In the series finale, Kimball found the one-armed man and, after a few twists, finally gained his freedom. The one-armed man occasionally popped up, but over the course of four seasons, very little changed. Each week, Kimball would show up in some new place, help people in some way, then be found by Gerard and have to run off to next week’s location. Richard Kimball was convicted of shooting his wife, only to escape from death row and be pursued by Lieutenant Gerard, all the while looking for the real killer, a one-armed man. The Fugitive was a successful 1960s drama in which Dr. They trumpet themselves as Art and Social Commentary in order to obscure their more fundamental structural flaws.
They lie in how serialized storytelling has evolved on television, and how prestigious shows habitually promise viewers more than they can possibly deliver. How does the most acclaimed show on television end up pulling a high school writing trick of injecting a few famous lines to anoint itself in seriousness and relevance? Highbrow pretense is nothing new-the original Star Trek had titled episodes “The Conscience of the King” and “Is There in Truth No Beauty?”-but the origins of Mad Men’s simultaneous self-importance and insecurity take some explaining. This cold night will turn us all to fools and madmen.Īt least Darkplace thought to quote from the middle of the play. I winced, and thought of the epigraph from Garth Marenghi’s Darkplace, the spoof of cheesy 80s horror shows: Mad Men began its sixth season by quoting from Dante’s Inferno-the first three lines. Consequently, his work causes intellectual short-circuiting.
As a function of the times, however, X has become a bad Expressionist. In less propitious times, the poet X would have become a popular hack.
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