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Season 2, Episode 7 - The Gold Violin Written by Andre & Maria Jacquemetton and Jane Anderson, Directed by Andrew Bernstein Ken Cosgrove posted:Maybe you're just supposed to experience it? Don Draper finds himself at a car dealership, inspecting a 1962 Coupe de Ville in pride of place at the center of the showroom floor. A salesman approaches, relaxed and the furthest thing from pushy, not straining for a sale but acting as if the purchase is all but guaranteed and it's just a matter now of chatting about how well car and prospective new owner fit together. He passes his card - his name is Wayne Kirkby - and asks for Don's in return, and when he sees he is from Sterling Cooper immediately asks if Roger Sterling sent him. Don admits he did, and Kirkby says he will go and fetch the keys for a test drive. Gone is any attempt to ease him into the process, probably because now he thinks the sale really is guaranteed: if Roger Sterling is sending one of his executives to the dealership, it's because he WANTS him to have the car, and nobody at that Agency short of Bert Cooper is going to say no to Roger Sterling. Left alone for the moment, Don spots another customer looking over an Eldorado. It triggers a memory for him, and he flashes back to the early days of his new life as Don Draper. This Don Draper is a far cry from the "Cadillac" that Kirkby likened him to. His suit is cheap and ill-fitted, his hair puffed up, and there is none of the smooth confidence that the 1962 Don Draper carries with him everywhere. Out of the army, freed from the misery that was his life as Dick Whitman, this Don Draper didn't just immediately find his calling as an ad-man. Instead he became a car salesman, and far from the sophisticated one that Wayne Kirkby is. He sits at a small desk in a small office, trying to convince an 18-year-old to spend his savings on a 2-year-old model he assures him doesn't rattle like the 1949 model did. The young man isn't entirely sure, but his father has made it clear it is his choice, he is simply there to make sure Don doesn't rip him off. A woman steps nervously into view, a few feet behind both men, and Don assumes it the mother of the young man. But no, neither of them know who she is, while she simply stands and stares at Don's face. He passes the keys to the young man and suggests he and his father talk it over, then moves to see what the woman wants, assuming she is after one of the cars from his brochure. He's wrong there too, she has come looking for Don Draper... and she hasn't found him. She remarks he is a hard man to find, then lays it all out there: he is NOT Don Draper. Don's face crumples almost immediately, the poker face he had established by the time Pete Campbell hit him with the same accusation is nowhere to be seen. He's been waiting for this moment, whether consciously or not, ever since he got out of the army. The moment where somebody who knew the real Don Draper confronts him and his entire house of cards comes tumbling down. Kirkby returns, which jerks Don back to reality as he asks if he's ready to take a test drive. "No," replies Don, surprising Kirkby who isn't used to that kind of response, another indication of how different he is from the kind of car salesman Don used to be. Instead Don walks away, leaving behind the Coupe de Ville and his memories from a decade in the past.   At Jane Siegel's desk, she is trying to do her work when Roger Sterling approaches. Plenty of men have hit on her since she started working there, but Roger is another matter. As one of the named partners, she has to walk a far stricter line when it comes to rejecting him, because of course he has the power to fire her should SHE offend HIM. So she nervously forces a smile through his little asides about her sweater and asking here where she lives, being careful not to offer him any encouragement while also going out of her way not to insult him or show offense at his crude attempts to be suave. She's saved by Don's return, immediately leaping to her feet and accepting his hat, asking how his lunch went. Roger, enjoying what he probably thinks of as flirty interplay, quips that "Mr. Sterling is here to see you" to Don, and heads into the office with an aside to Jane to fetch Duck. Jane informs Don that Mrs. Barrett called again, but Don - far from his 1952 self - maintains as calm a poker face as could be, simply asking if she left a message (she didn't) and then agreeing that she can tell Duck he is back before heading into the office. Roger has collected his obligatory cigarette, and "jokes" to Don about how Jane is probably pining for him (Don). "Jokes" because he's also probably probing to see the lay of the land and figure out if Don has "claimed" her for himself, much like Paul Kinsey in season 1 with Peggy he seems to be assuming that Jane's lack of interest in him MUST be because she "belongs" to somebody else. In any case, talk turns to the Cadillac and he is disappointed that Don hasn't bought one yet, arguing against the objection he assumes Don has to remind him that he absolutely can afford it. He points out that there is nothing better than the feeling of being able to spend $6500 for something and NOT feel it (the equivalent of 56k today, over 20k over today's median income). Duck arrives, assuming this meeting is to discuss Martinson Coffee. It is, though now it is Martinson's Coffee, they changed the name (Roger wants them to change it back, he dislikes the confusion such a minor change would take). This is another brand that Duck has hunting for, and he's come with good news for their chances: a person in his network of friends/acquaintances has left him know that Grey - the Agency that currently handles Martinson's Account - is under review. Roger and Don both see the chance in that, Grey will need to be pumping out a lot of new work on top of everything else they do, it's a ripe opportunity for Sterling Cooper to strike. The difference in the dynamic between Don and Duck is quite something. Maybe he's doing as he threatened and giving Duck no excuse not to have landed the account, maybe the camaraderie is all for Roger's benefit already clearly in place... but maybe it's actually genuine and that meeting at Roger's behest actually had the desired affect. Instead of being antagonistic or sneering at Duck's "complaint" about spending half his weekend birding to get this info, he laughs along with the joke. When Duck asks for a chance to hear what the two Smiths have come up with, Don still rejects the idea but this time without malice. In fact he turns it into a compliment, joking admiringly that he doesn't want to fill Duck with too much confidence. There is a sense of, if not companionship, then at least mutual respect and an absence of animosity that has NOT been there in their most recent meetings. As Duck and Roger leave, the two Smiths are waiting by Jane's desk, both of course trying to "charm" a disinterested Jane who doesn't offer even the token excuses she gave Roger. Roger of course quietly takes note of the come on, while Duck doesn't pick up on it or doesn't care, more concerned about giving a,"Go get 'em, slugger!" note of encouragement to the young pair he pushed to be hired. Don of course takes it all in, telling them to leave Jane alone and peering suspiciously at the tape player Kurt wheels in with him. He hired these two at Duck's urging, and now it is time to see what this push for a younger mindset is going to produce.   Inside, Smitty does all the talking as usual. He's excited, showing off a wildly rambling letter he got from a college friend about the "Students for a Democratic Society". Don is polite but unimpressed, it's idealistic but he doesn't really get what it has to do with selling coffee. Smitty enthusiastically explains, it's all about the difference between generations: Don's want to show off new designs, get the newest and most exciting product, to be told what to buy etc, but their generation doesn't want to be told what to do, they don't want to be herded or managed, they just want to be. They have used their friend's passion to come up with a concept which they want to play for Don now on the reel to reel tape Kurt wheeled in with him. Smitty, by the way, was probably born around 1940 and thus technically part of the Silent Generation (the same as Pete and Don!) but clearly thinks of himself as part of the next generation. That would be the Baby Boomers, who for all their talk about peace, love and just wanting "to be" would arguably end up being probably the greediest, most selfish and incredibly consumer driven generation in history. In the conference room, Paul is showing off a new-fangled invention to a Salvatore, Ken and Peggy: a revolutionary new idea called... Pampers! Paul pours water into the diapers to show how absorbent they are, explaining the idea is to get a registered nurse in each Maternity Ward to show off the product to new mothers. Don apparently liked the concept, Peggy explains to Ken, but had the same complaint he's had on this account since it started: they need to lower the price. Ken complains that's the one thing he can't get Procter & Gamble to do, they poured years of Research & Development into this product and they're not going to discount it. Ken pushes that the product is worth the money, new mothers will no longer need to boil cloth nappies, kids will no longer have to wear plastic pants... and best of all, they're disposable! Use them once and throw them away, because it's 1962 and the idea of one-use products being dumped into giant garbage piles will never and can never have any negative consequences ever! Salvatore complains about this idea, not because of any environmental concerns (it's 8 years till the EPA would exist) but because of a sense of value: if they're charging a premium (10 cents per diaper!) shouldn't the consumer get more than a single use out of it? Jane enters the room with a file, saying it is notes from Don he wants them to review. That marks the end of the day as far as everybody else is concerned, Harry popping his head through the door to note it is 5pm and ask if they're going out. Peggy has no plans to join them, her objection to being left out before was because business was being done and that doesn't seem likely tonight, and takes the files from Jane as she goes. As Jane helps them clean up the conference room, Harry can't help but brag that he's been called in to see Cooper in his office tomorrow... for a solo meeting. He's excited, but becomes nervous when the rest assume he's probably just going to be asked to look at "the picture". He isn't sure if they're making it up, but they insist that Cooper has recently purchased a $10,000 painting (and probably didn't feel it, just like Roger said) and has been having people in to look at it. All they know beyond that is that the painting is supposedly abstract expressionist, which doesn't help Harry at all since he has no idea what that means. Now his excitement has been poisoned, though they point out HE was the one who barreled into the conference room to brag about his special meeting. Jane chimes in, asking why he doesn't just go look at the painting now? They're all surprised at the notion, explaining like she was simple that you don't simply walk into Cooper's office. She doesn't see why not, pointing out that Cooper has gone for the day, and insists that his secretary Miss Blankenship won't mind. Surprising them further, she declares that SHE is going to go take a look now, and leaves the room. Left in stunned silence, Ken is the first to act, declaring he'll go anywhere she goes, and the rest follow him... including Harry who is now obsessed with seeing this painting. Miss Blankenship has also left for the day, but that doesn't stop Jane who thinks nobody being around to ask permission is simply a bonus. They can't believe she's just going to walk in, and she can't believe they're too scared to, and even when they finally agree it's with the caveat that they respect Cooper's eccentric conditions for normal entry: they all have to take off their shoes! Paul has no interest in taking part, making his exit with a passing remark to call him from jail, while Harry can't bear to just be the lookout and follows them into the room. So they all rush in, excited (likening it to skinny dipping) and find themselves face to canvas with "the picture"... and Harry none the wiser for how the hell he is supposed to react when he sees it tomorrow.  It's a Rothko, though only Salvatore knows that. All Harry knows is that it cost $10,000, while Jane comments that it is "smudgy squares" and loses all interest. As Harry tortures himself over how to react to Cooper - does he love it which means he has to as well? Or does he think it's a joke in which case Harry will make a fool of himself if he says he likes it? - Salvatore and Ken find themselves the only two looking at the actual art for its intended purpose - being art. They have different takes on what that means, Salvatore insisting that Cooper will only pretend to understand the art while he himself insists as an artist that the work MUST have meaning. Ken has a different take, maybe this art isn't supposed to be explained but experienced? He finds himself enraptured by it, saying it feels like falling into something deep. Salvatore is impressed, agreeing with the reading and asking Ken if somebody told him that. Ken is surprised, giving the perfect answer: how could somebody tell him how to feel about art? They leave, Harry taking the stairs in his desire to escape while the rest ride down in the lift. Jane with a self-satisfied smirk points out that they could have stolen the painting if they wanted to, amusing Salvatore. For once though Ken isn't fixated (entirely) on Jane, his artistic side inspired by not only the Rothko but the experience of sneaking into Cooper's office. He tries to brag to Jane about his writing, less than pleased when she tells him she thought he was an accountant ("Accounts" he explains through clenched teeth). Luckily for him, he finds a surprisingly receptive audience in Sal, and is pleased when he speaks glowingly of his previous work. Yes Ken brought in plenty of copies of his Atlantic Monthly and spoke widely of his writing, but he's genuinely surprised to learn that at least one person actually read the work... and liked it! Sal wasn't the one one, laughing that EVERYBODY read it... and were jealous. Jane seems a little jealous herself not to be the object of attention, but that changes when they reach their floor and she leaves the car. Ken asks if she's hungry, trying to edge himself into joining her for dinner, but she cuts that off with a simple no and goodnight, walking away and leaving Ken rejected... but still on the hook and focused on her. She wasn't particularly happy about Roger or the two Smiths hitting on her, and she's shut down Ken at every step... but she also seems to at least enjoy his pitiful attempts to hit on her even if she has no interest in dating him. The next day, Paul joins Ken at the food cart to tease him about his little adventure... but also to get more information about Cooper's painting. Unfortunately for him, he's overheard by Joan who with that dangerously sweet and knowing smile asks what about MISTER Cooper's painting? Ken beats a hasty retreat, while Paul is like a deer frozen in the headlights, to the extent that Joan simply takes his coffee from him for herself. She pulls him away from the cart as he asks for another coffee, still that same sweet smile as she tells him what she heard: that he, Ken and Jane snuck into Mr. Cooper's office to look at his painting. The smart thing to do would be to just walk away like Ken did, but Paul's effort to shut her down by telling her to mind her own business is about the worst thing he could say since, as Office Manager, this IS her business. She doesn't push that point though, in fact she doesn't say anything, simply stares at him with that same knowing expression before handing him his coffee back and walking away. Unable to resist defending himself, just as she knew he wouldn't, he calls back that he had nothing to do with it, and she thanks him. Why? Because now he has admitted that people DID go into Cooper's office. He leaves, calling back that nothing happened, but he's dug too deep a hole, and all that is left now is for Joan to consider what action is best to ask with his "confirmation". In the Art Department, the two Smiths are insisting to a disbelieving Salvatore that they don't need any art to go with their pitch for Martinson's Coffee. Ken joins them, commenting on how nice it is on this floor (is this the first time he has EVER visited the Art Department?) and Salvatore warns the two Smiths that Kurt isn't to talk at the 3pm meeting today, dismissing them. Left alone, he and Ken enjoy the memory of their escapade the night before, and then Ken gets to the reason for his descent to the Art Department... he has another story, and he wants Salvatore to read it. Sal is shocked but delighted, having been a little uneasy about Ken opening with a comment about how he's not like everybody else at Sterling Cooper. Ken tries to make a joke of being fragile about feedback, but it's mostly true, he's left himself incredibly vulnerable by giving a work in progress to a colleague and it's only due to their after-hours adventure the previous day that he's worked up the courage to do this. As he leaves, Sal calls him back, suggesting that he join him and Kitty (though never explicitly stated to my memory, it's clear now Kitty is absolutely Sal's wife and not just a girfriend) this Sunday for a home-cooked meal, and he can give his feedback then. Ken is surprised at the invitation, but happy to take him up on it. He and Sal have gotten on fine during their time together as employees, and even gone out drinking and to parties together, but this is the first time either has really reached out to the other to perhaps be genuine friends.   The 3pm meeting comes and Don is joined by the two Smiths, Peggy and of course Duck in a conference room with the people from Martinson's Coffee to discuss their biggest problem: young people don't drink coffee. Don dismissively points out the prior efforts to attract younger consumers without naming Grey, and without actively making GBS threads on their campaign efforts while still putting plenty of disdain into referencing them (apparently they tried something with.... puppets?), and then introduces Smitty as an example of somebody who actually understands young people... because he is one himself. Smitty of course is in his natural element pitching, with even his appearance speaking volumes for how he is not like the other ad men at the firm. He wears blue pants, a multi-colored shirt with an ascot instead of a tie, and a coat that is just a little too big for him but in a very deliberate way as opposed to the untailored look we saw on 1952 Don Draper. He exudes a confidence born entirely of youth rather than experience, detailing the history of Martinson's Coffee back at its own execs, pointing out that "Old Cup of Joe" might have worked great for prior generations but it is old hat to the current ones. Their problem is that they keep trying to find ways to tell young people to drink coffee, but young people don't like being told what to do. The Martinson's Exec - presumably Jim Van Dyke - is clearly struggling with himself at listening to this "kid" tell him how things are and why he and his company's approach are wrong... but he also clearly understands that he HAS to because nothing else is working and they need to figure out how to capture this massive potential market (and their increasing access to disposable income) no matter how bitter a pill to swallow it is. So he lets Smitty continue, as Smitty assures him that Martinson's is a great coffee but all young people need to know is that it is delicious, hot and brown. Glowing at what he sees as his moment of triumph, he gives Peggy the signal and she turns on the tape player. They didn't need artwork because THIS is the art, as a calypso song plays about South America, pretty and exotic girls and, of course, a hot cup of joe. "I don't know if I understand this?" Van Dyke finally speaks up, completely unsure how a pitch meeting has turned into him listening to a song about pretty girls.... they're bringing him a jingle? Not at all, insists Smitty, it's a song AND a mood AND a feeling. Don speaks up at last, but only in defense of his team, declaring with pure confidence that this is more than a jingle. Still not getting it, Van Dyke looks to the other young person in the room, asking Peggy what she thinks. With a smile she agrees the song sticks with you, and he ponders this, still not getting any of this at all but aware that's kind of the point. Still, old habits die hard and he asks the obvious question that Sal was concerned about earlier: where are the pictures to go along with song/mood/feeling? Kurt turns a look Don's way, concerned as to how he will handle this given he was the one who insisted that they only go with the song. He needn't have worried, with that same supreme confidence he displayed earlier, Don smirks and tells Van Dyke that they'll show him artwork... if he signs with Sterling Cooper. The two Smiths are delighted, Duck seems pleased, while Van Dyke continues to wonder just what kind of world they're living in as they get exactly what they asked for: a campaign that older creatives like they had at Grey couldn't come up with. Harry makes his once anticipated and now dreaded visit to Cooper's office. Cooper waves him in to take a seat across the desk from him and launches straight into business, looking through the accounts on Media Purchases and wanting to run through the March numbers. Harry though, of course, can't resist looking once again at the Rothko, his every thought fixated on how to answer a question that Cooper has shown no sign of asking. Cooper spots that his attention has drifted and snaps him back to attention, and Harry ends up raising the issue himself, saying he was distracted by the painting. Cooper does beam at this reminder though, agreeing it is eye-catching. Trying to impress, Harry notes that it is a very modern piece and namedrops Rothko, truthfully saying he has heard of him without explaining he heard it for the first time yesterday after sneaking into this very office. Now comes the question at last, as Cooper turns and gives him an expectant,"....and?", and it is the moment of truth for Harry who.... instead asks Cooper what HE thinks about it. It seems like it was probably the smartest thing he could have done (apart from NOT bringing up the painting at all), especially since unlike Duck he didn't explain WHY he was avoiding answering the question. Cooper notes that nobody has ever asked him that before, and Harry feels the weight lifting from his shoulders... until they come crashing down again when Cooper coldly notes they probably haven't because it is none of their business. Of course, this being Cooper's business means he has the privilege of asking everybody else, and now that Harry has brought it up he wants to know Harry's thoughts. Again, Harry ends up taking the wisest course of action available to him, which is simply to tell the truth and admit he doesn't know anything about art. That's fine, Cooper acknowledges that Harry works for them and is currently in this meeting because of numbers, not art. Still, Cooper can't resist dropping some wisdom and make an admission of his own: people buy things to realize their aspirations, it's the foundation of their business... but also a Rothko is going to increase in value, and he expects his 10k investment to be worth 20k by next Christmas. They share a smile, two men bonding for a moment over the simple fact that the art was bought not for aesthetics or to be experienced, but because it's worth something and will be worth more later. Then it is back to business, Cooper asking where they were and Harry getting them back into the March accounts. As a meeting, it was nearly a disaster, but he is at least leaving it knowing exactly where he stands and having got a laugh out of the old man.   Betty Draper is combing Sally's hair in the house after returning from the public swimming pools. The phone rings and she answers, surprised to hear Jimmy Barrett on the other end. She assumes he is looking for Don, but he laughs that he knows EXACTLY what he is doing by calling her. The pilot for his show, Grin and Barrett, was a success and he has been picked up for 39 episodes, and he wants her and Don to attend a party at the Stork Club on Monday. He explains that "Donnie" hasn't answered his messages, but he guesses that like Bobbie does with him, Betty is the one who handles the social engagements for the Drapers. She doesn't correct him on that (birthday parties, neighbor bbqs etc sure, but nights out on the town? That's all Don) but agrees it sounds fun, though she can't guarantee anything beyond asking Don. Getting serious for a moment, or at least putting on the pretense like he did with the Schillings at dinner, he tells her it would mean a lot for him if she came, then cracks a joke again by suggesting she ride into the Stork Club on her horse like Lady Godiva (i.e, naked). Betty takes that as a cue to say goodbye, he's pushing things a little too far, but she's taken it with good humor nonetheless. After hanging up, she can't help but continue to smile: after all, it's not everyday a (semi)famous comedian invites you to a party at the Stork Club with celebrities, and there is something flattering about the way he openly flirts with her she can't deny. Duck comes to see Don with good news, Martinson's Coffee were convinced by the pitch (even if they didn't understand it). He doesn't bring up that he was the one who pushed for the two Smiths to be hired, which he would be more than justified in doing considering Don's whole attitude over the American Airlines debacle. Instead the two men enjoy their well-earned success, Don pouring himself a drink and thoughtfully asking Duck if he'd like for him to send for something for him, acknowledging the fact that Duck doesn't drink. Duck is fine, telling Don to go ahead, though he does cast a quick look in the direction of the booze he's started to be tempted by again recently. More than just the thoughtful offer of hospitality though, Don congratulates Duck on the important advance work he did to get them into the position to make the successful pitch in the first place. Duck can afford to be humble here, agreeing this is what his job is all about. It is the Creative Director and the Head of Account Services working in conjunction the way they were meant to, each bringing their own strengths to the party like they did in the early days with Kodak with equal success. Unfortunately, this brief moment of unity is damaged when Jane steps into the office to tell Don that Cooper wants to see him. Don assumes it is a joint request and says they'll both be right there, and Jane explains that he specifically asked for only Don, not Duck. Don finishes his drink, gives Duck a friendly clap on the shoulder and thanks him again before walking away. That leaves Duck standing alone, Jane eying him with sympathy that could be mistaken for pity, left out in the cold as Don is called in by the Senior Partner presumably to be congratulated for landing an account they only got because of Duck's efforts that were largely resisted in the early stages by Don. That drink must be looking awfully tempting right now. Unlike Harry, Don enters Cooper's office with confidence, and isn't surprised to find Roger there too. Cooper invites him to take a seat across from them, not at the desk but the couches, this is a relaxed meeting between colleagues, not superiors. Congratulated on his success getting Martinson's, it is to Don's credit that he points out it wasn't done alone. But that isn't the point, Jim Van Dyke was impressed by Don, to the point that he's made an offer: he wants Don to join the Board of the Museum of Early American Folk Arts. Don really isn't sure what to make of this baffling offer, moreso when he discovers this Museum doesn't even exist yet... do they need a campaign? Like he once did re: the inner workings of Manhattan power, Cooper has to explain how things work to Don. Philantrophy is "the gateway to power" and that is what Don is being offered. Roger explains that as valued as his work in advertising is, he's also now part of a bigger business, part of what comes with being a Partner. As Cooper puts it, it is time for the horse to catch the carrot: Don Draper has just reached the stage the American Dream is supposed to offer to all Americans, he has put the hard work in and now he gets to reap the benefits. Board memberships, social functions, all designed for the people at the top to network and associate and benefit from their relationships. It is, as always, the top levels of American society who benefit the most from capitalism, but in 1962 it was still somewhat possible for somebody who wasn't born to it to reach this point purely based on being very, very good at their job. And that's exactly what Don is. As a genuine smile finally dawns on Don's face as he truly grasps the significance of Van Dyke's offer, Cooper asks Roger to leave them alone for a moment. Roger goes without protest, his pat on Don's shoulder 1000 miles away from the way Duck felt after Don patted his. Left alone, Cooper diplomatically brings up his surface level knowledge of Don's true background as Dick Whitman, never specially referencing it but making it clear this is what he is referring to. The reason he brings it up is not as a threat, but as a reinforcement of what he told Pete Campbell: nobody cares. Don is being offered a seat at the big boy's table, and as far as Cooper - who already has one - is concerned, it is deserved. He doesn't want Don second-guessing whether he belongs, because he does. He is welcome. He is now one of the club. He belongs.  
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Dec 20, 2020 17:37
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Don takes it to heart, he REALLY takes it to heart. Gone is the insecurity, the imposter syndrome, for now at least. Brimming with confidence, feeling the glowing endorsement of men in power, he returns to the Cadillac showroom. He doesn't wait for an offer, he climbs into the Coup de Ville and lets himself feel what it would like to make this HIS car. Kirkby arrives, pleased to see him back, and offers again to take him for a test drive. Don declines again, but not because he's still second-guessing himself or is still haunted by memories of being confronted over his identity. For now, those doubts and memories are sealed away, and he simply tells Kirkby he will be buying it. And he won't feel the cost at all, money has become just another thing to him at last. Far from the freedom that Don Draper feels, Jane finds herself in a corner. Typing at her desk, she is approached by Joan who asks her come with her. Alarmed, she asks what is the problem and insists it can be dealt with here, and Joan asks if she REALLY wants to have this conversation here in public. Because she has no problem doing that, explaining that word got to her that she and some executives broke into Mr. Cooper's office after hours. Jane of course immediately denies this, but Joan is having none of it, nor of Jane's frantic confession that she did do it but only because the executives forced her to: They both know the executives will do anything Jane says. With her usual tricks not working, Jane immediately gets sulky, demanding to know what Joan's problem is, is she the only person allowed to have fun around her? Joan is stunned, not because Jane is making any valid point but just at the utter temerity of her reaction to being called out for sneaking into the senior partner's office. Smugly Jane declares that she doesn't need a mother, pointing out that she is a whopping 20-years-old... and then runs headfirst into reality when Joan orders her to collect her things. Horror dawns on her as she realizes that perhaps for the first time in a long time, somebody is not only immune to the charm of her youth and beauty, but in a position of authority to make her suffer the consequences of her action. Joan informs her coldly that she is going to the break room to find her replacement and wants her gone by the time she gets back, and when Jane expresses disbelief she is hit with the harsh alternative: if she thinks she can hold onto her job, then Joan is more than willing to have this entire conversation with her again... but this time in front of Mr. Draper. Joan leaves, and Jane sits in shock as it really hits home for the first time... she's fired. Sneaking into Mr. Cooper's office was probably enough to get her fired but if she'd just let herself get read the riot act by Joan in private, swallowed her pride and even pretended to be cowed she might have been fine. Instead she mistook her position as secure and Joan as just another older woman jealous of her, and did about the worst thing she could have done: questioned Joan's position as the female powerhouse of Sterling Cooper. Outside the Draper Residence, Don shows off the Coupe de Ville to a thrilled Betty, who doesn't question the expense but thrills to the representation of power and success it is. She hops into the passenger seat and he has her slide over into the driver's seat, where she sits happily pretending to turn the steering wheel, marveling over how it feels like sitting in a cockpit. They feel the leather seats and Don enjoys telling her it was expensive without giving a figure, and she doesn't ask, instead simply asking him if he loves it. He does, he admits, and she's pleased, telling him he deserves it considering how hard he works. She points out she'd love to drive up to the Stork Club in this and of course he declares they can go anytime, which gives her the in she wants to ask if they can go on Monday. He's surprised at how specific and soon this is, and she explains Jimmy called for him and made the invitation. He's surprised at that too, why didn't Jimmy go through his secretary (presumably that is what Bobbie's calls were about?) and Betty admits with a grin that she thinks Jimmy likes talking to her. Don isn't all that pleased to hear that, but allows himself to be distracted by Betty's happy kisses. She points out the kids won't be home for an hour and suggestively asks if he wants to "take a drive around the block". He knows exactly what she means, but not in the car - it's pristine and new, there are other places they can make love. Back at Sterling Cooper, a still shell-shocked Jane is carrying a box of her things as she makes the walk of shame towards the lifts. As she goes, she notices that Roger Sterling's secretary isn't at her desk, and pauses outside his door, contemplating her few remaining options and coming to a reluctant decision. She knocks and then enters timidly, finding Roger sitting on his couch reading a newspaper. She apologizes, explaining Ginger was away from her desk, and says she just stopped by to say goodbye and thank you for his kindness. He's confused, goodbye? She explains she was fired, and he assumes it was Don who did so, and she corrects him that it was Joan. Standing up and offering her a hankie as she holds back tears, he agrees that being fired is a little excessive, pointing out that Miss Holloway is going through a rough time what with being engaged and all. He asks what happened and she gives an extremely charitable to herself reading of the situation, claiming that all she wants is to do her job. He suggests she go home, and this time when he asks her once again where she lives she hesitates a moment before finally giving him the answer that he wants: Jane Street in The Village. Delighted at the thought of Jane living on Jane Street, he tells her again to go home, and to return on Monday where he will have smoothed things over with Joan and she can go back to working on Don's desk. She's shocked and grateful, though of course she entered this office with the express purpose of getting just this result. She leaves, still technically fired but now with hope that perhaps she has a way back in... and all it cost her was giving Roger Sterling a tiny wedge point into her life she'd successfully avoided giving him until now.   Sunday comes and Salvatore and Kitty are finishing up their preparations for dinner, laughing over the fact that Ken is - as expected - late, typical of a bachelor who has no obligations to keep him on schedule. He arrives with flowers, commenting on the divine aroma coming from the house which she admits is to Sal's credit, he is the one doing the cooking today. Sal and Kitty have an easy chemistry, darting about the kitchen together, charming Ken, laughing over by now well-known eccentricities of the other. They present to Ken a picture-perfect couple, they even have a romantic backstory, as Kitty explains that she had a crush on the older Salvatore when she was growing up near him in Baltimore, and followed him to New York when he moved his mother up there. Ken tries the spaghetti sauce, Sal jokingly echoing Ken's own concerns about feedback by warning him that HE is fragile when it comes to reviews of his food. Ken, who doesn't get many homecooked meals, raves about it, but then turns back to his own creative endeavors: he doesn't want fear of the feedback hanging over his head, can he hear what Sal thinks now? Kitty is confused but pleased when she learns they're talking about his story, noting that Sal has been talking about it all week but won't let her read it. Sal admits he wasn't sure if Ken would want that or not, but makes him happy by assuring him he loved it. He isn't just saying that to be nice either, he thought the story was lovely. Relieved, Ken explains the inspiration for "The Gold Violin" came from seeing one at the Met once, marveling over the fact the instrument was perfect in every way EXCEPT it couldn't play music, the one thing it was supposed to be designed for. Kitty is intrigued by the concept, and they all settle down at the table to enjoy the meal and each other's company.... and the entire time, Sal is fixated on watching Ken. It seems, regardless of his picture-perfect marriage, that he has ideas (or at least fantasies) of more than just friendship with Ken. While they've having dinner, the Drapers are enjoying a picnic. With music playing from the open Coup de Ville, Don, Betty and Sally are relaxing on a checkered blanket in the shade of a treet on a grassy field. Bobby is "playing around", nowhere to be seen which generates zero fear from his parents. Betty and Sally are playing checkers, Don - who is loving just lounging around on his back - pretending to be offended Sally didn't want to play his "look at clouds" game. She admits she'd most enjoy playing with silly putty, but Don has no qualms about reminding her she isn't allowed to do this because he doesn't want any getting into the seats on his new car. Tired of checkers herself, Betty tells Sally to go play with Bobby so she can enjoy lying down with Don herself. She is loving this outing, telling Don they should do it more often, but he disagrees... they should ONLY do this. Bobby reminds them of the sadly limiting reality of nature though when he comes racing up and declares loudly that he needs to pee. Don sends him off to go behind a tree, and a jealous Sally admits she wants to be allowed to "tinkle" outside too, though Sally points out it is different for girls without elaborating why. Don is less concerned about propriety than his flashy new car though, saying he wants everybody to have gone to the toilet before they get back into the car. Betty asks Sally if she actually does need to go, and she shakes her head: she just wanted the option. His guard down in this moment of bliss shared with his family, Don without even thinking about it talks openly about his own childhood. He explains to Sally that as a boy growing up on the farm, he had to use an outhouse and guide ropes during dark nights. Sally laughs that she's happy not to live in "olden days" which gets a laugh from her parents. Betty doesn't comment on this reveal, but this may be the first time he has ever told even her that he lived on a farm, so far all we've seen him offer her on his childhood was that his father viciously beat him... his tiny son Bobby seems to know more about Don's childhood than his own wife. Sally has taken in this story and immediately moved on to the next thing in her mind, various things adding up in her mind till finally she blurts out the conclusion she has reached and seeks confirmation: are they rich? Don and Betty both consider this for a moment, then Betty simply declares that it isn't polite to talk about such things. The truth is they're not... not yet at least, but they are well on their way. Betty has pride in that, pride in her husband's hard work being rewarded and their family being granted the freedom and choice that comes with money... but also a level of guilt/fear over being too prideful, of putting too much stock into the material wealth that they, well... put so much stock into! Bobby returns, full of pride himself that he was able to successfully pee behind a tree. Don decides his little boy having an empty bladder is as good a time as any to leave, suggesting they beat traffic by going now, telling Betty to check the kids hands before letting them back into the car. He collects some of the heavier picnic things and takes them back to the car, while Betty collects the rest, including the blanket which she... snaps out into the air, spilling ALL the litter left over from their picnic onto the grass. Without a backwards look, without even a token effort at cleaning up, she returns to the car with Don, they put the basket into the trunk, hop into the car and drive away, leaving a pile of rubbish lying on the ground. In 1962, this was the norm, but in 2020 (hell, in the 1980s!) this complete disregard for nature or making even the barest gesture to clean up after themselves is a hell of a thing to see.  Dinner is wrapping up at the Romano Residence, Sal pouring the last of the wine into Ken's glass as the guest. Kitty asks if she should get another bottle and with barely a glance Sal slides over his glass to her and tells her to drink that, before going straight back to Ken to gossip about Harry's meeting with Cooper. They laugh over the fact Harry told Ken he knows the answer but Ken wouldn't understand (it's true, Ken sees the artistic merit, Cooper and Harry see the monetary worth). But as they laugh, Kitty is left in the dark, having only the barest understanding of the people involved or what the answer is in regards to in the first place. She attempts to integrate herself into the conversation, first asking Ken where he lives, and when Salvatore turns that back to talk about work, she tries to work into that topic as well by bringing up that she has a cousin with an advertising agency in Montreal, only for Sal to declare that Ken wouldn't be interested and cutting her out of the loop again as he asks Ken how he - a writer - ended up in Accounts? Ken admits he and some college buddies heard there was money to be made in that field, but he was the only one who got the job. The writing is just for fun, intriguing and pleasing Sal to realize that this tall, handsome man he works with does creative things as a hobby. When Ken suggests he should leave, Sal tries to convince him to stay, offering him a cigarette, Ken lighting Sal's own with a lighter he pulls from a pocket, the intimacy between them viewed miserably by Kitty who isn't even offered a cigarette of her own. Sal offers him coffee but Ken admits that he does have a long ride back to Manhattan, and even declines Kitty's offer of some pie to take with him, saying he couldn't possibly eat anymore. He thanks them both for their hospitality, especially thanks Sal for reading his story, and with a smile at Kitty tells Sal he can let her read it too. Sal escorts Ken to the door, says his farewell, then returns to the dining room where Kitty asks if he'd like some pie. He's not hungry anymore though, saying he's just going to clean up. Many wives would be grateful to have a husband who cleans up after dinner, but equally as many wives would be as pissed as Kitty that he hasn't even considered that just because he doesn't want any pie she might. She outright asks him if he even cares, and a startled Sal promises that he does and offers to go get her some. She cuts him off, saying she'll get her own, and when he asks what the problem is she snaps at him that she's only ever met the people he works with once, how can she be expected to talk with them if he won't let her meet them or get a word in edgewise? Sal tries to play this off as an overreaction, but now that she's venting she isn't going to stop, asking him point blank if he even sees her. Of course he does, he promises, but as she breaks down over his preventing her from including herself in the conversation, he seems to realize the extent of her sadness. Or perhaps, more cynically, he realizes the extent to which he let his guard slip and too obviously demonstrated his interest in Ken. Whichever it is, he makes a real effort to apologize, to not try and explain away his actions or dismiss her concerns but to just say sorry and promise her he'll do better. She allows herself to be mollified, for him to give her a loving kiss and offer for her to put her feet up while he gets her some pie and takes care of the kitchen himself. But as he moves past her, her face falls again. Does she suspect Sal's secret? Or is this simply the miserably realization that he doesn't consider her part of his life outside of when they're alone together in the house? She takes a seat, and Sal starts collecting up napkins... and discovers Ken left something behind: his lighter. Sal picks it up, considers for a moment, and then slips it into his pocket, perhaps with the intention of returning it on Monday, or perhaps just for a keepsake,   The next morning at Sterling Cooper, Jane arrives without her usual confidence, and has no time for Ken's presumptuous pickup line (he has tickets for the Mets and TELLS her he'll be picking her up at 5), hissing at him that he won't be coming by at 5 and she doesn't want him lurking at her desk, warning that she is "being watched". Rejected, Ken wanders away trying to pretend not to be wounded, and is happy to spot Sal in the break room as a distraction. He greets him, thanking him and Kitty both for the wonderful meal, asking if it is appropriate for him to call Kitty to thank her personally. Sal, mindful of Kitty being upset over being sidelined, agrees it would be fine and she would appreciate the call. Ken admits that when he thinks about no longer being a bachelor, it is the kind of marriage that Sal and Kitty have that he hopes for. Sal, who of course knew even before the argument that his marriage is far from the perfection Ken imagines, simply nods, says it was nice having him around, and then makes an exit. The lighter is never mentioned, and Sal makes no offer to return it. At her desk, Jane is doing her best to pretend everything is normal when she sees Joan approaching. 1000 thoughts cross her mind: Is there going to be a confrontation? Will Joan be mad that Roger overrode her? Instead, Joan simply walks over, a calm smile on her until the moment she arrives at which point the smile becomes a snarl and she asks quietly but with a voice dripping with contempt what on God's Green Earth she is doing there? Jane gulps, tries to speak, has to pause to gather herself, then finally asks if Mr. Sterling spoke to her. Joan's answer must cause her heart to sink, because it is a very simply,"No" followed eventually by a question of her own, what could Roger Sterling possibly have to do with this situation? Realizing too late that Roger either didn't bother or completely forgot about his promise to sort this out, Jane resorts to what she tried once already: she just straight up lies. Still meek, she explains that Roger told her that Joan does this type of thing all the time, loses her temper and lashes out, and it isn't to be considered serious. Joan's poker face rivals Don Draper's, she takes in this information without blinking, considers it briefly, then shunts it aside to keep her opponent off-balance by refusing to engage and instead asking another question: WHY was she talking to Roger Sterling? Jane nervously admits to "bumping" into him on her way out on Friday, then forces herself to look relaxed and with a smile asks if there is still a problem? No, replies Joan, there is no problem... in fact things are now VERY clear to her. Those words should fill Jane with dread, but Joan at least walks away without demanding she leave... she has somehow managed to unfire herself without the real Roger Sterling's help, just a fictionalized version. Joan is no fool, but even if she can see through 90% of Jane's bullshit, the seed was planted that Roger spoke poo poo about her behind her back, something she can absolutely believe happened. While she worries about that (and dismisses Jane as somebody willing to sell herself to escape trouble), Jane is left to continue her work. But while this might be a triumph of a sort, Jane looks anything but victorious. At her desk, going back to work, all the confidence seems to have drained out of her. She is now working there purely due to a flimsy sheath of lies that could tumble at any moment, and she's turned the most powerful woman in the office into an enemy. Joan's statement of,"There's no problem at all" could be read a number of ways, but perhaps the most frightening is the idea that Joan is stating as clearly as can be that Jane isn't somebody she won't be able to get rid off if she REALLY wants to.   That evening Don and Betty arrive at the Stork Club, Don wearing the tuxedo that Roger and Cooper told him he'd have to get used to wearing more regularly. Betty is in heaven at seeing how glamorous everybody looks, though Don insists they think the same about her, and she glows as she points out her earrings and reminds him she got them on their trip to Bermuda. An older man approaches to shake Don's hand, saying he heard Don had something to with this. "Very little," insists Don, introducing him as Andrew Colhold from ABC to Betty. They're joined by Bobbie Barrett, who has no problem being friendly and chatty with all of them including Don, who for his part remains polite but stand-offish with the woman he last saw tied up in a bed while he walked out in a huff. Betty offers to go get drinks and Don says he will go, but Betty insists, saying it is clear they have business to discuss. Once she's gone, Bobbie explains she has come up with ideas to work sponsor items into the show, like pretending a woman accidentally drove over Jimmy's Rolex watch. Don has to smile at the grift, realizing that this means ABC will need to buy Jimmy a Rolex (or rather get Rolex to agree to give him one) but Colhold doesn't care, insisting that he doesn't care what it costs so long as they can crush the traitorous Candid Camera. Time passes and Betty finds herself contemplating a statue of a horse, having left the trio to keep discussing business while she tries not to be bored. She's "saved" by the arrival of Jimmy Barrett, immediately flirting, demanding to know why she's standing alone and her admitting she fled rather than hang around. Jimmy grabs a couple of drinks and offers her one, insisting when she suggests she might have had enough already, making a joke of it by saying ABC's research shows he's "funnier" when his audience is drunker. He has her join her in a seat next to himself, Betty a trifle concerned since his flirting is fun but has also been harmless when over the phone or with other people present... now she's going to be comparatively in private with him? Still, it could be impolite to decline, so she joins him where they have a direct line of sight to their spouses talking business, Don's stand-offishness gone as he has warmed up to the conversation, getting more and more used to the type of networking that Roger and Cooper expect of him now. Jimmy likens it to the two of them being left at the kid's table, looking at Don and remarking that he's been standing behind guys like that his whole life, unseen or ignored except for the fact he was funny. Him being funny is the only reason he is where he is today, the only reason he gets to meet and talk to the likes of her. It's all very flattering towards her and self-deprecating towards himself, essentially the opposite of his usual schtick... until he closes the trap by using all his talking of her up to start talking down her husband. Nobody could do better than Betty Draper, and that includes Don... so what does SHE think happened between Don and Bobbie? Betty is perplexed, what does he mean? Jimmy tells her to look, and despite herself she does, at her husband and his wife standing side and side and talking with easy familiarity. At Don letting a look on her linger a little too long, at the little frown that crosses his face after she looks away and he can let his smile go. Betty has grown a lot since season 1 but there is a still a significant part of her that wants to ignore Don's flaws, and quietly she tells Jimmy she doesn't like what he is trying to say. Jimmy isn't done though, his face is hard now despite his own self-pity, as he claims that they're over here while their spouses are over there not caring where they are in the slightest. When she tries to walk away, he grabs her wrist and pulls her back down, hissing that he doesn't like it anymore than she does. He wants her to confront the truth, but she refuses, snarling at him that "you people are ugly and crude" and pulling away, leaving the couch and walking away. "What people?" demands Jimmy, who in spite of the seriousness of the situation can't help even now but turn his anger into a joke,"Comedians?" Cutting away from the Stork Club, Salvatore sits in the dark of the living room, his mother asleep on the couch (does she live with them? Or is she just visiting? She wasn't at the dinner with Ken) and Kitty sitting beside her doing needlework. Sal turns to look at his wife, who is engrossed in her work and not focused on him. Turning away, he takes out a cigarette and lights it... with Ken Cosgrove's lighter. He holds that in his hand for a moment, the keepsake of a dangerous infatuation with a co-worker who has given no sign of being anything other than a VERY heterosexual male. Finally he puts it away, and continues to smoke in solitude, not for the first time in his life feeling completely alone in a room with other people. Is he himself the Gold Violin? A man perfectly designed to be the masculine ideal in every way... except that he has no real romantic interest in women. Don is waiting by the coat check when Jimmy finally gets to be alone with him, asking if he is leaving so soon. Don explains that Betty isn't feeling well, and Jimmy pretends concern, offering to get Betty's coat for Don as the least he can do.... after all, thanks to him, he got everything he wanted. Don smiles, joking that he doesn't know if that is possible, but Jimmy insists it is true: he kept his relationship with Utz, he got his show, good money, a guaranteed 39 episodes on the air... he's gonna be an institution. Smiling and smoking, working the charm, Don laughs that he'll tell everybody he knows, and a delighted Jimmy asks if he knows what he really likes about him? Nothing. They both smile, and just like with Betty, Jimmy chooses this moment of levity to hit him as hard as he can, repeating again that he got everything he wanted, and all Don got in return was Bobbie... and lots of people have had that. Don's face falls, shock and disgust mixed on his face at the crudeness but also the reveal of his knowledge of their affair. "Excuse me?" he asks, but this time his poker face isn't working, Jimmy is too much of a pro for that. With contempt dripping from every syllable, he tells Don that he laughs at him, every night he goes home and laughs at him. Trying to keep control of the situation, Don insists that he doesn't know what Jimmy thinks happened, but again Jimmy is having none of it. With a sneer he tells Don that if he wants to step out on his wife then that is fine, he can go get a whore... but to sleep with another man's wife? Jimmy is far from a good person himself, he's crude and arrogant and presumptuous, he looks only to his own benefit and his own amusement. But for all that, for all that he flirts with the wives of other men, for all that he clearly holds his wife in a certain contempt while simultaneously loving her... there are lines he won't cross that Don has. So he looks at the perfect man in his perfect tuxedo, this man who now sits on Boards of Fine Art Museums, who owns a Coupe de Ville, whose name is known by the heads of companies and the movers and shakers of power... he looks at him with contempt and tells him straight to his face that he is garbage... and that he knows it.   For once there is no pithy comeback. No perfectly executed line delivering with expert timing by a man who oozes confidence. Don just stares, revolted but also aghast... because there is no possible comeback, no answer, no denial... because it's all true. This is a man who cheats on his beautiful and loving wife. This is a man who happily stood and shook the hand and accepted the grateful thanks of the husband of the woman he was secretly banging. By comparison, Jimmy orchestrating this little confrontation (remember how he insists on the phone to Betty how important it was to him for her to be there?) pales. Because Don Draper IS garbage, and he DOES know it. Betty returns and Jimmy beams a charming smile and wishes them both a good night. Still stunned, Don can only watch him go, and a still upset Betty says nothing either. They leave the Stork Club, hop into his brand new Coupe de Ville, and drive in uncomfortable, awkward silence through the night. There is none of the cool, relaxed driving that Don usually affects on these rides home. Betty doesn't lean happily on his shoulder and bask in the glamor of their perfect lives. They don't talk, each considers the implications of Jimmy's words, and finally something happens. In his brand new car, one that declares he has "arrived", a vehicle he has gone out of his way to keep pristine... Don Draper's wife Betty winces and then throws up, vomiting all over the shining symbol of their perfect lives. It's about as perfect an end to an excellent episode as one could hope for, in a show that is all about what lies beneath the carefully cultivated appearance. From the mystery woman appearing in 1952; the Rothko painting's "meaning"; Jane's desperate measures to preserve her employment; Salvatore and Kitty's happy marriage being built on one massive, massive lie; Jimmy's calculated moves beneath his clownish exterior; Betty's literal sickness over being forced to confront the rotten core of her marriage; to of course Don Draper's EVERYTHING... it is all about the inevitability that eventually the truth will out, whether by accident, by design, maliciously or simply because a lie can't last forever. It all comes out eventually, and if you're not careful, it'll ruin everything you worked so hard to get. Episode Index
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Dec 20, 2020 17:38
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Excellent as always! I did find the dumping of the picnic trash one of the (very) few totally unbelievable things in the show. I can’t conceive of anyone in the UK from a similar social strata behaving in that way at that time, and I find it exceptionally hard to believe someone as well-brought up as Betty would do it either. Even if I could be convinced that it was the norm, it’s far too on the nose for me to be happy with its inclusion.
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Dec 20, 2020 18:27
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Gaius Marius posted:I was surprised by how much more I empathized with Duck on this watch. There's a strong undercurrent in the show about people dealing with the trauma of war, nearly every character we see who has a severe addiction to alcohol is someone self medicating to deal with it. I don't think it's any coincidence they set this episode on memorial day and directly brought up Don's service. There's been some good studies and articles on the prevalence of alcoholism in re to WWII vets returning to the work force, its crazy how prevalent it was, and the unprecedented amount od heart attacks and life long illnesses being largely normalized
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Dec 20, 2020 18:44
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Jerusalem posted:Kind of a tangent to this, but something I find interesting is that Pete pays lipservice to emulating his superiors, but it's always empty talk that is never backed up by anything we actually see him doing. He told Don that he considered Roger a mentor which is just utter bullshit, he tells Don he would "follow him into war" because he thinks a guy with Don's military record would want to hear something like that, but Duck is the only one of the two I recall him ever actively insulting in public in front of others. He comes close when talking poo poo about Don sometimes but always couches it more in regards to himself and others. With Duck, he's always showing his disdain to others, but ironically Duck is one of the few higher-ups in Sterling Cooper that not only treats Pete well, but with a measure of respect/admiration... well at least until Pete made that ridiculous suggestion about getting a dog to just live in the office. Pete's really interesting because he obviously came from a family without much paternal attn or love, and you can see how much how he wants to be validated by his older male superiors. But he also devalues them and seeks to cast them down at every opportunity. Some real push pull psychology right there. A lesser show would have made him a brown noser, or machivellian. This show made him both, and strangely adolescent. The Klowner posted:Pete is certainly emulating Don in one specific way in this episode. For Don affairs are an escape. For Pete, they're an excuse.
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Dec 20, 2020 18:48
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Patrick S. Fischler is a mostly one off character actor but absolutely one of the best actors in the world to switch from jokester to "you do not gently caress with me" with a single look. He played a recurring role on Suits where he did a similar thing and it was almost uncomfortable to watch him go from grinning jackass to gonna ruin your life now angry.
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Dec 20, 2020 20:46
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Jerusalem posted:He wants her to confront the truth, but she refuses, snarling at him that "you people are ugly and crude" and pulling away, leaving the couch and walking away. "What people?" demands Jimmy, who in spite of the seriousness of the situation can't help even now but turn his anger into a joke,"Comedians?" I can't help but laugh at this every time. Jimmy just immediately turning Betty's prejudice into a pretty funny off-color joke, as naturally as he breathes.
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Dec 20, 2020 22:24
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It's actually the only Jimmy line I find funny! I think Fischler nailed the dramatic aspect of the character, but I don't buy him as a successful comedian. But man, such pathos. I think I have a different interpretation than Jerusalem on the Martinson['s] pitch. I think Kurt and Smitty basically acted like a couple of charlatans. It's a bog standard jingle, something Grey (or any other agency) could have easily come up with. The poor, befuddled exec signs because he knows he doesn't understand the younger generation, and here they are, and everyone is assuring him THIS IS WHAT THE YOUNG PEOPLE WANT! So he just gives up on trying to understand and signs on the dotted line. It makes it even more of a win for Duck, since the quality of the creative wasn't even relevant. All that mattered was how young Kurt and Smitty were. What if Harry had just copied Ken's pretty insightful take on the Rothko? Would Cooper have been impressed? I think I agree that being honest was the best thing he could do. Harry's not really a guy who commands a lot of respect. He's too squishy. But he had the balls to admit to being an ignoramus about something to his boss. People respect that.
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Dec 21, 2020 00:45
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Don's dismissive "...puppets." in the Martinson's pitch is a reference to the Wilkins Coffee television advertisements that were among Jim Henson's earliest (and darkest-humored) work: https://www.youtube.com/watch?v=LmhIizQQol0 The picnic scene is what most people probably remember about this episode; it's shocking and funny and also one of the last big "Haha, this is just how things were back then!" gag moments in the series that I remember. What should stick with people is Cooper's "Philanthropy is the gateway to power" scene, which is maybe one of the greatest truths the show ever put out there. JethroMcB fucked around with this message at 07:21 on Dec 21, 2020 |
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Dec 21, 2020 01:41
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Drink our coffee or die is quite a sales pitch.
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Dec 21, 2020 02:09
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Torquemada posted:I did find the dumping of the picnic trash one of the (very) few totally unbelievable things in the show. I can’t conceive of anyone in the UK from a similar social strata behaving in that way at that time, and I find it exceptionally hard to believe someone as well-brought up as Betty would do it either. Even if I could be convinced that it was the norm, it’s far too on the nose for me to be happy with its inclusion. I'm not sure what things were actually like the 60s and whether this was just creative license, but I know growing up in the 80s there being a really heavy push about cleaning up after yourself, looking out for the environment etc so I assume that trash just being left around was a far from uncommon thing before then. Shageletic posted:A lesser show would have made him a brown noser, or machivellian. This show made him both, and strangely adolescent. Strangely adolescent is spot on, he's a grown rear end married man but he still looks like a little kid playing dress up in his suits to me. Yoshi Wins posted:I think I have a different interpretation than Jerusalem on the Martinson['s] pitch. I think Kurt and Smitty basically acted like a couple of charlatans. It's a bog standard jingle, something Grey (or any other agency) could have easily come up with. The poor, befuddled exec signs because he knows he doesn't understand the younger generation, and here they are, and everyone is assuring him THIS IS WHAT THE YOUNG PEOPLE WANT! So he just gives up on trying to understand and signs on the dotted line. It makes it even more of a win for Duck, since the quality of the creative wasn't even relevant. All that mattered was how young Kurt and Smitty were. I think it likely that the Smiths (or Kurt at least) is being pretty genuine in their enthusiasm for their idea, and that they probably think it is pretty groundbreaking... while simultaneously they're unaware they're largely just doing what any other copywriter would do. Don made the argument when Duck wanted to hire young people that youth doesn't trump experience, and I think there is something to be said for the entire appeal of the pitch being that it's being presented - as you note - by young people, and the Martinson's people just assuming there is something extra there beyond "it's just a jingle" that they're not seeing. After all, at its heart this is what advertising is all about : making people believe they're seeing something fresh and new and desirable that they HAVE to have. What actually seals the pitch in the end isn't the calypso song, it's Don's supreme confidence and his knowing,"Sign with us and we'll show you more", the promise that there is more substance behind the flash, though of course now they actually have to deliver in terms of increasing their share of the younger customer base. JethroMcB posted:Don's dismissive "...puppets." in the Martinson's pitch is a reference to the Wilkins Coffee television advertisements that were among Jim Henson's earliest (and darkest-humored) work: Oh wow, this rules, ironically it would probably go over gangbusters nowadays as a marketing campaign. Or maybe that's just my love for Jim Henson shining through.
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Dec 21, 2020 02:56
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This is probably one of the ten best episodes of the show. I love this episode
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Dec 21, 2020 03:10
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Jerusalem posted:I think it likely that the Smiths (or Kurt at least) is being pretty genuine in their enthusiasm for their idea, and that they probably think it is pretty groundbreaking... while simultaneously they're unaware they're largely just doing what any other copywriter would do. Don made the argument when Duck wanted to hire young people that youth doesn't trump experience, and I think there is something to be said for the entire appeal of the pitch being that it's being presented - as you note - by young people, and the Martinson's people just assuming there is something extra there beyond "it's just a jingle" that they're not seeing. After all, at its heart this is what advertising is all about : making people believe they're seeing something fresh and new and desirable that they HAVE to have. What actually seals the pitch in the end isn't the calypso song, it's Don's supreme confidence and his knowing,"Sign with us and we'll show you more", the promise that there is more substance behind the flash, though of course now they actually have to deliver in terms of increasing their share of the younger customer base. Ah, yes, I agree with all of this. Well put. I remember being shocked at the littering scene as well, and I remember reading comments somewhere on the internet (can't remember where), where Boomer-aged viewers said, "Yup. People actually did that." It's like... I expect people to leverage privilege against the less privileged and to be prejudiced about things they don't understand, but it's just so unrelatable to see that kind of casual disrespect for the beauty of the outdoors. Why even have a picnic at all if you think the whole place is a garbage dump?
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Dec 21, 2020 04:15
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My Mother laughed when that aired because that is what my grossvater used to do.
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Dec 21, 2020 06:14
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Jerusalem posted:
They're of course talking about the Port Huron Statement by Tom Hayden and SDS. Everyone who created the movements, in culture and in politics, that would shape the rest of the 1960s for the youth movements can really come from this. And none of this stuff was coming from Boomers yet - this is the Yippies, All the the leaders of the cultural movements of the 1960s were born 36-43 - Abbie Hoffman, Bobby Seale,, Bob Dylan, the Beatles. Bernie Sanders and Joe Biden, too. When you're saying that Boomers are "the greediest, most selfish and incredibly consumer driven" - that hasn't happened yet.
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Dec 21, 2020 06:51
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quote:Ken explains the inspiration for "The Gold Violin" came from seeing one at the Met once, marveling over the fact the instrument was perfect in every way EXCEPT it couldn't play music, the one thing it was supposed to be designed for. quote:From the mystery woman appearing in 1952; the Rothko painting's "meaning"; Jane's desperate measures to preserve her employment; Salvatore and Kitty's happy marriage being built on one massive, massive lie; Jimmy's calculated moves beneath his clownish exterior; Betty's literal sickness over being forced to confront the rotten core of her marriage; to of course Don Draper's EVERYTHING... it is all about the inevitability that eventually the truth will out, whether by accident, by design, maliciously or simply because a lie can't last forever. It all comes out eventually, and if you're not careful, it'll ruin everything you worked so hard to get.
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Dec 21, 2020 07:06
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Yoshi Wins posted:Ah, yes, I agree with all of this. Well put. Yeah, all those littering laws exist for a reason. And it's not like people weren't aware of the problem even back then, things like the Sierra Club and the National Park Service existed generations before the show's setting, it just took that long for conservation and environmentalism to gain traction in the wider public consciousness.
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Dec 21, 2020 07:48
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GoutPatrol posted:They're of course talking about the Port Huron Statement by Tom Hayden and SDS. Everyone who created the movements, in culture and in politics, that would shape the rest of the 1960s for the youth movements can really come from this. And none of this stuff was coming from Boomers yet - this is the Yippies, All the the leaders of the cultural movements of the 1960s were born 36-43 - Abbie Hoffman, Bobby Seale,, Bob Dylan, the Beatles. Bernie Sanders and Joe Biden, too. When you're saying that Boomers are "the greediest, most selfish and incredibly consumer driven" - that hasn't happened yet. Oh thanks, that's really fascinating and I knew I should have searched up some of the quoted parts to see if it was based on anything actually written as opposed to Smitty's claim it was a letter sent by a buddy for seemingly personal reasons. Man, I haven't heard the term "Yippies" in forever, I think the first time I ever saw it was in a Mad Magazine of all things and I never actually knew what the origin of the term was.
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Dec 21, 2020 10:42
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Jerusalem posted:I'm not sure what things were actually like the 60s and whether this was just creative license, but I know growing up in the 80s there being a really heavy push about cleaning up after yourself, looking out for the environment etc so I assume that trash just being left around was a far from uncommon thing before then. Growing up in the 60s myself I can tell you that it was pretty common to see people throwing trash out of their car windows, emptying their car ashtrays on the ground in parking lots, and dumping used motor oil down the sewer.
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Dec 21, 2020 15:30
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Cat Army
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I keep thinking about Jimmy saying about Don "I've been standing behind guys like him my whole life." Don is such a unique jumble of privilege and misfortune. When Jimmy said that, he obviously didn't mean "guys who were absolutely destitute, utterly unloved orphans." He sees the costume Don wears all the time, and the costume is one of absolute privilege. A tall, handsome, rich gentile. It is impossible for Jimmy to sympathize with that man. Anyone who was dealt the hand Don was dealt would start out deserving a lot of sympathy. But in Don's effort to climb, to make something of himself, and to hide and eliminate his past, he has also eliminated reasons to sympathize with him. His refusal to ever show vulnerability closes avenues for him to receive emotional support. Which he needs, a lot.
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Dec 21, 2020 19:22
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Jerusalem posted:Strangely adolescent is spot on, he's a grown rear end married man but he still looks like a little kid playing dress up in his suits to me. One of the many reasons why Mad Men is my favorite TV show of all time is that Matt Weiner and the rest of the writers really, really, really had their knives out for the idea of concepts of the supposedly meritocratic workplace, these people are all children, and that's fine enough, as long they get along with those in real power Yoshi Wins posted:I keep thinking about Jimmy saying about Don "I've been standing behind guys like him my whole life." Don is such a unique jumble of privilege and misfortune. When Jimmy said that, he obviously didn't mean "guys who were absolutely destitute, utterly unloved orphans." He sees the costume Don wears all the time, and the costume is one of absolute privilege. A tall, handsome, rich gentile. It is impossible for Jimmy to sympathize with that man. Example A right here, for Don to get where he is he needed to be something that wasn't real, something pretty terrible but everyone pretends is great, Don is America
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Dec 21, 2020 21:01
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Jerusalem posted:Smitty's claim it was a letter sent by a buddy for seemingly personal reasons. Oh it was sent for personal reasons. Those reasons being he hates Smitty. I love that "Does your friend know what you do for a living?" "Yeah, uh there was a lovely note with it" Smitty basically got a letter from this guy telling him he is awful and everything wrong in the world, and then Smitty uses that to make a jiggle. :P
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Dec 21, 2020 22:11
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It is kinda cool how even with such limited screentime so far, Smitty REALLY comes across as a huge rear end in a top hat. I love Don's baffled,"Why do you get paid more than him?" question re: Kurt in their job interview, and how Smitty has zero compunctions about openly proclaiming that he deserves more.
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Dec 22, 2020 00:55
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this is a really good show
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Dec 22, 2020 02:51
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Hey, no spoilers!
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Dec 22, 2020 04:00
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Jerusalem posted:It is kinda cool how even with such limited screentime so far, Smitty REALLY comes across as a huge rear end in a top hat. I love Don's baffled,"Why do you get paid more than him?" question re: Kurt in their job interview, and how Smitty has zero compunctions about openly proclaiming that he deserves more. He's a citizen, duh. I never really understood the whole "duo" thing for the interview. Duck brought it up like it was some industry thing at the time but even in the context of the show it seems weird as gently caress and Don even treats it like some circus sideshow he's forced to accept.
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Dec 22, 2020 04:11
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My brother got me a bottle of whiskey for Christmas. I have never had whiskey in my life before. I tried it and it's awful. What the gently caress is Don Draper drinking this crap for???
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Dec 28, 2020 19:44
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The Klowner posted:My brother got me a bottle of whiskey for Christmas. I have never had whiskey in my life before. I'm hoping you are joking but if not, uhhh, what whiskey was it? If you aren't used to hard liquor, buy a good bottle of vermouth (Carpano is a solid call), some bitters and make Manhattans. Modern Manhattans are like 3/4th whiskey and 1/4th vemouth but originally the ratios were reversed because it was designed to hide the poor quality of the whiskey. I drink a lot of 50/50 manhattans because it makes the bottles disappear at the same rate so I don't have a hotdogs-and-buns scenario. If you have a favorite amaro you can substitute the vermouth with the amaro which is also quite tasty. Pre-prohibition old fashions (the kind without muddled fruit) are also great.
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Dec 28, 2020 19:57
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The Klowner posted:
To dull his emotional pain.
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Dec 28, 2020 20:22
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Spirits are definitely an acquired taste and the best way to do that is find a cocktail that takes the edge off the harsh notes but still lets you appreciate the character of the liquor. For example,VinylonUnderground posted:Pre-prohibition old fashions (the kind without muddled fruit) are also great. Is a great starter. A little sugar, a shake of bitters, a slug of whiskey and some club soda to fill it out. It's not too cloying but it does just enough to tame the pure alcohol taste. My pet theory is that Don drinks whiskey like a mad man (Hey, that's the name of the show!) because a modern Canadian Club bottle looks extremely similar to a bottle from the 60's, so it reads on camera very quickly and it was easier for the props department to procure those. (A quick Google tells me that eventually the production did reach out to Canadian Club and the company supplied a full case of new "vintage" bottles for use in the show.)
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Dec 28, 2020 21:22
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Don seems like a whiskey man in general, doesn't he? He strives to project masculinity, and it probably has the most masculine image of the well-known liquors. I'm not sure why Roger drinks vodka. It feels right, somehow, but I'm not sure why.
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Dec 28, 2020 21:29
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Is it because of martinis? Those are kinda sterotypical for uppercrust partiers like Roger? Or Roger doesn't have to maintain the masculine image as much as Don because he's not a fraud? Roger is very transparent in what he wants and does. Could also be because it's easier to water them down/get clients wasted while he's sober KellHound fucked around with this message at 21:44 on Dec 28, 2020 |
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Dec 28, 2020 21:41
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VinylonUnderground posted:I'm hoping you are joking but if not, uhhh, what whiskey was it? If you aren't used to hard liquor, buy a good bottle of vermouth (Carpano is a solid call), some bitters and make Manhattans. Modern Manhattans are like 3/4th whiskey and 1/4th vemouth but originally the ratios were reversed because it was designed to hide the poor quality of the whiskey. I drink a lot of 50/50 manhattans because it makes the bottles disappear at the same rate so I don't have a hotdogs-and-buns scenario. If you have a favorite amaro you can substitute the vermouth with the amaro which is also quite tasty.  This is the bottle it came in
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Dec 28, 2020 21:41
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Whiskey is good.
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Dec 28, 2020 21:42
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Whiskey (especially rye) tastes amazing in mulled cider, if you're feeling seasonal.
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Dec 28, 2020 23:19
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The Klowner posted:
This looks like something from the 20s you would get as medicinal alcohol.
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Dec 28, 2020 23:31
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I've been doing Christmas/Family things the last week or so but will be back to writing up stuff soon, and should be able to have less time between new episodes, thanks for your patience.
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Dec 29, 2020 00:48
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Yoshi Wins posted:Don seems like a whiskey man in general, doesn't he? He strives to project masculinity, and it probably has the most masculine image of the well-known liquors. I'm not sure why Roger drinks vodka. It feels right, somehow, but I'm not sure why. Vodka makes sense for Roger's straightforward, no-nonsense personality. Sterling very rarely beats around the bush, his usual MO is to tell you exactly what he wants, and he'll typically follow that up by letting you know that he has the means to get it. His drink of choice is similarly lean, mean and clean. "Help yourself - NOT the Stoli." A great character moment and one of the most effective product placement spots I can think of. JethroMcB fucked around with this message at 03:53 on Dec 29, 2020 |
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Dec 29, 2020 03:45
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Does Jerusalem have a pateron or something? I feel like I should chip in a few bucks a month for these wonderful reviews.
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Dec 29, 2020 22:37
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| # ? Apr 24, 2024 04:24 |
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The Klowner posted:
That's a pretty good distillery but yeah starting out drinking bourbon is gonna make anyone take a step back, personally I find good scotch like this boy here [url]https://www.totalwine.com/spirits/scotch/single-malt/auchentoshan-three-wood/p/101387750?glia=true&s=303&&pid=cpc:Core+Catalog+-+Shopping%2BUS%2BCALI%2BENG%2BSPART:  :&gclid=CjwKCAiAxKv_BRBdEiwAyd40N0we0z2A-Ms0fK9t-RjJ2E1oeuZx2tJT_E-v10qsYeOZbnShIgcVPhoC9NcQAvD_BwE&gclsrc=aw.ds[/url] to be as smooth as juice, but tastes differ ofc e: lol what the gently caress is happening with links
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Dec 29, 2020 22:53
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