May 29, 2012
5.11: Girls Just Wanna Have…

Team, I’m going to ignore the fact that I find the Joan storyline to be incredulous for a second to focus on Peggy, who has been, for the length of this show, both a protege and a female mirror of Don. Last season’s “The Suitcase,” when Don really hit the bottom of the Plath Bell Jar and found himself sleeping on Peggy’s lap after losing Anna Draper is one of the best Mad Men episodes of all time, and it’s largely because of the strength of the bond between those two characters (and actors). 

She told Don, in that heavy goodbye scene, that he’d probably do the same. Maybe. And he said he would ignore the fact that he’s responsible for everything good that’s happened to her. There’s an argument I don’t buy, and I’ll use Jay-Z to explain myself. In “Lost One”, a track off of 2006’s Kingdom Come, the HOVA opens with this:

“It’s not a diss song, it’s just a real song / Feel me? // I heard motherfuckers saying they made Hov / Made Hov say, “Okay so, make another Hov”

The HOVA explains it the lyric this way:

“I owe a lot of my success to a lot of people, but ultimately, no one made me. This is the kind of lie that people get told all the time, sometimes in romantic relationships, sometimes in their professional lives: that somehow who they are is a result of other people’s investment in them. It’s vital to resist that or you risk losing yourself; as I say in another song, Remind yourself / nobody built like you / you design yourself.”

It is without question that Don changed Peggy’s life (hiding her big Pete baby secret not withstanding) but they are different people, different sexes, on different tracks and she’s been a victim of bad timing with him one time too many. Why is it Peggy who always walks in to his office when he’s in the worst possible mood for a totally unrelated reason? Ugh.

Just as Jay says, Peggy is now reminding herself that she designs herself. And that look of excitement and relief as she prepared to step in the elevator was uplifting for me, because she’s been in a rut all season.

So it seems like Don’s losing grasp on all the women who matter to him most. Megan isn’t going to be controlled like a 1966 Jag. “She just comes and goes as she pleases,” Ginsberg observed about her, or no one in particular. And the out-of-chronology reveal of Don’s too-late plea to stop Joan broke my heart. I started tearing up at that scene, but by the time he was bidding adieu to Peggy, the tears were full-on running down my face. 

So I’ve left a lot unsaid here. Mainly about Joan. But I want you men to weigh in first. Over to you, boys.

You’ll like it when you’re in it,

Elise

April 24, 2012
5.6: The End or the Beginning for Don and Megan?

One question that I’ve been chewing on is whether Don and Megan’s epic chase and fight signaled the end of our protagonist’s “love leave” or the beginning of what’s a more true relationship between Don and his young wife. I begin with an excerpt from my colleague Linda Holmes’ recent post:

There was a surprising amount of “This marriage works very well, because they really get each other” analysis going around after “Zou Bisou Bisou” and the later quasi-violent sex scene in the season premiere, and it was a relief to see the show deal with the fact that this marriage is, in fact, ridiculous, and it is based on the same fundamental lack of respect that marks Don’s other relationships with women.

She goes on to lay out the argument that while the season premiere’s cat-and-mouse “fight” really resulted in some hot sex, this apartment chase displayed real fear on Megan’s part — she was actually scared of her husband in a way that “diminishes this whole thing.”

What I saw in that fight wasn’t the chase or Megan’s fear so much as Don’s fear that she would leave him. The way he clung to her at the end like a little boy against his mother. The way that was blocked, with Don on his knees and his face in Megan’s stomach, made it evoke even more strongly that boy/mom image. The honeymoon may be over — she expresses that she doesn’t “like everything” after all — but the overnight scare forced Don to realize how much he really NEEDS this wife, this woman.

It was just two episodes ago when I said I worry Don has a propensity to domestic violence even though the majority of you (and the pro reviewers) saw Don’s strangling-to-death of the former lover as the effort to symbolically crush his libido and primal desires to stray. I think it’s both — Don could hurt a woman because of his insecurities and his constant need for control (which makes me scared for this marriage), but he’s also constantly trying to punish himself. Remember what he needed from the prostitute last season? He wanted to be slapped again and again while having sex. So maybe there’s hope for him and Megan because she makes him at least sometimes WANT to change and be a better man. 

On the flip side, one message made clear by this show is that people don’t change, and that bad mothers wreck a man’s life for the long run. If that’s the case, this marriage is headed to disaster faster than we can say orange sherbert. 

Don and Megan… did this episode represent a step toward real intimacy and communication in their marriage, or was it the beginning of the end?

The truth is relative,

Elise

April 8, 2012
5.4: Girls I Do Adore

In an episode framed by the news of systematic rape, torture and killing of eight women, the women of Mad Men learn to stand up for themselves, even while the very real specter of a different kind of damage — emotional and psychological harm — threatens them all. I’m proud we’re watching the women of the show learn to ask for what they want. But the consequences will last a long time.

Just as one of the characters commented that the lone survivor of the 1966 Richard Speck killings “probably won’t be able to speak,” what will happen the precocious Sally — a child who’s always desperately wanted to be an adult — actually faces the realities of a grown-up world? Grandma Pauline seems to be rushing her into that super creepy reality way too fast.

There was already some internet suspicion that because the young Miss Draper is so averse to becoming like her mother that she may be in the beginnings of an eating disorder. If that’s the case, Grandma Pauline forcing her to eat that nasty sandwich didn’t make things any better. But as if that wasn’t bad enough, her creepy discussion of rape, followed by feeding Sally a prescription drug, is sure to lay the groundwork for some demons that may not ever be exorcised. Good God, Grandma.

Speaking of Demons

Before the morning-after moment to confirm Don was in a fever dream (which we should have expected from a former writer for The Sopranos), I actually considered what it would be like to have a season in which Don Draper was on the run from the law. I keep reading the actors say Don’s going to “go in a really different direction” this year, so I guess anything’s possible. So assuming he didn’t actually choke a seductress/former lover to death, we ought to consider Don’s capacity for violence with women, what that says about what he thinks of them, and whether that is dangerous for the women close to him in his life.

Down With The Rapists!

And I’m not talking about Richard Speck. It was the ultimate HELL YES moment when I watched Joan kick out Greg. “I’m glad the army makes you feel like a man … You’re not a good man, and you know it. Even before we were married and you know what I’m talking about.” I think I could hear the collective cheers of America when that happened. But these actions, like everything else, have consequences…

Dawn and Peggy Stick Together

“I was the only one like me for a long time,” Peggy said to Dawn. Peggy has to be a woman in a man’s world. But Dawn has to be a black woman in a white man’s world. That scene in which Peggy asks Dawn whether she wants to be a copywriter, and Dawn doesn’t even imagine a job like that as something that’s possible for her, was heartbreaking.

Peggy extorts Roger: Dazzle Me

Peggy’s now in a position of power. “Why are you doing this to me?” Roger asks, after having to give up $400 because he failed to assign a campaign to any of the writers.  “Because you are being very demanding for someone who has no other choice.” BAM! Go Peggy!

Back to Sally Real Quick

In a recent character study of Sally Draper, Slate writes: “While so many other characters have mysterious or unknown pasts, Sally is someone we’ve gotten to watch from her own personal beginnings.” That’s likely why Matt Weiner has said that Mad Men is really a show about Sally. He has admitted that he “is” Sally, a child who grew up in those tumultuous times, affected by the ch-ch-ch-changes. I can only expect things to get weirder and harder for Miss Draper.

Loose Ends:

The bugles reappear. So does a huge knife.

Can I say again I’m scared of Grandma Pauline?

And how about that Michael Ginsburg? I really am going to love that guy. And if his Cinderella story “being dark” wasn’t a too-on-the-nose-metaphor for the whole episode, I don’t know what was.

Times are tough and uh, you can’t get anywhere,

Elise