Posts Tagged ‘typography’
Episode Title: “A Day’s Work.” Off the top of my head, I can’t remember any episodes taking place all in one day. Or, almost a day. Pete, Bonnie, and Ted had a tryst late on the evening of the 13th.
Timing of the episode: February, 14 1969, only a few weeks from episode 1.
As well as Don looked to be doing last week, this week he was less put together: Unshowered, house a mess, marking off the liquor bottle with a grease pencil to keep track of his drinking. Don only cleans the house and gets dressed when Dawn comes to report on the goings on in the office. Obviously lonely, Don tries to charm Dawn into staying for coffee, but she demurs. When he offers her “car fare,” “There’s something about the money that makes it feel wrong.” THAT’S WHAT THE MONEY IS FOR.
Imagine now there are 400 words on the symbolism of Don seeing a cockroach in his apartment.
Pete also seemed better off last week than this week. Pete still only cares about closing the deal, which he should, because he is selling, but it leads to trouble for him every time. Last week, he was mooning about California’s vibrations, now he doesn’t know if he’s in “heaven or hell or limbo.” Ted remains placid, as ever, “Just cash the checks, you’re gonna die one day.” Pete’s girlfriend seems to know how it all works, “Our fortunes are in other people’s hands and we have to take them,” but I think Pete grew up holding the fortunes maybe?
Joan figured out her Dawn/Lou issue by making Dawn head of personnel, but what does this mean when Don comes back? Last year, there was a similar situation where Joan gave Dawn additional responsibility and intimated she’d need a willingness to be unliked. This came up again when Joan and Culter were discussing what was required of a head of personnel. Most people still want to see Mad Men tackle race, but I don’t think we’re ever going to get it.
When Dawn and Shirley were talking about Shirley’s flowers, they were calling each other each other’s names. Maybe they do that because that’s what happens in the office? Dawn gets called Shirley and vice versa? “Keep pretending, that’s your job.”
There were some interesting examples of embarrassment this week: Ted catching Pete and Bonnie, Sally finding Lou in Don’s office, Peggy thinking Shirley’s flowers were for Peggy, Sally catching Don in a lie, Don getting caught in a lie. Etc. Etc.
Peggy had a fun time today, alone again. “Enjoy your flowers, boss.” She knows she’s acting crazy, but she can’t help it. Ted has moved on from her, even if she doesn’t want to admit that. The scenes with Shirley’s flowers were gold, just gold. My favorite of this young season. Not sure what Ginsberg has against her, though. “February 14th: Masturbate gloomily.”
I can’t really understand why Roger had a problem with asking Detroit about the Chevy dealerships. I got to thinking it might have something to do with Don not being around (and Lou in his place, “Strangest things happen to you.”), but there’s not much evidence for that. He’s bored at SCP, that’s for sure. Also, anti-semitism is alive and well in 1969, NYC.
Racism, too. Thanks, Bert Cooper. He’s not saying Dawn shouldn’t be at the front desk, he’s just saying.
Sally is back, and I don’t remember her eyebrows being so eyebrowy. “I’d stay here until 1975 if I could get Betty in the ground.” Sally is the perfectly cynical boarding school teenager, a funeral is a good excuse for a shopping spree until losing her purse. Upon discovering Lou Avery in her dad’s office, she was upset, showing as much as she’s tried to grow up, she’s still a little girl. The wall comes up again upon catching Don in a lie. She wants to love her dad, but he makes it almost impossible. By insisting on trying to be the perfect man, Sally is repulsed and reminded of Don’s failings. What goes on the note? “Just tell the truth.” It’s only when he comes clean about being asked to leave SCP Sally warms to him again. “I told the truth about myself.” “Nothing you don’t already know.” While the Shirley/Peggy scenes were great, the Don/Sally scenes were probably the most important scenes so far. Don will continue wanting to treat Sally as a child, but as she says, “I’m so many people.” She’s got it tough.
This Will Be Our Year by The Zombies played out over the credits.
Episode Title: “Time Zones” obviously refers to Ted, Pete, and Megan in California, Bob in Detroit, and everyone else in New York. But also, different times in their life, relationships, work.
Timing of the episode: January, 1969 as evidenced by Richard Nixon’s inauguration. The Super Bowl Freddy mentioned was Super Bowl III. It featured Joe Namath and the Jets, and was played a week earlier.
Overall, everyone seemed unhappy. Roger’s unhappy, Don’s unhappy, Megan’s unhappy, Pete seems happier than we’ve ever seen him (but Ted says he’s unhappy), Peggy’s unhappy, Ken’s unhappy, Joan’s unhappy, and nobody else cares about anything.
Considering how often the opening scene of last season was referenced during the season, we should pay special attention to Freddy’s opener. “It’s not a time piece, it’s a conversation piece.” We’ve heard, “If you don’t like what’s being said, change the conversation” a couple times on the show, and the two quotes are stuck together in my head right now. Maybe the passage of time will be a key theme this season, maybe I’m too tired to make sense of anything? It was 8 minutes until Don’s first scene (a musical montage!), which likely didn’t mean anything thematically.
I kept trying to count the number of the passed out women in Roger’s first scene. At least 5.
Don’s replacement, Lou, is like the kindly, but surly, grandpa of SC&P. He says such shitty, mean stuff, but without any emotion behind it. “I think you’re trying to put me in a position of saying ‘I don’t care what you think’.” Peggy is bristling at the new dynamic, and, as it turns out the work being produced. I loved this, “Well, I’m tired of fighting for everything to be better. You’re all a bunch of hacks who are perfectly happy with shit. Nobody cares about anything. No one wants things to be better? I got it, I’ll just stand out here all by myself.” That’s a very, very, Don Draper thing to say. Peggy breaking down at the end was her feeling totally alone, probably about as much on a personal level as a professional level. Ted was professional and personal and he left, and Don was professional and he’s not around.
It’s been two months since the end of last season, and Don hasn’t told Megan about getting the boot from SC&P. He’s going to have to work on that relationship. The morning after Don gets to California, Megan drops a Playboy on his chest. I wondered if she was sending a hint she didn’t want to be intimate.
Ken pulls Joan into a meeting with a 14 year-old shoe executive who wants to fire SC&P. Joan goes to speak with a business school professor for ammunition on how to respond. I got the sense she’s done this before, but not with this professor. I wonder if Joan will step more into an account executive role. Remember last season when Joan was managing a client a bit?
Pete Campbell is going bananas in California. “The city’s flat and ugly, and the air is brown, but I love the vibrations.” This should be a lot of fun.
Both Roger and his daughter appear to be going on the same journey of exploration, but they’re taking different paths. The scene with Roger coming home drunk to his new lover felt very important. He’s tired, exhausted of this life. I wasn’t sure if he was tired of the bohemian lifestyle, or of life in general.
“Blame Madison Avenue for that.” This was the second or third subtle to not-so-subtle dig at advertising in the episode.
“She knows I’m a terrible husband.” “Well if she doesn’t know, you should keep it that way. That’s what people do.” “Have I broken the vessel?” “What can you do about it, it’s done.” Don flew home from California with the ghost of Don Drapers past. It looked like Don was going to go home with the mysterious airplane beauty, but he had to work.
At first you think Don’s lying to himself AND Megan, until Freddy comes over with sandwiches and it becomes clear Don’s been sending Freddy around with Don’s pitches. For me, it completely changed how I saw Don in this episode. Less pathetic, more driven, producing work again, good work. I wonder how long he’ll be in the shadows for. “I been there, you don’t want to be damaged goods.” Maybe he’s less unhappy than I thought.
Final song: You Keep Me Hangin’ On – Vanilla Fudge