'Perfect Strangers'
I really liked Pinchot in 'Risky Business' and I even watched 'Sara' but I do not understand how 'Perfect Strangers' lasted as long as it did. It's my go to series for citing surprising unaccounted for longevity. And the funny thing about that is that I also really liked Mark Linn-Baker in 'My…

Thanks to firing talent and otherwise trimming the fat—if Sterling Cooper were worth anything they wouldn't be so eager to unload it.

see above.

"Grey's is going to be the the buyer"

And then there's the palpable tension when she expresses her delight that selling Sterling Cooper means going home to London—I take it Lane hasn't told her about the snake in the basket yet.

Further evidence—Don said when he left her place that he'd call, and it appears that he didn't. That puts the worry ball in her court so to speak, and the next day she went and tracked him down. Coincidence? I think not.

"spring it on Don when she's good and ready"

What was it Peggy said? Something like "How do you talk to Achilles?"

I'm calling it now—We know Ms. Farrell's not entirely stable. We know she's both fatalistic about getting involved with Don, but also naiive. We know she stalked him to the train station. We can assume she was the one who called (because Henry, as a man in 1963, doesn't HAVE to, doesn't need the validation—he's proved…

"That twee, faux-philosophical shit belongs in Garden State, not our beloved Mad Men"

There's a good old black and white version of 'Intruder in the Dust' and a 1982 adaptation of 'A Rose for Emily'. I think it's a question of the complexity of the experimental narrative line. The same reason there's no adaptation of Ulysses.

I understand your weariness about it cleverer, because it's a trope that is used a lot and rarely earned—but I would suggest that setting is very much an engine of what the Coens do. I don't think we ever know what city 'Miller's Crossing' is set in and around (I like to think it's Buffalo), but the movie depends on…

The smoke coming out of the Dane's heater at Verna's apartment.

Not Hell. Limbo. Writer's block is all about being stuck where you are, knowing where you want to go and not being able to move toward it. It's John Goodman turns it into Hell.

weird fake lingo dialog?—all of that slang is real, if a bit obscure. It's the reason why I love the Coens generally and 'Miller's Crossing' specifically. Their movies are odes to the lost regionalism of America. They have a way of catching local colloquialism and spinning it into poetry (see also 'Raising Arizona).…

It's not Hell—it's Limbo. Anyone who's ever experienced writer's block knows that.

When I was getting my MFA I had a professor who got to see Faulkner at a speaking engagement. He said that it was a lecture hall full of eager young would be author's and critics asking him about every little detail of his books, but that Faulkner would answer every one with something along the lines of "Well, I don't…

so long as the totemic images provoke a productive sense of uncertainty
http://tinyurl.com/y9hfx3j

I don't think Don's into her at all—even though she's both thrown herself at him and now coquettishly taken herself off the market. She's not strong enough for him—Every woman he's cheated with so far has been anything but needy. And as has been suggested, there's no way an affair with her would constitute limited…

LT —Don's too old and married now. Watch Hollis go first, since he maybe won't have the resources to dodge it.