The critically acclaimed series will bring its seventh and final season to a close with a run of seven new episodes.
Hoping to replicate the success it’s had with Breaking Bad, AMC has decided to split the last season of Mad Men in two, pushing the series finale to 2015.
With the increasing popularity of dramas like Game of Thrones, Mad Men and The Walking Dead, self-contained episodes are becoming a thing of the past as networks, and viewers, embrace sprawling multi-season plots.
After more than six decades, the Emmy Awards proved that it’s still capable of surprises, with Homeland winning outstanding drama, toppling Mad Men, which set a record for biggest shutout by losing in all 17 categories in which it was nominated.
With nods in 17 categories each, AMC’s Mad Men and FX’s American Horror Story led the nomination for the 64th annual Primetime Emmy Awards. The winners will be announced Sept. 23.
Sunday’s second-season premiere of Game of Thrones averaged 3.9 million viewers in its first airing Sunday night, a 74-percent increase from last year’s series debut.
If rumors are true, then tonight’s new season of Mad Men takes place roughly six months after the last episode of season four, giving a fair amount of time for the dust to have settled after the more surprising events of “Tomorrowland” and a new status quo to have been established. But as Sterling Cooper Draper Pryce heads into its second year of existence, what else is happening in the world? Before you get too settled into “A Little Kiss,” here’s a quick guide to what about 1966 could end up affecting the show.
Despite the extra day, we’ve managed to make it to March relatively unscathed, and look what’s waiting for us: New Mad Men and Community! If that wasn’t enough, there’s also much-anticipated new drama Awake, and Ashley Judd returning to the small screen. Read on for the March debuts we’re most excited about.
Ahead of the March 25 return of Mad Men, AMC is pulling out all of the stops with a promotional campaign that includes an intriguing new poster that creator Matthew Weiner describes as ” dreamlike image, a nonverbal representation of where my head is at and where the show will be.”
If common wisdom is to be believed, movies are a directors’ medium, whereas television is a writers’ medium. And, on the face of it, that appears to be true: Movies, after all, can afford the time and money to set up visually spectacular shots that will stay with the viewer in a way that television rarely (if ever) can, leaving television relying on the stories they’re telling in order to win people over. But … a writers‘ medium? Really?