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DP/30 Emmywatch ’12: Mad Men, actor Christina Hendricks

One Response to “DP/30 Emmywatch ’12: Mad Men, actor Christina Hendricks”

  1. anghus says:

    Easily her best season on Mad Men. In a show that is often about compromise and the struggle to find substance in a world obsessed with surface, Joan became the personification of that struggle.

    Don Draper had always been the centerpiece of that struggle. A man who considered himself to be morally sound in spite of his many failings. The other supporting characters were all at different places on the moral compass. Every year compromise seems to find one of them as each character gets their hands dirty.

    This year we saw Lane cross that line, one that cost him his life. And while Lane had the saddest and most damning arc, it was Joan that had to live with her choice. She had always been the beautiful, seductive icon of this ore-fab time. And even though she had her share of flings, they were always of her choosing. When the firm asks her to do the unthinkable, the choice she makes never feels obvious. And that fantastic scene between Hendricks and John Hamm where he tells her she doesn’t have to do it… and the subsequent scene in the boardroom where he realizes she already had… it’s just brilliant. The entire season was fantastic, but those final few episodes with the Jaguar campaign. As Ginsburg spins that pitch to Don: “At last, something beautiful you can truly own”, and you realize that Joan has now sold her soul for financial security… it’s the kind of writing and acting you’re only going to find on a show like Mad Men.

    On a show with so many good actors, Hendericks really killed it this year. I hope she wins.

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“I was 15 when I first watched Sally Hardesty escape into the back of a pickup truck, covered in blood and cackling like a goddamn witch. All of her friends were dead. She had been kidnapped, tortured and even forced to feed her own blood to her cannibalistic captors’ impossibly shriveled patriarch. Being new to the horror genre, I was sure she was going to die. It had been a few months since I survived a violent sexual assault, where I subsequently ran from my assailant, tripped, fell and fought like hell. I crawled home with bloody knees, makeup-stained cheeks and a new void in both my mind and heart. My sense of safety, my ability to trust others, my willingness to form new relationships and my love of spending time with people I cared about were all taken from me. It wasn’t until I found the original The Texas Chain Saw Massacre that something clicked. It was Sally’s strength, and her resilience. It was watching her survive blows to the head from a hammer. It was watching her break free from her bonds and burst through a glass window. It was watching her get back up after she’d been stabbed. It was watching her crawl into the back of a truck, laughing as it drove away from Leatherface. She was the last one to confront the killer, and live. I remember sitting in front of the TV and thinking, There I am. That’s me.”
~ Lauren Milici On “The Final Girl”

“‘Thriller’ enforced its own reality principle; it was there, part of the every commute, a serenade to every errand, a referent to every purchase, a fact of every life. You didn’t have to like it, you only had to acknowledge it. By July 6, 1984, when the Jacksons played the first show of their ‘Victory’ tour, in Kansas City, Missouri, Jacksonism had produced a system of commodification so complete that whatever and whoever was admitted to it instantly became a new commodity. People were no longer comsuming commodities as such things are conventionally understood (records, videos, posters, books, magazines, key rings, earrings necklaces pins buttons wigs voice-altering devices Pepsis t-shirts underwear hats scarves gloves jackets – and why were there no jeans called Bille Jeans?); they were consuming their own gestures of consumption. That is, they were consuming not a Tayloristic Michael Jackson, or any licensed facsimile, but themselves. Riding a Mobius strip of pure capitalism, that was the transubstantiation.”
~ Greil Marcus On Michael Jackson