Mad Men s5e11: The Other Woman

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

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

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

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

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

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

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

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

image courtesy of AMC

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

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

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

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

“You’re talking about prostitution.”

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

“Where do you get this stuff??”

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

“l don’t think you could afford it.”

image courtesy of MadMenWiki

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

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

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

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

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


Mad Men s5e9: Dark Shadows

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

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

image courtesy of Reddit

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

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

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

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

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

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

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

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

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

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

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

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

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.

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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.

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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.

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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..”

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.

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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.”

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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.

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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.

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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.

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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.”