“It’s easy, yes, to see Don’s setting reflected in “Hilltop” as a confirmation that what we’re seeing is a work of creative inspiration. But, even if we don’t, that aesthetic continuity can do different work. I’ve argued that this show is about Peggy, and I’ve argued it’s about Sally. We’ve spent three years here at Dear TV just hoping it wasn’t really about Don. I think there are good arguments in a couple of different directions, but, cataloguing self-references this season the way we’ve been doing, repetitions and reenactments, I’m more convinced than ever that the protagonist of Mad Men is Mad Men, the television series. This is unequivocally a show about itself.

So if we don’t care what happens to Don, if our primary concern about the final image is not what it says about him but what it says about the show, well, what does it say? Television is a weird medium. It costs a lot of money to print novels to make movies to put up plays. Most every work of art we encounter is the result of at least some money that comes from advertising. But for novels, films, plays, it’s easy for us to forget that. We sit through 45 minutes of trailers and commercials before we see Mad Max: Fury Road at the theater, but for the two hours after, nobody reminds us.

Television’s different. As a medium, it’s more visibly in thrall to commerce than any other medium through which we regularly engage with something we think of as “art.” Mad Men, for instance, has commercial breaks. And even once the full run of the series is ensconced in the bosom of Netflix, those beats will still remain structurally, like phantom limbs, the #PainFromAnOldWound. This is part of the reason why it’s taken so long for critics and viewers to begin to consider television as a legitimate art form. It’s stained with the rot of commerce in a way that can’t easily be scrubbed.

The new golden age of 21st-century television — of which Mad Men is the crowned prince — is built around the rhetoric of television’s artistry, its rightful place in the pantheon of the lively arts. And with that comes a kind of cryptic notion that all of this good TV is somehow not TV anymore. The reception of the medium has changed so much and so swiftly that the medium itself is presumed to have changed as well. It’s not TV, it’s HBO. But, as television scholars like to point out, all of the formal moves that have converged in this era of complex TV already existed in far less valued genres like the soap opera. TV hasn’t fundamentally changed so much as the way we talk about it has.”

‘The Waste Land’ - Mad Men, Season 7: “Person to Person” by Lili Loofbourow & Phillip Maciak


Peter Dinklage Sings About All The Game of Thrones Deaths

[by Chloe Cole]

Honestly I just really hope that someone was there for Sophie Turner, and will continue to be there for her throughout the filming of the show, to support her and help her deal with the trauma of being an 18 year old girl forced to act out the sexual assault of a character she feels very close to and puts a ton of emotional investment in portraying. As well as supporting her through having to work with these fucking Creepy men who are totally in control of her career and obsessed with rape and violence against women.