Mad Men s6e5: The Flood

“You don’t have Marx, you’ve got a bottle. Is this what you really want to be to them when they need you??”

What up! Hello, hello, we are back in the room. Let’s get down to it, shall we?

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Don has no shortage of epiphanies, but has yet to actually commit to change in any concrete way. Like how his first concern is his mistress when the news hits of MLK’s assassination.. woof, bad look. Maybe the fact that Bobby sees Henry as more of a father figure will be a kick in the pants? Who the hell knows. All he knows of the world is what you show him, Don.

On one end of the spectrum, you have the Horror Movie America that is 1968, with that gargantuan cultural shift over the back half of the decade– as seen with the styles/hair, Peggy’s profesh rise, Dawn being hired, et cetera. And then there’s the people stuck in the same old holding pattern; or in Don’s case, falling back on that familiar pattern of banging around after a prolonged attempt to snap the hell out of it.

So it turns out Peggy and Abe are really wrong for each other, holy shit. She doesn’t get the UES apartment she really wants, while Abe sees the bright side; he imagines raising their hypothetical kids in a more ~diverse place~. K. Peggy is taken aback a bit and happy on the surface since he just revealed way more than he thought he did re:the longview, but also feeling backed into a corner. The age old She Should Be Happy about something like this even if it’s not necessarily what she actually wants. Societal expectations sure are a bitch, especially in 1968; ultimately, they have very different goals.

Ay yi yi, Pete Campbell. MLK is assassinated, and natch he rings up Trudy. Let’s be real, the guy just wants to go home. It’s that splash of self-motivated Pete Campbell Shit masquerading as magnanimous, tale as old as time. When he tells Trudy, “I don’t want you to be alone” he’s really saying he doesn’t want to be alone. Thankfully, Trudy stands her ground; Pete’s made his bed, vainly attempting to forge a connection with his Chinese food delivery guy.

SEETHING || image courtesy of 4plebs

And honestly, this is not to say he isn’t mostly correct in his yelling match with Harry.. but he ratchets it all to the next level because he’s ready to pop the fuck off as it is. Like the dearly departed Dr. King, an exceptional and gifted man, Pete feels as if he has been suddenly ripped from his family. But it’s only sudden to him– we could all see it coming from the fucking International Space Station. Don’t shit where you eat, Pete.

Man, Planet of the Apes is iconic; 1968 is a great year for movies. Don takes Bobby to see it to get out of the house, a tried and true method of dealing with tragic events. Between showings, Bobby chats with the usher about how people like going to the movies when they’re sad; they share a human moment, and Don sees his son in a different light, Bobby’s becoming a more fully formed individual. He’s picked out something Don himself does, inferred it, and Don is taken aback.

image courtesy of AMC

“I don’t think I ever wanted to be the man who loves children.. but from the moment they’re born, that baby comes out and you act proud and excited and hand out cigars but you don’t feel anything. Especially if you had a difficult childhood. You want to love them, but you don’t. And the fact that you’re faking that feeling makes you wonder if your own father had the same problem.
Then one day they get older, and you see them do something, and you feel that feeling that you were pretending to have.. and it feels like your heart is going to explode.”

His monologue about his kids is Don at his best and his most honest, a very rare combination– and to me, the most lovable and relatable. In spite of him and Betty arguing over Adult Shit like logistics, Don shows how much he loves his kids and understands them in his own way, bit by bit. And the feelings he describes about the emptiness and lack of engagement upon their birth and how a sudden blaze of terrifying love can kick in later and punch him square in the solar plexus make sense. Evolving as a man in the 60s; heaps of societal expectations there too. It’s a lot to take in, and Megan is quiet while she processes this information dump.

Brass tacks, I think it’s obvious that Don does love his kids a great deal– he’s not a fuckin sociopath, after all. He is, however, completely terrible at sustaining nearly any kind of healthy relationship for a long period of time. And Don being Don, he’s both emotionally perceptive enough to catch when he becomes alienated from his children, and sensitive enough to feel badly about it.. and hopeless enough to do not much of anything about it.

And even though Roger’s friend Randall is a goddamned lunatic, he has a great bit of burnout wisdom.

“This is an opportunity. The heavens are telling us to change.”

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Mad Men s6e4: To Have & To Hold

“Everybody’s scared there.. women crying in the ladies’ room, men crying in the elevator. It sounds like New Year’s Eve when they empty the garbage, there are so many bottles.. and I told you about that poor man hanging himself in his office.”

Tale as old as tiiiime; this is an episode about assumptions, about reality versus whatever the hell you invent in your head, with a splash of infidelity, as always. We get some good Joan time, some eerily persistent swingers, Don being a massive hypocritical flop person, Peggy’s ketchup v. catsup nonsense, the whole gamete.

image courtesy of Den of Geek

On the DL, Don yearns for someone to love Dick Whitman; but because of how he lives his life, he shoots himself in the foot before he can even get it near the door.  He will continue to establish relationships that undermine the very idea that anyone could ever love Dick; they don’t even get a chance, because he’s operating as if Dick Whitman died. To Don, that part of his life symbolises poverty, negative damaging shit, feeling worthless, low self esteem, not being respected or noticed. Don Draper is the inverse; urbane, strong, cultured, fuckin rich, overconfident. Obvi he’s still Dick in his private moments; but imagine the man we’d see if he had grown from those formative Dick Whitman attributes instead of killing it all off to start anew.

I feel like when Don realises that someone has fallen more for his invented persona — fanciful high society for Betty, ingenious adman boss for Megan — than for who he really is, he suffers the most and lashes out.. in spite of not actually being his whole goddamned self around either of them.

I SEE YOU. || image courtesy of ONTD

Even the way he perceives both Betty and Megan is deeply flawed, and it’s really coming to a head with Megan and her career momentum. She’s doing a ~love scene~ with some rando on her soap and Don ain’t pleased. Independent Megan is establishing her own career and ain’t the housecat that Don’s pigeonholed her to be. The love scene is one thing, but what really grinds his gears is that she’s doing this shit on her own. Megan’s got some agency; and when good things inevitably come her way, Don can’t deal with it. The more she advances with acting, the less she’s his little vixen in the palace on Park Avenue and more of an actual fucking human being. IMAGINE THAT. Fuckin fragile man feelings, good god.

image courtesy of Giphy

Speaking of which.. Peggy’s stepped out on Don, popping over to CGC and apparently also in the running for Heinz Ketchup, thanks to Stan’s trust in her regarding Project K.. not a great look, but it’s business I guess. Surprise! Don listens through the door to hear her pitch (rather than ‘letting his imagination run wild’). Since he can’t realistically do much about it in the profesh world and isn’t going to have a shitfit in front of Pete, Stan, and Ted, he instead takes it out on Megan.

Don’s always banging around to find something, to solve something, hoping to achieve some sort of peace or resolution within himself; even Sylvia tells him she prays got him to find some damn peace. This also makes me think of the s2 premiere, and when he mails that copy of Meditations in an Emergency to Anna.

Now I am quietly waiting for
the catastrophe of my personality
to seem beautiful again,
and interesting, and modern.

Joan’s BFF Kate is in town, helping her recalibrate a touch. Both that visit and an argument with the persistently tonedeaf Harry Crane, she’s reminded not only of what she did to reach this position, but of all the flop assumptions everyone makes about her. Harry clearly knows about Joan’s night with stank-ass Herb, and has invented an entire world in his head where it’s the Single Reason Joan belongs in that partners meeting, when it’s fucking obvious exactly how important Joan has been to both Sterling Cooper and SCDP.

Self-important Harry even imagines that Joan has gone straight to the other partners to drop a dime on him, when of course she would never bother them with something so utterly trivial. Don’t get it twisted though, dude’s got legit beef– he started the television department from the ground up, and that’s a big achievement. However, he’s got nobody to blame but himself for not advocating for a partnership when the time was right. When Harry brings up what Joan did in the dark, everyone is pretty rattled; they’d rather focus on her boss professional skills than Herb.

image courtesy of TheTVCritic

Post-Electric Circus club night out, Kate reminds Joan that what she’s achieved isn’t an everyday thing; it’s a really goddamned impressive position. It doesn’t matter how it happened, but it matters that she’s there now. With a refreshed perspective, she hands over some of her less glamorous duties to the super capable Dawn. Fuck yeah, Joan– delegate that shit.

“Believe it or not, ‘my daughter is a partner at a Madison Avenue advertising firm’ is something I enjoy saying!”

Mad Men s6e3: Collaborators

“I know there’s a part of you that’s glad to see me!”

“And I know there’s a part of you that you haven’t seen in years.”

Man, there’s so much infidelity everywhere! Pete’s doing his best impression of a sloppier Don, cool ketchup vs uptight beans, Peggy at CGC vs Stan at SCDP, and obvi, Don and Sylvia.

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Don is on autopilot at the office as well as at home with Megan. The guy is way more engaged selling The Don Draper Experience to Sylvia at dinner— except for when he’s expertly tanking Herb’s dickbag flop ideas for Jaguar. And thankfully, Joan hits Herb with a barbed greeting to show exactly where she stands.

The whole Sylvia thing feels different than Don’s other myriad affairs. He seems exhausted by it all at this point, slumped in the hallway outside of his apartment. The endless push and pull, the relentless longing.  And let’s be real.. there’s nothing Megan can realistically do to stop him from needing other women. He’ll seek out something more, something intangible.

It’s clear that the more a lady comes to actually know Don, the more she accepts and loves him for who he is and not in spite of it, the less Don wants to be with her. He prefers ladies– and people in general– who don’t know him. Megan knows about most of his covert junk, so he can’t realistically pretend to be anything other than himself with her; and there’s nothing that guy loathes more than being himself.

images courtesy of Giphy

In lighter news, Pete bangs Stage Five Clinger (and suburban neighbour) Brenda and shit blows right the hell up in his face. Fleeing her husband and screaming to be let into the Campbell’s house, poor Brenda is bloodied and Pete is understandably on edge as Trudy drives her to a hotel. Now, Trudy ain’t no Betty; proclaiming that she knew what she was getting into with marrying Pete, she’s understandably pissed off that he’s shitting where he eats and banging around the neighbourhood. Tacky, Pete. Trudy confidently gives him the boot, so it’s time for him to live some sad sack bachelor life in the city.

image courtesy of MadMenWiki

Turns out Megan had a miscarriage after Hawaii, and confides in Sylvia who immediately averts her eyes. Good old Catholic guilt. Megan feels like a horrible person for being grateful in a way, since being pregnant and having the subsequent baby would derail her career; she’s also not sure she wants a family, and in 1968, that isn’t something that women really talk about save for hushed tones. Gotta love those age-old societal expectations.

When Megan comes clean to Don, he can’t face the unmitigated intimacy of the raw hurt and emotional turmoil that Megan is going through, especially since he just wandered in fresh off a bang in the Rosen’s maid’s room. It’s too close to the chest, and could potentially draw him out of his carefully compartmentalised world. Although he has genuine concern for her wellbeing, there is something incredibly stilted, almost perfunctory about his reaction.

As an aside, a lady going through a miscarriage ain’t just some walk in the park either; Don must be astonishingly checked out not to notice that something was really going on with Megan. Oof.

image courtesy of Tom & Lorenzo

This contrasts directly with Don’s look of tacit empathy, warmth, and concern when Joan states ‘he’s here’ upon Herb’s arrival, as she helps herself to a drink. That exchange felt so intimate, so genuine in comparison.

When he tells Sylvia he simply doesn’t think about their bonking to explain how he can have a nice dinner with their respective clueless spouses, it echoes that advice he gave Peggy post-baby. But in this episode’s context, it’s a touch shadier. For Pegs, it’s an empowering speech; time to get on with your life and don’t let a single event define you. Here, it’s just sort of gauche.

And honestly, I don’t think he’s necessarily sick of banging around and lying– this shit is Don’s modus operandi extraordinaire, even down to his fucking identity. He does all of this as he lives and breathes, but everyone has a tipping point. Maybe he’s beginning to splinter at the edges, unravelling just a touch.

The end of this episode reminds me of season 1 and Sally’s birthday cake. The man really doesn’t feel at home anywhere.

“Now I understand– you want to feel shitty right up until the point where I take your dress off.. because I’m going to do that. You want to skip dinner? Fine. But don’t pretend.”

Mad Men s6e1&2: The Doorway

“How do you get to heaven? Something terrible has to happen.”

Hi there, and welcome back! Mad hiatus up in here, but now we’re back in the room. It’s late December 1967, about 8 months since s5 left off; in those passing months, there’s a whole pile of facial hair and substantially less Brylcreem at SCDP. There’s also a 2nd floor! Hey-o.

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Don looks a little out of place as we enter the late 60s– that shot of him walking into the creative lounge surrounded by hair is a jolt, and lends some context to PFC Dinkins assuming Don is an astronaut. Even the ideas for ads are shifting; a concept like ~wholesome marital love~ as it relates to Dow oven cleaner seems positively Paleolithic as we edge closer to 1968. And I guess Leland Palmer let em in on a part of Dow after all!

Though it may be Christmastime, nearly every scene is tinged with the macabre; and as always, death is trailing just a few steps behind Don. We’ve got The Real(tm) Don Draper, Anna, his drunk father Archie, the Korean War, and now Vietnam saturating everything within reach. The doorman in Don and Megan’s building nearly dies.. thankfully resuscitated by Arnie. Nevertheless, Don is obsessed with what he ‘saw’ while he was faux dead, drunk and hot off the heels of a funeral.

And there’s the plain as day suicidal ideation of the Sheraton pitch.

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I dig that The Doorway parallels the pilot a touch. You think Don is growing to be at ease and well adjusted in his married life, even making what seems like a legit-ass friend (!) in the Good Doctor Arnie in his building.. and then there’s the reveal at the end, where he’s banging the guy’s wife, Sylvia. Oy.

The hat trick of making it appear as if Don is content and then dropping the concluding truth bomb is skilfully done. We’ve got the inverse of the pilot here, which reveals his picturesque family at his suburban home at the end; turns out all of that sprawling perfection is humming in the background of his city life/bonking Midge. And here, we’ve got this affair that lurks in the backdrop of his day to day.

image courtesy of Skift

In spite of being in Hawaiian paradise with Megan, Don appears to be in his own personal hell. Megan’s being recognised and signing autographs, and aside from the opening voiceover (reading Dante’s Inferno, fittingly), we don’t hear Don utter a damn word until meeting the drunk and unassuming PFC Dinkins in the hotel bar. They have a frank conversation, where Don listens more than he reveals; Dinkins references Army weapons with a splash of excited violence, eventually convincing Don to walk his bride-to-be down the aisle.

The Hawaiian Sheraton ad is unique in that it makes luminous sense to Don, but would obvi signify suicide and death to anyone else who doesn’t happen to inhabit his head. Dick Whitman shed his skin to become Don Draper, but to the scant people who knew him, Dick Whitman died. The ad evokes all kinds of imagery, but ultimately, can you truly change without dying? Roger seems to think you can’t, but Peggy and Betty suggest you can, slowly but surely.

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The funeral for Roger’s mother is a goddamned mess. Some overeager/hysterical rando named Bob Benson sent over a shitton of delicatessen, and some Great Aunt rolls in and gives an absurd fuckin speech which moves Don to vom. Roger tries to connect with his daughter after telling everyone to get to steppin’, but he’s discouraged and hurt that there’s nothing deeper there than surface cash-grabby hands for her husband’s flop endeavour, water from the River Jordan left behind.

Roger’s mother was a woman who made a Real Big Fucking Deal out of him, and yet he felt profoundly disconnected from her; but when the news of his shoeshine’s passing hits, he weeps in his office. Seems like Roger and Don are drifting through their days in a world they no longer recognise, unable to shake the belief that it all amounts to a big pile of nothing– just more doors, as Roger wryly tells his therapist.

On New Year’s Eve, we’ve got Don once again watching scenes from his life on a Kodak Carousel, feeling like an observer, detached. Still startled when a photographer tells him to be himself, and he hasn’t got the faintest idea of what in the fuck that means.

image courtesy of Pinterest

And it turns out no matter how many doorways you walk through, there’s still shit you can’t change about yourself; like knocking on the back door of Sylvia’s pad to get it in. Wherever you go, there you are.

“People will do anything to alleviate their anxiety.”

Mad Men s5e13: The Phantom

“Stop being demure, you’re already on the bed!”

And here we are, another iconic season finale. Do people ever really change? Is that all there is? And so on. Will Roger drop acid with Marie? Will Peggy get her dolt copywriters to churn out good work at CGC? Will Pete get his existential dread in check? Can Don keep it in his pants? These are the days of our lives.

are you alone?? || image courtesy of RogerEbert.com

Turns out Beth is married to a total dick! Shocking, I know. Howard’s taking her to the city for shock therapy, and Pete happens to be on their Manhattan-bound train. They have an illicit bangarang in a hotel room, and Pete manages to sneak in a visit to non-remembering Beth to drop some truth bombs.

“He got involved with another man’s wife.”

“Why did he do it?”

“Well, all the regular reasons, l guess.. He needed to let off some steam, he needed adventure, he needed to feel handsome again. He needed to feel that he knew something.. that all this ageing was worth something because he knew things young people didn’t know yet. He probably thought it would be like having a few tall drinks and feeling very, very good. And then he’d go back to his life and say, ‘that was nice.’ When it went away, he was heartbroken. And then he realised everything he already had was not right either and that was why it had happened at all. And that his life with his family was some temporary bandage on a permanent wound..”

Let’s be real, none of Pete’s confession is breaking news. #thingsmensay and all that. What counts is that he’s facing the truth about his own shit both openly and voluntarily; nobody backed him into a corner. It seems as if he’s gone through his fancy bag o’Pete Campbell tricks; bitching, fantasising, banging around, pout-y resentful, etc etc.. and now there’s fuckall left to do but admit that he has some heavy shit to confront. It’s Pete Campbell conceding that he’s super damaged and confused, and it’s the most self-aware thing he’s ever done on the show to this point.

Megan is floundering with her auditions, and seeks out Don’s help to land a part in a Butler shoes commercial– he’s inherently reticent to throw her name in the ring, though he wasn’t bothered by the glaring nepotism of making her a copywriter at SCDP. And even though it sucks to tell her no, he has a point. You DO want to be someone’s discovery, not somebody’s wife. On top of that, her acting career also ain’t on his terms which he can’t quite grasp; that’s what happens when you help someone. They succeed and move on.

at last the 2nd floor is real! || image courtesy of MadMenWiki

Completely rattled by his laughing gas ghost Adam dentist visit, Don fucks off to the movies where he runs into Peggy. Along with his earlier visit to Rebecca Pryce to deliver a postmortem check, Don is reminded of how effortlessly the people in his life can leave him in the dust at a moments’ notice.

Both Rebecca and ghost Adam treat him with understandable hostility (“it’s probably difficult for you to believe, but it was even more than $50,000 that already belonged to him, so don’t leave here thinking that you’ve done anything for anyone but yourself” and “it’s not your tooth that’s rotten”.. fucking hell), but Peggy shows him genuine kindness and interest. Not everyone bounces after all, Don.

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While Don mulls over submitting Megan for the ad, I’m taken back to The Wheel. Looks familiar– here’s Don Draper in a darkened conference room as a projector flickers images of the wife who’s slowly but surely slipping away. But even though he never quite knew how to captivate Betty, in this instance he’s able to give Megan exactly what she wants; even if it leaves him feeling a touch used and distant from her.

Maybe Don does that favour for Megan out of wanting to show kindness to someone close to him, unlike the way he pushed both Adam and Lane away with both hands. He’s not great at being close to people out of straight up fear, but baby steps in the right direction can’t hurt, even if it’s not necessarily the right fix longterm. Popping Megan in for Butler has healed the problems in their marriage for the moment, that old temporary bandage on a  permanent wound, but now Don will probs be on edge thinking that Megan will bounce like Peggy. The transactional nature of his band-aid scrubs some of the joy from their marriage, in the same way that Joan can no longer take a particular type of pleasure from fending off flirty advances at the office.

Don begins this season doting on Megan and unable to entertain the idea of stepping out; shit between them ain’t perfect, but his visceral reaction to that fever dream says it all. And now, he ends this season walking off shrouded in shadows as Megan gains the spotlight in dazzling technicolour. Gimme an Old Fashioned.

image courtesy of Tom and Lorenzo

Even though Megan knows Don’s Dick secret, she doesn’t really know what he actually needs on any kind of deep level; it doesn’t mean that she doesn’t love him, more that she simply doesn’t get the guy. He doesn’t know what he wants, but he is wanting. Lane’s suicide would of course have a profound impact upon Don for a few reasons, something she should have picked up on. And Don ain’t blameless here either– he obvi has trouble understanding women and what they want and need in a relationship. Sure, they have clear chemistry, but is it sustainable in the day to day?

~Are you alone??~

Asking a truly isolated guy if he’s alone, what a hoot.

Let’s see if Don fucks it all straight to hell. And as always, thanks very much for reading! I’ll resume with Season 6 reviews soon!

“You hate him because he voted for Goldwater.” || image courtesy of Tumblr