TIME TIME 100 Gala

Orange Is the New Black to Feature Character Based on Martha Stewart

TIME 100 Gala, TIME's 100 Most Influential People In The World - Red Carpet
Kevin Mazur—Getty Images for TIME Jenji Kohan attends the TIME 100 Gala at Jazz at Lincoln Center in New York City on Apr. 21, 2015.

Creator Jenji Kohan also recalls doing karaoke with John Green and Laverne Cox

Orange Is the New Black creator Jenji Kohan first attended the TIME 100 Gala as an honoree in 2014, but the experience was almost eclipsed by a disastrous karaoke choice later that night.

“I tried to do [Snoop Dogg’s] ‘Gin and Juice,'” said Kohan, who partied with Orange actresses Laverne Cox and Uzo Aduba and The Fault in Our Stars author John Green after last year’s event. “In my head I’m a rapper, but I’m not!”

Even her husband agreed, saying it was all she could talk about the next morning. “She bombed.”

While Kohan is tight-lipped about the upcoming season of Orange Is the New Black she did reveal to TIME that there will be a character inspired by Martha Stewart when the show returns June 12.

In the original Orange Is the New Black memoir that inspired the Netflix show, Piper Kerman wrote about about how the lifestyle guru was almost sent to Danbury (the real-life basis for the show’s Litchfield prison) before ending up in West Virginia following her insider-trading scandal in the early 2000s. Kohan said the show took some liberties with the character — the Martha-like character is Southern — but wouldn’t say who plays her. But it will definitely not be Diane Keaton, whom Orange star Taylor Schilling previously told TIME was one of her dream guest stars.

Stewart, who also happened to be at the gala, said that she had not watched Orange Is the New Black but appeared intrigued by the news. “I’ll look at it,” Stewart said.

TIME Television

17 Burning Questions the Full House Revival Must Answer

The cast of FULL HOUSE.
ABC Photo Archives—ABC/Getty Images The cast of FULL HOUSE.

How does Danny feel about vacuum technology in 2015?

Pop culture touchstone Full House is back—and it’s about time. Were we really supposed to accept “Michelle doesn’t have amnesia anymore” as a satisfying conclusion to the epic eight-year mystery that is this show? Not likely.

Sure, on the surface, Full House was a turn-of-the-’90s sitcom about three men banding together to raise a family, but that squeaky clean exterior (cleaned by Danny Tanner himself) hid a labyrinth of riddles. For one: What’s with all the tragedy? Government conspiracy, or just the universe compensating for giving everyone really great hair?

EW has compiled the series’ most important loose ends and unanswered questions, all of which we hope to see resolved in Fuller House. Have mercy, Netflix.

  • How can a newscaster, a failed comedian, and a struggling musician afford one of the most expensive houses in the most expensive housing market in America?
  • Why did no one notice when Jesse Cochran’s last name suddenly changed to Katsopolis?
  • Have Nicky and Alex stopped buying matching clothes yet? Are they capable of independent thought?
  • How much did it cost to repair the kitchen after Stephanie drove a car through it—and how did a newscaster, a failed comedian, and a struggling musician afford to fix one of the most expensive houses in the most expensive market in America?
  • How did a man as paranoid and careful as Danny Tanner have a kid at 19 or 20? (It’s true. The season 4 episode “The Graduates,” in which D.J. graduates eighth grade, gives Danny’s age as 33. This is also when Danny dates a 21-year-old college student, which we have no questions about except how to erase it from our memories.)
  • How does Danny feel about vacuum technology in 2015?
  • Has he sought treatment for his OCD?
  • Is it really that easy to make the Beach Boys just appear? Don’t they have things to do?
  • What are Jesse and the Rippers doing?
  • What’s R.E.M. doing? (Not that R.E.M.—we want the 60-year-old triplets who opened the Smash Club.)
  • COMET WILL LIVE FOREVER, RIGHT?
  • Whatever happened to predictability Michelle’s super-cool identical cousin from Greece?
  • Who snapped, did the world a service, and burned Mr. Woodchuck?
  • Is Becky running every national news outlet by now?
  • If Duane is Kimmy’s husband, was his wedding vow “Whatever”?
  • Where is Steve, and why didn’t D.J. marry him?
  • What do the catchphrases mean? 4, 8, 15, 16, 23, 42, “You got it dude,” “How rude”? Suspicious.

This article originally appeared on EW.com.

TIME Television

Ugly Betty Cast Reunited for America Ferrera’s 31st Birthday

They also celebrated the series finale's fifth anniversary

Ugly Betty‘s back – well, at least for one beautiful night.

The cast of the hit show about the Suarez family and the whacky staff of Mode magazine reunited Saturday to celebrate the series finale’s fifth anniversary as well as star America Ferrera‘s 31st birthday.

Vanessa Williams, who played scheming diva Wilhelmina Slater, posted a Twitter photo from the party with Ferrera and cast members Judith Light, Mark Indelicato, Tony Plana and costume designer Patricia Field.

Indelicato – who played Betty fashion-obsessed nephew and is now all grown-up – posted a photo on Twitter showing him hugging Ferrera over the caption: “My heart and soul.” He added, “Best night with some Ugly Betty alum. Happy Birthday my beautiful darling @AmericaFerrera thank you for your undying support and love.”

Though Michael Urie – Wilhelmina’s assistant, Marc St. James – couldn’t be at reunion (he’s currently performing on stage in London), he commemorated the series finale’s fifth anniversary by posting some adorable throwback photos on Instagram, including one of him and Indelicato giving the camera some serious sass, as well as a nostalgic shot with Ferrera from the final day of shooting.

#uglybetty #fiveyearsgone #behindthescenes @farkindelicato and I give it all

A photo posted by Michael Urie (@michaelurielikesit) on

“#uglybetty #fiveyearsgone #behindthescenes @AmericaFerrera and I pretended to keep acting after the final scene together,” Urie wrote.

#uglybetty #fiveyearsgone #behindthescenes @AmericaFerrera & i pretended to keep acting after final scene together.

A photo posted by Michael Urie (@michaelurielikesit) on

This article originally appeared on People.com.

TIME Television

The 5 Signs We Had That Full House Was Reuniting

FULL HOUSE
ABC Photo Archives—ABC/Getty Images Dave Coulier (Joey), Jodie Sweetin (Stephanie), Candace Cameron (D.J.), Bob Saget (Danny), Ashley Olsen (Michelle) and John Stamos (Jesse) on Full House.

The cast has been dropping hints for a while now

After a few weeks of heated speculation, John Stamos has confirmed that a Full House reboot is on the way. To fans’ delight, Fuller House will get a 13-episode season revolving around D.J. Tanner-Fuller (played by Candace Cameron Bure), now widowed and pregnant. The show won’t premiere until 2016, but we’ve had hints for more than a year that a reboot was in the works.

1. John Stamos basically said they were working on it last January.

Stamos, a.k.a. Uncle Jesse, dropped a major hint on Watch What Happens Live. “We’re sort of working on a twist on a sequel,” he said, “but we don’t know if it’s going to happen yet or not.”

2. The guys got together for a Full House sketch on Late Night.

Danny Tanner (Bob Saget) and Uncles Jesse (Stamos) and Joey (Dave Coulier) supported Jimmy Fallon through a tough time while he was sad about leaving Late Night for The Tonight Show—they even sang a rousing lullaby rendition of “Teddy Bear.”

3. They also did a Super Bowl commercial for Dannon yogurt.

Joey and Danny get in Jesse’s way while he tries to seal the deal with a new lady.

4. The whole gang got together for Dave Coulier’s wedding.

John Stamos, Bob Saget, Candace Cameron Bure and Andrea Barber (Kimmy Gibbler) were all there. (The Olsens, alas, were not.)

5. And again for Full House creator Jeff Franklin’s birthday.

Lori Loughlin (who plays the Aunt Becky to Stamos’s Jesse) documented the party on Instagram.

So there you have it, folks. If you haven’t seen the signs, you haven’t been paying attention.

TIME Television

Netflix, Full House, and the Temptations of Nostalgia

DAVE COULIER;JODIE SWEETIN;MARY-KATE/ASHLEY OLSEN;BOB SAGET;CANDACE CAMERON;JOHN STAMOS
ABC/Getty Images Full House—Cast Gallery—August 8, 1989.

Remaking something people liked is not the way to make something people will love.

If the folks at Netflix watch Netflix, last December they might have seen a chilling episode of the British sci-fi series Black Mirror, titled “Be Right Back,” a kind of high-tech version of the short story “The Monkey’s Paw.” After her significant other is killed in an accident, a young woman hears about a tech startup that promises to bring him back–an artificially intelligent simulacrum, anyway–first as a smartphone app, then as a clone. The imitation is perfect, practically perfect, almost perfect–so tantalizingly close to perfect that it’s maddening, because in the end, she can never get past the fact that it’s not him.

Maybe the higher-ups at Netflix skipped that episode, or didn’t really take it to heart, because we’ve just got the official announcement that it is bringing back the sitcom Full House for a full season. John Stamos will be back as Uncle Jesse. D.J. will be a pregnant new widow. You will be young again, safe and loved.

During the long, rich life that Full House lived on ABC, it was not a good show. But it was a well-loved show, and that was enough to bring it back, because that’s what we do now. We’re getting a new X-Files. We have a new Odd Couple. We may be getting more Arrested Development, and possibly another Twin Peaks, depending how things shake out after David Lynch’s departure. Networks are trying to revive The Muppet Show, Coach, Uncle Buck, and Duck Tales.

Everything you loved once is coming back! Did you have a beloved dog who died when you were a kid? Expect to hear a scratching noise at your back door soon.

Over at HitFix, Dan Fienberg says that if there’s a mania for reboots now, it’s because networks, and their new non-reboots, are failing us: “something is missing in today’s TV landscape that causes a certain probably large group of viewers to yearn only for the pablum of their youth and I blame TV networks, not those viewers.”

I think he has part of a point. A good, original family sitcom might appeal to what Full House fans are missing, and it might recapture some of them. But there’s one thing it will never have that Full House did: you, in your Ninja Turtles pajamas, happy and laughing with your whole life ahead of you.

That’s nostalgia. That’s nothing new. What’s new is having the outlets and the resources to enable it. The reboot craze is a new iteration of the old impulse to program what focus groups say they want to see. And increasingly, as more past TV is available on streaming, what they want to see is their own past.

I don’t want to pick on Netflix alone here, because it’s also the TV networks doing this. But Netflix has a particular ability to weaponize this nostalgic impulse. With the granular data it has on who watches exactly what, and how much, it can microtarget shows that are ripe for revival, becoming a kind of TV Lourdes where the dead are brought back to life, if you vote for it with your eyeballs.

And hey, why shouldn’t people get what they want? Why be a hater? It may seem sad to me, but I don’t have to watch. (Though I will in fact totally watch a new X-Files.) I don’t know if any given reboot will be good or not; even if it’s terrible, that will make the original no better or worse in retrospect.

The problem is the millions of dollars, the creative energy, the airtime that’s not spent on something else, something new. Great TV shows–including Twin Peaks and The Muppet Show–were not devised by algorithm. The danger of all this revivalism is that the shows could work, just well enough. Making a reboot could be the most foolproof way of putting on a show with a built-in audience, but one whose highest upside will always be less than the original.

That’s the problem with making TV shows based on what you already know your viewers once liked. You guarantee you will never make the next thing that they’ll love.

Read next: Do We Really Need a Full House Reboot?

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TIME Television

Review: Inside Amy Schumer Makes the Personal Parodic

Comedy Central Amber Rose and Schumer on the season premiere.

Schumer's sketch show is a war comedy, and she's the battlefield.

I could tell you exactly how funny the season 3 premiere of Inside Amy Schumer is (Tues., April 21), but then I’d have to kill it. Explanations are deadly to comedy, not to mention giving away punchlines. And while Schumer’s already released the opening sketch–“Milk Milk Lemonade,” a parody of booty videos guest starring Amber Rose–the episode’s other highlights depend so much on surprise, twists and casting that if I told you–well, then you’d have to kill me.

I will say, though, that the episode’s title is “Last F—able Day,” a play on the idea that every woman in Hollywood has an expiration date, the moment directors fear “your vagina is going to turn into a hermit crab.” (See also Tina Fey’s rule, in Bossypants, that “the definition of ‘crazy’ in show business is a woman who keeps talking even after no one wants to f— her anymore.”) That kind of awareness–knowing how women are judged, rejecting it, enabling it, toying with it–is the nugget of nuclear fuel that powers Schumer’s feminist sketch machine.

At its best–and the first three episodes of the season among the show’s best–Amy Schumer’s comedy is often intensely about herself. Not in the sense that it’s autobiographical or introspective: it’s about her person, her body, how the world sees it, how she sees it, who feels they have the right to it.

Schumer jokes about being on the cusp between the kind of women pop culture objectifies and the kind it rejects; see the season 2 sketch where she played two opposing tennis players, one hot and girly (and fawned over by the announcers), one lumbering and athletic (and vilified by them). Finding comedy in the mirror isn’t unique to her or even to women comics–Louis CK bases plenty of comedy on his appearance–but the way Schumer does it, not with Phyllis Diller-style self-deprecation but playing in the gray zones of social judgment, is fruitfully uncomfortable.

That sensibility is still there in season three, but it’s honed, assertive and blisteringly satirical, as in a birth-control ad where the boilerplate “Ask your doctor if birth control is right for you” morphs into demands that you also ask your boss, your boss’ priest, and random strangers. Inside Amy Schumer is really a war comedy; this battle is going on inside women, and it’s about who has the right to control them.

Some sketches seem to revisit territory from the first two seasons, like one about a woman enthusiastically going to a strip club with her male coworkers, a sort-of reprise of last season’s “Chick Who Can Hang” sketch. But others take the same themes into an entirely new dimension, like the audacious third episode, “Twleve Angry Men Inside Amy Schumer.”

In the full-episode sketch, a parody of the Henry Fonda jury movie, a dozen men (including Jeff Goldblum, Paul Giamatti and Vincent Kartheiser) are sequestered to judge Schumer physically. At first it’s like a remake of last season’s “You Would Bang Her?”–but it pushes the conceit into absurdity into a faux-melodrama about the male gaze arguing against itself. (“Am I the only one thinking with my dick here!” one furious juror demands.) It’s a satire of how women are assessed, and of how men are socialized to assess them, and of how pop culture presses a standardized, and thus boring, idea of sexiness on everyone. At the same time, it’s both a pitch-perfect satire of Sidney Lumet-style social-issues movies and an effective piece of social issues comedy.

Schumer barely appears in the half-hour-long sketch. And yet her presence, her sensibility, is everywhere here. Like all of Inside Amy Schumer at its best, it’s hot because it’s funny.

TIME Television

Full House Revival Is Coming to Netflix

John Stamos announced the new project on Jimmy Kimmel Live

Everywhere you look… there’s an old TV show coming back to life. In this case, Netflix has ordered a 13-episode revival of Full House, titled Fuller House—though not for the obvious reason.

The multi-camera comedy sequel will focus on original cast members Candace Cameron-Bure, Jodie Sweetin, and Andrea Barber. John Stamos, who will act as a producer, is also slated to guest-star, while discussions with original cast members Bob Saget, Mary-Kate and Ashley Olsen, Dave Coulier, and Lori Loughlin are ongoing.

In Fuller House, the adventures of the original series continue on with D.J. Tanner-Fuller (hence the show’s title) now pregnant and recently widowed living in San Francisco. DJ’s younger sister and aspiring musician Stephanie Tanner (Sweetin) and her BFF and fellow single mom Kimmy Gibbler (Barber)—along with Kimmy’s feisty teenage daughter Ramona—all move in to help take of DJ’s two boys, the rebellious J.D., 12, and the neurotic Max, 7.

“As big fans of the original Full House, we are thrilled to be able to introduce Fuller House’s new narrative to existing fans worldwide, who grew up on the original, as well as a new generation of global viewers that have grown up with the Tanners in syndication,” said Cindy Holland, Netflix’s vice president of original content.

In a joint statement, executive producers Robert L. Boyett, Thomas L. Miller, and Jeff Franklin said: “The continued support of Full House fans of all ages for the last 28 years has been astounding. It is an honor and a thrill to catch up with these beloved characters and explore their lives today. The love you saw on the show was real. The cast has remained a loving family off screen all these years. We are as excited as our fans to finally bring Full House back to life.”

Stamos announced the new project, which will debut in 2016, on Jimmy Kimmel Live.

This article originally appeared on EW.com.

TIME Television

Dancing With the Stars Watch: Spring Break and Heartache

Group dance!

Welcome to spring break, Dancing With the Stars style. This week’s festivities celebrated all things spring break (which must be said in the style of James Franco’s character in Spring Breakers at all times). Normally a spring-break theme would be an excuse to wear a tiny swimsuit on stage, since the stars of this show wear them every week, most opted for more traditional spring break attire a.k.a. ball gowns. Not only did the shining stars have to perform individual routines, but tonight marked the inaugural group dance. One extra addition to the festivities is that this recap was recorded live from Hollywood and certain eagle-eyed television watchers could have seen a producer scolding a woman in the second row for scribbling notes during performances. Sorry for sullying the High Art that is Dancing With the Stars, America! Bright side is that a certain editor now has photographic evidence of my diligence.

Aside from being caught writing in pencil (shudder!) on national television, being in the audience for the show is always fun. Not only do you get a good workout from all the standing up and sitting down and standing up and sitting down and encouraged enthusiastic clapping, but you also get a glimpse of all the magic that is not seen on camera. For instance, Derek and Julianne Hough’s mom was on set and danced with her son on stage during a commercial break. And Bruno Tonioli takes his judging very seriously, leaning way over the table to get a good look at everyone’s feet. And shout out to the warm-up artist who always clapped first, clapped longest and made sure the people in the balcony didn’t forget to cheer. Many current celebrities (Demi Moore, Milo Ventimiglia and Soleil Moon Frye) and former contestants (Amy Purdy, Melissa Rycroft, Antonio Sabàto Jr., Florence Henderson and Bethany Mota) were in attendance too, making it easier to seem cool while blithely cheering when the warm-up artist gave a Dancing With the Stars T-shirt to a 100-year-old woman in the audience. Good times were had by all, except for the star who had to leave the show at the end of the night.

Here’s what happened on Dancing With the Stars live:

Patti LaBelle and Artem Chigvintsev: During the opening package, Patti said she was excited to wear a bikini for the spring-break dance and then loudly yelled, “Psych!” Their quickstep was fun and lively, so lively that halfway through the performance one shoe went flying off her foot. So she danced with one shoe, much to the amusement of everyone. She later told me that she actually wanted both shoes to come off, but one got stuck, so she just went with it. Head judge Len Goodman said it best when he called her “cool by the pool,” laughingly adding that it was “the best dance of the night so far.” It was the only dance of the night, Len. 29/40

Nastia Liukin and Derek Hough: These two pros have raised the bar so high that it’s clear they are being judged on a different scale than the rest of the competitors. Their tango was fun to watch, especially because the Spring Break tie-in seemed to be “Barbecue Mishap” thanks to a set design that involved shooting flames followed by an intense blast of fog. The judges worried that Nastia was relying too much on her gymnastics training and not losing herself in the artistry of dance. After the show, I asked her what she planned to do with that critique and she said she had no idea. Derek had a few thoughts, though, but most of them involved copious amounts of alcohol. (Note: neither of them drink, so it should make for a fun night.) 34/40

Willow Shields and Mark Ballas: For their routine, Mark and Willow decided to do a Whiplash-themed salsa number to the song “Tequila.” Only on Dancing With the Stars, kids! Sadly, not one judge made a “not quite my tempo” joke, mostly because the routine was fast-paced fun that stuck to the beat. 34/40

Robert Herjavec and Kym Johnson: The Shark Tank star, who is used to success, was crushed by his low scores last week, and when he heard he had to do the jive, he was convinced the producers had it out for him. The routine set to “Surfin’ Safari” was a light-hearted romp, but unfortunately Robert’s timing was off again. Carrie Ann Inaba said, “All the steps were there, just not in the right time.” She softened the blow by pointing out that it was better than last week. 28/40

Noah Galloway and Sharna Burgess: Fight! Fight! The opening package showed Sharna snapping at the veteran during rehearsal. This upset Noah, because he believes Sharna is really nice and wants the world to know it. To prove that their chemistry is intact, they danced a sensual rumba that conjured up a lot of heat (mostly due to the faux campfire set up on stage). The judges used the words hip action a lot in complimenting Noah’s dancing and told him not to worry about the rehearsal footage. Best part of their number came later when the cameras were off and host Tom Bergeron squatted over the fake campfire, heating up his slacks and announcing, “I’m making Hot Pockets!” to no one in particular. 29/40

Rumer Willis and Val Chmerkovskiy: Rumer and Val were assigned the task of creating a jazz routine to Destiny Child’s “Bootylicious.” It’s a high bar to beat the women of Destiny’s Child on the dance floor, but Val managed to choreograph a memorable routine with Rumer bravely stepping in for Beyoncé. (She earned Patti LaBelle’s seal of approval by letting Patti pat the merchandise, so to speak.) The routine would have been applauded on So You Think You Can Dance, but some of the judges (Len mostly) thought it was too raunchy. He proclaimed, “It’s a ballroom not a bedroom!” Val agreed, but bravely noted that the producers assigned him that song and that dance and he just went with what he thought they wanted. Obviously Bruno loved the routine asking them to give him all the “hot and raunchy.” 32/40

Chris Soules and Witney Carson: The Bachelor was berated by Julianne last week for his lack of musicality, so to prove he had it, the producers whipped together a little montage of him dancing to “Let’s Hear it for the Boy” from Footloose, a movie with which Julianne is well acquainted. Chris applied his newfound musicality in his Viennese Waltz to Grease track “Hopelessly Devoted to You” — in a merry-go-round in a dense fog, because why not, right? The judges loved it, and Julianne high-fived him for his incredible improvement. 31/40

Riker Lynch and Allison Holker: It became clear that my neighbors were all related to Riker when they erupted in incredible loud cheers the moment he hit the stage for his Samba. As usual for Riker, the routine was fast and furious and nearly flawlessly executed. While Len thought he “moved like Spider-man,” which is apparently a bad thing, Bruno was effusive in his praise, alliterating an entire string of adjectives to great effect. Then he and Carrie Ann gave Riker 10s. 37/40

Team YOLO: Team captain Nastia chose Willow, Noah and Robert for her team and then promptly left, because she lives in New York and won’t be there for rehearsals. She returned a few days before showtime to discover they had choreographed a big beach party. The routine was light and airy and each of the solo numbers were solid, but the best part was when Mark Ballas kicked a beach ball squarely into the face of a tiny teenager who was part of a crowd gathered around the stage for the routine. The girl did an admirable job not flipping her lid or even flinching when it happened. The judges gave the team 39/40.

Team Trouble: Team captain Rumer invited Riker, Patti and Chris to dance on her team. They quickly settled on a Breakfast Club inspired school scene with Patti playing a strict teacher to a group of bratty teens. Unfortunately a prop chalkboard blocked most of the routine from my seat, but the parts that I could see were entertaining, especially Chris as a shirtless jock ripping open his letterman jacket and throwing Witney Carson in the air cheerleader style. 39/40

Who’s in Jeopardy: Patti, Riker, Robert and Noah. Noah and Riker were clearly filler, so they were sent back to safety quickly, leaving Robert and Patti to sweat it out.

Who Went Home: Patti LaBelle. The grand dame of Dancing With the Stars. When I spoke with her after the show she was very positive about the experience and wasn’t sorry to be going home at all. Viva LaBelle!

TIME Television

Jon Stewart’s Departure From The Daily Show Now Has a Firm Date

Director/writer/producer Jon Stewart attends "Rosewater" New York Premiere at AMC Lincoln Square Theater on November 12, 2014 in New York City
Desiree Navarro—WireImage/Getty Images Director-writer-producer Jon Stewart attends the New York premiere of his movie Rosewater at AMC Lincoln Square Theater in New York City on Nov. 12, 2014

There's just a little over three months left of his legendary run

Fans of Jon Stewart have a little over three months to get their fill of the comedian and Daily Show host.

Stewart announced on the show’s Monday night broadcast that he would go off the air on Aug. 6 this year, Variety reports.

The 52-year-old comedian said in February that he would be retiring from the iconic satirical newscast after 16 years. Filling big shoes will be Trevor Noah, whom Stewart has warmly endorsed in spite of the South African funnyman’s involvement in a Twitter storm that occurred after some of his tweeted jokes were criticized for being “anti-Semitic” and “sexist.”

[Variety]

TIME Television

January Jones: That Mad Men Scene Between Betty and Glen Wasn’t Creepy

Marten Weiner as Glenn Bishop and January Jones as Betty Francis - Mad Men _ Season 7B, Episode 10 - Photo Credit: Justina Mintz/AMC
Justina Mintz/AMC Marten Weiner as Glen Bishop and January Jones as Betty Francis in Mad Men

"I think it just says a lot about Betty's character and emotional maturity," Jones says

Warning: Spoilers for Sunday’s episode of Mad Men ahead.

Audiences bid adieu to yet another Mad Men character Sunday night — this time to Glen Bishop, the Drapers’ neighbor who once asked for a lock of Betty’s hair and has carried a flame for her ever since. Glen (who is played by show creator Matt Weiner’s son, Marten Weiner) made a move on Mrs. Francis before he got shipped off to Vietnam. Betty, though flattered, rebuffed his advances.

January Jones — whose new film, Good Kill, opens May 22 — speaks with TIME about the scene, Betty’s surprising maturity in the final season of the show and what lies ahead for her TV daughter, Kiernan Shipka.

Glen and Betty have had this interesting — sometimes even creepy — relationship. What do you think of its resolution?
I love that storyline, and I always have. I don’t find it creepy. I think it just says a lot about Betty’s character and her emotional maturity level that she relates so well to Glen, who is far younger than her. She’s gone through many different stories with him, from when they first met to when she was jealous of Sally’s relationship with him.

This last chapter, I think, sort of opened her eyes to the reality of the situation and the logistics of it. I think selfishly she’s always thought about how everything affected her, and she’s realizing finally how it affected him. And she dealt with it in a very maternal way.

She’s finally starting to mature, unlike Don.
Baby steps! [Laughs.] It’s taken about nine years, but she’s finally getting there.

Her relationship with Sally is better as well. Sally made a joke and Betty didn’t immediately ground her.
Definitely. I think the fact that Don and Sally’s relationship isn’t in the best place has helped her and Betty’s relationship too.

Kiernan Shipka has played your daughter Sally on the show for almost a decade. Now, she’s going to be pursuing her own career. Have you offered her any maternal advice?
No way. I don’t have any advice for her. She’s a smart girl. A smart woman. If anything, I would ask her for advice. She’s so well-rounded, mature. She’s been in the business for a really long time, and she’s doing things in this really healthy way. I’m so proud of her. I’m so proud of having been able to watch her grow into a great actress and young woman.

MORE: Mad Men Recap: ‘The Forecast’

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