Mad Men s5e12: Commissions and Fees

“But what is happiness?? It’s the moment before you need more happiness.”

We all have good days that turn into bad ones, but some of us just can’t shake it. As much as it’s Real Life, the consequences of our own actions are sometimes too much to bear. Sometimes shit is just so devastating you can’t cope.. enter Lane Pryce and his illicit cash grab.

image courtesy of Vulture

We knew it was coming, but Lane’s been caught red-handed by Cooper, cancelled Christmas bonus check with Don’s faux signature and all. And we all know Lane is one proud motherfucker, so his chat with savvier than expected Don does not go well.

Sadly, this is grisly familiar territory for Don; it’s not the first time that a guy he knew has hanged himself as a near-direct result of Don telling him to get on with it and leave. Before Lane Pryce, there was of course Adam Whitman. Don’s motivations as well as the circumstances are super different, but the endgame is identical; Dick Whitman imparts some hobo code ‘run away’ advice and both of these guys instead choose to violently exit the world.

And the punch is that Don was truly doing do the right thing for Lane, giving him an elegant exit with a resignation– obviously trying to course correct after Adam.

Adam & Lane || image courtesy of Tumblr

Don really thinks he did the decent thing for Lane here, and he’s not entirely wrong. When that type of trust is broken, natch Don cannot keep working with him; letting him resign sans scandal is miles better than outing his embezzlement and shady shit to the partners, much less ringing the coppers. Trying to do him a favour and send him off on a semi-OK note, Don gives Lane a variation on the speech he gave Peggy in the mental ward back in s2 about moving forward from absolute shit circumstances.

“I can’t go back to England like this. What will I tell my wife? .. What will I tell my son?”

“You’ll tell them that it didn’t work out, because it didn’t. And you’ll tell them the next thing will be better, because it always is. Take the weekend.. think of an elegant exit. Cooper doesn’t know anything.”

“l feel a bit light-headed.”

“That’s relief. I’ve started over a lot, Lane.. this is the worst part.”

Seems like good advice on how to get on with it, but Lane ain’t Pegs and he certainly is not Donald Draper. Peggy has enough common ground with Don to make that hobo code a part of her aesthetic and make it work to her advantage. Look at her bounce to a better profesh situation as soon as the opportunity presents itself; however, Lane is not particularly equipped to do the same.

Take a look at the guy. Lane is a middle manager– the moneyman hemming and hawing over payroll and Jaguar’s fee versus commission structure, treated as a malleable marionette by PPL, seen begrudgingly as a necessary evil by the SCDP partners. The kicker is that whenever he strives to achieve more in life beyond his predetermined glass box, he gets beaten down.. quite literally by his crust-ass dad’s cane.

(Also, anytime I think of Lane Pryce’s father I think of Mr. Burns’ mother..)

Brass tacks– handsome and determined Dick Whitman could start over; Lane Pryce cannot. Don’s schpiele to Peggy gave her life a clean slate, but his speech to Lane instead brought his to a screeching halt. He’s got more at stake than Peggy did as well. Don’t forget that Lane is in the USA on a work visa, has a wife and apartment in Manhattan, kid in a good NYC school.. no wonder he thought it was all over. Being stripped of his visa would fuck that all to hell like your prom date; briskly and thoroughly. How could he return to England under those circumstances?

Trying to off himself in the surprise Jaguar he and his wife can’t afford (unbeknownst to her) and having the damned unreliable thing not start was a bitter touch.

Even though Don was of course never as close to Lane as he was to Adam, nor was he as arctic in his rejection, the parallels are suffocating. Insisting upon going into Lane’s office to prevent the guy from dangling up there alone until the coroner makes his appearance, I get the vibe that he’s attempting to deal with lingering memories of his departed half-brother. After all, Adam was long dead before Don even knew about it.

If you don’t learn anything from your past, you’re absolutely fucking doomed to repeat it. And though Don tried to do it right with Lane, at the end of the day he cannot control anything other than his own shit; a hard pill to swallow for sure.

I leave you all with this Don Draper iconography directed at Leland Palmer and Dow Chemical. Once he essentially sacks Lane, he yearns to move onto the big leagues account-wise, to think bigger than Lane ever did. And let’s be real, he ain’t wrong; what IS happiness? The moment before you need more happiness. Nothing is ever enough.

“Ed Baxter told me the Lucky Strike letter poisoned us with all those companies.

“What? Why didn’t you tell me that?”

“Because l wrote that letter.”

“You let that wax figurine discourage you??”

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Mad Men s5e11: The Other Woman

“At last: something beautiful.. you can truly own.”

And we’re back in the room! Hello hello, and welcome back one and all. This is a bonkers balls to the wall episode. Let’s yap about our female characters– the three ladies Don can’t control, and he doesn’t like it one bit. Pegs bounces from SCDP to work for the very handsome Ted, Joan takes matters into her own hands with Herb (vile pun intended), and Megan’s auditioning with the possibility of bouncing to Boston for a show. As they’re trying to bag Jaguar, Don’s back in his old car salesman gig for a beat.

image courtesy of Imgur

I dig the way this episode centres around how Don’s predicament creating a pitch for Jaguar mirrors his feelings about ownership and power playing a role with the important ladies in his life. It’s intertwined with his tangible relief when Ginsberg finally comes up with The Pitch, an exhale and a smile. Of course! But that look of satisfaction on his face maybe shows how, secretly (or not), Don might miss being able to Truly Own his ladies on some level. Ginzo’s pitch speaks to Don in the inmost way.

Speaking of non-secrets, apparently Megan is only allowed to succeed on Don’s terms; he has a Fragile Man Feelings meltdown when she tells him she may be spending a bunch of time in Boston for a potential part. But hey, Megan shows from the very start that she refuses to be owned by Don; she pops round to SCDP in her audition dress for a bang during latenight Jaguar work. Megan is the one who initiates said office fuck sesh, and chose to leave advertising for what she really wanted to do with her life.

When Don is confronted with the idea that she might actually be successful, he’s backed into a corner, shouting “Just keep doing whatever the hell you want!” as she leaves the damn room. Good lord.

At the office, Don’s been acting like a dick to Peggy and taking her for granted; she’s had enough once he literally throws cash in her face. What a fucking insult.

Let’s be real, she works her ass off; where’s her goddamned lobsters from The Palm? When she shares good news about a successful pitch on the fly, Don literally throws money in her face as a way to take her down a peg for joking about an on location trip to Paris. Time to take a meeting with Teddy Chaough and split for CGC, to a place where she will hopefully garner more respect.

As Peggy gives her notice to Don, he legit cannot believe she’s splitting. It’s a strange mix of pure ego, regret, and true disbelief. His face goes from an “ahh, you must be fucking with me!” grin to “punted in the solar plexus” heartbreak. Shocked he can’t own Pegs nor keep her around, he figuratively throws more cash in her face, offering whatever salary she wants. But hell no; she refuses to be treated like that, no matter the price, and extends her hand for a farewell shake. Don kisses it and she cries silently; dude is seething once she leaves.

image courtesy of AMC

And now, moving swiftly along to Joan and Herb, the planetary Jaguar creep from NJ. I mean, this is a man in a bathrobe whose idea of foreplay is fervently exhaling “lemme see ’em”. Oy fucking vey.. file under ‘Things Men Say(TM)’.

He insinuates to Kenny and Pete that they will for sure win Jaguar’s business in exchange for a night with Joan; and Herb knows the power he wields. This is no small thing– a car on Madison Avenue means you’ve arrived.

Shocking absolutely nobody, Pete is the one to approach her openly with a business proposition, because of course he is. Is it right to put Joan in that position? Absolutely fucking not, but the other partners seem to be nonplussed, although a little scandalized. Don is the only one who voices an ‘absolutely not’ opinion. And ultimately, Joan does agree; she made up her own mind.

“We’re talking about a night in your life. We’ve all had nights in our lives where we’ve made mistakes for free!”

“You’re talking about prostitution.”

“l’m talking about business at a very high level. Do you consider Cleopatra a prostitute?”

“Where do you get this stuff??”

“She was a queen. What would it take to make you a queen?”

“l don’t think you could afford it.”

image courtesy of MadMenWiki

Lane’s role in this whole thing is a mess. I love the guy, but good lord. He brazenly manipulates Joan to hide his embezzlement and the Christmas bonus shitstorm. Her potential 5% stake in the company would keep the Christmas bonuses afloat in lieu of the lump $50k in Pete’s offer; after all, Lane already extended their credit line without telling the other partners. Honestly– Lane’s not wrong, a partnership is a far better deal for Joan in the long run, but SHIT is it coercive. Dude is obvi desperate to cover his ass.

As smarmy as Pete is, at least he didn’t beat around the bush; he approached her as an equal, laid it out, and got on with it. Was it ideal? Nah. It’s deffo twisted, but Pete didn’t ply her the same way Lane did. He was direct in his own Pete Campbell way– he didn’t approach her out of ego or his ideas of How Women Should Act(TM) either. And when Joan comes back to him with Lane’s partnership notion as her choice, Pete balks but relents once he realises that she ain’t wrong.

image courtesy of Tumblr

Looking at you, Don. When he’s at Joan’s apartment attempting to save her from her assuredly sweaty fate, he says a number of things that sound supportive at face value– even though the deed was already done, unbeknownst to him. His words, though kind, fall under a bit of his How Women Should Act(TM) thing, and it’s deceptively insidious. Sure, Don is “one of the good ones”; but you can still see the shock creep across his face when he pieces together what transpired, in spite of him telling her not to do it. (TALE AS OLD AS TIIIIIIME)

image courtesy of Tumblr

Joan and her (albeit reticent) bang with Herb is the crowning jewel of a woman he cannot control, nor own. Oof.

“The conversation doesn’t end just because you leave the room.”

The Movies of 2017: Some Sort of List

Hello hello! I have returned intact from the ~Bomb Cyclone~ that is the northern NJ/NYC area, and I’m here to yap about some damn movies from 2017. Spoilers ahoy, so don’t bunch your undies. AND NOW, in no particular order..

THE GOOD;

  • The Shape of Water. WOW. Wow. This movie is the epitome of gorgeous, and it rattled me to my core. Real chuffed that Del Toro went out of his way to ensure the creature was both beautiful and mysterious, and specifically had a great ass to boot. Michael Shannon is the ultimate creeper, Sally Hawkins is incredible, Octavia Spencer is wonderful, the Dan Clowes character neighbour and his cats, the colours and the music and the vibe.. it’s all gangbusters. Intensely romantic, this movie elevates all of those warm feelings of falling for someone and feeling close. I had an existential crisis all day after seeing it. Am I really close with anyone? Fuck, movie. Doctor fucking shitbird. Did I stutter?
  • Atomic Blonde. The marketing for this flick did it real dirty, it’s a fun stylish romp and Charlize Theron and James McAvoy rule. Killer music, great action scenes, and just enough depth to be gripping. Aces.
  • Star Wars: Episode VIII – The Last Jedi. YUP, I fucking loved this movie. It’s polarising, but I love that Rian Johnson took the story and turned it on its head. Star Wars is such a vast universe, it’s time to branch out, and there’s nothing I love more than subverting fanboy expectations. Kylo Ren is the most intriguing character in this franchise, and Adam Driver knocks it outta the park (that hysterical legoman shirtless scene.. some drunk bro next to me said WHY HE NUDE out loud in the theatre and I lost all of my shit). Force Skyping, Luke all outta fucks to give, Yoda burning it all down.. that said, the movie is far from perfect, and that Monte Carlo planet scene could’ve been axed in half easily, but the character moments are on point; I was legit weeping into my soda cup of booze during that scene with Luke and Leia. Hope the next installment is a little cleaner plot-wise, with no vaguely goofy Mary Poppins shit. Fuck lump-ass Snoke. And hey, there’s some weird-ass titties in this movie. And 19 seconds of Justin Theroux..
  • Blade Runner 2049. Hardboiled noir retro future. Visually incredible, with so much more feeling than the original. Real chuffed there wasn’t a shred of fanservicey garbage, and how wonderfully it turns that Chosen One trope on its head. Wowie. Fantastic performances, great music, excellent worldbuilding. Tick them boxes.
  • Logan Lucky. Oh now THIS is a delight. Daniel Craig steals the show. Fun heist flick with just enough backstory to make the characters believable and genuine. Snappy and fun.
  • War for the Planet of the Apes. Good lord, this is a great movie. An incredible capstone to a solid trilogy, heartbreaking and enthralling all at once. The ape characters are so relatable and sympathetic, I cried a whoooole lot. I did laugh out loud when Woody Harrelson actually says “THIS WILL TRULY BE A PLANET.. OF APES” because it’s just so damned awkward.
  • Lemon. This movie is an intensely bizarre, awkward, mystical journey. It’s very enjoyable, though sad and darkly hilarious. Watching a grown-ass human man drink milk from a glass will never not be upsetting.. and why so many matzoh balls? That song alone was worth the price of admission.
  • Wonder Woman. FUUUUUUUCK YEAH.
  • American Made. Too much money problems.
  • Ingrid Goes West. Absolutely fucking frightening. This movie highlights everything I find to be both insidious and exhausting about Social Media Influencer Culture(TM), and Aubrey Plaza just knocks it outta the park. Fantastic caricature of everything that’s fucking ridiculous about LA.
  • Spider-Man: Homecoming. MY WIG HAS BEEN SNATCHED. What a delight! Queens actually looks like Queens! Kids who look and act like high schoolers! A Birdman that wasn’t a pretentious intolerable nightmare! Consequences for past actions! Spidey outside of a city! Aces all around. Tom Holland can get it.
  • Girlfriend’s Day. Bob Odenkirk is just the best. This movie escalates quickly, gets real weird. I dig it.
  • Three Billboards Outside Ebbing, Missouri. I love that the core mystery is left ambiguous, and the characters are left swimming in its wake. Excellent performances. Sam Rockwell does not dance, but he enthusiastically listens to headphones. That final scene with McDormand and Rockwell is so nuanced and unexpected, it’s just perfect; I haven’t stopped thinking about it. Loved this movie.
  • Get Out. Genuinely creepy, darkly funny, a ton of depth, exceedingly well written. Easily one of the best of the year.
  • Lady Bird. I liked this movie a whole lot, though I don’t necessarily feel as strongly about it as everyone else. It’s a solid flick about the fraught relationship between a mother and daughter, super tricky senior year of high school shit, first time ~having sex~, etc etc. I never knew I needed a period piece set in 2002/2003, but here we are. Very nostalgic for my own recent history.
  • Split. Oh man, now that M Night is just having fun with his ideas (i.e. The Visit) his movies are a WHOLE lot of fun. McAvoy is so damned great in this role, it’s a wild fucking ride.
  • John Wick: Chapter 2. Ballistic and ridiculous, this movie is a whole lot of fucking fun. Great followup to the first, engaging and crazy. Keanu Reeves is just the bee’s knees.
  • The Fate of the Furious. I’ve said it before and I’ll say it again.. these fucking movies are America’s Bollywood. #FAMILY
  • Baby Driver. That lead kid has the charisma of a potato, but this movie works otherwise. Might be the movie that made me finally dig Edgar Wright. Fantastic thoughtful editing, killer soundtrack, great cast. Rugged dickbag neck tattoo Jon Hamm is a plus.

THE BLAND;

  • Thor: Ragnarok. Man, this humour just does not work for me. Want a really effective way to hose any real character moments that could lend some much needed levity to a story? Tack weird flighty mumbled jokes on the end of every fucking sentence. It’s enough already. But hey, Goldblum is fantastic and entertaining, and the soundtrack is a total banger.. and at least they finally made a Thor movie that isn’t a snooze. Mad points for Mark Ruffalo Hulk too.
  • The Hitman’s Bodyguard. Look, this movie is entertaining as shit; everyone knows what movie they’re in which is what makes it work; Samuel L Jackson and Ryan Reynolds are great together. It’ll be fun to watch on cable down the line I think. Plot’s a damn mess, there’s some fucking awful CGI, yet it remains charming.
  • Fist Fight. Pretty funny, not great. Charlie Day is wonderful to watch as always, jokes didn’t always land but it was entertaining at the very least. Eh! Good to catch on cable. Ice Cube plays Ice Cube and Charlie Day plays Charlie Day, shit goes down. End movie.
  • Suburbicon. Yikes on bikes, was THIS mismarketed. I was actually very #blessed to attend the LA premiere of this flick in my neighbourhood, and .. it was Not Great. I love the Coens, I like the style of the movie and the cast was wonderful, but the story is very flat and not at all in tune with how it was advertised. Needed way more Oscar Isaac than we were granted.
  • Logan. You know, generally I really dug this movie. It’s devastating and gritty. The third act sort of shits the bed, but overall it’s pretty solid. More road trip adventures with Logan and Xavier, please. And the Soul Glo guy is in it!
  • Kong: Skull Island. Speaking of third act issues, this movie finally gets its shit together around the third act. Kong himself looks boss, but the movie is a mess that takes itself too seriously. Brie Larson’s hair kept fucking changing colours, Hiddleston has a dope-ass swordfighting scene but is otherwise kind of a non-character, and John C Reilly is the only guy who knows what movie he’s in. Eh.
  • Kingsman: The Golden Circle. Mm, just sort of a mess. No terrible buttsex joke at the end but there’s some pretty awful fingerblasting. It’s still a fun movie and I was entertained, but Channing Tatum really needed more to do– I feel like he was wasted. There’s a whole lot of Elton John in there too for god knows what reason. I went to a dope event at San Diego Comic Con over the summer with a pile of free booze and burgers, so it gets some points for good marketing there.. and speaking of which, this movie really made me want some bourbon.
  • The Mummy. This is a Very Bad Movie, yet it hits that sweet spot of being equal parts bafflingly atrocious and incredibly entertaining. Universal is really trying to make their monster movies happen. You ever want to see Russell Crowe play drunk Bob Hoskins dialled up to 11? This is your movie. Worth streaming after a couple of cocktails. It’s some real dumb shit.
  • Life. Love me some Jake Gyllenhaal, but killing Ryan Reynolds so soon into the flick was a terrible choice. This movie is like a dollar store version of Alien.
  • Battle of the Sexes. Meh, sort of very Movie(TM). Great performances from Emma Stone and Steve Carrell, but the movie itself is pretty bland. Shut up, men.
  • The Founder. Not great. Keaton is wonderful, but the lady characters are all essentially decor. Weirdly paced, though it did make me want to eat a Quarter Pounder pretty much immediately.
  • Guardians of the Galaxy Vol 2. Fun, though the first half of the movie isn’t great. I feel like it would’ve really benefitted from an R rating, the script badly needed a kick in the pants. I’m tired of the whole ‘humour undercutting actual serious moments’ thing that’s trendy, though the first of this series literally invented that shit. Again, the only franchise in which I don’t find Chris Pratt intolerable. Good music!
  • Alien: Covenant. Aside from a real great 80s-esque horror shower scene, this movie is just sorta .. eh. It’s pretty classically creepy, and at least an improvement on the forgettable Prometheus. Daddy issues on steroids.. Fassbender is hot as hell, though. Genuinely OK overall.
  • Molly’s Game. Sorkin seemed a little off his usual in this one, and you can tell it’s a directorial debut; it’s pretty heavy handed and clunky at times. Good flick, not great, kind of a by-the-numbers story that was missing that something deeper to make me give more of a fuck.
  • The House. This is.. fine? Pretty OK, decent amount of laughs. Will Ferrell and Amy Poehler have great comedic chemistry which helps the movie significantly, and Jason Mantzoukas is completely bizarre and very funny. Best watched with a couple of drinks, or on an airplane which is where I watched it.

THE CONFUSINGLY HORRENDOUS;

  • Collateral Beauty. Now, I know this technically came out Christmastime 2016, but i watched it at the start of 2017. JESUS CHRIST THIS IS A BAD FUCKING MOVIE. It’s mean, it’s manipulative warmly lit Manhattan trash marketed as a Feelgood Christmas Movie, AND it’s complete fucking nonsense. Why the fuck are so many great actors in this shitswamp? Some of the dialogue is so badly written I felt like I had brain damage. BAD, MOVIE. BAD.
  • The Circle. This movie could’ve been something more poignant, but the book ain’t great either so I guess it was always destined for mediocrity. Sorry this is the last movie you were in, Bill Paxton. And that kid from Boyhood sure is a shit actor, huh? Needed way more of Boyega’s light. At least it didn’t pull from the intensely uncomfortable sex scenes in the book where the word PENIS was used in an actual sexual context. N O P E.
  • The Dark Tower. Fuck me, this is an awful movie. Not even Matthew McConaughey nor Idris Elba can save this steaming pile. McConaughey was covered in some sort of film, dewy and super moist; he also needed to be dialled up to 11 in order to give this movie even a slight touch of intrigue, but he’s weirdly subdued with a bad dyejob. What the fuck is his deal, anyway? He wants to further his aesthetic? Idris, why? What? MAGICKS
  • Gifted. I watched this on an airplane and barely made it an hour in before falling asleep. In a nutshell, it’s a Generic Chris Evans with Precocious Child and Tragic Backstory vehicle. But hey, there’s a one-eyed cat! Besides Evans’ jawline, that cat is the best part of this bland-ass movie.
  • Wilson. JESUS, come on. It could have been so good! Ticks the boxes– based on one of my favourite Dan Clowes graphic novels, Woody Harrelson and Laura Dern are great together, and yet it’s just SO SO SO AWFUL and borderline unwatchable, such a missed opportunity. Almost a feat with how bad it is, this flick is uncomfortable and tryhard AND just a fucking dumb mess. This movie is a quietly roaring dumpster fire sprinkled with a few funny, human moments that really work.. and the rest of it just burns out of control, long into the winter night. Fuck. They did you dirty, Wilson.

And that’s that. Thanks for reading! Here’s to more good shit in 2018.

Mad Men s5e10: Christmas Waltz

“You do not know how hard I’ve tried to ignore this at work. I know what I’m doing, I have some control.. but then he found a way to ruin that, too.”

image courtesy of ChicagoNow

Ahh, Christmastime! How appropriate considering this will be my final review of 2017. This episode is jammed full of advantageous lies and harsh/totally awkward truths. Don is finally back in action at the office, Joan gets served, Kinsey cosplays as a giant baby, and Lane is in deep shit with the British taxman.

Hey-o, once mega pretentious Paul Kinsey resurfaces with the Hare Krishna! He’s apparently fucked it up/tumbled down the ranks of every ad agency in town, and goes to the Hare Krishnas for guidance but at his core, he’s still that arrogant writer we know. He turns to Harry Crane for help getting his atrocious Star Trek spec script to Roddenberry and co. Oy vey.

Lakshmi comes to seduce Harry to keep Kinsey on the line, purely because he’s a great Krishna recruiter; she’s got zero romantic interest in him. Part of the reason Kinsey even sticks around there is the prospect of building a life with her, so it’s a real dick move on her behalf. Thinking of his friend, Harry decides to lie to Kinsey re:his garbage script, and pops him cash and a plane ticket to start a new life in Los Angeles (not unlike what Don tried to do with Adam). Just get away from it all, Kinsey. The lie is more beneficial than the truth here.

Sure, maybe he’ll get shit on in LA, maybe he’ll be rejected 1000 times over, but at least it’s real; Los Angeles would be way better than living in Krishna limbo just to be exploited by a lady who ain’t ever gonna fuck you, Paul. And for once, Harry isn’t acting like a total knob, it’s a Christmas miracle! (Though he does bang Lakshmi in the process. Whatevs.)

“You’re all getting bonuses, and we aren’t!” || image courtesy of Twitter

Let’s move on to Lane and his shady shit. Looks like he’s in a giant money hole with the UK government, owing a whole pile of taxes on his portfolio with no way to pay. Pride is one hell of a drug; he further’s SCDP’s line of credit at the bank semi-fraudulently, claiming that the numbers for 1967 were commitments instead of just projections. He spins it to the other partners as a ~cash overflow~, so his now-possible Christmas Bonus could cover what he owes. The other partners put the kibosh on their bonuses, opting to give them to the staff. It’s blinding how quickly his entire plan was fucked.

As if it all couldn’t be shadier, he forges a check. A truly shit idea; pride and desperation lead him down that path, as those books were once sacrosanct to him. He won’t even tell his wife what’s up.

image courtesy of Tumblr

This side of Lane is super sketch, similar to his season premiere infatuation with the wallet titty lady. Lane is culturally (and somewhat literally) so far removed from the other characters at the office that any time we peep some insight, it feels like we’re seeing something he’s been grappling with for months, whether it’s this tax debt or his estrangement from Rebecca and subsequent Chocolate Bunny.

Lane very rarely opens up to others, so we can only take a stab at his motivations. We know he’s been knocked about and beaten down by life (and his total dick of a father), but instead of being Don about it he’s pretty .. meek? Stiff upper lip and all that, I guess. And similarly, Don is a guy who plays shit close the the vest, but we see him 24/7 and thus understand him a little better. Pride also interferes with Lane even entertaining the thought of asking Don for the cash, which we know that he would’ve given without batting an eye.

Joan gets served with divorce papers via Shit Husband (and person) Greg, and after launching an airplane model at poor Meredith, she’s more than ready to engage in some Jaguar roleplay with Don. Natch, they end up at a bar. Don and Joan are both survivors of failed marriages, wondering whether tomorrow will be better than yesterday.

image courtesy of Imgur

Don’s connection with Joan reminds me a touch of his relationship with Anna, in that their affection for one another is unmistakable but never turns physical. Intimacy can be profound and non-sexual; I think that for Don, this is super important. He’s a guy who uses sex for a lot of things, but feeling love/showing affection ain’t it. The emotional damage he experienced at the hand of Archie and Abigail growing up adds to it, especially living in a whorehouse. He has the ability to be open and relatively honest with ladies who keep him at arms’ length, like the numerous casual bang partners. Joan’s instincts about men are so keen that she knows this better than most. After all, she and Don are alike; they’ve both used their overt sexuality and attractiveness to entice and manipulate other people. They get it.

Dancing around the idea of banging around and the lingering sense of ‘is that all there is’, Don references Bobbie Barrett’s attitude of “I like being bad and then going home and being good”. That’s obviously been rattling around in his head with all the recent changes in his life; and his analysis of those dudes who are obsessed with a sporty Jaguar is pretty telling. “He doesn’t know what he wants.. but he’s wanting.”

They’re both in a headpsace at that bar; boozing and deflated, Don feeling estranged from Megan in her new iteration, Joan begrudging her (soon to be ex) trashhusband. She admits that she tried to use her success at work as a way to be in control of her life, in denial about the end of her marriage. Don brings a touch of wisdom and lightness, a really nice gesture. Keep moving forward.

“Congratulations.”

“For what?”

“For getting divorced. Nobody realises how bad it has to get for that to happen.. Now you get to move on.”

And obvi, it’s way easier in the mid 60s for a Don Draper to get on with it than it is for a Joan Holloway, or even for a Paul Kinsey. But no matter who you are, moving forward is way smoother when you have someone in your corner to help and when needed, along with a good kick in the pants to force you to be honest with yourself.

At home, a rightfully pissed off Megan releases him back to the office with her bit about how he loved that job way before he ever loved her, and I suppose (along with Joan) that’s enough of an asskicking to launch him back into Inspirational Rallying Speech Don. Thank fuck.

“Last year at this time, whether you knew it or not, the survival of this company was on the line. l look at the faces in this room who have given their all to this tenuous recovery and l say, prepare to take a great leap forward. Prepare to swim the English Channel and then drown in champagne. There are six weekends between now and the pitch.. we are going to spend them all here. We will celebrate Christmas here, we will ring in the new year together.. And in the end, we will represent Jaguar, and it will be worth it. Every agency on Madison Avenue is defined by the moment they got their car. When we land Jaguar.. the world will know we’ve arrived.”

Thanks for reading, everyone! Here’s to 2018.

Mad Men s5e9: Dark Shadows

“Don’t wake me up and throw your failures in my face, it’s Sunday, for Christ’s sake!”

Hello, self-involved garbage– as Roger succinctly puts it in this episode, it’s every man for himself. Betty gets insecure and stirs the pot with Sally re:Anna, Don clips talented Ginzo’s wings, and Roger’s doing God knows what with Jane.. they’re just grabbing whatever they want in that moment, everyone else be damned.

image courtesy of Reddit

So, there’s Don and his work mojo .. or lack thereof. Shockingly, turns out all his fucking off has left him real rusty. Heading in on a now-rare weekend, Don attempts to get some SnoBall shit done to no avail. On his way out, he glimpses Ginsberg’s folder, overflowing with great ideas.

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He’s jealous of Ginzo’s raw talent, and even though Don trashes Ginsberg’s (better) SnoBall idea en route to the meeting so the client would favour his pitch instead, he hasn’t won the war; this is just temporary satisfaction, a band-aid on some horrifying wound. The Michael Ginsberg looming talent threat persists, in spite of Don’s cultivated façade of indifference.

Though Betty is actively trying to better herself and get on with it, it’s one step forward and 2 gigantic steps back. At least Henry is a steady positive in her life.. and actually present for Thanksgiving with his family. Waiting to get the kids one weekend, Betty snags an accidentally intimate look at Don and Megan’s lavish lifestyle on Park Avenue, and immediately feels intensely uncomfortable and insecure. Can you blame her?

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Oof. That love note to Megan is probably the best writing Don’s done in awhile. Seeing him being so outwardly kind, romantic and loving with someone else can’t feel good for Betty.. especially after all the bullshit he put her through for years on end. But Bets, don’t forget that appearances can be deceiving. Don didn’t immediately land on his feet after the divorce, after all.. and shit’s a damn mess on and off with Megan.

Every one of these characters experiences moments of great happiness tempered with terrible real life shit. Betty’s life, though cushy from the outside, can be just bleak as we know Don’s can be. It’s all a real mixed bag; good shit happens, bad shit happens, just like Forrest Gump’s Mama said. What matters is holding onto your humanity, keeping an eye on your moral compass .. which can be exceedingly difficult when life circumstances throw everything they’ve got at you. Gotta keep your shit together during times of adversity, which is harder than it looks.

In this case, Don’s lie about his upbringing and being previously ‘married’ to Anna is a lie so big, so insurmountably massive to Betty. Sally’s doing some busywork family tree for school, but to Betty, there’s an exposed nerve there; it kicks up a whole bunch of bad vibes and negative feelings.

But when she’s with Henry and living her day to day, Betty shows real flashes of insight, clearly absorbing the life advice from her Weight Watchers meetings. There’s some understanding and personal growth, slowly unraveling why she feels the way she does about shit in order to get on with it. But Betty is also human; she really could not sustain this level of zen as she felt jealous and sad about Don’s new life. Though this may be petty and absolute shit, it is relate-able and human.

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Absolutely apoplectic that Betty casually mentioned Anna Draper to Sally, Don blasts towards the phone to give her an earful. Megan astutely tells him that’s a bunch of shit, effectively putting him in his place; let her stir the pot, Don. One step forward, maybe. Megan ain’t wrong.

Remember, bad behaviour is generally motivated by alienation and fear, irrational things that we all feel every now and then. Betty is natch capable of compassion and affection, but those behaviours fly in the faces of immaturity and selfishness.

And even though doing acid hasn’t actually changed much of Roger’s day to day, it’s impacted how he deals with his own feelings as well as how he deals with the people around him. It’s given him a touch of introspection and clarity. The morning after he and Jane have a bang in her now tainted Clean Slate(TM) apartment, he shows real remorse for brazenly hurting someone he once cared about a great deal. Think about this Roger versus the guy from a season or two back; he would have made some super sardonic quip and sauntered off about his business. There’s some semblance of growth with Roger as Don and Betty backslide a little.

Thanksgiving 1966 brings a gigantic toxic cloud to descend upon Manhattan, a pretty literal vision of the negativity and selfish garbage floating around in this episode. Shit’ll clear up soon, guys and gals.

“This is a setback. You’re always thinking about other people, and then you’re angry because no one’s thinking about you.. But I am. It’s so easy to blame our problems on others, but really we’re in charge of ourselves. And I’m here to heIp you, as you’re here to help me. We’ll figure out what’s next.”