Don Draper is a serial philanderer. Walter White is a meth kingpin. Nicholas Brody is a (possibly) reformed terrorist. Nucky Thompson is a gangster. These are not men who do good things. Why, then, do audiences hate their wives so much?
Don, Walt, et al. are enormously popular with viewers, and rightfully so. They’re not necessarily good people, but they’re not strictly bad people either; they’re contradictory, complex, nuanced, comprised of all the elements that make for great drama. If, like myself, you enjoy reading reviews or seeking out online reaction to each episode, though, you’ve probably noticed a worrying trend. Though many applaud the behavior of these characters, all murderers (save Don) and adulterers (save Walt), they’re a lot less willing to afford their wives the benefit of the doubt. Look, I’m not here to be the Moral Police; I’m not interested in discussing the pros and cons of infidelity, especially considering most of these characters’ wives are guilty of same. (Sidenote: I, uh, hope we can all agree murder is bad.)
And it’s not like I don’t get the appeal. I don’t watch Breaking Bad just because it’s a devastating portrait of a man sacrificing everything he holds dear at the altar of power. I also watch it because it is freaking awesome when Walt pulls off the perfect heist. How giddy did the classic “RUN” moment make me? Answer: very. And at the end of the Mad Men season finale, when Don gave the honey at the bar the patented Draper Stare…goddamn. As a viewer, I know full well how thrilling and visceral it can be to watch these men do their dirt. The problem is when you view them as the heroes of their respective stories and any attempts–especially by their wives–to curb or question their behavior as hindering their quest, whatever you think that is. The numbers show that not a whole lot of people actually watch Breaking Bad, and I know that its small but loyal following contains some of the sharpest TV viewers around. But the Internet would also lead me to believe that a bunch of folks would be okay with a show where all Walt does is make meth, kill people, and become the most awesome greatest badass superhero on the planet.
KILL THE IRISHMAN (DVD/Blu-ray)
When I reviewed Kill the Irishman for this blog, I described it as “sturdy” and “reliable,” and indeed it is. It’s a gangster movie in the classic sense of the term: no razzle-dazzle, no flashy set pieces, just a bunch of guys doing amoral things for their territory. Ray Stevenson has a nice, hulking quality as real-life Cleveland mobster Danny Greene, and it’s nice to see Vincent D’Onofrio, Christopher Walken, Val Kilmer, and The Sopranos‘ Steve Schirripa getting decent parts. It doesn’t reinvent the wheel, but if you like this kind of thing–as I do–then you should find yourself satisfied. Extras include the documentary Danny Greene: The Rise and Fall of the Irishman and a theatrical trailer.
In the summer of 1976, 36 bombs went off in Cleveland. I’d heard this statistic somewhere before; it’s sort of hard not to when you’ve lived within driving distance of the city your whole life. But seeing that statistic placed in context is still pretty startling. As far as I know, Kill the Irishman is the first gangster movie set in Cleveland, and as such, it was pretty weird to watch tough guys from The Sopranos parading across the screen talking about places like Youngstown and Cuyahoga Falls. I kept thinking, “Don’t you mean the Bronx? Or something?”
Mad Men fans, rejoice! In recent weeks, the show’s future seemed up in the air as talks between network American Movie Classics and creator Matthew Weiner seemed on the brink of collapsing due to the kind of ordinary Hollywood bullshit negotiating that derails many a project. AMC wanted two cast members cut and more product placement; Weiner wanted neither, plus more money. Weiner even decided to take a ski vacation during negotiations, and just as he hit the slopes, AMC announced that Mad Men would officially return for a fifth season in 2012. Though they didn’t say as much, the implication was clear: “We can get all mad about men with or without you, Weiner.”
Though popular shows changing showrunners isn’t abnormal, Weiner occupies a rarified position among showrunners. He doesn’t just run the show, he is its creative voice. It would be like Buffy the Vampire Slayer without Joss Whedon, or The Sopranos without David Chase. In fact, for the last two seasons of Buffy, Marti Noxon was the showrunner–which some cite as the reason for those seasons’ relative weaknesses–but Whedon was still involved, and his voice and guidance was evident in every major plot twist or character development. What almost happened with Mad Men is that Weiner wouldn’t have been involved at all; not to be hyperbolic, but it would have been like removing Orson Welles from Citizen Kane three-quarters of the way through and replacing him with, say, Frank Capra. That’s not to say the movie still wouldn’t have been decent, but the ending would have been markedly different and it certainly wouldn’t be revered as possibly the greatest film ever made. In essence, we would have seen an ending to a story about the people of Mad Men, but not the ending to the story we’ve been watching for the last few years.
On last night’s show, Paul and I continued our countdown of the Top 100 Characters in Modern Pop Culture with #s 30-21. Be sure to listen to the show for our full run-downs, but here are some choice excerpts:
PAUL: Scott Pilgrim (Scott Pilgrim series)
The series is about Scott growing up, about his evolution, and if you as a reader are patient and invested, it absolutely pays off by the end.
AJ: Norma Desmond (Sunset Blvd.)
Norma is a bizarre, grotesque caricature, wanting to hold a funeral for her pet monkey at the film’s beginning and given to lots of other disturbingly narcissistic actions.