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 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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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.


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.


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.


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.”


image courtesy of Junkee