Faltam três episódios para o fim de Mad Men. Tenho assistido essa última temporada da série com celular, email e facebook desligados e a porta do quarto fechada. Não quero distrações. É o final de uma das obras-primas da televisão mundial e merece ser assistido com atenção plena. O seriado não é como Lost, Sopranos ou True Detective que instigaram os espectadores a criar teorias sobre seus encerramentos. Apesar de tão envolvente quanta essas que citei, Mad Men é muito mais contemplativa. Ainda assim, tenho pensado bastante sobre os prováveis destinos de Don Draper e seus colegas da Sterling Cooper. Se você ainda não viu os episódios mais recentes, pare por aqui, combinado? Vou soltar uns spoilers.
Viu o primeiro episódio da temporada final de Mad Men? Caso não tenha visto e não curta spoilers, guarde o post pra depois, ok? Aliás, não vou revelar muito e nem pretendo me estender. Só queria compartilhar essa leitura que apareceu na minha cabeça logo no começo do episódio e foi crescendo até o fim. Já li em algum lugar que Mad Men é uma série sobre vícios, que cada personagem tem o seu. Alguns são compartilhados por todo mundo, como a bebida, mas um é mais predominante que os demais: o vício de todo mundo ali pela própria agência. Estão todos loucos, cada vez mais filhos da puta, mais alcoólatras e ególatras, mas ninguém arreda o pé da Sterling Cooper & Partners.
O Matt Weiner deu uma entrevista pro New York Times falando sobre a 6ª temporada e o que esperar dos primeiros episódios desse penúltimo ano da série. No final das contas o papo acaba indo pra Sopranos e fica cada vez mais explícito o parentesco entre as duas séries. Ah, o Flavorwire publicou umas imagens novas da 6ª temporada.
Q. It’s no secret that Peggy Olson is back this season –
A. I told people that she was.
Q. – and Betty Francis also has a substantial arc in the premiere. Were you trying to shine a light on characters that viewers thought might be in jeopardy?–
A. I see them as characters. I do not count their screen time. I learned this from David Chase: you get bored of the character, and you want the audience to be bored of them. You want to parcel it out so that, O.K., you had a lot of cello this week, next week is about drums. Don always has to have a story, and he has to have a business story and he has to have a personal story, but there’s no rules for the rest of it. I don’t want to just check in on everybody. My whole thing is, who’s the most interesting to me, and what goes with Don’s story? I was interested in the shift in the period, in showing Betty’s life, where it is and where she fits into the world.–
Q. Having spent all these years immersed in the 1960s, did you find it ironic that when David Chase, your mentor on “The Sopranos,” made his first movie, “Not Fade Away,” it was also a ’60s period piece?–
A. I talked to him quite a bit about the film and I’m a huge fan of it. David’s process is so arduous to begin with. To explain the difference between the joy and the compulsion is really hard. When I was in North Carolina, and David was finishing his movie, I spoke to him on the phone, and I talked to my wife afterwards and she said, “You guys just keep sticking your neck out there.” My wife’s an architect, so she definitely has a very high-risk artistic profession and she gets the idea that you’re really sensitive, you really care what people think, you have a low threshold for criticism, and you keep making this [stuff] and putting it out there for people to react to. It’s like asking why people do heroin when they know it will kill them. I gotta give up at some point.
O careca conversando com o Don Draper na foto é o Matt Weiner, produtor executivo de Mad Men – e também de Sopranos, diga-se de passagem. Ele deu uma entrevista pro Saturday Evening Post sobre o fim da série, a alta expectativa do público e a confiança criativa que ele ganha com o sucesso das suas mais recentes produções. Dois trechos legais:
Q: Don Draper the main character on the show says, ‘Everyone thinks this is temporary.’ Do you think that?
MW: I am extremely aware that the end is coming but not when. I’ve always had to sweat. I never have been sure Mad Men was going to go on again. I live and die by this thing. I want people to say, ‘That was the best season of the show ever.’ I want them to progressively say during the season, ‘That was the best episode of the show ever!’ I am always aspiring to keep it new and fresh. But you’re going to lose if you’re always trying to top yourself. You end up doing something crazy.
Q: You are pretty secretive about the plots of the episodes.
MW: I’m not trying to tease people. I just don’t want to give away to viewers what’s coming because not knowing what is going to happen is part of what keeps people interested. I think fans of the show, the ones who really love it, don’t want to know. But it is hard to talk about a new season without getting specific. At the beginning of a season I’m always like, ‘I’m starting a whole new story. If you don’t like it, then it’s not for you. But it’s not because it’s not as good as last year. It’s just different.’ No matter what happens you’ll be able to understand it. It’s a TV show, it’s not War and Peace.