Mad Men: Season 7, Episode 14 – Person To Person

“You spend your whole life thinking you’re not getting it, people aren’t giving it to you. And you realise you don’t even know what ‘it’ is.”

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(SPOILER WARNING!)

Tricky things, series finales. You never quite know what you’re going to get. They range from the satisfying (Sons of Anarchy, Star Trek the Next Generation) to the absolutely perfect (MASH, Babylon 5) to the maddeningly obtuse and disappointing (The Sopranos, Lost, Quantum Leap). So what could we expect from the conclusion to one of the most critically acclaimed, understated dramas of recent times? Well, in keeping with the show’s consistent tone of understated subtlety, what we got was… an episode of Mad Men. Not showy, not spectacular, but as excellent as ever and a perfectly consistent and logical ending to a story that could never really end in a conclusive way. Continue reading “Mad Men: Season 7, Episode 14 – Person To Person”

Mad Men: Season 7, episode 13 – The Milk and Honey Route

“I’m jealous of your ability to be sentimental about the past. I’m not able to do that. I remember things as they were.”

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(SPOILER WARNING!)

Mad Men is not a show that does sentimentality. Emphatically not. However much you the audience may come to like these well-rounded but flawed characters, in the words of Game of Thrones, “if you’re hoping for a happy ending, you haven’t been paying attention”. You might want things to turn out all right for the gang of misfits you’ve unwillingly come to love, but it ain’t gonna happen. First sign of a happy ending, and reality is going to jump up like a schoolyard bully and brutally beat them around the face until it all collapses into despair. Continue reading “Mad Men: Season 7, episode 13 – The Milk and Honey Route”

Mad Men: Season 7, Episode 10 – The Forecast

“Let’s assume that it’s good and it’s going to get better. It’s supposed to get better.”

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(SPOILER WARNING!)

It’s a frequent trait of Mad Men episodes that sometimes they’ll be structured around a Big Theme. Sometimes this is subtly done, and at others the script keeps clubbing you round the head with it shouting, “See, that’s what this one’s about!” Continue reading “Mad Men: Season 7, Episode 10 – The Forecast”

Mad Men: Season 7, Episode 2–A Day’s Work

“Sometimes I think maybe I died, and I’m in, I don’t know if it’s Heaven or Hell or Limbo, but I don’t seem to exist. No one feels my existence.”

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(SPOILER WARNING!)

This week, Mad Men took one of its occasional turns towards ironic humour, in an episode full of people telling each other transparently unconvincing lies which crumbled to the touch. Jonathan Igla and Matthew Weiner’s script was so full of comical misunderstandings that, had it been made in Britain in the 70s, it would have made a pretty good Whitehall farce. But this is Mad Men, and the humour on display was black in tone and undercut by the show’s usual bleak nihilism.

Continue reading “Mad Men: Season 7, Episode 2–A Day’s Work”

Mad Men: Season 6, Episode 12–The Quality of Mercy

“You’re a monster.”

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Not long ago, my friend Chris Hart posited that, insofar as it has one, Don Draper has become the ‘villain’ of Mad Men. Rarely has that seemed so true as this week. Lost in his constant existential turmoil, Don has always been self-centred, so intent on his own bitter self-discovery that those around him always take second place. This week, though, Don’s actions towards those around him seemed like they could have been motivated by nothing more than pure malice.

Continue reading “Mad Men: Season 6, Episode 12–The Quality of Mercy”

Mad Men: Season 6, Episode 8–The Crash

“When you start something like this, it takes a lot of convincing. It’s all about whether or not the other person has as much to lose as you do, because you want to be able to trust them when it’s over.”

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This week was one of those rather surreal episodes that Mad Men does so well, with a disjointed, hallucinatory feel that mirrored the perspective of the protagonists in its main plotline. Having found prestigious new clients Chevrolet to be demanding and impossible to satisfy, the staff of… whatever the newly merged agency is called pulled an all-weekend brainstorming session. OK, we’ve seen them do that before, usually with the aid of prodigious quantities of alcohol. This time, though, at the urging of new partner Jim Cutler, they were doing it with the aid of some pretty hardcore stimulants. The results were as messy – and as entertaining – as you’d expect.

Continue reading “Mad Men: Season 6, Episode 8–The Crash”

Mad Men: Season 5, Episode 9–Dark Shadows

SPOILER WARNING – THIS IS FROM LAST NIGHT’S US BROADCAST, AND MAJOR PLOT POINTS ARE DISCUSSED. DON’T READ AHEAD IF YOU HAVEN’T SEEN EPISODE 9 YET.

“I’m thankful that I have everything I want. And that no one else has anything better.”

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Less portentous and existential than last week, this week’s Mad Men still offered another slice of angst in the lives of a selected few characters. Don’s increasing insecurity (not to mention Peggy’s) in the face of new young competition came up, along with the repercussions of Roger’s recent decision to end his marriage. But the lion’s share of the episode belonged to the little-seen-recently Betty and the way her own unhappiness is blighting the lives of everyone around her, including Don and especially Sally.

January Jones was on formidable form this week as Betty, increasingly frustrated with her unsuccessful attempts to lose weight after ballooning between seasons. Having established that her chubbiness is a result of psychological unhappiness rather than illness, Betty’s taken to attending Weight Watchers, then in its infancy as a New York-based therapy group. It has to be said, none of the women in Betty’s group looked particularly fat by today’s standards; a knowing comment, perhaps, on the increasing levels of obesity since the 60s?

Either way, Weight Watchers doesn’t seem to be making Betty any happier. Despite her strict diet of burned toast and grapefruits (plus fish five days a week, to her husband’s annoyance), she’s still not losing much weight. And when Betty’s unhappy, she takes it out on those around her. As has so frequently been the case in the past, those first in the firing line are daughter Sally and ex-husband Don.

Despite occasional cordial relations with Don, it’s clear that Betty’s never really got over the breakup of their marriage. This was made abundantly clear as she stopped by Don’s swanky new penthouse apartment to pick up the kids. You’d think the palatial mansion she lives in with Henry would be enough to keep her happy, but no, she’s clearly salivating with jealousy at Don’s hip furnishings and view of the Manhattan skyline. As if that wasn’t enough, she catches a glimpse of his new model wife Megan getting dressed, with that perky figure Betty herself no longer has.

We kept returning to Betty’s increasing frustration throughout, and it finally boiled over when she found young Bobby’s drawing of what appeared to be a harpooned Moby Dick (a symbol for Betty’s fruitless quest for happiness perhaps?) Discovering the rather sweet note from Don to Megan on the other side of the drawing, Betty’s jealousy and annoyance led her to try and torpedo the perceived happiness her ex and his new wife lived in. In doing so, she once again found herself using poor old Sally as a weapon, ‘innocently’ asking why her daughter’s family tree didn’t include Don’s (ie Dick Whitman’s) first ‘wife’ Anna.

That’s a nasty tactic by any means. Sally was plainly unaware of her father’s tortuous history, and it would be pretty complicated to explain to an adult, never mind a twelve-year-old. So she immediately blew up at Megan (another effect Betty was aiming for, perhaps) for lying to her. Stuck in the middle of an obviously bitter row between Don and Betty, poor old Megan couldn’t really deal with this.

It was only when Sally overheard Don and Megan having a flaming row over the matter that she realised what so many children from ‘broken homes’ have before her – she was being used as a pawn between two bitterly estranged people trying to hurt each other, with no regard for her own feelings. Again, Kiernan Shipka’s performance was astoundingly mature as Sally played an absolute blinder; when ‘innocently’ asked by Betty how her questioning of Don had gone, she simply shrugged and made out that it had been no big deal at all. I couldn’t help laughing and exclaiming, “well played, Sally!” That’s how much Mad Men draws me in sometimes.

Back at the office, we had two big plots going on. Don found his alpha male status increasingly threatened by the talent of young Ginsberg, and Roger tried comically to adapt to acceptance of New York’s Jewish community in order to screw over Pete Campbell by nabbing another account.

Of these two, the Roger storyline was the more obviously funny;  you can always rely on Roger for a few laughs. Witness his frustration at having to secretly bribe yet another copywriter in his attempts to damage Pete, and his awkward attempts at acceptance of Jews. Ginsberg handled it well though, and Roger’s enough of an old smoothie to still manage to charm his Jewish potential client.

This was in no small part thanks to the help of his now-estranged wife Jane. There was a comical moment when Bert Cooper (who we don’t see often enough), found out that Roger had separated; he looked at his watch and harrumphed, “what, already?” But Roger needed Jane (she’s Jewish, remember) to show the clients how accepting he is. She certainly charmed wine magnate Rosenberg’s handsome son Bernie – I wonder if that will go anywhere in later episodes?

Perhaps not, because she ended up back with Roger. It’s clear since their acid trip that she’s not as sanguine about the end of their marriage as he is; now we realised that he’s not entirely over it either. So he dragooned his way into the new apartment he’d bought Jane so she could be free of the memories in their old one, and took advantage of the presumably drunk Jane to have his way with her. The man’s incorrigible, and certainly doesn’t learn lessons.

It was a bitter conclusion to an otherwise amusing plotline, as a repentant Roger was told by the tearful Jane that he’d just made her new apartment as painful to be in as her old one. One of the things that makes Roger likeable despite the horrible things he does is the obvious fondness behind his thoughtlessness; we saw last week how fond he still is of former wife Mona, and it now seems Jane is another he bears no ill will towards. Whether she feels the same is uncertain. But she knows Roger. He does what he does because he has no thought for the consequences of his actions; and based on the last five seasons, he’s unlikely to change any time soon.

Don, as usual, had the slightly more serious storyline. Stumbling over Ginsberg’s copybook on his way out of the office, he realised how talented the younger man was – talented in a way that Don himself doubts he is any more. So he stayed in the office (missing Betty’s awkward visit to his apartment) running through some frankly hokey sounding proposals for something called ‘Sno Balls’ (these might be a real product, but as a non-American I’m completely unaware of them).

After figuratively sweating blood over it, Don came up with a half decent proposal, but in the pitch meeting, Peggy and Rizzo seemed to prefer Ginsberg’s. Ginsberg himself probably compounded the problem with his amusing surprise that Don still “had it”. And with that, the fight was on – not that Ginsberg even knew. Don was threatened, however much he denied it, and after being frustrated in his every attempt to gain the upper hand, resorted to the downright sneaky tactic of simply leaving Ginsberg’s proposal in the cab when he went to pitch to the clients.

I don’t think we’ve seen Don resorting to this kind of underhand strategy out of desperation very often before. It led to a marvellous two handed scene in the elevator (increasingly where characters in the show go to have frosty exchanges). Ginsberg, having realised he’d been screwed over, nettled Don with his own youth and potential: “I’ve got millions more ideas. Millions of them”, following that up with a zinger: “You know, I feel sorry for you.” To which Don coldly came back with, “I don’t think about you at all.” But that wasn’t an argument-winning line because Don – and the viewer – knows that it’s a lie.

So if there was a theme at all in this week’s angst-ridden drama, it was denial. Betty’s denial of her own obvious unhappiness; Don’s denial of his obsolescence; Roger’s denial that he still has feelings for his ex-wives. And even Pete’s denial that his affair with Howard’s wife is over – in one of the more comical scenes, he fantasises that she’s come to the office wearing a fur coat and little else. Lucky he’s got that couch in his office, he plainly needed a lie down.

A few historical notes anchored the show in 1966. Megan was clearly running lines from classic gothic horror soap opera Dark Shadows, which began in June of that year. Given that it ran for five years and is fondly remembered as a cult show, Megan’s assessment of it as “crap” is amusing. After all, it must be well-remembered to have inspired the title of this episode! Elsewhere, Henry’s obviously annoyed that New York City mayor John Lindsay isn’t running in the 1966 State Governor race; that went to Nelson Rockefeller for a second time. Rockefeller would later go on to be Vice President under Gerald Ford. As Henry crossly comments, he’s backed the wrong horse in sticking with Lindsay.

And finally, this week’s Hideous Checked Sports Coat count – low. It’s November, so everyone’s switched to Hideous Checked Overcoats:

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But for a bit of variety, the head of Betty’s Weight Watchers class has a Hideous Checked Housecoat:

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More eye-watering 60s fashions amid the existential angst next week…