June 19th will mark the long-awaited return of Geek Magazine to print, available on newsstands nationwide (along with a digital edition on tablets). The magazine, which produced over 30 issues in its initial run from 2006-2010, has been resurrected in the wake of the former publisher (Fusion) closing their doors after having purchased the magazine from CFQ Media several years earlier. Got it? Good. Now under the umbrella of the much bigger Source Interlink, Geek will attempt to break back into the print business with comprehensive look at geek culture from music and video games, to television and movies, to technological advancements and interviews.Among the many featured articles in the 100+ page first issue is a Spider-Man cover and an interview with its director Mark Webb.
The creative staff includes a wide array of writers from several backgrounds ranging from comedy to music to movies and television, but most importantly, I will be a regular contributor to the magazine to ensure that it keeps its ‘Geek’ cred. Booyah. Grizzly Bombed.
Woody Allen has always been known for his somewhat offbeat casting, as well as working with pretty much every actor in Hollywood, but today’s casting news regarding Allen’s next film is both long overdue, and completely surprising. Comedians Louis CK and Andrew Dice Clay are both set to star in Woody Allen’s next film. With no title or any plot details released, the only thing we know is that the cast will also include Alec Baldwin, Cate Blanchett, and Peter Sarsgaard.
According to Film Drunk, Louis CK hired story editor, Susan E. Morse, a woman who used to work for Woody Allen. In an interview regarding the film, she had this to say:
“I think it would be absolutely great for those two guys to work together and to collaborate on some level. I think they would appreciate each other. They have different and similar personalities; it would be interesting to see them together. I think one of the things Woody would love about Louis would be the fact that there’s no way in hell Louis would be trying to “do Woody,” if he were to take on the “Woody Allen role” in a film. That was always an exasperating thing that would happen when people were trying to carry that lead role, they would often try to mimic Woody’s delivery, whereas he encouraged them to be themselves. He was always happier if they took whatever he wrote and put it in a vocabulary that was natural to them, rather than to say things literally, the way he had written them. Nothing was to be taken as though it was etched in stone.”
The casting of notoriously foul-mouthed Dice Clay is still a surprising turn of events, but considering Allen has worked with everyone from Owen Wilson to Alan Alda to Will Ferrell to even Leonardo DiCaprio, I’m sure he can make it work. Fresh off of winning an Oscar for his 2011 film Midnight In Paris, Allen’s next film, To Rome With Love, is set to be released on June 22nd of this year, but that hasn’t stopped Allen from getting right back to work on his 2013 film.
As for Louis CK, well, there’s no doubt that it’s going to spark comedic gold. Although 2009’s Whatever Works wasn’t Allen’s best film, there’s no question that Larry David’s committed performance wasn’t a near-perfect meeting of the minds. With that being said, I wish Allen would use CK for a more dramatic role, something I know he’s capable of. The 2000s gave fans of Allen two great dramas, Match Point and Cassandra’s Dream. I think it’d be pretty cool if Allen went against expectations and, instead of bringing a bunch of funny people together to do a comedy, he did a drama instead. Still, this probably won’t be the case and I’m excited for any collaboration between Allen and CK.
Prometheus is a good Sci-Fi film with great acting and an interesting plot, but sadly it wasn’t a great Sci-Fi film and definitely wasn’t this generations Alien. But I would love to see a sequel which could easily fix the problems I found with this film. The best advice I can give to anyone going to see this film would be not to have your expectations to the level that the hype has put it.
Ridley Scott, director of Alien and Blade Runner, returns to the genre he helped define. With Prometheus, he creates a ground-breaking mythology, in which a team of explorers discover a clue to the origins of mankind on Earth, leading them on a thrilling journey to the darkest corners of the universe. There, they must fight a terrifying battle to save the future of the human race.
To start off let’s talk about the acting. The acting was very professional and you could feel the emotion but the main flaw I found with the characters and the film in general were that you couldn’t connect with the people. The main character Elizabeth Shaw (Noomi Rapace) was the exception to this with a realistic but strong character who survives at all costs (credit goes to her with a great performance). Sadly the characters you start to like get very little screen time and the one’s you don’t really care about (Charlie) get time that was more boring than interesting. Then there’s my main fault with this film. The crew don’t really mix very well and you get the feeling their all in their own little worlds, rather than experiencing something as a group. So in that respect it loses some of its authenticity.
Think I have moaned enough about the characters for now, so let’s talk about something more fun like the visuals. The special effects, physical props and visual landscape shots where both excellent viewing and brilliantly immersive to the universe that Ridley Scott’s created. There’s nothing quite like being four rows from the screen of an IMAX 3D showing of Prometheus and I would definitely recommend that experience. At one point the spaceship felt like it was landing two feet from your seat which was a little shocking because I have never sat that close at an IMAX. The best thing I felt about this films look was the way that the ships interiors and the alien building where all real and built in the Pinewood Studios which gave everything a realistic touch which helps to bring you closer to believing you’re in that world.
The plot is very much its own. If nothing else this film is not like any other and for that Ridley Scott has made a great addition to his Sci-Fi resume. My favorite scene without giving anything away would be the end scene of the film and if you have seen alien you will know why, but the other would probably be anything involving the Android David (Michael Fassbender) because he was such a great character and played brilliantly by Michael Fassbender who was being great as always. So if there is a sequel which after watching the film I would be expecting one, then I hope that they keep David but give him more face time and a better physical presence.
Finally I would like to address the question of whether Prometheus is a prequel to the Alien film. In my opinion it certainly was a prequel and the film does nothing but leave clues to the original films plot and origins. The end gives you the strongest connection to the original; they couldn’t have made that last scene more revealing to the alien origins if you saw the crew of the Nostromo land at the end. Simply put though this film needed to be more like alien and have a more structured and sensible plot that wouldn’t confuse viewers, I did feel that the film alienated (pure coincidence I used that word) people who wouldn’t get some of the more subtle and complicated plot strands. So go watch it because the film is a great viewing pleasure and will keep you thinking for a long time after about what happened.
We open with a really over the top dramatic recap of last weeks raw, complete with wailing middle eastern music, showing Big Show further emphasizing his new heel turn, as he beats on fan favorites Santino and Zack Ryder. Big Show is exactly the kind of heel I like, and its been a long time since he’s been the unstoppable big monster character. Most importantly, his motivations, while simple, make sense, are consistent, and it’s fun to watch him really be the big bad he should be. Mark Henry does this sometimes, until he suddenly decides not to, and fades away into the ether for a month or so. Michael Cole comes out, and summons John Cena to the ring, (I mean, not literally, but that’d be a great gimmick for both of them), blaming him for Show’s heel turn and Show’s subsequent actions. They argue back and forth awhile until John Laurinaitis shows up in his super scooter, ( love it) and gives Cena a match, as long as it’s not against himself, or Show in turn, as his contract now guarantees rest days. Cena parades around, and then challenges Michael Cole to a match, because reasons, while Cole protests, screaming to Lauriniaitis to reconsider.
After the break, Cole confronts Laurinaitis backstage, begging to be relieved of his match with Cena, which makes Laurinaitis smugly and directly dismiss Coles pleas. It’s possibly the first ever truly crowd pleasing decision he’s ever made, and he wheels out of there, leaving Cole standing, dumbfounded. Vickie Guerrero enters the stage, and announces Dolph Zigglers entrance, stating that DZ is “Better than you, at everything he does”, which will probably piss off Jericho whenever he returns, since that’s literally a word away from his catchphrase, which was a huge point of contention just a few months ago when he feuded with CM Punk over who was “best in the world”.
I’m glad Ziggler is getting back into singles matches. I liked his team up with Jack Swagger, but the WWE never seemed keen putting them as legit tag title contenders, nor do they seem interested in an actual tag division lately, as their current champions, R-Truth and Kofi Kingston seemed to be teamed up for no reason other than “both are black?” I digress, since the match between Ziggler and Sheamus served as a pretty good example of yet another case where we see Ziggler show us how to make losing look really good. Nobody takes a brogue kick to the face like Ziggler.
This is actually from an older match, but JESUS GOD.
Sheamus celebrates on the ramp, pounding his chest like usual until he’s interrupted by Alberto Del Rio and Ricardo Rodriguez, who beat the tar out of him, and Del Rio puts him in an armlock, totally hurting Sheamus’ arm for realsies. Backstage, Laurinaitus is approached by the inimitable David Otunga, who mentions that next week, Vince McMahon will be returning to give Laurinaitus a job evaluation. No word on whether it’ll be NO CHANCE IN HELL Vince, Kiss my Ass Vince, YOU’RE FIRRRREEDD Vince, or just business man Vince. Either way it’ll definitely be a thing that happens. Ahem.
Sin Cara’s new entrance is interesting, because pre-injury he used to enter the ring with a jumping flip off a trampoline that the cameras desperately didn’t want the viewers at home to know about. Camacho and Hunico, shock of shockers, are actually on Raw, and despite their gimmick being really lame and borderline offensive, Hunico manages to pull off a successful jobbing to Sin Cara, and Sin Cara’s push continues.
The undefeated Skip Sheffield Ryback, makes his official debut on Raw. It’d seem they’re trying to get more of the talent from Smackdown on Raw lately, as Smackdown has made a considerable improvement from B-Show to actually-kinda-interesting side-show in the past couple months. Ryback reminds me of those old generic wrestling figures you’d beg your mom to buy you in the dollar store, only come to life, right down to his “taunt” being the inability to move his arms laterally. The two local jobbers they have this time, have a terrible moment trying to read their awful lines simultaneously, and are quickly dispatched by Ryback, who belts out his catchphrase, “Feed me more!” because he apparently craves young skinny man flesh.
Punk and Kane are now having a weird triangle feud with Daniel Bryan, as Kane has been used as an instrument by both Bryan and Punk in their respective feud, and Kane isn’t really having any of it from either of them. Bryan comes out ringside, stands on the announcer’s table, and cuts a quick Q & A promo. I love these because it gives the audience a great chance to shout “Yes!”, or in the case of this particular audience, shout “No!”. Either way it’s great for Bryan , because he makes a great heel who gets exactly the right kind of heat he should get from an audience, regardless if they hate him or love him. Do I love him? Yes. Yes, yes, yes.
CM Punks match with Kane is pretty typical, he’s very accomplished at elevating his competitors moves, and making all their spots look really great for both. It’s a testament to his ability, that he makes Kane look good, because frankly, Kane has lost it, and his fruit roll up mask does him no favors in making him any better than he was in the Attitude era, or even a few years ago. His new/old gimmick doesn’t work, because all of his decisions are so stupid and random. ( hurr imma attack Randy Orton for no reason! He’s not invincible or anything!) Granted that was a few months ago, but his character hasn’t really done anything interesting since he suddenly returned after somehow growing two feet of hair in a month or so. After some struggling and mild interference from Bryan, AJ comes out, ostensibly trying to point out Daniel Bryan’s interference, until Punk gets distracted attacking Bryan, and loses to Kane via choke slam. Of course, there’s then a woman in the ring with Kane, which means its time for him to threateningly stand there, until AJ strangely smiles at him, probably trying to use her mind powers to calm his “inner beast”. Or maybe he was just awestruck by her hotness, didn’t know what to do, and left like an awkward high school teen? Kane is dumb, is what i’m saying.
AJ is going further down the crazy/aggressive/effing super sexy route, and starts sexually intimidating Josh Matthews. Well as much as she can in this new PG era. I like seeing her assert herself, I like seeing her character interact with Punk and Bryan, and most of all, I like seeing her in short short cutoffs.
Big Show as a heel works. This was a good video package, and I’m stoked to see him feud with any and everybody who he deems is in his way. It’s a welcome return to his “unstoppable giant” character, that I loved from his old WCW days. I approve.
Both Kofi and Truth show up visibly bandaged from their attack by Big Show last week, and throw down against Hawkins and Reks, in a fairly anemic tag team match. It’s hard to get involved in a tag match, when both teams don’t really have any chemistry, and it makes the whole thing forgettable and boring. Also Kofi Kingstons theme song is the worst thing to ever get stuck in your head ever, and I hate it with an unholy passion.
The entire night, Michael Cole has been fearing and dreading his match with John Cena, and has been trying to find some sort of way out of the match, even going to such lengths as to beg all the WWE fans on social media, to convince Laurinaitis to rescind his decision, via people power!
Right before the match begins, Laurinaitis comes out, and announces our real main event, claiming Cena will have to defeat Lord Tensai, in order to get his match with Cole. Cole is ecstatic, and we get a match of Cena pretending to be challenged by a fat, fake Japanese wrestler. Fake Japanese as in a wrestler from Japan, not that Tensai is literally supposed to be Japanese, or that he didn’t actually wrestle in Japan, because he did, but he’s still just as boring to me as Cena is, his gimmick is really really lame, and the whole thing is fake to me. Tensai and Cena both suffer from big invincible white guy syndrome, and watching them both fight you’d think would be an interesting match, but I find them so inherently uninteresting. The only enjoyable thing about it was watching Cole really get jazzed about Tensai defeating Cena, only to eventually smack Cena himself, leading to Jerry Lawler standing up and giving him an official Officials’ time out.
Cena eventually lands the 5 moves of Doom on Tensai, secures the win, and Cole attempts to run out of the arena, before being brought back into the ring. Cole first asks mercy from Cena, and attempts to settle things with a handshake, and is then goaded into taunting Cena, ends up poking his finger into his chest, until John Cena starts literally stripping him down to his underwear, and starts slapping him around, then forces him to apologize to Jerry Lawler and JR for all the feuds he’s had with them in the past. Then of all things, he starts forcing Cole to admit he loves JRs BBQ sauce, which of course, Lawler *always* keeps ringside. Cena drenches Cole in the sauce, and sprays him with a fire extinguisher, making it officially one of the more confusing and subtly homoerotic comedy matches of all time. Cena seems dominant right up until Lord Tensai jumps in and choke slams him, leaving us to think Cole will weasel another victory under his belt, but Robo-Cena kicks out, and adjusts Coles’ attitude, taking the win.
It’s not often you see the final match on Raw, ending with both participants covered in BBQ sauce, one spraying a fire extinguisher in celebration, the other stripped down to his underwear, wailing aloud. How do I feel about comedy matches being the main event of a PPV and now a Raw? I’m personally okay with it, as long as it is entertaining. I watch WWE to be entertained. I go in knowing I’m not going to see GREAT WRESTLING. If I want that I’ll pop in a Chikara or ROH dvd. Or look up regional matches on youtube. Like it or not, this is what WWE is now, and that will sometimes include slathering nearly naked men in BBQ sauce.
The first difference I noticed from this episode was the new scene where Tyrion decides getting Joffrey some action could perhaps “cure” him of his awfulness. Of course we get to see Joffrey unleash his inner Patrick Bateman, and force the two unfortunate prostitutes to beat each other at crossbow-point. It’s a scene that is there to really drive home how utterly psychotic Joffrey is, but unnecessary ultimately, as everyone already hates the crap out of him. A big change comes, as Robb Stark meets and speaks with a field nurse who calls herself Talisa. This character is replacing the role of Jeyne Westerling, who in the book, Robb meets after being injured in battle, and she tends to his wounds. My guess is they wanted Robb to have a romance that wasn’t as suddenly introduced as it was in the novel, and to give some foreshadowing to the dire consequences he faces for this romance later in the series.
Truer words, Bronn. Truer words.
Next comes the biggest change in the show yet, where Arya, Gendry and Hotpie are taken to Harrenhal, and Gendry is nearly tortured by The Tickler for information. This is ended by the arrival of Tywin Lannister, who immediately recognizes her as a girl and makes her his cupbearer! The books had a long sequence of chapters with her serving as a cook, a washing maid, and finding herself adding more names to her long list of vengeance. In my opinion it was a welcome change, as the interaction between her and Tywin were very interesting and captivating. Being a book reader, those scenes were tense because they were new to me too.
Oh snap!
When Daenerys gets to Qarth, the entire way she gets in is different in the show. In the book, she simply enters the city, as her scouts have gotten her appropriate permission previously. The three who would have her audience are Pyat Pree and Xaro Xoan Daxos. She visits Daxos’ palace, and Pyat Pree says the House of The Undying will welcome her. Much different from the show, where they nearly leave her to die outside of Qarth, until Daxos takes a personal interest and invokes a blood oath to let her in. Another difference, is Lord Baelish showing up to speak with Catelyn, lies about the Lannisters having Sansa and Arya captive and ready to trade for Jaime. He then presents Catelyn with Eddard Starks remains. This is pretty huge, as one of the big debates in the book fandom is what the fate of Eddard’s remains happens to be, and whether or not it is as significant as we think. The show however, seems to think he’s dead and gone, barring those remains actually being Neds’, and just another lie from someone as untrustworthy as Lord Baelish.
The last big change is the order in which we see the shadow babies presented. In the novel, Renly is killed, mysteriously by a shadow, and no explanation is given, other than it resembling Stannis. The scene with Davos taking Melisandre to the castle to birth it, is much later in the book. The shadow singlehandedly ends a siege overnight by slaying all the besieged, giving Stannis much more militaristic might nearly overnight. After two shadow babies being seen, Davos notes that Stannis looks visibly aged, by at least a decade, and it is implied that Melisandre is using his life force to make the dark things. The show has none of these details, and I feel, lessened the shock of Renlys’ death.
Episode 5: The Ghost of Harrenhal.
This episode is almost entirely scenes from the book, recreated with tweaks here and there. It touches on the subplot of Kings Landing starting to become restless from hunger, and gets to Tyrions plan using the wildfire. A notable change I could see was that he hasn’t commissioned all the cities’ blacksmiths to being making large chain links for him, which he’d later use at the battle of Blackwater. Here they seem content to only use the wildfire. The main new addition of course, is the scenes with Arya and Tywin playing mental chess. Accordingly, since Arya isn’t doing all of the different duties she had in the books, her first name from Jaqen is different, and has her first name be The Tickler. It’s a bit sad, as her stabbing the Tickler to death over and over again in the third book was a pretty great scene, but i’m sure they’ll keep it, or incorporate it in some way.
Episode 6: The Old Gods And The New.
In the books at this point, Jojen and Meeren Reed have been coaching Bran on his dreams, their meanings, and his latent abilities as a skin changer. They then bust him out of Winterfell, away from Theon and his iron men, by using Winterfell’s tunnels. The show has a similar thing to this, only with Osha seducing Theon, and lets Hodor escape with Bran and Rickon. Robb meets up with Talisa again, and plans his revenge with Roose Bolton to capture and execute Theon, while promising amnesty to all other Iron Men who give up. The scene with Ygritte was mostly how I remember it in the books, although the sexual teasing was a bit more exaggerated, with the scene of them having to huddle together for warmth. Sansa’s attack is actually shown in the show, in the book we simply see The Hound return with her as the riot begins, and she has a few bruises, rather than the truly vile attempt to rape her we see in the show. In both it is The Hound who rescues her. Another added scene with Arya and Tywin, this time she’s privy to a tactical discussion between Tywin and Lord Baelish, and it sets up an interesting plot thread of Lord Baelish possibly noting that ‘Arry’ is actually Arya. Of course, this being a new scene, it’s all speculation. Arya overhearing the war plans Tywin was making, manages to steal some war orders on paper, but is found out by Ser Amory Lorch. This leads to Arya’s second new name from Jaqen, and ends with a hilarious moment where Ser Amory literally drops dead at the door of Tywin’s room.
Message for you ser!
Then we come to the biggest change in Daenerys story yet, the kidnapping of her dragons. This straight up didn’t happen in the books, and it’s purpose in the show was to me, at the time, entirely unknown.
Episode 7: A Man Without Honor.
Sansa wakes up having had her first period, as she does in the novel, only now she has Shae there to sympathize with her, and even hunt down and threaten one of the handmaidens who had seen Sansa in such a state. It seemed as if her flowering was going to be kept secret, until The house appears, and has seen the bloody sheets they were trying to hide. In the book, Shae isn’t there at all, so all of this interaction was new. Another great new scene was yet another discussion between Arya and Tywin, and they discuss the legacy and conquest of Aegon The Conqueror. Tywin figures out Arya is lying about her past, and we’re all left to wonder just how much he does or doesn’t know, or is even letting on. The Harrenhal scenes between these two are very clearly a brilliant new addition, and i’m glad to see them every episode they’re in. The last big change is this episode, is the almost entirely new scenes of Daenerys in Qarth. Pyat Pree assassinates the Thirteen, leaving Xaro Xoan Daxo’s now the king of Qarth, and informs Dany her dragons are in the House of The Undying. In the book, Daxos’ wishes to wed Dany, initially to help her reclaim her throne, but it turns out to be that he plans to exploit some Qartheen marriage right, that the bride must give her newlywed husband a gift, and ti turns out Daxos was really after her dragons, (at least one) the whole time. In the book, Dany willingly enters the House of The Undying, as she is invited peacefully. These changes I initially had problems with, but only because the chapter where Dany goes to the House is such a great chapter, and I couldn’t wait to see it portrayed.
This scene was a great example of something happening onscreen that happened in the book, adapted even better than I thought possible. My mom literally started shouting at the screen and yelling “No! They can’t do that! NO!”, which was a far cry from my reaction when reading that chapter: “Oh. Bummer.”
The other shoe finally dropped. That is the inevitable matter of Lane Pryce’s embezzlement came to the attention of one Donald Draper this week, and though the initial confrontation played out as one might expect, the conclusion was shocking. Bert Cooper, thinking Don was trying to assuage Lane’s constant griping about the bonus, brings the canceled check to his attention which leads Don to bring Lane in for proper questioning. The true tragedy of Lane’s transgression is that if pride didn’t get the better of him, and he simply went to Don to borrow the money that he didn’t even wind up stealing everything would have been fine. Through embezzlement and forgery however he has lost the trust of SCDP’s lead man and Don will have nothing other than his resignation and in fact thinks he is doing Lane a favor by giving him a clean new start, and the opportunity to resign without any black marks on his resume. Unfortunately, as is often the case when you get embedded in a nest of deceit, Lane can’t come clean with his wife who has made matter even worse by purchasing a new Jaguar as a reward to her husband “who never treats himself”. Here is where the brilliance of Mad Men‘s writing comes in. The Jaguar is the perfect symbol for all of Lane’s problems. It is not only a literal symbol of the firm’s success with the client he failed with despite his best efforts, but is also symbolic of the nouveau riche who can afford an impractical luxury car like Jaguar, and the lie he is representing to his wife. If it wasn’t abundantly clear that AMC would never get Jaguar as one of their advertising clients, last night’s episode sealed the deal. In a moment of true black comedy we find Lane trying to kill himself by using the Jaguar to asphyxiate himself, but the car is such a lemon that he can’t even get it to start up and do the job.
It’s too early in the Mad Men era for a Nixon reference, but if Lane Pryce had an exit speech I think it might be somewhat similar to tricky Dick’s exit; “You won’t have {Lane Pryce} to kick around anymore gentlemen, because this is my last {episode}”. Lane’s suicide is the second Mad Men death when characters face off against Don’s tough love and you’ve got to imagine this is going to weigh heavily on Don’s conscience, and it will be interesting to see what happens when word eventually slips out about the true circumstances of Lane’s “resignation”. I’m not sure if this was the case of Jared Harris getting to big for the show or not, but either way it was an expertly crafted character arc, and despite it all you didn’t want to believe that Lane had killed himself until you literally saw the bloated corpse that Don and company cut down from the ceiling.
The other big developments of the week revolved around Don lighting a fire under his own ass and Sally Draper becoming a woman. Don isn’t happy with the direction that SCDP has taken on and wants bigger fish to fry. As he says, “I don’t want Jaguar I want Chevy!” which leads Roger to set up a meeting with Ken Cosgrove’s father-in-law, the Devil incarnate, aka Ray Wise aka the chairman of Dow Chemical. Ken has long been against SCDP getting involved in his family business, but he concedes on two main factors. That he has been “dragged” on board, and that in no way can Pete Campbell be involved in their business, chalking up Cosgrove as yet another of Pete’s inter-office enemies. We won’t find out until next week whether or not his tactics were sound but Don’s approach to winning Dow Chemical was to literally yell at them and berate them for being happy with 50% market success, and it’s as much of a speech for himself and SCDP as it is for the client.
Roger, for his part, is happy to see the feisty old Don Draper as his LSD induced free thinking has begun to fade. We also get to experience another typical Don and Megan squabble when Don forgets to inform her that Betty is dropping Sally off at the apartment:
Don: (Demeaning comment)
Megan: (Bitchy response)
Don: (Some serious shit happened)
Megan: (Let’s kiss and make up)
That’s pretty much how Don and Megan interaction go these days as she feels defensive and marginalized, and he feels defensive and overly stressed. It’s always hard to tell what’s going to happen in the Mad Men teasers, but it seems like there might be some new wedge between Don and Megan coming and you wonder if the loss of Lane might push Don back into his self-destructive ways.
Meanwhile we get a fun little aside with Sally and her weirdzo boyfriend Glen this week as when she realizes she will have the apartment to herself Sally convinces Glen to come to the big city for a visit on the sly. These two characters both have been subject to creepy sexual undertones over seasons past so it was a relief that when Glen arrives at Sally’s apartment his greatest desire is to go to the Museum of Natural History.
There we are treated to the awkwardly sweet interactions of Glen’s dry jokes about the exhibits, and the exploration of what their relationship actually is. All of this is interrupted when Sally, feeling ill, makes a startling discovery in the bathroom and then freaks out and takes a cab back to the suburbs and her mom, leaving Glen in the lurch. This whole sequence is yet another fine example of the quality of writing in this show as the awkwardness of youth is naturally captured. Having Glen be as concerned over completing his book report as he is about finding Sally just feels so natural to their ages. Sally freaking out and providing her mother with another bitch chip to play against Megan also feels very natural as despite young Sally’s mistrust of Betty when important things happen it’s still her mother’s arms in which she seeks comfort.
Next week, regrettably is the season finale of Mad Men, and it should be a good one. In the past two weeks of what is normally a pretty even keeled show as far as dramatic changes are concerned they have had Peggy Olson leave SCDP and Lane Pryce kill himself. What kind of bombshell did they leave for the last week?
Grizzly Bomb 