If Nance is in the kitchen making deviled eggs, cucumber sandwiches and chocolate cream pie, it can only mean one thing:
She is invited to a “Mad Men” viewing party, and needs period snacks to bring to the potluck. But surely deviled eggs are outdated by now in the series, right? We’re into 1969, Megan’s making fondue, and deviled eggs and WASPy little sandwiches are too Betty-in-season-two. However? I don’t care. Deviled eggs are tasty, so deviled eggs it is.
But I put in extra dijon, a mustard that didn’t exist even in sophisticated Megan Draper’s refrigerator, I’d wager. Gotta update.
I am looking forward to this season, but I am not optimistic. I want the holy-shit verve of season 5, not the bourbon-soaked ennui of 1968. If this is Matthew Weiner’s idea of a slow glide to the finish, I will be pissed. Vince Gilligan may have written the manual on how to go out in style with “Breaking Bad.” Weiner may not have it in him. After all, he made his own kid a minor player in this ensemble.
Soon it will be time for me to jump in the shower, so let’s bloggage it up:
This is a developing story, so I may update the link: Someone’s shooting at …elderly Jews? Why? At least they got this one alive. I guess more will be revealed.
One of my social-media connections described going out to a restaurant Saturday night and seeing a couple of mother-daughter pairs, dressed identically in skin-tight this and stiletto that. Chances are, they were headed for the Palace, to the Miley Cyrus concert. She entered on a slide shaped like a tongue and exited on a flying hot dog. And she earned thousands and thousands of dollars doing so. That’s entertainment! Mercy:
“Drive,” aided by an arsenal of lasers, was a power moment, where her vocals took center stage over production tricks, and she dropped the stunts and let her voice carry a set of covers performed at a B-stage in the back of the arena, taking on Bob Dylan (“You’re Gonna Make Me Lonesome When You Go”), Lana del Rey (“Summertime Sadness”), Coldplay (“The Scientist”) and Dolly Parton (“Jolene”). She returned to the main stage for “23,” the one song of the night that felt expendable. But she was soon on to her killer encore, which packed “We Can’t Stop,” “Wrecking Ball” and “Party in the USA” – complete with dancing versions of Mount Rushmore, the Liberty Bell, the Statue of Liberty, Abraham Lincoln, Bill Clinton and Ronald Reagan — back-to-back-to-back.
Speaking of “Mad Men,” I think Andy Greenwald gets it right.
And another action-packed week begins.