Mad Men s2e8: A Night To Remember

“She’s so much woman.”

Loud opening scene, with Betty taking out her aggression at the stables, running both that horse and herself ragged. This episode is the boiling point, the Hindenburg, the Titanic, the dinner party heard ’round the world.

Father Gill wants Peggy to design a flyer for the upcoming Catholic high school coed dance. She gets to be in charge of the pitch to the stuffy church ladies on the committee, and she handles it (and Father Gill) well. Peggy reminds them that the boy and girl dancing on the poster is a wholesome message that represents the “kind of handholding that leads to marriage”. Hilar. She also manages to respectfully fend off Father Gill’s guilt parade. He’s really trying to get her to yap about giving away that baby.. give it a rest, Padre!

Apparently, Maytag is sensitive to Communism and Harry gets in some shit with Duck over an ad of theirs that ran alongside a show featuring some Commie stuff. He really needs help with the TV Department, since the department literally consists of .. him. Joan to the rescue!

Joan really excels at the job and she’s pleased with herself – a glimmer of what Peggy felt in her early copywriting days. Her doctor fiancé Greg is a fucking dolt and wants to put her in the housewife box, not understanding why she would rather read scripts than be watching soaps and chowing down on bonbons. Sounds dull as hell, personally.

Through this gig, Joan receives a new form of respect and fulfillment in the office, something she never knew she wanted before. Much more recognition than at home, it seems.

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image courtesy of Blogspot

A couple of days after a great meeting with some clients, Joan is replaced by some bespectacled ginger; Roger makes the call that she’s got to get back to her actual job.

Harry Crane, A World Class Boob, fails to see that she’s fucking brilliant at that job. Joan had never previously understood Peggy’s ambitions (and even made fun of her for it), but now that she’s had a taste of something more and having it taken away, she’s let down and disappointed. Maybe Greg is right, it is her job to walk around the steno pool and get stared at all day.

(Side note, Joan may only be a senior secretary at this point because it’s 1962; today, she’d be running that place. Obvi.)

Enter Heineken! Aimed at bored suburbanites and therefore women entertaining in the home, fancy housewives in upscale suburban towns are the target. Once again, Don uses his own life in his work. Time to hit the Hudson cash belt. Not coincidentally, the Drapers are having a dinner party that weekend to bring in Crab Colson from Rogers and Cowan, with Duck, Roger, and wives.

Betty is cleaning the dining room in anticipation of said dinner party and slowmo Hulk smashes a squeaky chair in a fit of rage. Everything is falling apart. She’s so angry and has no earthly idea how to deal, how to cope. I bet fixing that damn chair was on Don’s to-do list, like the electrical outlet he probably didn’t get around to fixing either.

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image courtesy of The Golden Closet

The night of the party, there’s Betty’s Wonderbread dress. She is every bit as gorgeous and immaculate as you’d expect her to be, on point, true Grace Kelly. She buys Heineken, unbeknownst to her that Don pegged her as the target demographic. Everyone shares a laugh at the private joke, Duck explains, and Betty is understandably PISSED. Here’s her idyllic suburban life, beginning to come unraveled; this cushy life that she was always told she should want, on display, ends up being the butt of a joke and a bet to win.

Once everyone’s gone for the night, shit gets real. Something innocuous or silly can set a person off, and the deeper meaning behind the argument emerges and the white hot resentment comes pouring out. She fires the first shot as she switches off the TV.

“You embarrassed me.”

Of course, Betty is really irate about Don’s indiscretions, this is just the trash cherry on top of a Staten Island landfill; a slap in the face showing that he has no regard for her as a person deserving of respect. Spending the better part of a week making sure everything was set for the party, for what? Turns out she’s the punchline, their suburban life the setup.

She tells Don she knows about Bobbie, about the affair, and Don counters with a chilling “Fine, Bets. What do you know?” Real aggressive gross man shit right here.

“You think you know me? Well I know what kind of a man you are.”

The next morning, Betty begins rifling through all of Don’s shit, glass of red in hand. His suits, every pocket imaginable, his desk drawers; and there’s nothing but taglines written on cocktail napkins. He hides his tracks well. Betty struggles to understand why he would want to stray from the life they created — even though she, too, knows it’s not all that it’s cracked up to be.

Over at Sterling Cooper, Don is with the Heineken guys; Duck brings up that Betty got the beer for their dinner party unprovoked, that Don’s little experiment worked. That she’d created this whole evening with dishes from around the world, with Heineken placed next to the fine China and polished silver. Embarrassing. Of course, the Heineken guys eat it up.

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image courtesy of Mad Men Wikia

Don comes home to the apocalypse, to find Betty still wearing her dress from the previous night. Just the night before, Betty was a flawfree woman, the perfect wife and hostess. Now she’s in bed, surrounded by his crumpled suits, defeated, the wreckage of the day strewn about. She’s not yet waving the white flag, but came up with nothing concrete in the house. Natch, Don is still lying; “I didn’t do.. anything.” But she knows he’s full of shit, and his face says it all.

Sleeping in the lounge, a freshly showered Betty wakes him up. “Now you look me in the eye, you never do that. You never say you love me.” Don denies this and says he does these things all the time. He’s such a talented storyteller and liar that maybe he believes his own bullshit, the image he’s created, at this point. He looks genuine, and hurt.

“I don’t want to lose all this.”

The next afternoon, Betty sees that Utz ad with Jimmy Barrett, frozen for a moment. She phones the office and tells Don not to come home. “I don’t care what you do, I don’t want you here. I don’t want to see you.” Don is taken aback, but understands. He looks crestfallen. Long time coming, Betty. Don doesn’t have a current booty call in his rotation either, so he’s relegated to sleeping at the office.

At the end of the day, everyone is removing their armour solo. Joan rubs her sore shoulders, Peggy has a bath, Don loosens his tie and sits in the Sterling Cooper breakroom with a Heineken, staring into the abyss. Quite the contrast from the banging opening of Maidenform.

And then, Father Gill strips down and belts out some Peter Paul and Mary.

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image courtesy of Tumblr/my own idiocy

Mad Men s2e7: The Gold Violin

“Like the song says, Enjoy yourself — it’s later than you think.”

Don is pondering buying a new car from Breaking Bad’s Elliott at the Caddy dealership. Seeing a guy like Don Draper walk into a Cadillac dealership must spell out ‘instant sale’ to salesman Wayne. From his outward appearance — impeccably tailored suit, polished shoes, not a hair out of place — Don is a guy who wants the whole world to regard him highly, and what better way to do that than with the ultimate status symbol of a Cadillac?

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image courtesy of Pinterest

Flashback to the 1950s when Don was a bright-eyed used car salesman with big hair and a frumpy suit and tie. He hasn’t yet mastered sales, as he can’t quite close the current deal. A mystery blonde comes to see him and asks for him by name, appears puzzled that it’s this guy in front of her. She then reveals that she knows he’s not Don Draper.

G A S P

Back to the Cadillac dealership, Don has second thoughts and splits. Does he deserve a Cadillac? Wayne is peeved and surprised.

Because of how much Don impressed the Martinson coffee guys with Kurt and Smitty’s youthful jingle and his pitch, Cooper has let him know the door has opened for him to sit on the board at the Museum of Early American Folk Art, to be among “the few people that get to decide what will happen in our world.” In so many words, Don has arrived. And now he needs to act the part, fancy Cadillac in tow.

Now, here’s the rub with ‘Making It In America(TM)’; you’ve got to keep it up, with intense fervour. Shiny, top of the line new car every few years, perfect partner, marriage, and immaculate home.. and well-behaved kids who don’t jam Play-Doh in the nice leather seats of the Cadillac. The higher you climb that mountain, more people will be hanging out at every single goddamned precipice to knock you down.

And, we’re back to the Cadillac dealership. Don confidently buys that Caddy! At the same time, Jimmy Barrett is ringing the Draper house to let Betty know they’re invited to a big shindig for Grin and Barrett being picked up. To top it off, Betty is pleased that Don bought the car. He deserves it since he works so hard.

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image courtesy of Butterfly Mind

Word on the street is that Cooper’s got a Rothko painting in his office, which is generally off limits. After hours, Jane sneaks Kenny, Sal and Harry into the office. Sal notices Ken’s depth when he’s talking about the painting; how it evokes a feeling, it’s nothing super concrete or obvious. It just is. Kenny notices Sal isn’t like everyone else in the office, and gives him a new story to read.

Somehow Joan hears about their painting escapade, and sacks Jane on the spot. Joan feels as though she’s being replaced with a younger, sassier version of herself, and she’s pissed off. On her way out, Jane cleverly pops by Roger’s office to say goodbye and gets un-fired, remembering his attraction to her. Magical.

The truth about the Rothko is revealed! Harry meets with Cooper to go over some media numbers, and Cooper’s brief explanation is pretty in line with what we know about him.

“People buy things to realise their aspirations, it’s the foundation of our business. Between you me and the lamp post, that thing should double in value by next Christmas.”

Sal and Kitty have Kenny over for dinner that weekend, and it’s awkward as hell. Sal pretty much ignores his wife to pay attention to Ken, yapping about the story he wrote. He’s like a teenager with a crush, and Kitty tries her best to include herself. It’s actually pretty sad, watching as Kitty feels alone in her own home.

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image courtesy of Popsugar

Kenny’s story is inspired by a piece he saw at The Met. The Gold Violin itself is meant to illustrate that in some cases no matter how lovely and perfect something looks, it simply cannot work. It’s a status symbol, it’s gorgeous and stunning and flawfree, but ultimately worthless. Take a gander at Betty and Don, or Sal and Kitty for that matter.

The Draper family takes the new Cadillac out for a Sunday picnic, and leave behind an hysterical amount of trash in the process. Don launches a beer can to see how far he can throw it! Ha. The Draper picnic is a beautiful scene that glosses over the complete disorder and mess that is that family.

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image courtesy of Salient

And then you see Betty and Don breezily leaving a pile of fucking ruination behind, a heap of literal garbage in their apathetic wake. It’s a jarring dénouement to what looks to be a wholesome, pristine family activity.

It’s party time! These scenes are uncomfortable as all hell. Jimmy spots Betty, they make small talk and then shit gets mad real.

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image courtesy of Popcritics

After they’ve had a few, he cuts to the chase. “What do you think happened between the two of them?” Though simultaneously offended and mortified, Betty hears what Jimmy is saying. He plants the seed and confirms her nagging suspicion that Don is unfaithful to her. After all, they both know how to read the people they’ve married, and see how neither seem to be bothered that their respective spouses are nowhere in sight.

At the coat check, Don is getting ready to split and Jimmy delivers some shrill realness. Whether he’s pissed he doesn’t actually have a shot with Betty or that Don and Bobbie had a few bangs, we’ll never know.

Jimmy: “You know what I like about you? Nothing! But it’s okay. You got me everything I wanted. What did you get? Bobbie? Lots of people have had that.”

Don: “Excuse me?”

Jimmy: “Please. I laugh at you. I go home at night and I laugh at you.”

Don: “I don’t know what you think happened.”

Jimmy: “You. You wanna step out, fine. Go to a whore. You don’t screw another man’s wife. You’re garbage. And you know it.”

Don looks completely disgusted and offended, but also like he’s about to cry. He knows deep down that Jimmy ain’t wrong about him being garbage. As much as Don is a human dumpster fire who can be so incredibly antagonistic at times, I feel for him in this scene. Even though he excels at compartmentalising his life — keeping being the best bang in the city separate from being adored by his kids, has a great job but also fucks around — he can’t quite grasp that American Dream he’s scratching at. He’s flawed, like all of us, and he knows it.

Don and Betty drive home in stunned silence.

And natch, Betty voms in the new Cadillac.

Mad Men s2e6: Maidenform

“I went to sleep in my bra, and thought I was so-and-so.”

“Thank you for that.”

The Decemberists’ ‘The Infanta’ blares as this episode opens with our ladies getting ready for the day. 1962 means a fuckton of undergarments.

Duck’s ex-wife and kids pop into the office, with their gorgeous family dog Chauncey in tow. Their interaction is incredibly tense, and his ex-wife looks very on edge; she remarks that Duck isn’t good in the afternoons, referring to his alcoholism.. shots fired. The kids clearly aren’t thrilled to be there, and it all appears to be a formality. Duck is a weird guy, but maybe this will shed some light as to why.

His kids let it slip that their mother is remarrying, to some dude that Duck actually knows. He takes the news serenely and has positive and uplifting things to say to his kids, but you can see the panic and sadness in his eyes. On top of apologising and admitting to Don that he really fucked it up with American Airlines, his personal life is a complete mess.

Post-weekend after his kids leave, Duck runs off to sneak some booze in a back office; Chauncey’s adoring brown eyes are on him, and he puts the bottle down. Angry about everything that’s gone wrong, he walks Chauncey outside and closes the door behind him. He doesn’t look back as he barks at the glass doors. U G H poor Chauncey. Duck is obvi a powder keg, and things just are not going right.

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GOODNIGHT SWEET PRINCE

image courtesy of Imgur

Rewind back to Memorial Day weekend. Don and Betty are at the country club, and Don is chatting with a guy named Crab. Arthur spots Betty, and they have a short exchange; he feels uncomfortable and responsible since she changed her times at the stables to avoid him. She doesn’t confirm or deny but tries to be sunny about it, emphasising they should be friends. His hardon evaporates once Sally and Bobby run up to Betty and hug her, shrieking “mommy”. Betty looks strangely disappointed.

Similarly, Don is later disappointed to find out Bobbie has (adult) children. I’ll yap about their sweatbang in a bit.

At one point during the Memorial Day country club lunch, the host takes a moment to honour the veterans in the room, and Don stands up for his service in Korea. Sally looks up at him with nothing but sincere love and admiration in her eyes, and Don feels like a fraud, like trash, for just a moment. It stays with him and he splits during the bikini fashion show, making up an excuse about going to the office.

Feeling low and wanting to indulge that emotion, he rings Bobbie and she’s got plans with her son. Ah, shit. She remarks on the car accident, he doesn’t think about it at all. Time to head back to the house and drink milk alone. Anything seems better than being in that country club.

The Playtex campaign revolves around the idea that women fall into two categories; you’re either a Marilyn Monroe or a Jackie Kennedy. Men want them, women want to be them, et cetera, yadda yadda yadda. Apparently this all came to be in a booze-soaked after work sesh at a bar, and Peggy wonders why she wasn’t invited out with the guys. She gets left out of a casting session for Playtex as well, the last straw.

Peggy goes to Joan for advice on how to get the guys to invite her to shit, not knowing if she was maybe left off of a memo. “You’re in their country, learn to speak the language.” Joan has never had her job, nor has she wanted it, but she parts with some very Joan-esque advice: “You want to be taken seriously? Stop dressing like a little girl.” Go out and get that respect for yourself, like Bobbie Barrett told ya.

Pete trying to interact with Peggy in a playful manner is kind of hilarious. He’s working with her on Clearasil, and she’s very different from the girl she was just a couple of years ago. He tries to talk to her as if she’s some bookish loner, but that is definitely not the case. He thinks he’s got a great idea for a Clearasil tag, Peggy doesn’t agree. Pete tries to remind her that he’s in control of the account and the father in law connection — she’s not attempting to defy him, but she is on the creative team.

Post-Playtex presentation, Peggy overhears the guys are all planning on taking the clients out to the Tom Tom for some titties and cocktails. She puts on a new dress, gets her hair set and shows up on the sly – they’re all thrilled to see her, save for Pete Campbell, making a weird sourpuss face. Whatevs Pete, Pegs is in your world now.

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image courtesy of TheFW

Don is pissed that Betty chooses to wear a bikini to the pool, calling her desperate and wanting to be ogled. Yikes on bikes. In other news, he’s telling Bobbie to stop talking in a sexy context. Then she lets it slip that other ladies are talking about Don and his dick that’s been dragged across Times Square. Apparently he has a reputation, which is something of a nightmare. He’s not pleased, and leaves her tied to the headboard.

The next morning. Don wakes up to have a shave. Sally sits in the bathroom and watches him, admiring. “I’m not gonna talk, I don’t want you to cut yourself”.

He smiles at her, then catches his reflection and who he is. Don stares into the void for a Kubrick moment, entirely lost in self-loathing. He asks Sally to leave him alone; we focus on his image. What kind of man is he? He’s certainly not the real Don Draper. Contrasting with our ladies at the beginning of the episode, he can’t look at himself in the mirror anymore.

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image courtesy of Tumblr

Mad Men s2e5: The New Girl

An iconic episode, one of my favourites. The mystery of Peggy and Pete’s lovebaby is revealed, Peggy gets some great lady schooling from Bobbie, and Don miraculously manages to look debonair while wearing a sling.

Pete and Trudy are at the doctor, yapping about pregnancy, lack thereof, and all that crap. They are having issues conceiving a baby, though we know Pete is plenty virile. Pete brings up the then taboo idea of being one of “those childless couples”, and Trudy simply isn’t having it; she wants to have a family with him, and as she tearfully explains that idea, he gets it. The good news is that the doctor can blow up her ovaries, or do whatever..

Joan is engaged! The office is buzzing. Roger makes a crack about “relatively young love”, but she looks happy. He seems reticent, and Joan picks up that maybe he’s over the entire idea and concept of marriage, not just his wife.

“This is America. Pick a job, and then become the person that does it.”

Actual Don Draper realness in that quote right there.

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image courtesy of Blogspot

Bobbie is set to celebrate selling Grin and Barrett to CBS. Don goes to meet her at Sardi’s, and he runs into Rachel Menken (Katz) and her very boilerplate Husband(TM) Tilden. They have a strange interaction, it’s awkward and short; Rachel sees what he’s doing with Bobbie and appears disappointed, almost. Don is in a cloud of disenchantment and sadness after they run off to the theatre, so he and Bobbie drunk drive to Long Island to hit up her beach house. Always a great idea.

“God, I feel so good.”

“I don’t feel a thing.”

If there was one sentence that sums up Don Draper, it’s that. He’s constantly seeking out stimulation, something to shake him up and make him feel something, but at the end of the day it’s a flatline. It both motivates and paralyses him.

Natch, they get into a car accident. Don fails the sobriety test (the legal limit in 1962 was .15%! Jesus Christmas..), and comes up short on the $150 fine. Don rings a mystery woman, who is revealed as Peggy! She offers to let Bobbie stay with her to allow time for the black eye to heal, and these two women could not be more different.

Bobbie is generally insecure around Peggy, wondering what the real reason is that she’s helping her out. Bobbie offers a bunch of sage Lady Advice to her in the meantime, though Peggy fires back at her with shade at every turn.

Bobbie: “You have to start living the life of the person you want to be.”

Peggy: “Is that what you did?”

Bobbie: “You’re never going to get that corner office until you start treating Don as an equal. And no one will tell you this, but you can’t be a man, don’t even try. Be a woman. Powerful business when done correctly.”

Truer words have never been spoken.

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image courtesy of Mashable

We flash to Peggy in a hospital in 1960, all fucked up on tranquillisers. She can’t remember what happened clearly, and the doctor informs her that she’s had a baby. Peggy stares off into space in disbelief, or wishing to forget it entirely. Her mother and pregnant sister are there, appearing supportive.

At some point, Don comes to visit Peggy in the hospital and offers some sage Don Draper advice to her. After all, she essentially bounced from a job she was beginning to flourish at.. what’s the deal?

“Is that you? Are you really there?”

“Yes I am.”

“What are you doing here?”

“You got a promotion and disappeared.. your Christmas present is sitting on your desk. I called your house, and your roommate gave me your mother’s number.”

“Oh, God.”

“Your mother told me you were quarantined.. TB. I guess that was supposed to lessen my concern.”

“I’m sorry.”

“What’s wrong with you?”

“I don’t know.”

“What do they want you to do?”

“I don’t know.”

“Yes, you do.. Do it. Do whatever they say. Peggy, listen to me. Get out of here and move forward. This never happened. It will shock you how much it never happened.”

In this instance, I think this is really stellar advice. I know that Don is ultimately just trying to get her back into the office and doing his thing, but I feel that he knows a bit about her as well. He knows that she wants to succeed at advertising, not be a housewife; he knows she’s different from the rest. He sought her out to remind her of the importance of getting on with it, to let go and to move on with life. What the doctors are saying and the judgement doesn’t matter. He sees a bit of himself in her and wants to bring that out.

At home post-accident, it sounds like Don recommitted to his marriage at some point. Betty is understandably upset that he didn’t phone the house after his accident, but he plays it as that he didn’t want to worry her and call so late. He has high blood pressure, and thinks the booze and the meds didn’t make good bedfellows. Betty offers a sensible response.. “You should call me. I’m your wife. You promised you wouldn’t disappear like that anymore.”

Peggy takes Bobbie’s advice to heart, and point blank asks Don for her bail cash she loaned him. The flaw in moving forward is that sometimes you forget it almost entirely. She thanks him, and calls Don by his first name; he’s clearly taken aback. Good for you, Pegs!

At dinnertime, Betty withholds the salt with their meatloaf dinner. When Sally asks why, Betty replies that it’s because they love him. Upon hearing this, Don stares off to some far away place.

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image courtesy of Fanpop

“I’m sure glad I don’t have problems.”

Mad Men s2e4: Three Sundays

“He makes everything sound like Christmas.”

Man, do I love this episode. It’s cleverly structured over the course of three Lenten Sundays in April of 1962; Passion Sunday, Palm Sunday, Easter Sunday.

Sunday #1: Passion Sunday

Ahh, the appearance of Colin Hanks’ priest guy, or as I like to call him, Priest J. God.

Peggy is hungover during mass in Flatbush, and talks with new priest in town Father Gill as she’s getting some air. Then there’s one of those bizarre Catholic post-church luncheons where her mother and a rando lady from the ‘hood obsess over Father Gill at Anita’s house. He’s taken a liking to Peggy, even asking for her copywriting help with his sermons. Good thing Vatican II is around the corner and mass won’t be 99% Latin soon..

Cut to the ~sacrilegious~ Draper house, with Don and Betty awakening to the phone ringing at 9:30 on a Sunday morning. The kids barge in as they’re about to have a bang.

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image courtesy of Fanpop

Afterwards in the lounge, Betty is reading a copy of the F. Scott Fitzgerald short story Babylon Revisited. Coming back to survey the ruins of a once extravagant life during a crisis is speaking to Betty on some level, or perhaps Arthur asking her if she’d read a different Fitzgerald story stuck in her mind.

Don and Betty are relaxing in the lounge together, listening to dreamy Perry Como croon on the hi-fi. Bobby fucks with the stereo, Don barely looking up from his paper, and we’re back to Betty talking about how Don isn’t harsh enough on Bobby and doesn’t take responsibility. Frustration. They change the conversation by dancing to the song, enormous glasses of vodka with a thimble of tomato juice in hand.

Roger and Mona are out to dinner with their daughter Margaret, and her vaguely cro-magnon fiancé Brooks. They’re talking about the wedding, adamantly disinterested in a big wedding until Mona reminisces about her own wedding to Roger and how wonderful and perfect it all was. Roger is staring into space.

End of the evening at the Draper house, and they’re seemingly having a nice family moment.. until Bobby breaks the bed by jumping on it. Betty stiffens, pissed off, and tells the kids to go to bed, but it’s only 7:30pm.. ay yi yi. Grilled cheese all around then. Don does fuckall. More frustration on Betty’s end of things.

It’s Monday, and Kenny and Pete are entertaining some bald Marty when high class hooker Vicky strolls in. Roger pops over and is exceedingly charmed by Marty’s obvious Not Wife. The wheels are turning.

Bobbie pops in to Don’s office, talking about selling a Candid Camera knockoff called Grin and Barrett. As the deadbolt clicks into place, Joan rolls an eye.

The minute Don gets in the door at home, Betty lets him know that Bobby broke the hi-fi and lied about it to her face. She makes an assumption that his own father hitting him made him the man he is today. Betty is expecting Don to punish him in some meaningful (physical) way, but instead he delivers the much scarier Stern Dad Treatment. He knows Bobby’s aware he did something wrong, there are other ways to go about things.

“Mommy says you broke the hi-fi. I believe her. Don’t do that again.”

“..I won’t.”

Sunday #2: Palm Sunday

Peggy is at mass again, and the Drapers are having tasty pancakes! Duck phones the house, yapping about Shel Keneally and American Airlines, as Bobby tries to put his mouth on the goddamned griddle and shrieks. Betty is pissed at Don, he says he’s got to go into the office. Since Bobby has to hit up the ER, he’s got to take Sally with him. More frustration.

Father Gill followed Peggy’s advice, her mother is glowing and saying that it felt like he was only talking to her. “So nice he’s taken an interest in her!” Anita is pissed off and resentful that Peggy does whatever she feels like, and expresses this to her mother who ignores her complaining. Woof.

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image courtesy of Maxim

At the office, everyone is blinded by Pete’s tiny shorts. Duck is asking about Don’s plan for American Airlines, they’re set to present on Good Friday. Don is uncertain, everyone is rattled.

Not Roger, as he rang up Vicky for a night out. Apparently this is his first hooker since he was in the Navy! I’ll be damned. “Don’t believe what they say. No one dies doing this.”

Sally is wandering around the office, not quite sure what to do. She finds a photo of Kinsey’s girlfriend Sheila, asks Kinsey, “is that your maid?” Y I K E S

Don delivers an iconic Don Draper Speech, where most of Sterling Cooper is left wondering what exactly in the fresh hell he’s on about..

“American Airlines is not about the past any more than America is. Ask not about Cuba, ask not about the bomb.. we’re going to the moon. Throw everything out.”

(“Everything??”)

“There is no such thing as American history, only a frontier. That crash happened to somebody else. It’s not about apologies for what happened, it’s about those seven men in the room on Friday and what airline they are going to be running.”

(“So.. what does that mean?”)

“Let’s pretend we know what 1963 looks like.”

Sunday #3: Easter Sunday

Good Friday, the American Airlines presentation. Everyone is in their Sunday Best (ha ha ha), ready to present and totally fried.

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image courtesy of Tumblr

And then, the gunshot: “Shel Keneally was fired this morning.”

Anita hits up confession, knowing that Father Gill will be on the other side. She slyly throws shade at Peggy, expressing anger at her little sister, yapping about her child out of wedlock. “She acts like it didn’t even happen, and I hate her for it”. Anita feels invisible next to Peggy and all she’s doing and accomplishing, not understanding that Peggy is trying to move past all of this and live her damn life. Father Gill reminds her that she needs to forgive her sister, and that she loves her. Catholicism, man.

Cut back to Sterling Cooper; American Airlines meeting is over, all the shrimp is gone. Everyone looks both defeated and vexed. Don is pissed off that they jettisoned Mohawk Airlines for that wink from American, but Roger in his post-hooker glow rhapsodises that the chase is worth it. Old business is just old business.

Bobby is playing with a toy robot at the dinner table, and after being prodded by Betty Don’s finally had enough and throws the goddamn thing at the wall. Everyone is startled, Betty included. Betty tears into him, saying that he doesn’t take responsibility for raising the kids, that she’s stuck there all day with them, outnumbered. Betty insists that he gets to come home and be the hero, but Don battles all day with bullshit at the office. She shoves him and he shoves her back and immediately regrets it. No good.

Don has a bonding moment with Bobby. He apologises for getting mad and overreacting, and they talk about Don’s terrible father, his affinity for that perfume-y violet candy in the beautiful purple and silver packaging. It’s a nice moment, and they hug. Sometimes Don has flashes of good parenting. He tries explaining a bit of his upbringing to Betty, who is obviously uninformed. Unfortunately he wields this information in a way that’s manipulative, making her feel like she’s in the wrong.

“He’s a little kid. My father beat the hell out of me. All it did was make me fantasise about the day I could murder him.”

“I didn’t know that..”

“..and I wasn’t half as good as Bobby.”

Don and Betty are a couple that lack true intimacy in its purest form. There’s a faint flicker when they have that exchange, but it’s not enough. Part of the idea of marriage to me, is that you swap places emotionally, you let that person into your life and your mind so they can understand you and vice versa. Neither Don nor Betty can do that because neither one has any clue how to let the other in, and deep tensions are created, festering over the years. The banging around, the accusations, constant boozing, fights with shoving and other bizarre behaviours are propelled by this stalemate.

Easter Sunday after mass, Peggy is standing around with the other ladies watching kids gather up Easter eggs from the lawn. Father Gil hands her a Judgement Egg, stating that it’s for “the little one”. DAAAAAAAAAAAAAMN

judgementegg

image courtesy of Tumblr

.. And now, the word “Sunday” has lost all meaning to me.