I can hardly wait for the series finale. Fans may predict what's planned, but as former heavyweight fighter Mike Tyson had said, "Everybody has a plan until they get hit." And I expect we Mad Men fans will definitely get hit.
Indeed, there was no elephant-in-the-room in the spacious Alice Tully Hall: Every woman presenting, from Jane Fonda to Elisabeth Moss, spoke about Redford's good looks. But clearly, he is much more than eye candy.
Now, with only three episodes left in the series, Don is free to explore in next week's antepenultimate episode, "Lost Horizon," his own private paradise free of the shallowness and hypocrisy from which he's been becoming alienated. (
Last season on Broadway, actor Bryce Pinkham dazzled audiences in the musical A Gentleman's Guide to Love and Murder. The murderous role earned him a Tony nomination (along with a Tony award for the show).
Elisabeth Moss, now more famous for Mad Men than when I first saw her onstage in David Mamet's Speed the Plow opposite Jeremy Piven and Raul Esparza, gives Heidi the requisite intelligence, as she did in the Mamet play.
Give Wendy Wasserstein credit: Her play The Heidi Chronicles brilliantly toes the line between remaining relevant to new, contemporary audiences while simultaneously exemplifying how far we've come from tumultuous years of inequality for women.
It was 2007 when Don Draper, figuratively depicted in the show's elegant opening titles, began his long fall through the 1960s, passing through the best of the materialist America he helps spin into being on his way to ... what?
When Heidi Holland, studying for a degree in art history, is first seen, she's at a college dance with best-friend-forever Susan Johnston (Ali Ahn) where she meets admirer Peter Patrone (Bryce Pinkham).
The poster of On the Twentieth Century impressed many. A bunch of people said it seemed fun. Some people recognized Kristin Chenoweth and one of my mother's favorite leading men, Peter Gallagher, and were excited by their presence.