Because this show stars Hot Neighbor Wade and involves period costumes, which means it is right in my wheelhouse. That said: I have my doubts that this was widely watched by Fug Nation, so we’ll see if these recaps have a life. Having noted that, boy do I have a lot of notes. This show — which is based on the Lily Koppel book of the same name — was apparently slated for last summer, was then pushed by ABC, and has all the hallmarks of being noted to death by the network. I didn’t wholly dislike it — the outfits are good, and some of the performances were appealing, and you have to give a pilot a LOT of leeway — but (a) it has way too many characters in it (which I understand is historically accurate, but look to Wolf Hall as a brilliant way to weave a casts of hundreds in and out of several one hour episodes) and (b) like TWO YEARS of NASA drama (astronaut selection/training) get telescoped into this one pilot. Which seems…like an insane story-telling decision. If you want to start your story at the moment where this episode ends, start there and use flashbacks, because we were asked in this episode to feel a LOT of feelings that you really only feel if you’ve gotten to know a character for more than 20 minutes. ANYWAY. Let’s get into it. I warn you that Hot Neighbor Wade (of Hart of Dixie fame) has literally one line tonight.
Fug File: Fug The Show
Ted remains unfired — but Ophelia is not so lucky, and neither are some pistols.
First of all, apologies for the minor delay in getting this to you; I know every other publication in the world had their Mad Men pieces up on Sunday night, or yesterday. But Sunday was my birthday and I took a few days off, and I very much appreciate everyone’s patience and hope you all still want to talk about Sunday’s series finale. As we discussed last week, I personally came into this with no expectations. But I loved it; I thought it was beautifully acted, and, for me, wholly engaging and totally satisfying. Never have I cried in two consecutive Mad Mens. And so our final methodology is that I am going to discuss each character in the order that I feel like talking about them. Well, almost. I of course want to talk about Peggy the very most, but it seemed wrong not to end on Draper, god bless him, and the Peggy and Don plot was — as it was meant to be — extremely intertwined there at the end. Will this be the year Jon Hamm finally gets his Emmy? I’ve never seen anyone do such good work against nothing more than the handle of a landline phone.
This show was originally developed around a YA retelling of Hamlet, so I guess the visions of King Simon are finally an attempt to play into the source material (other than naming a girl Ophelia). It makes sense: Mark Schwahn LOVES an informative coma; just not normally one that’s informative to anyone other than the person who’s knocked out in the hospital.