“MAD MEN” Observations: (3.09) “Wee Small Hours”

After a recent re-watch of the Season Three “MAD MEN” episode called (3.09) “Wee Small Hours”, I came up with the following observations:

 

 

“MAD MEN” OBSERVATIONS: (3.09) “Wee Small Hours”

*I think that from the moment tobacco heir Lee Garner Jr. tried and failed to seduce Sterling Cooper’s art director, Sal Romano; the latter was simply screwed. Even if media buyer Harry Crane had immediately informed co-owner Roger Sterling or creative director Don Draper about Garner’s demand; or if Sal had acted professionally and told not only Don, but Roger on what happened, he was screwed. The client came first. Especially clients like Lee Garner and Conrad Hilton, who were too powerful to ignore. As I recall that back in Season One, even Don had to apologize to one of the agency’s clients, Rachel Menken, for his outburst. Despite the fact that she had yet to become an official client.

 

 

*Following the original airing of the episode, I had read a few posts on Betty Draper’s aborted affair with political advisor Henry Francis. I find it interesting that so many viewers and critics were disappointed that she did not go ahead with the affair. In fact, they had harshly criticized Betty for not going through with the affair . . . which I found rather odd. Even more interesting was that some of the fans had demanded to know what she really wanted. Henry had also seemed to wonder. Judging from her disappointment with her marriage to Don at the time and the realization that Henry may have simply wanted an affair, I eventually suspected that Betty had wanted a meaningful relationship with someone. That had explained the letters she exchanged with Henry, her anger at Don for keeping her in the dark about his contract problems, and her tears following the dinner with Jimmy and Bobbie Barrett in (2.03) “The Benefactor”. And when she had visited Henry’s office, Betty had wrongly suspected that she would never receive one from Henry, anymore than she had received one from Don.

 

 

*Despite Betty’s remark about civil rights, Carla was one lucky woman . . . at the time. After eavesdropping on Betty’s telephone call with Henry, she could have easily found herself in the same situation as Sal ended up by the episode’s end. All Betty had to do was fire her and lie to Don about her reasons behind the discharge. Unless she had feared Carla would retaliate by telling Don about Betty’s meeting with Henry. That is the only reason I could find why Carla remained employed by the episode’s end.

*I still find it interesting that many had lobbied criticisms at Betty for her remark about the Civil Rights Movement. I found it interesting and a little hypocritical. One, of course Betty would make such a remark. She was a white female from a privileged background. And she was also a conservative, although a moderate one. She had called Carla “girl” when referring to the latter during a phone call with Henry. What had many fans expect? Yet, many of these same fans had made excuse after excuse for Joan’s unnecessary and racist remarks to Sheila White back in Season Two. And had conveniently forgotten that Don had been in the habit of calling Carla or other black female servants, “girl”, as well.

 

 

*How many times had Don assumed an aggressive stand when a client failed to be impressed by his work? Why did he do this? Was this Don’s way of intimidating a client into accepting his work? I can still recall him pulling this stunt with Rachel Menken, which angered her in the process. He had also pulled this stunt with the client from Belle Jolie account and succeeded. Then he tried it with Conrad Hilton and failed. Ironically, many of the series’ fans had reacted angrily over this incident at Hilton. I found myself feeling slightly sympathetic toward him. After all, he is the client. If he did not like Don’s presentation, he did not like it. Don’s slight temper tantrum seemed a bit uncalled for.

*Is it just me or did Peggy look slightly smug after Connie Hilton made it clear that he disapproved of Don’s presentation? Mind you, I had not been impressed by it, either. The presentation had struck me as a bit too simple and infantile. And it failed to invoke the glamour of travel, while maintaining the message of American values. At least to me.

*Pete hacking up a storm after taking a puff on a Lucky Strikes cigarette still strikes me as hysterical after ten years. So does the scene in which a frustrated Betty threw the money box at Henry.

 

 

*Don’s affair with Suzanne Farrell. Even after ten years, I still fail to see the chemistry between actors Jon Hamm and Abigail Spencer. In fact, Sally Draper’s teacher, Miss Farrell, seemed like a second-rate version of Rachel Mencken, but with a less stable personality. I realize that Don had wanted a meaningful relationship in his life . . . but with Suzanne Farrell? I think he could have done better than her. Especially better than someone who had recently been his daughter’s teacher. Now that I think about it, she could have done better than Don. What made their affair even more troubling was that Don was using Suzanne as some kind of drug. He had suffered rejection from Conrad Hilton, a man he was beginning to view as a parent figure, and he turned to Suzanne for comfort. Unfortunately, I suspect that Suzanne may have viewed him as something more and in the end, their relationship had ended on a surprisingly quick and unsatisfactory note . . . at least for her.

*Was Roger still a force at Sterling Cooper during the time of this episode? Judging from the scenes in this episode, I rather doubt it.

Peggy Olson’s Promotion in “MAD MEN” (1.13) “The Wheel”

PEGGY OLSON’S PROMOTION IN “MAD MEN” (1.13) “THE WHEEL”

Many fans of the show have made a big deal of Peggy Olson’s promotion in the “MAD MEN” Season One finale, (1.13) “The Wheel”. Actually, many have focused upon Peggy’s upward mobility from the secretarial pool to her new position as one of Sterling-Cooper’s copywriters – a professional. I had just finished watching this episode and another thought came to mind. 

It finally occurred to me that the firm’s Creative Director, Don Draper, had given Peggy that promotion in order to spite Pete Campbell, an Accounts executive who wanted to fill in the position of Head of Accounts. When Pete learned that the firm’s two partners – Bert Cooper and Roger Sterling – had directed Don to find a new Head of Accounts for the firm, he made sure to inform Don that he had acquired the Clearsil account due to his father-in-law being an executive of that company. One could say that Pete was simply being an asshole by trying to shove the achievement in Don’s face. But I think that it was simply another tactic of Pete’s to win Don’s approval and gain the promotion to Head of Accounts.

Unfortunately for Pete, the tactic backfired. I suspect that Don – feeling satisfied and perhaps a little smug over winning the Kodak account – decided to strike back at Pete for the latter’s blackmail attempt in the previous episode, (1.12) “Nixon vs. Kennedy”. Pete had not only discovered that Don was an identity thief, but also the latter’s real name. But when Pete informed Bert Cooper, the latter dismissed the former’s revelation and maintained Don’s employment at Sterling Cooper. In an act of vengeance, Don promoted Peggy to copywriter and handed the Clearisil account over to her in order to embarrass Pete. He also found someone else – namely Herman “Duck” Phillips. It was one of the most childish and despicable acts I have ever seen on that show. And yet, because Pete was unpopular with many of the series’ fans, a good number of them failed to notice that Don had used Peggy to get back at Pete.

I find it amazing that both the critics and fans have accused both Betty Draper (Don’s first wife) and Pete of being immature characters. Time and again, Don had proven he could be just as childish or even more so than either of these two or any other character in the series. But so many had been blinded by his “man’s man” facade and good looks that they have failed to realize how emotionally stunted Don could truly be.

“MAD MEN”: Wasted Partnership

 

“MAD MEN”: WASTED PARTNERSHIP

Looking back on Season Two of AMC’s “MAD MEN”, it occurred to me that the rivalry between the series protagonist, Don Draper aka Dick Whitman (Jon Hamm) and a supporting character named Herman “Duck” Phillips (Mark Moses), seemed like a complete waste of time . . . story wise. Do not worry. I am not criticizing the writing of Matt Weiner and his staff. At least on this subject. Instead, I am criticizing the behavior of two male characters, who I believe had the potential to be a winning advertising team.

Following senior partner Roger Sterling’s (John Slattery) second heart attack in the Season One episode (1.11) “Indian Summer”, one of the Sterling-Cooper’s clients had advised Bert Cooper (Robert Morse), the firm’s other senior partner, to make Creative Director Don Draper a junior partner. Which Cooper did at the end of the episode. He also told Don that as one of the partners, he should be the one to find someone to replace Roger as the Director of Account Services. In the following episode, (1.12) “Nixon vs. Kennedy”, Don hired Herman “Duck” Phillips.

In the Season One finale, (1.13) “The Wheel”, Duck seemed appreciative of how Don’s creative skills landed Kodak as a client for the firm. Yet, the early Season Two episodes clearly made it obvious that storm clouds were hovering on the horizon for the pair. In the Season Two premiere (2.01) “For Those Who Think Young”, Duck informed Roger that he believed younger copywriters with a bead on the youth of the early 1960s, should handle their new Martinson Coffee account, instead of veteran copywriter Freddy Rumsen (Joel Murray). Don dismissed the idea, claiming that a bunch of twenty year-olds lacked the experience and knowledge on how to sell products. But Roger forced Don to go along with Duck’s plans and hire the latter’s protégées – Smith “Smitty” (Patrick Cavanaugh) and Kurt (Edin Gali). Pete Campbell’s (Vincent Kartheiser) father perished in the famous American Airlines Flight 1 crash on March 1, 1962 in the second episode of the season, (2.01) “Flight 1”. And when Duck convinced Roger that Sterling Cooper should dump the regional Mohawk Airlines as a client and use Pete’s personal plight to win the bigger American Airlines (who sought to change advertising agencies following the disaster) as a new client. Naturally, Roger and Cooper dismissed Don’s protests and went ahead with Duck’s idea.

In the end, both men lost and won their arguments. Instead of gaining American Airlines as a new client, Sterling Cooper ended up with no client altogether. In (2.04) “Three Sundays”, Duck informed the Sterling Cooper staff that their efforts to present American Airlines with a new campaign had been for nothing, when the airline fired Duck’s contact. Many fans saw this as an example that not only had Don been right about not dropping Mohawk, they also seemed to view Duck as someone who was no longer competent at his job. However, three episodes later in (2.07) “The Gold Violin”, Duck proved to be right about hiring the much younger Smith and Kurt as copywriters for the Martinson Coffee account. Their efforts led to a new client for the Sterling Cooper agency.

But despite the success and failures of both men, Don and Duck continued to duke it out over the heart and soul of Sterling Cooper. Only once, in (2.08) “A Night to Remember”, did both men seemed capable of working seamlessly as a partnership, when their efforts led to Sterling Cooper landing the Heineken Beer account. But this ability to work as a pair failed to last very long. One, both men seemed adamant that their particular expertise in the advertising business – whether it was Creative or Accounts – only mattered. Two, Don received most of the praise from Cooper and Roger for the success of the Martinson Coffee account in“The Gold Violin”. Granted, Don tried to give some of the praise to Duck (who mainly deserved it), but he really did not try hard enough. And finally, Duck became so resentful of his failure to acquire a partnership in the firm that he maneuvered a takeover of Sterling Cooper by the old British advertising firm that he used to work for. The main conflicts between Don and Duck seemed to be twofold – Don’s preference to take the nostalgia route over the future in his advertising campaigns (unless forced to) over Duck’s willingness to look into the future of advertising (television ad spots and younger employees, for example); and each man’s belief that their respective expertise in the advertising field is the only one that matters.

Most viewers seemed to view Don as the hero of the conflict between the two men and label Duck as the villain. This preference for Don even extended to his belief that Creative was the backbone of the advertising industry. Personally . . . I disagree. Not only do I disagree with Don and many of the viewers, I would probably disagree with Duck’s view that advertising needed to solely rely upon images – especially television spots. Frankly, I am surprised that no one had ever considered that both Don and Duck’s views on the future of advertising are equally important. Don and other copywriters might create the message or jingo to attract the public. But it is Duck’s (and Pete’s) job to not only snag the client, but provide the client with the opportunity to sell his/her wares. Even if that means using television spots – definitely the wave of the future in the early 1960s.

But many fans seemed to be blinded by their own preference for Don over Duck. And both characters seemed to believe that their ideas of what the advertising business should be were the only ways. The problem with both Don and Duck was that business wise, they needed each other. Look at how well they had worked together in mid-Season Two over the Martinson Coffee and Heineken accounts. Duck needed Don’s creative talent. Don needed Duck’s business acumen and ability to foresee the future in advertising. Unfortunately, both remained stupidly resentful of each other.

In the end, Don’s career managed to survive, despite the failures of two marriage and the near failure of his career, due to personal problems, heavy drinking and shirking. Duck, a former alcoholic who resumed his old habit in later years, was simply plagued with bad luck. Sterling Cooper’s British owners fired him after he had indulged in a brief temper tantrum. He worked at an advertising firm called Grey for a few years, before being reduced to a corporate recruiter. Copywriter Peggy Olson and Accounts executive Pete Campbell learned to maintain a balance between Creatives and Accounts whenever they worked on an account together. Yet, every now and then, I find myself wondering what would have happened if Don and Duck had managed to achieve the same.

Top Five Favorite “MAD MEN” Season Four (2010) Episodes

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Below is a list of my top five (5) favorite episodes from Season Four (2010) of “MAD MEN”. Created by Matthew Weiner, the series stars Jon Hamm:

 

TOP FIVE FAVORITE “MAD MEN” SEASON FOUR (2010) EPISODES

1 - 4.07 The Suitcase

1. (4.07) “The Suitcase” – In this acclaimed episode, an impending deadline regarding the Samsonite ad leads Don Draper to force Peggy Olson to stay late to work and miss a birthday dinner with her boyfriend. He receives a call from Anna’ Draper’s niece, which confirms his fears about her health.

 

2 - 4.09 The Beautiful Girls

2. (4.09) “Beautiful Girls” – Peggy is forced to face some unpleasant facts about a client’s discriminatory business practices. Don and girlfriend Faye Miller’s burgeoning relationship is tested when his daughter Sally runs away from home and turns up at the office. Roger Sterling tries to rekindle his affair with former mistress Joan Harris.

 

3 - 4.12 Blowing Smoke

3. (4.12) “Blowing Smoke” – Don encounters his former mistress Midge Daniels and discovers she is married and has become a heroin addict. This leads him to run an ad declaring that SCDP will no longer represent tobacco firms. Sally is upset to learn that her mother and stepfather – Betty and Henry Francis – plan to move.

 

4 - 4.06 Waldorf Stories

4. (4.06) “Waldorf Stories” – A drunken Don receives a Clio Award for an ad; Peggy is forced to work with new art director Stan Rizzo at a hotel room; Accounts man Pete Campbell is upset over the arrival of former rival Ken Cosgrove; and Roger recalls his first meeting with Don and the early days of his affair with Joan.

 

5 - 4.05 The Chrysatheum and the Sword

5. (4.05) “The Chrysanthemum and the Sword” – Sally’s erratic behavior leads Betty and Henry to seek counseling for her, over Don’s objections. Pete enters SCDP into a competition to win the Honda account, to the displeasure of Roger, who tries to undermine the firm’s efforts, due to his anti-Japanese sentiments from World War II.

Five Favorite “MAD MEN” Season Three (2009) Episodes

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Below is a list of my top five (5) favorite episodes from Season Three (2009) of “MAD MEN”. Created by Matthew Weiner, the series stars Jon Hamm:

FIVE FAVORITE “MAD MEN” SEASON THREE (2009) Episodes

1 - 3.11 The Gypsy and the Hobo

1. (3.11) “The Gypsy and the Hobo” – Don’s past finally catches up with him when Betty confronts him about his identity theft. Roger Sterling meets a former client/lover who wishes to rekindle their affair. And Joan discovers that her husband, Greg Harris, has joined the Army after failing to start a medical career in New York.

2 - 3.12 The Grown Ups

2. (3.12) “The Grown Ups” – The assassination of President John Kennedy serves as the backdrop of the wedding for Roger’s daughter and the final breakup of the Draper marriage.

3 - 3.07 Seven Twenty-Three

3. (3.07) “Seven Twenty-Three” – Don’s attempts to land the Conrad Hilton account leads to him being blackmailed by Bert Cooper to sign a three-year contract with Sterling Cooper. Peggy begins an affair with former Sterling-Cooper Accounts Head, Duck Phillips. And Betty expresses interest in the Governor’s aide, Henry Francis, when she becomes involved in civic politics.

4 - 3.06 Guy Walks into an Advertising Agency

4. (3.06) “Guy Walks into an Advertising Agency” – A visit by the British owners of the Sterling Cooper agency and an account involving a motorized lawn motor results in mishap and bloodshed.

5 - 3.09 Wee Small Hours

5. (3.09) “Wee Small Hours” – An executive from Sterling Cooper’s client, Lucky Strikes, demands that the agency fire art director Sal Romano after the latter rejects the executive’s sexual advances. Betty grows closer to Henry Francis and Don begins an affair with Sally’s teacher, Suzanne Farrell.

A Problem With “MAD MEN” Finale

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A PROBLEM WITH THE “MAD MEN” SERIES FINALE

I had a problem with the “MAD MEN” series finale, (7.14) “Person to Person”. Ironically, it had a lot to do with the characters of Don Draper and his first ex-wife, Betty Francis. And this problem first manifested in the series’ penultimate episode, (7.13) “The Milk and Honey Route”.

Betty Francis’ sudden development an advanced case of cancer did not work for me. It seemed to come out of no where. I never understood why Weiner had saddled her with such a quickie death . . . yet, at the same time, allowed Roger Sterling to survive the end of the series. Yes . . . I am speaking of the same Roger Sterling who had suffered two massive heart attacks in the Season One episode, (1.10) “Long Weekend”. His heart problem never became a major issue again, despite his continuing drinking, whoring and occasional forays into drug use. I find that rather odd.

Then again, this is the same Matthew Weiner who had told television journalists that Betty’s main reason for divorcing Don in the Season Three finale, (3.13) “Shut the Door. Have a Seat”, had to do with class bigotry. I never understood his comment. Betty had been aware of Don’s working-class origins throughout their marriage. She made that clear in (3.11) “The Gypsy and the Hobo”. When Roger had expressed his suspicions about Don’s class origins in (1.07) “Red in the Face”, Betty seemed more interested in the idea of learning more about Don than concern over the possibility that he might be working-class. She certainly seemed satisfied by Don’s revelation to her and their kids about his past on a poor farm, during a picnic in Season Two’s (2.07) “The Gold Violin”. She seemed thrilled over the idea that she was learning more about him. So . . . Weiner’s claim that class bigotry was one of the major reasons behind Betty’s decision to get a divorce never worked for me.

Between these comments about the Draper divorce and his decision to saddle Betty with an advanced stage of cancer makes me wonder if Weiner ever liked her in the first place. Is it possible that he saw Betty as a reminder of any mother issues he might possess? Some fans have claimed that Betty’s cancer finally gave her a chance to develop as a character. This is another argument I find difficult to accept. From the moment Betty had learned about Don’s affair with Bobbie Barrett in “The Gold Violin”, and kicked him out of the house in (2.08) “A Night to Remember”, I believe her character had been developing. Yes, she had setbacks. After all, she was supposed to be human. Did the audience and critics really expect instant character growth from Betty? I certainly did not. And it was easy to see that she been slowly developing as a character over the years.

If we are truly supposed to believe that Don finally achieved character growth during his “Kumbaya” moment in “Person to Person”, then one could easily say that his development seemed . . . “instant”. I mean it came out of no where. The speed in which Don allegedly achieved final character development left me shaking my head in disbelief. I could have bought it if Weiner had allowed Don’s character to develop with the same pace as Betty’s – slow and over a long period of time, with the occasional setbacks. Instead, audiences were treated to a “Kumbaya” moment for Don at a California yogi retreat, followed by the famous 1971 Coca-Cola commercial.

Exactly what was Weiner trying to say with that last shot of Don? That the latter had created the commercial? Or was someone else responsible? Why leave the show on an ambiguous note for Don? Weiner could have ended Don’s personal story on a more final note . . . and still hint that he had ended one stage in his life and was about to embark upon another. Or . . . he could have killed Don off. I would have been happy with that scenario.

Do not get me wrong. I liked “MAD MEN” very much. After all, I had stuck with it for seven seasons. But there have been times over the years when I found myself wondering if this series may have been a little overrated. I certainly felt that way when I watched the series’ finale.

“The Worship of Sally Draper”

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“THE WORSHIP OF SALLY DRAPER”

The following words regarding a certain character on the AMC series, “MAD MEN” is bound to result in me receiving a good deal of hostile responses … or none at all. I am so sick to death of fans putting Sally Draper on a pedestal.

I am sick of it. Ever since Season Three, when show creator Matthew Weiner made her a more prominent characters, fans have been putting a character that aged from nine to sixteen on a pedestal. Why, I have no idea . To me, there is nothing special about Sally. She has always struck me as a typical kid who will probably grow up with her own set of virtues and bullshit . . . just like her parents, her siblings, and nearly every other character on this show.

After the last episode, (7.10) “The Forecast” aired, I managed to encounter two articles that waxed lyrical over Sally. In one of them, “MAD MEN: Viva la Sally Draper”, author Julianne Escobedo Shepherd claimed that Sally will be forced to spend the rest of her life overcoming her parents’ personalities. Now, I realize that neither Don Draper aka Dick Whitman or Betty Draper Francis are perfect. In fact, they are far from perfect . . . like every other character on this damn show. Including one Sally Draper. Unfortunately, this is something that many fans of the show, including Ms. Shepherd, always fail to realize.

Watching Sally in “The Forecast” made me realize how ridiculous are those claims that Sally is more mature than her parents. Do not make me laugh. I saw that Sally was unable or unwilling to cast any blame on her old friend, Glen Bishop, after she witnessed his reunion with Betty. Ten years earlier, Glen commenced upon an infatuation for Sally’s mother that apparently has yet to abate. But instead of commenting on Glen’s obvious attempt to flirt with Betty, Sally went into a tailspin over Betty’s friendly response to Glen. Later in the episode, Sally had dinner with Don and her friends at a restaurant, in which one of her friends began flirting with Don. Who responded with a good deal of friendliness without making a scene. In the end, it was Sally who made a scene by blaming Don for the exchange and ignoring her friend’s attempt at flirtation. The fact that Sally was unwilling to blame her friends for what happened between them and her parents, only tell me that not only is she still immature, but also a world-class scapegoater.

In The Washington Post article called “MAD MEN: Is Sally Draper Our Last Hope For Change?”, author Soraya Nadia McDonald speculates on whether the character will become some symbol of change on the show. Duh! Sally is the youngest major character on this damn show. By 2015, she will be at least 61 years old. Of course she is the future for a show in which the setting ends in 1970. However, this also means that whatever Sally manages to achieve with her life, she will still have to deal with her frustrations, disappointments and especially her own personal flaws. These personal flaws may or may not affect others. They will certainly affect her. And those flaws will be with Sally until the day she dies or when “MAD MEN” goes off the air.

I have notice in this latest article on how McDonald went out of her way to insult both Don and Betty . . . and at the same time, put Sally on a pedestal. I swear . . . both the media and the fans seemed to regard Sally in the same manner in which Mildred Pierce regarded her daughter Veda. Through rose colored glasses. These same fans have a penchant for ignoring Sally’s penchant for scapegoating. I first became aware of this problem back in Season Four, when she solely blamed Betty for the end of the Drapers’ marriage. Sally possesses other flaws – namely her penchant for bullying – especially her younger brother Bobby; her “sass”, which makes her a world-class needler in my eyes; and her slightly cruel sense of humor. Sally reminds me of certain classmates from my younger years in elementary and high school, whom I heartily disliked or I had regarded with a good deal of wariness. But if there is one person whom Sally reminds me of . . . it is her paternal grandfather, Archie Whitman.

This is the character who is supposed to be the series’ “Great White Female Hope”? Sally Draper? A character, whose flaws are constantly ignored by the “MAD MEN” fandom? There are some who are talking about a spin-off featuring Sally as an adult. Honestly? That is one show I will never watch. How can I drum up the interest to watch a series about a character I have never harbored a high opinion of in the first place? What I am trying to say is that in the end, I am getting sick and tired of the “Glorification of Sally Draper”. The sooner “MAD MEN” is off the air, the less chance I have of encountering this phenomenon. God, I hope so.