Mad Men s5e4: Mystery Date

“You know, there are some parts of town where we can run into some people I worked with.”

Hello, dark-ass episode! This episode is filled with nightmares, fever dreams, literal murder, shame, but not without a tinge of light at the end of the tunnel.

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As we all know, Don’s a guy with a whole lotta hangups. Even with our initial glimpses of Don on the show, he’s ~an adulterer~ though of course, we don’t know it just yet. You see him banging Midge in the pilot and hanging around at her Village digs, and that’s what we know of him. They have a chat like a couple would, he frets about work and being a fraud while she soothes and reassures during their pillow talk. Then as Caravan pipes up, he boards the train home to his idyllic suburban home in Ossining at the very end.. revealing his picture-perfect wife and 2 kids.

quelle surprise.. || image courtesy of Giphy

What starts to come into focus as Mystery Date unfolds is just how deeply ashamed Don is of his past fucking around, how intrinsically broken he is inside. This show has never really presented Don’s philandering in a good way, but there’s a pretty harsh fluorescent DMV floodlight blasting directly upon his bullshit here. Here’s a guy who hates himself, deep down.

Banging around with Midge, Rachel Menken, Bobbi Barrett, that annoying Palm Springs teenager Joy, the incredibly irritating Miss Farrell, tons of other randos like the remarkably uncomfortable elevator encounter Andrea.. he’s looking for someone or something to fix whatever the hell is wrong with him, and he plunges in hardon first. We know he’s never had a loving mother figure in his life which certainly doesn’t help.

That feeling of isolation and shame eats away at him, and he’s terrified that it’s some keystone part of his personality he can’t move past; marrying Megan was maybe a move to convince himself that it’ll be better this time around. He was unhappy while married to Betty, and you never know.. perhaps he’s right, Megan will save the day with her sunny bubbliness and her love for him. Maybe she’ll coax him and love him into fixing that part of himself. But hey, Don.. we create our own demons.

Ginsberg knocks a presentation out of the park for Butler Shoes Footwear, and natch, rattles off like a maniac about the idea of Cinderella being inherently dark; and it does make sense. Think about it– a woman with only one shoe desperately running, hobbling, to get the fuck away from a dark, imposing figure of a man. Ginzo describes the ad’s moneyshot with the chase, Cinderella’s shoe, as we see Andrea’s limp leg from under Don’s bed later.. juxtaposed against that sumptuous white carpet after he strangled her to death in his fever hallucination.

And Don frantically shoving Andrea’s body under the bed is the inverse of the oft-discussed Speck murders in this episode; instead, it’s a dead girl under the bed versus a frightened live one.

Because of Speck looming over everyone, there’s talk of people popping up at your door and what might happen. The soldier who crosses Joan’s threshold should theoretically be fulfilling a dream for her; Greg, her husband, back from Vietnam on leave, with less than a few months to go before he’s back home for good and they can be a family again.

But we all know Greg is more of a shit nightmare creep than a daydreamer’s hero. We know that he raped Joan on the floor of Don’s office. We know that he’s a wildly insecure manbaby, whom Joan married more for the expectation of a lady of her time than true love. We know that they’ve tried to make things work, with some nice moments here and there, but at the end of the day Greg is just the handsome face she settled for. Either way he’s her husband, and she’s relying on him to be home soonish and help her day to day make sense; instead, he volunteered to stay in Vietnam for another year because he feels “needed” over there. Fucking hell.

The surprise news is dumped on Joan at a classy Italian dinner with her mother and Greg’s distraught parents, immediately followed by some bro blaring an accordion to ease the tension. Last time an accordion made an appearance on this show was when Joan had to serenade a similarly uncomfortable trash dinner!

image courtesy of The New Yorker

So, Joan ditches said shitbag husband once and for all, thank fucking Christ. She has reached her limit of bullshit, and Greg and his microscopic dick can go and be Very Important(TM) in Vietnam. Good riddance, dead weight.

As the dawn of the next day arrives, it seems everyone’s waking from their nightmares, and probably none more than Joan. Don’s shit fever dream only lasts that night, whereas Joan is breaking out of one she had been living for years.

And while Don is left feeling wary of his wandering eye in the harsh light of day, Peggy is consumed with guilt and embarrassment over a split-second moment with Dawn and her cash-addled purse. And in fairness to Pegs, I feel like she was more worried about having a relative stranger in her house when she’d swindled Roger for so much cash that day (roughly $2600 in 2017 dollars!) rather than a race thing. Either way, that split second moment of hesitation with her purse on the coffee table as they said goodnight is something she can’t really bounce back from.. awkward.

image courtesy of Crasstalk

Joan lies on her bed next to her tiny baby and her mother, mulling everything over and wide awake. This isn’t the life she thought she’d have, and it’s certainly not the one she was sold, but at least she doesn’t have to worry about Greg and his bullshit Fragile Man Feelings(TM) anymore.

Can everyone break out of their bullshit? Can we ever really do that? Guess we’ll have to see.

“I mean, she’s running down this dark side street. And it’s outside a castle, so it’s got those walls and the cobblestones. And she’s running, but she’s only got this one incredible shoe for her incredible gown, so she’s hobbling, wounded prey. She can hear him behind her, his measured footsteps catching up.. she turns a corner; those big shadows.. And she’s scared. And then she feels a hand on her shoulder and she turns around. And it doesn’t matter what he looks like, he’s handsome at that moment offering her her shoe. She takes it. She knows she’s not safe, but she doesn’t care. I guess we know in the end she wants to be caught.

….See? It’s too dark.”

image courtesy of Tumblr

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Mad Men s5e3: Tea Leaves

“They know I’m going to the doctor a lot, and they know I’m sick, but I’ve always been in a bad mood, so I joke with Hank.. he should just tell them I got hit by a car. It’d be easier to deal with than saying goodbye.”

Ahhh, the old looming threat of being replaced, that static humming fear inside all of us. This episode has Betty and her health scare, Roger vs. Pete, the generation gap with Don and a Rolling Stones groupie, and Peggy with new hire Michael Ginsberg.

Apparently, so much of Betty’s past energy was expended pushing and pulling at Don’s inexorable mystery that when she lets go of that rope.. she really lets it all go to hell. And though she may look different from season 4 (mainly to work around January Jones’ pregnancy), she’s still herself; habitually negative, insecure, and indelibly myopic. She’s just as unhappy and unfulfilled with her housewife life, even though she’s married to faithful Henry. Don’t forget that emotionally, Don let Betty stay a little girl; he let her have her temper tantrums and get her way, since he was getting his way too. It’ll take some time for her to acclimatise and work through those literal years of garbage treatment.

On the quest for diet pills, she has a legit health scare; some sort of node on her thyroid that could be cancer, and everything in her world understandably screeches to a halt. What would happen to the kids? How would they remember her? God forbid her dinosaur mother in law and ‘teenager’ Megan raise them.. ay yi yi, Bets.

I know everyone reacts differently when they’re faced with something frightening, but she’s still so threatened by Megan that she refers to her as Don’s girlfriend instead of his wife.. not a good look. And it ends up that Don is the one to remind her of how the kids might react to the news. The fact that Don is her first call is pretty telling; she knows he’ll tell her what she wants (and needs) to hear, that everything is going to be OK.

It’s not all bad, and she does come back down to earth for a bit; the way Betty cuddles with Gene as she and Henry look on at Bobby and Sally running around with sparklers is a very Norman Rockwell moment in time.

image courtesy of Tumblr

When she heads to another doctor for a biopsy, she runs into an old friend on her way out; turns out she’s going through cancer treatments, and Betty is morbidly curious about what it’s really like to be that sick.

“I’m sorry, but I have to ask you.. what is it like?”

“Well, it’s like you’re way out in the ocean, alone, and you’re paddling.. and you see people on the shore, but they’re getting farther and farther away. And you struggle because it’s natural. Then your mind wanders back to everything normal.. What am I gonna fix for dinner? Did I lock the back door? And then you just get so tired, you just give in and hope you go straight down.”

“.. That’s horrible..”

“No one’s ever asked.”

Pretty terrifying, honesty. How’s that for some light fucking afternoon tea conversation?

image courtesy of MadMenWiki

But even when Betty receives the good news that she’s out of the woods with a clean bill of health, she manages to twist it into putting herself down as “just fat” .. instead of being clear of fucking cancer. And here’s Henry, intensely relieved that he will get more time with his wife; he truly loves that difficult woman. Time to gain a little more perspective, Bets.

When it comes to Roger, he’s pretty much already been replaced by Pete in most ways (save for the name in the lobby). Despite that reality, he still resents Pete.. and Pete’s Mohawk Airlines lobby antics don’t help that shit. Roger has the inherent natural charms of an account man, whereas it’s a little obvious that Pete has to work a lot harder for it. Just a little kick in the teeth there.

image courtesy of Screenrant

And let’s face it, Roger practically coaxed Pete to step up because he became so goddamned complacent in the first place with Lucky Strike.

“Your plate is full, and, frankly, Mohawk is going to insist on a regular copywriter. Someone with a penis.”

“..I’ll work on that.”

In a similar vein, Roger pushes Pegs to hire the whacked out Michael Ginsberg (whom Stan prophesies will surpass her in the talent department) mostly due to the fact that he’s a guy, which suits Mohawk’s oldtimey copywriter needs. Though Roger knows that the times are changing, he doesn’t necessarily dig it.

Back in the 1960-set pilot, it was a joke to Roger that the agency might have a Jewish person in a meaningful role– and now in 1966, he acknowledges to Peggy that having a guy like Ginsberg on board “makes the agency more modern”. Ginzo himself is a transitional figure as well, more adapted to the current times; for example, Michael is leagues apart from Rachel Menken’s immigrant father, or even his own father, who reacts to news of his new job by reciting a blessing in Hebrew.

(And suggesting they get hookers, but that’s beside the point..)

No matter which way you slice it, Ginsberg is a talented guy, and Peggy feels good about hiring him because she wants to work with talented people; shit’s inspirational. She saw a little beyond his encyclopedic eccentricities, and his portfolio is one of the only solid ones that were sent in. Mentioning The Letter to Don certainly didn’t hurt his chances at the job.

image courtesy of Recapguide

Turns out Don is much more at home charming an older lady like Heinz guy’s wife than he is at chatting with Bonnie backstage waiting for the Rolling Stones; but Don also zeroes in and hits a nerve in a way that she feels the need to step away from him for a moment, transparently asking to give his business card a whirl on the bouncer. At the end of their interaction, you can tell that the new generation doesn’t necessarily understand the people they will eventually replace either. She complains that older guys like Don don’t want her to have fun “just because you never did”, to which he quips, “No. We’re worried about you”.

The way Don handles Megan re:Betty being sick is pretty fascinating as well. Apparently, at the age of 26 she can’t understand how death works, and what that would mean to him? Try again, Don. He wields it when he’s conveniently too consumed by the idea of meeting up with Megan’s friends and she sees through it immediately; a different gal than Betty, for sure.

“You know, back in Pittsburgh, everybody is pretty much who you expect them to be.”

Mad Men s4e13: Tomorrowland

“But I think, in my heart, it was an impulse. Because I knew what I needed to do to move forward.”

Ahh, the curveball season finale. As we all know, Don Draper is the reigning king of the fresh start, always moving forward and all that garbage. But life really isn’t conducive to clean slates as Henry makes crystal clear to Betty, along with those of us living on planet earth know intrinsically. One of the show’s central themes is prominent in this episode.. can people really change? Or is it all just a blip?

image courtesy of IMDB

This is and is not the Don Draper we’ve gotten to know throughout the series thus far. When it looks like he’s going to come to terms with his own identity in some meaningful way, he veers sharply left (and imitates Roger by making an impetuous and capricious move) and proposes to Megan. The hell? True to form, I guess.

Betty certainly thought her life would change when she married Henry. Sure, things are different, but it’s not all that she envisioned. As her journey continues, she’s learning that life is less and less the ideal iconography she was pitched and the only thing you can really control is your perspective.

Bets, you can move out of your house and leave Ossining, but your problems are gonna follow ya if you don’t look inward and work on that shit. Her fresh start with Henry hasn’t radically changed her nor her life, and a new house in Rye won’t do that either. At least she’s with a man who will communicate with her exactly what is wrong with her actions, and call her out on her bullshit instead of just disappearing, but it’s up to her to do the work.

Now that Don’s not around to blame for her erratic/childish behaviour, she’s gotta learn to adapt and be an adult. Henry has precisely no time for her impulsive shitfit re:Glen and Sally being friends which is probably for the best. Firing Carla inadvertently draws Don closer to Megan too, ha.

And man, Faye didn’t deserve such shit treatment. She really got a raw deal, but I can’t say I didn’t see it coming. Don lost interest episodes ago, and it doesn’t look like he was ever really that into her; she’s not the right person for him. But getting some fucking phone call like “oh yeah bee-tee-dubs I met someone and am suddenly engaged PEACE” is crushing, but she blasts him with a truth H-Bomb before hanging up.

“I hope she knows you only like the beginnings of things.”

image courtesy of Imgur

Let’s be real, the Hobo Code stuck with him. Dude is always looking to hop that midnight train going anywhere; Faye represents facing his issues and working through his Dick Whitman/desertion garbage feelings like a real life person, whereas Megan represents a clean slate and bright-eyed optimism that only youth can foster. Poor girl doesn’t know what she’s signed on for..

I’m drawn back to the season premiere, and that reporter snapping Don out from his thoughts; “Who is Don Draper?” Good question. He’s tried to make himself a better man this season, but suddenly jerks to the crutch of the Fresh Start(TM) personified, Megan. The first time I watched this finale, that ending gave me whiplash– but going back and examining the earlier episodes, it adds up pretty neatly. All along there were these little snippets planted that she’s the shining star for Don; the Pond’s focus group, being naturally nurturing to Sally, actually getting what The Letter was about.. etc. The pieces are all there.

Megan’s on the level. Maybe she’ll be the one to accept Don for who he really is, to love Dick Whitman and all that mess entails, allowing him to get on with it sans too much manpain. And hey, maybe he’ll do it right. He tells her he feels like “himself” around her, the best version of the man he aspires to be in the day to day. Maybe she’ll coax more of that out into the open.

At the end of the day, Don is someone who needs to be needed, and Faye didn’t really deliver that; Megan does just that little bit. He also needs someone who will nurture his kids in the way that Betty simply can’t at this point, in a way that he’s unable to as well; since he grew up with no loving mother figure, seeing that in Megan is magnetic.

image courtesy of Slant Magazine

She also didn’t have a fucking meltdown over a spilled milkshake, which Betty certainly would have done. Between Megan’s sunniness and Don’s slight ability to even acknowledge his past to Sally (“that’s my nickname sometimes” re:Dick and Anna on the wall) and have it go well, Don seems on top of the world.

It’s an optimistic ending for a season fraught with such darkness, yet I can’t help but wonder how pristine that slate will stay as lives move on. Fundamentally, people don’t change– not wholly.

Peggy and Joan share a moment over the absurdity of the engagement; Peggy signed the first bit of new business with Topaz that day, but natch.. that’s not as important as getting married. Those dudes are all just between marriages, after all.

image courtesy of Roger Ebert

And it didn’t slide past Roger that Don did the exact thing he was judged harshly for back in Season 2, either. Granted, Roger reacts much better than Don ever did— and there’s absolutely fuckall Don can quip back about it.

Don and Betty have one last encounter in the house on Bullet Park Road, and it’s a bittersweet adieu. It’s also one of those rare moments where she softens towards Don, and they have an easy interaction; she’s vulnerable about how things aren’t ideal in her life. Don lets her know that he’s engaged, and even in her sensitive state, Betty manages to not say anything shitty which is pretty good progress.

She does ask if it’s to Bethany Van Nuys, and Don is essentially like “WHO??

image courtesy of Tom + Lorenzo

Adios, house; thanks for the memories. Onto the next one.

The finale closes with Sonny & Cher’s “I Got You Babe” as Don stares off into the void, his new fiancée asleep on his chest. Natch, the first thing I thought of was the always relevant Groundhog Day, the tale of a man trapped in a fucking time loop with endless fresh starts as he relives the same day over and over.

And once he gets it right, he breaks the loop and can live happily ever after.. but only after something like 100 goddamned years.

Here’s hoping Don gets his shit together sooner than Bill Murray. As a man who’s started over quite a bit, maybe he’ll stick the landing this time.

That’s a wrap on Season 4, kiddos! Stay tuned for Season 5 reviews, starting soon.. will Don do it right with his marriage this time? Will Pete’s hairline continue to evaporate? Will Peggy be running the place by the time we return? Will trash Greg do the math on Joan’s baby??? Do people really change or is it all just smoke and mirrors?

Mad Men s4e8: The Summer Man

“People tell you who they are, but we ignore it.. because we want them to be who we want them to be.”

Many moons ago when I was watching Mad Men as it aired, I realistically didn’t think anything could top The Suitcase. And then this fucking episode dropped. Holy noir, holy depression, holy introspection. Fuckin-a.

In the wake of Anna’s death and being a human H-bomb for entirely too long, Don is attempting to get his shit together. You know that Adam Carolla bit about how there’s always That Guy at the office who’s never felt more alive because he swims laps at 5am and makes us all look like assholes? Don’s trying that on for a bit, despite almost keeling over in the pool.

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image courtesy of Slant Magazine

He’s taken up journaling, in an effort to understand what the hell is going on inside his head. This is an episode where we get a rare peek into his internal monologue, through a series of film noir voiceovers.

“When a man walks into a room, he brings his whole life with him. He has a million reasons for being anywhere, just ask him. If you listen, he’ll tell you how he got there. How he forgot where he was going, and that he woke up. If you listen, he’ll tell you about the time he thought he was an angel, dreamt of being perfect. And then he’ll smile with wisdom, content that he realised the world isn’t perfect.”

Don’s got a lotta feelings, writing his thoughts in an attempt to “gain a modicum of control” over how he feels, to come to terms with it all. The divorce affected him more than he’s willing to admit, having that Perfect(TM) world he created shatter all around him due to his deception. Anna’s illness and death didn’t help his mindset either, and not having a consistent baseline of a Home to return to leaves him in freefall. Dude’s gotta learn to love himself. You can get lost along the way, but the greatest relationship you’ll ever have is that one you share with your own damn self.

Peppered throughout is the notion of people who appear to have everything but actually have nothing. Tale as old as tiiiiiiime. We see Joan as this omniscient powerful lady in charge of it all at SCDP, but at the end of the day she gets cruelly ridiculed by disrespectful freelancer Joey and goes home to vile Greg who’s about to be shipped out to Vietnam.

In another display of how differently Peggy and Joan think and react, Peggy curtly fires Joey over the mess he made. Her approach was direct and that of a man (with Don’s advice “You want some respect? Go out and get it for yourself.”) whereas Joan sticks with the dated notion of “catch more flies with honey” and office politicking, thinking a dinner with a client would have sealed the deal instead. She’s learned to wield power through flattery and persuasion (on top of being gorgeous), but where has that really gotten her?

Joan is married to a gormless asshole who’s about to be blasted off to a humid hellhole. Her office is mostly used as a thoroughfare, and she feels that disrespect radiating towards her in the day to day on top of being at home, with Greg creepily trying to talk her into having a bang despite not being in the mood.

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image courtesy of Amy’s Robot

Peggy’s approach sends a clear message, and viewing it through 2017 eyes, makes the most sense to me. Sadly Joan feels undermined by this approach, but times are changing. She’s a sharp woman, she’ll figure it out.

Most obviously, Betty sees Don as the guy with everything when we know (along with Francine) how completely lost and fucked out he’s been since the divorce.  When she and Henry see him in the city on a date with Bethany, Betty invents this entire narrative in her mind that he’s out living some crazy awesome life when the reality is anything but; dude is eating Dinty Moore from a damn can. We’ve all been there, running into an ex and feeling entirely raw in spite of the actual reality before us.

Arguing with Henry about it grounds her a little bit, and he’s right to be pissed off; she can’t let something as simple as seeing the guy out somewhere obliterate an entire evening. Time to grow up, Betty; look at your life now, appreciate what in the hell you’ve got. Get on with it.

In the nuclear winter of it all, Don gradually begins to get back on the horse. “I want to wake up. I don’t want to be that man” — he knows he needs to change. The guy even has a pair of vaguely successful dates with the aforementioned one-dimensional Bethany and more on point Faye. He feels less drawn to Bethany because he knows her type; been there, done that. Faye is a little more on the level.

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image courtesy of MadMenWiki

Don is making an effort to booze it less in the office, in an attempt to reconcile the effects of the mess around him. He knows he can’t go to his son’s birthday party that weekend, for he is not welcome at that house. I love that Don’s voiceover highlights the parallel between he and baby Gene; “Conceived in a moment of desperation, and born into a mess”.

And yet, the only time he seems truly happy (including Bethany’s tryhard taxi blowjob) is when he’s holding Gene in his arms at the birthday party. Betty even happily brings him to Don without the typical dramatics; it’s a nice moment, rare for this season thus far.

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image courtesy of MadMenWiki

I always read the ending as Betty ended up ringing Don and inviting him to the party as a gesture to Henry that she’s indeed moved on. She’s trying to, at least. Francine’s comments about Don having nothing to lose, i.e. Betty has “won”, sort of neutralises him a touch in her eyes. Even though he’s not really the Only Man she’s ever been with, but whatevs.

Does Don miss that life? Who the hell knows.. it was mostly smoke and mirrors to him anyway, it left him with the thoughts of “is that all there is?” eating away at him every night and with every rando he banged, just as it echoes in his life now albeit louder. Either way he’s lost that part of his identity and is trying to be at peace with himself, bit by bit. This is a decent start.

“We’re flawed, because we want so much more. We’re ruined, because we get these things, and wish for what we had.”

 

Mad Men s4e5: The Chrysanthemum and the Sword

“Christ on a cracker, where do you get off??”

This is one of those episodes that seems light on the outside, but there’s so much to dig into. Oof. Realistically, just how long can you hold onto a grudge? How long can you continue to define yourself by something that happened literal ages ago? How long can you use those prehistoric events to justify trash actions today? What does that garbage do to a person? Taking a closer look at Roger and Betty in this episode, this sort of shit is all on display.

Let’s take a moment for Miss Blankenship, because I love her in general, but also because she’s an excellent foil to Don. The guy treats people so fucking poorly sometimes; showing him tolerating generally harmless gaffes by this hapless bat he’s been saddled with humanises him a touch. He can’t just fuck off to California every week. Miss Blankenship’s weird hidden talent of transforming the guy from Don to Dick for a hot second is pretty great.

Roger Sterling has always been shown as a guy who doesn’t take life (or himself) too seriously, the life of the party and the guy who knows everyone and loves to schmooze and joke around. Apparently, the notable exception to this rule is World War II. When Pete brings up that he’s landed a meeting with Honda, a Japanese company, it’s meltdown city. Roger wholly rejects the idea of doing business with them, and almost fucks their chances entirely by acting like an asshole in the meeting to boot. Awkward.

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image courtesy of Tumblr

But hey, it’s nice to see Bert Cooper take an active role in something besides preserving the carpets. His extremely intimate knowledge of Japanese culture and customs contrasted well with his confusion over the march on Selma.. “They got what they wanted. Why aren’t they happy?”

There are tons o’reasons a guy like Cooper would grow fascinated with Japanese culture while generally shrugging off vast portions of his own culture. Remember that Cooper is an Objectivist; a large part of it may be due to that adoration of authority and order at the centre of so many of those guys and gals.

Through that, a theme of the episode emerges as well; utter goddamned frustration when someone is unable to force one’s will onto the people around them. Roger hits the fucking ceiling when Don and Pete decide to follow the Honda exec’s orders and not his own. Betty is absolutely livid when Sally asserts her independence and cries out for attention by cutting her own hair. Don is pissed when dear sweet Teddy Chaough grabs control of the narrative Don is building with SCDP.

That confrontation with Roger and Pete is intense, with Don in the middle. It was fun to see Pete echo Don’s sentiment from the s3 finale in this episode: “The rest of us are trying to build something.” Don knows Pete’s in the right. Lashing out and “wrapping himself in the flag” of Lucky Strike providing most of the company’s cashflow, Roger wants to cut Pete down for bringing in new business and shifting the importance off of him ever so slightly.

He’s gonna have to get over that bullshit real quick if he wants to keep the lights on.

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image courtesy of NYTimes

As Betty finds a shrink for Sally, she connects with Dr. Edna– an older woman who obviously sees through Betty’s façade. Betty smiling at the dollhouse says so much; here’s this perfect little life in this perfect little house, a husband and wife with 3 kids, a life that she still yearns for on some level though she knows it ain’t real.

Sally craves her father’s attention desperately, and has no clue how to get it; and she probably needs attention in general, to be acknowledged. What Sally feels matters, and Betty is perhaps starting to get that; the effect of the divorce on her matters. Sadly, Betty was more of a prize to her mother who paraded her for show; she’s still got a lot of anger and resentment there. Slowly but surely, Betty is trying to evolve.

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image courtesy of AVClub

At home, Henry is helping her with her transformation, but the vibe is sort of bizarre. Sometimes his interactions with her sound more father/daughter than husband/wife. When he helped settle the fight between Betty and Sally it sounded as if he could have been talking with two siblings about getting along. It’s almost as if Henry has stepped in as a faux father to the whole bunch, Betty included.

While many dislike Betty as a character, she is such a significant illustration of the consequences of the position women were put in at the time. I’ve written about it before, but with no real options open to Betty other than becoming a mother and housewife, she (obvi not happy with either) turns bitter and spiteful as she struggles under those limitations. Remember how free and herself she felt in Rome? Sadly, not reality.

To this point, Betty has not been able to garner a foothold in any world outside the home that has been slowly suffocating her. It’s way too easy to blame her for not going out and forging her own shit, but we’re in a super different world today; the constraints on her along with so many women of that time are vast. The expectations for ladies like Betty are super fucking problematic and sky-high, and the people around her get hurt as a result when she lashes out against said expectations.

Similarly clueless on how to help Sally, Don reveals a tiny bit about his situation to Dr. Faye Miller.

“Well, I can’t say there’s any evidence to support this, but I’m pretty sure that if you love her and she knows it, she’ll be fine.”

And that kitchen discussion between Don and Faye is damned impressive to watch. Take a look at the timing of when Don chooses to open up to her.. he offers absolutely fuckall about his personal life until he’s poked into hers, and discovered that she’s living her own faux life with the fauxgagement ring to discourage dudes from hitting on her.

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image courtesy of MadMenWikia

And Don is in enough of a personal crisis that even he needs to talk to someone about it, even if he doesn’t directly come out and say what’s happening to a T. He wants to be a good father to his kids, but has no earthly idea where to start. Shit’s complicated. But ironically, this is the most on point we’ve seen Don this season to date, craftily out-maneuvering indecently handsome Ted Chaough of CGC for the Honda account. Capery and all!

“Please tell me I missed everything.”

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image courtesy of Junkee