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I had not realized she was still a working actor.
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Mar 14, 2021 12:22
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They do a great job letting us get a good idea of who Dennis Hobart is so quickly. He's a fascist for sure. Calls prisoners "animals" and obviously beats them and enjoys it. He makes my skin crawl when he's talking about his job. And then he's so hopeful and vulnerable when he talks about his wife and his baby that is about to arrive. I love the moment when Dennis promises to be a better man, and Don just looks crestfallen. It's painful for him to listen to that. He probably told himself the same thing when Sally was born, and he knows how that turned out. Don is quoting the same Balzac line that Sal uses in Out of Town: "Our worst fears lie in anticipation." It's interesting that he remembered it. But what I like best is when Dennis asks him, "You so sure about that?" and he just has no response. Don is not sure. He believes there is no system and the universe is indifferent. Don knows that Dennis's wife might die and his son might be condemned to be raised by a father who hates him, and none of this would be happening for any reason. Balzac's moving quote sounds like a mere platitude when challenged by the frightening specifics. I have to admit, I have never understood Dennis's reaction to seeing Don again. At first I thought maybe the baby died, as we don't see the baby, but he's smiling before he sees Don, so that's unlikely. I don't get it. That caterpillar that Betty grasps in the dream sequence hurts like hell to touch. They look kind of fuzzy, but that "fuzz" is actually a ton of prickly spines. I think it represents the beauty and the pain of having a child. Betty often looks so proud, so absorbed, in this wonderful new person that she created, but we know how badly she didn't want this third child, and the episode's final shot is utterly haunting. It's like she's the one in Sing Sing. The show has been criticized (fairly, IMO) for not paying enough attention to racial issues, but the conversation between Pete and Hollis is excellent. Pete simply does not get it. Hollis seems to be looking right through him after his American Dream spiel. But Pete comes across better in this scene than he usually does, honestly. He's just ignorant. He seems to think that it sounds just dandy for black people to advance in society and enjoy in the same bounty as the rest of the country. He's just so far from understanding their position. During this conversation, Pete's concern is that if he doesn't figure something out, his client will be upset during their next meeting. Hollis's concern is that if he says or does the wrong thing in the next 30 seconds, his life will be completely destroyed. Pete would be shocked to learn that Hollis has to think about this conversation in that light. For Hollis and probably everyone or almost everyone in his social circle, it's so obvious that it doesn't need to be mentioned. Yoshi Wins fucked around with this message at 18:14 on Mar 14, 2021 |
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Mar 14, 2021 15:14
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There's so much to talk about in this episode, but before I forget, I want to hone in on a specific line:quote:He gets emotional as he speaks, drunk enough to be willing to expose his emotions and fears to this stranger. Don is a little taken aback, but offers a companionable clap on the shoulder (Dennis at least doesn't recoil the way Betty did from Farrell) and a piece of advice: our worst fears lie in anticipation. In other words, not being able to do anything but wait means Dennis has time to think of all the worst things that could happen. Most likely everything will absolutely be fine, and he just has to accept the fact there is nothing he can do for now but to wait. Don is actually quoting Sal from the first episode of this season, after London Fog expresses their fears about their business. "That's not me, that's Balzac," he adds after the quote, before Don takes over. You didn't mention it during your recap of that episode, and I didn't notice it myself until my second rewatch last year, but I think it's important to note because a) it changes the dynamic of that scene between Don and Dennis completely, and b) it underscores Sal's place in Don's mind. We've spent a lot of time exploring Don's relationship with Peggy in the past, but I think this season does a lot of work to establish the fact that Don does regard Sal highly—possibly, ironically, even more so after learning of his homosexuality. (It certainly helps Don's bootstraps mentality to see another successful person leading a double life.) They have a great dynamic playing off each other with ease in the first episode with the stewardesses. Don casually, without even thinking, gives the extremely important Pepsi commercial to Sal. And when Don is at complete loss to Dennis' fears, he offers a pithy quote from Sal of all people. Sal is important to the business of course but he's also a growing figure in Don's mind, I think.
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Mar 14, 2021 15:17
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Yoshi Wins posted:I have to admit, I have never understood Dennis's reaction to seeing Don again. At first I thought maybe the baby died, as we don't see the baby, but he's smiling before he sees Don, so that's unlikely. I don't get it. quote:They thank her for her help and she leaves, Dennis following her slight form admiringly and asking Don how old he thinks she is, 16? I think this is the giveaway. That was my read on that interaction, anyway. Regarding the show's approach to race, I think the show is very much aware of the racial issues occurring during that time period, it just isn't concerned with addressing them at all. The deaths of prominent black figures and the civil unrest all serve as a backdrop. Charitably you could say that to do so would distract from the main point of the show, that such issues should be obvious to modern viewers and thus require no further remaking upon. Perhaps the showrunners thought it would be irresponsible to attempt such depictions, or perhaps placing them in the backdrop helps one enter the mindset of the show's predominantly white characters. It's not really an answerable question because there are countless reasons and possibilities. And finally, how would you know that Dennis is a "one-off" character? 
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Mar 14, 2021 16:14
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Pete actually having an Uncle Herman is a fantastic gag
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Mar 14, 2021 17:32
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The Klowner posted:I think this is the giveaway. That was my read on that interaction, anyway. Herp a derp derp. Edited the "one-off" out. Thank you. I guess the failure to be a better man thing is probably it, because I can't really think of anything else. Having the black characters in the background to establish the setting works well for this first few seasons, but not as well for the late 60s seasons IMO. I've always assumed that the writers felt like they weren't up to the task for some reason. Doesn't mean they're a bunch of racists or anything. It just would have been good to also explore that as thoroughly as they explored the changing landscape for women.
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Mar 14, 2021 18:26
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Yoshi Wins posted:Herp a derp derp. Edited the "one-off" out. Thank you. I think they were trying with Dawn, but by that time they had so many plots and Char's that they couldn't really figure out how to work things out in a satisfactory manner.
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Mar 14, 2021 18:46
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Gaius Marius posted:I think they were trying with Dawn, but by that time they had so many plots and Char's that they couldn't really figure out how to work things out in a satisfactory manner. I agree with all this, and I think there's some good stuff with her. I just wish there were more. Like a similar level to Ginsberg. I'm sure that would be challenging though, because Ginsberg could become friends with other characters and interact with them often in a way that would be very unlikely for Dawn.
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Mar 14, 2021 18:55
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Yoshi Wins posted:I have to admit, I have never understood Dennis's reaction to seeing Don again. At first I thought maybe the baby died, as we don't see the baby, but he's smiling before he sees Don, so that's unlikely. I don't get it. I read it as shame, partially of having been emotionally honest with Don in a vulnerable moment and partially because Dennis knows that for all his big talk, having a kid isn't going to make him a better person. He's going to continue being a lout.
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Mar 14, 2021 21:24
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Yoshi Wins posted:I agree with all this, and I think there's some good stuff with her. I just wish there were more. Like a similar level to Ginsberg. I'm sure that would be challenging though, because Ginsberg could become friends with other characters and interact with them often in a way that would be very unlikely for Dawn. kind of a non sequitur but seeing teyonah parris, who plays dawn, in wandavision was a real treat. not really a wandavision spoiler but dawn doesn't show up for a few seasons here The Klowner fucked around with this message at 21:56 on Mar 14, 2021 |
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Mar 14, 2021 21:54
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JethroMcB posted:Pete Campbell is the kind of guy who simply doesn't see Color, unless it's Green. (Between this and Roger's Derby Day party, I think it's clear that Pete doesn't harbor any racial animus beyond the obliviousness a wealthy white guy in the 60's would carry. He still deals in stereotypes and, as seen in the elevator scene, absolutely does not understand the power dynamics at play with race - but that same scene demonstrates his assumption that social mobility is normalized throughout America. He doesn't understand it, never experienced it himself, but he knows for a fact that it's possible!) Pete's an alien. He doesnt have particular racial animus because his animus is so generalized. There's no particular he echews. He eschews the human race as a whole. A good episode that avoids the easy line that all businesses just follow the bottom line. Resentment, hatred, and a sense of class and racial hierarchy layer over each other in a way that echoes intersectional theory rather than just a historical materialist view of economics, in a way that rings very true.
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Mar 14, 2021 21:58
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The Klowner posted:kind of a non sequitur but seeing teyonah parris, who plays dawn, in wandavision was a real treat. not really a wandavision spoiler but dawn doesn't show up for a few seasons here ahhhhh that's great i had no idea
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Mar 14, 2021 22:19
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Jerusalem posted:
I think this is the 2nd time this season we see how Kinsey responds to his own failures at advertising. He is either going to 1: self-sabotage the account (MSG) or 2: use his own self-important intellect to explain why it failed (that's Marx!) Dude just can't accept he is bad at his job.
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Mar 15, 2021 00:28
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Shageletic posted:Pete's an alien. He doesnt have particular racial animus because his animus is so generalized. There's no particular he echews. He eschews the human race as a whole. I also see it as Pete is just so desperate to be a likeable person he doesn't care what the person looks like as like as they think he's a cool guy. He's color-blind in the sense that any approval is good approval he doesn't care who it comes from. It really seems like he was the most upset that the black porter wouldn't think of him as a friendly guy who'd never do anything racist or complain and cost him his job. It's also a great contrast between Bert and Pete as coming from the same social position and having similar understandings of racism as a factor in society. Season 5 starts with race as an issue, and despite Pete and Bert clashing on the idea of a black person working the reception desk, they both have the same look of disgust on their face with the statue arrives because they know what it looks like while Roger and Don are laughing about it. GoutPatrol posted:I think this is the 2nd time this season we see how Kinsey responds to his own failures at advertising. He is either going to 1: self-sabotage the account (MSG) or 2: use his own self-important intellect to explain why it failed (that's Marx!) It's so ironic that Pete started out as the golden child who's only skill was being old money connection, and within a few years he's already becoming far more then that while Kinsey is spending his time cleaning a pipe, putting on airs, and being a little toady too afraid to challenge anyone or anything.
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Mar 15, 2021 00:29
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Another one of my favorite articles. This one is Malt Liquor: A Story Without Heroes. It's about the history of Malt Liquor and how it was originally designed to appeal to the Long Island set -- basically Don. But a Pete discovered that an unexpected population was buying a lot of it, so they leaned in.
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Mar 15, 2021 01:26
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pentyne posted:I also see it as Pete is just so desperate to be a likeable person he doesn't care what the person looks like as like as they think he's a cool guy. He's color-blind in the sense that any approval is good approval he doesn't care who it comes from. It really seems like he was the most upset that the black porter wouldn't think of him as a friendly guy who'd never do anything racist or complain and cost him his job. i don't know if getting fired for being too racist was super common in 60s America
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Mar 15, 2021 01:37
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VinylonUnderground posted:Another one of my favorite articles. This one is Malt Liquor: A Story Without Heroes. It's about the history of Malt Liquor and how it was originally designed to appeal to the Long Island set -- basically Don. But a Pete discovered that an unexpected population was buying a lot of it, so they leaned in. what is malt liquor? we don't have it in NZ afaik. Strong beer?  e: apart from liquid sexual dynamite, obv
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Mar 15, 2021 01:38
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Yeah, basically. Maibock, strong beer, whatever. Part of it was a revolution in brewing science. You've probably heard that American beer is "watered down" and, like the American Civil War, your average person will point out that there is a difference between alcohol by weight vs alcohol by volume so percentages seem different. But people who *really* know what they are talking about will mention that brewers would maximize tank space by brewing high gravity beers and then diluting them. Because there is more residual sugar in a high octane beer, American brewers also found ways to reduce that residual sugar. Miller perfected a process they patented, giving them the right to make "LITE" beers. Other breweries started using enzymes and stuff to make "light" beers. To my knowledge, the Monroe Brewery in Wisconsin (owned by Canadians) is the last place to still use the old method. You can take their strongest beer and dilute it with various ratios of properly adjusted sparkling water and make their other beers. Still cool stuff.
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Mar 15, 2021 01:53
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sebmojo posted:what is malt liquor? we don't have it in NZ afaik. Strong beer? Malt liquor is like...the flavor and body of an American Light Lager, but with an ABV in the high single digits. It's not made with traditional beer ingredients and gets its name due to the complicated mesh of liquor laws that states passed following the end of Prohibition. Cheap stuff typically sold in 40 ounce bottles, popular with the kind of drinker who is most concerned with bang for their buck.
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Mar 15, 2021 02:12
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JethroMcB posted:Malt liquor is like...the flavor and body of an American Light Lager, but with an ABV in the high single digits. It's not made with traditional beer ingredients and gets its name due to the complicated mesh of liquor laws that states passed following the end of Prohibition. Cheap stuff typically sold in 40 ounce bottles, popular with the kind of drinker who is most concerned with bang for their buck. That's . . . not true in a "states' rights" kinda way. It's worth reading the article I posted.
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Mar 15, 2021 02:14
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 got it. vvv i did sebmojo fucked around with this message at 02:40 on Mar 15, 2021 |
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Mar 15, 2021 02:21
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sebmojo posted:
Yup. Now you can read how it played out in America.
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Mar 15, 2021 02:23
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sebmojo posted:i don't know if getting fired for being too racist was super common in 60s America No I meant Hollis thought, reasonably, that if he upset Pete then Pete would simply complain to the building manager and Hollis would be out of a job the next day. Pete saw it as some discussion of chums while Hollis was basically staring down gun of immediate unemployment for saying the wrong thing. Pete was aghast that Hollis saw him that way because Pete isn't a racist, except being "racist" in Pete's mind is probably the kind of overt stuff that is only part of the problem and not the massive amount of racial disparity in society as a whole.
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Mar 15, 2021 03:25
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Oh right, of course. Sorry I misunderstood.
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Mar 15, 2021 03:48
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Yoshi Wins posted:I have to admit, I have never understood Dennis's reaction to seeing Don again. At first I thought maybe the baby died, as we don't see the baby, but he's smiling before he sees Don, so that's unlikely. I don't get it. There's a certain type of dude that, once they've they've shown vulnerability or sensitivity to another man, treats them with scorn afterward. As if they're a reminder of the vulnerability and are a possible threat because they can reveal that vulnerability. I encountered them pretty often growing up in the deep south. Not saying that's definitely the case, but it was my reading.
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Mar 15, 2021 11:28
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Yeah, it’s starting to make more sense to me now. In some ways, Dennis saw himself as not being a good enough person, which is why he makes that pledge to Don. But in other ways, he sees himself as a masculine, powerful “king” (he actually uses that word). He probably has a sincere desire to improve in some ways, but his behavior with Don didn’t fit the self-image he aspires to most of the time.
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Mar 15, 2021 13:53
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Shageletic posted:Pete's an alien. He doesnt have particular racial animus because his animus is so generalized. There's no particular race he eschews. He eschews the human race as a whole. This is a super interesting take on Pete. It makes a lot of sense. Pete being intensely cringy and making himself an immense burden on Hollis is pitch-perfect, though. I do think of Pete as surprisingly progressive about race (WRT who he is and when it is), but he's also dripping with the exact implicit biases you'd expect of an oblivious old money rich kid. He's the kind of white person who'd swear up and down they aren't racist, and then become furious when someone brings up microaggressions or white privilege. I interpret Pete's odd and perhaps paradoxical-seeming concern for black people as a kind of misplaced affinity. Pete feels excluded from the Big Boys Club, constantly a self-identified victim whose real value nobody sees. And I could see that guy inappropriately transposing his own feelings of being disenfranchised by the power structure onto people who actually, literally are.
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Mar 15, 2021 21:58
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That's a nice thought, I think you're right.
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Mar 15, 2021 22:33
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Oh. my. loving. God. https://i.imgur.com/21dx5CZ.mp4 
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Mar 19, 2021 14:16
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Jerusalem posted:Oh. I think we've all been eagerly waiting for you to get to this scene. I just rewatched it today in anticipation.
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Mar 19, 2021 14:23
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I didn't think anything could surpass Roger projectile vomiting in Season 1. Holy poo poo, after the initial shock I laughed so loving hard at this, I actually felt guilty because it's horrible but also loving 
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Mar 19, 2021 14:27
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...but he doesn't walk out.
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Mar 19, 2021 14:32
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Oh wow I thought that happens closer to the end of the season.
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Mar 19, 2021 14:46
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Jerusalem posted:Oh. lmao
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Mar 19, 2021 14:50
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GoutPatrol posted:Oh wow I thought that happens closer to the end of the season. Nah, end of the season you get the actual Kennedy assassination
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Mar 19, 2021 14:52
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Torquemada posted:“He’ll never play golf again.” How did they not laugh.
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Mar 19, 2021 15:48
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Season 3, Episode 6 - Guy Walks Into an Advertising Agency Written by Robin Veith & Matthew Weiner, Directed by Lesli Linka Glatter Bertram Cooper posted:It's about letting things go so you can get what you want. Don Draper walks the upstairs landing at his home late one night, popping his head into the doorway of Sally's bedroom where the light is still on. She's curled up in bed and so he assumes she is asleep and turns off the light, only for a tired protest to emanate from her not to do so. Surprised, stern but not angry, he asks her why she's still awake at 10:30, and his mood immediately lifts when she mumbles that she knows he isn't Thomas Edison. That's just a wonderful line, a lovely little touch that makes the characters feel so real: clearly Don has regularly told her not to leave lights running when they're not needed in the past, and sarcastically remarking he's not Thomas Edison (i.e, he has to pay for his electricity) and even if she doesn't really understand that she can echo it back to him. His daughter listens to him, of course, and understanding enough of the context to use his words back at the appropriate time both amuses him and fills him with paternal love. Which probably goes a long way towards explaining his patience with her despite his clear exasperation when she tells him she's scared of what will happen when the lights go out. Gently he promises her that he's at home and thus nothing can hurt her (enjoy the time when your child can and will believe that), even gently chiding her for the mess of her room and promising her they'll buy her a nightlight if she cleans her room tomorrow. Without explaining what he is doing, he sets her bedside lamp on the floor and switches it on, creating a makeshift nightlight that serves as a compromise to guarantee she goes to sleep. Still uneasy but comforted by her father's indulgence, Sally curls back up to make an effort to sleep once more. Don turns off the other light as he leaves the room, and she doesn't protest this time. It was a nice bit of parenting, but while there comes a point where you have to stop indulging childhood fears, it might have paid for him to ask her what she thought was going to happen when the lights went out. That way he might have gotten a better sense of what was really causing her worries. But then given the way he ignored or downplayed Betty's anxiety in season 1, maybe it wouldn't have helped if she had told him?   At Sterling Cooper the next morning, the 23rd floor is crowded as everybody gathers nervously in response to an inter-office memo from Lance Pryce calling a MANDATORY meeting at 9:15am. There is no other information, the memo is bare-bones as can be and offers nothing in the way of a clue as to what the meeting could possibly be about. Nobody is expecting it to be good news though, Pete joining Harry and Paul trying to figure out if anybody knows anything... and no, nobody does. Pete almost seems more bothered that Ken is late, even though surely it could only be good if his "rival" failed to make an appearance at a mandatory meeting (unless he's out landing a big client, or probably in Pete's paranoid mind the even worse idea that Ken is getting announced as the new sole Head of Accounts). Hooker calls everybody to attention, warning everybody the message is NOT going to be repeated, an unnecessary declaration that causes Lane to nervously chuckle and remind him this isn't actually true. Don arrives right at this moment, 15 minutes late to work but at least in time for the meeting, though clearly he too has no idea what it is about given he's not up there with Lane but Roger and Cooper are. The announcement when it comes is anticlimactic at first. The Director and Chairman of the Board of Putnam, Powell & Lowe will both be making a visit to the Sterling Cooper office direct from London. But when Lane declares the purpose of the visit is friendly everybody's stomach must sink, because that's code for "hostile with a smile", and that sinking feeling must grow when Lane continues that there will also be an evaluation of "our" performance. "Our" is a nice word, but everybody knows it won't be Lane's job on the line. Having given the "good" news, Lane of course hands it over to Hooker to give the bad: the visit is happening TOMORROW and will continue into Wednesday, which is July 3rd and was meant to be a holiday to allow the staff an extra long July 4th weekend. Now of course everybody is not only expected to be at work, but with the Sword of Damocles dangling over their heads. It is the loss of a holiday that really upsets the staff, who for the first time begin to verbalize their discontent, complaining and mumbling among themselves. Lane quickly tries to calm them by promising them the Director and Chairman were unaware of the holiday, as if that makes it any better. He sounds for all the word like a public school headmaster as he puts on a smile and, hands clasped behind his back, attempts to emulate warmth and friendship as he "inspires" them to keep their desks and offices "shipshape and Bristol fashion". With a final exhortation to not let these extra preparations interfere with TODAY's work (which was already going to be mad to be ready for the holiday) he's off to hide away in his own office, while Cooper quietly urges Don to join him and Roger in Cooper's office. Hooker is mobbed by secretaries once Don is gone, all of them clearly wanting to know from him what is expected of them now with all the extra work that just got dumped in their laps. Not all join them though, a small few remain gathered with Joan who is frustrated but not overly surprised that tomorrow isn't going to be what she thought it would be. She stalks off in a mood, and Hildy, Lois, Olive and Allison ponder how to change their arrangements, they've order a cake to be delivered at noon after all. Peggy, who was also nearby, asks what the cake is for, and Olive grits her teeth through a forced smile to remind her she told her already that tomorrow is Joan's last day at Sterling Cooper. Everything is up in the air now though, because if Wednesday isn't a holiday then will THAT be Joan's last day? Hildy doesn't think she'll come in anyway, Greg finds out by tomorrow if he'll be getting the Chief Residency at the hospital he has been after and she is pretty sure he and Joan have already made plans to go away and enjoy a long week's holiday to start this new phase of their life. Peggy, catching up and concerned about being sidelined/left out yet again, declares she's going to get some money so they can buy Joan a gift, and makes her exit. The others don't comment on this, but it would not surprise me if they hadn't already gone in on a gift together and not mentioned it to Peggy at all, just like nobody told her that they were getting gifts for Don to celebrate Gene's birth. Hooker approaches Pete and Harry and tells them that they'll be expected to give presentations to the visitors on Wednesday: Harry on television, and Pete on Accounts, a few minutes each. A horrified Pete thinks he means a few minutes PER Account and Hooker chuckles, assuring him he meant in total. Spotting Paul there too and in a good mood after this misunderstanding, he comments that Paul should probably shave his beard. THAT is finally the last straw for Paul, who draws himself up to his full height and puts a bit of theater projection into his voice as he demands to know "who the hell are you people" think they are. Slightly surprised and still somewhat amused, Hooker quietly explains this was a joke and moves on. Now Paul is left deflated and more paranoid than ever, because he revealed a little of his true feelings over a "harmless" joke and now HE looks like the bad guy.   Don and Roger pause at the door to Cooper's office to remove their shoes, he may no longer run the Agency but he's still afforded this courtesy by all. Cooper's mindset regarding the visit is that they shouldn't treat it any differently than a major client: sure you put on a show but at the end of the day that's all it is, then you go back to work once they're gone. Don assumes from his calmness that Cooper knows what the purpose of the visit is, but he's as in the dark as any of them. What he does have, however, is a theory. He thinks they want Don. Roger has clearly been let in on this theory (or is just very good at pretending, which... well, he is!) and notes that he suspects this was born out of Don's masterful performance in outplaying Duck during the handover meeting last year. He references it as "swinging your privates around", but whatever it was clearly impressed PPL. Cooper explains they have been analyzing everything he's done over the last few months, and believes they are trying to decipher or understand his particular "American genius." To what end? Roger ponders it could be the Presidency, but Cooper suspects it will be something more in keeping with Don's clear interests (he hates the admin side of their work): a creative umbrella perhaps dividing time between America and London? Don is shocked, fascinated and also hopeful. It certainly suits his own worldview that he is special/different, a "self-made man" who is "finally" getting the respect and admiration he deserves etc. Roger cracks a "bye bye Don" joke that makes Don half-laugh, and Cooper commends them both on their congeniality, asking if they can keep up the pretense during the visit? They both act like they don't know what he means, but he's no fool, and even if he was it isn't hard to notice that Don and Roger - who used to spend a great deal of time together - are on the outs. That simply won't do, moving to his intercom Cooper asks Miss Blankenship to make Don and Roger an appointment at Alberto's. Roger complains he already has a barber and Don insists this isn't necessary, but Cooper won't take no for an answer, clients (and PPL) want Martin & Lewis and he doesn't want whatever their problem is to cost them all money. Pete emerges from his office in a rage when of all things the sound of a loud motor reverberates throughout the floor. He pulls up to a shocked stop when he sees the source of the noise though: Ken Cosgrove has FINALLY arrived to work... literally driving a John Deere Ride-On Lawnmower. WHY does he have a Ride-On Lawnmower? Because he has landed the John Deere Account for Sterling Cooper, an accomplishment that must fill Pete with further dread: even in spite of the Patio fiasco Ken just keeps on delivering, while Pete's own most recent accomplishment was exploiting an old college buddy with more money than sense. One of the other copywriters, Dale, laughs at the sight but warns Ken he should get off the floor, Sal explaining that the PPL bigwigs are coming in tomorrow AND they have to work Wednesday. Ken is surprised but also not concerned, agreeing that he landed John Deere just in time and departing with a smile on his face and a spring in his step to join the secretaries who are gathered cooing around the mower. Pete, of course, is just left madder. At the Draper Residence, Betty is resting in the bedroom cradling little Gene in her arms when Bobby walks in and bellows out to Sally that their mother is in there. Betty warns him to be quiet since Gene is sleeping, and Bobby complains that all Gene does is sleep. Betty, who of course is getting every second of rest she can because little Gene does anything BUT sleep for her whole Bobby is conked out at night, criticizes Bobby for saying he is bored. "Only boring people are bored," she declares after "jokingly" telling him to go bang his head against a wall, but does agree to let him "pet" Gene so long as he doesn't wake her. Bobby, shirt absolutely caked with dirt and food of course, gently strokes at Gene's leg with one hand while Sally remains firmly entrenched in the doorway. When Betty tells her to join them, she shakes her head, and after Betty sends Bobby away to play Sally is quick to follow, slowly closing the door behind her. Betty doesn't notice or isn't bothered by her eldest daughter's clear discontent around the baby though. Instead she beams down on her sleeping youngest, seemingly at least somewhat out of the fog she found herself in immediately following the birth. She tells her little "pig in a blanket" to sleep as much as he wants, filled with love for him especially because right now he's being beautiful and small AND quiet.  Don gets a close shave at Angelo's while Roger enjoys a manicure. Don declines getting one (diplomatically, he claims he already had one) and Roger asks if he thinks it is feminine. He points out that his father - the tallest, handsomest, vainest man in New York - would still get his nails done. He even tells a story about his father dying when he hit a tree driving and severed his arm, which left him with one perfect set of nails in the coffin. Don smiles but doesn't hesitate to say he doesn't believe the story, and Roger shrugs and admits the truth is that he hit another car (and I wouldn't be surprised if he was drunk). As Angelo treats Don to two electronic hand massagers on his shoulders, Roger ponders more to himself why he should be feeling worried given Sterling Cooper is HIS company. Don again doesn't hesitate to respond, he's nervous because he SOLD "his" company. Roger jumps on that, is THIS the source of Don's attitude towards him recently? He's mad that Roger made him half-a-million dollars? Don insists there is no problem and Roger laughs at that, before getting serious when he warns that he doesn't like being judged, claiming that this was when things went bad between him and Mona, when she started judging people (also when he banged a woman 20+ years his junior?). Don has Angelo quit the massage to address this head-on. He promises Roger that they don't need to deal with this anymore, and Roger shrugs and admits that while he had hoped for gratitude from Don he's willing to accept.... just not ever dealing with it ever! Don does at least offer him a token "thank you" though, the kind of passive-aggressive "gently caress you" that Roger actually appreciates. Smoking and enjoying the atmosphere AND the lifting of pressure from their mutual agreement to ignore their problems, Roger alludes to Don's possible upcoming promotion: maybe now he will have the money AND the glory? At Sterling Cooper, Joan is obviously of much the same mindset as Cooper that this is just like any other big client visit. She instructs Hildy to schedule all their deliveries between 9:30 - 11am so the PPL bigwigs get the impression of a bustling workplace. When Hildy hesitates Joan snaps at her to do it now, and Hildy timidly asks if she is being snappy to make their soon-to-be parting hurt less, because her mother used to do that. Another beautiful throwaway line that fills in soooooo much backstory/character in just a few seconds. Hooker approaches Joan and Hildy to make an observation: the secretaries are too plain! Joan gives this exactly the response it deserves, tartly recommending they hire some prostitutes in and noting that the British Prime Minister seems to enjoy their company. Hooker maintains his composure but takes a moment before icily correcting her that it was actually the Secretary of War, and anyway maybe don't bring that up during the visit tomorrow. He can't help but get a little revenge though, apologizing that the visit tomorrow will steal away from the spotlight of her surprise party, maybe they could reschedule it! Hildy is horrified, why would he blurt that out? Hooker is unfazed, insisting that surely Joan knew. She would have, of course, but that doesn't mean she couldn't enjoy the thought and feeling that went into it. Putting on her sweetest face/voice (so Hooker must know she's pissed) she informs him she is now leaving for the day, and when he wakes up at 3am in a panic that he forgot something... don't call her, because she sure as gently caress isn't going to help save his rear end. Both part ways, believing for all the world they got the upper hand in the engagement, poor Hildy left in the crossfire. Don returns home where Betty is sitting at the kitchen table drinking wine. He gives her a kiss and she's impressed by the smoothness of his shave, and he explains he was ordered to get one because the British are paying a visit. She happily tells him he looks successful and then grabs him a meal, offering him a choice between hot (Swedish meatballs) and cold (Chicken Salad), clearly in a good mood perhaps thanks to that nap earlier. But she isn't entirely focused on little Gene, as they discuss the nightlight she bought for Sally she reveals that she's not only fully aware of her odd behavior and has been trying to make adjustments for it, she also thinks she knows the cause. She believes that Sally resents the new baby in a way she didn't resent Bobby, and though she read her a bedtime story in an effort to make her feel she was getting attention, she's disturbed by how clingy she is. Don doesn't think the resentment thing is true, but Betty argues that she won't even go into Gene's room unless Betty makes her. After all, what other possible reason could a young girl have for wanting to avoid the bedroom that her beloved Grandfather was sleeping in so recently before suddenly keeling over dead!?! When Betty proudly declares that little Gene was "perfect" today, Don takes a moment, clearly still not at ease with the name. But he puts that aside, choosing to focus on something positive: would she ever want to live in London? She's surprised by the question, but when he tells her he is serious she grins and says of course she would, but why? Does he know something? "Nothing," he assures her, while grinning in a way that tells her,"Everything!" He drinks the beer she opened for him and eats his chicken salad and crackers, while she smokes and watches him. It's a happy time and place for them both. The baby was peaceful all day, she feels good, he is happy about his work situation and its potential, they have the notion of London and a complete change of life as a real possibility. Life is good and they're happy, and it wasn't so long ago it wasn't and they weren't. They're enjoying this.   Less idyllic is Joan's celebratory dinner. She's asleep on the couch in her nightwear, multiple cigarettes stubbed out in the ashtray, half a glass of wine and a record that has reached the end of its track. The door opens and Greg staggers in, trying to be quiet but tripping over the furniture in the dark and waking her. Sitting up, bleary-eyed and far from the seductive image she wanted for his return, she quietly demands to know where he has been. Pretending confusion, he reminds her he told her he was going out drinking with the other doctors, but she's not an idiot and has no problem with calling somebody out on a lie. He never told her that, and he didn't call. He takes a gamble, insisting her called her at work, but she calls him out on that obvious lie and grumpily points out she ended up having to eat a dinner for two by herself. But not that she's called him out on his lies, she softens slightly and insists he join her on the couch, and after a moment's hesitation he does, more a boy frightened of his mother's scolding than a husband at this moment. When he pauses still halfway to her, she taps the couch and tells him to sit, noting that she's fully aware he's drunk, standing at a distance isn't fooling anybody let alone her. She stokes his hair and asks him what happened, and finally he manages to get out the words he didn't want to say: He didn't get the Chief Residency. She probably knew this from the moment she saw him, and she doesn't react in horror or anger or disbelief, just quietly asks him what happened, not judging or threatening but letting him have his time to speak. In short, handling him, much like she has probably handled many of those who work at Sterling Cooper. He simply hands her the letter he received, but before she can read it tells her it says nothing apart from the fact Dough Hutchinson is hew new Chief Resident. She's clearly disappointed, but she holds that back, taking a moment before reassuring him, reminding him that he knew this was a possibility and he can get it next year instead. But the trouble isn't the letter, it's an encounter he had half-an-hour before the letter arrived. He ran into the Chief Surgeon Ettinger (so recently at their home for a dinner) and realized something was off when Ettinger wouldn't meet his eyes. He thought at first that maybe he felt bad, but soon realized he didn't care that he was crushing Greg's dreams. Now Joan really is confused, Ettinger seemed so warm towards him. Greg clearly thought so too, because he went to see him for an explanation of why he didn't get the Chief Residency... and Ettinger told him. The truth. He sat him down, poured him a drink, and told him the worst thing a surgeon can ever hear: "You don't have brains in your fingers." Greg can barely get those words out, it's devastating to him, just saying the words out loud make them feel more real. Essentially he's been told he doesn't have the natural (or even learned) ability/skill and dexterity to be a surgeon, no matter how much he might know about what he is supposed to do. Joan doesn't know what to make of it all, Ettinger wrote him such glowing revelations? Greg shows a little fire here, complaining that doctors never write down bad things about each other, leaving it unsaid that it gossip, unspoken disdain and a shared understanding among other doctors that dictate the careers and failings of others far more than anything they write about each other. Still looking for a silver lining, Joan points out there are other hospitals he can work at, but Greg rejects that. He won't be able to get work as a surgeon in any other New York hospital, to stay in that field he'd have to make the move to Alabama or a state like that, where the insular community of New York's surgeons wouldn't be against him. Joan, a Manhattan girl, clearly isn't enthusiastic about that idea and neither is he: they both want to stay in New York. So what does this mean? He is still a doctor, after all... right? He is, he agrees, but he is not what he wants to be, which is a surgeon... and he never will be. This is another aspect Joan just can't get her head around. Because he wasn't trying to become a surgeon, he already was one. They just didn't make him Chief Resident, so why can't he continue on like that? Why does he have "only" be a doctor? The way she phrases this is to ask if they fired him, it's the only context she has to work with. Greg doesn't want to explain that he has basically been all but told NOT to be a surgeon anymore, he doesn't want to talk about it at all, he is just seeking oblivion so he doesn't have to feel this pain. Standing, he admits that he'd hoped she would be asleep so he could at least put off for a few more hours having to tell her. But there is one more body-blow... she can't give up her job. Stunned, she reminds him that this is already a done deal, and he immediately declares that she'll just have to get another one: he's going to be in his Residency for at least another year now and there's no way they can afford to survive on a single income. He moves towards the bedroom but she stops him, approaching him and putting aside her own shock for the moment to tend to his hurt. She reminds him that no matter what else, he is STILL a doctor, and she married him for his heart and not his hands. Smiling sadly, he admits he couldn't even fake the enthusiasm for Hutchinson's success and has been sitting in the Dublin House drinking alone since 2pm. She doesn't judge, just quietly tells him to go lay down and she'll join him in a moment to undress him, she just has to turn off the lights first. Left alone again, she turns off the light and then stands in the darkness, letting the reality wash over for the moment. This was meant to be a celebration: Greg Chief Resident tonight, her farewell from Sterling Cooper tomorrow, and then a brand new life enjoying the fruits of her labor working so hard to get to the position she always wanted in life. Instead she is facing up to a depressed husband with a stymied career path, no job, and a severe shortage of money. She still has the husband, but everything else she has worked so diligently for over the last decade is essentially gone. All that hard work, for almost nothing. By complete contrast, Don Draper lies in bed unable to sleep. Not from worry, but satisfaction. His beautiful wife sleeps soundly beside him. The baby isn't crying. The children are asleep (well not Sally, unknown to him she lies staring wide-eyed in her bed, lit by the glow of her nightlight which isn't helping calm her fears). He is being recognized, he is being rewarded, he is getting that (sometimes not-so) secret belief in his own importance and specialness paid off. He lies there with a smile on his face, feeling like he is going to get everything he deserves. Tomorrow, all that hard work pays off.   The next morning Sterling Cooper is bustling as promised, and Joan has her game face on as she joins Hooker after spotting him with their guests, playfully chiding him for not informing him they have arrived. As promised the Director - Saint John Powell - and the Chairman of the Board - Harold Ford - are there. But there's a third man too. Young, handsome, effortlessly confident in a way that Hooker is not. This is Guy MacKendrick, and he surprisingly takes the lead, the first to greet Joan, turning his welcome into a simultaneous compliment as he expressed regret to learn this is her last day. Joan is effortlessly (though great effort) charming as well, informing them she has made a reservation at La Grenouille (at the time an exciting NEW restaurant!) for 6pm, and has gotten them two tickets for Oliver!. Saint John remarks he has heard it is a tragedy with a happy ending, which is his favorite kind (Joan must be hopeful her own will prove the same). With that out of that way, and no mention of the fact there are three of them rather than two, Hooker leads the others on a tour of floor... and again, it is Guy who takes the lead with the two older, seemingly senior men happy to follow in his wake. Hooker runs them through the itinerary: it's a meeting with Cooper, Sterling and Draper today, then Lane of course, followed by a light lunch and meetings with the personnel they've requested. Tomorrow will be presentations and client meetings. As they walk, Ford spots Paul sitting on the edge of his desk in his office playing the guitar and lightly singing, knowing full well who is here today and making either a pathetic little protest or, perhaps more sadly, desperately trying to impress with a put-upon air of creative eccentricity. As they walk, they're ambushed by Pete Campbell who launches out of his office and greets Powell by first name, hand extended, cleverly using Hooker's position on the other side to avoid having to run through him as an intermediary. Saint John is, of course, charming right back, greeting Pete by name and immediately introducing him to Guy, who declares with great confidence that he knows everything about him and is impressed. Now Pete is off-balance, grin fixed as he searches desperately through his memory for who the gently caress Guy MacKendrick is before finally admitting ignorance and diplomatically stating he wishes he could return the compliment. "Perhaps one day you shall," agrees Guy, and then leads the other three men on. Pete isn't quite sure what has just happened, and moves to talk to Hildy in case they look back (they won't) so they'll think (they won't) that he was coming out for business and just happened to bump into them. They've already forgotten all about him though, content to continue on behind Guy who isn't just leading the way but supremely confident as he does. Even Hooker who walks beside him feels like he's being dragged along with him rather than giving the tour, Guy looks completely at home here, like he is the one who has been ensconced for months in this location. Olive greets them as they pass her desk and Peggy steps out, making no bones about the fact she came out to say hello to the visitors. Hooker introduces her and Guy repeats the same line he did with Pete, that he knows everything about her and she too is impressive. It could just be a stock line, designed to make the other person feel valued... but I get the sense this guy absolutely does know everything about everybody worth knowing at Sterling Cooper. This smooth motherfucker has done his homework. She thanks them and they move on, and she doesn't pretend to talk to Olive, just watches them as they approach Allison and she informs them that Mr. Draper is already waiting for them in Mr. Cooper's office. They move on without missing a beat, every eye in the office on them, Olive quietly declaring that Guy is a very handsome man. Indeed he is, even without the obvious confidence he would be handsome. With it? He's dashing. He's inspiring... and everybody shoudl be absolutely loving terrified of him. Who the gently caress is he? Why are the Director and the Chairman following him? Why does he know everything about everybody?  They enter Cooper's office and tellingly all of them have removed their shoes, allowing for the eccentricity of one of the original Founding Partners despite their superior status. Don, Roger and Cooper are waiting for them with a tray of tea laid out waiting. It's handshakes and warm smiles all around, and of course Guy MacKendrick is introduced to them all and turns on the charm. Cooper and Sterling greet him warmly back, he's somebody brought in by Powell is all they need to know... but Don is troubled. This is an unknown factor, and when Guy says how exciting it is to "finally" meet him, Don claims to be flattered but wears his troubles on his face. He doesn't like this, Guy was not mentioned in any of the plans, and it certainly isn't flowing with the script he wrote in his own head about how this personal triumph would unfold for him. His unease grows as Saint John finally offers a little more information about Guy than anybody else has gotten: he's completed a thorough study of all of Don's work, and he has degrees from Cambridge University AND the London School of Economics. He worked for three years at "the bank", another two at McCann, and has recently brought in the Mercedes-Benz Account to Putnam, Powell & Lowe. Guy pretends embarrassment, laughing that he didn't realize Powell would recite his entire Curriculum Vitae. Roger cracks a joke about him being modest while Don agrees that Guy certainly has an impressive record... and is clearly worried about it. Just like that their little meeting is over, Saint John explains they're going to meet with Lane to debrief him, but the plan is for the three of them to join them for lunch at 1pm in the conference room. They depart (Ford removed his shoes but held onto them the entire time) and the tea is left untouched. Cooper can only remark that this was a strange encounter, while Roger is amused at Don's discomfort, claiming that the suspense of waiting to hear if he gets the London job is killing him. That's partly true, but I'd argue more of Don's alarm bells are ringing over Guy's presence, especially having learned about his impressive career to this point. Have they finally found a new "Duck", one that they fully back and one that Don can't "swing his privates around" to retain his own privileged position? Lane standing smoking his pipe in his office, waiting for the visit that even he seemed somewhat surprised to be happening. He must be thinking about everything he has done since coming to New York, about whether he has done a good job, are they happy with him? Did he overstep bounds? Are they still mad about the Madison Square Garden thing? Did Jai Alai soothe ruffled feathers? Have they come to praise or bury him? Hooker knocks and enters when called, informing them that Powell and Ford (not Guy!) are here to see him. Is it respect or just decorum that has seen them wait outside for Lane to give the okay for them to enter? Hooker takes a moment to remind Lane he is wearing his glasses, and he quickly removes them and tucks them away. For whatever reason, for this meeting he wants to be clear-faced even if it means he can't see all that clearly. Powell and Ford enter, the latter carrying a large box and asking Hooker to make sure Guy has a space to prepare. That leaves just the three of them in the room, Lane having greeted them warmly before leading them to the table where he has prepared coffee and cake. They take opposite couches, he gets the leather seat at the "head" of the table, another nod to decorum. They may be his bosses, but he is the Managing Director of Sterling Cooper. Ford is given the nod by Powell and opens.... with the highest praise possible: they're impressed. The clear relief that washes over Lane is a sight to behold, the sheer gratitude on his face as he visibly relaxes into the chair is almost pathetic. Powell picks up from Ford, noting that not only has Lane slashed expenses AND increased billings, but they haven't heard a word of complaint from anybody about it. He has, essentially, made the highest achievement a director can hope for: he made more money, spent less and nobody bitched (openly) about it. They are so impressed, in fact, they've decided to give him what they hope he considers both a reward AND a challenge. Too happy to see the dangerous undertones in that statement, he asks gleefully if it is in the box, looking almost like a kid on Christmas as Ford passes the box over to him. The reward/challenge is in the box, so to speak, is the way Powell puts it, and Lane eagerly opens it and then jerks back in surprise.... is there a snake in the box? He pulls out the so recently discarded glasses to get a closer look. It IS a snake, or was. It's a taxidermy snake in a basket, and he honestly has no idea what this means. Saint John's explanation sounds complimentary at first, they've gifted a snake to their snake charmer. But then the body blow follows... they're sending him to Bombay. Lane is perplexed. Bombay? In India? Why? What would he do? "Hopefully the same thing you accomplished here," states Powell, as if it was the most obvious thing in the world. Too late Lane grasps the reality of his situation... he did TOO good a job, they now see him as the man to send to their satellite agencies in other countries and whip into fiscal shape. Not so he can continue to run them, but so they can then somebody else in to enjoy the fruits of HIS labor. Stunned, unsure how to react, Lane wanders the floor looking for a place to put the basket before testily noting that it doesn't really matter since he'll soon be packing up his office anyway. Ford admonishes him, telling him not to pout, unbelievably taking umbrage at Lane making him feel bad for forcing this shitshow on him. He then offers one of the most backhanded compliments anyway can ever receive,"One of your greatest qualities is you always do as you're told." Grasping at straws, Lane tries to justify why he isn't leaping at this chance, saying it is a matter of logistics: his wife is only just settled in, his son has just been accepted into school... surely they can't expect him to just move on now? "Nonsense!" declares Saint John with the confidence of somebody who doesn't get told what to do by other people,"You're moving up!" Lane Pryce has a choice now. He can tell them bullshit, that a move from Manhattan to Bombay can in no way be seen as anything but lovely treatment and exploitation. He can call their bluff, insisting he wants to say. He can haggle, making a counter-suggestion that they might at least consider. Or.... he can fold. Capitulate immediately, swallow his pride and let them push him around the globe to make THEM money while he never settles anywhere and never gets to enjoy the payoff for his hard work. He stares at Saint John, and then he lowers his head and silently nods. With a beaming smile as if it was never in doubt (for him it probably never was), Saint John declares,"That's the spirit!" to this broken man, then stops paying attention to him entirely, looking with satisfaction to Ford instead. Lane is left in the background, staring at the snake, a slap in the face "gift" that makes a mockery of all the work he put in on their behalf. 
Jerusalem fucked around with this message at 03:19 on Mar 21, 2021 |
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Mar 19, 2021 16:03
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With lunch done in the conference room, things get down to business. The selected personnel are Lane (staring a hole in nothing as he considers how he's going to tell his wife), Don, Cooper, Ken and Pete, Harry and Roger. Saint John sits at the base, because in this meeting HE is the boss, but it is Ford who introduces Guy and Guy who leads the meeting. He opens by offering his admiration for Lane and his regret to be "losing" him, claiming their loss is India's gain before leading a round of applause. Don shares a meaningful look with Roger before both join in clapping, this is the first they've heard about the move but Guy of course knew all about beforehand... Guy knows everything. Guy immediately lets everybody know that this is it, there will be no further "reductions in the ranks" (a nice way of saying firings, or lovely reassignments). This gets Harry enthusiastically clapping till he realizes nobody else is joining in. There will, however, be a slight reorganization, words that should send chills down everybody's spines. Ford places a transparency on the overhead projector, and there is is for all the world to see, exactly what the new structure at Sterling Cooper will be. It's much the same as things currently stand, Guy was right that the amendments are only slight. But what is there is very, very important. Guy MacKendrick is now the Chief Operating Officer, right up there on an equal level with Cooper who will be the Chairman Emeritus.... and though Don still sits at the top of Creative, the chart very noticeably places Guy above him in the hierarchy. He's not only NOT getting that New York/London creative umbrella, he's getting a new boss who has not only confidence but the skills AND track record to dictate terms in their relationship even without PPL obviously giving him favored status. The Departments are somewhat streamlined but everything else remains largely the same, Ken and Pete are still listed as Heads of Accounts (though Pete clearly doesn't like that he's mentioned as an "and" with a "for the time being" thrown in there), but Harry Crane as Head of TV & Media has been lifted to equal status with that role. The biggest upset though comes through omission, Cooper being the first to point out one very obvious issue with the chart. Roger Sterling isn't on it. "That was an oversight!" promises Guy after looking at the chart, acting as if he doesn't know every single particle that is on that thing. The man who knows everything pretending somehow nobody realized Roger wasn't there. To add insult to injury, Ford casually scrawls Roger's name onto the transparent with a marker, the line he draws giving the impression (or reality?) that Roger is well down the rankings in terms of importance and authority. As Guy talks up the value of everybody at the table (with Roger again conspicuous by his absence from the praise), we finally see what notes Don has been taking during the presentation: he's been doodling the American flag. Saint John says they should inform the troops, perhaps by memo, and in a painfully stage-managed bit of spontaneity Guy insists that no they should do it in person, he wants Sterling Cooper to be that kind of place. He's saying all the right things, and everybody knows it is all bullshit, especially the line about him only being there to facilitate communication between London and New York, but everybody has to play along. After all, for as unsettling as this new presence might be, they're still all highly paid and highly ranking members of the Agency. Powell, Ford and Guy are out first, followed by Lane and Ken who offers a not particularly believable,"Gosh, we're really going to miss you" to Lane. The others remain for a moment though, Ken is still entirely too confident in his role, the others are more aware that dangers abound in this new "slight" amendment. Well, all of them but Harry, who asks what the hell just happened and gapes when Pete lets him in on something that hadn't even occurred to him: PPL reorganized Sterling Cooper and Harry is the only one who got a promotion. An irritated Roger grunts,"Yes. Really," when a surprised Harry asks if that is really the case, then leaves with Harry and Pete. That leaves Don and Cooper, the latter apologizing for getting Don's hope up with a theory that proved far from true. He leaves, and now it is only Don left standing, last night he thought he was on the road to even greater success, now he is facing a future working under somebody far more formidable than Duck Phillips could have ever dreamed of being.   Sally enters her room with Betty, declaring with satisfaction to her mother that as promised her room is clean (the price of that nightlight). Betty is happy about that but this isn't why she wanted to see her, sitting down on the bed and tapping the mattress for her to join her. Reaching behind the pillow, she brings out a package wrapped in newspaper, gasping what could this be? She reads the card... it's a gift for Sally! Sally's face lights up, but then falls when Betty reads that the gift comes from baby Gene. Torn between her problems with Gene and her desire for a present, Sally timidly accepts the gift and checks the card herself, suspiciously accusing her mother that,"Baby Gene can't write!". Betty insists it is from him though, Sally knows that babies get fairies to do things for them, c'mon that's just common sense! Sally seems torn, caught between the pleasure of a gift, the desire to believe hey maybe that fairy stuff is true, and her fear. Betty gives her a little verbal push, it really is from him and she does think Sally should open it. So she does, pulling apart the newspaper to reveal a Barbie doll. Betty explains that she thinks this is baby Gene's way of saying he wants to be her friend. She smiles at Sally who manages a weak little smile back, still unconvinced but at least willing to consider it... I mean... he did get the fairies to get her a Barbie after all! Betty leaves, though not before giving her a kiss and reminding her she is important to Betty too. Left alone, Sally removes the Barbie and places it against the pillow, staring into the slightly misaligned printing of its face. Her smile is gone now, replaced by a trembling certainly that there is something wrong, something off, something not right about any of this. At Sterling Cooper, Guy has made the announcement flanked by Powell, Ford, Cooper and Lane. "I'm sure you all have a thousand questions!" he states, repeating himself yet again. For all his obvious charm and education and ability, exposure to him does reveal he has a lot of go-to phrases, which in turn only serves to showcase that he is not genuine (not that he necessarily has to be in his role, in fact being genuine might detract from his effectiveness) and everything about him is artificially (if expertly) constructed. Everybody has a glass of champagne, but in a diplomatic touch Guy declares that before they raise a glass to Sterling Cooper's future they should acknowledge it's past. First by paying homage to Lane Pryce (who smiles but clearly doesn't feel the same pleasure he had when praised at the start of the day, nor believe the hearty cheer from Ford), and then offering their thanks to the remarkable Joan Harris and her near decade of valued service to the Agency ending today. This at least feels genuine, after all she is leaving forever and she is respected, and he was impressed by their first meeting. But when he wishes her caviar, children and all that is good in hew NEW life, she suddenly bursts into tears, shocking everybody including him. Hooker wheels out the cake as Guy awkwardly says it wasn't his intention to upset her, and she regains control of herself as secretaries mill around her in concern. Seeing things are a little more on even keel, Guy declares the rest of the afternoon will be a "fete" to Joan, and tomorrow can be about business again. In effect, despite costing them tomorrow's holiday he is giving them the afternoon off to gently caress about getting drunk and eating free food, and that at least everybody likes. Everybody applauds Joan and she thanks them, holding back tears as she prepares to cut the cake. Harry and Paul join Pete and Ken as music begins to play and the celebrations begin. They watch as Guy and Lane walk the floor chatting amicably, and even Ken at last seems to have grasped the dangers of the reorganization... after all, they keep adding new people ABOVE them. Pete concurs, one more "promotion" and they'll be reduced to answering the phones. They're bitter, concerned... and immediately ready to go over and kiss the new boss' rear end. Don and Peggy drink champagne, standing apart from the rest of the festivities. Peggy attempts conversation, saying she thinks the champagne is good, and Don grunts that he disagrees. Seeing he's not good company and in no mood to handle him or deal with whatever this rich, successful rear end in a top hat is moaning about THIS week, she says she's going to get something to eat and makes a quick departure. That leaves Don alone, watching Pete, Paul, Harry and Ken laughing and chatting in a huddle around Guy, already staking their claim to getting in his good books. Guy has, if not the job Don wanted, the position/authority/respect he felt was coming due. These guys used to be after his approval, now they don't even seem to notice him. The phone rings and despite the party, Allison takes the call. She informs Don that Conrad Hilton is on the line and he's baffled, and she has to explain it's Conrad Hilton... the guy who owns Hilton Hotels! He's still baffled though, why is Conrad Hilton calling him? They've never met, he's not a client of Sterling Cooper, what's this all about? She doesn't know, and it's not specifically him but his office. With nothing better to do he figures why not see what's what, and heads into his office to take the call. The woman on the other end is Miss Wakeman, calling to arrange a meeting between him and her boss. She doesn't know what it is regarding, she just sets the schedule, but when is he available. Shrugging and taking another sip of his champagne, he asks what about now? Surprised but entirely professional, she asks him to hold, disappears for a second then returns and asks how far he is from the Waldorf Astoria? He's only 15 minutes away, and without missing a beat she informs him it's the Presidential Suite. She doesn't elaborate further, she doesn't need to, her job is done. So he tells her he is on his way, hangs up and then takes a second to think about... why does Conrad Hilton want to meet HIM, and so soon?   Cooper isn't taking part in the party, eating a sundae in his office and reading the paper. Roger enters, catching him by surprise, where is Miss Blankenship? "Downstairs saluting the Union Jack" offers Roger, grabbing a seat and pulling out a cigarette, too upset to even consider Cooper's usual aversion. He complains about not being on the chart when his name is literally on the wall of the building. He admits that he's thought that his enormous wealth has meant he can't be hurt by others, but he learned today that isn't true. Furious and perhaps even a little worried that they consider him completely extraneous, he bitches that they're punishing him for making his job look too easy. But having expelled some venom, he calms somewhat and admits another aspect that is concerning him: Guy has the "spark". He's a pure Account Man, Roger could tell just by looking at him even if he can't fully articulate to Cooper what being a pure Account Man actually means. He doesn't completely admit it, but he knows that he was left off because he IS extraneous, he may have some good networks and a skill at working people... but so does Guy, so why would they need the aging and already extremely wealthy former Senior Partner? Cooper still has at least one more lesson for the younger Roger though. Roger weakly suggested listening and holding your tongue was what being an Account Man was about. Cooper offers a counter: It's about letting things go so you can get what you want. That ends the lesson, and he goes back to his paper. Roger leaves, telling him to enjoy the holiday and the fireworks on the 4th of July, and Cooper gives one more elaboration on his theme: they took PPL's money, so they have to do what they want. It's a simple process, and they absolutely did get what they wanted.... millions and millions of dollars. If they want a restructure now, it's theirs to do with as they like, and there is no point desperately trying to hold on to an old position for no gain. The party is in full swing now, Hooker loosened up enough to be doing the old one arm on the door chat with a secretary in the break room. Dale chats with the two Smiths about his father's obsession with Vietnam, claiming he suspects his father WANTS him to get drafted. Smitty is amused by the notion, after all they're hardly drafting anybody (that claim will surely not come back to haunt anybody re: Vietnam) and anyway, Dale is way too old! That should be a relief to Dale, but of course he doesn't like a reminder that he's not one of the Young Turks anymore, no longer a Prince of the City. Plus there's one more way to consider it, he has a friend in the army who spends all day behind a desk at Fort Dix screwing secretaries. Sure you might get drafted, but if you're smart you can work it so you are never in any danger. "Does he shoot the peoples?" asks an interested Kurt, which is really not the way Smitty wants the conversation to go, so he excuses himself to use the bathroom. Peggy approaches Joan who, over her tears now and enjoying her last hurrah here, is chatting with Olive. Carrying two glasses of champagne, she asks to speak with her and the two walk away together. She explains that he wanted to get her a gift or a card, because she wanted there to be at least one occasion where she gave her something without wanting or needing something in return. Joan is amused, but Peggy is deadly serious, it is important to her that Joan knows that she DID listen to her when she gave advice, even if it didn't seem that way.... it's just that they can't all be her. Still amused, Joan declares that she does like to take some credit for Peggy's success, an idea that Peggy doesn't dispute And then a loud mechanical sound overpowers the music.... and in comes the ride-on lawnmower. Yes, Smitty found it on his way back from the bathroom, and simply couldn't resist taking it for a spin. Hildy is riding on the back, and everybody laughs with delight at the odd sight, even Ken despite a stern initial warning for him to put it back where he found it (he's a little distracted by having Allison on his lap). Joan laughs too, admitting that she can't quite believe it but she is going to miss this place. They watch, laughing along with everybody else as Smitty hops off and Lois is the next to jump on. Done with the distraction, Peggy returns to her point: she remembers that Joan told her that some lucky women who worked as secretaries got to get married and live happy and lazy lives never having to work again. Peggy is glad that Joan got that, that she has gotten the reward she strived for and deserved. Joan, in control after her earlier outburst, doesn't let the stabbing pain of these (genuine and heartfelt) words get to her, just laughs and asks Peggy if she's getting sentimental. Lois isn't quite having the same smooth ride as Smitty, jerking and bunny hopping across the floor on the mower as everybody gathered around laughs uproariously at her typically bumbling antics. People leap out of the way with a laugh as she giggles in surprise at some of the jumps. Meanwhile, Joan is assuring Peggy that they'll still see each other from time to time. Peggy though wants to make sure she gets the chance to say what she wants to say, on the off chance they don't see each other again. She has to let Joan know tha- https://i.imgur.com/21dx5CZ.mp4 Oh. my. loving. God. Yes, before this touching and important moment between the two women could happen, Lois literally ran over the foot of the Agency's new Chief Operating Officer with a goddamn Ride-On Lawnmower. It is the most shocking and, yes, absolutely goddamn hilarious moment of the show since Roger suddenly projectile vomited in front of the GOP in season 1. Just an absolutely out of nowhere moment that was nevertheless meticulously built to across the entire episode. It was the last thing I expected to see and yet somehow felt entirely inevitable the moment it happened. It's... it's an utterly stunning moment in a show full of fantastic moments. Oh my God. Joan immediately rushes to Guy as he lies screaming on the floor, the mangled remains of his foot a bloody mess, the rest of it plastered over Dale, Harry, Paul and a secretary standing stunned in front of him. Peggy gets a look at the mess and promptly faints, caught and tenderly cradled in the arms of.... Pete Campbell!?! Joan though is all business, telling Hildy to get a tourniquet from the first aid kit before assuring Guy that he is going to be okay. Hooker emerges a ruffled mess with a secretary in tow, lipstick all over his mouth and hair a mess, shocked to see what happened in his absence. Joan keeps pressure on Guy's foot as Hildy retrieves the first aid kit, shouting at Dale to get Lois out of here as she cries out in horror at the sight of what she did. Smitty has called an ambulance as instructed and Joan applies the tourniquet, pulling it tight as Guy slams his fist against a desk in pain and frustration. Absolutely ignorant of the chaos happening in his office, Don is brought into the Presidential Suite to meet Conrad Hilton, extending a hand and introducing himself. Hilton though points out they've met before and belated Don recalls he has seen his face before, but clearly doesn't know where. Hilton reminds him, it was at Yellow Rock Country Club, and it all snaps into place for him.... Conrad Hilton is Connie, the amicable old man he initially mistook for a waiter after fleeing Roger's awful blackface performance. This time Connie returns the favor by offering to fix HIM a drink, but Don admits he feels a little disappointed in himself, it is his job to know who people like Conrad Hilton are when they meet them. Connie shrugs, saying he isn't so sure about that right now... but maybe after next week? As he says this, he shows off a framed copy of Time Magazine sent to him with his face on the cover. He's clearly proud of that accomplishment, but then drops it onto the table and admits that he thinks the photo kind of makes him look like "a A-Rab". Don is intrigued now that the initial surprise is over... how did Connie find him without knowing his full name? Connie explains that he called around asking after the handsome fellow from Sterling Cooper he had a long chat with and Don's name never came up. What sound like a jokey insult is actually a reference to the fact nobody thinks of Don when they think of long chats, which makes the fact he chatted to Connie so long impress Connie all the more... and ESPECIALLY because he did it without knowing who Connie was. Which is all great, but what does Conrad "Connie" Hilton want with Don Draper? His expert opinion is what, gesturing to two mock-ups of ads for Hilton Hotels. They're contrasts, a city (i.e rich) guest enjoying strolling in the park near one Hilton, and a country (i.e poor) guest enjoying the view of the New York skyline from another Hilton. Also both the guests are cartoon mice. Don stares at this abomination, and then makes a salient point: Connie wouldn't be in the Presidential Suite right now if he worked for free. Connie is amused but not moved, this is purely a friendly chat. Don is not moved by friendship, this is his profession. Connie seems caught between admiration and irritation, he's not somebody who is used to being told no, so he makes it plain and simple: he wants Don to give him one for free. Don considers and acquiesces, figuring one for free offers the potential for many more for money. It's not like his expertise is really required anyway, as he makes the most obvious statement possible about the mock-ups: does he really want people to associate his hotels with rodents? Connie considers this for a moment and then blows air out his mouth in exasperation, coming to a realization. Because as he admits, this was his idea, and clearly the reason nobody brought this obvious flaw up to him beforehand speaks to a common "problem" the ultra-wealthy face: nobody wants to tell them no. They both settle on the couch and Connie asks Don if he has anything better? "I might," Don agrees, but offers nothing more. Connie can't argue against this either, he told Don he wanted one for free and Don gave it to him, if he wants more, he'll have to pay. So what does Don want? He takes a moment to think, then admits that what he'd love is a CHANCE at his business, implying that he knows he'd have to earn it, while in turn implies a belief that he can. Connie agrees, but then offers a piece of advice: when somebody like him asks you what you want, you think bigger than "a chance at your business." Don has a different take though, mentioning snakes that go months in the desert without eating, then gorge on food when given the chance and often choke to death because of their greed. "One opportunity at a time," he finishes, and Connie has to respect that... and once again respect the fact that Don isn't just immediately agreeing with everything he says.   Sadly this burgeoning relationship/friendship is interrupted by Connie's secretary, informing Don that his office has called about an emergency that needs his immediate attention. He quickly asks if it refers to a home or office emergency, but never in his wildest dreams could he imagine what it could be. At the Agency itself, Harry - his business shirt removed for obvious reasons - is distraught, PPL is going to be horrified that this happened at Sterling Cooper and decide the Agency can't be trusted. He's lecturing Smitty, sitting flanked by Ken and Pete as Heads of Accounts, Paul seated with his own shirt removed, blood splatter still clearly visible on the frosted glass outside the office. Smitty "defends" himself by saying Lois is an idiot and he can't be blamed for not knowing she couldn't drive a ride-on mower. Ken defends the mower, insisting it is very safe when handled properly. Harry doesn't give a poo poo about that though, taking the bigger picture that "they" had the world handed to them on a plate and Smitty swung in on a chandelier and took a crap on it. What he means of course is that HE had the world handed to him on a plate. Everybody else was staying in place but he was moving up in the restructure, and now all that is in doubt, as are possibily their actual jobs. Roger walks into this exclaiming it's like Iwo Jima out there, watching as a cleaner's silhouette steps up onto a stool and begins mopping up all the blood. He suggests putting down rubber matting so Cooper, who tries not to wear shoes, can get around, but Pete lets him know they're already preparing to change the carpeting. Finally Roger actually decides to ask about Guy, the actual guy who suffered the most, is there any news? Paul notes he might lose his foot, and without skipping a beat Roger notes,"Right when he got it in the door" They all burst out laughing, unable to help themselves, Roger beaming. Leave me off an organization chart will ya? Well gently caress you too buddy, you lose a foot! He calls Harry a "sissy Mary" for getting pale when he sees the blood being wiped down and tells him to sit down, and when a worried Ken finally blurts out that he takes full responsibility, rolls his eyes at the drama. He assures the others not to be too concerned: he can guarantee something like this MUST have happened before in Advertising... it's just that kind of industry! At the hospital, Joan gets a Dr. Pepper from the vending machine, Don spotting her as he arrives. He calls out to her and she turns, and he's shocked to see all the blood on her dress. "I know, it's ruined," she agrees, which probably wasn't quite the source of his concern. He asks how Guy is and she points out she didn't actually expect him to come to the hospital, she just thought he should know. At the time she called, she thought he might die, but now she knows he will live... but he has lost the foot. They take a seat in the waiting area, a far cry from Don's recent experience waiting for the birth of baby Gene. Lane has already retrieved Powell and Ford from their dinner and taken them to see the doctor, now she's just waiting to hear what happens next. Don agrees to wait with her, and they sit in companionable silence for a few moments before Don offers some words he didn't get a chance to say earlier: she'll be missed. She thanks him, it is nice to hear and especially from him, and she's probably too exhausted to even think about the uncertain future ahead of her and Greg right now, or to think to ask (if her pride would ever let her) to retain her job. They resume their comfortable silent waiting. A thought keeps turning over in Joan's head though and finally she expresses it: Guy probably felt GREAT when he woke up this morning. Don smiles at the idea, agreeing that one moment you're on top of the world.... "and the next minute, some secretary is running you over with a lawnmower," finishes Joan, and they both can't help but laugh. Between this and Roger's own mean-spirited joke, I can't help myself but reference the obvious punchline to this episode's title: JethroMcB posted:...but he doesn't walk out. It's stress relief (and a minor bit of spite, after all Guy signified unwanted change to them both) but they quickly shut it down when they hear Lane's voice. The turn as he, Powell and Ford step into the waiting room, Powell admitting he is heartbroken and Ford mildly complaining that it was a tragedy that could have been avoided. That said, he makes sure to credit Joan for her quick thinking, the pressure and the tourniquet did save Guy's life. The trouble now though, as Powell puts it, is that he's finished as an Account Man. Don is surprised, surely that's not true. He's horrified as Powell and Ford express bafflement that he wouldn't be: he can't walk, he can't play golf... how can he fraternize with clients? They ignore all the verbal and analytical skills they spent so much time praising, all of it thrown aside in a moment even before they've seen him in person to express their condolences. It's a wake-up call for Don, one that Lane already had earlier in the day: PPL's top brass consider them interchangeable, even when they credit their skills in particular fields. Guy was their golden boy and they've dismissed him while barely paying lip-service to the tragedy of it all.   For the meantime though, the changes that were supposed to happen can't. Lane will stay on indefinitely, there is nobody to replace him. Lane doesn't question this, just accepts it as a given and immediately takes the lead, promising Joan they will reimburse her for the cost of the dress as the barest token of their gratitude. Sterling Cooper will also be closed tomorrow, as originally planned, nobody can be expected to work after what happened today. Powell and Ford leave to finally talk to Guy, and though Lane is present he maintains his distance, and for the moment Joan and Don are left alone again. He tells her to get home to her lucky husband and she smiles. They stare at each other for a few moments, two fixtures of Sterling Cooper who almost unbelievably never crossed beyond their clear professional respect for each other. What is Joan thinking in this moment? That she regrets not making a move on him (or that he didn't make one on her)? That she wants to take this last gasp opportunity to ask to keep her job? To admit that her lucky husband isn't the perfect fairy-tale partner everybody believes him to be? Or maybe she just doesn't want the moment to end, because then her time at Sterling Cooper really is over forever. In the end she keeps her dignity. She leans forward and gives him a little goodbye kiss on the check, then shakes Lane's hand and walks away. That leaves Don and Lane, the latter offering to buy Don a Dr. Pepper as he gets one for himself. He's been reading American Literature recently, the most recent being Tom Sawyer. Don nods, agreeing that Tom Sawyer is a good book, but Lane is thinking of one scene in particular that resonates strongly with him after today. Today he was unceremoniously told he and his family were being "rewarded" for massive success in New York by being shipped off to Bombay. His departure was greeted with not even a whimper let alone a roar. The only person beyond Guy who spoke about him leaving was Ken, whose farewell left a lot to be desired. And he can't blame them, he came in and fired a bunch of people, crawled through expense accounts, counted paperclips and pencils etc. By comparison to Joan's farewell, he must surely see that those men whose high regard he so desperately wanted... don't give the slightest poo poo about him, or at least not enough to overwhelm their callous use of him as a functional tool. Hell, they loved Guy and they immediately jumped to dumping him. As he puts it, like Tom Sawyer he feels like he just went to his own funeral... and he didn't like the eulogy. Don finally returns home, where the oddness of his day isn't quite over yet. There's a Barbie doll planted face-first in the bushes near the front door. He picks it up and walks upstairs, looking in on Sally and smiling to see her sleeping soundly with the nightlight on. Quietly he leaves the Barbie on her dresser and then heads into the master bedroom. He removes his coat and tie as quietly as possible so as not to wake Betty, but that proves pointless when suddenly Sally's high pitched screams pierce his ears and shoot Betty straight up awake. He rushes straight to Sally's room, bursting in through the door and straight to her side trying to figure out what is wrong. She's hysterical, sobbing and hugging to him tight as Gene, woken by the noise, cries as well. Betty collects Gene and enters the room, more irritated than concerned with Sally for waking the baby. Her anger only grows when Sally sees the baby and breaks into screeches again, begging Don to save her and to get Gene out. Polly rushes into the room as well, no idea what is going on but letting out some helpfully loud woofs to be involved. Bobby apparently is just out to the world sleeping like a, well, not a baby I guess. Furious, Betty snaps that she doesn't know what to say and leaves with Gene, followed by Polly who is excited to see what is happening next. Don manages to calm Sally enough to get her to talk, wanting to know what is wrong, and is perplexed when she sobs that Grandpa Gene isn't supposed to be here anymore. "He's not," he tells her, but Sally insists: the baby has the same name, the baby lives in the same room, the baby even looks like him! She's sure when he starts to talk, he'll sound like him too. Clearly when she woke and saw the Barbie she was convinced that Gene brought it back, because she knows that she threw it into the bushes. Betty inadvertently helped build on this idea by the fact she insisted the baby bought and wrapped the package and wrote a card all with the aid of fairies too. She wanted to put a little magic into Sally's life, and instead Sally is convinced there is some demonic poo poo going on. Don makes a conscious decision, there is a time to indulge and there is a time to lay down the law, and the best thing to do right now will be to be authoritative, he can't let her continue to think of her baby brother as some kind of monster or revenant. So firmly he tells her that Gene is just a baby and nothing more. She is to go to sleep now, and she has to remember that there are no such things as ghosts. Understanding he's being serious, she sniffs back her tears and nods, and he settles her back into the bed and under the sheets. Returning to the master bedroom where Betty is sitting up smoking, he insists this needs to stop. For Betty though there is nothing to stop, she's just jealous because Gene is getting all the attention now. She's enraged not so much by him saying Sally is actually scared, but because he blames it on the face the baby is called Gene. She accuses him of using Sally as an excuse because HE hates the name, but Sally will get over her negative reaction and Don is just going to have to get over his. She's adamant that she won't change the name, it was her father's and it is how she is going to keep his memory alive, and she's right when she points out that this is not unusual, this is the kind of thing that people do. There's a small element of rebuke in there though. Don doesn't have "people", he would never name a child Archie, he has no positive associations with his father or stepmother and no desire to keep their memory alive. But Don has his own point, Gene hated him and the feeling was mutual, and THAT is the memory she is keeping alive. He has a point too, though Betty's is far stronger, and she isn't going to allow him to debate her out of it: the baby's name is Gene and that is that. Before the argument can continue any further, Sally enters the room, still awake but now quiet. She apologizes, saying she didn't mean to wake "him", and though I don't think her fear has faded I do think for the moment it is overshadowed by the deeper fear that an argument between Mommy and Daddy means Daddy will disappear from the house again. Betty smiles and promises her that everything is fine, and Don takes her from the room to put her back to sleep. Once they're both gone, Betty's smile fades, she's still far from happy about all this. Don doesn't take Sally back to her room though. Instead he leads her into Gene's room, checking on the baby and picking him up as Sally hesitates in the doorway, clearly still scared. Don settles down into the rocking chair cradling Gene and calls Sally over to join him. Tears still on her cheeks, she slowly does as she is told, settling on her father's knee and looking down at her brother. "See, it's alright," he tells her gently, but he's might as well be speaking to himself as well when he tells her Gene is only a baby, and they don't know who he is yet or who he's going to be... and that is a wonderful thing. She rests her head against him and, safe in her father's arms, looks down at Gene for perhaps the first time as a person in his own right and not her grandfather. Perhaps Don is doing the same, not in regards to the baby himself but the name. It's just a name, it means nothing ultimately so why let it color the way he feels about his new son? What Cooper said about being an Account Man equally applies to them both: let something go to get what you want. That's how one of the most remarkable episodes I've seen so far of an utterly remarkable series ends: a charming and lovely scene of a father, his daughter and his infant son, together in the night, comforting each other by their presence.  Episode Index
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Mar 19, 2021 16:03
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Ahem. Chekhov's Lawnmower. Thank you.
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Mar 19, 2021 16:16
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More like lol-mower am I right people
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Mar 19, 2021 16:41
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