i never got to say goodbye to my mother. though i felt her depart, cinderblock on my chest at my then- boyfriend’s house, cooking din. the air felt different, alien in that moment as if i had suddenly lost cabin pressure.
never gave much thought to the homing beacon until that moment, when i was pulled home. 911, right now, my mind repeated like the emergency broadcast system. the crunchy, crackly sound that activates your fight or flight within a second, autopilot fully engaged.
hugging my dad in the driveway because the weight was too heavy for Inside. how do we get to tomorrow?
“Lee Garner Jr. never took you seriously because you never took yourself seriously.”
Welp, the cat’s outta the bag re:Lucky Strike and everyone at SCDP collectively shits themselves. Don, Pete, Peggy, Roger and Joan all get a certain sense of fulfilment from their work that their home lives just cannot seem to provide; having the possibility of SCDP being no more really scares the bejesus out of everyone, but especially the aforementioned guys and gals.
Sunday night. Kenny is out with his fiancée and her parents (including Leland Palmer), and inadvertently gets the Lucky Strike news and blows shit up. The partners (sans Lane, who’s still in London picking up the pieces) all anxiously gather at the office as Roger puts on a show, faking a phone call to Lee Garner Jr in an attempt to save face and pretend he’s in the dark. He’s sat on the news for whatever reason, mostly embarrassment and booze I’d guess. Nada on the new business horizon, apparently.
When he fakes a last plea/flight down to the North Carolina HQ and rings Joan from his Manhattan hotel hideout, she understandably ain’t impressed. Somehow, Roger thought that maybe this crisis on top of the alleyway mug-bang would bring her back to him; instead, it’s reminded her of why she keeps her distance. Candor isn’t inherently negative, but when it’s rooted in some vague form of lazy self-immolation tinged with pity party, it’s a bad look.
Oh hey, Pete has a daughter! Then he hits up the most cringe-worthy funeral on the entire planet earth. A big account dude from a rival company died, and the partners deemed it astute to try and poach clients at the funeral; a desperate decision. The guy’s former colleagues are telling old war stories, as his widow and daughter look on; they appear glazed over as if they’ve all heard this work junk a thousand times before. They talk about David Montgomery The Man, but seem way more interested and animated when talking about David Montgomery The Adman. Clearly, the guy devoted a lot of his life to his work.
Granted, there’s truth bombs here — nobody on their deathbed wishes they’d worked more, and this sentiment washes over Don and Pete. I mean, look at Pete; missing the birth of his own daughter to chase a hearse. I know it wasn’t uncommon in the 1960s for fathers to be absent for the birth of their children, but this is pretty bleak. It’s one of the shittiest times they’ve experienced to date, business-wise, but hitting up a funeral for this purpose is grasping at straws. The last days of Rome.
Shocking statement: Don Draper is a self-loathing guy with a whole heap of fucking mommy issues. With his continual banging around, he seeks out the unconditional love he never received from a mother figure, and will go after anything that even vaguely resembles love like a moth to a light.
Damned if you do, damned if you don’t. Either way it’s some manpain horseshit.
With the loss of Lucky Strike, Don is tense as hell and Faye is dunzo.. she’s pretty much stuck in a lose-lose situation with Don at this point. If she doesn’t break through her own Chinese Wall of business ethics, to Don it looks as if she does not care about him enough and wants him to fail. Pretty damned big leap there, Donnie, and real unfair to put Faye in that position.
And in the end when she throws him a bone in the form of non-ketchup related Heinz, Don is very happy for the meeting.. but he also loses any remaining respect for Faye. Ugh. I mean, I never thought they were a great match to begin with, but he doesn’t need to be such a shitheel about it.
These two conflicting feelings are a fucking mess. His unrelenting thirst to be unconditionally loved and the unwillingness to actually accept unconditional love out of self-hatred means Don is probably going to be banging around for the foreseeable future. But this yearning to feel something and glimpsing it in rando beds is grounded in the very core of his character.
Meanwhile, here’s Megan saying all the right things at the right times. She even fixes the busted Clio Don hurled across the room post Glo-Coat exit call. She’s interested in the inner workings of his job and how it all works at SCDP, which Don is obvi totally into.. and they have an office bang. Megan is modern and savvy, letting him know point blank she understands this has nada to do with work (unlike Allison) and won’t have a fucking meltdown (also unlike Allison). Go girl, get it.
Speaking of banging, Peggy is seemingly unflappable in her post-bang lavender haze despite walking into the Lucky Strike apocalypse the next day. I guess Abe learned to put less of his foot in his mouth. She even uses her encounter with him to flavour her Playtex gloves presentation, just like Don has used his personal life in past work. Ooh la la!
“Every time something good happens, something bad happens.”
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.
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.
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.
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.
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!
“I can use my expense account if I say they’re whores!”
Welcome back, and welcome to 1964! It’s nearly a calendar year from where the Season 3 finale left us, and Sterling Cooper Draper Pryce has an actual office that isn’t a hotel suite; they’ve got some cool new digs in the cushy Time Life building. Maaaaagic.
“Who is Don Draper?”
Bombing out in an interview with Advertising Age, Don supplies glib bullshit answers to the reporter’s pointed questions about his work and who he is, pretty much saying fuckall. Shocker. The problem with this approach is that he’s no longer just that stupid talented mysterious guy in the corner office, he has to be the fucking face of SCDP; a creative figurehead, the man behind the curtain. And we all know how much Don loves talking about himself.
But hey, Don is in a great place professionally; he’s legit blowing up. He’s calling the shots and running things his way, making a lot of money, and he’s got acclaim for the Glo-Coat commercial.. all the while his personal life is a raging tire fire, burning into the eternal night. Seems like Don is at his best in the office when shit at home is a mess.
no time for your shit. || image courtesy of Tumblr
His attitude in meetings is more aloof than ever, while being incredibly sharp; the way he shuts down those Jantzen prudes is outta control, he’s got precisely no time for garbage at this new agency. This guy is forward thinking and takes risks, and he’s lost everything he ever (thought) he wanted in his personal life.
Our characters are exploring new terrain all over this episode, slowly adjusting to the new normal. Betty now has a mother-in-law (a hard-ass woman at that) and an extended family; she’s also got a more attentive husband and is learning how to be a person sans Don. She’s overly harsh on Sally during Thanksgiving dinner, still not quite sure how to navigate that relationship.
Understandable growing pains and lots of negative shit are to be expected, but Hank Frank takes it all in logical stride; he really loves that difficult woman. They even have a bang in the car, harkening back to their first kiss in Betty’s car. YEAHHHHHH
Going on a date with the poor man’s Betty, Don is vaguely bemused with Bethany. Brass tacks, homegirl is an idiot, but she’s young so I guess she gets a pass? Maybe? Ah well. Roger and (mostly) Jane seem determined to set him up with someone, just because.
Dating doesn’t seem to suit Don at all. Skipping out on Thanksgiving at Roger and Jane’s and no plans with the family, Don’s plans include being mounted and slapped in the face by a hooker. Looks like he bones this lady on the reg, indulging his own self-loathing with a healthy dash of mommy issues.
His personal life really seems a lonely mess, and he’s boozin’ a lot, even for him. When Peggy needs bail cash for the ladies she and Pete paid off to fight over a ham, Don takes it all out on her unsuspecting bland boyfriend Mark, whom she brought to lessen the inevitable blow.
Joan has her own office, and is still the consistent go-to for everything. Glad she’s getting some recognition as the person who steers the ship, though she shouldn’t be getting sunburned tit Harry Crane a coffee. And it’s nice to see Peggy argue right back with Don when the Sugarberry Hams stunt goes south, her confidence is awesome to see. Roger is back in the saddle and full of beans, Pete is more secure in his footing.. everyone seems to be moving forward at a pretty brisk clip working together, conference table or no. Even Allison is back!
However, Don’s shite interview in Advertising Age has real consequences for the firm; being in such a small space equals his actions have actual meaning, something that is clearly not a thing to Don. Ya fucked it up. He takes it out on the straightlaced Jantzen guys by blowing up their meeting, and immediately rings Cooper’s guy at the Wall Street Journal to have a redo of that interview. Taking that feeling by the balls, he is cocksure and rewrites history ever so slightly to sound fucking awesome to this guy. Way better.
So, what’s it going to be? Comfortable and dead, or risky and possibly rich? Sounds like a mantra to me, looking at how Don has evolved. SCDP sure seems intensely personal to him, especially for a man who won’t reveal a damn thing about himself. Let’s see what happens!
“You know something? We are all here because of you. All we want to do is please you.”
Ah, smarmy Jim Hobart. This indecent prune of a man will be a recurring theme, gnawing at the edges of Don’s professional life. In Shoot, he tries to get to Don via casting Betty as a model for Coca-Cola.
Oh hey, it turns out Betty used to be a model in Manhattan! Makes sense that’s how she and Don met, being that they’re separately obsessed with image and all that. Adding to the image, she never liked giving the clothes back, and lets her shrink know that was always the hardest part of modelling for her.
As she’s telling the story of her relationship with Don and moving to the suburbs and suddenly feeling so old, she begins to talk about her mother harping on her appearance. And then, ironically, how much her mother hated her modelling, even calling her a prostitute. Jesus, lady..
Seems like life suddenly moved really quickly for Betty. One day, she’s got a lucrative fun career and life with friends in Manhattan as a model, then the next she’s engaged to Don, moving to the suburbs, saddled with kids and immediately defined by others as the stay at home mom and wife.
“You’re angry at your mother”
Betty is incensed, torn about how to feel, what’s ‘right’ versus reality. Her shrink speaks some truth, and she knows it. Alas, she’s not ‘supposed’ to feel that way about her mother.
“She wanted me to be beautiful so I could find a man. But then what? Just sit and smoke and let it go til you’re in a box?”
Is that all there is? Huh. Betty misses modelling, her own life, something greater; she wants to feel and be more than she appears. She’s living in a strange dollhouse, and wants out in some way. Never having had the opportunity to define herself, she’s craving something deeper.
In office news, Peggy busts an enormous hole in her skirt with the rip heard ’round the world, which is pretty much the worst feeling ever. Joan lends her a dress and some unsolicited “advice” in the form of wondering how she’ll get close to men if she’s (GASP) not slim! And how she assumed Peggy was only writing in an attempt to get close to Kinsey. Ay yi yi, Joan. These women have very different outlooks on life.
Later on, Pete decks Ken for making a comment about Peggy’s big fat ass. Class act, that Pete Campbell. Kenny had it coming!
In some of the worst CGI ever created (second only to LOST), Polly somehow bites the neighbour’s dovepigeon in mid-air.
As compared to this trashterpiece, from LOST‘s fifth season..
Horrendous CGI aside, this guy is a maniac and scares the shit out of Sally and Bobby, threatening to kill their dog. What an asshole neighbour.
Jim Hobart mails Don the proofs from Betty’s photoshoot, using it as leverage to get him to come work for McCann. Knowing that he’ll stay at Sterling Cooper and what this will mean for Betty, he’s disappointed by this lowbrow move. Don goes to chat with Roger and emphasises how he wants to stay where he is. This is also the first time we learn that Don works at SC with no contract, something he would unlikely be able to swing at a bigger agency. They talk cash, and when Roger asks why, Don simply responds, “I like the way you do business”. No shady shit.
Don: “If I leave this place, one day, it will not be for more advertising.”
Roger: “What else is there?”
Don: “I don’t know, life being lived. I’d like to stop talking about it and get back to it.”
Roger: “I’ve worked with a lot of men like you, and if you had to choose a place to die, it would be in the middle of a pitch.”
Don: “I’ve done that. I want to do something else.”
Done and dusted.
It’s heartbreaking watching Betty at the end of the photoshoot, finding out the news that her photos won’t be used. Don of course knows the real reason, and Betty spins it positively to him at dinner, trying to assert some sort of control over the situation. He does his best to keep it light by emphasising that she already has a job, and that’s being a wonderful mother.
Don says some lovely, heartfelt things to the tune of “I would’ve given anything to have a had a mother like you. Beautiful and kind, filled with love like an angel”. As flattered as she is, this is the last thing Betty wants to hear, and she lets it marinate.
The next morning, she’s back to the mom routine and is pretty over it circa ~1pm. As quickly as she was defined as this mother and housewife, she’s annoyed that she had no say in the matter. She is angry with her mother.
Shooting at her garbage neighbour’s pigeons, here’s a lady taking out her aggression and attempting to take control. Iconic.