Mad Men s5e6: Far Away Places

“Look at me. Everything is okay. You.. are okay.”

Time is all outta whack with this episode, with three separate looks at the same 24 hours through the eyes of our characters. We’ve got Peggy’s total shite day, Roger on LSD, and Don and Megan’s HoJo’s mess. They’re all disconnected from their partners for different reasons. Peggy has a long, lousy day that starts with an Abe fight and stretches on as Don has a nightmare night that seems neverending.. while Roger is having the time of his life on drugs.

image courtesy of UnaffiliatedCritic

Turns out that while Don is currently doing his best impression of 1963 Roger, Peggy is now 1960 Don.. and I love that both Peggy and Pete are trying to be the New Don(TM) and failing in different ways. Stressed about work, she’s on the outs with Abe. Her Heinz presentation takes a nosedive and she tries on the strangely hypnotic Draper Stubborn Man(TM) routine to shit results. Taking another page from the Draper playbook, she pops out for a movie and gives a stoned handjob to some rando with awesome pants.

Unlike Don, however, she’s brought back down to earth by Ginsberg and his Martian/concentration camp origin story. The well-off over-educated guests at Roger and Jane’s fancy LSD party yap about whether or not the truth is the same on other planets, but we of course know that Ginzo’s truth is the same no matter what. His origin undoubtedly amplifies his eccentricities, and his Martian spin to make everything seem less awful is telling.

“We’re a big secret.. they even tried to hide it from me. That man, my father, told me a story I was born in a concentration camp, but, you know, that’s impossible. And I never met my mother because she supposedly died there; that’s convenient. Next thing I know, Morris there finds me in a Swedish orphanage. I was five. I remember it.”

“That’s incredible.”

“Yeah. And then I got this one communication, a simple order: Stay where you are.”

“Are there others like you?”

“I don’t know. I haven’t been able to find any.”

Peggy’s history isn’t a tragedy akin to this level, but she’s probably more like Michael Ginsberg than she realises. Affected by his story, she rings Abe and they reconcile, so at least someone is on the right path.

(On another note, Don isn’t that dissimilar from Ginsberg re: the origin sense. He, too, never knew his mother; and for all he knows, maybe she wasn’t even a prostitute. That information came from his stepmother who didn’t like him very much in the first place. Ginsberg chooses to believe he’s an actual Martian, and Dick Whitman ran with Don Draper as soon as he got the chance.)

On a somewhat lighter note, looks like Roger’s marriage to Jane is imploding, shocking absolutely nobody. As a last ditch effort at reconnecting with her husband, she wants to take LSD with him, to share an experience and maybe gain some clarity; and hey, it does exactly that. The next AM, their marriage ends on a surprisingly sad note– Jane knows that Roger simply doesn’t like her anymore. Bummer, but for the best. Roger’s obviously been unhappy for awhile, and it’s better to let go of a lie and get on with it.. even if he hemorrhages cash in the process.

just in case shit goes south.. || image courtesy of TheBigLead

Rewinding a second to that disaster Heinz pitch.. Peggy transports paternalistic Raymond back to the past for a beat; yet he dismisses the idea under his erroneous assumption that this generation of young people gives no fucks about nostalgia. Natch, she argues that they do (which is true), and perhaps with Don’s help she could’ve helped Raymond see that; instead, it implodes spectacularly and she gets the boot from the Heinz account.

When Don attempts to take Megan out of the office and back in time to the Howard Johnson’s with that goddamned orange sherbet, it’s his own wistfulness and sentimentality he’s fixated upon– and not any real childhood memory of hers.

image courtesy of BetterWithPopcorn

That HoJo’s is a good site for illuminating a touch of the generation gap between Don and Megan; Don, ever axiomatic that Megan would adore the damn place, is let down by her honesty. It makes sense he’d dig a camp, shiny place like that, too– for all of Don’s slathered on sophistication, he also intrinsically connects with the mainstream kitsch absurdity of midcentury America.

Step outside the box and think about where that all came from for a second; so much of it is, weirdly, about a clean slate. All of that hopeful, sparkling Formica light at the end of the war tunnel. His generation wanted to move forward from the war (well, wars..), and start over in a gorgeously maintained modern home with all the bells and whistles. The American Dream(TM) that continues to attract Don, in spite of his present allergy to the suburbs.

To someone like Megan who grew up with this sort of thing as the norm, she might view the HoJo’s as gauche or trying too hard to be a Fun(TM) place when really, it’s a place you stop on the way to somewhere more exciting. Expressing her real opinion on the (obvi vile) orange sherbet, Don is upset, probably more than he should be.. because who literally cares? Sherbet blows.

But of course, that Howard Johnson’s represents the idealised version of Tomorrowland for Don. Maybe he hoped Megan would see it that way with him as a sort of ‘second honeymoon’, a chance to reconnect. Too bad it got fucked up.

image courtesy of Pinterest

Looking at it from this end, it seems as if Don and Megan aren’t supposed to ‘work’ after all. Similar to Roger and Jane’s tenuous union, Don truly wants (and I think needs) Megan on some level; he just doesn’t Get her. She’s miles away from Betty, she stands up for herself and is her own person; she’s a thoroughly modern gal. Megan giving her real input is ten kinds of jarring to Don. And is she “allowed” to like to work? Apparently not.

It’s deffo certain that Don isn’t done evolving just yet. After all, we’re always changing and growing. Megan may covet the illusion of their marriage and the man Don presents himself as, but she is also true to herself. Shit’s in competition with one another. She loves Don, yet she does not understand him entirely. They have that bitter argument, and Don roars off in the Cadillac, since a hobo told him once how great it is to run.

In Mystery Date earlier this season, Don capitulates to temptation in his dream, yet also sees Megan as his salvation upon waking, complete with the majestic halo of warm light. He’s probably putting too much on her shoulders to keep him in line, without truly knowing her. A big ol’Band-Aid for his swinging dick.

However, as Megan said, every fight diminishes what they have together. If you take a peek at what they’re fighting about, there’s absolutely a basic misunderstanding between them. She blurts a pretty hurtful insult his way about his dead mother, knowing how awful it was as it flew out of her mouth, and maybe also not knowing to pull back on the throttle a bit with that shit. He storms off but eventually turns back around to find she’s gone, and as the hours pass into the morning he becomes sick with worry that he truly fucked it up or unspeakably worse.

What in the hell does he want exactly? What their marriage represents, or does he really want her as a person? For Christ’s sake, is anything ever going to be enough?

That chase around their gorgeous apartment shows how out of control Don really feels, it’s totally unsettling to watch him unravel like that. None of this shit is good, kiddos. It was like watching a terrible, uncomfortable version of their kinky cleanup sex play from the season premiere.

image courtesy of Tumblr

Cooper, apparently seeing more than he is seen these days, astutely puts Don in his place with a few choice words. Love leave, indeed; he ain’t wrong. Get your shit together, Don.

“Howard Johnson’s, huh? I love the colours, the atmosphere.. the clams..”

Advertisements

Mad Men s5e5: Signal 30

“Look, I’m just trying to tell you because I am who I am and I’ve been where I’ve been that you don’t get another chance at what you have.”

“Brave words for a man on his second time round..”

“Yeah, and if I had met her first, I would have known not to throw it away.”

Strap in, kiddos.. this is a good one. Lane tries his hand as an account man and fails miserably, but ends up punching the shit out of Pete. Kenny’s still writing, and this time it’s bizarre sci-fi! Don might actually be happy with his life, and the now-suburbanite Pete’s yearning for more as usual during his driver’s ed classes.

Now, it’s no secret that Pete has idolised Don since day one. The gorgeous wife and house in ‘the country’, kids and all the accompanying junk, suavely banging around and doing whatever it is that Men(TM) do.. Pete admires him, wants to be him. But when he eventually tries on the swinging dick Don of yore, he feels totally dead inside. Is that all there is?

image courtesy of Lesbohemia

On the other hand, Don glimpses his former life via Cos Cob Casa Campbell and feels claustrophobic as hell leading up to and during the Saturday night dinner party. Don’s more casual references to his past are enlightening– the horseshit remark to Kenny, etc. Maybe he’s finally starting to accept who he is now that he’s been honest from the getgo with Megan and she didn’t run for the hills.

Kenny’s wife Cynthia blows up his spot at said dinner party, outing him as a writer (still!); a point that Pete blabs to Roger later on. Proud as ever, Cynthia describes his story about a bridge between two planets, and how all it takes is one bolt being removed by a sassy robot to fuck it all to hell. Sort of sounds like Megan to Don in the office and at home, in life.

Megan bridges the Don to the Dick, and it seems like they work pretty well together and he knows it. He appears to be a different man now that he’s not married to Betty, on his way to ever improving and self-awareness. Megan’s sunny disposition certainly helps. Don implies as much to Pete in the post-Jaguar hooker party cab; he knows what he’s got with Megan is special and isn’t aiming to send it all to hell like he did with his first marriage to Betty.

Plus, he’s always liked Trudy (and this is saying a lot as Don doesn’t really like anybody), and everything looks so picturesque on the surface, so seeing Pete gleefully follow a ~lady~ to her private room must have been a little jarring. He can see that Trudy’s a rare lady, and that Pete could easily fuck it up and not even begin to fathom what he’s lost.

And let’s be real, anything less than too many high-fives putting Pete in the hospital was going to be disappointing with his mentality, so he took Don’s silence as some sort of quiet disapproval. I mean, the whole conversation and Pete’s over the top offense at Don’s lull was entirely based on his own projections. All Don did was say he hoped Pete didn’t keep making the same mistakes that he did, which is entirely valid. He even did that Man(TM) thing and absolved Roger from banging around-related guilt by saying “he’s miserable”, as if that’s some sort of excuse, but eh.

image courtesy of BurnThisMedia

Let’s backtrack for a hot second and yap about Lane and his shit. His wife Rebecca is still unhappy being in Manhattan, pining for Crown & Country, bringing reticent Lane to a British pub to watch the World Cup. And hey, England won in 1966! So it’s not all bad. Striking up conversation with her friends, he stumbles into a potential Big Deal Account with Jaguar cars (and the secretly enormously dirty old man Edwin). For a smaller agency like SCDP, having a car makes them a major player on Madison Ave.

Edwin is hesitant to really open up, and thus Lane fucks it up on their business dinner. Pete, Roger, and Don try to set it straight with lobsters and a casual visit to a classy whorehouse, at Edwin’s creepy “I LIKE PARTIES” open door. Don sits it out, casually referencing his upbringing to the madame of the house. Big stride for him not being so deeply ashamed of his impoverished childhood, I guess.

image courtesy of IMDB

As Pete’s the guy who’s always wanting, his lady of choice runs through a couple of scenarios before landing on him being her King. He’s always wanted more of what someone else has no matter what it is, and shit he plainly can’t have like that naive teenager in his driver’s ed class. Besides being entirely creepy, an age appropriate (and smokin’ hot) dude pops in and sweeps her away anyway. Another blow to his fragile masculinity, on top of when Don deftly swooped in to fix the exploding sink at casa Campbell, to the ladies’ applause.

The true crown jewel of this episode is the partners meeting. That absurd hooker party blows up in Lane’s face in the form of CHEWING GUM [left] ON [Edwin’s] PUBIS, and he challenges Pete to a fucking fist fight in the conference room.. and proceeds to kick Pete’s ass.

Talk about a literal blow to Pete’s manliness, good godDAMN. Just as Lane struggles to feel relevant at SCDP in the day to day, Pete also wants to mean more in life. In the elevator, Pete tearfully admits to Don that he feels he has nothing. To see someone who is that cocky on the reg be reduced to this crying, bruised mess reminds us that everyone’s got their own shit going on below the surface.

Thanks to Pete ratting out Kenny’s writing to Roger (who predictably was less than pleased with Ken’s attentions being divided), he’s gotta come up with a new pen name. Kenny’s final scene with the monologue overlay gave off a sense of hope, in a way; deffo glad he’s sticking with the writing and finding that meaning in his life.

While Kenny and Pete have always have been at odds in the office (even though Pete is winning account-wise at work), Kenny is absolutely more fulfilled than Pete is at home which of course means a lot more in the long run. It’s something that Pete hasn’t found yet, because he’s missing the damned forest for the trees. So natch, he tries to undermine Kenny’s other professional pursuits. Woof.

I guess it was only a matter of time before Pete got punched in the mouth at that office.

The Man with the Miniature Orchestra, by Dave Algonquin.

There were phrases of Beethoven’s 9th Symphony that still made Coe cry.
He always thought it had to do with the circumstances of the composition itself; 
He imagined Beethoven, deaf and soul-sick, his heart broken, scribbling furiously while death stood in the doorway clipping his nails.
Still, Coe thought, it might have been living in the country that was making him cry..
it was killing him with its silence and loneliness.
Making everything ordinary too beautiful to bear.

Mad Men s5e1 & e2: A Little Kiss

“You think he’s looking at your breasts?? He’s looking at my calendar!”

Hello hello, and welcome back! I’m really looking forward to writing about this season, because season 5 is where shit starts to get dark. Right out of the gate, there’s talk of death, intense bitterness, underlying messes, how nothing is as it seems.. with a nice dash of good old daddy issues and Fragile Man Feelings. We pick up a few months after the conclusion of season 4’s Tomorrowland, Memorial Day Weekend 1966.

Staking your own spot in the world is at the forefront of this episode, with our main characters desperate to mark their territory. Pete vs Roger (and the fight for an office sans support beam), Megan showing off her marriage (and dope-ass home), Joan finding her identity through work (and not just being a mother), Lane and his place in the USA.

image courtesy of Amoeba

There’s a lot of Don and Megan in this episode, and they’re both starting to realise exactly how little they actually understand about one another. Don, as he is wont to do, assumed Megan would be simple and uncomplicated; turns out she ain’t no Canadian Barbie, she’s a real person. Ssssssshocker. The man is seething over the surprise party she threw for his 40th, especially inviting everyone into their home and the iconic Zou Bisou Bisou. As a happy go lucky girl, Megan can’t fathom the idea that Don would never want a birthday party, much less a big ol’ surprise involving making him the center of attention.

“Don’t waste money on things like that.”

“It was my money, and you don’t get to decide what I do with it.”

“Well, could you please not use it to embarrass me again?”

“I know why you’re upset.. you’re 40!

“I’ve been 40 for half a year.”

“When is that gonna stop? Only you know that. This is your birthday now.”

“Fine, I don’t like my birthday. I told you, I never had it when I was growing up and I’ve never wanted it since.”

“You never had a birthday? Didn’t Betty ever throw you a party?”

“No, because I forbid it.  I don’t need to be the center of attention.”

“You love attention!”

Well, the good news is that Don was up front with Megan about his Dick Whitman. And we all know that Don loves attention as Megan astutely points out; but he covets control, and wants attention on his own terms. Tale as old as tiiiiiime..

image courtesy of AMC

Switching gears, Lane finds a dude’s wallet in his cab, within which is a photo of busty Dolores; when Lane rings the owner, she’s the one that answers. He’s very flirtatious on the call, the man Lane imagines himself to be, suave and daring. Reality slaps him in the face when a disheveled fat dude in a hat that looks like it got run over by the E train comes to pick up said wallet. Boner killer.

image courtesy of Tumblr

Lane’s pining for something he doesn’t have, something he got a taste of last season with his Playboy Bunny ladyfriend. He fancies much more than just being the office middleman. I feel like that’s a big part of why he lets everyone out of their contracts to create SCDP in the first place– he wants to be one of the power players, the execs who get the gal and the cash and the respect and the power.. much like Don supposedly has.

And instead he has his vaguely severe wife, piles of bills, and he feels powerless. The titty photo is what he longs for, but like much of everything else in his life, is denied him. His effervescent longing gives him the get up and go. Lane has always been a man who feels desperately out of place, ironically looking to Don who’s pretty much in the same boat. Little does he know it’s mostly an illusion of happiness on Don’s front.

That 40th birthday party is the ultimate illusion of happiness, partly shattered by Peggy throwing some particularly uncouth Heinz-related shade. We see Pete’s suburban dreamhouse in Connecticut, a city boy woefully out of place in the wood-paneled country. He really thought that he wanted the life Don had back in 1960, and now that he’s got it (complete with a near-identical hideous knotty pine kitchen) it’s not all it’s cracked up to be. Trudy hasn’t quite yet returned to her effortlessly chic self post-baby, and as usual Pete has no earthly idea what he wants, just that he yearns for so much more of it.

Joan is at home with her newborn and mother in tow, yearning to head back to work and to feel relevant again. Being a mother isn’t enough for her to feel needed, to feel important; and the private barb SCDP throws at the racist Y&R hiring policy doesn’t help, thinking they’re looking to replace her.

image courtesy of Tumblr

Looks like Roger and Jane’s marriage has run its course, with the amount of seething tension between them. Seems nice on the outside, but there’s no depth there.. more on this shocking story at 11. Roger is being rapidly outpaced by Pete at the firm in terms of bringing in new business, and he feels somewhat listless as a result.

Almost every character’s story centres around those fantasies of happiness. Let’s be real, we can all concoct a perf Happy Ending(TM) in our imaginations, but then we get to live with the messier (and oft disappointing) realities that come with it. Everyone coveted the gorgeous, immaculate white carpet Megan saw in that interior design magazine, but the reality is that they all wound up with the filthy version in Don and Megan’s place that survived that birthday party.

“Well, I want you to be happy. Somebody should be. You know, two weeks ago, Jane asked me, “Which one’s Mussolini?'”

Mad Men s4e7: The Suitcase

“My uncle Mac said he had a suitcase that was always packed. He said, ‘A man has to be ready to go at any moment’..

“..Jesus, maybe it was a metaphor.”

Where do I even begin with The Suitcase? What can I say? It’s probably my favourite episode of the entire series, one of the best for sure. I’ve got a lotta feelings here.

In life, who truly knows us? Sure, you can be close with people, but you’re never inside their head. What happens when the last vestige of who you really are through a human connection fades away? The hell do you do next?

peggy_phone

image courtesy of Tumblr

Peggy and Don both terrified of the phone and what news is on the other end. Stephanie rings and leaves word from California, and Don knows it’s not good news. Picking up the phone, he hesitates.. and picks up a bottle instead. Here we go.

It’s Peggy’s birthday, and drunkass Duck is on the line, begging her to meet up and throw him a bone via manipulation.

iseeyouthrowingshade

I SEE YOU.

Megan and Peggy have a fun interaction in the ladies’ room; the forward thinking Megan compliments her for being 26, lets her know that she’s doing a-OK in life. Whereas Trudy emphasises that “26 is still very young”, reminding her that she’s unmarried and without some baby. Woof. As Trudy goes off with Pete to enjoy her evening, Peggy goes back to Don’s office to wrap up. Or maybe not.

Bland boyf Mark is surprising Peggy with dinner at a fancy Italian place.. and has invited her mother, sister/brother in law, and roomate along for the ride. Equal parts awkward and infuriating, Peggy finds out as she delays the dinner repeatedly to help out with Samsonite. When he reveals he’s there with all those people she can’t really stand, Peggy is enraged. 

Has this guy learned a good goddamned thing about her during their time together? Not bloody likely, but it’s also unclear what she’s offered; after all, she was doing a virgin impression for him at first. They break up over the phone.

I feel like I understand the aspect of Peggy that is a little tonedeaf to other people’s feelings, because I can certainly be like that in life. Pegs is whip-smart and can be very kind and empathetic, but she can also be oblivious, especially when it comes to other people’s subtle reactions. It’s clear that she wants marriage and a family in the abstract, as these things she Should Want(TM), but the actual realities of being in a long-term relationship are too much for her. She feels more drawn to her career and the office than she does to Mark, and let’s be real, Mark sorta blows anyway.

Peggy knows Don at least as well as Anna, and I think just a shade better. The details of how Dick became Don don’t matter as much as who Don is now due to all those deets. She’s seen him at his best and at his worst. I don’t think Anna ever really did, since California was Don’s New York palate cleanser. On the west coast, he was neither Dick nor Don, but sort of a hybrid; the person he might have been if not for the intense self-loathing and running. And I’d say it’s a lot harder to know and love Don in New York than that vaguely breezy California guy. But Peggy does.

And we’re right back to The Hobo Code, with Uncle Mac’s escapist advice ringing true to Don. But come on.. you can’t run forever, as much as you may try. Your problems will follow you everywhere if you don’t face that shit head on and fucking deal with it. It’ll hit you all at once.

Both Don and Peggy have painful memories that bubble up in mental reruns, things they’d rather forget, just like the rest of us. It’s revealed that Peggy witnessed her father’s violent death, just as Don did. Two people who know each other exceedingly well can articulate entire paragraphs by saying very few words. They sort of dance around what they’re trying to say, but the other person understands it intrinsically.

donpeggy_bar

image courtesy of MadMenWiki

Peggy lets him know that her mother thinks he’s the one who knocked her up in Season 1, since he was the only person who visited her in the hospital. People make fun of her at work, assuming she got the damn job by banging Don. Humiliating and sad, but Peggy persists. The evolution of Peggy and her creative career is absolutely fascinating. And it’s worth noting that Don is interesting because of his past, but Peggy is interesting because of her future.

Meanwhile, Drunk Duck pops to SCDP to take a shit in Roger Sterling’s office, mistaking it for Don’s like a truly gross maniac. In one of the best drunk sad sack man fights ever (spurred by Duck referring to Peggy as a whore), Don badly throws a punch and Duck then throws him to the ground, boasting about killing a bunch of people in Okinawa. Jesus Christ dude, simmer down.. why you gotta make it weird?

Apologising for Duck’s behaviour and about how long ago all that gross sex was, Don doesn’t judge. He gets it.

don_alone

image courtesy of Tumblr

Waiting to ring Stephanie and get confirmation of what he knows must’ve gone down is killing him. Anna is such a special person to him, and Peggy can see he’s clearly in pain. The thing is, Anna needed Don/Dick at that point in her life. Her husband was dead, and she was alone.. and then she tracks down Don and he’s just as alone and in need of a connection. It would take a far more cynical person than Anna to turn him in once she heard him out all those years ago.

I think what’s so great about Don and Anna’s friendship is that it’s a mutual relationship where each is able to get something from the other and give something in return. A sense of comfort, no judgement, ease. Being faced with the reality of these things disappearing in her death is haunting Don.

anna_thesuitcase

image courtesy of MadMenWiki

With Peggy asleep beside him on the couch, a vision of Anna appears to Don. She’s holding a suitcase and smiling, radiant, as she walks off. Don finally rings Stephanie around 5.30a, confirming the worst; Anna passed away in the night. Putting the phone down and making level eye contact with Peggy, he wholly falls apart, sobbing.

“What happened?”

“Somebody very important to me died.”

“Who?”

“The only person in the world who really knew me.”

“That’s not true.”

donpegs_thesuitcase

image courtesy of Fanpop

As the morning stretches on, SCDP is back to the usual bustle. As he shows her an idea for Samsonite, Don holds Peggy’s hand for a beat, subtly acknowledging their night. The gesture alone speaks volumes as they both take a moment.

“I know what I’m supposed to want, but it just never feels right.. or as important as anything in that office.”

Mad Men s4e4: The Rejected

“You can’t tell how people are going to behave by how they have behaved.”

ATTENTION! I have an urgent and horrifying news story: Don continues to be entirely obtuse. More on that at 11.

whyisthisempty

Lucky Strike call realness. || image courtesy of Imgur

During a particularly prickly conference call with Lee Garner Jr, Don receives a letter with a photo from Anna and relaxes for a hot second. Note how Don now has photos on his desk, a callback to Conrad Hilton’s criticism from Season 3.

This episode focuses a lot on Peggy and Pete, and how wildly their paths have diverged. These days, Peggy is largely confident and happy with who she is; she gave up Pete’s baby and that life she’s ‘supposed’ to want to pursue something she actually wants — a life of her very own. She’s an influential part of SCDP, works hard and has a lot to show for it. She’s in a place where her confidence and earnestness are revered, and finds fulfillment in her career. Sure, her new friend Joyce seems “pretentious” according to SCDP receptionist Megan, but Peggy dreamily responds with admiration to that remark.

joycepegsmegan

image courtesy of TomandLorenzo

That Kool-Aid is powerful, though. Even with all of this good shit, she still tries on Faye’s engagement ring while the focus group is in full swing (to Don’s amusement). And when she hears Trudy and Pete are gonna blow out a baby, it understandably throws her for a bit of a loop. Her mixed feelings aren’t regret or ~feelings~ per se, but rather just a lot of emotion that came back to the surface after being dormant for so long. It’s complicated. Et cetera. It’s like when an old ex gets engaged, and you pause for a beat. You don’t give a damn about that guy, but it’s still dissonant for a second.

Trudy’s pregnancy takes Pete entirely by surprise, especially since he got the news dropped on him by the father in law when he was supposed to be firing Clearasil. Pete had no interest in adoption, and wasn’t sure he wanted a kid in general –- probably due in part to his own dysfunctional WASPy upbringing, and a tinge of the betrayal he felt from Peggy’s confession in Meditations in an Emergency –- but when he learns that he’s knocked up Trudy, he realises that, like the wife he truly needs and learned to love, it is indeed something he yearns for in his life.

Pete and Pegs may work in the same place, but they are in two distinctly different worlds. That shot of them catching each other’s gaze from different worlds through the glass SCDP doors is weighty; she’s heading out with her fun, colourful bohemian friends, he’s with the old money crowd in suits. Gotta live your truth.

In the focus group for Pond’s, there’s a fucking enormous meltdown of entirely too many lady feelings. Faye tries valiantly to get the girls to yap about the ritual and treating yourself to prove that Peggy’s pitch is the right way to go, but it all goes right back to Freddy’s hysterically dated marriage-centric idea. The only one who responds to Peggy’s idea is Megan, who shares a story about her mother’s AM routine.

And when Allison eventually cracks, Don squirms in his seat.

Good god, that man is fucking obtuse. Finally admitting they had a bang after Allison backed him into a corner, she states that she’s going to resign her position, requesting a letter of recommendation. And being the world class shithead that he is, Don tells her to write one herself on his letterhead and he’ll sign it; now, this ain’t an uncommon practice, but GOOD LORD, Draper, can’t you see that she’s desperately trying to get you to recognise her value in some capacity? Allison responds by hurling an object across the room at him in anger.

“I don’t say this easily.. but you are not a good person.”

peepingpegz

image courtesy of Celebuzz

This explosion of emotion and noise is another symptom of a Don who ain’t very good at being Don Draper right now; he’s full on human mess edition, sitting alone at the office until the soothing hum of the floor waxer lulls him home. When he gets to his apartment, he begins typing a letter to Allison, apologising and saying “my life is very”.. stopping dead. Very what? A raging tire fire? Mortifying? A dumpster apocalypse? Oof.

Whatever his life may be at this moment in time, and the important people in it, is very much not something he had planned to be living when we see him in the pilot.

Ah, Miss Blankenship! A bright spot in this episode. As always, Joan reads between the lines and understand exactly what Don needs and gives him an hysterical older lady secretary to replace Allison. 

The research has come in, and sure enough.. Pond’s should be linked to matrimony. Sigh. Don brings up a good point arguing for Peggy’s vision for the Pond’s campaign over Freddie’s. Maybe this is a campaign so new and bold that people don’t yet have a context for it; there are women who feel this way and they’re simply not being reached.

(But hey, look at Megan from that focus group! She not only kept her shit together the whole time, she also related to the idea, showing that Peggy’s pitch and Don defense of it are on to something.)

“Why are you being so hostile? You think I’ve never had this argument before?”

“Because you go in there and you stick your finger in people’s brains and they just start talking just to be heard. And you know what? Not only does it have nothing to do with what I do, but it’s nobody’s business!”

Christ.. way to dropkick a hornet’s nest, Faye. Don is such an intensely private weirdo who won’t share jack shit about himself on principle, so he’s lashing out. He doesn’t like his creative process being fucked with, he doesn’t want anyone knowing a damn thing about him, and he certainly believes that past behaviour is not always predictive of future behaviour, implying he’s living proof.

iseeyouthrowingshade

I SEE WHAT YOU’RE DOING. || image courtesy of ONTD 

But.. it’s true when it comes to Peggy, Pete, and Ken, and most of the other significant characters in this episode. They have changed and evolved, right along with the world here. They do some shit in 1965 that their 1960 selves would definitely not have ever believed. They’ve rejected parts of themselves from before, whether for better (a more adult Pete, a bolder more confident Peggy) or worse (a drunk sad sack Don, a stressed out Kenny). The evolution of these characters is equal parts fascinating and true to life.

joycepeggy_downtown

image courtesy of TomandLorenzo

Peggy heading out to the warehouse art haus video party in Washington Market and snogging new guy Abe in a closet during a police raid is absolutely NOT something 1960 Peggy would have done.

In the closing scene with the elderly couple in the hallway, Don pauses before closing his door. The wife is ambling up the hallway to her husband in their door, emphatically asking if she got pears. This is a life Don doesn’t think he’ll have a shot at anymore, that bizarre sort of intimacy and deep connection with another person. I mean, he deffo won’t if he keeps up this convoy of drunken mayhem and getting slapped by hookers. It’s no way to learn how to be actually intimate with anyone.

“Hello, 1925. I’m not gonna do that.”