Posts Tagged ‘mad men’

Let’s Have Another Cup of Coffee / Mad Man 7:7

1633-20140526-MadMenHaveAnother

Prints and more available at Society6! / Daily Drawing #1633. / 2014 Zine Subscriptions available!

Every week, Aaron Cohen (@UnlikelyWords) writes a recap of Mad Men for his blog Unlikely Words, and I illustrate something from the episode to go with it. Here’s Aaron’s recap for season 7 episode 7:

Episode title: “Waterloo.” Last week when I saw the title of the episode, I thought immediately Bert was going to die. Waterloo is where Napoleon was defeated, and Bert has always struck me as a little Napoleon. Usually I’m wrong about these things.
Episode timing: Apollo 11 took off on July 20, 1969, so that’s pretty clear. Note to Tate conspiracists, The Tate murders are about three weeks from now.

It’s easy to watch a lot of episodes of Mad Men and say nothing happened, even most of the episodes this half season. Well, not tonight. Not tonight!

Bert Cooper getting the opening scene confirmed for me the episode would be about him. I would love to see a Bert Cooper prequel at some point. He seemed to have so much cache (“He was a giant” get it, Napoleon), but in 7 seasons, I think we only saw him do 3 or 4 things. I watched his scene with Roger twice, about being a leader, loyalty, and Jim Cutler not being on his team. Despite him being mad at Don, and tired of him, he still backs him because of team. That was pretty great. “No man has ever come back from leave, even Napoleon.” Roger realizes that with Bert gone, and Don on his way out, he wouldn’t be able to hold off Cutler any longer, and so he engineers the sale of the agency to McCann. Isn’t it going to be weird in the future to watch Mad Men Season 7 and have this giant thing happen between episodes 7 and 8? Also, this feels like the 10th or 15th time a Mad Men season has ended with the agency facing a significant amount of upheaval in the future from some sort of restructuring or sale.

“Maybe they won’t make it, all their problems will be over.” Ted Chaough is done. He’s had it. He’s finished. We didn’t see much of him at all this year, but it seems like Don won the war they were having last season? It’ll be interesting to see if he has a bigger role next year. This is as good a place as any to mention Jim Cutler’s attitude toward the baby Lou Avery. As mentioned previously on the show, Cutler doesn’t care about creative, and Avery is evidence of that. His dismissal of him, “Get back to work” with a little wag of his hand was delicious. I hope we get to see Don fire him next year.

Harry asked Don for impartial advice and he offered, “Don’t negotiate, just accept the deal.” It was sound advice, I wonder what percentage Harry would have gotten. And then he missed out because he hadn’t signed yet. Poor Harry Crane, always looking for more. Maybe he’s the suicide everyone expects? Roger saying Cutler wanted to whittle the agency down to just Harry and the computer makes a lot of his actions previously more clear. “It’s the agency of the future.” Though Cutler didn’t have any interest in the computer until the 2nd or 3rd episode. Was going all in on the computer just an excuse to get rid of Don? When Cutler realizes he’s beat, he capitulates almost instantly. “It’s a lot of money.” It finally became clear why Joan was so venomously mad at Don (though, I guess I should have remembered this), when Don merged with Ted to cancel the IPO, he cost Joan about a million dollars. Don pitching Ted on staying was nice because we got to see Don pitch one final time. He mentioned again (though it hasn’t come up in a while) not wanting to deal with the the business side anymore, he just wanted to do the work, to be creative. “You don’t want to see what happens when it’s really gone.”

Cutler perceived Don’s surprise arrival at the cigarette meeting as a breach of contract, and moved quickly to have him terminated. He erred by not including all the other partners in his plans, especially because Don had been the good soldier lately. “Sometimes actions have consequences.” Earlier in the season or last season, Cutler said something about “what Don did to Ted” or something. It seems like he’s really had it out for Don since then. Pete is protective of his prize pitcher, “That is a very sensitive piece of horse flesh, he shouldn’t be rattled.”

Don being threatened with termination has his secretary throwing herself at him. That was… unexpected. It also leads Don to call Megan and discuss it as an opportunity. She doesn’t see it that way. It’s been happening all season, and some last, but they’ve grown apart. They seemed to have patched things up after their last fight, but only on the surface. Megan doesn’t want what Don can offer, he knows it, and he doesn’t even fight it. I think his offering to take care of her was also mostly, “Don’t tell anyone about my secret,” but at this point, who could she tell? None of her new friends would care. “Aren’t you tired of fighting?” “I guess I could see it as an opportunity.” “Marriage is a racket.”

The scenes of everyone watching the moon landing were excellent and foreshadowed Peggy’s pitch. Peggy, Pete, Harry, and Don; Roger, Mona, their grandson, and son-in-law; Betty and co; Bert and his maid. “One small step for man, one giant step for mankind.” Peggy’s pitch was like a less polished Don pitch. Same tempo, storytelling, etc. “All of us were doing the same thing at the same time.”

Peggy didn’t end up wearing either of the outfits she asked Julio about. Julio, who basically functions as a reminder to Peggy’s pregnancy. (As did “Pete’s pregnant,” which I’m not really sure I know what that means.) And during the pitch, when Peggy mentioned there was a 10 year old boy at her house watching television, the next shot was of Pete. There baby would only be about eight and a half, though. Don has been pretty supportive of Peggy for a while, or at least an episode and a half, but it was back to their early to mid-series form like when she was driving out to NJ to bail him out. “What if there was another table where everyone gets what they want when they want.” That’s been brought up before, mostly relation to Don doing whatever he wanted when he wanted, and not having any consequences. Peggy getting drop ceiling installed in her house was funny.

Cynical Sally is making eyes at the hunky older stud whose family is visiting. She does her hair and wears make up on her way to work, for his part, the hunky stud doesn’t wear a shirt when going down for breakfast. One might assume Betty would be furious at this behavior, but she’s not, I think, because she approves of it. Kind of a tie in to the conversation around Sally almost breaking her nose and her face being all she had. Also, from what we know about Betty, it wouldn’t have been a surprise for her to hit on the kid. I picked up on a contrasting of Sally and the football player with Peggy and the handyman, but as always, I’m too tired to figure it out, and let’s be honest, I probably couldn’t figure it out anyway. In any case, while I think Betty approved of Sally’s actions, I think Sally kissing Neil, instead of the hunky older stud, was another pushback against her mother. It was her not being cynical. The hunky older stud said something about how much the moon landing cost, a line of thinking Sally parrots to Don a few minutes later. Don responds, “Don’t be so cynical” and she takes it to heart. It’s nice. Also, she smokes cigarettes exactly like Betty and it’s spooky.

And that leaves us with a bestockinged Bert Cooper singing and dancing for Don, “The Best Things in Life Are Free.” Don appeared to be headed to his old office before the song and dance, and it makes him teary. So what are the free things Don is going to take joy in next year? The work! I don’t want to think too much about this song and dance, except, again, it’s going to be weird in the future when people are binge watching Season 7. I’m pretty glad not to have to stay up until 1:30 on Sunday nights anymore for a while, but splitting the season was done for purely money reasons on the part of AMC and it’s bullshit.

So what do we expect for next year? It won’t take 7 episodes to wrap things up tightly, so I imagine there will be more drama and intrigue. If Megan actually is going to be killed in the Manson Family murders, then next year will have to pick up 3 weeks from now. That would actually track roughly with a month passing between episodes, but I’m not sure how that’s more than a one episode story at most. What do you think’s going to happen?

There’s Always a Better Idea / Mad Man 7:6

1628-20140519-MadMen-BetterIdea

Prints and more available at Society6! / Daily Drawing #1628. / 2014 Zine Subscriptions available!

Every week, Aaron Cohen (@UnlikelyWords) writes a recap of Mad Men for his blog Unlikely Words, and I illustrate something from the episode to go with it. Here’s Aaron’s recap for season 7 episode 6:

Episode title: “The Strategy.” Ostensibly, this calls to mind the strategy for Burger Chef, but I think it also refers to Bob Benson and Joan, McCann/Roger, Cutler and Phillip Morris, and ultimately Don.

I don’t know when the episode takes place, but maybe early to mid-summer based on Bonnie coveting the air conditioning and Don saying he’d be back in California at the end of July and it not seeming too far away. Let’s say mid to late June? (That said, Oh! Calcutta! the theater revue Bonnie and Pete were going to go to didn’t debut until June 17, so maybe it’s later in June?

One of the major themes of the episode was sexism, how women are treated, etc. The first scene, when Peggy was doing market research, she couldn’t get anything from the woman because the woman needed to beat her husband home. Picking up fast food was an issue because the woman was already supposed to cook.
“Bad enough I’m not making dinner.” Don was going to take Megan shopping and Pete told Bonnie he wanted her “shopping all day and screwing all night.” I don’t know why the writers would have both of them say it.
“Who gives mom’s permission? Dads.” The entire pitch of Burger Chef originally was couched in the idea that it needed to be OK for moms/families to eat there instead of a home cooked meal. Then, once they have a pitch everyone’s happy with (for the time being), Pete wants Don to do the pitch. “Don will give authority, you’ll give emotion.” While Peggy is, “Every bit as good as any woman in this business,” she’s not good enough to close the deal? On the pitch, Lou is happy to perpetuate the status quo, like a fucking chump. “It’s nice to see family happiness again.” Peggy is good enough at her job to know that while the pitch is acceptable, it’s not the best they can do.

Another storyline on the theme of a woman’s role is Bob Benson proposing to Joan. They have a great relationship, and it hasn’t been entirely clear (especially because he hasn’t been on this season) he was grooming her to be his beard. Joan reveals she knew all along Bob was into men. “Bob, put that away.” He was shocked she didn’t accept the proposal based on the fact he was offering her more than anyone else (his words). In his mind, a woman needed a husband. “I want love, and I’d rather die hoping that happens than make some arrangement.” Joan tenderly suggests Bob deserves that, too. “America needs engineers.” The smarmy Chevy VP who laid it on thick with Joan turns out to be gay and calls Bob Benson to bail him out when he gets arrested for it. I don’t know how he knew Bob Benson was gay, and I don’t know why I can’t just call him Bob or Benson, but Bob Benson. In exchange for bailing him out, the exec tells Bob SCP is going to lose Chevy, and Bob Benson will be hired at Buick.

Bonnie and Pete join the Mile High Club, “I’ve always wanted to do that.” I can’t quite understand what Bonnie saw in Pete, and Pete is clearly still tied up in Trudy. Rather, Pete doesn’t like something not going his way, and Trudy not sticking with him, despite his terrible husbandness, is Pete not getting his way. “I don’t like you in New York.” It’s true, California Pete is happy. This episode follows a series long habit of lulling the audience into sympathy for Pete for a few episodes before making him out to be a royal asshole in one episode. Getting Don to pitch instead of Peggy, being a jerk to Trudy, and then a jerk to Bonnie was asshole Pete in all his glory. Bonnie seemed interested things with Pete being more serious, but that’s not where his head was at.

“You really got to keep an eye on him.” Ken Cosgrove doesn’t disappoint.
and
Let it not be said Lou Avery’s Tiki bar went unmentioned in this recap.
and
Bonnie and Megan flying home on the same flight.
and
“Say what you will, but he’s very loyal.” So I guess Harry Crane finally got what he wanted. I should have more to say about this.
and
I suppose Bonnie reminds me of what Betty would be like if she was less of a child and more responsible.
and
Roger in the steam room with a rival exec. I was unclear if he was trying to hire Roger or Don or buy SCP. Roger seems to figure out what he wanted at the end of the episode, so that’s good. I love it when a plan comes together. Cutler’s ploy to bring in a cigarette company to force out Don is fairly savvy, but Don has a strategy? “Stop thinking about Don and start thinking about the company.”

Which leaves us with Don. Megan visits and, I must have missed an episode somewhere, I’ve never, ever understood why Peggy likes her so much. She always has and it seems very out of character to me. “I didn’t know he was married.” Oh, Marcia, are you trying to get him in trouble? Speaking of trouble, Bonnie went right to Don’s office. What was that about? Not sure I can describe this well, but remember when Pete called Bonnie to tell her to go to the show without him, and then the next scene was the phone ringing at Don’s? Didn’t you think that was going to be Bonnie on the phone? In any case, Don wakes up and wistfully sees Megan out on the balcony. (There’s that balcony again! Watch, the series is going to end and nothing will have happened on that balcony.) At another point, he’s watching her pack up her things, making her move to the West Coast more official, more permanent. Don was also looking at the newspaper from the day after JFK was killed. It was uncovered during Megan’s packing, but I’m not quite sure what the allusion was. Maybe everything’s falling apart.

At the beginning of the episode, Don’s being the good team member, supporting Peggy even when Pete puts him on the spot. Peggy’s still mad at him, and eventually I’ll re-watch last season to remember why. It’s obvious why Lou doesn’t want him in that meeting. There’s a reckoning coming, Lou, just be aware. When Don finds out he’s supposed to do the pitch, he celebrates like a kid, pumping his fist. He’s doing the work like Freddy told him to, and it’s starting to pay off. He also puts a bug in Peggy’s ear that there may be another way to do the pitch, which ruins her weekend. (Peggy tells him to mention the tag at the end of the pitch like he just thought of it. “Do I do that?” I realized just now that line reminded me of the character Jon Hamm played on 30 Rock who is oblivious to how good looking he is.) On Saturday morning, she smokes a cigarette and calls Stan from Stan’s office. Later on, she’s drinking in Lou’s office where Don finds her. “It’s poisoned because you expressed yourself!” Peggy said she never would have done that, but Don explains the not knowing, being OK with not knowing, is how to get where he got. She asks him to, “Tell me what your saves the day plan is.” She’s finally willing to forgive him and they have a pretty serious conversation. In discussing the strategy, it turns out the family they were trying to portray, the one who eats dinner together etc, doesn’t exist. “Does this family exist anymore?” Don can’t remember if his family with Betty was ever like that. “The hell do I know about being a mom?” Is there ever going to be any more acknowledgement Peggy gave her baby up, or did she block it out completely?

Somewhat unsolicited, Don tells Peggy, “I worry about a lot of things, but I don’t worry about you,” which leads to Don frankly telling Peggy his fears, “That I never did anything and I don’t have anyone.” He says it so matter of factily, it’s clear Don and Peggy are close again, and if that didn’t seal it, dancing to I Did it My Way seals the deal. This feels like Don giving up on Megan. This feels like Don hitting bottom (even though not really). Peggy and Don hit on a new strategy, making it OK to go to Burger Chef, focusing more on the restaurant than on the family. Don did the work, and now he’s repaired his relationship with Peggy. The end is nigh, Lou avery.

The last scene was interesting in that it was a visualization of Peggy’s strategy. No matter who is at the table, from outside it looks like family. Don, Pete, Peggy living the commercial. My wife commented Burger Chefs looked very 1950s (“1955 was a good year.” ahem), out of place at the end of the 60s. Pulling on that a little bit, the original strategy was out of place for the middle of 1969. It’s an interesting juxtaposition between the two decades and advertising strategies.

Nipple Valve / Mad Man 7:5

1623-20140512-MNadMen-Vipple

Prints and more available at Society6! / Daily Drawing #1623. / 2014 Zine Subscriptions available!

Every week, Aaron Cohen (@UnlikelyWords) writes a recap of Mad Men for his blog Unlikely Words, and I illustrate something from the episode to go with it. Here’s Aaron’s recap for season 7 episode 5:

Episode title: “Runaways” – The Stephanie and Sally/Bobby stories seem to fit.
Date of episode: The only clue I could pick up was a reference to Eiesnhower’s funeral which was on 3/31/1969. But… We knew last week’s episode was after April 18th, so, not super helpful.

This was my favorite episode of this short half season. A lot happened, and there was a vintage Don power pitch.

Despite a two year contract, Lou’s got his dreams of comic stardom, despite his comic being a rip off of Beatle Bailey. The gang finds his drafts, and, since they don’t respect him, they… are disrespectful. “You know who had a ridiculous dream and people laughed at him?” “You?” Some on the team think Lou wanted them to see the comic. It’s possible. The relationship between Don and Lou is toxic. Lou is so threatened by Don, he doesn’t take kindly to any of Don’s attempts at making the best of it. Don really does seem to be trying, but Lou is too insecure to do his part. “I’m not taking management advice from Don Draper.”

Anna Draper’s niece calls Don from the shadow of the Capitol Records building, pregnant, with nowhere to go. Don wants to help and sends her to Megan’s to wait for him. Initially, Megan is happy to help, calling to mind how good she is with Don’s kids. Then there’s a big change when Stephanie says she know’s all Don’s secrets. “I know all of his secrets.” “But you don’t know him very well.” It’s possible there was an underlying tone to Don and Stephanie’s call, and when Megan told Don she didn’t stay, Megan made a comment about how “she got to the money quickly” (did I make this up?). This didn’t seem to surprise Don at all. That said, I didn’t really feel like Stephanie was only after money. Also, was Stephanie’s headband was another reference to Sharon Tate, or are the Mad Men/Manson Murder conspirarists crazy?

Don and Megan seem to be better than before, don’t they? When Don calls her, Megan is happy to hear from him, and she happily agrees to help out his beautiful, pregnant niece. This, before jealously freaking out and paying her off to leave. As mentioned in the paragraph above, Megan appears to flip out when she realizes Stephanie knows Don’s secrets, too. I know Megan knew some/all of the Don/Dick Whitman story, but I don’t remember if we knew how much she knew. And I can’t remember if we knew she had Anna’s ring. Megan bringing her friend into the bed struck me as trying to do something, anything to keep/make Don happy. Was this Don’s first threesome? Doubt it.

“Things are falling apart here, too.” Betty is bored and cranky, like a tiny baby. Henry remains too good for her and trapped. Driving all over the state to take care of Sally because her and Betty can’t be within a foot of each other is stepdad of the year material. The fight this time around seems to be about Betty thinking Henry thinking Betty is stupid because she doesn’t quite understand how to be political. The company line was Nixon was looking for a way to get out of Vietnam, but maybe that hadn’t filtered down to the base yet. In any case, Bobby has “a stomach all the time” and remains the sweetest kid. “It’s a nose job, not an abortion.” Betty’s comments about Sally’s injury did sound like she was referencing an illicit abortion. Sally remains pretty disdainful of Betty, essentially saying she’s nothing without her beauty. “Where would mom be without her perfect nose?” It’s possible Betty is showing a shred of maternal concern, misguided as it is: If Sally’s not beautiful, she won’t have any options. Sally doesn’t buy it. Henry’s stuck in the middle. “I’m tired of everyone telling me to shut up. I’m not stupid.” “Let me check the sterno.”

“It’s just a computer!” In Greek mythology, Cassandra had the gift of prophecy, but the curse of never being believed. “What am I, Cassandra?” Ginsberg is having a mental breakdown and he’s focusing on the computer as the main driver. The computer is making him gay. Or something. I don’t know, right now, if this was just Ginsberg being Ginsberg, or if there’s deeper meaning to him going crazy. We’ve all seen Seven, so we knew there’d be something in the box we didn’t want to see. Because cutting his own nipple was telegraphed, this wasn’t on the level of British executive getting his toe cut off with a riding lawn mower, but it was still pretty cray. I also liked the subtle hint that Peggy’s Saturday night plans consist of watching tv with her young upstairs neighbor, Julio.

Which leaves us only with Don. He’s doing the work Freddy told him to do, instead of walking out on Lou, postponing his trip. Peggy is still lording it over him, for some reason, which maybe I’ll have to rematch last season to remember out why. Once he finally shows up in LA, who should he meet but Harry Crane (whose name I’ve probably spelled 15 different ways in these recaps.) Harry’s tune toward Don has changed somewhat since last season, and as Don gets Harry drunk, and flatters him, he finds out Lou and Jim are pursuing a tobacco client… for some reason. What’s unclear is how they’d plan to get rid of Don if they did land the business. You might recall Don’s “Why I’m Quitting Tobacco” ad in the NY Times. The Philip Morris team certainly does. Somehow, after landing in NY on Sunday, Don finds out about Jim and Lou’s Monday morning breakfast at the Algonquin. It took me a second time watching that scene through to realize why I liked it so much: It’s the first of Don’t great pitches we’ve seen this season. The pitches have gotten more and more scarce over the last couple years, so when we get a good one… In any case, he was pitching himself this time around, and I think he was successful. Either SCP won’t get the business, and he’ll be fine, or they will get the business and Philip Morris will insist on him being a part of the team. It infuriates Lou and Jim because they know that, too, and part of this gambit was bringing on new business which would force Don out.

Credit music: Only Daddy That’ll Walk The Line by Waylon Jennings

They Can’t Erase This Couch! / Mad Men 7:4

1618-20140505-MadMen-EraseThisCouch

Prints and more available at Society6! / Daily Drawing #1618. / 2014 Zine Subscriptions available!

Every week, Aaron Cohen (@UnlikelyWords) writes a recap of Mad Men for his blog Unlikely Words, and I illustrate something from the episode to go with it. Here’s Aaron’s recap for season 7 episode 4:

Episode title: “The Monolith.” Monoliths are either large blocks of stone or monuments, or “advanced machines built by an unseen extraterrestrial species” from Space Odyssey. Maybe Don’s the block of stone and the computer is the advanced machine?

Episode date: Around April 18th, 1969. Don was reading a newspaper with a headline alluding to Nixon’s announcement that planes surveilling North Korea would have protection. This, following North Korea shooting down a spy plane on the 15th, killing 31 crewmen. Don’s been back at SCP for 3 weeks making the timing of episode 3 around April 1st or so. I couldn’t find any clues last week. Lastly, the Mets did win the game Don wanted to go to with Freddy.

At the beginning of the episode, Pete runs into a former client/colleague from Vick’s. He found out Trudie’s father had a heart attack, illustrating how out of touch he is with his forner life. He also gets the opportunity to pitch Burger Chefs, a chain founded in the 50s that rose to 1050 locations through the 60s before starting to crumble. Something with a heyday in the 60s not doing so well against new competition? You don’t say.

Harry Crain is getting his computer, but for some reason, it doesn’t make him any less insufferable. I must have missed the episode where he did something remarkable to think so highly of himself. In any case, the computer is taking over the former creative lounge and the creative team is (rightly?) spooked. I’m not sure how a computer is supposed to take over for creative, but try telling Ginsberg that. “The other one’s full of farts.” “They’re trying to erase us.” It’s obvious the computer is a metaphor, there’s even the line of dialogue, “These machines can be a metaphor for whatever’s on people’s minds.” Later on, there’s a conversation where Lloyd is explaining the difference between his company and IBM. It’s dripping with symbolism and references to Don. IBM is selling the always new. Lloyd is more trusting of the older machines, more willing to let them hang around and keeping doing their job. “They have a great product, but they don’t trust it.” SCP used to do things the old way and Don fit in. Now they’re pushing the new, new, new, so maybe there’s no room for him anymore? There was more to the conversations between Lloyd and Don, but there was so much, so fast, it was hard to keep track. It was basically a conversation about human vs machine, art vs science (counting stars), and old vs new. Once drunk Don returns, he tells (paraphrasing) Lloyd his company doesn’t need an ad campaign because he’s got the new, what everyone wants.

Normally, I’d wait until the end to note the song used in the credits, (On a Carousel by The Hollies), but it seems extra important to me. This is the second reference in two weeks to ‘the Carousel scene,’ a Kodak pitch Don crushes. (Last week was Ken Cosgrove telling Don he always thinks of him when they go to the carousel.) I wouldn’t say this was the last time Don was on his game, but he sure was firing on all cylinders then. “Do the work.” Freddy’s pep talk sets Don right. Maybe we’re to see this as him realizing he’s got a long way to go to come back. Maybe I need to watch last season again to see how bad it got for Don and SCP, but it’s hard for me to believe Don would get knocked this far down. They clearly didn’t want him back, but I’m not sure they would have made Lou privy to that. I don’t know. My brain’s a little scrambled on this. And just to give Freddy his due. He recognizes what Don has and that he’s throwing it away. He sees the partners are messing him and he tells Don to mess with them right back by doing the work. Super short, but great scene.

“Let the man be a man.” Lou gives Peggy a raise and then makes her deal with Don. This gave us a chance to see the unlovable Peggy, the one who forgets what Don did for her. I guess she doesn’t owe him anything, but would it have killed her to be less smarmy? I don’t recall Don being unfair with her (too often anyway), so I’m not sure why she handled it the way she did. Especially because, as she discussed with Joan at the end of the episode, she clearly knew they were trying to make her deal with Don because they couldn’t. “They” being the partners in this situation. Joan’s probably right, though, in thinking the partners probably didn’t think about it at all. That said, Lou definitely did. Don’s death stare when Peggy gave him the assignment to come up with 25 tags was amazing with a capital ah.

Don finds the pennant Lane bought for his son (I think) during a visit at some point. As Bert Cooper gleefully points out, Don is back and in a dead man’s old office. Lane’s a ghost, and they expect Don to be one soon. It’s pretty messed up! Bert wants him gone so badly he’s not even interested in the opportunity of the new business Don developed. I’m still confused about the implications of Don’s partnership status and the new stipulations. Not confused, more like concerned. I know Don will be OK, it just seems crazy it would be so easy for the partners to kick him out. I shouldn’t feel sorry for him.

Lastly, Roger, Mona, and Margaret. I’m sorry, Marigold. Margaret has run off to a hippie commune. For years, we all thought it’d be Sally experiencing the late 60s for the sake of the show, but instead, it’s Margaret. She runs off to a commune leaving her son behind. It’s an interesting juxtaposition because Roger’s been expanding his own mind lately. Something flips for Roger when Margaret sneaks off in the middle of the night. Not sure exactly what the trigger was, but he tells her she needs to come home, and she says I learned it from watching you, dad, I learned it from watching you. There was something funny about the car ride with Roger and Mona where Roger mentions the last time he saw Margaret she was cruel, serene, a little bit philosophical, and Mona seems to agree, “I thought she was happy.”

This is the way it ends / Mad Men 7:3

1613-20140428-MadMen-TheWayItEnds

Prints and more available at Society6! / Daily Drawing #1613. / 2014 Zine Subscriptions available!

Every week, Aaron Cohen (@UnlikelyWords) writes a recap of Mad Men for his blog Unlikely Words, and I illustrate something from the episode to go with it. Here’s Aaron’s recap for season 7 episode 3:

Episode title “Field Trip.” This refers to Don’s trip to LA, Betty’s trip to the farm, and sort of Don’s trip back to the office.

I missed any clues to the date of the episode, though Betty and Bobby went to a farm on what looked like a warm summer day and it was dark in NYC at 7:10 PM. The last two episodes were about two weeks apart, but that farm day couldn’t have been earlier than mid-April.

The episode starts with Don in a theater watching Model Shop (via Hypable). The first line of the summary of the movie on Google sounds somewhat familiar: “George (Gary Lockwood) is a disillusioned 26-year-old who has just quit his stifling job. He lives in Los Angeles with an aspiring young actress named Gloria (Alexandra Hay), who is none too pleased with his recent unemployment.”

Don hears from Megan’s agent that Megan is crumbling and acting (get it?) erratically. He’s got nothing going on so he decides to visit, and it goes… poorly. They fight, and Don tells her the truth about work. “I’ve been good. I haven’t even been drinking that much.” Megan feels betrayed and sends Don home. “This is the way it ends.” Getting kicked out, combined with Model Shop, makes Don rethink his current situation and pursue an opportunity with another firm. (More on this later).

Betty is back and as childish as ever. Her lunch with Francine was so uncomfortable. I don’t remember her being so weird. The conversation between them was stilted, almost as if between two people who didn’t know each other at all. Betty hardly seemed to understand what Francine was saying. The ‘women in the workforce’ theme has been covered a bit (Joan, Peggy, Dawn to name a few), but I’m not sure that’s really what this scene was about. It was more about the world moving on from Betty’s idea of what life is supposed to be like. (“Maybe I’m old fashioned.”) After the lunch, Betty decides she needs something to do, so she agrees to go on a field trip with Bobby. I’d like to imagine it was never OK to smoke on a school bus full of children, but Betty does what she wants around here. I’m not really sure why the teacher’s boobs were part of the show (“Yes, well that blouse says she likes everyone.” and “Farmer’s daughter needs a bra.”), but maybe it will come up at a later date.

Betty is still an emotionally stunted woman child. She tried the milk to look cool in front of a bunch of 10 year olds. It worked, but why would a grown ass woman need that validation? Sure, Bobby might be a dummy for giving away her sandwich, but he didn’t do it to be mean, he didn’t do it because he doesn’t love her. “It was a perfect day and he ruined it.” Betty is cray. There’s literally a child asleep in her arms and she asks Henry why the kids don’t love her. It’s amazing how nice of a kid Bobby is considering his mother and father (“I wish it was yesterday”).

Ken Cosgrove telling Don carousels always makes him think of Don (which is weird, because Ken wasn’t in that meeting.) All of the Don Returns scenes were great, Don and Lou awkward, Don and the creative team, Peggy being cold to Don, Joan being cold to Don, Don not realizing Dawn was doing different things, etc.

Jim Cutler issues Roger Sterling-quality one liners, but with a different, blunt delivery (“Your self-pity is distasteful”). I wonder if he’ll get more screen time. I’m really, really, still not sure how Harry Crane maintains a position of responsibility. He doesn’t show respect to any of his superiors, “This conversation is over, I’m really not interested.” Roger obviously doesn’t think too highly of him, offering to fire him the instant his name came up. Media buys are starting to become more complicated, and Cutler wants to use what they’re paying Don to buy a computer.

Which brings us to Don coming back to SCP. The scene where he got the offer was interesting, “That’s coy” “No that’s drama.” I’m not sure what the woman in the restaurant was all about, but I liked the juxtaposition of us all thinking he was knocking on her door and it being Roger. (Something about where Don gets his gratification from these days?) “You want to come back, come back. I miss you.” I knew it! The scenes with Roger last week were a set up for this. Roger doesn’t jive with Lou, that much is obvious. By having Don come in, Roger forces the issue of Don’s leave of absence, either purposely or not. The other partners think Roger has made a drunken mistake, but he shows he’s considered all the options by explaining it would take 4 years to buy out Don’s partnership share. So they have a meeting all day (the clock behind Don’s head shows 7:10 PM before he’s called into the conference room (I’m not sure why he stayed)), to figure out what to do about it. Joan, Bert, and Jim all want Don gone, but Roger fights for him, and more importantly, the rest of them see the financial implications of firing him. The solution is an agreement to come back stuffed with poison pills (no drinking in the office, reporting to Lou). Don agreeing to these stipulations was an “Oh, wow” moment for me, probably for you, too. I spent the 15 minutes after the episode trying to wrap my head around the legality of the agreement. Could they really create a situation where Don’s partnership shares would be dissolved? I suppose if they offer him an agreement to come back and he refuses, he’s in breach and SCP has the upper hand again anyway. It just seems odd. Also… I don’t think Lou and Don are going to get along.

And then before this wraps up, Don told Megan, “I know how I want you to see me.” Mad Men is still talking about appearances and perceptions of who people are. This will continue to be a major theme until the end of the series. I’m always fascinated by the lines like this. They pop up quite a bit.

Las song was “If 6 Was 9” by Jimi Henrix.

20120430-chrispiascik-0091-final
Standard Byke Company
RachelRay
Rachel Ray Magazine
theaterworks-Understudy
TheaterWorks
1552-20140130-NobodyOwnsPizza
Selected Drawings
charlies2
Charlie’s Quenchers

Recent Comments

INSTAGRAM

 

Archives

Who is this guy?

After starting his career as a graphic designer at award-winning studios in New England, Chris accidentally became an illustrator. He’s pretty happy about that. This strange transformation was a result of his daily drawing project that he started in late 2007, in fact he’s still posting a new drawing every day.  Chris holds degrees in Visual Communication Design and Art History from the Hartford Art School at the University of Hartford, where he is currently pursuing his Masters Degree in Illustration. He has been the recipient of Gold Awards, Silver Awards, Excellence Awards, Judge’s Awards and the Spirit of Creativity Award from the Connecticut Art Director’s Club as well as BoNE awards from the AIGA and a Silver Award from Gaphis. In addition his work has been published in numerous books and publications including Print Magazine and Communication Arts. His client list includes; Converse, Nike, Chronicle Publishing, Boston Magazine, McDonalds, Scholastic, Harvard Business School Publishing, Warner Music Group, Republic Records.

Represented in France by: Valérie Oualid

Check the full bio here.