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'The Voice' Night 7: Running Out of Steam?

An Egyptian, a Pope and a smog technician hit the stage as blind auditions near end

By MSN TV Sep 25, 2012 10:21PM

'The Voice'/NBC

By John Kubicek

Buddy TV

 

We're nearing the end of the blind auditions on "The Voice," and you can tell because they're running out of steam. Tuesday night's episode features fewer singers than any other episode, as just six people take the stage. Four of them make a team. Two of them don't. And by the end, all four coaches are tied with just two spots left on their teams.

 

Bing: 'The Voice' | Photos: See this season's coaches | LNOTV: Watch recaps

If that description makes it sound boring, that's because it is -- with only one brief bright spot at the end.

 

More: 'The Voice' on Buddy TV | Video: Watch clips and more


Sylvia Yacoub ("Only Girl [in the World]" by Rihanna)

She's an Egyptian who has law as a fallback career. She's a great singer, but I can't help but feel like becoming a lawyer would be a better career path than trying to win a singing competition. I'm such an old fogey.

Coaches: Cee Lo, Christina and Blake turn around. Blake tries to claim that Sylvia is a country name, but that dog don't hunt. Cee Lo's big pitch is "I want you to be on my team." She joins Team Xtina.
I.J. Quinn ("Virtual Insanity" by Jamiroquai)

He's a country boy working on a pig farm who looks exactly like Aaron Paul from "Breaking Bad." Exactly. It's kind of frightening. But he sounds like a chipmunk.

Coaches: No one turns around. Adam hems and haws before finally admitting that he thought it was a chick. Ouch. And so true. Oh well, he can always call up one of his old chemistry teachers and start cooking meth.

Charlie Rey ("Home" by Michael Bublé)

He's a smog technician who breathes in harmful carbon monoxide all day at work. Is that even a real job? He's a strong, generic singer. There's nothing particularly special about him, but he's solid.

Coaches: Adam and Blake turn around. Blake hits on a cute guy for the second night in a row, but Charlie is no Dez Duron. Adam and Blake go at it, with Blake delivering the winning blow by claiming to be a "way more recent champion." He joins Team Blake.
Amanda Brown ("Valerie" by the Zutons/Amy Winehouse)

Hey, I went to college with a girl named Amanda Brown! But it's not this girl, so I'm sure no one cares. She's a church singer who loves Radiohead, which seems like an odd mix. She's fun and energetic, but nothing special (which appears to be the theme of this episode).

Coaches: Cee Lo turns around. Oh, Cee Lo. Sometimes I think he gets bored and wants to push his button just for the ride. This makes eight singers -- or half of his entire team -- comprised of non-contested singers where none of the other coaches turned around. She joins Team Cee Lo. Lady Bird the Pink Cockatoo is a fan of this song.

Yolanda Barber ("Get Here" by Oleta Adams)

She's a 55-year-old former cruise ship singer who now drives a school bus (which she keeps calling a "school vehicle"). She's certainly good enough to work on cruise ships. But, like everyone in this episode, she's nothing special.

Coaches: No one turns around. I call age discrimination. The coaches certainly knew she was old and probably didn't want her "specific sounds," as Xtina put it. That's code for "old lady voice."

Cassadee Pope ("Torn" by Natalie Imbruglia)

She formed a band called Hey Monday and toured with Fallout Boy. She's easily the best of the night and is just one of those people who is perfect for this show.

Coaches: All four coaches turn around. Before she reaches the chorus there's an avalanche of three pushes, with Cee Lo as the only straggler. Xtina thinks she can do anything, Adam knows exactly what to do with her, Cee Lo likes her legs and Blake believes she's a superstar with 200 percent of his heart. She joins Team Blake.

"The Voice" airs Mondays and Tuesdays at 8 p.m. ET/PT on NBC.

 

'The Voice' finale: Danielle, Michelle excel

Last performance show lives up to season's high standards

By Ken Barnes 24 minutes ago

Danielle Bradbery, Blake Shelton, The Voice

 

The winning team? Danielle Bradbery and her coach, Blake Shelton, did absolutely nothing to jeopardize her front-runner status on 'The Voice' during Monday's performance finale. Michelle Chamuel and the Swon Brothers will have to get out the vote big-time.

 

 

I don't know if they flipped coins, but if that's the method "The Voice" used to determine who would sing which of their three songs when, they must have used Danielle Bradbery's lucky quarter. Not only did she land the sweetest spot, but she got to save her most important number for the final performance of the evening.

 

 

Bing: More about 'The Voice' | Video: Watch clips | Photos: See highlights

 

 

Each of the finalists sang a duet with her or their coach, a reprise of a coach's-choice "defining" song from the season, and a "solo" new number. Obviously that last one had the most potential impact, but instead of having all three acts make it their finale, the producers switched it up.

 

That worked against the Swon Brothers, who opened the competitive portion of the show with their new tune. First, they had to follow a bombastic rendition by the Four Coaches (good name for a band … in 1962) of "With a Little Help From My Friends," of course using the plodding, overwrought Joe Cocker template that has all but obliterated from memory the affable Ringo original.

 

 

Photos: Check out the contestants | Last Night on TV: Get caught up

 

 

The Swons couldn't do anything about the luck of the draw, or following the coaches, but they presumably had some control over the new song they sang. So after having performed an Eagles ballad ("Seven Bridges Road") earlier in the season, they chose another one, "I Can't Tell You Why." It was sung well, with impressive brotherly falsettos, but wasn't the exciting show-opening kick in the pants the audience needed, and it seemed to go on forever. Usher joshed that it was "great you guys found the girl part of your voices. All that was missing was the third Bee Gee." Shakira said the "falsetto quite suits you" and praised their "universal appeal," and Blake paused to proclaim this year the "best season of 'The Voice' so far" (true) before patting his duo on the back for always "doing something new to expand your audience," adding, "and you did it again tonight."

 

Michelle Chamuel was up next with her defining song, which Usher decreed to be Taylor Swift's "I Knew You Were Trouble," a choice difficult to dispute. Reprises nearly never match the initial impact, but Michelle built the intensity skillfully and it was terrific once more. Shakira said, "Your energy is contagious," and Adam further theorized that "you can't fabricate the energy. People are screaming so loud it hurts our ears." Blake said she had "become a rock star," and Usher repeated last week's comment that Michelle was "the winner," adding, "You can't have that many relatives to keep screaming."

 

The performance with the biggest potential indifference factor was the duet with the coach, and Danielle got hers out of the way first. Actually, she and Blake did a delightful uptempo Patty Loveless hit, "Timber, I'm Falling in Love," which sounds like a lost Buddy Holly song and delivered the goods, a little less energetically than it ideally could have. The judges recused themselves from comment on these duets.

 

According to Blake, the Swons' defining moment was Anne Murray's "Danny's Song." That may have caused fans of their "Who's Gonna Fill Their Shoes," "Turn the Page," or "Wagon Wheel" to scratch their heads, not to mention that the last thing they needed was another sleepy ballad. Usher said they "personalized" it and "did it such justice." Adam called it "refreshing" and said their performance of a "classic record brings back great memories." Blake said, "You reinvented it," and claimed "it feels like it could be on radio today."

 

Michelle's new song came right in the middle of the show, meaning she would close with the coach duet, not theoretically the strongest way to go out. She sang Annie Lennox's "Why," a challenge she met admirably, starting by singing into a magic mirror that suddenly stopped reflecting her movements and showed her in a different pose. The gimmickry was effective, but didn't overshadow her subsequent conventional, strong vocal. Blake said, "I'm still freaked out about that mirror trick you did. That was cool." He added that it was important to show her more "laid-back" side. Shakira dropped some philosophy, declaring, "When you have humility on one side and talent on the other hand, that's the perfect recipe for long-lasting success." Usher, in a similar vein, said that "likability and capability" make for a "powerful artist, and that is what you possess."

 

The Swons jumped the queue ahead of Danielle to sing their last song in the competition before she had performed her last two. The brothers joined with Blake to sing Brad Paisley's pointed and hilarious poke at reality shows, "Celebrity," a badly needed injection of uptempo fun.

 

Danielle's definer followed, and after botching the choice for the Swons, Blake came through with Pam Tillis's "Maybe It Was Memphis" for his teen star-in-waiting. It was the right choice – great song, powerful performance, and it's always nice to hear plugs for William Faulkner and Tennessee Williams in a country song. Shakira told her, "You've pulled the bull by the horn. You've gone straight to the vein of America." The only way Adam could top those compliments was to say she has "one of the better voices I've heard live" and add, "I think Danielle is the winner of this thing." Blake bolstered the case for Danielle by calling her "one  of the most important artists we've ever seen walk across this stage."

 

How could the show follow that? Not too well, as the finalists were joined onstage by the rest of the season's top 16 to sing Edward Sharpe and the Magnetic Zeros' "Home," not to be confused with Blake Shelton's "Home" or Phillip Phillips' "Home" – this is the one with the annoyingly Lumineers-like "heys" strewn through it.

 

After that distraction, Michelle and Usher dueted on U2's "One," a good choice set off by a nicely understated arrangement. However, Usher couldn't help dominating through the strength of his vocals (laying back comes more easily to Blake), so it may not have been Michelle's strongest possible send-off.

 

Danielle had that final spot to present  her new song, and she didn't blow it. Sara Evans' "Born to Fly" is very country, upbeat, and demands some range, which Danielle displayed plenty of in a winning (possibly in both senses of the word) rendition. Usher said she was "special," Adam said, "Your perfection is almost boring me," and Blake said, "I'm one of the millions of people out there that you have wrapped around your finger."

 

 

Rating the night: It's a talent-show truism that voters have already made up their minds before the final performance show. But if this evening swayed anyone, I'd have to say they'd be most likely to head in Danielle's direction. All three songs were well-chosen, she sang impeccably, and her positioning was optimal. Michelle also did very well, but – largely because of order and positioning – probably had less overall impact than Danielle. The Swon Brothers got the short end of the stick and didn't help their cause with two ballads.

 

What did you think of Monday's show? Connect and sound off on Facebook and Twitter

"The Voice" airs Mondays and Tuesdays at 8 p.m. ET/PT on NBC.

 

 

'Mad Men': He's in love with a girl

Everyone knows that Ted loves Peggy, except maybe Ted

By Diane Vadino 22 hours ago
Don's sick. That's what happens when your daughter catches you cheating with the woman who lives in the apartment below. It puts you in an existenial funk -- or, if you're Don, it puts you in the biggest recliner in your living room, watching TV and ignoring both your wife and everyone else in your life you have disappointed. Which, in Don Draper's case, is essentially everyone. Speaking of the Don's primary disappointee: Sally has decided to go to boarding school, a message Betty relays to Don. Wherever Sally is with Don, it's not, metaphorically speaking, a good place: "Will you tell her that we both miss her," Don says. It sounds just as sad as it reads. 

In the office, the creative team is brainstorming ideas around Ocean Spray: "Did you mention thtat 'Cran Prune' sounds like a glass of diarrhea?" Ginsberg asks. When Ted seemingly agrees, the team breaks up, and Ginsbeg explain his motivation: "I just wanted to see if I could get him to respond to an idea that wasn't hers," he says. The "him" in that sentence is "Ted," and his under-the-radar paramour would be Peggy Olsen. There's more juice drama to come: Harry calls from L.A. with news the Sunkist wants to develop a multimillion-dollar ad campaign … which would be great i they weren't already cheesy deeo with Ocean Spray. (Don handles this "good news" by asking Harry if he's finally found a hooker who takes travelers' check. 


Meg and Don go to see "Rosemary's Baby" -- "That was really, really scary," Megan says -- but they leave with the thater with their attention squarely on another unexplained phenomenon: Peggy and Ted, who are also taking it in. Megan wants to discuss this at length, but Don demurs. For Ken Cosgrove, the biggest nightmare in his life is actually the ongoing problem known as the Chevy account: The guys take him out to celebrate news of Ken's first child and promptly shoot him -- sort of everywhere. That's not all: "Did I tell you that on the way to the hospital they tried to stop for lunch?" Ken doesn't want any part of it anymore, which translates into good news for Pete: "I hate Detroit, I hate cars, I hate guns. I don't even want to look at a steak anymore." Pete gets the account, with one catch: He also gets Bob Benson. He doesn't like this, but is promptly outvoted. "I like Bob, Chevy likes Bob, and if you don't like Bob, we can find someone who does," Cutler says. With that out of the way, Roger and Cutler discuss the lengths they've gone to satisfy clients: Cutler's is funniest, just barely, than Roger's revelation that he once held some private parts  belonging to Lucky Strike's Lee: "I once had a client who cut my wife's breasts," Cutler says, brilliantly. Outside the meeting, Bob wants to know what's up with Pete. Pete wants to know what's up with Bob's real feelings: "Didn't [you] profess your love for me?" Bob says he misunderstood: "Only my own admiration, which is waning." 

Don has his eye on Peggy and Ted now -- you get the sense that he doesn't like anyone edging in on his territory, even if it is platonic -- and checks in on them as they throw around ideas for the St. Phillips ad. They role play the ad, which Ted is unreasonably, incredibly enthusiastic for: WIth Don playing the role of a crabby baby, they show how St. Phillips aspirin is all a new mother needs to establish her dominance over a crowd of old-timers (including Joan's hilariously off-pitch "Jewish neighbor.) Don and Joan discuss what Peggy and Ted aren't: that this ad will cost them $20,000 more than their $15,000 budget. Don resolves to break the news to them -- even as Ted begs him to keep it afloat: "They kept asking me for their 'Plop plop fizz fizz,'" Ted says. "[Peggy] can smell the Clio." 

Here's what Sally does after walking in on Don and Sylvia: goes to boarding school. It's all officiousness at first, but soon enough Sally's swimming with the baby sharks of her new school: Millicent and Andie. "Let me guess -- Dad's remarried, Mom's fat and sad," Andie says. "No -- they're both remarried, but she's my age," Sally comes back. Immediately after this, she's hazed: "You didn't bring a botle or some cigarettes?" Millicent asks. They don't want money, so Sally offer the next best thing: alcohol courtesy of Glen, who comes barreling through the window. Glen promptly takes an interest in Andie, but resurfaces when Sally complains that his buddy "Rollo" was pushing her for sex. After the quiet despair of losing Glen to Andie, Sally is heartened (and grinning) when he interrupts his hook-up session to beat Rollo up. 

Back at the office, revelations are coming thick and fast: Having hired Duck Phillips to find a spot (at another agency) for Bob, Duck reveals that "Bob" is a figment of their collective imagination: "I don't even know if the name is real," Duck says. "It's tough when I don't even know if he's 28 years old." His employment history -- and everything else -- is fiction: "He's from West Virginia -- his parents are brother and sister or something," Duck says. "I haven't seen anything like this before." Pete, of course, is an old hand at this.

The St. Joseph's team comes into the office -- Byron, who okayed a budget at $15,000 and doesn't know what he's paying for now. As promised, Don takes the reigns -- and ends up leading him right back to Ted. The reason behind the budget increase is a personal one, Don says: As Ted watches, baffled, Don tells Byron that Peggy's idea was actually Frank Gleason's last. Cutler allmost immediately catches on -- all while Ted watches in horror. They get most of their needed budget, and Don confronts a still-angry Ted: "You're not thinking with your head," Don says. "You're embarrassing yourself." In case he wasn't being clear, Don breaks it down: "I know your little girl has beautiful eyes but you can't give her everything." Don tells him that his judgment is impaired. 

We have time for two more big confrontations tonight. The first is with Bob: Pete tells him that he knows all about his made-up life. "I've always wondered how you were so expertly servile," Pete says. But Pete changes tack so quickly that Bob almost doesn't see it: Pete tells him that he actualy doesn't care about his origins -- a perspective no doubt informed by his failure to bring judgment down on Don when he learned about his background. "Where you are and who you are is not my concern," Pete says. "I surrender." His only requests: that he (and his accounts) remain "off limits" -- and that he "please find a way to get your friend out of my mother's life." Bob protests: "Manolo doesn't like women." 

The last line is saved for Peggy, who's furious with Don for stepping on her idea and humiliating Ted. Don doesn't see it: "He's not that virtuous -- he's just in love with you," he says. "You're a monster," Peggy says. With that, Don curls into a ball and goes back to sleep -- seemingly in the second half of a nap that was rudely interrupted at the beginning of this neighborhood. 

Is Don a monster? Tell us on Facebook and tweet us on Twitter.

"Mad Men" airs Sundays on 9 p.m. ET/PT on AMC. 


 

'America's Got Talent': San Antonio and New Orleans

Sword swallowers, escape artists and one dude 70 feet in the air share their skills

By Diane Vadino Wed 12:32 AM
Travis Pratt
Notable quote: "I'm going to sing for you a song my girlfriend loves" 
In a nutshell: Opera "that I sing around the house" 
Howie's reaction: "You didn't swallow Jackie Evancho, did you?" Then Howard: "You are a freak, but I mean it in a good way" 
Going to Vegas: Yes
Extra special crazy moment: With Pratt's girlfriend on stage, it begins "I have loved you from the very first moment I laid eyes on you" and ends with a yes 

Ballroom dancers and elementary school students Ruby and Jonas
In a nutshell: Pint-size splits and general dance-hustling, from a nine-year-old 
Howard's reaction: "I am really digging what you're doing" 
Going to Vegas: Yes

Ruby's 12-year-old older brother and his 13-year-old dancing partner and ex-girlfriend
Notable quote: "No." (When asked by Howard whether they were still attracted to each other, following their time dating as nine-year-olds) 
In a nutshell: More dancing made more adorable by the dancers' age
Howard's reaction: "I think it's fascinating—you're going up against your own sister, you're dancing with your ex-girlfriend" 
Going to Vegas: Yes


Mariachi Nuevo Estillo AVM
In a nutshell: Radio hits ("Sexy and I Know It") reworked as 2013 mariachi
Howie's reaction: "My whole mission today was to get Howard to buy into mariachi. Then you came out on stage and completed my mission" 
Going to Vegas: Yes

"Western Entertainer" Pistol-Packing Paula
In a nutshell: "Deadwood" extra fires fake guns on stage, but it's actually sort of worse than that sounds
Howard's reaction: "What you just did is classic Americana and I liked it." Mel B.: "What if you threw the pistols up even higher?"
Going to Vegas: No

Sword swallower Brad Byers
Notable quote: "The deeper I go into my torso the more dangerous it is" 
In a nutshell: Sword swallower downs nine double-edge 27-inch swords—and shows the whole thing happening inside his body on an imaging machine 
Mel B.'s reaction: "That made me want to throw up, seriously"
Going to Vegas: Yes

16-year-old magician Collins Key
In a nutshell: Making a dollar bill appear in a sealed bag 
Heidi's reaction: "I love that you bring snacks" 
Going to Vegas: Yes

Opera singer Jonathan Allen
Notable quote: "In my darkest moments I can escape through music"
In a nutshell: Young man treated poorly by his family for his musical interests (and general being) finds redemption with the "AGT" crowd, and some "Time to Say Goodbye" 
Howie's reaction: "We love you, we accept you and we're so proud that you came here"
Going to Vegas: Yes

Female escape artist Alexanderia the Great
Notable quote: "I'm one of a handful of women in the world that perform escapes. If you don't have the proper training, you can die doing this escape" 
In a nutshell: Drop her under water, hit the timer and wait for her to surface
Howie's reaction: "When is this [the time underwater] a problem? She's not moving" 
Going to Vegas: Yes

JC Starbright, "the next Lady Gaga"
Notable quote: "I wrote a song especially for ['America's Got Talent']"
In a nutshell: Really bad music and leopard-print pants, plus an original song just for this show
Howie's reaction: "You are forgetting the words to the song you wrote"
Going to Vegas: No

Ghost story teller Andrew Ward
In a nutshell: General weirdness and a really big hat
Howard's reaction: "This is not for anybody on this planet" 
Going to Vegas: No

"Slackwire Sam" Johnson
Notable quote: "I won't push it to the point where I'll make my son an orphan" 
In a nutshell: Handstands 70 feet in the air, at the top of a "sway pole," with no harness 
Howard's reaction: "I can't even look up that high." Howie: "You, sir, are nuts" 
Going to Vegas: Yes

Singer Thomas Mitchell
Notable quote: "My mama left us and my father didn't care; he was hiding behind the alcohol. Music was a way to cope with my feelings" 
In a nutshell: An original composition for his dad, who's a recovering alcoholic and now Mitchell's "biggest supporter" 
Heidi's reaction: "I want to come and hug you! All I can say is John Mayer better watch out" 
Going to Vegas: Yes

Which act was your favorite? Tell us on Facebook and tweet us on Twitter.


"America's Got Talent" airs Tuesdays on 9 p.m. ET/PT on NBC. 


 

'The Voice' top 5 results: Swons soar into finals

Michelle and Danielle also survive as predicted, Amber and Sasha depart

By Ken Barnes Tue 10:43 PM

 

'The Voice'/NBC 

Swon for the money, two leave the show: Continuing their unlikely but not undeserved run of 'Voice' success, the Swon Brothers, left, emerged triumphant over Sasha Allen and Amber Carrington, far right, to win a spot in next week's finals against favorites Michelle and Danielle. 

 

 

It's hard to say there was an upset on "The Voice" Tuesday, since the obvious finalist candidates were the first two announced and the final slot was a crapshoot anyway. And personally, I'm not at all upset that the Swon Brothers floated into the finals with Michelle and Danielle.

 

 

Bing: More about 'The Voice' | Video: Watch clips | Photos: See highlights

 

 

There was a sharp and alarming drop in the quality of music performed, but that doesn't really matter on a results show, where you're mostly sitting impatiently through the songs waiting for the voters' decisions.

 

And the voters' decisions were good, ensuring that this season, no matter who wins, goes down overall as the show's best.

 

 

Photos: Check out the contestants | Last Night on TV: Get caught up

 

 

Fall Out Boy were joined by Michelle for their flashy-but-tuneless comeback hit "My Songs Know What You Did in the Dark." Then last season's third-place winner, Nicholas David, made his return, providing the first of three strong reminders why this has been a superior "Voice" season. His new single, "Say Goodbye," featured his acoustic guitar and a hat, but those same affected vocals were unaffected by the changes. Sonically, he ditched his R&B/blues leanings to hop aboard the acoustic neo-folk bandwagon that all the lamer kids are into, but even the Lumineers would have thought twice about singing a song this tiresome.

 

But we had done enough penance – the first result was revealed:  Michelle was safe. Score one for Team Obvious.

 

Season 2 finalist Tony Lucca played his new single, also from an EP (it's a sweeping generalization, but EPs are usually a sign that your label isn't confident enough in you to risk a full album). "Never Gonna Let You Go," featuring Tony on guitar and hat, turned out to be lightweight but enjoyable pop-rock fare, but it was still clear that Tony couldn't have competed with this season's cast.

 

You may recall a bucketful of verbal bouquets I tossed toward the producers for their consistently good taste in group-song vehicles. Let me retract that – Poison's "Every Rose Has Its Thorn," sung by the top five, was as hopeless as anything on "Idol" (though better harmonized).

 

No thorns for Danielle, however; she was the second finalist announced, leaving a true toss-up for the final spot.

 

Season 3 runner-up Terry McDermott sang his new single, also from an EP. "Pictures" was an exercise in plodding tedium. How pleasant it was this season to be spared those antique classic-rock stylizations.

 

Still, all the mediocre performances served their main purpose, for suddenly there was virtually no time left to drag out the final result, which I have already spoiled for you by revealing that the Swon Brothers snagged the last spot in the finals. I'm pleased for them – "Turn the Page" was a master stroke Monday, and let's hope "Danny's Song" was an aberration. But they'll still have a tall hill  to climb to beat Danielle and Michelle next week.

 

Eliminated: It's sad that Amber, who was a versatile and accomplished singer who made a few intriguing choices, has to depart. It's not so sad that Sasha, easily the most conventional of the five remaining contestants, will join her in "Voice" oblivion.

 

 

 

 

What did you think of Tuesday's show? Connect and sound off on Facebook and Twitter

"The Voice" airs Mondays and Tuesdays at 8 p.m. ET/PT on NBC.

 

 

 

 

'The Voice' top 5: Mixed blessing

Questionable song choices balanced by strong performances

By Ken Barnes Jun 11, 2013 12:38AM

'The Voice'/NBC 

No respect: Amber Carrington is an acknowledged underdog on 'The Voice,' but she sang well enough Monday to earn a spot in next week's finals. Will voters agree?

 

 

I can't stress this enough: There's nobody remotely close to a mediocre singer left on "The Voice" this season (a stark contrast to last season), so the songs are of the utmost importance. And on Monday more than half of them were lacking.

 

 

Bing: More about 'The Voice' | Video: Watch clips | Photos: See highlights

 

 

It has been a pretty solid season for song choices this year, so a slump may have been overdue. But it was a bad time for it – when five singers are competing for three places in next week's finale, everyone needs to stand out. And dredging up the old warhorses or newer material that's less than riveting is not a good way to accomplish that goal.

 

Opening the show, Usher provided an object lesson on how to sell a new song. Actually, "Twisted" sounds old – another entry in the recent run of retro R&B numbers spearheaded by Bruno Mars and Justin Timberlake (and Cee Lo before that). This falsetto-focused tune was very Prince-like, except where Prince would have blasted a guitar break, Usher dazzled with a dance break. Times change.

 

Photos: Check out the contestants | Last Night on TV: Get caught up

 

 

The competition proper began with the Swon Brothers, who dedicated Bob Seger's "Turn the Page" to their bandmates past and present. The minor-key ballad is one of the best road songs in the canon, and the Swons did it justice, with perhaps their best performance yet, demonstrating how to sing a classic rock ballad with sensitivity and guts. Usher unleashed his first "incredible" of the night, Adam called it "another great performance," and the Swons' coach, Blake, said it set the bar really high for the night. He felt they had shown the biggest growth week to week of any contestant.

 

So far so good, but Sasha Allen changed that trend by choosing "I Will Always Love You," Whitney-style. That's why I would have preferred her to be gone by this stage – I was afraid she was most likely to go to the dry well of over-familiar ballads. Judith or Sarah – or even Holly – wouldn't have laid down such a weary tune. Sasha had nothing to bring to it except a lot of smoke billowing around the stage. It was karaoke of a high order, but still karaoke. Adam termed it one of the two hardest songs to sing (along with "The Star Spangled Banner") and said she took her own approach to it. (Maybe she took it with her offstage – it was hard to hear it as performed.) Usher said, "That voice will keep you here." Sasha's coach, Shakira, was impressed with the courage it took for Sasha to sing the song (courage that has been displayed, it might be added, by dozens of contestants before her) and rhapsodized, "So beautiful, so pure."

 

It was homecoming night on "The Voice," mirroring a popular late-season "Idol" feature, and Michelle Chamuel got the love of the populace of Amherst, Mass., and the greater Boston area. She then sang a rather puzzling Usher choice, the current dance-pop hit "Clarity," by Zedd featuring Foxes. Not a bad song by any means, certainly preferable to the likes of "I Will Always Love You," but just not a total consensus hit nor a truly compelling song that allows Michelle to shine, as did "I Knew You Were Trouble" last week. Adam said she was always amazing, Blake said he always hopes another coach's singer stumbles, but Michelle never does. Usher said, "I'm proud that you never do," and congratulated himself on the song choice.

 

Danielle Bradbery's homecoming was celebrated by the citizens of Cypress, Texas, and much of Houston. Blake chose Tim McGraw's "Please Remember Me," written by the great Rodney Crowell, but this ballad is far from either's best effort, featuring a pleasant verse that succumbs to a big, generically bland chorus. It's the wrong kind of song for the youthful Danielle, and her vocals were too showy. Usher, perhaps casting about for a substitute all-purpose compliment after exhausting "incredible" for the next decade or so, said, "Amaze-bells!" and praised her control. Adam observed, "From a technical standpoint, it doesn't get more proficient than that." Blake marveled, "There are no weaknesses in her singing. How the heck is that possible?"

 

Amber Carrington dedicated Katy Perry's "Firework" to her best friends – Amber's, not Katy's, who might well be the other participants in her "Last Friday Night" menage a trois. "Firework" is not only an all-too-common music-contest staple, it's the gifted Perry's most generic (word of the day on my pocket calendar) song, one of the innumerable "you're really special so feel better about yourself already" anthems littering the landscape. Like Sasha with her Whitney cover, Amber sang well but the specter of karaoke loomed large. Blake raised another good point – he was disappointed it wasn't country, which was supposed to be Amber's specialty. But he added that the "power of your voice is phenomenal." Shakira wasn't nearly so impressed, suggesting that Adam add "Firework" to his shortlist of hard songs to sing, and adding, somewhat lukewarmly, "but you did good." Adam, Amber's coach, declared she was the best singer in the competition and said the best thing about her was that she didn't fit into a niche.

 

The Swon Brothers were unlucky enough to kick off the second half of the show as well as the first, insuring that they'd be farthest from undecided voters' minds at the episode's end. They received the adulation of Muskogee, Okla., then sang the ancient Kenny Loggins number popularized by Anne Murray, "Danny's Song," leaving curious viewers to wonder just what remote crevice of which lost cave they  pulled that one out of. Performed adequately at the piano, the song, still sentimental and lackluster after all these years, may prove to be -- you must have expected this one – their Swon song. Usher thanked them for "making us love country music," which would have been a more meaningful compliment had they actually performed any country songs Monday. Adam revealed that it was one of his favorite songs, and said it was an "incredible rendition." Blake claimed that tonight was the biggest they'd had on the show.

 

Sasha went home to New York and an outpouring from friends and family, then redeemed herself with a Donna Summer song. Great as Summer was, you always fear the worst after a tease that someone will do a Summer song, since it's usually "Last Dance" or "She Works Hard for the Money" or "Dim All the Lights" or similar mush, but Sasha did "Bad Girls" in front of a colossal sign spelling out her name in lights. Rich in attitude and power, it was one of her season's best. Adam loved the song choice and performance, but teased her about the sign. Usher also poked fun at the neon extravagance but said she was great. Shakira proudly proclaimed, "You've become this phenomenal performer."

 

Danielle dedicated her song to her best friend and parents, then sang a song that could have been written for her, "Who I Am" by turn-of-the-century country phenom Jessica Andrews, who was Danielle's age (16) when the song became a hit. It's a joyous celebration of family heritage, and Danielle sang it directly to her mother, fortuitously present in the crowd, in a gesture so sweet even a cynic (not that there are any of those recapping "The Voice") couldn't resist it. Usher was moved to send out his love to his own family, then said, "That right there is why you're still here." Shakira said Danielle was the "cutest thing ever" and "such a little star." Blake assured the audience that Danielle was the same "unaffected" girl she always had been, and topped Shakira by saying, "She's a superstar."

 

Rockwall, Texas, and Dallas in general expressed its appreciation of Amber, who sang a song by her coach's band, Maroon 5. Thankfully it wasn't one of those unlistenable hits from the group's early days, but a newer song called "Sad," a pretty piano ballad not terribly dissimilar to Rihanna's "Stay." The unfamiliarity may have been risky, but Amber sang it exquisitely. Blake congratulated her on making one of Adam's songs so beautiful and praised her "emotional" vocal. Usher declared himself "really blown away," and Adam said she sang it "better than I did." (Not touching that one.)

 

Finally, Michelle, in the sweet, show-closing slot, dedicated Cyndi Lauper's "Time After Time" to her coach, Usher. Good song, but performed far too often, thus requiring a truly distinctive version. Michelle came close to managing that in her impassioned finish, but mostly it was just solidly good but short of a knockout. Shakira said Michelle is on "a permanent crescendo," Adam said she took the song to another level, and Usher, with time running out, announced, "You're the winner!"

 

Triumphs and triage: Michelle wasn't the winner of the night, but it's unlikely she did anything to hurt herself. Danielle saved one of her most charming performances for last and also seems sure to make the top three. My preference would be for Amber to complete that final trio, especially because of the way she pulled off the Maroon 5 song, but I'm not sure if that will work for her. Sasha did a good job of making up for her Whitney crimes (and, I need to remember, many voters like people who cover Whitney songs). If the Swons had switched the order of their songs, I wouldn't be so worried about them, but "Danny's Song" was a snooze and a half.

 

What did you think of Monday's show? Connect and sound off on Facebook and Twitter

"The Voice" airs Mondays and Tuesdays at 8 p.m. ET/PT on NBC.

 

'The Bachelorette': And then there were 13

One of the bachelors says the L word while another gets a visit from his GF word

By Diane Vadino Jun 10, 2013 11:38PM
'The Bachelorette'/ABC
Group date No. 1
All these early group dates are like metaphorical dodgeball games -- so it's quite clever of the producers to make the entire thing literal, complete with an appearance from the stars of the National Dodgeball League. Also, it's hysterical: "When the guys walked in, I just about died laughing," Des says. Dodgeball actually is the perfect vehicle for all the dudes to let out all their psycho testosterone energy, and soon they're flinging balls (you know what we mean) at each other. As Chris Harrison tells us, it's best two out of three. Red team wins round one; blue team gets the second, and finally, it's Chris and Zach, hurling the balls at each other. We already have one medical evacuation (that'd be Brooks, with a broken finger), and it seems entirely possible that someone here is going to get hurt -- but in the end, it turns out it doesn't even matter who wins the game, because softie Des is taking everyone to the cocktail party. 


Two guys end up with stand-out roles during the cocktail party, and one of them barely makes it there. That one would be Brooks, who's carted off to the hospital for his dodgeball injury and ends up hooked up to oxygen and quizzed by a nurse about his drug use. (None to speak of, it turns out.) He shows up at the party eventually, and soon he and Des are cuddling under a blanket. With not quite as solid a showing, we have Brad, who admits to a very messed up relationship with the mother of his son, Maddox. It's hard to gauge how Des took the news of his domestic violence charge and subsequent restraining order. 

The rose goes to ... Chris. 

The interlude
Kasey's super pumped for his one-on-one with Des -- but bad news for him, there's a pretty big obstacle standing in the way of him and his one-on-one bliss. It's called Brian. First, we have some of this ignorance-is-bliss quotes, like this one from Des: "I would be lucky to have any one of them," Des says. See, that's almost true. There's an important exception to this statement, and his name is Brian. Right after Des tells us how great her entire crop of men is, she gets a call from Chris H., and he has some extremely disturbing new: There has been a violation of the "here for the right reason" forcefield. "I don't want him to get away with this," Chris says. 

Brian's definitely not getting away with anything. Chris escorts his girlfriend Stephanie in for a little tete-a-tete with her BF and her new BFF, Des -- who, all classy-like, greets the woman with a huge, welcoming hug. "He's been telling me he really needs time with me, and he really wants this to work, and he's lying," Des says. Stephanie, obviously, is a mess, asking Brian how he could romance her and act as a role model for her son and then split ... to be on a dating show. Chris bottom-lines it: "Des, is there any chance this guy is staying here?" There is not. Definitely not. For his part, Brian's not even allowed to say goodbye to the dudes before collecting his stuff and taking off. 

The one-on-one
Kasey finally gets his delayed date, and it clearly sucks. First, they get kind of a lame activity, dancing off the side of a Hollywood hotel. It's not scary enough to engender any bonding, but it still looks really hard -- which means they're just kind of exhausted and grumpy when they come down off the wall. They head for their dinner -- which begins at exactly the moment the winds kick up, making it nearly impossible to talk. Candles blow out. Things fall over. They jump in the pool to escape the wind, but it's cold. They end up sitting in a stairwell, wrapped in towels. Throughout, Kasey's pretty cute and a good sport about what looks like a lemon of an evening. Des wisely gives home the night's second rose. "It doesn't have to be perfect -- I actually just like being with you," Kasey says. Wise man. 

Group date No. 2
This group date, for once, looks super fun. Not the stunts, so much, which end up being one long ad for the new "Lone Ranger" movies (starring Johnny Depp, woo). Each of the guys is tasked with pretending to be a cowboy, under the watchful tutelage of some Hollywood stunt trainers. This ends up looking not nearly as difficult as we might think -- but the far-and-away winner is Juan Pablo, who says all of his cowboy lines in Spanish and basically steals the show. That means he's the one Des takes to watch some footage from the movie -- which they don't see much of because they're too busy making out. "He's distracting in a great way," Des explains. 

As good as that date seems, the mini one-on-ones that follow look just as good. Zak seems to have a pretty aggressively cheerful conversation with her, and James does an even better job of reminding her that he's on the show when maybe he should be at home, hanging out with his father -- who may have cancer. Des gives him the rose -- and in return, he gives her a daisy. It's surprisingly cute. 

Swim party and rose ceremony
Instead of a cocktail party, Chris tells everyone we'll have a swim party before the rose ceremony -- a change we should keep for all future episodes of this show, forever. However, we could do without sneaky Ben, who hijacks Des's Bentley on her way in and convinces her to drive around with him for 15 minutes. Obviously, all the guys figure this out, and promptly hate him even more than they did before. Michael, who seems to be one of the guys who seriously can't stand him, describes his efforts as "underhanded measures." 

No one else makes any big moves in the swim party except poor Brandon, who needed some serious therapy after hearing about lothario Brian ditch Stephanie and her young son. "I just wanted to say I don't want to see you get hurt," he tells Des. "I'm never going to hurt you or take you for granted." Also, he's falling in love with her. It's the third episode. This is obviously a disaster in the making. 

And so it proves: Des hands out the roses to Bryden, Juan Pablo, Zak W., Brooks, Drew, Zach, Brad, Michael, Mickey ... and Ben. Not Dan (no surprise there), but not Brandon either. He's beyond upset. "I am blown away. I did not expect that," he says. Des is like, are you going? And then when she realizes he's not in any hurry, she leaves the gathering to talk to him briefly before he gets limo'd. "You're an incredible person -- just not for me," Des says, in a moment of extreme honesty. Brandon's not totally hearing it, though. "Once again, someone left me," he says. Oh, Brandon. Here's hoping you've already found someone to take care of you. 

Should Des have kept Brandon? Tell us on Facebook and tweet us on Twitter.


"The Bachelorette" airs Mondays on 8 p.m. ET/PT on ABC. 

 

'Game of Thrones': Fly, dragons, fly

Season 3 wraps up with some questions answered and more battles brewing

By Diane Vadino Jun 10, 2013 1:23AM

 

THE TWINS

Whatever was left of Robb Stark's army is getting it in the gullet: We open with the shot book readers have been waiting for for three seasons: Grey Wind's head propped on Robb's party. Poor Arya -- even the Hound looks disturbed at this. 


KING'S LANDING
People are snickering at Tyrion and Sansa as they walk by. Tyrion adds them to a list: "A list of people you mean to kill?" she asks, perhaps mistaking Tyrion for her sister. "Who do you think I am, Joffrey?" They bicker about who has it worse -- the half-man or Ned Stark's daughter -- before Tyrion comes to a conclusion: "The demon monkey and the traitor's daughter -- we're perfect for each other." (Shae doesn't like this very much.) 

Podrick arrives with the news that a meeting of the Small Council has been called: "Killed a few puppies today?" is how Tyrion greets a grinning Joffrey. Robb Stark is dead, along with Catelyn, he announces. More good news for Joffrey: He'll serve Robb's head to Sansa at his own wedding. Tyrion, however, does not approve: "She's no longer yours to torment." Joffrey: "Everyone is mine to torment. I am the king." Tywin's heard enough -- "Any man who must say 'I am the king' is no true king" and sends him to bed. 

Tyrion complains about "the most powerful man in Westeros": "You're a fool if you believe he's the most powerful man in Westeros," Tywin says. They go over the plot against Robb: "Oh, I know, Walder Frey gets all the credit. or the blame," says Tyrion, who notes that the Lannisters have broken the accepted standards of safety under a host's roof. But Tywin won't have any of it: "Explain to me why it is more noble to kill 10,000 men in battle than a dozen at dinner," he says. Tyrion offers a final warning: "The northerners will never forget." Tywin: "Let them, so they never march against the south." 

Tyrion knows, now, that he has the responsibility of telling his new wife about the death of her mother and brother. He finds her staring out a window, alone: She's already gotten the message, and whatever detente had been established between them looks smashed to smithereens.

ON THE WAY NORTH
Bran takes this opportunity to tell the story of the Rat Cook, who served the king his own son in a pie, and was doomed to wander the world as a rat, forever eating his children: "It's something the gods can't forgive." 

THE TWINS
Tell that to Walder Frey, who's still reveling in his recent victories: Robb and Catelyn dead, Edmure in a dungeon. Roose Bolton reminds him: The Blackfish has escaped. Walder doesn't care: "An old man, on the run, no allies. I have Tywin Lannister backing me, Who does he have?" 

Roose brings us up to speed on the sad story that is Theon Greyjoy, putting names to things we have seen all season: He sent his bastard son, Ramsay Snow, to take care of Theon -- and take care of him he has. "Ramsay has his own way of doing things," Roose understates. 


RAMSAY'S DUNGEON
Theon, of course, is still being eaten (almost literally) by Ramsay Snow. The only good thing that comes out of this conversation for Theon is that Ramsay isn't actually eating his genitalia. And oh, he's officially been christened "Reek." Nobody had a worse season 3 than Robb, but Theon is definitely in the running. Or, as Ramsay puts it: "Next time you think about naked girls will you feel an itch?" 

ON THE WAY NORTH
After weeks on their own, Bran et al finally run into a friend they haven't met yet: Sam, who with Gilly, stumbles across the Reeds' camp on their way to Castle Black. They realize Bran's identity when they spot his direwolf: "I've been around Ghost long enough to know a direwolf when I see one," Sam says. They try to convince Bran to turn back from his trip north: "There's nothing north but death," Gilly says. 

They won't be turned away, so Sam shares his magic with them: the dragonglass weapon he used to stop the White Walkers. 

IN THE LAND OF THE GREYJOYS
At Pyke, Yara and Balon Greyjoy are getting a very special present, with a very special note: "In the box≤ you'll find a special gift -- Theon's favorite toy," it reads. "Leave the north now or more boxes will follow with more of Theon." It's signed, of course, Ramsay Snow. 

Balon is not interested: "The boy's a fool," he says. He then points out the obvious: "He cannot father the Greyjon line. He's not a man anymore." Lucky for Theon that he has a very nice sister, then: She's going to collect the fastest ship and the hardest warriors. Then she'll "march on the Dreadfort, and I'm going to find my little brother and bring him home." 

DRAGONSTONE
A little Ser Davos is bonding with Gendry, down in the dungeon: "I was born in Flea Bottom just like you," Davos says. When Gendry doesn't believe him, he supplies more details: about exactly which way the sewage flowed past his door. Davos asks Gendry why he went ahead with Melisandre's seduction: "Big words, no clothes: What would you have done?" 

KING'S LANDING
Shae is looking out to sea, and that is exactly the direction Varys thinks she should travel. Tyrion, he says, is the one of the few men in the kingdom with the brains and the conscience to improve the lot of the people; she is what stands in his way, Varys tells her. "You are a complication," he says. He asks her to leave, to go East -- not for money (or the gems he hands her) but for love: "I'm asking you to leave because your presence in the capital endangers him." 

Shae, though, isn't having any of it: Tossing the jewels back in the dirt, she replies: "If he wants me to leave, he can tell me himself." 

Speaking of, Tyrion and Cersei are having another conversation, this time about the efficacy of war. Tyrion doesn't get it: "Every time we 'deal' with an enemy, we create two more." Cersei agrees that this means they will be at war for a very long time. 

LEAVING THE TWINS
Arya is still in shock as she and the Hound make their way from the Twins when they come across a band of Lannister men, warming themselves by a fire and taking credit for sewing Grey Wind's head to Robb's body. No of this goes unheard by Arya. "None of the Starks had much to say about that meal," one says. 

Arya's had enough: "Mind if I keep warm?" she asks. Then she shows them a very special coin. Which she drops. And then uses as a pretext to stab the no. 1 talker to death with a dagger she took off the Hound. With the main enemy killed, Arya steps back and lets the Hound finish the rest of the men off. "Next time you're going to do something like that," he says, "tell me first." 

ON THE WAY TO CASTLE BLACK
Never cross a wildling women: Jon's on his way to Castle Black when his horses whinny: Ygritte, bow notched, has found him. "Ygritte," he says. "You know I didn't have a choice. You always knew who I was -- what I am. I know you won't hurt me." What's that, Ygritte? "You know nothing, Jon Snow." Jon tells her that he loves her, and that she loves him. This doesn't stop her from putting three arrows in him. 

CASTLE BLACK
At long last, one of our party has made it back to Castle Black: the boy least likely, Sam, with Gilly and the baby -- also now named Sam. Maester Aemon's a little tut-tut about the whole thing, but he quickly realizes the urgency of the situation with the White Walkers and orders Sam to feed and prep the 44 ravens on hand to deliver messages across Westeros; "Every one of the ravens flies tonight," he says. 

DRAGONSTONE
After a brief reading session with Shireen, Davos -- restored as the King's Hand -- realizes the emergency: Castle Black's ravens have arrived. This news is interrupted by that of Robb Stark's death -- Melisandre's plan has worked, only now she needs even more blood. From Gendry. "I have faith and my faith has been rewarded," she says. "A great gift requires a great sacrifice. What is the life of one bastard boy against a kingdom?" Stannis decides to kill Gendry -- but Davos hurries down to free him before he can be sacrificed at the altar of the red god. "Is this some kind of trick?" Gendry asks. "Yes, but not on you," Davos says. Gendry's not exactly a strong sailor, but he doesn't have a choice: It's his only option "Don't fall out," Davos advises. 

CASTLE BLACK
Jon makes it home -- at last. Pierced by arrows, but home. 

BACK TO DRAGONSTONE
Melisandre, predictably, is peeved: "You saved one innocent -- how many tens of thousands have you doomed?" Stannis sentences him, now, to death. Just one thing, Davos says: The White Walkers are marching against Westeros. And Stannis will need him, to assemble an army or "sellswords and pirates." This actually stills Melisandre's hand: After she's read the message, she changes her mind, and backs Davos. "This war of five kings means nothing. Death marches on the wall," she says. Stannis resigns himself to working with Davos: "You see, Ser Davos? You've been saved by that fire god you like to mock." 

ONE MORE THING: YUNKAI
Outside the city walls, Dany awaits her new people. "Perhaps they didn't want to be conquered," she said. Jorah, though, understands better: "You didn't conquer them. You liberated them." Dany tells the assembled throng as much, and indeed: Within moments, they gather in front of her, and begin to cheer: "Myhsa." Dany doesn't know the word, but Missandei does: It means "mother." 

"They will not hurt me," Dany says, and goes into the crowd to be hoisted on their collective shoulders. The dragons fly. Ready for season 4? 

What did you think of the season finale? Tell us on Facebook and tweet us on Twitter

 

'Mad Men': For the love of Pete

Has Bob Benson revealed his end game at last?

By Diane Vadino Jun 9, 2013 11:22PM


For an episode in which we finally, finally witness Sally discovering her father at his absolute worst -- his most craven, desperate, having-sex-to-fill-a​-void worst -- this was, by any measure, an episode most notable for what it told us about Pete. But we'll get to that. 

When we open, Peggy has rats -- which means no Abe to kill them. (Is he still laid up at the hospital? Fighting his side in his war against corporatism?) But there are bigger problems and satisfactions at work, where first she has to deal with a beyond-unfortunate encounter with Pete's mom, who is under the belief that she is Trudy. "I'm glad you swallowed your pride," Dorothy Dyckman Campbell says. "Don't reject his caresses." This being Pete's mom, there's more: "I hope one day you can find what Manolo and I have found. I waited long enough to experience the physical satisfaction of love." For someone ostensibly struggling with dementia, Mrs. Campbell sounds remarkably lucid ... even if she isn't totally cognizant of whom she's talking to. 

In terms of the domestic Draper front, there are plenty of problems there: Sally's in New York, for Model U.N., alongside her lascivious (for a high schooler) BFF, Julia. That would be work enough, but Megan is also dealing with something: the sudden appearance of the Rosen's son, Mitchell, who's been draft-classified as 1A -- very, very bad news. Megan tells Don that he wants to run to Canada, and that she could potentially call her brother in law to help. Don tells her, though, that it's not their problem. If only. 


We rejoin the Pete story as he, Peggy, and Ted celebrate their work with Ocean Spray. (That's a juice, for the record.) Pete seems weirdly alive at this little gathering -- maybe it's the fact that he can see the spark (or whatever it is) between Peggy and Ted just as clearly as Ted can see whatever remains of a relationship between Peggy and Pete. "This is the agency I always wanted -- ambition, brains, beauty," Ted says to the table. "What about him?" Peggy says. It's a joke, but not entirely a joke. Maybe that's why Pete is moved to mention Ted's wife after their boss steps away from the table. Peggy's not having it. "You didn't want me to talk about his wife," Pete says. Peggy says that nothing happened, and Pete tells her that (a) Ted's in love with her and (b) not to pity him. Peggy says she doesn't, and tells him the basics of her conversation with his mother. "I don't even want to think about her brushing her teeth," Pete says. 

Back at the Drapers, the Mitchell Rosen drama continues to unfold. Don takes Arnold -- who is also, it turns out, a veteran of the Korean War, though he served his time at a hospital. "Service is part of that sacrifice," he says. He can't keep up that patriotic fervor, though, when it comes to appreciating that his own son may be headed to the war in Vietnam -- literally, any day. "If anyone was going to get it, it's going to be him," Arnold says. "He's soft." 

Don's not the only one having trouble at home: When Ted checks in on his wife at home, she's less than thrilled to see him. He called, he says -- she has no right to be angry. "I know you like having a young copywriter on your airplane," she says. Pete was there, too, he protests. "I just wish you liked being here more." 

There's a partners meeting the next morning, but it's interrupted by an impromptu meeting in the hallway. Remember all those Ocean Spray successes? They're about to go toe-to-toe with Roger and Don prospectively landing Sunkist -- or at least getting the chance to put some ideas in front of them. Don -- no surprise here -- isn't reading the memos Ted's been sending around about Ocean Spray, and somewhere on the way to the meeting, everyone realizes that they may be about to have two juices in their portfolio -- a complete no-no. No one's entirely sure which account has cost them the most yet (Roger, hilariously: "I have a lot of receipts -- I haven't figured it out yet"), but even Cutler's not entirely sure this is Don's fault -- or at least, he seems to think Ted should better understand the nature of the beast he's dealing with: "I warned you about the memos," he says. "The more you send, the less they get read." Ted, also hilariously: "I don't want his juice -- I want my juice!" If you wanted proof that these are just children in adults' clothes, there you go. 


Working off the intel Peggy handed him, Pete arranges a little tete-a-tete with her -- escorted by Manolo, who kisses her hand as they depart ("Good night, my sweet," Manolo says). Pete begins to question his mother about her relationship with her helper, but she's not having it: "Manolo has awakened a part of me that has been long dormant," Dorothy says. Pete tries to calm her down, but Dorothy's not having it, and hands her son a dressing-down that is probably this show's most brutal, outside of the whorehouse: "You were a sour little boy, and you're a sour little man. How could I expect you to be understanding? You were always unlovable." She tells him that she'll make her own way home: "I have car fare and a piece of paper with his address, written in his elegant handwriting." It sounds like love. 

Lucky for SD&P, Pete's not going to the big Chevy meeting: That would be Roger, Ted, and Don, et al. For some reason, Don's become driven to fix the problem of Mitchell Rosen, and on Pete's advice, decides to float the idea of pulling some strings with Chevy's help to get him out of his fix. As Don details his situation and the Chevy guys look more and more unhappy, a shocked and very unhappy Ted steps in: "My heart goes out to him -- that's just one of those problems that can't be solved." Luckily, Don has enough sense to test the waters before laying bare his need for Chevy's help -- giving the Chevy guys a chance to express their disgust at the request. ("Believe me -- we know about [pulling strings]. Makes me sick," one says.) Roger tries to move everyone along: "This time next year, we'll have won the war," he says. 

Three little domestic scenes follow: Julia teases Sally about what she likes best about Mitchell during their sleepover. ("His ass," is the answer.) Peggy calls Stan to deal with the rat in her apartment ("Tuesday morning's great" is their code, apparently, for "I have someone in bed with me.") And Julia effectively torments Megan by refusing to call her anything but "Mrs. Draper." 

When we get back to the main action, Ted is freaking out at Don for his misstep with Chevy: "What the hell were you up to last night?" he asks. "You said you weren't going to be involved with Chevy until 1970." (It's still 1968.) "A client shouldn't have a single negative feeling in your presence -- not the food, not the wine, and certainly not the WAR!" (Capitalizations, Ted.) Don says that he did it for a friend, and Ted manages that Don probably doesn't have many of them. Ted offers to reach out to the man who taught him to fly -- a "brigadier general" who could pull some of those very rare strings. In exchange, he asks Don to stop the war. Don's like, I can't stop the war. Ted: "Your war against me!" Don, who probably had no idea Ted thought that, agrees to "lower [his] weapons." Ted agrees to call his friend. 

This, of course, has Don calling Dr. Rosen -- but gets Sylvia. When she realizes what he's (probably) done, she starts to cry: "Did you fix it?" They quickly start talking about their relationship, and then....

They are suddenly having sex -- kind of unattractive sex, to be honest -- at the Rosens' apartment. And that, very unfortunately, is exactly when Sally Draper runs into the house -- looking for a "letter" to Mitchell that Julia dropped under the Rosens' door. If Sally had any remaining illusions about her father, they are dead -- dead -- now. 

If that wasn't enough, we have an impromptu meeting between Pete and Bob Benson: "I told you we needed a nurse, and you sent us a rapist," Pete tells him. Bob tells Pete to sit down, and drink a drink -- for being a mystery man, Bob is very good at telling people what to do. Bob defends Manolo: "Couldn't it be if someone took very good care of you, if this person would do anything for you, if your well being was his only thought -- is it impossible you might begin to feel something for him?" Then there's the nudge: the nudge, with his knee, that seems to be telling us all we need to know about Bob Benson. But: He's gay? That's the big mystery? It's much more shocking (and literally not-understandale) that someone would fall in love with Pete than simply just be gay (wouldn't you rather fall in love with Stan? Or Ginsberg? Or Ted, or Roger, or Cutler, or anyone?) And doesn't this seem like a replay from Sal? Why can't gay characters on this show ever just get what they want, with someone who doesn't sort of call them a "degenerate" in the next sentence? Is there no evolution to be seen here? 

So we end on that: ostensibly, the mystery of Bob Benson, solved. And Sally, who tells her father (through a closed door) that he "makes her sick." It's no Red Wedding, but it'll do. 

Is Bob in love with Pete, or is he playing another angle? Tell us on Facebook and tweet us on Twitter.

"Mad Men" airs Sundays on 9 p.m. ET/PT on AMC. 


 

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Deanna Barnert

Deanna Barnert | Los Angeles, Calif.

Entertainment journalist Deanna "TVDeeva" Barnert visits sets, interviews industry players and critiques the final product. Buzz's daytime TV queen covers it all for MSN TV, but loves her sitcoms, soaps and any juicy drama that doesn't call itself Reality TV.

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