Jessica Pare

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I am female. And because of that, I am quite happy that I didn’t have to experience the 1960s firsthand. Really glad, in fact. This week’s episode of Mad Men, “The Collaborators,” written by Matthew Weiner and Jonathan Igla and directed by none other than Don Draper himself, Jon Hamm, offers quite a powerful meditation on the rather hideous manner in which women were treated. Not since last season’s “The Other Woman,” in which Joan is offered as collateral for Jaguar rep Herb has a Mad Men episode created such a palpable unease as you watch female characters get pigeonholed as whores, belittled in the workplace, or deal with their tricky nature of their own bodies. “The Other Woman,” however, was a far superior episode. This one suffered from the heavy-handedness in which nascent director Hamm employed the use of flashback. Several times, he cut from scenes between Don and Sylvia to a tween Dick Whitman arriving with his pregnant mother to her sister’s brothel. These flashback scenes were problematic for many reasons – chiefly because they drove home the thread of “women as unfair sex object” way too hard. While it’s usually a good thing to get the rare glimpse into the man-that-became-Don-Draper, these scenes are largely unneeded. We get the point. Also, in terms of Hamm’s direction in these scenes… it’s obvious. The young bumpkin Dick Whitman looks not unlike Alfred E. Newman. The prostitutes act like stock characters from an old time-y movie, and all other characters look like they stepped out from an […]


Mad Men Season Five

Television’s manufacturing of nostalgia often reduces the past to its most obvious series of events. Whether in revisiting popular culture on VH1’s I Love the ‘70s or in TV movies ranging from The ‘60s to The Kennedys, “the past” rarely adds up to anything more than what we already know about it. The past, then, becomes reduced to a series of iconic historical events that are imbued with the hindsight-benefit of the present rather than portrayed in a way that provides any sense of convincing every-dayness. AMC’s Mad Men has largely avoided this trap. Where NBC’s The ‘60s framed the entire decide as a monolithic event whose every singular moment one nuclear family was improbably involved in, Mad Men integrates personal storylines into major events in a way that gives them a believable microscopic intimacy which make them feel like artifacts of the present: the Kennedy/Nixon election occurs in the background during a raucous and promiscuous office party in Season 1, Don Draper’s (John Hamm) marriage dissolves as the Cuban missile crisis escalates in Season 2, and Roger Sterling’s (John Slattery) daughter’s wedding is forebodingly scheduled on November 22, 1963 in Season 3. But these are the events we have come to expect and anticipate Mad Men to touch upon as its timeline moves forward. What the show is particularly adept at doing – and what separates its from traditional and redundant encapsulations of our culture’s most-revisited decade – is its use of smaller moments. Examine the news landscape each […]



If I were to tell you about a movie featuring beautiful, pale vampires that were all glamor and rock and roll with no sex and a lack of violence, you’d have every right to put up a hand and say pass. Unless you’re a fifteen year old girl, then you’d be really excited that I’m reviewing a Twilight film. Suck superficially sounds like something for the teen crowd but if you spend more than fifteen seconds with it you’ll discover that’s about as far from the truth as it can be. Suck manages to smartly lampoon the current fascination with vampires in their pussified forms of being beautiful, attractive monsters by creating a movie about a band that gives into their greed for fame and fortune and embrace vampirism to gain acclaim. While I personally would have liked to see a more dangerous breed of vampire at times, these rock and roll blood suckers manage humor and music in an enjoyable way.

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published: 01.29.2015
published: 01.28.2015
published: 01.28.2015
published: 01.28.2015

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