Matt Zoller Seitz

This is a thumping great book. Which is exactly why I'm giving it 4 stars. See, some books earn 5 stars because they speak directly to my soul. This book earns 4 stars because I disagree with plenty of what Zoller Seitz has to say - but in a way that makes my heart sing, and makes me want to debate with him for many hours. (Matt, are you out there?)

Zoller Seitz combines newly written 4-page essays on each episode of Mad Men's first three seasons, with edited versions of his reviews of the latter four seasons which were published as the program first aired. He examines thematic connections, historical facts peppered throughout the series, real-world production issues that may have affected the series, and the motivations and desires of these incredibly dense, often contradictory, wonderfully symbolic yet wholly real characters. It's a fascinating book and, although I saw one odd review here that seemed to think this book was putting a needless "leftist" spin on this show (!?!?!?!?!?), he completely gets the anger that this series has toward the straight, white, patriarchy. Some of my very leftist friends don't seem to "get" this about the show, because it is angry in a very subtle way, but I think it's fair to say that no program yet made has spoken to me in quite the same way as I try and exist throughout the culture wars of the early 21st century.

Anyhow, blah blah, shut up, Sammy. Suffice it to say, if you enjoy Mad Men, you owe it to yourself to buy this book for your next rewatch. Are there quirks? Absolutely. Deliciously, Zoller Seitz claims in his preface that he will endeavour not to spoil anything chronologically (for new viewers), even though earlier in that same preface he has revealed that a particular character gets married, and what her married name will be. Now of course, we can debate the academic nature of "spoilers" and also discuss what they even mean in relation to this show, or indeed whether they in fact enhance a viewing experience, but that's all so much philosophy. Point being, this is not the perfect Mad Men book, but I hope to the gods there never is such a thing. As Zoller Seitz (fantastic name, by the way!) says in his intro, this is only his interpretation of a piece of art. Everyone's will be different. If you ever find yourself agreeing 100% with someone else (this is me talking now), maybe you aren't doing enough to be an individual.

A… (altro)

This masterfully engaging book by two smart guys who really know their stuff is one of the most enjoyable reads I've had in a long time. Intelligent discussions of the very best of television, show by show, are wonderfully readable, as though one were a participant in those discussions and learning much from the insights of one's magnificently well-informed friends. Though they left out a few items from my own list of excellences from TV's history (the brilliant Combat!, the charming and moving Brooklyn Bridge), there's scarcely a show listed that doesn't deserve to be on a list of the most meaningful works in the medium. Fun, informative, revelatory, TV (The Book) was addictive, one of the most compelling "just one more page" experiences I've had in a long time.… (altro)

I absolutely love Wes Anderson’s The Grand Budapest Hotel, but it was a definite challenge to like this book…Granted, this is the only one of his films I actually enjoy, but I figured that a book lauding the film would be equal parts celebration and analysis that would bring a greater understanding and appreciation for The Grand Budapest Hotel. While it is clear that the author of the book has a huge knowledge of film in general and a specific adoration of Anderson’s work, the generality of his love for everything Wes Anderson is what ended up losing my interest. The majority of the book consists of three long-form interviews where the author waxes eloquent and Anderson gets in the occasional word. Their camaraderie is palpable, and generally easily read, but for a reader who has long grown bored of hearing hipster-esque men talk at length about their obnoxiously niche interests the conversation quickly becomes tiresome as we get into the later of the three interviews. Speckled throughout their conversations are little hints at the greater themes and aesthetics of the film, but when surrounded by the greater conversation it becomes a quest to even find the gems. The remainder of the text contains short expository essays by noted film and culture critics and interviews with others deeply involved in making the film, which I honestly found a lot more palatable and enjoyable to read. The author backs off from soliloquizing his interview “questions” in these conversations, allowing the interviewees to share their (far more) expert knowledge in a more expected interview format. The essays about costuming, film music, production design, and historical nostalgia are also deeply appealing in their presentation of different narratives, careful writing style, and overall depth of knowledge. If the book had been confined to this more removed perspective than one hyper-focusing on Anderson himself, I think it would have been a much stronger and more approachable read. Sure, it would have fallen closer in line to what is expected in a typical film book, but The Grand Budapest Hotel is maybe not a film for the typical Anderson-ian fan.… (altro)