. Every detail."

Life (just like for the rest of us in the real world) has continued on for the folks in Stars Hollow, Conn., the small, idyllic town featured in the now iconic television series, Gilmore Girls.

In the recently released four part cinematic explosion of a mini-series, Rory Gilmore has become a 30-something who is working out how to exactly express herself in her writing and profession, while also staying true to herself. As she uttered the line quoted above, Rory longingly moved into feeling nostalgia of her past mixed with keeping her eyes on the future. It is a line that really slugged me in the gut, mostly because my extreme sentimentality that frets over time flying by too fast, constantly causes me to feel sad when I can't remember what I ate last Wednesday. (Yeah, it's bad.) Emotional folks like myself would like nothing more than to just "remember it all". Everything, all the little things, including meals.

While it may be impossible to recall every second of every day, we can give it a good shot. We can be present and write all our experiences down in a journal or turn it into a wonderful story that captures those marvelous aspects of our daily lives. 

That has always been the real magic of Gilmore Girls. Through the years, this show has brilliantly told the stories of day to day life (just with a little more flair and definitely more hats). Big milestones are also shown, like Rory's graduation from high school and college, but more often the stories stay away from big flashy events, unlike the shows that are known for their yearly holiday themed episodes.

Gilmore Girls did try their hand at a delightful Thanksgiving episode (hilariously featuring Melissa McCarthy in full on drunk Sookie mode), but the rest of the stories are almost always focused around the moments in a year that normally go unmarked by festivities - television habits, conversations with people at your job or with your neighbors, and those weekly family dinners. These situations sometimes feel boring while they are happening, but those connections will inevitably be what most people will want to remember when looking back through the years. I know I already do.

Where the show uniquely shines is in how these life events, big and small, are captured. The writers and creators of Gilmore Girls have always known how to really create a moment you will remember forever. For example, no one could forget Lorelai solemnly settling in for A Star Is Born marathon (there are three versions) only to be surprised with a romantic gesture at her door while the quintessential Judy Garland number, "The Man That Got Away" plays in the background. Pure storytelling gold.  

This new set of episodes/mini movies of course include several of these brilliantly written and memorable moments, none which will be remembered more than a totally showstopping, purely magical montage scene that takes place in the middle of the town square set to "Reflecting Light" by Gilmore songstress Sam Philips. Many will remember that song was first featured during  Luke and Lorelai's waltz at his sister's wedding (another memorable Gilmore moment for the books). That song can cause tears to start flowing right when the first cord is struck, evident even now as I play it to set the perfect mood for writing these thoughts. It is a beautiful, haunting song all on its own, but cast against the world of these characters, as Philips' voice has set the tone for the entire series, makes those warm feelings start bubbling inside every time it's played.

This new scene is one that creator Amy Sherman-Palladino must have been planning in her head for years. With grand execution, it feels like both a magnum opus ode to the characters and town, and also a wonderful summation of her creative talents. It is beautifully choreographed to the point that it could be a music video that both Sherman Palladino and Lorelai probably dreamed about starring in during their 20s.

Needless to say what unfolds is a real wow moment that will be blowing fans away for years to come. Even if that is your only take away from the four episodes, the resurrected series was still totally worth the nine year wait. The scene is that good - I'm not exaggerating.

Some are voicing disappointments with aspects of the revival, mostly general hatred towards an extended musical scene at Miss Patty's and a few plot holes, like who wrote that letter that Emily was so mad about?  However, even with a few story missteps, I adored every minute of the Stars Hollow gang being back together. 

For me, a person who has been reeling over grief, change, and trying to make sense out of using my journalism degree the last of couple years, this series hit very close to home. So close that it kind of freaked me out.  

Finding connections with Gilmore Girls is not new, since, like other fans, I have always seen parts of myself in both Rory and Lorelai. That continues into the new episodes, where at this time in my life I completely understand each of the stresses impacting the three Gilmore women and the journeys they individually take. So much so, it feels like this series was created just to give me a personal pep talk. And it worked. 

You know when people say that things come into your life just when you need them? These new episodes of Gilmore was that for me and I will forever be grateful for the kick in the motivational pants. I can bet others out there feel the same way.

Many people will not personally connect to the main story points, but, like always, there is something in the series for everyone. Witnessing the brilliant comedic and dramatic stylings of Lauren Graham and Kelly Bishop again completely makes it worth spending six hours on the couch. Of course getting the entire gang back together again is delightful, but those two women back playing the roles that feature their talents at their best is a welcome sight that will hopefully earn them the awards that they have always deserved. 

Graham and Bishop perfectly embody how their characters are starting to feel the years passing by. That combination of nostalgia and change as the central theme of the new episodes is what gives this reboot its strongest attributes and really made it a welcome return to the world of television.

Strong emotions tied to the past are fueling the characters on Gilmore Girls, as well as nearly everyone watching the new iteration of the series. Well, those nostalgic emotions accented with Chinese food and Pop Tarts, if your viewing party (with others or solo) is doing it right. If you watched the series when it originally aired, it's impossible to not drag up feelings of  the "old days" where gathering on Tuesday nights with family or friends in living rooms (or dorm rooms, like I did for the final two seasons) was an essential part of a week. Even if you are a newer fan who binged it with the ease and beauty of Netflix over the last year or several months, you can still be smashed with nostalgia just through the lens of the characters, who we have witnessed growing up in a fictional land through the magic of storytelling. 

We can try like Rory to remember it all, but that first step will be to start enjoying the moment we are in now, a time where nine years after it ended, we were gifted with new episodes of a treasured TV show. On the scale of life, this is a small, yet essential moment that, just like the world of Gilmore Girls has taught us, is one worth celebrating.

Going Mad: "New Business"

Coming to the end of a series with an immense cast of supporting characters means finding the way to say goodbye in a lot of different ways. Sunday's episode, "New Business", was largely devoted to what could (possibly) be the last time the show would feature Megan. Plenty of time was spent setting up how her, and a couple others, will be sent off in exciting directions. Including one specific character who decided to leave her husband and sack up with Roger Sterling in NYC.

The episode kicked off with an odd sight. Don and his sons were hanging out. Not only that, but they were in the kitchen at Betty and Henry's place. What...is...happening.

It is evident that Don has been trying to be a better father, so is it terrible that when I saw a blender in Don's hands, I just assumed he was making himself a blended boozey drink, perhaps a margarita? Oh, it's milkshakes! They had been out at dinner, but the restaurant was out of ice cream. Certainly making those for your kids is what a good father would do.

Shortly after Betty and Henry return home, Don hastily takes his leave, grabbing his fedora, which had been adorably perched atop his youngest child's head. Right before he exits the kitchen, he longingly looks on at his kids, their mom, and step dad.  The expression on his face says everything  - he's the guy who takes his kids out to dinner and looks after them every other weekend. He is bound to miss out on a lot of these smaller, everyday moments. Leave it to Mad Men to have a ton of subtext in what is just a simple two minute scene.

Slowly, but surely, Don is taking notice of things he didn't care much about before.  This all fits right into the rest of the episode, which is mainly focused on Don kicking out the old and bringing in the new. Everything from women to furniture to the evolving sense that his view on the world and himself are changing.

Over a telephone conversation with Megan in LA, it is revealed that Megan will be coming to NYC to finally move all of her stuff out of Don's apartment. The divorce will be official. She also doesn't have enough of her own money to cover the cost of movers or to live on in general. Apparently, that decision to move to Cali for acting wasn't so hot of an idea. She is not coming alone either - her sister and infamous french mother will also be along for the ride.

And they sure "help" alright. But first, there was more with Diana.

Last week, it felt like some parts featuring Diana (aka that waitress) were dreamlike and surreal. Well, since she showed up again this week and communicated with more members of the cast, I'm going to say that theory has been debunked. Don tracked her down working at a new restaurant. Apparently she went back to her hometown of Racine, Wisconsin for a while (a place I only know because of A League Of Their Own. Thanks, movies!). Now she's back in NYC and Don was able to deliver this smooth ass line, "I want to have dinner with you, even if it's for only five minutes at a time." You know, in between bringing him his dinner and filling his water glass. Diana isn't falling for that, but takes Don's number anyway.

She does call him later that night and they have a time together at his apartment. Things get a little tricky though the next morning, when stumbling into Sally's room, Diana sadly sits down on that seldom used twin bed. She admits to Don that the reason she left her husband in Racine was because they had a daughter who had died.

Don has had many a lady friend in the past, but while listening to Diana's story he shows a different side of himself. For one, he honestly looks sympathetic. It seems like Diana, being a regular gal from the Midwest, makes him feel connected to the real Don - or rather - Dick Whitman. "Don" may belong in the sophisticated set of upper class New York, but that's just the mask he wears. The identity that is a huge success, but funnily enough, really has never made him completely happy. Now that he seems to be more free with his past, that real side of him would long for a lady who is a waitress, apposed to having an affair with the wife who lives with her rich husband downstairs.We are reminded of this, when Don and Diana have a rather awkward elevator run in with Dr. and Mrs. Rosen.

As this new relationship is developing, so is one within the confines of the office. We really haven't seen Don doing much work in the last couple episodes, but everyone else, including Peggy, are working their buns off.

It's always a good episode any time Stan and Peggy are paired together. Peggy has just hired a new photographer for a Vermouth ad campaign. "Teen Wolf", aka Stan, seemed annoyed that Peggy hired this woman, Pima Ryan, who is a big deal in the photography world. Although, as the episode goes on, Stan's attitude starts to make sense. Stan admires Pima and wishes he could be an artsy photographer like her instead of working at an ad agency. Pima hits on Stan in a dark room, which he seems to like very much. Although, when Pima does the same thing to Peggy, things get a little more tricky. Obviously, she's a hustler baby (I just want you to know), who is just trying to push their buttons. We all know Peggy ain't going to put up with that.

Adding new characters like Pima for a single episode actually causes quite a bit to be revealed about already established members of the cast. Even though he has been on the show for a couple seasons, I think Stan has only been seen outside of the office a couple times, so it was nice to have a storyline that focused on him. We saw where he lived and that he has a girlfriend! Which also made that darkroom scene more critical. Stan, quit that cheating! Especially if you end up with Peggy. 

We're not saying goodbye to those two yet, but if this is the final episode for Megan, she sure went out on an interesting note. Megan, her sister, and her mother, Marie, showed up at Don's apartment to pack. Marie is notably upset over her daughter's impending divorce and is fuming over Don, noting that red wine stain in the carpet and proclaiming, “You're lucky he didn't give you syphilis." Everything just sounds so much classier in a french accent. 

After seeing Marie in that state, most people would have second thoughts about leaving mommy behind with the keys and in charge of the moving operation. Alas, Megan has no choice, as she, in hopes of improving her acting career, has to run off to a meeting with SC&P's own TV man - Harry Crane.

Megan had originally planned on only taking a few things from the apartment, but she shall have it all if Marie has anything to say about it! She promptly called her past conquest - Roger Sterling (answering the phone with perfect comedic delivery, as always) - to ask for some money. Upon Sterling's arrival at the apartment, he hands the moving people some cash, and looking around, realized that there is not a single piece of furniture in sight. Marie had everything loaded up and taken away! Megan will definitely be getting her fair share now.

Sure, she needed some extra money to give to the moving company, but Marie obviously called Roger there for other reasons. This all really makes you wonder why she is so judgy about Don cheating on Megan - it takes one to know one.

Career lifelessly flailing, getting divorced, mom running off with a guy who isn't your dad - if right now you're thinking, "hey, I think Megan's life deserves to get worse", than you are right on target.

Before this episode, Harry Crane could have been credited as the least pervy member of SC&P. Well, he just moved up to number two (sorry Pete, you will probably always be number one). Almost instantaneously after Harry sits down to have lunch with Megan, he insinuates that if they went to a room in the hotel, he could - wink, wink - make some really good arrangements for her career.  First Joan in the last episode, now this. Megan should have taken a move from the Real Housewives book and chucked that wine in Harry's face, but she just stormed off instead.

This is definitely not the type of meeting she was hoping for and the next day she had to go finalize her divorce. Megan was never a favorite character of mine, but lumping all this bad stuff together makes it rather easy to hope that something works out in her favor.

After telling Don off in their lawyers office, basically playing the, "you ruined my life" card, Don said, "I'm sorry" with as much sincerity as when talking to Diana about the death of her child. He just seemed to really mean it. Does that make up for how to treated people? Maybe not entirely, but he's trying. With that, he wrote Megan a check, so that she can have the life she deserves.

It seems like a cool million big ones would seal the deal. She at first has the sassy "are you joking" reaction we all would have, but then quickly folded up the check and walked out of the room. Megan may never get to be a huge star, but while she figures that out, at least she'll have the funds to live luxuriously.

Now that he's got one woman down, Don ventured to Diana's place - the one room sort of dingy establishment a waitress in NYC could afford. While there, Diana revealed more of her story, as in, she had left out a few important details. She did have one child that died, but when she left town, she was also leaving behind another daughter. Ultimately, Diana decided that she must push Don aside, because he was making her moderately happy, an emotion she felt she doesn't deserve.

All throughout his entire life, Don has had a lot of people come and go, but he still seemed jaded by this exchange and only continued to look downtrodden upon returning to his apartment and finding it empty. No more Megan. No more Diana. No more couch. The final shot is of Don standing in his (very cool) sunken living room, staring out into the vacant room. There's nothing quite like a fresh start.

Just like every episode, we are left with countless questions. Was that a wrap for both Diana and Megan?  Will we ever seen Don and Peggy working together again? Will Pete keep wearing the worst costumes? How is Ginsberg doing!?

Hopefully, that's all to come - we only have five episodes left to find out.


Just a few other thoughts from "New Business":

• "NAC": No afternoon calls. As in, some clients have this noted under their contact information, because they drink too much during the day and are then too sloshed to have coherent conversations with in the afternoon. Oh, business in the 60s and 70s

• Historical information for anyone who (like me) didn't understand the reference in the following quote: "I've got two secretaries and three telephones. I feel like Marlon Perkins is chasing me on the Savannah. Hiding is pointless." - Roger Sterling. To quote the internet: "Richard Marlin Perkins was an American zoologist best known as a host of the television program Mutual of Omaha's Wild Kingdom from 1963 to 1985."

• Pete got upset with Don for smoking in the car. Remember, Pete just learned to drive a couple seasons ago! That epiphany really made me laugh - he's like a scared teenager who doesn't want any distractions.

• Don's secretary Meredith had a HUGE can of Tab on her desk. You'd have to pick up that bad boy with two hands.

Until next time.

Going Mad: "Severance"

Each episode of Mad Men is tightly veiled in mystery. Even when we think we are getting let in on a preview for next week's episode, nothing is actually revealed. At the end of every episode, that AMC narrator voice says the leading phrase, "on the next episode of Mad Men...", and the previews that follow week after week are notoriously vague. It's just a bunch of clips of characters saying out of context sentences or a reaction shot of Don looking befuddled.

Try as you might to guess what may happen next, but odds are these previews just trick us into believing one thing or another that never actually happens. And still I stay tuned for these previews and try to piece together these nonsense scenes into having meaning. It never works - I have yet to guess any upcoming plot point correctly.

Anyone wanting to have some insight into the episode they are about to watch, should probably spend some time analyzing the title of the episodes instead. With a title like "Severance" we could have all guessed there would be at least one severing of ties in the season opener - be it a work or personal relationship or even both. Maybe some of you out there did make this connection, I, however, was off thinking in lala land as the episode started and didn't pay attention to the title. I was then rather surprised when the episode included the death of a character from the past and that one of our friends from SC&P was let go.

Turns out there was lots of severing going on. But let's first go back to the beginning.

The initial scenes of Mad Men's return on Sunday had Don Draper looking happier than he has in recent memory. This may have been because he was overseeing the casting of an ad that "forced" him to be alone in a room with a bunch of leggy women. Their only job was to seductively gawk at themselves in a mirror while being draped in an expensive Chinchilla coat. [Side Note: There is a shout-out to the accumulation of a literal binder full of these women models later in the episode. Mitt Romney would be proud.] But Don actually smiled! Work is good again!

It would appear that his life is as well, as Don is next seen retelling a hilarious tale about toasters to three women in a booth at a diner. This moment is totally upstaged when Roger f'ing Sterling waltzes onto the screen with what can only be described as the grandest white mustache to ever grace a man's face. That reveal will be going on my list of favorite small comedic moments in the series. Between that 'stache and their jumpsuit clad, big haired female companions, it is real - the show is definitely moving into 1970s chic.

While still at the diner, Roger calls their waitress over for the check (he calls her Mildred Pierce - a reference I finally understand!) and Don looks perplexed. He instantly feels like he has met this woman before. More on that later.

When returning to his now permanently Meganless apartment, we find out that: a) Don did not bring home that big haired jump suit woman. b) He has a phone answering service - this old timey way of life seems so strange now. That some random person knows all about your life and who calls you would be weird. But for Don it works out great, since the woman in charge of his messages just deals out women's numbers like she is his own personal dating service. c) He is now a carefree millionaire who doesn't want to spend time crying over a bunch of spilled red wine on the carpet. Just throw a blanket over it, baby!

The Monica Geller in me would not be able to sleep just knowing that there was a giant wine stain in my bedroom, but to Don it's no biggie. He just goes to sleep, where he ends up dreaming about Rachel. Remember her? It took me a bit to place her in the series as well. She first appeared way back in season 1 and Don wanted to run away with her. Leaving us all to question - is that who the waitress in the diner reminded him of?

Other people at Sterling Cooper & Partners are also busy and running into problems - one project is bringing together Peggy and Joan to work on that classic ladylike item, nylons. They got to throw in a reference to L'eggs Eggs, so that's a good thing. This partnership lead Peggy and Joan to a meeting with three men who could be seen as the equivalent to today's "bros", just with a tad more sexism and objectification thrown in.

These ladies are smart and professional, so you can't help but cringe and get furious for both them as they try to remain calm while handling these immature men and classily steering the conversation back on track. Even though, I think we all would have preferred to see Joan knock each one of them out instead.

Back in the elevator after their meeting, they let out their frustration - Joan a tad more than Peggy. "I want to burn this place down", should be the new slogan of the feminist revolution.

Although, even lady to lady appreciation is difficult for these two. Peggy admitted that Joan, who is also now a millionaire, wears clothes that she feels purposefully attract attention. She then continues that Joan's new wealth could allow her to dress more dowdy? I'm not really sure where Peggy was going with this, but either way, these women could learn a little something from each other.

And through the episode we see as this tense argument steers both of the women off in directions that are a little out of character.

Joan comes to work wearing a high necked blouse, otherwise known as her attempt at a very "Peggy" top. (Let's be clear here - Peggy has a ton of cute clothes too.) Although, that doesn't last for long. Joan obviously realizes she doesn't have to change, but does take some of Peggy's advice. She quickly runs out of her office door to try on some designer duds and spend some of that new dough.

When the gal at the dress shop recognized that Joan used to work there (remember that? I had forgotten the time she took another job!), I very much was rooting for a Pretty Woman moment. With all that Joan has accomplished in the last few seasons, that scene was just asking for power Joan to swivel around in a dramatic turn and say, "Do you work on commission? Big mistake. Huge!"

Peggy on the other hand decides to channel Joan a little and accept the offer of going on a blind date. Over the course of the dinner, and with the assistance from a lot of wine, Peggy lowers her strong inhibitions to this guy who originally seemed to annoy her. Next thing we know these two kids are as thick as thieves and talking about jetting off to Paris. When Peggy can't find her passport, the drunken trip is called off. Probably for the best anyway, since in the light of day any Joan magic dust that was cast had worn off, and Peggy is back to her old work oriented self.

There is a lesson in here somewhere - don't back down about your morals, keep being a powerful woman, but have some fun now and then too.

While these two ladies are struggling, Ken Cosgrove (aka the guy who wears an eye-patch now) isn't having the best week either. For those of you who forgot like I did, we got to be reminded last night of a very important fact - Ken's wife is Alex Mack. Thankfully we got to see her at least one last time. After gathering with her parents, in honor or her father's retirement, Ms. Mack encourages her husband to quit SC&P. She feels Ken is always stressed, which the audience can attest to, since whenever we see him on the show that is always the case. Well, unless he is dancing.

According to his wife they have plenty of money and she doesn't want him to waste his life away working like her father did. She feels he should get back to doing what he wants - like writing his book. "You gave them your eye. Don't give them the rest of your life," she said. She has a point and at the same time delivered another  really great quote. This episode was full of 'em.

Alex Mack may be very right, but for some reason Ken doesn't want to take up this offer to move on with his life. Unbeknownst to him though, the company had other ideas. Now that McCann owns 51% of SC&P, they have a say in a few things. They want Ken out. It's as simple as that.

Well, they probably should have first thought a little bit more about how Ken was connected, because he is not going down without a fight.With what seems to be simply out of spite for SC&P, Ken accepts a position at his father-in-laws old company as the head of advertising. Oh, yeah, that company is also a client of SC&P's. Ken making Roger Sterling's and Pete Campbell's life a living hell could make for an interesting story coming up.

With all of these plot developments, the season is starting off very strong, with some highs and lows for numerous characters. Don is not exempt. We have reached the point where his high in the beginning of the episode begins to fade.

Don still has the same secretary as last season - who is only second in hilariousness to Mrs. Blankenship - and she delivers some upsetting news. Rachel, the gal who appeared in his dreams, had died just recently.

What is interesting here is this is another circumstance where Don is seeing ghosts. It is a consistent theme that is always following him. In the first seasons this could be tied to an allusion of his past. That his secrets were haunting him. Now, it could be the same, but now it's not secrets, it's his regrets that can't get out of his mind.

Since this episode is very focused on dreams, that could lead to making sense of an interesting run in Don has with that waitress, Diana, from the diner in the beginning of the episode. This scene that happens later in the episode has Don going back to the diner where Diana quickly alludes to "knowing what he wants". What follows is a rendezvous (wink, wink, if you catch my drift) out in a dark alley. It's sort of an odd scene, even for the escapades of Don Draper. In that way I can't help but wonder - did this actually happen?  Or was this diner scene a dream? It could go either way, but it seems pretty clear that Diana reminds him of Rachel and seeing her is helping him through finding out about her death.

In other ways to mourn, Don shows up at an apartment where Rachel's family is sitting shiva. Her sister greets Don at the door and she know exactly who he is - he's Don Draper, everybody knows that guy. He finds out she had children and lived the life she wanted, all happily with her husband and kids before dying of Leukemia. She was content without him and then just died. That fact only seems to make him distraught.

The last scene of the episode finds Don back again at the diner. Diana is there again, but he just wants to talk and have a cup-o-joe, instead of a repeat of that same business in the alley. He tells her about how he had a friend that died and they talk about understanding death. Diana tells Don that when people die we want to make sense of it, but there is basically no point.

It's true - we don't know for sure what life means and when it comes death, all we can do is always think about those that have departed and just keep sipping on our coffee in a diner. It seems difficult and there are so many questions, but there's not much else we can do.

Again, is this just Don working out his feelings for Rachel and about life in a dream? Or is he actually talking with this woman? To me it doesn't matter, because it's just more contemplation and showing that Don is still lost, but trying to figure it all out. It's like he's answering Cooper's beyond the grave song and dance from the finale last year, about how, "the best things in life are free".

If that musical number wasn't a set up for what this season will bring for Don, I don't know if anything else will. He has money and work is going well, so maybe that means his relationships can finally begin to soar again.

That is the biggest question of all - where will this season take Don and his life?

Playing over the last shot of Don sitting in the diner (and earlier in the episode as well) is a song lyric that asks,  "is that all there is?" Do we all just live life the best we can only to eventually pass on, just as we saw for Rachel?

For Don, maybe what we've seen so far in the series is all life will bring for him, but what a perfect interlude to finding out if there is more. We've got six episodes to find out. 


Until next time.




For anyone who is more interested in a live-blog format: below are my frantic first thoughts that I typed out directly following the end of the episode:

Chinchilla coat
Don looking happier than ever until he finds out about Rachel
Roger sterlings stache
Definitely into the 70s with fashion hair jumpsuits
Dont cry about spilled wine. Just throw down a blanket and call one of your girls. He's so carefree until death comes knockin
Peggy and Joan talking leggs eggs
Ted Chaough also has a 70s stache.
Alex Mack is eye patche's wife!! We finally see what is under the patch. He's not happy and she wants him to quit.
Sexist interview with a group of stereotypical old timey bros
Ken from accounts is losing accounts, Ferg in particular is pissed.
I want to burn this place down - Joan
Her and Peggy have a righteous argument in the elevator. Joan is a zillionare and could dress better according to Peggy.
Don sees ghosts! Also his secretary is the best
What is happening in that alleyway with that waitress. Does she remind him of Rachel or one of those gals from the house he grew up in? Aahh why does he care what she is reading, Roger called her Mildred Pierce.
MIT Romney would be proud of that binder full of women they have for the chinchilla coat ad or whatever they are auditioning women for.
Joan is about to pull a Pretty Woman on our asses - big mistake, huge. In that Oscar de LA renta dress.
Peggy on a date, off to Paris?
Next morning that high has REALLY worn off. She needs to learn how to have a little fun. Why so serious.
Ken is going to make their lives a living hell, being their client now and all.

The Following Message Has Been Sponsored By Sterling Cooper & Partners

[Don Draper poster - Sweet Christmas gift from the brother.]

When sitting down to watch an episode of Scandal, a certain level of ridiculous drama is expected. Someone getting their throat slashed completely out of the blue? Oh, that's just a regular occurrence in the lives of Olivia Pope and associates. Moments like these are definitely wacky and silly, which also makes for some gasp worthy and/or laughable television.

That surprise death at the hands of a main character (who is a serious wild card) happened on the show recently. Making that scene even better was that the dearly departed woman was played by random guest star Lena Dunham, acting beneath the wiggiest of wigs that has ever been present on primetime television.

Based on all of the above, it is completely understandable why "TGIT" has become a ratings smash every week. After all, according to commercials, Scandal put the "O" in the "Oval Office" (an example of ABC's so bad its good marketing, reminiscent of Revenge's advertised "love rhombus"). Really, it has put the "G" in guilty - guilty pleasure, if you catch my drift.

We've all got those shows that keep us tuning in just for the mere drama of it all. Scandal has become mine. Every week I try to kick it out of my jam packed watching schedule and then somehow I still end up amongst Fitz and the gang, because I can't stand the thought of missing any bonkers moments.

However, a show like Scandal could leave people hankering for more. Something that focuses on a different kind of drama - the real life sorts of dramas that fill all of our lives. The stories of seeking fulfillment, or searching for creative strengths, or even, questioning love, family, and what "it" all means. There is only one show that is delving into all of these thoughts and more - Mad Men - and it's all done stylishly set amongst the hectic time of the 1960s.

In the summer of 2009, Netflix instant streaming had finally become a better service (Remember when you could only stream a certain number of hours each month? Those are the dark ages now!). It offered many  television shows that, being an avid follower of awards shows and critics reviews, I had read about, but didn't have time to watch while I was frantically finishing college. Alas, people still blame me for the Pushing Daisies cancellation.

That summer, being unemployed with more time on my hands than I'd had in my adult life, I started, what people were beginning to call "binging", a couple of these shows. Very soon after starting, I could not get enough of the lives of a serial killer, a coach, and an ad man with a secret past - or Dexter, Friday Night Lights and, of course, Mad Men.

After spending my young adult life predominately watching reality shows, sitcoms, TGIF, and NBC comedies with my friends, being introduced to a show like Mad Men was very eye opening. At the beginning, I didn't know that this was what a TV show could look like or even be about. Up to that point, to me, a TV drama really only meant ER and Lost. 

To be honest, I felt / still feel pretty adult and sophisticated for adoring Mad Men. I was growing up and the television I was watching, apparently, was too.

[Realness in the form of a vintage ad from the Mad Men era.]

The old days were gone, and now that I was getting really into Mad Men, it helped me appreciate the nuance of TV writing. Before watching this show, I knew that The Office and 30 Rock were hysterical, and I spent many a night in college discussing the eventful plot twists on Lost. It was ultimately all surface discussion though and I never really gave much thought about how the episodes were actually written.  

Other shows with large casts face many writing challenges and end up taking crazy plot twists that majorly jump the shark (is that term still overused? Don't matter). The writers of Mad Men have always valued a well told story above anything else, so bring on even more characters, the show will still be solid. It helps that Mad Men never had to change or provide epic deaths (like The Walking Dead) in order to keep a larger audience happy. AMC just let the show be what it was and while it may not be a big money maker, its top notch quality will make it adored for years.

Seeing that Mad Men has been able to deeply delve into many character's lives and deliver quality story progression season after season, I can't help but nitpick if others shows write nonsensical stories. It's difficult to not become annoyed if the writing seems lazy, especially when you know how good things are capable of being.

But it hasn't just been the writing or quality stories that make Mad Men one of the best shows that TV has to offer, it's also about the immense set of characters you love and hate that all live amidst the vast world created by Matthew Weiner . There's Roger Sterling's charisma, Joan's tenaciousness, Peggy's cool ambition, creepy Pete, Ted looking good while flying planes, Sally's style and grace growing up amongst her parents who are lost and confused, Betty carting around a shotgun, and Don, who could knock your socks off just doing a presentation.

Those socks in the newest episodes could be covered by bell-bottoms, since the series has reached the 1970s. Mad Men has always been so immersive in its time period, making sure that all the clothes and sets are impeccably accurate.

Loving this show changed the way I watched television and it definitely had a way of enriching my style over the years. I know I'm not the only one who tunes in for the costumes and set design just as much as for the stories and Jon Hamm.

As the show's 10:00 PM air time is a little late for this early riser, I have yet to watch the new episode that kicked off last night. It's only slightly driving me crazy. Still, since we're on the topic of admiring sets and costumes, and in honor of Mad Men's return, I present just a few props/costumes that I have deeply coveted from the series (so far).

Let's be honest - this is mostly about Peggy and Joan. 

Peggy's Painting

That ever so perfectly has been hanging in her office, because she's a bitchin' boss lady. 

Joan's Necklace

Any fan knows that this pen necklace is the most coveted of all Mad Men accessories.

Put A Pin In It

But that necklace is only one notch above this delightful daisy pin that Elisabeth Moss was rocking in last year's promotional ads.

Peacock Print

The Sterling Cooper & Partner's office has tons of cool swag.

Turtleneckin'

Yes, I'm about to write a sentence that's an ode to a turtleneck. There is a lot of notable fashion throughout the series, but this cute, casual top (can't believe I'm saying that about a turtleneck) stands out because it marks the turn when Peggy is FINALLY allowed to be stylish.

Office Flare

I've spent far too long online pining over vintage sets of chairs that look exactly like these two gems. Let's just say, they are a bit out of my price range.

After the final seven episodes of Mad Men air, a ton about this show will be missed. But we're not saying our goodbyes yet. There are still memorable stories to be told, characters to fawn over, and new dazzling style to admire. Let's soak it all up, because what a world to enjoy.

For all fans, i'll be trying my hand at episode reviews that should be posted every Wednesday.

Let's go Mad. 


Until next time!