Posted by on October 11, 2010 at 12:09 am  Season 4
Oct 112010

I thought you didn’t go in for those kinds of shenanigans.

Quote of the week right there. Why? Because it was a great scene, a sweet quote, a lovely knowing moment from Peggy Olson, beautifully played by Elisabeth Moss, and because it was absolutely about the episode.

Don’s ad in the New York Times was stunningly modern. I don’t know how historically accurate or inaccurate that sort of thing might be, but even if someone made that sort of move in 1965, it was an exception. It was simply not how people did business. In fact, it was the sort of thing I remember being kind of new and surprising in the mid or late 1980s.

The 1980s was, actually, when I remember a lot of things changing. I was a little bitty kid in the 1960s, and I do know the world changed then (duh). But I was a young adult in the ’80s, and I remember a different kind of shift, and I specifically remember a shift in advertising. Things became more abstract. American Express had these full page magazine and newspaper ads that were about integrity and hope and stuff like that, and didn’t mention the product at all. I suppose you could call it a kind of blurring of advertising and publicity. (Despite the fact that I’ve been writing about this show for more than three years, I’m not an expert on advertising and I don’t work in the industry. Yet that particular shift was very noticeable to me as a plain ol’ consumer.)

Don Draper, hat in hand, was ahead of his time. Far ahead. So far ahead that no one got it. I have to say that when the partners were all furious and outraged, I was more surprised even than Don was. I was anticipating applause. It was so clearly a brilliant move…to me. In the 21st century. In a world saturated by ad campaigns based on being bold, startling, and reversing expectations. SCDP doesn’t live in that world.

Peggy got it, and Don genuinely needed someone to understand what he was doing. The phone was already ringing, and not just with prank calls and pro bono. Yet the partners didn’t hear it, not even Lane, to whom Don reached out. Without Peggy’s understanding, Don would have been devastated. But then, he knew she’d understand.

Because there are people out there who buy things, people like you and me. And something happened. Something terrible. And the way that they saw themselves is gone. And nobody understands that. But you do. And that’s very valuable.

Peggy sees the world in the new way, and Don understands that value. Now Peggy knows that Don sees the world in a new way, too. A way that includes, yes, shenanigans, but that also includes making a bold statement, putting it out there, and letting people come to you because they want some of that boldness.

I have a lot of things I want to write about this week, all while planning a finale party (okay, Roberta does most of the planning), but here are some quick show notes that I don’t think are really going to fit in anywhere else.

  • Sorry, John Slattery, you are well loved here, but your cuts were choppy and odd. There were cuts in the first conference room scene, with Atherton, that looked like inserts added later, and when I stop to think that, you’re not doing your job.
  • Lane has just moved his family back. Does that mean goodbye, Bunny?
  • I don’t normally notice the fashion symbolism all that much, but even I picked up on Peggy in funereal black, waiting for the death knell.
  • Matt has always talked about curiosity as as one of Don’s defining traits, and here we see it again. As disgusted as he is by what’s become of Midge, he still pauses to ask what heroin is like. Pure Don Draper.

  209 Responses to “Shenanigans”

  1. It was amazing because I for one don’t think of Don being ahead of his time. I have to agree that it was arrogant of him to not consult the partners, though; I was once part of the leadership of an organization where one of us did the same thing Don did, and we were furious.

  2. @ #1 – totally agreed. I know this episode will get the “omg Don is so forward thinking” vibe (much like “The Suitcase” got the “omg Don will now be a changed man” vibe…riiiiight), but I didn’t think this idea was so special. Don’s idea was one of his better ones this season (not that that’s saying much…) but he didn’t execute it properly. Just like him (and the partners), I was suckered into thinking the idea had worked when “Bobby Kennedy” called…but it didn’t really. ACS is great, but it’s not gonna be a high paying client. And Megan is incorrect – Don DOESN’T stand for anything. He’ll keep smoking. It was a stunt (loved Peggy’s smirk when she said that to Don!) to get much needed attention. I think if Don had just mentioned it to the rest of the partners, it would’ve been fine. They needed to do something, but they need to be a team and have a cohesive plan. He probably could’ve convinced Pete and Lane pretty easily. Bert himself didn’t say it was a bad idea – just that it made the firm look bad because the partners’ names weren’t attached to it.

    The episode did feel a bit disjointed to me and reminded me again of how the Ossining stuff really does not fit in well with the Mad Men universe now that Don is out of Ossining. I actually thought Henry might throw some business SCDP’s way (respecting Don’s stance on cigarettes after he’s shown reading it about it in the paper) but that cut was misleading.

    Best moment was definitely Don paying for Pete’s share. He owed him big and it was about time that he repaid him.

  3. The episode being choppy isn’t something that can be blamed on the director. I think that’s more the fault of the editors, or the writers. If you’re noticing cuts and inserts, that’s the fault of the editor, not the director. I do agree the episode isn’t as good as the other episode he directed.

  4. the production work last week and this week was not very smooth. Was MW in a hurry? Did something happen in the rendering process (when the edited show is mixed with sound and video)? It isn’t up to usual standards and that’s a technical issue.

  5. #2 Of course the letter was a stunt. That is, in fact, what makes it “forward” — the seemingly sincere, “realistic” publicity of it all. Don may not have any legitimate intentions behind the ad, but the fact that it came across as genuine was the whole point. Folks like Megan, who interpreted it as based upon some serious confession, are the ones who will get taken in, without realizing it. For everyone else, the most likely result is internalization of the ad man’s good intentions.

  6. You do realize there is a major difference between the Directors Guild of America (DGA) feature film contract and the DGA TV episode contract.

    On a feature film the director is paid to do an edit, which may or may not be the final cut.

    Under the TV episode contract, the director normally is not paid to do an edit. That is the function of the show editor and the show runner. For Mad men the final cut is Matt Weiner.

    So, if we like the final edit or if we do not like it, do not praise or blame John Slattery.

    He brought more out of each actor in his cast than they probably thought possible. I saw Liz Moss on stage directed by David Mamet in his play “Speed the Plow” She was outstanding, yet she did not hit it out of the park like she did in “Blowing Smoke”

    Needless to say it frustrates me that I am retired and thus cannot do what it takes to sign John Slattery to a directing contract.

    When he does decide to direct features there are many very experienced and talented editors who have helped now famous directors on their first few projects.

  7. #5 – I’m not disagreeing that it was a stunt (in fact, I said it was a stunt) or that it’s not a good idea. But I’m sorry, Don didn’t handle its release well. Of course he was gonna get yelled at by the partners about it. The ad can be both forward and be poorly executed; those are not mutually exclusive statements. Don of s1 would have been a lot smoother about this. Desperate Don of s4 doesn’t stop to think about the consequences the next morning when Pete, Lane, etc read this. They deserve some head’s up. And they all have a point – what real business did SCDP gain from this? PSAs don’t make you money. The benefits of campaigns against lung cancer will be longterm (it took a LONG time for cigarette smoking to pass out of vogue)…so SCDP still has to somehow make it longterm with other business to sustain these kinds of ads.

    And Don definitely does not have legit intentions re: cigarette ads – he’s still smoking.

  8. #6 I saw Lizzie Moss in Speed the Plow, too. Her performance was more a recitation than acting. She seems much more comfortable on the small screen (and no surprise: Broadway is tough for Hollywood actors).

  9. I thought Cooper said he was mad because Don left his partners names off his public letter/full page ad. Bert said, “You left us with all this hypocrisy.” Sterling and Cooper built the company back in the day largely on tobacco ads, it seems, and Don became partner in the firm when tobacco was paying most of the bills. So to leave the other partners names off the letter leaves the other partners with all the hypocrisy from which Don is distancing himself and his company, in a sense. But I think the thing that really got Bert was he wasn’t in the know, and none of the partners were in the know, and that was kind of wrong of Don no matter how you slice it. Imagine getting a call from someone asking what’s up with the full page ad/letter from a partner saying your firm won’t work for tobacco anymore and you’re a partner in that firm and you’re reading the letter for the first time yourself. That’s got to hurt the one’s ego if not one’s sense of propriety. By the time Don came in after his morning swim he had received dozens of calls. Imagine the calls Cooper and Sterling had received. Probably after the first one Cooper had had enough of his office-less existence at SCDP.

    I think Don figured he’d never get the o.k. from all his partners for his move, that the conversation in the board room would stall out on wording and tactics, and Don was sure his letter would work by “changing the conversation” so he kind of forced the business of the art of war on his partners. Three of the four partners are willing to pick up their egos afterwards and carry on. That’s pretty good. Buying Cooper out will save money in the long run and he’s just good at annoying Sterling anyway. (I’ll miss him but not as much as I’ve missed his office decor this season.) Don never went to college and never went to business school for an m.b.a. but he sure has an instinct for the business of office politics and the office politics of business. Maybe Mark Twain was right about schooling or maybe there’s something fantastical about this character Don Draper.

  10. Truly, choppy edits (at this professional level) are always a result of weak direction or poor coverage. Editors can only work with what’s been shot, and we go to great (and invisible) lengths to assure fluidity. The was a few slightly disjointed moments for me — less bad than abrupt transitions, and I didn’t think the office montage worked at all. But two moments really stood out, moments that made me aware of the director’s beautiful “speaking voice.” The 2 shots of Don looking at Midge’s painting (gorgeous, haunting) and the overhead of Sally crying in her bed, all gawky, tender, preadolescent isolation. It’s such a collaborative medium. Actors, editors, the DP, wardrobe and set all (rightfully) believe their contribution is key. In the end, though, everyone is there to serve the director and producer. They take the blame and get the credit.

  11. #7, did you really think that Don was going to miraculously quit smoking within a day or two as a way of declaring solidarity with his anti-smoking campaign stunt? Why would his personal smoking habits have anything to do with an ad campaign? Contextually, this isn’t the age of reality tv, so his personal habits aren’t really as relevant.

  12. Someone on Television Without Pity said Don’s letter reminded them a bit of this 1967 ad:

    I hadn’t noticed that about Slattery’s cuts, but he’s still a pretty new director so I guess he will become more polished in time.

    (I did think Roger’s insult to Atherton was over-the-top and undeserved!)

    I think right now Lane is doing what he had to do to have his son with him, and yes that probably does mean saying goodbye to his young girlfriend. Sacrifices have to be made…..although this is “Mad Men,” so I never rule out the possibility of seeing someone again.

    Deborah and others: did you notice how grown-up Marten Weiner (Glen) is starting to look? He’s really starting to look a lot like his dad!!

  13. I think what Don was doing with the letter was what Peggy had suggested, even though he dismissed it at the time. He was changing the conversation. Ken even said that nobody was talking about Lucky Strike any longer.

    Don is determined that SCDP survive. It doesn’t need Bert to do that; it does need Pete. Don knows that.

    And after having been put out in front of the public in the first episode this season, when he didn’t want to do the Ad Age interview, having had the other partners tell him he had to step up and be the face of the agency, Don really did it this episode. Atherton said it wouldn’t be any time at all before the agency would be perceived as “stagnant.” Then Atherton described the agency as being perfect for tobacco. Don’s letter took both those notions and turned them upside down. If he had waited for the other partners’ input, the impetus would have been lost.

    I think Don did exactly what he had to do – he was the face of the agency, he made sure it wouldn’t be perceived as stagnant, and he blew away the image of the agency as tobacco’s baby.

  14. #11 No, I didn’t think Don was going to quit – I was actually just pointing out that his intentions weren’t legit and he will (like many people) continue to be a hypocrite even if SCDP does make ads for ACS. In fact, I was basically agreeing with your initial response to me. It actually, incidentally, is relevant though that Don keeps smoking – muckrakers did exist in the 60s and there may eventually be some revealing of the hypocrisy of firms like SCDP working for the ACS.

    I think we should just accept that there will be different takes on Don’s ad. Most of you guys will think that it’s the most brilliant thing ever and that, per usual, Don can do no wrong with advertising. I think it WAS a good idea but it was handled poorly. Don isn’t the messiah and this season has been really good at demonstrating that he’s not as smooth as he once was and that he can’t do an account man’s job. Just my opinion and not sure why I got abrasive responses about it…

  15. After reading the Surgeon General Report, it will be increasingly hard to sell cigarettes. I remember going into the 70s ,even as a child, all the talk of regulating cigarette advertising. I think Don realized that getting more tobacco had no long term future for SDCP. Advertising budgets would continue to be cut for tobacco. Don was told this by the woman Dr. in the very first episode pilot.

    Did anyone notice Don dolling out money to people in the episode? Interesting how in the middle of the financial crisis he in so generous with the check book. Needless to say, Pete probably deserved the money. However, that is the second time he gave Midge a large sum. He gave her a $2000.00 bonus check he had gotten from SCooper in season 1.

  16. I’m not disagreeing that it was a stunt (in fact, I said it was a stunt) or that it’s not a good idea. But I’m sorry, Don didn’t handle its release well. Of course he was gonna get yelled at by the partners about it. The ad can be both forward and be poorly executed; those are not mutually exclusive statements. Don of s1 would have been a lot smoother about this. Desperate Don of s4 doesn’t stop to think about the consequences the next morning when Pete, Lane, etc read this. They deserve some head’s up.

    I think that’s Don though, for better or for worse. As Smitty said, “He definitely doesn’t think the rules apply to him.” And the “rules” in this case are not just convention, but following protocol and giving his partners the advance notice that (I agree with you) they do deserve.

    And #9 Jormo: very well-said about Cooper and his reasons for being angry. I feel for Bert: I’m not sure how old he’s supposed to be at this point, but all the recent stress must be exhausting for him. (And I know we never see him doing much, but still…..)

    Despite his dramatic exit, I hope he’ll stop in every now & then next season, at least to visit.

  17. Did anyone notice Don dolling out money to people in the episode? Interesting how in the middle of the financial crisis he in so generous with the check book.

    I think it was meant to be ironic: everyone just assumes that Don is ‘in the money,’ and he is, but he has to cut back until he knows that the agency is secure.

  18. Oh one more thing – if Don is going to woo ACS and its board members, he best get Pete on this particular account. Pete is the only partner who doesn’t smoke (hell, he’s almost certainly the only person in the company who doesn’t smoke) which (I’m guessing) is part of why he’s probably not stoked about ACS (the bigger reason of course being financial) since he himself can’t relate to the need for PSAs against smoking.

  19. With Midge, Glen and Lucky Strike, the theme of this episode seems to have been about how much things have changed (or not) from Season 1. There have been a lot of S1 callbacks all year, but this episode really hammered the point home.

    I mean, Bert Cooper can walk out the door and hardly anyone bats an eyelash.

    Beyond being simply visionary, we saw all the best sides of Don Draper tonight. He may not be capable of love, but he does like certain people. He was kind to Midge, Peggy and Pete in non-trivial ways. That tryst on the couch gave he and Meagan an easy rapport. We saw this curious side of Don as well. He wants to know about heroin from Midge and what the research says from Dr. Faye. We gotten the open-minded guy from S1 back.

    The finale feels like a classic.

  20. Remember when Don vehemently rejected the focus group/research method of divining consumer appetites? He believes in the power of creative thought — to reframe the conversation, to convince, to charm, to manipulate, to win. That painting, along with Midge’s pathetic decline and the frightened paralysis around him, reawakened his survival instincts.What a wonderful, complicated character.

  21. Don’s letter reminds me of, in more modern news events, the decision by Google to withdraw from mainland China after complying with the country’s censorship policies to get a foothold in. After not really getting anywhere in China they let out (what is in my opinion) a huge PR stint to announce their withdraw on grounds of ethics when those same ethics they didn’t mind compromising before. This happened around January so I wonder if it had any effect on the writing of this season.

  22. #5 Hildy

    Folks like Megan, who interpreted it as based upon some serious confession, are the ones who will get taken in, without realizing it.

    Actually, Megan actually “gets it” exactly right. She recognized that the stunt with the mission statement was “I’m breaking up with you before you can break up with me…” Which, by the way, is what he did at the end of Season 2 when he walked out of the partners meeting and sent Duck over the edge. It’s also what he did this season in Chrysanthemum and the Sword with the Honda folks. But she supports Don, as always.

  23. I’ve seen several people in different places comment on how Don handled problems by doling out money in this episode, but really what else COULD he do? For Pete it was the money that he needed. For Midge, well, that’s a whole thread but I don’t see how he could do anything else there either.

  24. Were they doing ads like that in 1965?
    They were in 1966:

    “Howard Gossage, the most articulate rebel in the advertising business, held that advertising was too valuable an instrument to waste on commercial products. He believed that it justified its existence only when it was used for social purposes. On of his advertisements… opposing a hydroelectric project in Grand Canyon, pulled 3000 applications for membership… and the hydroelectric project was scrapped.”
    –David Ogilvy, “Ogilvy on Advertising”

  25. #23 – I agree with you, he didn’t really have other options (in these situations) but I thought Jon Hamm over on the “Inside ep 12” video clip summed it up best by saying that Don always, when desperate/threatened with problems particularly from his past (i.e. Midge) just pays out money. It’s more a commentary on how little he has changed and how he uses money to forget about real issues.

    I did think it was interesting that the Pete payback scene wasn’t telegraphed at all…in the last few eps, Pete has been treated pretty badly by Don and driven to the brink of maybe leaving SCDP (clearly his wife and inlaws want him to). Yet he has stayed. In this ep, Don continues to be kinda harsh to Pete (well…to everyone, but Pete included) but we find out that Don appreciates Pete on a professional and personal level and actually really listened to Pete’s concerns about paying that much money to keep the firm afloat. It was a small moment, but a very meaningful one.

  26. I think the only things Don spends money on are shaving soap, razor blades, haircuts, hair gel, dry cleaners, beer, gym membership, laundry soap and dinner dates. He’s got no alimony to pay, rents out his place in the suburbs, lives in a then low rent part of NYC. All this on a partners salary. Back when he was just a married salary guy he still was salting away a heavy paper bag full of bills which we saw when he handed the brick of money to his brother. Don isn’t a spendthrift. He’s a well groomed marketing commissar with a penchant for saving money and a thing for women.

  27. …and cigarettes, though they may come like the liquor from the firm’s supply room…

  28. Though we’re all homing in on similar themes, the words that struck me tonite were “regression” and “progression”. Things I noticed:

    Don regresses to going back with Midge to her apartment, falling/feeling something for her, and giving her money. Thanks to heroin, she has regressed in her quality of life overall.

    Betty regresses to being the child in front of Sally’s shrink (not a first time for Betty in that dept) while Sally is more of the grown up.

    Sally’s relationship with Glen has progressed and she wants to spend more time with him.

    On the fashion side, Sally has progressed to wearing more grown up clothes – longer skirts, button-up blouses, etc. but in the overhead shot of her on her bed, for an instant she seemed to regress back into being a little girl with a short-skirted dress.

    After the money discussion at SCDP, Pete shows up for the partners’ meeting in what *looks* like his season 1 blue suit (anyone else notice that?). Regressing back to less-financially successful times?

    Don decides to take a massive step forward by progressing beyond the tobacco companies that they have relied upon in the past.

    The layoffs in the office can have a shared theme of regression (the size of the company shrinks back to when they started SCDP)….and progression forward in the pursuit of keeping the ship afloat.

    Progress – Henry finally comes home for a family dinner?

    Layne has moved his family back to NYC. Progress! And also regression at the same time…just a bit.

    Harry’s hair and clothes seem to have regressed back to his more conservative days at SC. The hair was a little more tame and slick, no? When the time came for the serious meetings, he wore a conservative suit (no hunter green or sky blue). Still no bow tie, though.

    There seems to be a promise of progress in Don & Faye’s relationship, now that things will be “out in the open”. Will it last?

    I’m sure there are more, but these are the things that struck me right away.

  29. “A way that includes, yes, shenanigans, but that also includes making a bold statement, putting it out there, and letting people come to you because they want some of that boldness.”

    Echoes of his meeting with Jantzen (sp?) at the beginning of the season.

  30. I am sure someone down thread has mentioned this, I am so tired that I have no time to read right now, so forgive if repetitive, but the reference to Emerson Foote was a note in advertising history that echoed what Don did…

    From 1967 TIME-,9171,836770,00.html

  31. <>

    I disagree. I liked them for several reasons. They definite popped out,
    he did something new by putting them in, and the fast cutting to the individual one-on-one’s heightened talks about the ad and it impact made me feel the energy and frenzy that was actually occurring in the office right then. I think he did a superb job directing the entire episode.

  32. It was a WHOA moment in more ways than one.

    It wasn’t just that he was declaring financial independence from Big Tobacco. Or even trying to make a splash. What Don said — that it doesn’t take great sales genius to market a product that people can’t stop buying (hence, Don is still smoking) and that never changes in any significant way — foreshadows what’s coming:

    1) Tobacco companies will indeed try to change (or augment) their product with the introduction of “light” cigarettes a few years down the road.

    2) They will also figure out that regular smokers don’t typically switch brands unless their old brand gets discontinued, and therefore will start aiming more of their marketing at young people who haven’t started yet (while simultaneously denying out the wazoo that that’s what they’re doing).

    And Don seeing tobacco as an addiction IS something new. People thought of it then as a “habit,” not something they were helplessly hooked on, the way Midge is hooked on junk. My dad, who was never a hardcore smoker, tossed his pack in the garbage one day in 1966 and never even wanted another butt; he couldn’t fathom that there were people (like my mom) for whom it really was that brutal an addiction. He’s still having trouble with that one.

  33. Also, about Pete not getting it: I think under less stressful circumstances, he would have. If LS had been only a fraction of their billings, and he hadn’t just had a baby, I think he would have thought it was a gutsy thing to do. But he’s seeing his entire livelihood swirling the drain — and also (correctly) anticipating that his wife will hit the roof when she finds out. It’s tough to think about vision when you’re facing eviction. (Also, maybe Pete, not being a smoker himself, doesn’t understand the “people can’t stop buying it” angle?)

  34. That should be “when she finds out what deep trouble they’re in.”

  35. Why oh why, can’t they ever give Midge a period-appropriate hairdo?

    They never settled on one for her, and none were period-appropriate.

    This one was as distracting, if not more so, than the rest.

    Is it the actress? (Who I also never cared for, in this part.)

  36. I think Don’s attitude to money has been pretty constant. He’s given money to Ms Farrell’s brother, Midge, his brother. He didn’t even collect rent on the Ossining house long after he moved out. Betty once said, “I’ve seen the way you are around money. You don’t understand it.”

    Money has never been Don’s chief motivation, unlike Betty who returned to Don after an honest conversation about finances with her family lawyer. Wasn’t he downright disdainful after receiving his $50 000 sign-on check after Cooper blackmailed him into a contract with Sterling Cooper? It’s just perfect that he’s put the same amount back into the firm on behalf of Campbell now.

  37. I remember full-page ads in the Washington Post and New York Times in the late 60s, for things like the anti-war and civil rights movements.

    I can’t say, with certainty, that Don’s ad was like something that had actually been done by some other ad agency in the 60s, but it makes sense that he would do what he did.

    The New York Times was (and is) the national newspaper of record and if the plan was to make a big splash, that would’ve been the place to do it – and, as Ken noted, they’re not talking about Lucky Strike anymore.

    The ad was a brilliant move on his part!

  38. Interesting that the two people who really seemed to “get” the point of Don’s ad are Peggy and Megan (though they “got it” in two different ways).

    Interesting also that Don said he was quitting *tobacco*–he never said he was quitting cigarettes. More smoke blowing…

    In a certain sense, this episode brings the season back pretty much full circle: Don dumped the “no, we’re really NOT selling skin” Jantex and then spun it to make the agency look progressive and cutting-edge; Lucky Strike dumped SCDP and Dan spun it to make the agency look, after a season where it appeared Don was simply blowing smoke about the kind of work SCDP really does (just think of Ponds or Peggy’s Playtex ads–they could have be pitched in the *50s* and not seemed anachronistic), progressive and hip. And in charge.

    The key difference is Don, or rather the development in Don’s character over the course of the season. He has grown up tremendously this season. Think of his first two encounters with the press in the first episode this season, where he fell back upon obfuscation (I’m from the Midwest; we don’t like to talk about ourselves) and spin (was that *two* floors in the Time Life Bldg, Mr. Draper? Unh huh.). Now look at that ad again: it may be a stunt, but it is a stunt that Don Draper is taking full credit (and responsibility) for. In a full-page ad of the nation’s unofficial “newspaper of record,” no less.

    This would be the perfect time for Hilton to come back–he loves moral stances (even if they may be so much blowing smoke).

  39. C’mon, his meeting with Midge was to demonstrate a vision of desperation!

    Though he still had a soft spot for her, Don thought he’d moved beyond her, but then his genius realized that Midge and Peggy has something to say—change the conversation—and don’t be a desperate addict!

    He took the risk, and in reality saved his partners of any culpability. The only ones that matter to Don are Pete and Peggy. And they get it.

  40. According to this 1967 Time Magazine article, Emerson Foote placed an ad in Advertising Age, asking for “another opportunity to serve in the advertising business.”,9171,836770-1,00.html

    Also, in 1948, when he was head of the Lord & Thomas agency, he resigned the the American Tobacco account, then worth $12 million in bookings, or about a fifth of the agency’s total.

    In 1964, he resigned as chairman of McCann-Erickson, saying he was opposed to handling cigarette accounts.

  41. This was a gimmick to attract new clients; nothing more. I don’t think Don has quit smoking. Peggy called it for what it was. You have no idea how his ad will play out with clients. Will the client read the ad the way you want it read or draw their own conclusions. Don is showing his risk taking and is looking for clients who too will take risks. I think they are out there. These are the clients who don’t have to wait six months to find out if SCDP will still be around. Computers, for example, were just finding their way into offices in 1965. There are new products out there and Draper wants to tap them.

  42. #30 (Dee) and #40 (SmilerG) — thank you for recognizing Emerson Foote as the historical model for Don making a statement against tobacco ads.

    Early in the episode, people wondered if SCDP would end up with Virginia Slims. A child tennis player, I remember objecting to the hypocrisy of their sponsoring the women’s tennis circuit. Around 1970, I wrote a strident letter to the editor of World Tennis magazine (now defunct, but then the market leader) complaining that the magazine ran print ads for tobacco and alcohol. To their credit, the editors published my letter. Later I received a letter from a “member of the Latvian Davis Cup team” protesting that cigarettes and alcohol were his team’s best consolation for their losing record and inhospitable climate…of course, the letter was a prank (sent by one of my older brother’s friends)! In 1971, tobacco ads stopped running in magazines (I take no credit!). Latvia was still part of the USSR until 1990 and finally acquired its own Davis Cup team in 1993.

  43. Megan blows smoke toward Don. First Megan tells Don that she loves it that Don stands for something. When Don is honest with Megan and tells her it isn’t about that, Megan quickly adapts and says, I get that part that it was about saying we dumped them rather than they dumped us, but I love that you did it, it feels different around here. It seems Megan will say anything to get on Don’s good side. Peggy, on the other hand, gave Don what he really needed, understanding and good humoured support with one of the best comments ever “I thought you didn’t go in for that kind of shenanigans” delivered with one of the best smiles ever!

  44. Me – #28 – What Glen described to Sally about the Land O’ Lakes box is called “infinite regression.” I kept waiting to see how that tied in and never caught on, until your note. Great insights – thanks!

    Although the ad was clearly a stunt, I don’t think it requires Don to stop smoking at all. He’s not saying smoking is immoral; he’s saying that making money by pushing smoking is immoral.

    Which begs the question: is it possible that SCDP’s savior comes in the form of another tobacco account?

    PS – I LOVED the Midge scene. Heartbreaking, sad, well-acted, and believable. You could feel how much she missed … not Don, per se, but the life she led when she knew Don. Her ache wasn’t so much for him as for her memories.

  45. When Don arrived on the morning of the ad publication, one of the messages Megan handed him was from Emerson Foote. I sat straight up in bed, having worked at Foote Cone and Belding in 68-69. Foote was no longer there, but yes he’s the guy Don’s act was modeled on. Foote wrote a letter to Ad Age sometime in the sixties saying he would no longer work on tobacco ads. Sorry, I don’t have time to do the research.

  46. Don is a wealthy man – he received $500k when SC was sold to PPL in S2. He can afford to write some checks.

    FYI, a full-page one-time ad in the NYT costs $42,000 today. If someone can do the math, we can extrapolate the cost in 1965 dollars. But there was more competition then. I think the Herald-Tribune (which the wealthy read, and NOT the NYT) folded the following year.

  47. Not only was Peggy wearing black, if you look at the dress trimming (I think it may be grosgrain ribbon), it’s AN ARROW pointing up at her face! I don’t usually notice costume details, but that one smacked me right in the face.

  48. $42,000.00 in 2010 had the same buying power as $6,068.10 in 1965.

  49. Hildy, exactly right about the stunt, and Jormo, about changing the conversation. No doubt the partners have every right to be angry, they’re partners, after all. They should be consulted. But what Don did was brilliant. I don’t think he withheld knowledge because they wouldn’t understand; he seemed surprised they didn’t understand.

    CCA, I didn’t know that about the difference in directing contracts. I certainly know that it’s the editor, not the director, who cuts, but the editor is a subordinate of the director (in films, at least). Someone is responsible for some very strange and sloppy cutting in the first twenty minutes of this episode, and since Matt oversees every episode, and we’ve never seen this problem before, I thought it was reasonable to blame the (relatively) new guy.

    #14 JJ — I am going to remind you that we have a policy against talking about other commenters. “Most of you guys” is innocuous, but it is how fights begin. Don’t do it.

    #24, Steve P, not quite the same thing. The ad that you link to says exactly what it means, and asks for exactly what it wants. Don’s letter is a position statement that runs counter to conventional wisdom. It sends business away explicitly, and only invites it implicitly.

    Did anyone have Tammy in the baby name pool?

    Whoever had Midge in the “old friend” pool wins a prize.

    Meowser, I totally understand about the addiction thing. Addiction exists on a continuum, and people are so either/or they don’t get that. My mother quit in the same way your father did. Whereas I quit eleven years ago and still struggle with cravings.

    Freelancewoman, Midge is a heroin addict; you think she’s busy styling her hair?

  50. Much like the San Francisco Giants comeback yesterday against the Atlanta Braves, our girl Peggy pulled out the win — in this case, the “Quote of the Week” — in her last at bat. (“I thought you didn’t go in for those kinds of shenanigans.”)

    Up until then, I thought Roger had a lock on the prize with: “Well, I gotta go learn a bunch of people’s names before I fire them.”

    However, Roger still gets extra points for the evergreen aspect of that thought; in the last couple of years alone, that had to be in the minds of many an executive about to hand over a rpink slip.

  51. I thought this episode was wonderful. When Don ripped those “who am I?” pages out of his notebook, I knew something exciting was going to happen — he had turned a corner and was starting up anew. I’ve done the same thing — not just turned to the next blank page, but actually thrown away all the previous pages. You don’t want them cluttering up your mind just by their very presence. They symbolize stale thoughts/ideas/feelings — stuff you’re done with and you’re not going to revisit them.

    But even better — after he wrote & delivered the ad, he went for a swim, signaling that whatever he did, he was still the new improved Don, not the old drunk pathetic Don. (I do wonder where he learned to do a proper crawl?).

    What he wrote was called (maybe later) an “advertorial.” When I worked as a copywriter at an ad agency I wrote them for various clients.

    Not sure if Mobil started them but for years they owned the bottom right hand corner of the NYT opinion page. The target audience was not retail customers, but rather “opinion makers” or “thought leaders.” An early effort to create “buzz” and a certain “vibe” about a company, often to butress their position on legislation (eg, Mobil — environmental issues).

    Some of the advertorials I wrote were meant to support a paper mill in its efforts to convince local bigwigs that they really were responsible users of the local river. (I always hoped what they told me was true…).

  52. @ Deborah: OK fair enough and sorry about that. I just felt like my opinion was being responded to kinda aggressively. I know I disagree with other people’s interpretations of things a lot; guess I’ll just stop mentioning that I do 🙂

  53. I noticed the odd cuts in the program…but I blamed the need to insert more advertising spots into the program. Once we hit the 10:15 mark, it was 4-5 minutes of ads every 7-10 minutes. That would make ANYTHING choppy. Let’s hope the DVD runs smoother.


  54. I recall about 20 years ago there was an article in the NY Times about a Presbyterian minister in Connecticut who called out the tobacco executives from the pulpit and invited them to leave his church. It caused quite a brouhaha at the time…I wonder if that worked into Weiner’s thought process.

  55. I remember those full-page ads that took a stand. The ones I remember best were by a… tire company? – I’m blanking on the company, but they were supposedly written by the president… I actually have some of them saved from the ’70s, when I was a working girl in my 20s… they were full pages published in the Wall Street Journal.

    I remember one was titled WORK and was about how hard work was of great value and young people today (1975-ish) were not used to hard work anymore, and look what those who came before us did for us — Teddy Roosevelt was quoted and pictured.

    I’ll have to dig those up… now I want to know who it was.

    I found this about Foote, Cone and Belding:;-Belding-Worldwide-Company-History.html

    It makes fascinating reading about the ways advertising firms were up and then down, and how they found ways to keep on keeping on… it makes perfect sense that SCDP would be floundering after the loss of Lucky Strike and need to find firm footing again… very true to life (not to mention the Lucky Strike/American Tobacco similarities and the person of Emerson Foote! And more –).

  56. Out of curiosity, does anybody know whether there WAS serious money in doing PSAs etc for non profits like ACS? This particular job that they got at the end was pro bono. So is the idea that they make an ad for ACS and then get in tight with the board members and secure business that way? Seems rather tenuous.

    Don’s “brilliance” with the actual ad is a stark contrast to his true lack of account man skills – he reeked of desperation and agitation in that meeting with the Heinz guy. It was painful to watch. It was funny to see him later say “just get me in a room [with a client]” – yeah, right, because you’re so great with them? I actually agree partially with Pete’s assessment of Don’s letter to the NYT – to a certain degree, it WAS all about Don. Don is trying to come off as confident, smooth, an ideas man, sincere, etc etc but the only way he can now change his own image (from what we saw in his earlier Heinz meeting) is to do something like this and remind the world of his Don Draper brilliance. The funny thing is, aside from Glo-Coat (which was made prior to the season starting) he has not come with a single good ad this whole season. He’s just pulled off two decent stunts – with Honda and now with cigarettes. And speaking of the former, where IS Honda? Wouldn’t they be a fair amount of $ for SCDP?

  57. #56 – EmersonFoote (ha!): Was Conrad Hilton on the board of the American Cancer Society in the sixties? Seems I read that somewhere.

    And why wouldn’t the ACS pay for an ad campaign? Pete is assuming it would be pro bono work, and maybe it was, or for a reduced rate, but the anti-smoking campaign is about to become big business.

  58. Atherton mentioned that Philip Morris hoped to bring out their new female-targeted cigarette in 18 months.

    In series time, we’ve reached Autumn 1965, so that goal was more or less met. Virginia Slims were introduced in July 1968.

    The brand was very popular and the other tobacco companies brought out their own versions of female-targeted brands, over the next ten or fifteen years:

    American Tobacco Company – Misty
    Brown & Williamson – Capri
    Liggett & Myers – Eve
    R.J Reynolds – Dawn

    Some have questioned Don’s sincerity and motives for running his letter ad in the NY Times. I would like to think that he saw the writing on the proverbial wall and wanted to stop taking on work for the Merchants of Death.

    If that’s the case, good for him.

    If that wasn’t the case, good for him anyway, for generating some buzz and street talk for his firm (and hopefully) some new business.

  59. An anti-smoking campaign by the Lung Association or American Cancer Society would have been produced under the auspices of the Ad Council.

    Any TV or Radio spots or Print Ads would have been run for free by stations or publications.

    I’m not exactly sure of what kind of payment arrangement would have been in effect for the creative work itself.

    If any payment was made by the organizations, it would likely have been at a discounted rate. If no money changed hands, the ad agencies that did the creative work, would have probably been allowed some sort of tax deduction.

    In either case, doing such work wouldn’t have helped the SCDP cash flow situation very much.

  60. Two things:
    We see Don, not only writing his manifesto/ad, but editing it. This is a far cry from his usual, verbal brainstorming approach, and a much more considered, measured style. So even though he trashed his journal to make room for this new piece, he has learned a great deal about the act of writing from the exercise. I like it.

    Also, Don gave Peggy an opportunity to participate in the staff culling process. This is a big tip of the hat to her in terms of acknowledging her as senior copywriter and team leader. I’m only surprised she didn’t take the opportunity to throw Stan out with the rest of the marginal folk. Do you think it ever enters his mind, as he and Peggy sit working while a steady stream a box-toting people walk by, that he owes his continued presence to her?

  61. I think Ken got it as well. His comment at the end about the heavy hitters on the board of ACS was telling. He is a getter accounts man then Pete. Pete was too concerned about how the ad would reflect on him and the business to see the opportunity of showcasing SCDP to the board members.

    This was an amazing episode, the choppiness of the editing to me was not a flaw but a representation of the disjointed tactics of SCDP for getting new business. All of the principals seemed to have a different idea about how to survive and thrive with the major shift that had just happened. There were no discussions about a seamless strategy or truly working together to get new clients other than the suggestion to stick with tobacco, which we all know with our perfect 20/20 hindsight was a losing proposition in terms of advertising.

    I loved how Don took it upon himself to quietly take care of Pete’s share of the partners’ cash infusion. And getting Peggy’s approval is always high on his list. Don will keep Peggy with him as long as possible.

  62. Oops, that should read “better” not “getter”

  63. a few things….Did anyone notice the mention of numbers throughout the whole episode? Sally playing go-fish…I hate the number 7. The painting being titled #4. 6 months mentioned several times. Many other number references.

    Midge was not the only one with addictions….Glen and his “bad for you” indulgences. Cigarettes, Coke, fritos…Sally says “I will save my fritos for you”. She, like her father, was surrounded by a person doing things that are bad for them, but did not partake as well.

    I liked how Faye told Don to “have his girl make the reservations” to let Megan know about their relationship now that it can be out in the open. The fact that he did not think of faye when he wrote the tobacco statement makes me feel things do not bode well for her.

    Did you notice how Stan showed Don his respect about the article…the creative side understood what a good move the article was. Also, Peggy could have had Stan fired, but choose not to.

  64. Wasn’t everyone getting free Lucky Strikes cigarettes before, and now they won’t? A truly addictive account!

  65. Much as I’ve been a fan of Peggy this season, I thought her fear and subsequent relief at not being let go was a bit much to swallow. If she had been called before Roger or Bert, yes, I would’ve bought her reaction. Before Don? Nah. She well knows that if he has any say she, along with him, will be the last to turn out the lights. Hence, that scene, along with its cutesy shenanigans line, fell a little flat for me. (And yes, I’ve experienced numerous “downsizing” days in my own corporate life.) That scene is also the reason why the Draper/Campbell realtionship interests me more than the Don/Peggy one, despite the powerful and memorable “Suitcase” episode.

    Oh, and weirdly enough, looks like Stan will be around for Season 5. Doubly weird? He and Peggy, in their own uncomfortable way, seem to be bonding.

  66. Bringing back Midge, mirrored Don’s desperation. Even he was duped by her rouse to get him to her apartment. I loved that he asked her how heroin felt. Don does indeed have a curious mind, as was pointed out already. After studying her painting and reflecting on her spiral, he realizes he is not going down. Did anyone notice there was no alcohol on the desk while he was writing? Don was in clear headed fighting mode.

    I think Don expected to walk into a standing ovation. Loved how they handled the elephant in the room with their scattered silence. The partners standing and “fuming” their rath at Don was to be expected. It is afterall a partnership. Of course he never considered how this would impact Faye, shes incidiental fall out. (Loved her later scene when she told Don “his GIRL” can make the reservations at La Caravelle. No dope is she), and Megan IS seething.

    Stan’s comment about Bert’s departure made me laugh out loud!

    Deborah, I so agree. It was all about the future. Peggy’s response to Don was pitch perfect! Amazing to me that she would actually think her head was on the chopping block too, loved how EM handled that moment with Don. Doesn’t she yet know how much Don needs her?

  67. The scene with Don and Megan after the newspaper stunt reminded me a little of Jerry Maguire. The agent/ad man in trouble makes a big public statement to save himself? Don was feeling something after his run in with Midge, the same way Tom Cruise’s character had some kind of breakthrough. Also, Megan’s praise had the same feel of Renee Zellweger’s role in that movie.

    However, I think Peggy seems to “complete” Don more than Megan.

  68. #48 SmilerG, thanks for the calculation.

  69. …and Megan IS seething

    It looked the other way around, if anything… Faye didn’t like seeing Don and Megan walking together. They looked too much like a couple for her liking.

  70. #65 two-bit gangster: I thought Peggy’s fear about possibly being let go was plausible. She, Ken, Stan, and others had just seen Bert Cooper walk out of the door, and for all they knew, he was being let go (Danny even commented to that effect) rather than quitting. If the other partners decided that Peggy was part of the reduction in staff, Don would have been the one to tell her the bad news, since he was her direct supervisor.

    I usually love Peggy but she annoyed me earlier in the episode, when she approached Don about changing the agency’s name. She came off a bit Rachel Berry-ish there (“Glee”). I did like the last scene though, her comment about shenanigans and her smile. Don’s returning smile told her, “Yes, you were right.”

    And yes, Peggy and Stan do seem to be bonding. He’s growing on her, the same way that Danny did.

  71. What was Don last night?

    Yes, he was a MAD MAN.

    When he whipped up that ad, it was a stunt, it was crazy, it was
    madness. Period. And it just might work….

  72. JJ, it’s a fine line. Note that I’m talking to you, and to other posters. Just keep your response to the content of the post and its relevance to the show, and stay away from “people say” stuff, and you’ll be fine.

  73. Mad Chick — true, but then again, direct supervisors are almost always given a # to reach/limit in such situations and it is left up to them to choose whom to sarcrifice before the golden calf. Though to support your argument, Don was given a list, though I can’t remember who drafted it. Also, which partner would have been in a position to tell Don to let specific people go? I can’t see anyone other than, maybe, Lane. Heck, Roger admitted he’d have to learn names just to let some of the account staff go; I’m guessing he knows Creative even less. And though, yes, Roger’s the exception, I can’t see Cooper (nor Pete) knowing much about Don’s staff either.

    Agree with you about Peggy suggesting the new name. What I feared was that MW would use it as the answer to the crisis, and suprise, it would work. One of my problems with the Peggy character is that, professionally at least, her touch is a little too golden. Having her save the day would have been as wince-inducing if that had actually been RFK on the line, or more to the point, if Weiner had asked us to believe both. Very smart writing that he turned the latter into a prank and a laugh on Don.

  74. Some of us needed to see Don’s “shenanigan” validated (that’s a great word, which has gone fallow from disuse), but Don himself didn’t. Note the quizzical expression he gave Megan when first came in that day. He knew he would face a river $H*T at the office. Still, it was a great chance to give Peggy that line.

    I anticipated the partners would have to take a cut in pay, but $100k – damn!

    $50k from Lane? Anybody, where did that come from? He was upper-mid level at PPL. Don was raised to $40k/year before making partner at the old pre-merger agency. Perhaps Lane was a good saver/investor.

    Also, $150k would be a stretch for Don. His share from the PPL was “slightly over half-a-million” – but the terms were “paid over ten years” (do I remember that incorrectly?).

    I’m pleased to see Roger in a better mood – I want him around *in front* of the camera dishing out the wisecracks. It would be great to see him bring in a new account next season.

    I’m not pleased to see Bert bowing out. But if I had to make a call, I’d sooner see him leave than Roger.

  75. I didn’t think Don looked like a couple with either woman. He seemed all focused on business and not paying much attention to anything but his inner Mad Man. The only woman who got his attention in this episode was, sadly, Midge, and that’s because he realized she had something he could use.

  76. Didn’t Peggy say that Stan was growing on her?

  77. #56, they didn’t get the Honda Motorcycle business, which was just a ruse to see who would be a good candidate to get their car business. Honda cars didn’t arrive in the US until the early 1970s.

    #63, nice observation about numbers.

    I don’t think Don could reasonably have been expected to foresee the Faye fallout. Atherton decided to quit because of the risk of future potential tobacco business. That’s a little abstract to plan for.

  78. Nanceed, she said Danny was growing on her. And had him fired anyway.

  79. #61

    Ken got it but Ken was also not stressed and thinking he had to pony up $50000 like Pete. People are less likely to get things when stressed out. I really do think that if Don had gone to Pete and Lane before the ad went out, it would have been alright with them.

  80. 77 agree that Don would not have anticipated the Faye/Atherton fallout at all.

    Also, I do think he is sweet with Faye — he has sincerely apologized to her twice now, and each time has arranged dinner after… their relationship is interesting.

    She is jealous of his relationship with his children, however, and Megan will not be. As I’ve mentioned before, we won’t see Don married this season, but he may well start out next season married to Megan. It makes good business sense for him.

  81. “But even better — after he wrote & delivered the ad, he went for a swim, signaling that whatever he did, he was still the new improved Don, not the old drunk pathetic Don. (I do wonder where he learned to do a proper crawl?). ”

    Jzzy55: Don’s a country boy. Seems like swimming would have come with the territory.

  82. Weiner and Co. have plans for Sally – her character arc extends to the end of the series.

    For the first time in many episodes, the Ossining scenes seemed relevant, even essential.

    I like the hints that the Sally-Betty relationship is, at least, not ALL bad.

    I especially liked the way Sally shot daggers at Betty when she announced her new-found desire to move. While the relationship may not be ALL bad – it’s not anywhere close to good.

  83. Really surprised no one has mentioned the VERY obvious fact that Donald F. Draper has published his “existence” in the NYT to the entire world. The season began with “Who is Don Draper?” in an interview setting very similar to last night’s Heinz guy meeting. I sense a very serious upset in the DD facade.

  84. I the episode all about addictions:

    Midge’s addiction to heroin (and Don asking about that urge for her which was defined in sexual and liquor terms)
    SCDP’s addiction for the Lucky Strike account
    Betty’s addiction to being childish and her need for child therapy
    Harry’s addiction to work
    Megan’s/Faye’s growing addiction to Don?

    As Don has worked on his addictions, writing and swimming seem to be cleansing themes for him.

  85. #83: Harry’s addiction to work?

    I don’t think Betty’s addicted to being childish. It’s who she is.

    SCDP is not addicted to the Lucky Strike account. It’s the bulk of their business.

  86. Oops, meant Henry Francis’s addiction to work.

  87. And #82 Antigone… yep. “Signed, Donald F. Draper, Creative Director, Sterling Cooper Draper Pryce…”

    We’ll see!

  88. Other threads here have mentioned death, and we were speculating as to who would kick the bucket — well, professionally it was Bert. Not with a bang, but with a whimper. Wonder who will calibrate Roger from here on out.

  89. I don’t think Don could reasonably have been expected to foresee the Faye fallout. Atherton decided to quit because of the risk of future potential tobacco business. That’s a little abstract to plan for.

    Yes and no. Was he able to foresee it in an “A=C” way? Of course not. However when Faye told him about the fallout with Atherton, the look on his face reminded me of when Rachel asked him about his kids when he wanted to run off with her. He hadn’t even given it a thought. Don has a propensity to make impulsive, rash decisions without thinking about consequences. Sometimes he can work his way through the after-effects. Sometimes not.

  90. As for Megan becoming the next Mrs. Don Draper, I hope not!

    The “problem” with these 2 is that there isn’t any tension or push-pull (or even notable passion) between them. I find it a dull coupling. Where would the relationship go?

    I could easily be wrong on this, but I don’t see it happening, mainly because I don’t think it fits in with MM’s usual dynamics for romantic pairings. Megan would likely quit her job if she marries Don — then what? Whether he’d admit it or not, Don & drama go hand-in-hand.

  91. What I loved about this episode was how people are facing desperation and either overcoming it through creativity (Don), or through submission (Midge). And I liked how these two overlapped: Don stares at her painting, knowing her desperation while painting it, and manages to brainstorm through his own. Asking Midge what “it” was like was a fantastically twisted DD question, because we know Don Draper doesn’t want to do “it” but needs to know what the ultimate high feels like so he can SELL that feeling through advertising. Brilliant.

    I agree with everyone else that Don was a cad not to consult his partners, but I also think he knew he would get resistance, so didn’t. When he says he actually slept last night, this is an idea man who got one from his experience in the real world, felt he needed to change the conversation, and successfully did so with action, then slept well. He created a buzz, and the phones started ringing. When he says in the partner meeting, “At least someone called us,” it’s true, the others have chosen ego over action. Was there a better way to change the conversation? Maybe, but Don is certain he did the right thing and he needs them to get behind him. When Pete resists so vehemently, only to find out that Don paid his share was also a wonderful twist. Don has his back, and Pete’s raised coffee cup at the end secured their connection. The individual shots of people reading that ad were terrific, too, SCDP has your attention. A new conversation has begun.

    I also loved the scene with Faye and Peggy–Peggy acknowledging Faye’s talent, Faye deflecting, “Is that what it looks like?” so great to see that camaraderie with women in that time, in that industry. Peggy sounded a little desperate asking Faye to have a drink, another instance where someone is working through the desperation through creativity. I hope they become friends!

    Once again, poor Sally, that overhead shot was heartbreaking, and what was she holding? Poor kid, she cannot. get. a break. Thank goodness for Dr. Edna.

    All in all, another thought-provoking episode, and I approach the finale with much anticipation! With a pinch of sadness that the season is almost over, natch.

  92. #88 – B.Cooper: But Don always puts his work first because without his work, he’s nothing. Even if he’d somehow made the connection, beforehand, of NYT ad >> Faye loses the SCDP account, would he have killed the ad? I don’t think so. He would’ve recognized the consequence & moved ahead regardless.

    Don was so enamored of his creative brilliance (rightfully so) that he didn’t foresee any number of consequences. I think his actions were perfectly in keeping with who he is. While I understand his partners being displeased with what he did, if Don’s risk pays off, they’ll have no problem booking the new accounts & forgetting about Don’s stunt.

  93. There were moments in last night’s episode where either Don or Megan momentarily lost their train of thought after looking at the other. When Don was talking to Peggy about how to approach the Philip Morris folks and Megan stopped in to tell him that everybody was in the lobby waiting, Don looked at Megan and stared for a moment. Then he looke at Peggy and said something like “What was I just saying?” The look on Peggy’s face seemed to indicate that she noticed Don’s moment of distraction and she smiled a little at it. And I think the other scene was Megan’s moment of distraction when Don showed up after everybody had been reading Don’s mission statement at her desk.

    And then, of course, there was the two of them strolling together back from getting coffee…

  94. Please tell me someone on the BoK staff is writing a post about Betty’s visit with Dr. Edna. Although it was a short scene, it was rich with subtext & meaning. Props to January Jones for her fabulous portrayal of Betty.

  95. Ah, but let’s not overlook the scene where Don & Dr. Faye are talking in the conference room. After they’re done, they shake hands (for an extended period). Rewatch that scene to see how Megan is centered in the background of Don & Dr. Faye’s handshake. Very nice framing device. I’m hoping it’s symbolic of Megan staying at a distance while Don & Dr. Faye stay together.

    [Dear MW: Please don’t let it mean that Megan will come between Don & Dr. Faye! Thanks.]

  96. Am I the only person in the world who realizes what a Holiday Season goldmine it would be for Weiner et al. to ACTUALLY PUBLISH “Sterling’s Gold”?

    It’s obviously a short book. Just as was done with “Laura Palmer’s Diary” back in the day, the writers could put a great deal of actual Mad Men backstory in there, interspersed with the sections that we heard him dictating. They could make it look exactly as it did on camera, with that drawing of Roger etc.

    There’s a fortune to be made I tell you!

  97. [Dear MW: Please don’t let it mean that Megan will come between Don & Dr. Faye! Thanks.]

    Yep, that was a nice visual, but… I think that’s exactly what it means!

  98. After dissing Faye as boring earlier this season and wishing her gone, I am now a real admirer of the relationship between her and Don. There’s a real affection and tenderness he shows for her that he doesn’t for other women. I agree they seem to be drifting apart, but if somehow Megan were to be her replacement, that would feel really clunky to me. There is absolutely zero spark between Don and Megan. Their initial coupling felt totally contrived (topped by Megan’s convenient “this doesn’t have to mean anything more than this” line) and I find nothing interesting about her at all. Allison runs circles around her in terms of competence and demonstrated intelligence.

  99. Don frequently showed “affection” and “tenderness” to Betty too… They also “drifted apart.” It is true that unlike with Betty, Don voluntarily divulged his awful secret to Faye, although it’s unlikely he would have even considered doing that if he hadn’t had the humiliating panic attack in front of her.

  100. Jordan Orlando, brilliant idea about the book! I would love a volume of Roger’s bon mots and musings and his “version” of his life and life at Sterling Cooper. Plus, we’ll all be in serious MM withdrawal by the holidays.

    Nobody feels right for Don to me this days. I liked Faye but now find her being around annoying. I’d rather see a tortured reunion with Betty or Rachel Menken (hopefully now divorced).

  101. @#97 Sir Hillary:

    The expression of viewers’ preferences and desires with regard to Don’s personal life is really interesting, because he’s such a well drawn character and the scenario he inhabits is so elaborate and consistently detailed that his dalliances have a novelistic depth.

    But, come on. It’s just like what happens with conspicuously attractive people of either gender: we want them to lead lives that we respect, but at the same time the characters are just chasing tail and/or looking for emotional sustenance like anyone else. Don may be a fascinating, brilliant, charismatic man as well as the nexus of one of the most complex and fascinating filmed stories ever told, but he doesn’t think of himself that way. He’s a guy who likes pretty girls. Sometimes they’re smart, and complement him; sometimes not. But to expect him to behave as if he’s aware of the symbolic responsibility his love life carries as part of the burden of being the protagonist of Mad Men is just silly. He had sex with Megan precisely because he DOESN’T think of himself as the protagonist of Mad Men: for him, that’s the real world, and that’s a real girl.

  102. There are characters like Charles Foster Kane and T. E. Lawrence (as depicted in the David Lean movie) who kind of DO think of themselves as “protagonists,” and who work through their lives as narratives or stories; many real people do this. But Don Draper (like any John Cheever or Raymond Carver character) would never pick himself out of the crowd as a potential exemplar of the world that that surrounds him.

  103. Last night was a mixed bag for me. Things really didn’t start to pick up steam until about 25 minutes in to the program. I thought Don’s letter to the Times was a real tour de force. It represented a major paradigm shift in the established social order He dared to brake rank, so to speak, and in doing so establishes himself as a rebel or innovator depending on your tolerance meter. And, let’s face it, the 60s were all about rage against the machine and thumbing your nose at the Man. Go Don! There’s hope for you yet!

  104. Don doesn’t do creative by committee. There was no way he’d run this idea by the partners for them to tweak the message. They agency is about to go down. Don turned the ship into the biggest wave. It’ll either break or hold.

  105. @#103

    Beautifully put! And exactly right.

  106. I complained that Midge, over several seasons, has been consistently coifed not-period appropriate, and told upthread it’s because she’s (now) a heroin addict?

    It’s — again — distracting, when Midge is wearing a hairdo considered fashionable now, if the intent was to imply her hair was “messy” then.

    It was also distracting when the women on Mad Men turn up with the elaborate, time consuming dos of the period, when enough time hasn’t passed for them to have done those dos.

    For instance, Peggy with her teased flip at the office — something that could have taken two hours to create with the low-wattage hair dryers of the period — after wet straight hair sex that was supposedly the reason she was late to work.

  107. Silly me, Pete didn’t raise a coffee cup to Don, it was a drink. Nobody drinks coffee at SCDP! 🙂

  108. #63 Kim, thanks for bringing up the numbers. I’ve been wondering all day about the painting being titled “#4.” Season 4? Too easy. Four horsemen? (Apocalyptics would tie in nicely with Sally’s hatred of 7s.) I realize this is like hunting for “Paul is Dead” clues, but it’s fun…

    Three “Strikes,” you’re out, but then comes an unexpected 4th “pitch”?

    Tarot trump #4 is “the Emperor.” Clients/rivals are seeing an SCDP with no clothes; Don’s big move is to point that finger away from them and toward tobacco. Plus, I’m no expert but I believe the Emperor card has to do with authority and purse strings, with “who’s in charge” – which played out in just about every scene in this episode.

    I just hope no one’s pregnant with Don’s fourth child……

  109. Henry said last night he was interested in moving to Rye, NY. And isn’t rye one of Don’s favorite liquors? Did I just imagine that? lol

  110. I don’t think Don ‘broke rank’ with the partners with the NYT letter. What he did was more than change the conversation. He put himself out there as accepting the responsibility for LS and the other potential cig company not being at the agency because he – the creative director – would not work on them anymore.

    Now the conversation around ad agency water coolers goes more like this – Draper decided he won’t do cigs anymore, and took it public and the other partners let him…what do they know that we don’t…..Draper must have something up his sleeve…etc….and then by firing all the employees connected to the cigs he double downed the explusion because some of those people could have integrated into other acounts…we know but the outside world doesn’t…

    just a thought from Mexico.

  111. # 60 JustJoan said:

    “I’m only surprised (Peggy) didn’t take the opportunity to throw Stan out with the rest of the marginal folk. ”

    I would have been surprised if Peggy had wanted Stan’s head. Along with all the a$$hole stuff has been some real regard – plus Stan is a pro.

    Remember, he had that unused political ad, he sketched up all those Samsonite ideas in “The Suitcase” within a half-business day, probably made the posters for the Playtex pitch.

    Plus, Peggy wants to keep working, so if she was working with Stan before the LS breakup, she certainly wants the most competent art director to keep the agency afloat.

  112. Old saying: “clothes make the man”.

    Young Weiner stuck quite the pose in his football uniform – casual, confident. The shoulder pads gave him a presence he hasn’t had before. He looks bigger in repose (in THAT repose, anyway). Such a constrast with his later scene, standing in his usual garb.

  113. #63-Kim & #107-Chris J: Thanks for discussing numbers.

    Any guesses as to why Sally hates the number 7? Or are MW & the writers laughing at us for trying to hyper-analyze every tiny detail?

  114. When Don called Peggy into his office, I do not think that Peggy was afraid that she was being fired individually but that the entire agency was folding. That fear was realistic given the firm’s precarious position. The “shenanigans” line was great.

  115. Waverly, perhaps 7 is the lucky number and she feels unlucky?

    Or maybe she’s on her way to teenagehood and deliberately goes against the grain?

    Maybe she wants to be seen as nonconformist?

    Perhaps it’s a way of showing she feels comfortable saying whatever she thinks with Dr. Edna?

  116. I thought Peggy’s apprehension about possibly being on the ‘chopping block’ is very well-founded. Don constantly berates her creative chops and — both through direct and indirect comments — implies that she is not nearly as good as she is. His ego and insecurity masks it even to himself.

    Peggy of course knows how good she is, but (understandably) fears Don doesn’t see it (other than in rare cases where he may give a nod). That might be enough for some people, but for creative folks, hearing ‘good job’ from your boss once in a while is pretty key for job security. I may be wrong, but I don’t think I’ve heard Don say those words to her, ever.

    Also, Peggy has stayed through his abuse, apparently because she wants to ‘learn’ more from Don (although she has clearly outshined Don in terms of creativity this season), but some of it may simply be lack of confidence. When you’re raised Catholic, you’re never ‘good enough.’

    Additionally, it’s also likely she has never been through a round of layoffs before, so has no idea what to expect.

  117. I wonder if Don’s editorial/NY Times ad won’t result in a real life vs. TV life fissure. To its Mt. Rushmore-level credit, MM has very few such moments (exceptions would be some of this year’s Roger and Joan storyline), but wouldn’t Don’s letter be downright disastrous to a firm in the real world? At best, it would seem you would only be in the running for Ralph Nader-approved accounts, which means slim pickings and slim profits. Moreover, how many executives of companies that could pass the integrity test would still feel comfortable handing over their advertising to a firm that just sold an ex-client down the proverbial river?

    I get that Don (and the firm) are desperate but I can also understand the partners being livid at him for commiting something akin to professional hari-kari w/out being consulted beforehand. Don’s letter seems spot-on if one wished to resign from a firm out of priniciple. But as a means to drum up new business? Hmmmmmm…

  118. Thanks to commenter on the Sepinwall blog check here (scroll to PAge 20) for a listing of Conrad Hilton on “Public Information Committee” of the American Cancer Society.

  119. OK, so I couldn’t resist checking out the truth, and what I found was a story in the September 19, 1964 New York Times…headline: Top Ad Man Quits: Opposes Smoking. In this real story the chairman of McCann quits to take a public stand against smoking….interesting, no?

  120. #117

    Yay! I think it could happen. Connie sees or hears about the mission statement and is impressed – both by the message expressed in the ad and also Don’s “thinking-outside-the-box.”

  121. @#100 Jordan Orlando

    Thanks for setting me straight there, boss, with an explanation that’s both scholarly and world-wise at the same time. Perhaps next time you can try it sans the pretense and sarcasm.

    My point was simple, but admittedly hard to tease out from my original rambling post: Megan being mentioned as a “replacement” for Faye or as possible marriage fodder or Don strikes me as absurd. This is precisely because, based on what I have seen, one of them offers (as you put it) emotional sustenance, while the other is simply Don chasing tail (again, your term). To me, as a viewer of a serial television drama, the emotional sustenance relationship is more interesting than the chasing tail relationship.

    Now, if I were Don, I certainly could see the benefits of both! But the point is, my own preferences aside, the two relationships are not at all comparable because they offer him different things.

  122. Last night’s episode was great. Don is a creative genius. His ad in the NY Times was an example of how he turned a failure into a success. This ad proves that the agency is in charge and not LS. It was a brilliant move by Don.

  123. @#120 Sir Hillary:

    Apologies for striking the wrong tone! I looked over what I wrote and realized I sound dismissive. That was not intentional.

    I agree that you have a point. Respectfully, I’m simply making what should have been a mild remark — that a common tendency for readers/viewers is to confuse the characters’ moral obligations with their literary “obligations” (i.e. the purposes they serve in our, non-fictional world as elements in a story). I do see that your own point withstands this criticism completely.

  124. I’d love to see a transcript of the letter, but my takeaway was that Don was making a stand for creativity, and not necessarily against tobacco from a purely moral / public health perspective.

    Don’s ethical question is one of tobacco’s money and power holding influence over his head and stifling his creativity—because tobacco is a drug and advertising is done out of necessity and treated by the tobacco companies as an afterthought:

    “the most important – least important thing there is”

    “We can’t get them to switch – just find a new way to give out free samples.”

    Don needs to feel validated through work. Success in the marketplace cuts through all his identity issues.

  125. Pete, I like your last point. This would be natural even if Don didn’t have a problematic identity. Remember him saying: “I want to build something!” Yes, devotion to work can hurt your personal life, but when your personal life is a mess, sometimes not even through all your own fault, work and work validation is all you’ve got, and that’s not a bad thing. Success at work can be a nice consolation after a bad divorce.

  126. #120

    This is precisely because, based on what I have seen, one of them offers (as you put it) emotional sustenance, while the other is simply Don chasing tail (again, your term).

    Violating professional ethics by providing a client lead that turns out to be an absolute dud qualifies as “emotional sustenance?” Sounds more like desperation… All that “sustenance” and yet Faye is lucky to get a phone call from Don that she didn’t ask for, first.

  127. 108 Moira:

    “Henry said last night he was interested in moving to Rye, NY. And isn’t rye one of Don’s favorite liquors?”

    Yup, rye is the foundation of an Old Fashioned – which Hilton mixed for Don at a summer party in Season 3.

    Based on local liquor store offerings, Rye is very old fashioned – out of favor. You can get Jim Beam, Old Overholt, and Wild Turkey makes a 101 proof rye.

    If you like your whisky “straight” you might like rye.

  128. Did anyone notice when Sally was playing Go Fish with Dr Edna she had an ace in her hand but said No when asked by Dr Edna if she had any aces? She is her fathers child.

  129. #127 – no! I didn’t notice Sally held an ace and said she didn’t have one. ha!

    Rye: it’s a fer piece from Ossining and much closer to NYC.

    Don’s been drinking Canadian Club all season. Has that always been his choice at work?

    Thanks for the respectful conversation above, y’all…

  130. I just need to be obvious: Don said he was quitting Tobacco, not smoking.

    The Don and Megan thing has lots of zing in my opinion. Don loves having his little secrets, and now he has no-strings sex available to him on a regular basis. Megan probably feels proud of herself that Don, the hottest guy in the office who could probably have anyone, chose her. It makes her feel good. They’re proud of their little thing. Even if you can’t tell anyone, you still get to think to yourself, “yeah, I hit that”. YMMV.

  131. #12 Mad Chick. I remember that commercial “Like Father Like Son.” However, I was born in1964, so I certainly would not have remembered it from 1967, so it must be that it ran for a period of years, including in all likelihood, through the early 1970s. Good one!!!

  132. “I have a life, and it only moves in one direction. Forward.”

    Don provided a less than rousing speech to the staff of SCDP, and now he has seized the day… he is providing the vision and leadership necessary to save the firm.

    He ripped out the pages of his journal… no more backward focused reflection. His meeting with Midge made clear the danger of addictive substances, and the implicit danger of floating in a changing world, trying to maintain status quo.

    Carpe diem. Don wrote eloquently in the New York Times, and changed the conversation from the rejection of SCDP to the rejection of tobacco by SCDP.

    He did not consult with his partners, as time is of the essence and they represent the past.

    Bert is principally a major investor, whose insights are keen but not growth drivers. Sterling inherited his client, and failed to provide early warning of potential change. Pryce is a COO, able to optimize but not grow a firm. Pete is the only partner who figures strongly into the next firm, and he has been “retained’ by the payment of his partner share to secure the bank line of credit.

    To his credit, Don is now aggressively moving forward, and that is both admirable and exactly what the firm needs.

    That said, I think it is too little, too late. The mill of justice grinds fine, and forces are in motion that will answer the question “Who is Don Draper?”

  133. “Megan probably feels proud of herself that Don, the hottest guy in the office who could probably have anyone, chose her.”

    Looked to me more like Megan chose him than vice-versa; she’s the aggressor in their relationship. And I don’t think it was any hotter than a quickie; the most we saw of them was both gretting dressed afterward. He seemed to have hotter stuff with Betty, which never seemed all that in the bedroom.

  134. #131 Hawk: YES to Don finally moving FORWARD. Here on BoK, we’ve made so much about Don’s living in the past, an older generation, and thinking of advertising in the old-school way. This was a major departure for Don — totally forward-looking, and as such, riveting storytelling.

    Isn’t it interesting that Pete couldn’t see it for the forward thinking it is? Pete’s focus, as a junior partner with a new baby and limited bank account, is on the bottom line right now, so he’s not able to see this risk for what it is — an exhilarating, glorious leap. And possibly a last chance.

    This is the payoff for all of Don’s depression this entire season. He is seizing the day. Let’s see what he does with it.

    I don’t think it’s too little, too late.

  135. Did they say the name of baby girl Campbell? I was listening closely when he and Trudy were fighting but she kept saying “the baby”? Did I miss it?

    Also, Sally was holding the braid that Glen had made for her in another episode. She truly is a little girl lost. She’ll lose Dr. Edna as well if they move to Rye. (I look for Sally to start really acting out – things go “missing”, cutting, etc.)

    It’s a toss-up for favorite line but either “get my shoes” (Bert) or “she doesn’t care about the truth as long as you do what she says” (Sally).

    “Glen described to Sally about the Land O’ Lakes box is called “infinite regression.” Actually Sally described that to Glen.

    And did Don tear out all the rest of his journal meaning he is totally starting over there as well?

    Tired of Megan and Faye.

    I did think Peggy was worried about her job. It shows that’s she has come very far in the company but she still doesn’t know her own value.

  136. Hawk, beautifully written.

  137. #133

    Don was so “disappointed” with his encounter with Megan that he asked her go get a bite to eat afterwards, presumably to continue getting to know her. How traumatizing for him! 🙂

  138. #132 waldorf astoria: Not TOO quick. He did remove his tie. :>

  139. #136 GoodSally — LOL!

  140. Based on the rather obvious lack of a “spark” between Don and Faye since he finally got her into bed a few weeks ago, the question is: Has Don Draper lost interest in Faye? Not even a “quickie” for them since her embarrassing failure with Sally.

  141. #140 — Megan can only dream about breaking a lamp in Don’s bedroom. Right now she’s nothing more than a stain on his office couch, despite her desperate attempts to squeeze herself into Don’s life. She acts like a groupie. LOL!!!

  142. For now, we seem to have Team Faye and Team Megan. But we shouldn’t get attached to anyone because we know Don. No one lasts for long.

  143. @Waverly: The BoK writers don’t get screeners — nobody does. That means we’ve had exactly as long to think about the episode as you have, and we definitely don’t have time or inclination to hand out assignments. We all write what moves us, to tell you the truth. In fact, I’ve already got a short sketch of a Betty post, but truly, we can never promise that we’ll address any particular issue.

  144. @#55
    Buried in the details about Emerson Foote is the little tidbit that in 1972 his firm absorbed an all women’s advertising company (which would have to have been established some years before, could be 1965 or so).

    Got me thinking — what if Faye, Peggy, and Joan joined forces on their own to land the “new cigarette for women” account? That would be a quite a twist on the last season finale!

    I also wonder if when Betty moves out, Don will move back in to the Ossining house with the new Mrs. Draper — Megan or Faye. Then we’ll get to see what happens when a career woman faces life as a housewife in the suburbs, which could lead to a feminist awakening…

  145. We have seen Mad Men provide subtle clues that later result in pivotal moments.

    In Season one, Rachel Menken introduced ‘utopia’ to Don saying: “The Greeks had two meaning for it: ‘eu-topos’, meaning the good place, and ‘u-topos’ meaning the place that cannot be.” In the final episode “The Wheel”, he sold the wisdom of Greek Guy Teddy, as he defined nostalgia and the Carousel as a time machine… with images of his own happy home life, the ‘place that cannot be’.

    During the (very accurately represented) security background check related to North American Aviation classified business, the investigators asked a question that was by experience, very non-standard.

    Of Don, they asked “Any reason to doubt he is who he claims to be?”

    That non standard question was likely not to create tension, but to foreshadow that investigators continue to pursue the mystery of Don Draper.

    As C Carroll Adams pointed out: “Of course Dick Whitman’s prints did not match Lt Draper. At that point, without telling outsiders, the FBI would start a criminal investigation.”

    Good Sally, I think Don’s past is catching up to him. His vision and leadership may be … too little, too late.

  146. But, I have been wondering, if Don was so spooked by the NAA inquiry, why would he put himself out there so publicly with the ad?

    • Ann, Don’s name has been out there in the advertising industry for years. It’s how Adam found him. He may be afraid of it, but he lives with it. It is, after all, not such an unusual name. The NAA inquiry is different, as it matches up background with Social Security, etc.

  147. @91, I also liked the scene between Faye and Peggy. I don’t think they will be friends, but I’m glad Peggy expressed her admiration. She was hoping Faye could be a mentor and at least wanted to take a shot at having a continued association, which Faye demurred. I liked that she let Peggy know, even with her successl, there is still plenty of smoke and mirrors for women in the work place.

    So Trudy has her sights set on a Greenwich. That makes sense for Trudy. I was caught off guard by the vehemence of her anger at Pete. I thought she was very supportive of his partnership…I did not see that coming. Pete was very vocal with Don about how upset he was. I bet he felt like a total AH when he found out Don paid his share. Trydy and Pete name their daughter Tammy. Just wikied Tammy. There were four films in the “Tammy” series from 1957 to 1967. I don’t think any of us guessed that one.

    On regression, from the early posts, Midge, once a confident, sexual woman regressed to a girl, twirling her skirt and making goo goo eyes at Don. Sad. She once seemed ahead of her time.

  148. In defense of Sally’s card-playing, she was holding deuces, not aces. Aces only have one pip on them; the cards in Sally’s hands had two pips, one near the top of the card and one near the bottom. She was not cheating.

    My favorite line of the episode had to be when Bert was holding his hat and shoes in his hands and said good-bye to the creative staff. Either Danny or Stan said, “I didn’t think they’d start with him.” It was the only real LOL line in the episode.

  149. @148, That last point about Midge regressing to a girl is one reason I love MM–you never see it coming. In 1960, Midge was the open one, the one who seemed to have the future in her hands. Don was the closed, secretive one, who would surely get what he deserved one day. He may yet, but for now he’s playing boldly. He’s taking risks and helping friends and riding the waves. Midge is the one who has been led to a life of sorrow.

    No easy formulas in MM.

  150. #135 westello
    Trudy said the baby’s name is Tammy.

  151. Did anyone notice the similarity of Sally’s pose while laying on her bed to Don’s? That seemed to me to be showing one of the many parallels between Don and Sally. In addition, I think Betty also views Sally as perhaps a mini Don. They both succeeded in her eyes as moving on and getting better (Sally) and having no obligations (Don) while Betty is still stuck where she was.

    I also adore how the relationship between Peggy and Don progresses each episode. She is almost his new Anna, in my opinion. He doesn’t necessarily want her in the capacity he wants other women. He just needs to reveal his secret to her….

  152. There was one moment in Blowing Smoke that surprised me a little. When Sally and Betty were having their argument about Glen, Betty described him as bad/strange/troubled, or some such word. Sally glared back and said, “You don’t even know him.” And Betty seemed to take that in for a moment before reverting to form and sending Sally to her room.

    Did anyone else see that? Was Betty considering that Sally could be right? Or was she thinking, “This problem’s worse than I thought”?

  153. #154: I thought that Betty was taken aback by the fact that Glen had not told Sally much about their interaction, which in itself is interesting. We earlier saw Glen asking Sally questions about Betty. He also said to Sally: Your mom does not like me, she thinks I’m a – he stops and says- she does not like kids. I suppose that he was going to say: she thinks I’m a pervert, or a bad seed, or something like that. Glen certainly thinks that Betty knows him, contrary to what he lets Sally believe.

  154. @ #154

    I did see that. I’m not sure how to interpret it either. It seems as if she might have been resentful that Sally knew something she didn’t and then decides to punish her for that by suggesting the move.

  155. The loss of Dr. Edna for Sally if they move will be pivotal. I wanted to jump in her arms myself! So warm and reassuring. I loved when she took Sally’s hand and reaffirmed that Sally heard her say she was proud of her. God knows, no one else has ever said that to her.

    I thought Betty was taken back by the strength and vehemence of Sally’s response to her. They were arguing as “equals”. If Sally could have sent Betty to her room, she would have. I did see Betty’s pause. I couldnt tell if she was considering what Sally had to say about Glenn or if she was wondering if Glenn told Sally what happened between them.

  156. # 106 freelancewoman:

    I totally agree with you, freelancewoman! I’ve posted elsewhere that the first thing that drew me to Mad Men was the authenticity of the period clothing, hair, makeup, and sets. So authentic, in fact, that whenever a rare slip-up of this sort occurs, it is quite glaring (at least to me)!

    First, about your example of Peggy’s hair, you’re right, it would have taken her longer to achieve that style. I have done vintage hair for myself many times in the past and even with today’s modern tools it STILL takes at least an hour sometimes! But I wasn’t as bothered with that as I have been with Midge.

    I, too, was very distracted with Midge’s hairdo in this episode; I thought it looked WAY too 2010. At the same time, I too wondered if this was merely intended to imply that it was “messy” (or perhaps bohemian or hippie?). Not sure how heroin addicts REALLY looked back then, but of course now I’m curious as to what her hair “should” have been like, had it been more authentic! If Midge had become lax in her grooming due to her focus on heroin (as Deborah suggested, which I think is probably true!), if anything, I would guess that her hair should have been styled as all one length & parted in the middle. But then again, if she was growing out her earlier short layered cut without having any trims (due to lack of money), maybe this is the result – her layers just would have been longer. (And yes, I agree also that the earlier shorter cut was not quite right either.)

    Mostly I was surprised when Don said to Midge, “you look good.” I thought the opposite. She looked tired; definitely “skinny” as she stated (in an unhealthy way), with hair that wasn’t flattering and clothes that looked a bit unkempt. This was so unlike how we first saw her, as cute and trendy and in a better situation. Poor Midge, it’s too bad! As DivaDebbi wrote, it’s true, she one seemed “ahead of her time” but now she’s regressed.

    One last point, I suppose with Midge you could say that marijuana was her “gateway” drug to heroin!

  157. About Midge’s hair: I do seem to recall that in S1, Midge wore wigs when she had to go to an office. Wigs and wiglets and falls were very big then, even with younger women. Her not-wig hairdo that she wore at home looked like it was a curly perm. In this episode, she just looks like she let her hair grow out and didn’t give a shit how it looked.

    Peggy’s hair is another story. She doesn’t appear to be wearing a fall (those would have attached with some sort of around-the-head headband), and it’s a fair question to ask, whether she could have maintained that flip ‘do after a morning quickie. (Same goes for when she had the morning quickie with Duck.)

  158. I have to say I’m afraid of what’s going to happen to Sally in the finale. I’d really like to be wrong about this but there is too much foreshadowing that confirms it. She tells Glen about her dream of flying, “not like Superman, just going straight up,” and the conversation that follows is about death and “forever.” We know Glen is capable of destruction and violence, as his vandalism in Episode 1 shows, and he won’t be happy when he finds out Sally has to move away. In the last shot of Sally she is holding the lanyard Glen left for her after he trashed her house. The lanyard is black and red, the colors of fire. This penultimate episode is called “Blowing Smoke.” Hello? Smoke before fire? I think Season 4 will be bookended by Glen’s violence perpetrated on Sally’s behalf as a way to somehow punish her parents. But he’s a kid, and impulsive, so I’m pretty sure Sally’s going to get hurt instead. And all of it will be a commentary on the coming conflagrations in American society over Vietnam and race. I’d really like to be wrong about this, though. House fires and dead kids just seems too melodramatic for Mad Men, but the suggestions are pretty strong.

  159. #146 Hawk,

    Excellent point. I do not have the experience to know how much of that line of questioning rings true and how much doesn’t. I know that you do, and I appreciate the insight.

    Also, nice recall involving our Miss Menken and one (no, two!) of my favorite scenes, in your well-considered reply.

    In fact, it’s just a pleasure to read your responses here. Lovely, very thoughtful work, based a deep knowledge of everything we do here.

    (I’m building a bit of a case on your behalf, on the off chance other Basketwriters feel like agreeing with me … 🙂 )


    Regarding Emerson Foote and NYT article. Quality bad, but fun nonetheless.

  161. I really don’t foresee a violent end for Sally in this season’s finale. Would the show really want to lose Ms Shipka’s talent? My bet: The episode’s focus will be on work, with a side order of City Affairs.

    Why would the move to Rye mean that Sally would lose her shrink? (Or Betty lose hers?) Google maps shows the modern drive-time from Rye to Ossining is about half an hour.

    Midge’s hair didn’t look “off” to me; it looked like she’d let it grow & didn’t care to mess with it. I also dispute that marijuana was her “gateway” drug. It is true that traveling in pot-smoking circles put you closer to the shooting-up circles. However, observing the junkie lifestyle really doesn’t make it seem like an enjoyable way to pass the time. I’d guess that Midge’s gateway was “love.” Her new guy introduced her to smack.

  162. Ann,
    Don has gone public in a WSJ interview, taken a full page ad in the NYT and been the subject of trade press articles, he clearly does not sense the “clear and present danger”.

    From his perspective, NAA and the federal security background is in the past… he might even think “it never happened”.

    Some always know how close to the ledge they are, some remain blissfully unaware.

    Does hubris play a role?

  163. Ann B,
    I see lots of ledges.

  164. Thoughts?

    I love Pete Campbell this season. He’s scoring points right and left.

    Megan is overly sycophantic, and it’s really sort of irritating.

    Betty with a child psychologist: perfect match.

    Glen…no, I don’t want your backwash.

    I liked Midge’s painting.

  165. It seems as if Bert Cooper has just stepped off a ledge.

    Of all the things that transpired in Blowing Smoke, Bert’s sudden departure was, to me, the most surprising.

    All along, Bert has been the quiet, wise Yoda figure and this week he dances off like Michigan J. Frog.

    It’s like: Where the hell did THAT come from?

    Did Bert really split, or is he just going to get some help for the firm?

    All this season, we’ve discovered that Bert has no office of his own at the new-ish SCDP digs. We keep seeing him, sitting around in various areas of the office doing lots of mundane stuff.

    Rather an indignity for an ad man of his stature.

    By now, he might be wishing that SCDP actually did have a “second floor” suite of offices – if for no other reasons than having his own place to sit and somewhere he can hang his $10,000 Rothko.

    Several times this season, I’ve wondered about the painting.

    When Harry Crane visited Cooper’s office in Season Two, Bert told Harry that he fully expected that the painting would easily double in value by the following year. It’s likely worth even more, by late 1965.

    There’s no place at work for him to display it and if he doesn’t have it hanging on a wall at home, maybe he’ll sell it and apply the proceeds to help the agency.

  166. Painting has shown up before in Season Four, when Don painted Anna’s wall.

    That was such a light and positive appearance of a kind of art, especially when you compare it if the mood and message surrounding Midge’s Number 4.

    Depending on how much Matt does things on the show “in threes,” maybe we’ll be seeing Bert’s Rothko in the finale.

  167. @162 Regarding drive time from Ossining to Rye. It is not a direct drive (I live here). It would take much longer than a half an hour.

    Even though Betty looked stricken at Dr. Edna’s suggestion of scaling back their visits, getting Sally to and from Dr. Edna plus appt. wait time, would be closer to a 3 hour outing. I forgot Betty’s dismissive last line about Sally and the move to Henry…She’ll get over it” type of essence. I think Betty would try and replace Dr. Edna with someone closer to home…she’s just not the type of mother to put her children’s needs before her own, (though if things spiral out of control with Sally, she might HAVE to), I also think once Betty decides to move, she will want to put Ossining far behind her.
    Just my point of view of course 🙂

  168. Forget Glen.
    The worst consequence of a move to Rye will be the writing-out of Francine.

  169. Why should Betty worry that Sally’s weekly trip to her shrink will take longer? Carla can do the driving.

    Not that Betty is so dedicated to Dr Edna as Sally’s shrink–but she won’t want to forego her own monthly visits. Which Betty can surely fit into her own schedule–which is not all that taxing.

  170. Score one for Peggy’s delivery of her shenanigans quip. Peggy was the only one who “got” Don’s ploy.

    I loved the dress Betty wore to Dr Edna’s. Betty just playing dumb when Dr Edna suggests that Betty visit her colleague. Leaving Sally’s bike? That’s cruel Betty.

    Don came off of 50 large to cover Pete’s share. Since Trudy cutoff Daddy’s wallet, who could Pete have turned to? Pete wouldn’t have asked Don, his pride would have prevented him from doing so.

    Poor Midge. Don stuck out like a sore thumb with the beatniks earlier in the series. To see Midge as a junkie really shook him.

  171. If Henry and Betty move to Rye, they’ll want to get Bobby Draper to Playland aoon after they relocate.

    In 1966, a fire claimed some of Rye Playland’s attractions, including the original Bumper Car ride, and the “Magic Carpet” Fun House.

  172. If Henry and Betty move to Rye, they’ll want to get Bobby Draper to Playland pretty soon after they relocate.

    In 1966, a fire claimed some of Rye Playland’s attractions, including the original Bumper Car ride, and the “Magic Carpet” Fun House.

  173. numbers….there is also a lot of talk about a time for everything especially during the heinz meeting….maybe Sally hates number 7 because that’s when Henry comes home from work? Did anyone notice the kids were eating baked beans with their hotdogs? It is apparently a “time for beans”

  174. […] thrown into “Blowing Smoke.” But as that’s already been discussed in Deb’s post from yesterday, I had to change directions a bit. The result is this collection of eclectic […]

  175. #171

    Pete would have never thought to ask Don which I think made Don’s contribution all the more surprising and welcome.

  176. “kids were eating baked beans with their hotdogs? It is apparently a “time for beans”

    I thought that showed that Betty didn’t ‘cook’ for the kids … and we’ve never seen her with a dinner that couldn’t be thrown together.

    What in fact does Betty do all day?

  177. #174 Bobby wanted two hotdogs and Betty said no (I think). Nice ad — use beans to replace that second hotdogs kids want. Poor Don – he couldn’t land the account, but his own children were eating the product (like he was smoking, but he lost the tobacco account).

  178. Also, Heinz Beans were enormously popular in England, originating in WWII. They are still ubiquitous today in the U.K.

  179. @Not Bridget, excellent point about Carla! That is if the logistics of her commute mean she will still be working for the Fowler’s. Do we know where Carla lives? That would be the biggest loss of all.

  180. Don’s play was brilliant! I kept screaming, “Yes, Yes” at the TV. Who was it in the episode who equated Don’s move with , “Break up with them before they break up with you?” Who doesn’t love to see someone who feels completely out of control finally take control? My question is, how did Don find his solution by looking at Midge’s painting? Midge’s husband described the painting as what Midge sees when she closes her eyes. How did Don get from THAT to his declaration page in the Times? Anyone?

    One other thought on Betty. I would love one of the Basketcasers to write on her character development. I’m starting to feel very uncomfortable wiith where Betty’s headed. So what that she wants to continue to talk to Dr. Edna? She’s comfortable talking to her and clearly doesn’t want to admit that she needs a psychologist. Does that make her child? It sure seems so from the writing of this episode. Dr. Edna in fact says, “But I’m a child psychologist.”

    If this is where we are with Betty, that she has regressed again my questions is, why? Didn’t Betty make progress in “The Grown-Ups”? Didn’t she do the right thing by saving Don’s identity and by handling Don at Gene’s party? Does Mad Men have to resort to portraying Betty as a stay at home mom who is an emotional imbecile? I would like to see one healthy stay at home mom character. Let’s take a look at the current stay at home characters: Betty- emotionally a child and child beater, Francine – stayed with a cheating husband, Betty’s friend from horseback riding (forgive me, the name escapes) – cheats on her husband, Glen’s Mom – divorcee, ignores her children. Is Mad Men trying to say something about stay at home moms or am I taking this too personally?

    The start of the series was so great because they portrayed Betty’s life at home with kids and marriage issues so realistically. Now it seems that Betty’s character has morphed into something that I can’t relate to. I’m disappointed. I’ll admit, though, seeing Betty take a bite of the hot dog to test for heat before placing it on Gene’s tray brought me right back to when my kids were little. There are some things Mad Men still portrays so well.

  181. #181 I don’t see Betty as an emotional imbecile. She is a product of her times and environment.

    Stephanie Coontz wrote a terrific article in this past Sunday’s Washington Post about the women of Mad Men, and why MM is television’s most feminist show:

    My mother was Betty. She regularly sent me to my room, spanked me, fed me boiled hot dogs, watched me like a hawk, didn’t allow me any freedom or say-so in my own life, didn’t know who I was because she never bothered to ask, saw the world in black-and-white and worried about what the neighbors would think… and she was not a bad mom. It was the sixties. I could go on. I think Betty is portrayed realistically as a parent.

  182. A few observations, hopefully not repeated…

    1. I loved how Sally has learned to sit in the standard “Ladylike” way. Last year she would have sat “Indian Style” but she’s getting older, and Betty has probably beat the “sit with one leg behind the other” into her mercilessly. I never did learn to sit that way. Jackie Kennedy was always photographed sitting that way.

    2. Don didn’t ask Megans opinion but she offered it anyway. He asked for Peggy’s. Obvious, but I think that in his compartmentalizing way, he isn’t going to appreciate Megan overstepping her boundaries (she is still ONLY a secretary) and not knowing her place. Her forwardness will not get her girlfriend status. She is not smart/intriguing enough to overcome her secretary-ness, but not drop dead gorgeous enough to overcome her intellect. Is Don an either/or kinda guy? We don’t know yet if he is evolved enough to handle both a smart, mature, and beautiful woman as his mate yet.

    3. I don’t know if anyone has called it yet, but I get crazy vibe from Faye. I think she will go Fatal Attraction on him and cause him mucho problems. I don’t see all this chemistry that others see between them. He is bemused by her, she is different from his normal flavor, but I don’t see the kind of sparks and total vulnerability that I saw with Suzanne or Rachel. He’s been vulnerable with him, but in a pathetic panicky way during the NAA debacle, but that will ultimately be a point against her.

    4. Whoever brought up Glen being a budding arsonist is a genius.

  183. Good Sally, I feel so much better after reading your comment. I don’t think Betty is an emotional imbecile either, it just seems that that is how she is seen by many viewers and it makes me angry…Rarrr! The article you cited is terrific.

  184. “If this is where we are with Betty, that she has regressed again my questions is, why? Didn’t Betty make progress in “The Grown-Ups”? Didn’t she do the right thing by saving Don’s identity and by handling Don at Gene’s party? Does Mad Men have to resort to portraying Betty as a stay at home mom who is an emotional imbecile? I would like to see one healthy stay at home mom character.”

    Couldn’t agree more, and though I thought Dr. Edna’s scene with Sally worked as well as such a scene could work, the scene between Betty and Dr. E seemed too obvious by a half — “Look, Betty’s the child. Get it!”

    I’ve always thought Betty as the continual punching bag for this show is a weakness. Compare her character with Pete’s, who was initially such a little snake, but over time, we’ve come to see some admirable traits and different facets of him, without sacrificing his occasional hypocrisy, self-righteousness, naked ambition, and out and out selfishenss. In other words, quality writing and depth of character to the max. Betty Draper? Not so much. It’s unfortunate.

  185. #185: Who does Betty have as a mentor, to look up to and learn from? How is she supposed to change and grow? What goals and aspirations does she have? Does she even believe she can have any that exist outside her home and family? Does society accept that she does and support her in her quest to become who she dreams of being?

    This is IT for Betty, as far as she knows. No amount of redecorating the living room or shopping or gossiping with Francine or sleeping with another man is going to change her life or fix the problem with no name.

    This is the whole point of Betty’s MM throughline, in my opinion. I don’t think it’s a weak point in the writing. I think it’s hard for people to grasp that this is how it was, and that there is inherent drama in how to get from day to day as a woman in the sixties.

    Pete has far and away more opportunity to change and grow than Betty does. It’s his world and he’s making it that way.

  186. Parallels: Betty to Dr. Edna about Sally: Is she cured? This echoes Don to Betty in S1 about her sessions with Dr. Wayne. Don of course was contemptuous about the whole enterprise (for him it was merely one more opportunity to keep Betty under his thumb, and not allow her to learn and grow).

    Sally’s problem, according to Dr. Edna, is anger. Not a new issue, BTW: after the trip to Rome, Carla pointed the ongoing problem with Sally’s “temper”. She also showed it to her father when she threw a tantrum in the office, and he had no idea how to deal with it.

  187. # 179 – “Heinz Beans were enormously popular in England, originating in WWII. They are still ubiquitous today in the U.K.”

    Here’s another popular Heinz UK product, from the dessert aisle of the market …

  188. GoodSally, thanks for your post (182) about your mother — how her behavior was a product of the times even though we look negatively upon it today. My mother was the same way (except she grilled hot dogs instead of boiling them!). I still struggle with how I was raised versus the fact that she (well, both parents, really) did the best they could given their own lack of “functional” role models.

    Thanks for the reminder. And for your insights.

  189. #186 — fair enough, but you seem to be suggesting that depth of character is based on growth and change. I don’t particularly see it that way. For all I know Pete Campbell is the same character he is now as he was in season 1 — the only difference is we’ve seen more facets of him since. What I’m saying is we really don’t see that many sides to Betty. She’s childish, she’s the inept/uncaring mother, she’s the one who locks her daughter in a closet. Or to put it another way, how much maturity do we ever see in Betty? Who knows, maybe you’re right. Maybe Betty is meant to stand for the trapped housewife of the 1960s.

    FWIW, I’m often a defender of her, and I don’t shed as many tears for Sally as others. The email I was originally responding to was suggesting that hey, maybe it woudn’t be a bad idea to show Betty in a positive light now and again as a parent, and oh btw, why does she always have to regress to the point where she looks childish in comparison to a twelve-year old? All I was doing was agreeing with that POV. In short, we could still see Betty with her issues without the scales being tipped so dramatically/obviously.

  190. #189 Wavery in the Village, thanks back. I struggle with it, too. I thought I hated my mother for years. It was impossible to understand the transition she made, coming from a Depression-era childhood to the post-WWII working woman adulthood, to the relative comfort and confusion of the sixties with 3 kids in the suburbs and no handbook to tell her how to deal with societal sea change.

    It was so important not to be seen as a failure, like Helen Bishop was. It was so important to conform. It was so important that your children be clean, smart, mannerly, and seen but not heard. It was so important that your wash be spotless and your home be a magazine cover, and your family history blameless. My mother — like so many other women of her age — sacrificed so much on the altar of appearances.

    Seven years ago, as she was dying of cancer, she looked at me quietly one day and said, “My sin was pride.” It broke my heart. I miss her.

  191. Betty is shown positively when Don calls to talk to Sally and Sally is reluctant to talk to him. Betty says, talk to him. And when Sally is excited about the Beatles, Betty is pleased for her.

    At Gene’s birthday party, she is shown positively handing the baby to his father and rejoining her husband, rather than throwing a fit.

    When Sally argues with her about Gene, Betty seems impressed that Sally has such poise, even tho she sends her to her room anyway. Sending her to her room is the only power Betty has.

    The boys are like ciphers … they don’t say much or do much. Betty isn’t as mean to the boys as she is to Sally. What is that all about? A mother favoring the boy child? Expecting more from the daugher? Fearing being replaced by the daughter?

  192. #190 two-bit. Point taken. Thanks.

    Fwiw, I do think we’ve seen Pete change. Also fwiw, MW has said he doesn’t believe people fundamentally change, and I agree with that. We see people change strategies, and we see their understandings and perceptions change, which changes their response to the world, perhaps, but maybe at heart we are who we are.

    I do think we see Betty in a positive parental light. Sally and her excitement over the Beatles tickets is one example. I think, however, we tend to hold Betty to 2010 standards of what positive parental light means.

  193. “My sin was pride.”

    Heartbreaking. For my mother, it was fear. Fear of being found out, fear of not living up to other people’s standards, fear of raising an imperfect child. My mother told me that in her generation, she was born around the turn of the 20th century, that giving birth to a less than perfect child was deemed to be the fault of the mother. When children did not perform well, it was the mother’s fault.

    What a way to live.

  194. GoodSally, what a beautifully wrenching memory of your mother. I hope time eases the rough spots.

    The description of your mother’s situation & the many constraints she endured sounds exactly like what I grew up with. You’ve nailed the many complexities of life in the 60s & 70s.

    I’ve come to appreciate Betty. I think January Jones channels the 60s suburban housewife in a way that’s painfully real. And I think Betty punches people’s buttons because, consciously or unconsciously, she’s standing in for so many of our own mothers. It’s a difficult role, on tv & in real life.

  195. Good Sally, Thanks for the link to the great Washington Post article by Stephanie Coonz. I think it will be very enlightening to those who were born after the Baby Boom.

    My mother, who was notoriously nit-picky and critical about literature, books, music, films, did get a chance to watch a few episodes of MM before she died, and told me it was spot-on. Like the women Stephanie Coonz interviewed, she gave up after a few episodes, precisely because she couldn’t bear to watch it; MM is just that accurate about its portrayal of women. (BTW, her only criticism about MM was about the underwear; “nice women only had a choice of white, or at most pink. No black 🙂 ).

    #191 and #194: My mother’s sins were the same, and you said it much more eloquently than I ever could. Truly, the women of the post WWII generation got a raw deal. For all the inequities and struggles we women have now, I wouldn’t change places.

  196. Thanks, GoodSally. Your comments about your mother and about Betty are very perceptive.

    Nanceed: Yes Betty is shown doing positive things in her house and with her children and daughter in particular. She is one of the few characters on MM to have a friend, Francine. She has been shown reading books (Mary McCarthy. Scott Fitzgerald), being a member of the junior league. Despite the fact that some viewers don’t see it, she is often shown working in the house: sewing, doing the dishes, taking care of the laundry (memorably), preparing dinner, setting the table. The complaint “what does Betty do all day?” is fascinating. One of the main points of feminists in the 60s and 70s, when they were still taking housewives into consideration for their theories, was that female work is invisible. They can be doing all kinds of chores in the house, even when they have help, or for charity, but patriarchal society don’t see that as work. Some viewers still don’t see it as work.

  197. “The complaint “what does Betty do all day?” is fascinating. One of the main points of feminists in the 60s and 70s, when they were still taking housewives into consideration for their theories, was that female work is invisible.”

    I was a 60s housewife. And I didn’t have help and didn’t have horses or league work. Betty has a full time maid who can take the kids where they need to go, Betty is free to leave the house anytime she needs/wants to go somewhere, her cooking is minimal, she sews, but have we seen anything she sewed? Does she make clothes or curtains? She doesn’t clean. She drinks a lot, and smokes, and shops.

    When I was home with my kids, I worked a good part of the day on housework and baking and canning, putting up nice meals for my husband when he came home from work. I am not saying women’s work is invisible, just Betty’s.

  198. GoodSally,

    Reading your comments about your mom made me remember to call mine. (And so grateful that I can.)

    Somehow, thanking you seems inadequate. Even so:

    Thank you. I miss your mom too. She sounds like every inch the hero(ine) you have always described in these threads. I wish you comfort, and peace. 🙂

  199. Thank you, Anne B. I appreciate that.

  200. “she sews, but have we seen anything she sewed?” Maybe we have, but did not have a whole conversation about it.

  201. “she sews, but have we seen anything she sewed?”

    Presumably, she’d have sewn the kids’ Halloween costumes in The Gypsy And the Hobo: to prevent them from having to wear store-bought “crap”.

    Just because we don’t see her doing it doesn’t mean she doesn’t do it.

  202. We don’t engage in Shenanigans here such as Episode 12 end teaser to check out the Episode 13 preview on and then not have any such preview. Despicable.

  203. #204 – I agree. That’s beyond mean.

  204. Okay, I am late to the game here and don’t want to read all 205 comments while on a leaf viewing vacation, but what Don did was ballsy and not doing right by the agency (in terms of letting them know what he was doing). But he took his own advice, after prompting by Peggy: “if you don’t like what is being said, change the conversation.” 9One of my favorite show quotes, which is now one of my personal mottos). While all the chaos was ensuing, I kept wondering why doesn’t the agency know how to market itself? It seemed ironic that had no idea that they needed to see themselves as a client. Rather than having a marketing strategy for themselves, they went into full panic sales mode. Perfectly understandable to me, but they were supposed to be the pros. What Don did was brilliant, but I completely understand the others’ reaction.

  205. “When children did not perform well, it was the mother’s fault.”

    “If you bungle raising your children, I don’t think whatever else you do matters very much.”

    Jackie Kennedy said that. Not quite the same thing as taking the fall if your children don’t turn out well but close.

  206. #153-Rob

    I felt like Betty realized at that moment that Sally was probably right. Betty didn’t, and couldn’t really know Glen, and that Sally did. That made her angry, (and jealous) so she sent Sally to her room.

    It made me think of a ‘taking my toys and going home’ sort of move on Betty’s part. She knew Sally was right and she couldn’t change it. So she did what she could to punish Sally (send her to her room) and later to hurt her (wanting to move).

  207. When Sally & Glenn first renewed their acquaintance at the beginning of the season, he mentioned that her family was still in the “old” house. Sally didn’t like it because she expected to see Don around any corner; at the time, a move would have helped her adjust to the new family situation. But nobody asked her. Betty insisted staying put was better for the kids, despite the fact that she’d agreed to leave & Henry wanted to move.

    After months, Sally adjusted & she became Glenn’s friend. What we saw of their relationship was pretty innocent but I can understand why a mother would object to her daughter meeting an older boy in secret. Except that Betty’s reaction was colored by her earlier, special relationship with Glenn. And her announcement that the family should move was timed to hurt Sally. Why didn’t she discuss the matter with Henry, find a place & then let the kids know? Sally might not have liked it, but would not see the move as a punishment. Also, the timing sucks: Two summers have passed since the divorce & school is beginning.

    Betty, Betty! Doing the right thing at the wrong time & for the wrong reason. Let’s hope she keeps in touch with Dr Edna; surely she can fit a longer drive into her busy schedule.

    We are told that Betty spent 4 years studying Anthropology at Bryn Mawr. She must have made a special effort to avoid role models.

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