Don (Jon Hamm) has a meeting with the American Cancer Society, telling them that teenagers aren’t as a hard sell to tobacco companies as the committee assumes. To combat that appeals, he proposes that the ads should portray ‘ or mothers and daughters or fathers and sons and that cigarettes are between them.’ My layman’s interpretation of his pitch is that it might show that the children might think that they’re better than their parents, or they must change and deviate from their parents habits. That cigarettes aren’t as rebellious as tobacco companies make them. I know some commenters from other websites think that Don can’t relate to the baby boom generation. I’m not sure if that’s true.
Others are afraid that Joyce (Zosia Mamet) might become predatory, but her taking on the mother hen role makes me love her more.
I’m sorry, Henry, but if you were so against it, why not write a recommendation letter for Carla yourself? Grow some balls.
I never imagined Faye (Cara Buono) as this season’s Allison, crying at the finale and all.
Betty (January Jones) fixes her face, beautifying herself even if no one’s gonna see her. After the unforgivable, destructive encounters with Glen, Carla and Henry when Don walks in unexpectedly. They still know so much about each. She’s still mostly thorough, he still knows where the whiskey is hidden. She knows both about Bethany van Nuys – strange for her to remember that name – and the secretary (Jessica Pare). She admits to her frustration about attaining perfection and keeping up with change, and is possibly jealous that Don might have finally attained that said perfection. Ironically, he’s the only person she can have a decent conversation with and it took a divorce to get to that stage. She hands him the keys, finally saying goodbye despite that look in her eyes that wants to touch him once last time. There’s a vehement disappointment that the Internet collectively had for this finale – even if this episode is a failure, it’s not a spectacular failure, this bittersweet farewell made me love this episode.
Shot: Do not come out of there.
Counter shot: I know!
Peggy Olson (Elisabeth Moss) has nowhere else to go. As the right hand woman of the Creative department in Sterling-Cooper-Draper-Pryce, she’s Don Draper’s (Jon Hamm) target of emotional abuse. Look at her alternatives, however. She is offered earlier in the episode to become a partner in an in-the-works new agency to be formed by Duck (Mark Moses), a worse-off alcoholic than Don. She can’t form her own agency – since Don gives her no credit, she’s unknown to clients. She can’t go back to being a secretary. And she isn’t the marrying kind – yet.
Don also tells her that she ‘should be thanking me along with Jesus for giving you another day.’ I shouldn’t give the ungrateful Don more credit, but Peggy starting out as a secretary may not have pictured herself as a workaholic copyrighter. Don has helped spark Peggy’s love for advertising, and there’s a part of her that believes that. The hardest part about being the heir apparent is waiting for and watching the wrath and demise of the man who inspired her, and that’s the only way she can come out on top.
He also sarcastically apologizes for being partly why she broke up with her boyfriend.
Later on, they listen to a draft of Roger Sterling’s (Jon Slattery) autobiography, ‘Sterling’s Gold,’ where he reveals his struggle against Bert Cooper (Robert Morse) in the early days. They find a mouse and he reveals that his childhood was spent on a farm and that he’s a witness to his father’s death. Peggy opens up that she has the latter in common with him. Those are the few things the learn about each other as they strengthen their vulnerable relationship.
Enough erudition, I just wanna point out two things – as Allison would say, this happened. The picture below is the best I can do for the screen cap, sorry. For a self-confessed plain lookin’ gal, Peggy sure has a lot of guys fighting because of her.
And Peggy Olson stars in Where the Wild Things Are, and Don plays the James Gandolfini character, obviously.
Yes, half of the cast of Mad Men was given the red stamp last Sunday, but I wanna talk about the half-rejected. Like the brassiere ad campaign that Pete Campbell (Vincent Karthesier) has to handle, which is contentious specifically because the print makes the model look Puerto Rican. As Pete says ‘I don’t care if she looks like a Puerto Rican. Puerto Rican girls buy brassieres.’
And Sharon, the black model Peggy Olson (Elisabeth Moss) meets in the youthquake. The girl’s parents don’t know. I’m really crossing my fingers that Peggy gets the ovaries to ask the girl to model for one of the products that SCDP work for. Don’s feeling risky this season, maybe he’ll bite too. Also double rejected in the room is Joyce, brushed aside both by Peggy and Life Magazine.
Also, the secretaries of SCDP took their powder room problems to this focus group. What went wrong here? Smaller sample size? Also reminding everyone that Peggy has been a part of focus groups like this too. When she was on the secretaries’ side of the mirror, she managed to wow Freddy. I guess girls like Peggy only come a generation. Allison’s problem is not her problem indeed.
White boys get rejected too. Ken Cosgrove (Aaron Stanton), who, despite of his great client list, rejected in SCDP ‘s inception. It’s funny seeing and listening to him being the abrasive one, since that’s pretty much Pete in 1963. Ken’s over it though, telling Pete about the ‘the worst…retards in the same room’ of McCann Erickson. In between those superlatives, he tells Pete about his mother being a nurse, Ken representing the other half of SCDP who isn’t born with a silver spoon.
Moral lessons suck, but I like Joyce, Sharon and Ken’s getting-there survival stories, becoming the unsung heroes of this episode.
- MM@M: Jean “Peggy” Seberg (filmexperience.blogspot.com)
Sorry this was late. Peggy: yay or double yay? ph. zxfactor/ Burgundy Shoes