Watching "Mad Men" this morning, I kept thinking of an Archibald MacLeish poem, "Ars Poetica," which I read in high school:

A poem should be palpable and mute
As a globed fruit

A poem should not mean
But be

The urge to elaborate will probably overwhelm me at some point. But for now, I'll let the poem — and "The Gold Violin" — just be.

I never got around to posting about last week's episode, which was quite good, and was regretting it for quite a bit of tonight's show, which did not seem as strong. But "Mad Men" sure knows how to end an episode. …

Not only did we find out that the ultra-private Don has a reputation among the ladies, but we saw that Peggy's social tone-deafness put her in about as awkward a situation as she could imagine — less a lady than a tramp, hanging out in a strip club with the guys, who are seeing women in only one way.

Of course, she wasn't the only one who was deaf. Joan insists that she closes her ears to the boys' talk in the office, since it's not important to her way of operating. Pete is stone deaf to women, picking up absolutely the wrong girl from the bra-ditions, and ending up in a sordid little tryst with his woman's mother on the other side of a folding door. Of course, Peggy's appearance at the strip club just reinforced Pete's sense that women other than his wife are sluts. Which means he feels better about women than Don, who suspects even his wife; and Don's immediate reaction to Bobbie's talk about his rep is less a sense of humiliation over what he has done than anger that women are talking about him — and by extension talking about sex. Only later, in the context of his daughter, does he feel regret and shame.

Then there's the Duck question. Is he about to take a big fall, probably involving drinking, and will Don be the beneficiary? Duck's far from the most sympathetic character in "Mad Men," but he had a moment or two when we saw the shambles that is his family life — only to see him throw it away with his dog.

The episode still felt a bit ungainly to me, although that may be partly because I don't care about Duck. Still, I have to wonder why Peggy was so clueless in this episode, and why it took Joan telling her about her clothes for the message to get through; Bobbie had already told her the same thing.

"Oh, no! I just got an HD DVD player from our client Toshiba!"

It arrives July 1, on standard DVD and Blu-ray. According to Lionsgate, the set will include "special bonus materials including commentaries, featurettes that explore the world of 'Mad Men' and much more! Mad Men: Season One will be packaged in a truly original sleek, limited-edition, metal 'lighter.' Full announcement after the jump.

On July 1st, discover where the truth lies as Lionsgate releases the award-winning and critically-acclaimed Mad Men: Season One to DVD and Blu-Ray Disc!

Pricing: DVD $ 49.98 (4-disc set)
Pricing: Blu-Ray Disc $ 49.99 (3-disc set)

Notes with spoilers after the jump …

As I indicated in the post a week ago, I really liked the way "Mad Men" in these last two episodes has had its advertising whizzes believing, indeed longing for, the very fantasies that their ads traffic in. That was especially true tonight, when Don was so moved by the photos in the carousel, and again at the end, when we see Don's dream return home and then the real return. Great stuff with his wife, too, when she realizes that Don has been spying on her therapy — and she turns it to her advantage. And Pete's finally deciding that the way to become the New Don is to become an earner, even if he has to use his family connections to earn.

That said, I'm still pondering the Peggy revelation. I know that a lot of viewers have suspected she was pregnant all along, and that the show has tried not to be explicit about that. Indeed, a recent TV Guide piece about "Mad Men" quotes series creator Matthew Weiner that "the story of this season is that this woman could not deal with the sexual pressures put on her," with the added note by the TVG writer that Peggy "buries her sexuality under food and work," with the implication that the food explains her growing girth.

If Peggy was pregnant and simply not talking about it, I could buy that. I'm not convinced that she would not know she was pregnant. She has been portrayed as knowing enough that you would expect her to be aware when she missed her period, especially if she missed more than one.

Is that a "Friday Night Lights"-level misstep? I don't think so. Whether she knows or not, she ends up in the same place, with a child she does not want, burying the love she could offer a child (or anyone) in despair and growing cynicism.

It's quite clear that she is going to be a great copywriter. Don elevates her in part to stick it to Pete, but also because he recognizes her talent; as big a pig as Don is, he still has an eye for talent and a head for business. Besides, the lesson he learned from Cooper last week is that all that matters is what you produce. As for your past, or your present, or your gender, who cares?

But she's also a lost soul — just like the Mad men around her. And the look on her face when she rejects her baby is both as powerful as Don's look as he embraces his dreams, and a bitter, real-life counterpart to his illusions.

Sometimes people have to stop talking fast and let themselves feel something.

Last night was one of those where I just ran out of steam, managing to get through only half of "Private Practice" before sailing away on Lethe. But before that I did get through "Pushing Daisies" and was not entirely displeased. …

I've already expressed my reservations about "Pushing Daisies" being too cute for its own good, so it was nice that last night's episode let itself get serious for a bit. That Chuck finally learned that her new life came at a price, and that the others had to acknowledge their willingness to pay that price. It was a somber note, but it was one that the show needed to hit if we were ever going to accept the characters as something other than amusing little caricatures surrounded by bright colors.

Of course, the show soon enough went back to being cute, but I hope that last night's episode was a promise that, while it will never be realistic, it will at least recognize the need for real emotions — and not just the wistfulness in which it has often trafficked.

On the other hand, did I miss it or was there a dead end to the plot about the happy drops in the aunt's pie? I don't remember a noticeable change in the characters, or in Olive for that matter.

This morning, having caught up on sleep, I took a few minutes to watch "Back to You" and saw a show that is really beginning to figure out what works. Part of that, naturally, is more Fred Willard. But it also gave Kelsey Grammer and Patricia Heaton stronger business involving their characters, underscoring their flaws but doing it by putting them in fun situations. I don't buy Grammer's last good turn for his boss, but overall this was the best episode of the show so far.

And don't forget tonight's season finale of "Mad Men." I expect to have a post after it airs.

Such a weasel …

I've seen this week's episode and next week's season finale, so I'm tiptoeing around spoilers, after the jump. Some spoilerish material in the comments. …

Tonight's telecast is set on the night of the Kennedy-Nixon election, with the agency having put its power behind Nixon. We all know how that election turns out, but the result is less significant than how the characters feel about it.

Both this week and in the season finale, we're going to see a thread that has been underlying a lot of the series: As cynical and manipulative as these ad men may be, they are not immune to their own BS. Don's accumulation of a perfect home, a perfect job, a perfect wife and, finally, a perfect Don is testimony to the power of the dreams created in advertising. That so much of Don's life is also false, laden with hypocrisy and infidelity and misery, shows what a total illusion the "Mad men" create.

One of the best things about the episode, though, may be the drunk-laden office party that takes up a good chunk of it. Under more obvious circumstances — for some reason, the play "That Championship Season" comes to mind — the party would be full of revelations and confrontations. Pete would confront Don, Don would say something foolish, Peggy would become hysterical. … But "Mad Men" is more intelligently written than that, its characters far smarter than such a scenario would allow.

That said, tonight does at last explain Don's magical reinvention. And, with Don elevated to partner and his old post up for grabs, that little weasel Pete has to decide how much hardball he's going to play.

What Pete does, and what Don does in response, both provide marvelous moments. The payoff, too, is quite apt. And that's not even the end of the season (or the show, which has been picked up for a second round). Next week's episode presents some recurring themes and tests characters' wills.

It also has a plot turn that we may do some arguing about. Not "Friday Night Lights" level arguing, maybe, but one that I'm not convinced is a good idea.

More about that later. For now, though, I'm thinking of all the letters and e-mails I get during long cable hiatuses — when we've gone a year between "Closers" or "Nip/Tucks" or even longer between "Sopranos," and people are wondering if the shows will ever be back. I'm getting the same feeling about "Mad Men." I'm not at all happy about waiting for its return. I want it back now, to see where it's going next, and any wait seems too long.

I've been in the office most of the day, and last night's viewing is stuffed into a DVR at home. But while trying to find the top of my desk, I hit a USA Network episode of "Law & Order: Criminal Intent." And I did see Monday's "How I Met Your Mother" and "Two and a Half Men" from my recordings, so I have a few thoughts there.

I also have a LOT of thoughts about the next two episodes of "Mad Men" — tomorrow night's and then the season finale — and am trying to decide what to say now and what to save until after you see the telecasts. That's a separate post, in any case, save for yet another recommendation that you tune in.

And so to the jump. …

"Two and a Half Men." Still funny. And nice to see Charlie in a situation where he was uncharming to a woman. Of course, we've seen him with women in his age ballpark before — when he was, er, dating Alan's girlfriend's mom. But that was not exactly an attempt at a relationship. And, if there's an early trend this year, it's Charlie's relationships. Not only did we have this dating-a-contemporary story, which will continue in coming episodes, we had him bonding anew with his mother.

Thought "HIMYM" was a nice rebound from a bad episode a week ago. Not enthralled with the Robin stuff, which seemed to struggle just to set up her losing Dr. Awesome to the waitress. But I liked Barney and Marshall in video-game combat, and was thoroughly amused by Ted's adventures among women. Nice touch, too, to have the women be teen-TV icons: Danica McKellar, of course, from "Wonder Years" and Busy Philipps from "Freaks & Geeks." (I know, "Dawson's Creek," too, but I put that aside.) Sepinwall pointed out to me that Philipps did no scenes with former "F&G"-er Jason Segel, bypassing a TV reunion; in the story, I guess it wouldn't have made sense for them to be on-camera together, but I couldn't help wondering if there was some old issue there.

"Criminal Intent" was the episode kicking off its first-run telecasts on USA Network (a corporate sibling of NBC), a Goren-Eames episode that was less of a how-catch-'im with Goren bringing down some smarty-pants than a whodunit, and one full of Eames's past. Very emotional but not too good. I am beginning to understand viewers' reservations about Goren's increasingly sloppy appearance; he's just a mess in these, even when he is supposed to have cleaned up. And "CI" is most fun when it's going full "Columbo," chasing the bad guy we've already recognized. And I've yet to warm to the Chris Noth episodes, so I don't have a lot of reasons to go looking for this, regardless of where it airs.

Just as a reminder that I wear a movie hat, here's a link to my review of "Into the Wild." I've also been meaning to post some thoughts about "The Kingdom," which I saw last weekend, and about the style of director Peter Berg. Maybe over this weekend.

As for the continued march through Thursday's shows, talk about "The Office," "My Name Is Earl" and "Mad Men," with spoilers, after the jump …

Best line in "The Office" was probably Dwight's description of his grandfather, Argentina and visa problems. Second best: Phyllis's little speech to Pam about sales-call etiquette. Third wasn't a line but an expression: Kelly's head-shake after telling Ryan she was pregnant. Fourth: Creed's trying to bond with Ryan about Red Bull.

That said, I wasn't crazy about the episode overall. Michael's gift-basket mission just didn't work. Michael would have picked up on Dwight's emotionalism at some point. And going back for the gift basket was wrong — the kind of thing that could give Ryan an excuse to fire Michael, and Michael would have known that.

As big a Dunderhead as Michael is, we have repeatedly seen that he has an instinct for self-protection. Indeed, once he learns the meaning of ageism, he knows that it's a good weapon against Ryan. He may go over the top with it, but he has also made the basic nuclear threat: calling Ryan's boss about it.

Nor does Ryan prove to be much of a rival. Even though he has the corporate job, he's already looking bad at it — the call to corporate about Kelly shows the depth of his incomprehension about management; it's pretty much a Michael conversation — and Ryan does not have the sales rep that Michael built, gift baskets or no gift baskets.

So, funny stuff here and there, but not rock solid.

"My Name Is Earl" was OK. Some laughs, and it has now set up a way for Earl to continue his good deeds in prison, courtesy of the reduced-sentence gift-certificates. Craig T. Nelson is a good choice for the warden. Not sure about Randy becoming a prison guard, though. Kind of liked his having to deal with Joy.

As you know, I thought "Mad Men" was a good one. Loved the stuff with Peggy and the exercise device, especially the scene where she's trying to explain without explaining — hoping that what she wrote down will spare her embarrassment. And, of course, she was bound to use the device again. Interesting juxtaposition of that with Betty doing the laundry. And while it's certainly possible that Pete is just taking Don's package to his new office, he's such a weasel that I find it hard to believe that Pete won't open it; if he admires one thing about Don, it's Don's ruthlessness, and opening a guy's mail is about as cutthroat as you can get.

As for Don making partner, doesn't it feel as if disaster is around the corner? The AMC online teaser says for next week: "On election night, the Sterling Cooper staff pulls a rowdy all-nighter while watching the returns. Pete's ambitions cause him to directly challenge Don."

What could she be thinking about? See tonight for some ideas …

I'm looking at a crazy evening. Indians/Yankees at 6:30 p.m., for one thing. And all the DVRs pressed into service for other things: "Grey's," "CSI," "The Office" … Since, when recording two things at once, I have to watch one of the two, I have tried to stagger the recordings to allow me to channel-flip back and forth between baseball and another show. Oh, the logistics of modern viewing.

That said, I don't have to record tonight's "Mad Men" because I had an advance copy. More big developments for Don, and for Peggy, who demonstrates once again that she has ambitions and desires far beyond what people expect of her. She is unendingly interesting, especially with the assignment she gets tonight.

I'm a little confused by her weight — not sure if Moss herself put it on and it was written into the story, or if they're padding her up for the show. to give the men a chance to demonstrate once again what pigs they are. Either way, the gain seems abrupt.

As for other plot elements, let's talk after you see the show….

Via TV Tattle, the show-biz trades report that AMC is on the verge of picking up "Mad Men" for a second season. (Link to Variety's story here.)

Also, AMC notes that "this week's airing of MAD MEN … is an encore presentation of Episode 5, '5G.' Beginning with the premiere of Episode 10 'The Lost Weekend' on September 27th, things continue to heat up, including quite a few pivotal moments and exciting revelations in the next few episodes as we build to the finale on Thursday, October 18th."

And don't forget to go back to the show on the 27th. I've seen the episode and it's a good one. Pic below:

Gail Davis as TV's Annie Oakley. If you've seen the episode, you know why.
More after the jump …

The episode is called "Shoot," which worked with the photo shoot as well as the closing scene. But, were it not for the spoiler contained, even better to call it "Betty's Got a Gun." That last scene, with the immaculate Betty, cigarette in her mouth and gun popping, was so good that I immediately grabbed my review DVD of next week's episode and watched it, too.

Another title, possibly, from the book, "Women Who Kill." Because the episode reminded us how utterly Betty is being driven mad by her life — although I think her shattered reaction when she lost the Coca-Cola job also told her that she's too fragile for the rejection of modeling. Still, she's so ready to snap — and Don is so basically selfish, always putting his needs first — that the gunplay was a seriocomic warning that Betty has a lot more anger, and potential for harm, lurking inside her.

Such. A. Good. Show. I'm going to hold off on more comment because right now I can't entirely separate next week's show from this week's in my head, and I don't want to go too far into spoiler country. But there's a lot coming next week, some of which will make Don's decision to stay put all the more significant. I don't want this thing to end.

The "Mad Men," uh, shot. With thanks to Alan Sepinwall, who did a screen capture for his blog, which I took for this.

My review of "High School Musical 2" is here. My review of "Superbad" is here.

After the jump, Barry Corbin, and the perils of magazine deadlines … and a new part 2, with "Damages," "Mad Men," "Rescue Me" (so beware of spoilers if you haven't caught up)…

Barry Corbin finally appear as Brenda's father on "The Closer," and what fun it was. He is such a solid actor, able to play the comedy and drama in a character, sometimes within the same scene. He can, as he did on "The Closer," intimidate another character (in this case, Fritz), then make it a joke — and still make you remember the intimidation even as he is smiling. All that, and him playing off both Kyra Sedgwick and Frances Sternhagen. TV heaven, dropped in a sturdy episode. (The elevator scene!)

Talking to some of the "Closer" fans around my office, though, reminded me of the varieties of viewing habits. They were surprised to see Corbin's bald head, since they remembered him in the main from "Northern Exposure," where he had hair. But I;m sure there are other viewers — like my bride – who think of him the way he looked on "The Closer," because it is close to the way he looks on "One Tree Hill."

I made a magazine run last night, mainly to check on the Allure and OK! pieces about Britney Spears. (This is, after all, part of my pop culture mandate.) And while doing so, I began thinking about an item for tomorrow's HeldenFiles, probably to be called "Fun at the Newsstand."

And what was that fun? Well, there was Lindsay Lohan on the cover of the September issue of Elle, with the quote "I'm glad I went to rehab." But, as the magazine notes in the article, it's from an interview done just before her Memorial Day disaster, and the ensuing trip to rehab (which are at least described in the text with the interview) — and therefore well before her most recent troubles and her current reported stint in a Utah facility.

Then there's the Summer 2007 issue of In Style Weddings. Jennifer Morrison of "House" on the cover. Lovey-dovey pictures inside of Morrison and co-star/fiance Jesse Spencer. Description of wedding plans, discussion of The Dress.

They called off the engagement this week.

Part 2: I've been doing some catchup this weekend, for the past week's "Damages," "Rescue Me" and "Mad Men." I also have a couple of upcoming "Mad Men" I may get so, although our Viewing Of The Day is the forthcoming DVD of "Heroes."

I'm still watching "Damages" because I keep expecting it to get better. And every now and then there's something I like a great deal, like the look on Ted Danson's face when he talks about the cost of shipping a grenade. But I still think it's mainly implausible melodrama, and a clunky one at that. The time shifts from the present day (post killing) to the past (case in progress) and even to the deeper past (Florida) are just distracting; once the killing was established in the first episode, it should have settled for a more linear narrative from the case to the present day. The everybody's-got-secrets subtext is overworked, too, mainly because the secrets so far just aren't that interesting. But Glenn Close is growing on me, her behavioral tics seeming more understandable — at least, if we accept the idea that she is crazy as a bedbug. "Damages" has come one of those big potboiler novels that I'm determined to finish, even if doing so isn't all that enjoyable.

"Mad Men," in contrast, is just plain terrific. It also involves a world full of secrets, in particular those of Don Draper (the superb Jon Hamm), who has changed his name and abandoned his old life — including, we now know, an adoring younger brother. The story of Don and his wife Betty (January Jones) by itself is enough to carry a pretty good show, but the weaving in of other characters and stories remains strong. And unlike "Damages," where I feel as if I'm constantly having to fit someone new into the fabric, "Mad Men" does not overburden us in a given week by trying to tell too many stories.

Then there's "Rescue Me." For a moment this week, it had me — in the scene where Tommy is sitting on the rooftop and talking about what it means to bury your child. coming after we've gotten to the depth of Mike the ex-probie's pain. There was also the sheer amusement of the looks on Lou and Franco when they finally see what the new chief has been rumored to have. But I'm still not feeling that great old "Rescue Me" vibe. The intervention scene never quite worked. The baby-kidnapping — or was it a baby-un-kidnapping? — felt fake. The Gina Gershon scene, pointless. More and more this seems like one of those shows that had a season or two of greatness and now just can't figure out how to quit.

If you haven't caught up with this AMC show, please do so tonight …

First, the boilerplate from AMC:

In the second episode of "Mad Men" (Thursday, July 26, 2007 at 10PM ET), which many critics are calling the best new series of the summer, Don Draper (Jon Hamm) continues to conceal his increasingly complicated personal life, even in the face of Roger's (John Slattery) invitation to open up. Meanwhile, Peggy (Elisabeth Moss) pines for the absent Pete (Vincent Kartheiser) – still on his honeymoon – while fending off the advances of several of the men of Sterling Cooper.

"Mad Men" is a new original series from AMC and Matthew Weiner, the Emmy-Award winning Executive Producer and Writer of "The Sopranos." The series depicts the ruthless world of Madison Avenue advertising in New York City in 1960. The series premiered on Thursday, July 19 at 10PM ET and had a 75% increase in audience compared to the time slot one year ago.

Now my thoughts: Very, very good show based on the four episodes I have seen. The series is doing a fine job of blending stories of the dream factory that is advertising (albeit with some creative license) and how real life doesn't quite match up with the dreams. It's also one of the best portrayals of everyday life in the early '60s that I can remember seeing. There's a scene coming up at a birthday party that, in a few moments, shows how utterly life has changed with regard to parenting and "women's work," not to mention smoking and drinking — both of which are copious throughout this show. Strong characters, with Don Draper the centerpiece — the most troubled and enigmatic. Watch tonight; if you feel a little lost, AMC is replaying the first episode on Saturday. And keep watching.