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Bryan Batt (born March 1, 1963) is an American actor best known for his role in the AMC series Mad Men as Salvatore Romano, the closeted art director for the Sterling Cooper agency. Primarily a theater actor, he has had a number of starring roles in movies and television as well.
Salvatore "Sal" Romano is the Italian-American art director at Sterling Cooper, from Baltimore. Sal turned down a proposition from a male employee of Belle Jolie Cosmetics midway through the first season, admitting that though he has thought about having relationships with men, he has never acted on this impulse.
Bryan Batt as Sal Romano (seasons 1–3), the Italian-American art director of Sterling Cooper. He is a closeted homosexual reluctant to act upon his homosexuality. He is married to Kitty, who seems unaware of his sexual orientation, yet begins to realize that something is amiss in their relationship. [42]
Also watching the special is Joan Holloway and her new doctor-boyfriend, and Salvatore Romano, who is newly married. Pete sits alone watching cartoons, eating the chocolates he purchased for his wife. Peggy and Salvatore meet with Don to show him their new mockups of the Mohawk campaign. Don rejects their sexy copy idea, to Peggy's frustration.
"Six Month Leave" is the ninth episode of the second season of the American television drama series Mad Men. It was written by Andre and Maria Jacquemetton and Matthew Weiner. It was directed by Michael Uppendahl. The episode originally aired on AMC in the United States on September 28, 2008.
Mad Men won the Primetime Emmy Award for Outstanding Drama Series, Golden Globe Award for Best Drama Series, and acknowledgement by the American Film Institute for the third year in a row. According to year end lists collected by Metacritic , Mad Men was the most acclaimed show of 2009.
Alan Sepinwall, writing for New Jersey's The Star-Ledger, praised the episode, specifically the subplot about Sal and Elliott, writing that the scene was "superb." [1] Andrew Johnston, writing for Slant Magazine, called the episode "the most polished and, to my mind, the most moving episode of Mad Men yet." [2]
It's a Mad Men hallmark that sets the show head and shoulders above its prime-time peers." [13] Tim Goodman of the San Francisco Chronicle said the series "reaffirm[s] its place in the upper echelon of television dramas. The writing is a real thing of beauty - from the aforementioned nuance to searing workplace witticisms and pitch-perfect tone ...