TVSquad

It's hard to say that a show that's already won a small U-Haul's worth of Emmys and other awards can be having a breakout season, but that seems to be what's happening with Mad Men during its third season. The buzz around the show has been as loud as we've heard since The Sopranos went to black, and that's not a coincidence; the man who created the early-1960s world of Sterling Cooper, Matt Weiner, was a writer on the landmark HBO drama.

Weiner just completed shooting season three, and he took time out of his post-production process to sit down with me on Monday and talk about how the season has been going so far. I tried to get him to talk about what seems to be the show's inevitable roll towards the cataclysmic event of 1963, the Kennedy assassination, but Weiner was tight-lipped as usual. However, his observations on how he approaches events like that is an interesting read. Oh, and we also touch upon how he came up with the idea to run over a British ad exec's foot with a lawn mower, which is a good story by itself...

HBO has slowly become my favorite network over the past few years. I don't know if it's because the mainstream networks have turned to lots of reality programming or what, but HBO just seems to get better and better. Just about every show on the premium channel is feature film quality (if not better), and I've got some favorites listed below.

I know I'm missing a few biggies, like Rome, Deadwood, Flight of the Conchords, and Extras, but it's only because I either haven't watched these shows or have only watched a few episodes -- not enough to make an informed opinion. I'm sure they'll make my Jane After Dark column at some point in the future. So I hope you'll tell me your favorites in the comments below.

This should come as no surprise to even the most casual of TV Squad readers. Mad Men has been picked up for a fourth season, assuring that Matthew Weiner's engrossing and demanding tale of Don Draper and the people at Sterling Cooper will be played out for at least another year.

When a show like Mad Men comes along, not unlike The Sopranos in quality and pop culture appeal, the question usually isn't whether the network will stand behind it for the duration, but whether or not the creative team envisions a long run.

A good show can keep you so entertained that you're willing to fight sleep to watch the rest of it. A great show physically keeps you awake.

It gets into your bloodstream and forces more adrenaline into your heart.

It turns the synapses in your brain into ferrets on espresso that dash back and forth between the lobes and fires your mind on all of its cylinders.

It is visual cocaine, which is much healthier than actual cocaine and doesn't require a frequent visitor punch card for an eyes, ears, nose and throat doctor.

These are the shows that assault all five of the senses or less depending on how good of a health plan you've got.

I watched the feature film In the Loop the other day, a documentary-style comedy that looks behind the scenes of the British and U.S. governments. James Gandolfini plays Lt. Gen. George Miller, and all I could think was, "Hey, there's Tony Soprano in a U.S. military uniform." I think his character may have even said something along the lines of, "I'll break your kneecaps if..."

I know James Gandolfini has done a lot of projects since The Sopranos, but Tony Soprano is so cemented in my mind, I wonder if I'll ever see him as anything else. I have the same reaction when I see Steve Schirripa playing Leo on The Secret Life of the American Teenager. "Hey, that's Bobby Baccalieri!"

For a while there, it looked like Showtime, with buzzworthy shows like Californication, Weeds and Dexter, was dominating headlines and getting all kinds of praise. In response, their ratings were rising. Meanwhile, HBO had struggled to replace The Sopranos, Deadwood and Rome when all three left the airwaves in 2006-07. New "big" shows like John From Cincinnati and Tell Me You Love Me failed to make waves with audiences.

Really, it was Dexter that started swinging the ship toward Showtime, and in so doing, brought attention to the rest of their lineup. With HBO floundering, Showtime saw an opportunity and took full advantage, offering bold new entries. Apparently there's an audience that looks almost exclusively for premium cable original programming. And everything was going so well ... until HBO managed to snag a piece of America's current fixation on vampires.

The TV is a weird beast. Your show can have ridiculously high ratings, receive greater critical claim than the Mona Lisa and achieve a cult following not seen since the People's Temple, and the network can still pull the plug on you.

TV Land doesn't work like Reality Land, if the Reality Land is in fact reality and not some bizarre reality land where meat-hungry producers are the gods of fate. TV has a different equation for success.

Here are the ten telltale signs that your new show will spend eternity shining in the pantheon of the cosmos and the rest of its life on Best Buy's DVD shelves.

When TV shows have made the leap to the big screen, the results have not always been great, except when they keep the same cast and come up with a good story that builds on the series, like Sex and the City and Star Trek: The Wrath of Khan. The same is true of some TV movies that have built on a show's lingering appeal even after it's been canceled. James Garner came back for a couple of Rockford Files movies, for instance, and The Return of The Man from UNCLE with David McCallum and Robert Vaughn was excellent. Of course, it doesn't always work -- the Rhoda and Mary reunion was painful to watch -- but I'm still a fan of the follow-up TV movie.

Here's my ideas for ten TV shows I'd like to see as TV movies.

There is no better way to get inside a character's head (without resorting to charging up some power cutting tools and laying down some newspaper) than writing in a dream sequence.

Some of them, however, try to explain too much or cover too much ground and end up becoming the kind of dreams that keeps our Paxil dosage high and GlaxoSmithKline's stock price higher.

These are those mindfreaks.

If you're like me (you have my deepest sympathy), you don't have a dog in this Sunday's hunt.

Thanks to the Arizona Cardinals' first appearance this weekend, my hometown team, the New Orleans Saints, will now be one of only five left in the NFL that have never made a Super Bowl appearance. Three if you don't count the expansion clubs.

So if you're a Cardinals fan and don't have the stomach to endure their slow, agonizing and inevitable defeat at the hands of the Pittsburgh Steelers, here are some alternative shows you can watch instead of the Super Bowl.

I'm crazy for HBO, and one of the shows I'm really looking forward to is Boardwalk Empire, a pilot executive produced by Martin Scorsese (who's also directing), Mark Wahlberg, Stephen Levinson, and Terence Winter (who's also penning the pilot).

Based on the Nelson Johnson book Boardwalk Empire: The Birth, High Times, and Corruption of Atlantic City, the project chronicles the 1920s origins of Atlantic City, New Jersey. From what I've read, it sounds like a mix of The Departed, The Sopranos and Goodfellas -- all favorites of mine. And the cast they've got lined up couldn't be better.

Steve Buscemi plays Nucky Johnson, a businessman who runs a liquor distribution ring at the beginning of Prohibition. Michael Pitt (pictured) is in negotiations to play Jimmy Darmody, a bright, young, ruthless WWI veteran who serves as a flunky for Nucky, but yearns for more power.

Last week another terrific cable drama, The Shield, took its final bow in a series finale that still has fans talking. The talk is mostly about the last three minutes, which featured Vic Mackey's silent contemplation of the life he now leads after losing his friends, family and, some say, his freedom. Right before the screen went dark we saw Vic stride out of the cubicle that is now his home -- unsure of what his fate would be from now on.

Some fans of the series were unhappy with this ending, saying that there was no closure to the life that Vic had led over the last seven seasons. Some hearken the ending to the now-famous series finale of The Sopranos, which featured several seconds of nothingness before the credits rolled. This concept of not giving finality to a series finale is a new one for viewers to grasp onto. But, when you look at it further, it makes complete sense. Why should the lives of our favorite characters come to a complete ending when our own lives don't?

When Matt Weiner was a successful sitcom writer -- CBS's Becker -- he had this idea for another kind of show. He couldn't figure out how to pitch it, so he wrote a sample script. The Sopranos' creator David Chase read it and hired him. After copping a couple of Emmys for his work on that HBO drama, Weiner finally got his spec script sold. Now, Mad Men has earned 16 Emmy nominations and Matt Weiner is working on the second season of the show.

Recently, for TV Week, I interviewed Matt about the Emmy nominations. Here are some other thoughts he shared with me about Mad Men:

TVS: What's the show all about to you?

Matt Weiner: A lot of the episodes are about "who am I." A lot of the shows are about what's embarrassing. A lot of it's about denial, about how we juggle our work and our private lives. A lot of the issues that came up in the early 1960s are really hitting us right now.

If there's one thing we can count on with General Hospital, it's the mob. Other soaps lean on corporate shenanigans, the fashion business, medical drama. GH used to be about the latter, but that was a long time ago. Now, the hospital storylines are thriving more on Night Shift, General Hospital's SoapNet spin-off. But on GH proper, the mother ship if you will, the main thrust remains Sonny, Jason, the Zaccharas and mob wars.

They're bringing in a new actor to the scene, and he carries major TV mob credentials. Vincent Pastore is joining General Hospital as Maximus Giambetti, father of Sonny's two main bodyguards, Max and Milo. Vinny is best known as Sal "Big Pussy" Bonpenserio on HBO's The Sopranos. On GH, Maximus comes to Port Charles to see his boys, under the false assumption that Max and Milo are running the syndicate in town.

Some actors from The Sopranos have won awards, Emmys, Golden Globes, et. al. At least one has achieved another kind of infamy. Federico Castelluccio, who played the Italian hit man Furio, has sold a painting inspired by the show for $175,000. The image, a variation on the famous 15th century dual portrait, Duke and Duchess of Urbino, is called The Duke and Duchess of North Caldwell. That would be Tony and Carmela Soprano of Caldwell, New Jersey.

Federico, who has no less that eight film roles to his credit for release this year, doesn't need to paint to pay the rent. He paints because he's an artist and -- clearly -- a good one. This original work was created after his appearance on the show. As Furio Giunta, the Italian made the mistake of becoming a wee bit too enamored with his boss's wife. Rather than stay in Jersey and potentially have an affair with Carmela, Furio returned to Italy and never came back -- as far as we know. David Chase may have a whole other story that was written and never filmed involving Furio. Chase is funny that way.