crying ladies
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'' crying ladies'' opens today in new york, new jersey, los angeles, san francisco, san diego and honolulu. a. o. scott
the movie wears its many clichés lightly and without embarrassment. if it were more tightly constructed,'' crying ladies'' would probably also be more relentlessly melodramatic .
“ladies, ladies, ladies, ” kelce tells them. “fifty of the most drop - dead gorgeous women from 50 states. the courage that it takes to come out here to try to pursue love, it means more than you can imagine to me .
“crying ladies” also took home awards for best director (debut helmer mark meilly), actor (eric quizon), supporting actress (hilda koronel) and child performer (julio pacheco) .
manila — “crying ladies” — unitel pictures’ first venture into the film fest arena, scored big points at the metro manila film festival awards night in late december at the capital city’s philippine intl. convention center .
the movie is a lighthearted but touching look at three ladies from the back streets of manila’s chinatown who cry at funerals for a living. fantasy pics “captain barbell, ” about the adventures of a local superhero, and “fantastic man, ” another special effects - studded pic aimed at the kiddie audience, were the top grossers at the fest, with “crying ladies” taking the no. 3 spot .
a vigorous, ambitious, big - hearted comic meller about three women hired to wail at a chinese - philippine funeral ,
crying ladies
has already wept its way to good notices around the u. s. via platform releases brokered by new distrib unico entertainment .
a hit in the philippines, where it won six awards at the 2003 manila metro film festival, mark meily' s'' crying ladies'' is a loose and genial soap opera about three working - class manila women who are hired as mourners for a funeral in the city' s chinese community .
unlike many filipino pics, which run at a fevered emotional pitch to western sensibilities, “crying ladies, ” moves smartly and evenly under the direction of debut helmer mark meily (although pic is ambitiously over - plotted at nearly two hours). perfs sparkle, with each thesp comfortable navigating between broad comedy and legitimate pathos .
manila — “crying ladies” — unitel pictures’ first venture into the film fest arena, scored big points at the metro manila film festival awards night in late december at the capital city’s philippine intl. convention center. pic took best film, beating entries of frequent fest dominators regal entertainment and viva films. grand - scale movies “mano po [ … ]
a vigorous, ambitious, big - hearted comic meller about three women hired to wail at a chinese - philippine funeral, “crying ladies” has already wept its way to good notices around the u. s. via platform releases brokered by new distrib unico entertainment. still, the just - announced philippine entry in this year’s foreign - language oscar race is an accessible crowd - pleaser ripe for [ … ]
on the first day of mourning at the paz hope funeral chapel, the three crying ladies, dressed in plain white dresses and heavy make - up, arrive to perform their services. in the process, they learn that the deceased had led a rather complicated life, in which he was estranged from his son wilson, and he carried on affairs with a number of women, with whom he fathered many illegitimate children .
overall, fest’s entries were well - liked by critics. besides “crying ladies”, lauded pics included “mano po 2, ” an epic tale of a filipino - chinese family; “filipinas, ” an allegorical story of a filipino family that reflects the nation’s own story; “homecoming, ” about the sars epidemic; “malikmata” (mirage), a paranormal tale; sex comedy “bridal shower”; “captain barbell”; “fantastic man”; and “gagamboy” (spider boy) .
in the easygoing, unembarrassed world of'' crying ladies,'' it seems perfectly natural that a stranger should recognize aling from her decades - old role as a villager crushed by a marauding monster. this may also be a sly joke by mr. meily, since ms. koronel, like ms. cuneta, is a major philippine movie star. with a refreshing lack of vanity or pretension, these actresses play their ordinary, hard - luck characters with generosity and grace .
by the time the day of the burial finally arrives, after a four - day wake, the characters and their complicated relationships have been fully disclosed, setting the scene for a poignant climax. and when guido arrives to take bong away from stella, the moment defies any mother to hold back her tears. nonetheless, crying ladies is a comedy, and true to form, all' s well that ends well when the outcome of the characters' lives are revealed in its uplifting epilogue .
this being a reality show, there are tears, laughs and plenty of roll - your - eyes moments from some flat - out crazy people. the women move into a house together, which sets things up nicely for jealousy, crying and confrontations .
the story revolves around 3 matured women, stella (sharon cuneta), rhoda (hilda koronel) and choleng (angel aquino) who are in badly need of cash for their family. they would do everything, from crying to funerals to dirty work just to make both ends meet .
“ladies room” is a little too neat and orderly, and a little too fond of explicitly underlining its thematic points, all in that very mad men way the show can sometimes get when it seems to be so eager of making sure we understand every point it’s trying to make. but that’s fine. it doesn’t need to be an all - time great episode of television—or even as good as the pilot. it just needs to be a pretty good second episode, an episode that assures us there’s a television show here, and we’re in good hands all around. on that level, “ladies room” more than succeeds, and the technique it uses to do so is one that would serve the show well going forward: mirroring .
charged with organizing his father' s funeral, wilson chua (eric quizon) hires three professional mourners with plenty of problems and enough tears to flood manila in this heartwarming comedy. desperate for cash, stella (sharon cuneta) is happy to take the weeklong gig crying at the traditional chinese funeral, but the stage is set for disaster when she brings b - movie actress chua (hilda koronel) and the adulterous choleng (angel aquino) along .
really, that’s the story of this episode: the ladies room is the one place that the show’s female cast members can be recognizably themselves, but even when they step inside its comforting confines, they’re not going to find someone to stop their hands from shaking, nor is someone going to undertake the very basic and human action of asking them why they’re crying or if they’re all right. but when they leave the confines of that space to talk to the men in their lives, those men can’t help but see them as “the dessert, ” as peggy puts it. don goes out to dinner with betty, and he simply tells her stupid jokes, like a 12 - year - old boy, and she giggles dutifully, before he goes home and horribly betrays her trust. but when he’s over at midge’s, the woman he sleeps with because he seems to want something more authentic and “real” than whatever he’s built with betty, he also treats her like his property, obviously growing upset and jealous when he wonders how she possibly got herself a tv (on which she primarily watches people are funny, one of my favorite period details in the episode) .
here’s the thing about narcos season 3: it can be a tense and exciting cat - and - mouse game that quite literally makes your heart pound. it’s also a near - reboot of the pedro pascal - starring netflix series. gone is drug kingpin pablo escobar (wagner moura), and in his place are escobar’s former competition, the godfathers of the real - life cali cartel, led by the rodriguez brothers. if you’ve noticed anything about the previous three sentences, it’s filled with genius, ambitious, and powerful men — and they’re all absolutely devoid of women. in narcos season 3, when women aren’t the objects of pure lust, they’re either crying or screaming in a corner .
the third woman to appear in “kingpin” is the one to truly fill narcos ’ crying woman trope: maria salazar (andrea londo). maria makes her debut as arm candy to her husband claudio salazar (carlos camacho). maria is made to follow her spouse like his trusty canine companion as opposed to his actual human wife. the beautiful young woman immediately catches the eye of druglord miguel rodriguez (francisco denis). when drug drama ends with the murder of claudio, miguel decides to break the news to maria, since his associates did all the killing. immediately, the newly - minted widow crumples into a basket of tears in an empty restaurant. of course, this emotional display follows an episode of a wide - eyed maria running around cali, near tears, asking if anyone has seen her husband .
and it’s here that “ladies room” subtly tips its hand toward what the whole series is up to, because the character we’re meant to mirror peggy with isn’t joan or even the other young woman in the bathroom. it’s don himself, her boss but also her weird shadow twin for the episode. we saw in the pilot and again here how people are able to project what they want to see on don, even though he resists that sort of thing, and now we see how the same thing happens with peggy. ostensibly, it’s because she’s the “new girl, ” and all of the guys in the office—even sal, who does his very best checking a girl out impersonation—want to look over the fresh meat. but there’s also an element of her keeping herself at arm’s length. she blushes at sex jokes, and she doesn’t let all that much slip about who she actually is to paul when he regales her with stories of the office. she’s staying mysterious, and that more or less sounds like the man she works for .
because let me tell you, that kind of storyline is murder to dramatize in a visual medium. that “ladies room” does as good of a job at this as it does is to be commended, even if it over - relies on visual tricks like betty’s shaking hands. (though to that end, i really like the moment when betty is driving and sees helen bishop the divorcee moving into her new home, and that triggers her hands shaking .) whenever fans of the show complain about betty in the later seasons—something i’ve done many a time—i want to remind them to go back and watch these episodes, to remember the way that the show introduced her and all of the things that don was doing to damage her, sometimes intentionally and sometimes just because he wouldn’t have had a second thought that what he was doing could hurt her. yes, betty’s storyline doesn’t always intersect with the action at sterling cooper, but that’s by design. this is a series about how the main character has segmented his life, and in betty, we’re already seeing the most potent consequences of keeping someone who should be the love of your life out on an island, then turning to other people—like midge—for the things you actually want. don draper is a man obsessed with images, and this might be his norman rockwell .
my favorite shot of the episode involves young secretary peggy, walking into the bathroom to freshen up, another young woman crying off in the corner. the mirrors in the bathroom are situated so that we can see the woman in the mirror on the wall perpendicular to peggy, but we can’t actually see her, nor can we see peggy reflected in the same mirror. instead, we see peggy looking directly into the mirror over the sink. though she casts a glance toward the other woman when she enters the room, for all intents and purposes, the two might as well be in entirely different worlds, an effect director alan taylor accomplishes through that careful segmentation using the mirrors. but he’s also setting an agenda for the series’ most important female character going forward: the place to look when we’re looking for peggy’s motivations isn’t in the sorts of places we might expect, in romance plots and in stories where she comforts sad girlfriends. the other woman’s problem goes unresolved. indeed, we never find out what it is. peggy is in her own little box, reflecting back at herself. when we want to know what’s driving peggy, it’s best not to look at the story around her but at the woman herself, who’s almost as opaque at times as the main character .
brendan connell, jr. appointed chief operating officer of the academy museum of motion pictures
the academy’s board of governors awards an oscar® to alejandro g. iñárritu’s “carne y arena” virtual reality installation
the academy continues residency at the metrograph theater in new york with “the ballad of gregorio cortez” and tribute to george a. romero
academy rescinds sound mixing nomination for greg p. russell on “13 hours: the secret soldiers of benghazi”
jennifer aniston, jason bateman, warren beatty, sofia boutella, matt damon, faye dunaway, michael j. fox, ryan gosling, salma hayek, taraji p. henson, dev patel, seth rogen, octavia spencer, meryl streep and vince vaughn announced as presenters
halle berry, jamie dornan, chris evans, gael garcía bernal, samuel l. jackson, scarlett johansson, dakota johnson, kate mckinnon, shirley maclaine, hailee steinfeld will be presenters on oscars® stage
jackie chan, anne v. coates, lynn stalmaster and frederick wiseman to receive academy’s 2016 governors awards
oscar winners morgan freeman and john legend added as presenters along with j. j. abrams, sacha baron cohen and henry cavill dave grohl will give a special performance
kathy baker, o’shea jackson jr. , freida pinto and jimmy smits to perform at academy nicholl fellowships live read
kristen bell and michael b. jordan to host academy' s sci - tech awards
lacma and the academy co - present a major u. s. exhibition highlighting the prolific career of mexican cinematographer gabriel figueroa
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washington chua is dead, of cardiac arrest in his sleep, and his son wilson (eric quizon) suddenly finds himself in charge of planning a traditional chinese funeral for his father, complete with professional wailers to help ease his passage into the afterlife. according to traditional beliefs, if the deceased has many mourners openly expressing their grief at the funeral, then it is assumed that the deceased must have been a worthy person and will be welcomed into a heavenly afterlife. unfortunately in the city of manila, the number of chinese families in need of professional funeral criers is dwindling, and there are few if any left. nonetheless, wilson chua is determined to provide his father with a top - notch send off, and he seeks until he finds stella mate (sharon cuneta), the last of her kind .
stella is a woman of questionable morals and integrity, and has just been released from a year - long prison sentence, during which she lost custody of her son bong to her ex - husband guido and his new wife cecille. but at a
recognition day
ceremony, in which bong received a medal for academic achievement, guido agrees to allow stella to have bong for three weeks, until time for the family to transfer to the remote city of cagayan de oro for cecille' s job .
early on, it is revealed that stella had been sent to prison for
estafa
, which is spanish for fraud or swindling, and it isn' t long before she' s up to her old tricks again. not a day goes by that she doesn' t swindle the bus driver for her fare, and in one scene, also on the city bus, she poses as a labor union protester collecting donations, which go right into her own pocket. she does, however, work for an honest wage at a shop that sells chinese funeral accessories, which is where wilson chua first meets her. and although stella isn' t technically a professional crier, her mother once was, so stella knows the trade, and wilson engages her services at 500 pesos a day for a five - day service. wilson also asks stella to recruit the services of two more criers. so stella goes in search of her two best friends, choleng, and ailing .
choleng is a beautiful young single woman who is having an affair with her friend myra' s husband ipe. and each week, she goes to church to confess the same sins. as her penance, the priest who hears her confessions has assigned her to perform an act of charity. ailing doray (hilda koronel), aka rhoda rivera, is a has - been film star whose only claim to fame was her appearance in a horror film called darna and the giants, in which she played a bit part as a fleeing villager who is trampled by a menacing giant. yet, so memorable was her performance that total strangers still recognize her years later .
in the hours that stella isn' t wailing for money, she spends every precious moment with her son bong, and even drags him along as she goes to an audition for a singing gig, to line up for a game show called cash or stash, and to the radio station to collect her 1, 000 peso prize for correctly singing a jingle in a phone - in contest. stella spoils bong as best she can on her meager salary, and they spend their evenings at stella' s squalid apartment, singing along with her karaoke machine .
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according to the movie, the chinese practice of employing women to wail for the dead, once common, is on the wane, but the chua family nonetheless insists on a traditional send - off for its patriarch, a philanderer and possible gangster named washington. his son, wilson (eric quizon), hires stella (sharon cuneta), a sometime petty thief who has lost custody of her young son after serving a year in prison, as a crier .
stella, a second - generation crier, recruits two of her friends: choleng (angel aquino), a pious roman catholic who is nonetheless having a guilty affair with another woman' s husband, and aling (hilda koronel), a shopkeeper who clings to the fading memory of her movie career, whose high point was a bit part in a picture called'' darna and the giants.''
mr. meily, who directed the film from his own screenplay, gives the audience quite a few plot lines to keep track of. some, especially those involving choleng and aling, are handled in a fairly perfunctory manner, yielding little emotional payoff .
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the main axis of the film is stella' s relationship with her son, bong, who is staying with her for a few weeks before moving to a faraway city with his father and stepmother. his presence causes her, not unpredictably, to shed some of her irresponsibility. meanwhile, wilson, who had been estranged from his father, trudges toward an equally predictable therapeutic denouement of'' closure,'' healing and reconciliation .
but a movie about people who cry fake tears for money, and for complete strangers, would be ill advised to indulge in displays of overwrought emotion. its most winning attribute is a kind of sloppy, unassuming friendliness, a likability aptly reflected in its characters .
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bt: adopted son nina sharon cuneta at sen. kiko pangilinan, ipinakilala sa publiko
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the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
movies and tv shows are certified fresh with a steady tomatometer of 75% or higher after a set amount of reviews (80 for wide - release movies, 40 for limited - release movies, 20 for tv shows), including 5 reviews from top critics .
perfs sparkle, with each thesp comfortable navigating between broad comedy and legitimate pathos .
the performances... are as sincere and heartfelt as the mourning is not .
best appreciated for the winning performances of its trio of stars, who convey their characters' desperation with humor and poignancy .
it has the potential to build a word - of - mouth audience through its sweet nature and lack of pretense, two qualities that are a rarity in both multiplexes and arthouses .
there aren' t many surprises as the story unfolds in soap - opera fashion, with a happy ending for all concerned .
in this sloppy, happy soap opera from the philippines, three working - class manila women are hired as paid mourners at a traditional chinese funeral .
it ain' t war & peace, but there are some pleasant comedic moments here .
as the weepy days go by, transgressions are forgiven, priorities reassessed and hearts healed .
an endearing comedy that deftly blends sentiment and grit and features a clutch of top filipino stars .
in a philippine metropolis, aspiring singer stella (sharon cuneta) has just been sprung from jail after a year inside for the petty thievery required to keep her and her 8 - year - old son, bong (julio pacheco), alive. when stiff ex - hubby guido (ricky davao) gives her just a few weeks with the boy before whisking him out of town along with his new wife, stella is desperate to prove her solvency .
relief comes in the form of a young chinese man, wilson (eric quizon), whose father, wealthy via some possibly shady business dealings, has just died. tradition decrees that professional mourners be hired to kick up a fuss at the viewing, the theory being that the gods will be so impressed there’ll be no problem with the dearly departed gaining access into the hereafter .
with the profession’s practitioners nearly obsolete, wilson hires stella. she, in turn, rounds up old friends to harmonize alongside her at the five - day wake: churchgoing adulteress choleng (angel aquino) and former b - movie actress aling (hilda koronel). during the five days, each of the principals manages to better her situation through hard work, understanding and more than a little luck .
tech credits are glossy, lending yet another western patina to the proceedings. pic shouldn’t be confused with liu bingjian’s similarly themed 2002 canadian - south korean co - production “cry woman. ”
production: a unico entertainment release (in the u. s .) of a unitel pictures (makati city, philippines), unico entertainment (new york) production. (international sales: unico entertainment, new york .) produced by tony gloria. executive producers, jun reyes, vincent nebrida. co - executive producers, ray cuerdo, bobby suarez. directed, written by mark meily .
crew: camera (color), lee meily; editor, danny anonuevo; music, vincent de jesus; production designer, reji regalado; sound (dolby digital), raffy magsaysay. reviewed at montreal world film festival (cinema of asia), sept. 1, 2004. running time: 114 min. with: hilda koronel, angel aquino, sharon cuneta, eric quizon, ricky davao, julio pacheco, sherry lara .
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pic took best film, beating entries of frequent fest dominators regal entertainment and viva films. grand - scale movies “mano po 2” (regal) and “filipinas” (viva) came in second and third, respectively, to the comedy produced by the unitel .
it was also the only film entry given an a rating by the cinema evaluation board. this gave its producers a 100% tax rebate incentive from the philippine government — part of a scheme to encourage local filmmakers to produce quality material .
“we don’t need big budgets to make good films. ” says unitel ceo tony gloria. “we should learn to work with limitations. what we need is good content and good storytelling. ”
the fest pics ran for two weeks in theaters nationwide, providing filipino movie fans with a smorgasbord of all - filipino films, sans the usual competition largely provided by hollywood movies .
the problem with narcos ’ treatment of women is immediately evident from the season premiere, “the kingpin strategy. ” the first woman viewers see is lorraine (bre blair), agent javier peña’s (pascal) ex, whom he could never fully commit to. now, years after their breakup, lorraine is a happily married woman with two adorable children. in this moment, lorraine isn’t a character, she’s a pure symbol for the life peña could have lived if he wasn’t so obsessed with his dea work .
the next woman to pop up is katie (laura londoño), whose name is never said and was only found by rampant googling. katie pops up in a dea elevator behind peña and then later again at a bar, just so she can give him flirtatious eyes. the last time we see her in the installment, she' s asleep in bed next to peña. throughout all of this, she never actually says anything. she simply fills the role of “pretty girl, ” as cia agent bill stechner (eric lange) calls her .
maria then switches back to the sex object role in a deeply confusing move. in episode 3, “follow the money, ” miguel gifts the object of his lust with an apartment, to make up for the murder of her husband. she eventually asks if the cocaine king could send for her son, since his paternal grandmother won’t hand him over. when miguel agrees and confirms he’ll give maria a stipend to take care of the boy, she starts undressing as a thank you. miguel, the murderous gentleman that he is, stops her from making the deal a sexual transaction. this is good, but not anything to applaud, since miguel is simply showing basic human decency. however, the next time we see maria, she’s naked in a massive bed and riding miguel. i thought this wasn’t supposed to be a sex thing? we never even see a “change of heart” from maria. all she does is rub miguel’s gray - haired chest and assure him, “it’s good to be here. ”
the other woman forced to go along with the whims of whatever man is closest in proximity to her is paola salcedo (taliana vargas), the long suffering wife of cali cartel security chief jorge (matias varela). when we first meet paola she has tears in her eyes over the fact her husband won’t leave the drug business, as they had planned, for at least six more months. the next few times we see her, paola’s sad eyes stare at jorge, assuring him either she doesn’t need a mansion or understands why he protects bloodthirsty criminals. at least after all the stress jorge puts paola through, (spoiler alert) he’s the one who’s sobbing at her feet by the time the season is up .
the only woman who isn’t a teary, sad mess throughout narcos season 3 is carolina alvarez (margarita rosa de francisco) a journalist who is hot on the trail of the cali cartel. we never see carolina even come close to shedding a tear over the men around her. in fact, she’s usually the one manipulating them into doing what she wants. when carolina is introduced, she’s smart enough to try to get a police officer to spill a story over an alleged gas leak — which was actually a rodriguez scheme gone awry — by questioning whether she should smoke in the area. if the incident truly was natural, lighting up would be the most dangerous option possible. soon enough, we also see carolina working with peña, and she’s the one asking the tough questions .
yes, the real life story of narcos was filled to the brim with men, not women. such was life in both the drug and federal agency business during the early 1990s. if the series wants to tell a true (ish) - to - life story, they need to at least attempt to stay close to the actual facts of the dea’s investigation of the cali cartel. but, the scenes with peña and carolina have a level of tension and spark to them that the interactions featuring the other, usually very sad, women are sorely lacking. i’m not saying narcos needs to invent women simply for the sake of having women on camera, but would it be so hard to give the women the series does need a character trait other than “needs a tissue and a better man? ”
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if mad men ’s pilot asked viewers to wonder who don draper was, the second episode all but insists upon it. hell, the man’s wife closes one of the earliest scenes by looking over her sleeping husband and essentially murmuring to herself, “who are you? ” the episode makes much of his unwillingness to talk about his past, drawing a sharp line between roger, who talks easily of his nanny as a child, and the main character. he’s saving up those experiences for the novel he’s planning to write someday, after all. it wouldn’t be good to go around giving them away for free. don is still the teflon man, his dazzling exterior allowing nothing to get stuck, and he takes both betty’s unhappiness and midge throwing a television out a window in stride. the episode might as well come equipped with a brass band marching down the street, carrying a banner reading, “this man keeps secrets from everyone he meets. ”
the other important mirror for don is betty, who’s suffering through a bout of unhappiness that seems much more like depression, given how unmotivated it seems to be. (don’s idea of psychotherapy is to tell her about all of the great stuff she has, then smile winningly. it’s a credit to jon hamm that this seems like a vaguely possible remedy for what ails her .) betty explicitly asks herself—and by extension us—who her husband is, and when she tries to ask him questions about his childhood, he rebuffs her not a little coldly. he says that talking about childhood is like talking about politics and religion, which sounds just as bizarre as you’d think it does. yet when betty goes in to see a psychiatrist and start trying to talk out just what’s on her mind in the wake of the minor car accident she’s in, she doesn’t know that don is calling said psychiatrist to find out what his wife told the doctor. don is the man betty can never know; at the same time, he’s learning all of her most intimate secrets .
again, it’s all a little neat, in a way that mad men will get from time to time. but it’s also kind of mesmerizing. even those who’ve never seen mad men will be aware that fans get frustrated with betty from time to time, because her storylines often seem to intersect with the main storyline only haphazardly. and to be sure, in this episode, it’s frustrating to watch the beginning of this story and feel as if every beat of it is mapped out right in front of you. this is going to be a rough story of second wave feminism, it would seem, and it’s going to feature betty’s life intersecting with another betty, the author of the feminine mystique, betty friedan .
this is one of those places where it will be complicated for someone like me who’s seen the whole show to discuss something like this, because so much of what’s disappointing about this storyline in this episode hinges on the imagined storyline to come, the one we think we already know and the one that seems the most blatantly like something stolen from that terrible nbc miniseries the ‘60s. of course, mad men is still teaching us how to watch it at this point in its run, and it’s much more interested in making sure we’re following what it’s doing with don and peggy at this point than betty. to that end, playing off well - worn tropes and types in this particular storyline isn’t such a bad idea, because it keeps us more or less in tune with a story that amounts to “a woman realizes she isn’t as happy as she thinks she should be. ”
but what i also like—even trying to view this as someone who’s never seen the show before—is how formless betty’s depression seems, even to her. watch that scene with her in the psychiatrist’s office, and the primary emotion one reads coming off of betty is disappointment. nobody wants to be depressed, but betty seems at once upset by having this settling over her and upset by how prosaic and ordinary it is. if she’s going to come apart at the seams, everybody expects her to have both better symptoms and better reasons for doing so, and the number of people expecting that includes betty. january jones was the great unknown about this show heading into the second episode, since she mostly had to look pretty in the first one, but she more than manages the feat of making betty at once sympathetic and oddly unknowable. mad men ’s favorite trick is to reveal a character’s surface, then immediately see what happens once it starts to unravel, and jones keys into that straight off .
another thing we’re getting a glimpse at here is the way that the show uses don to ask big questions that are supposed to prompt big answers—here, it’s “what do women want? ”—and then uses those questions both to interrogate the time period and ultimately deflect them with the sorts of easy bullshit an adman might come up with on the fly. the characters at sterling cooper don’t particularly care about what a woman might want. it’s more a chance to toss out some easy jokes, but when don talks about it with the rest of his creative team, he seems the most open and honest he is all episode. he’s obviously talking about how he can’t understand how to make betty feel happier, and it’s the one place where he doesn’t try to solve this problem through placating her. but when he finally comes up with what women want at midge’s apartment, it’s more easy ad slogans. what they want is to pull closer to their man, not anything more emotional or elaborate than that. it’s manipulative bullshit, plain and simple, and it’s not clear to what extent he knows that .
i said last week that the hidden story of mad men is one of privilege, of the main characters realizing that the unassailable world of plenty they live in isn’t going to last forever because other people might start to demand their own opportunities, their own pursuits of happiness. the show is already using this knowledge against us, because we live in the 21st century and understand what “the ‘60s” are going to bring (mostly opportunities for terrible nbc miniseries). that’s part of why the betty storyline in this episode can feel a little weak; we know what’s coming for this character and don’t know how closely the show is going to follow that particular story beat for beat. but watch peggy or don in this episode, or watch paul make his awkward pass at peggy, and you see another story bubbling under the surface, a story about how before women could demand equal pay or equal rights, they had to demand to be seen as people, too .
this episode shows us the first appearance of bertram cooper, played by robert morse, in a great bit of stunt casting (he was the kid in how to succeed in business without really trying, which is an obvious influence on this show). right now, though, he mostly seems irritated by the way that roger sterling has instilled a bit of a navy attitude amongst the men, when he walks in on them forcibly spraying right guard in ken cosgrove’s armpits .
another first appearance: the sally draper we know and love, played by kiernan shipka. the bit where she’s running around in the plastic dry - cleaning bag is one of the show’s biggest “hey, people sure were different in 1960! ” moments, but i don’t mind it as much as some of the others, because the visual is so great. still, the moment when jones holds the pause between calling sally over to her and making sure she didn’t mess up the dry cleaning (instead of making her take off the bag) leans a little too heavily on making the audience feel superior to the characters in the past. (they just didn’t know! chuckle chuckle. )
pete campbell and rachel menken sit this episode out. pete, for his part, is off on his honeymoon to niagara falls, the wettest place on earth. (the guys get a real charge out of that one .) roger, however, bemoans pete’s unimaginativeness in even where to go on his honeymoon .
paul’s tour of the sterling cooper offices seems at once like matthew weiner (who wrote the episode) just wanting to show off his cool new set but also sets up some of the locations we’ll be seeing too little of in the seasons to come .
this is the first time we get a taste of paul being a sci - fi geek, a little character detail that will inform who he is throughout the rest of the series. and don’t worry, paul. you’re going to get several more seasons of the twilight zone, but rod serling is going to get increasingly tired of the grind and make for some hit - and - miss seasons .
that’s anne dudek, probably best known as amber on house, playing francine, the friend that betty has her gossip session with .
that’s john slattery’s real - life wife, talia balsam, playing roger sterling’s wife in the episode’s first scene .
okay, so i kind of talked around it up there, but even though i think this isn’t the most promising introduction for betty’s storyline (which doesn’t really kick into gear for me until “shoot”), i definitely love the way the show goes against every expected beat of the “bored housewife who realizes she’s unhappy and becomes liberated” storyline in the seasons to come. betty just gets unhappier and unhappier, until the most recent season .
things are only looking up for margaret sterling. she’ll get to have her wedding shortly after john f. kennedy is assassinated !
next week: don and betty throw a birthday party, and it turns out to be much more interesting than you’d expect from that description of “the marriage of figaro. ”
kinja is in read - only mode. we are working to restore service .
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entombed in ash for more than 1, 900 years, the tragic story behind this haunting image of what appears to be a child resting on its terrified mother' s stomach is a step closer to being revealed .
restorers are working on the carefully preserved plaster casts of 86 of the romans trapped in pompeii in 79 ad following the deadly eruption of mount vesuvius, including a child seemingly frozen in terror .
it is thought the boy was four, based on his size, and was sheltering in a location dubbed house of the golden bracelet with his family, when tragedy struck .
this haunting image shows what appears to be a child resting on the stomach of an adult. it is estimated that anywhere between 10, 000 and 25, 000 residents of pompeii and nearby herculaneum were killed on the spot
restorers are working on the carefully preserved plaster casts of 86 of the romans trapped in pompeii in 79 ad, including children seemingly frozen in terror. here, stefano vanacore, director of the laboratory at pompeii archaeological site can be seen carrying the remains of a petrified child in his arms
experts at the site are readying the poignant remains for a forthcoming exhibition called pompeii and europe. it could be supposed that this victim was trapped in a building or terrified
he was discovered alongside an adult male and female, presumed to be his parents, as well as a younger child who appeared to be asleep on his mother' s lap .
the little boy’s clothing is visible in the plaster cast, and his facial expression is one of peace, decoded past reported .
l' oreal wants to start 3d printing skin: cosmetics firm has ...
stefania giudice, a conservator from naples national archaeological museum, told journalist natashas sheldon:' it can be very moving handling these remains when we apply the plaster.'
crying ladies is a 2003 filipino film directed by mark meily , and winner of best picture in the 2003 metro manila film festival . it was the philippines ' submission to the 77th academy awards for the academy award for best foreign language film , but was not accepted as a nominee . 
crying ladies is a 2003 filipino film directed by mark meily, and winner of best picture in the 2003 metro manila film festival. it was the philippines' submission to the 77th academy awards for the academy award for best foreign language film, but was not accepted as a nominee.
crying ladies is a 2003 filipino film directed by mark meily, and winner of best picture in the 2003 metro manila film festival. it was the philippines' submission to the 77th academy awards for the academy award for best foreign language film, but was not accepted as a nominee.