Basket of Kisses

We’re gonna backtrack a little here and do some Not-So-Live-Blogging of earlier episodes.  We started doing these at the beginning of S2, so it will be fun (let’s hope) to go back to fill in the blanks and get some BoK perspective going on the oldies-but-goodies.

Definitely cheating by starting with Numero Uno on my own personal Top 10 – two years running – but why not start at the top?

At this point in S1, we know a little about Dick Whitman, Adam, and Don’s dingy roots.  We know about Joan and Roger, and both their tickers were still working.  Midge is still in the picture, but we’re about to see Don’s first kiss-off.

Pete and Peggy have shared the lovers’ embrace but once … “it is the East, and Margaret is the sun!”

Alright, popcorn’s hot, previews are done, we’re ready to roll …

PETE’S OFFICE

He’s horny.  She’s vulnerable.  Sparks fly.  That pony-tail pull really resonates, don’t it?

“Listen.  Maybe this isn’t the right time to mention this, but …” Can you choose poorer words right after sex?

“I wake up in the morning, and I look into Trudy’s eyes, and I think ‘We’re supposed to be one person.’  But whatever I try and … These things going on in my head.  She’s just another stranger.”

“Pete, you’re not alone in this.”

I think two things when I watch this exchange:

a)      This is why everyone thinks/thought that Pete and Peggy will always be star-crossed lovers, or be always a furtive glance away from getting it on; and

b)      Pete and Trudy have done a brilliant 180 from this point.  I’m not forgetting about the the Uh-Au Pair … a dog is a dog, and Pete’s a dog.  But emotionally, it’s all changed.  Pete would never say this line of dialog in Season 3.  He might be wookin’ pa nub with the neighbor’s babysitter, but he’s no longer this confused soul calling his wife a stranger.

MW has said often (esp during S3-related interviews) that he wants viewers who watch earlier seasons to say “Who are those people?  They’re so different from the way the characters on the show are now,” because that’s how real life is.  I think this is an excellent example of that.

She grabs an empty folder – always thinking, that Peggy.

“Sorry I ripped your blouse.”

“It’s okay.”  That’s sexy.

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Instant classic.  We debated all season whether it would even get addressed.  Not only was it, but the style, elements of surprise, self-reference, verisimilitude and historical accuracy were, er … dead-on.

And now, made with milk, not water … Not-So-Live-Blogging “The Grown-Ups”.

CAMPBELL’S OFFICE

Wow.  This is the first time I see the similarity to Oswald … never could before.  And the rifle.  Missed that too.

PRYCE’S OFFICE

Campbell’s really good in his scenes with Pryce.  Like in Out of Town when we first see them together.  His language is always measured, deliberate.

STERLING’S HOUSE

Okay, right off the bat: this is Talia Balsam’s episode.  She’s so perfect and great to watch here.  Love this scene top to tail.

Margaret: “You always take her side.”

Margaret Sterling may be the only character on Mad Men that isn’t multi-dimensional.  She’s 100% brat.

“You’re babbling like a little fool.  Go to your room.”

“What?”

“You heard me.  You want to act like a child, I’ll treat you like one.”

This is where the episode title begins to be relevant.  Lots of parent-child-type conversations.

ON THE PHONE

“Put your mother on.”  Again.

Love how Margaret stomps to her room, like a teen.

The 15-second conversation between Roger and Mona is the best scene they’ve ever had together.  Wonderful – Roger’s laugh.

ROGER’S APARTMENT

“Jane!  Get in here, now!”  Now who’s the parent and who’s the child?

“You’re not good, because you didn’t listen to me.”  They’re not equals.

“Everything you do is for her,” echoes “You always take her side.”

“I live here and I get to do what I want to do, so stop trying to tell me that you know better.”  Written, and delivered, to sound like a child.

Locks herself in the bathroom.  The entire confrontation plays out this way.

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The Color Blue has Top 10 potential, no question.  I think the overall quality of the individual eps in S3 are better than S2, and closing in on S1.

DRAPER’S KITCHEN

“Why don’t we go to church?”

“We go to church”

“On Christmas.  Carla goes every Sunday.”

“We don’t need to go every week.”

Is that “We don’t need to go every week,” or “We don’t need to go every week”?

“When’s Halloween?”

“Before Thanksgiving.  Francine and Carlton have invited us, but … blahblahblah selling Daddy’s house blahblahblah one last time blahblahblah GOD MAKE IT STOP!!!

See what she did – right there?  Bobby asks a normal kid question and she answers with her own bullshit.  She really doesn’t pay a bit of attention to these kids, especially Bobby.  Dijya see that Rosie?

“I see how hard you’re working.”  Dick Whitman looks back.

SUZANNE’S HOUSE

Date-nut bread … what, no recipe for teacher-nut bread?

OUTSIDE/DON’S OFFICE

That fourth guy there is the fellow that used to work for Sal in the art department.

Wait, so Ken and Allison are together?  I don’t get that from this exchange.  A little help?

Someone called this out as another Kennedy assassination reference.  I’m buying it, def.

Allison’s a hottie, by the way.

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