'Mad Men's' Creator: 'Don and Peggy Love Each Other'

I intentionally avoided watching the AMC video, “Inside Mad Men: The Suitcase” before writing my review of the episode because I didn’t want to be tainted by what Matthew Weiner, Jon Hamm or Elisabeth Moss had to say about the powerful seventh episode, “The Suitcase” before I gave my own spin on it.

That being said, I found it intriguing to hear creator/writer Weiner say, “Don and Peggy love each other. There’s no doubt about it.”

Then Weiner added, “Peggy’s there to help him up” from his downward spiral. I certainly hope so. This version of Don that we’ve seen this season, damn, is it depressing.

'Mad Men' Monday: The Grown-Ups

*Warning, spoilers ahead from the recent episode of Mad Men.*


The latest episode -- built around the assassination of President Kennedy and the destabilizing impact that violent act had on everyone in the Mad Men world -- was unexpected and outstanding.

I would’ve never imagined, for example, that the combination of losing the senior accounts post to Kenny-boy Cosgrove and watching the news coverage of the Kennedy assassination would've prompted Pete Campbell to retreat into his apartment with Trudy where they clung to one another, to opt not to attend Margaret Sterling’s wedding (a risky professional gamble) and to seriously consider Pete jumping ship to Grey with Duck Phillips.

Betty Draper became unmoored, especially after seeing Jack Ruby shoot Lee Harvey Oswald on live TV. Don Draper -- who has appeared distinctly uncomfortable with outward, expressions of deep emotion and sadness -- responded by glibly telling Betty to take a pill and go to bed the night Kennedy died, and continued repeating the line, “Everything’s going to be all right,” as though it was a mantra that would fix everything. But it didn’t. Kennedy was still dead, as was Don's marriage and Betty's trust in him. But, ever the ad man, Don seemed as though he was trying too hard to push the "Everything's going to be all right" pitch, thinking that if he said it enough times, it would be so.

I absolutely did not see coming that witnessing Oswald’s murder on TV would send Betty running to Henry Francis, particularly after the doting behavior Don displayed toward her at the Sterling wedding. I was likewise stunned to watch as Henry proposed marriage to a cash box-hurling woman he doesn’t even know.


The more I thought about the varied reactions to the Kennedy assassination, the only parallel I could make that resonated with me personally was 9/11. On Sept. 11, 2001 and in its aftermath, not only was I, along with millions of other Americans, riveted to news coverage for upon days and days as we sat there feeling stunned and shocked, but there was the lingering fear that we were no longer safe (something Trudy mentioned when she said that if they could get to the president, they could get to anyone). There was an instinct to draw closer to the things and people who were important to you. Thanksgiving 2001 was particularly poignant for Americans as we remembered and cherished what was dearest to us.

Perhaps Mad Men mastermind Matt Weiner was trying to convey that same powerlessness and fear created by Kennedy's and Oswald's public deaths as he had his characters do things that they otherwise might not have done, like ask a veritable stranger to marry you, tell the spouse who’s been lying to you since the day you met that you no longer love him and feel nothing when he kisses you, call your former lover on the phone – your voice brimming with longing -- when your shallow young thing of a second wife is passed out drunk on the bed beside you, and blow off opportunities to advance your career at work when you determine that there’s no longer any future in it.

While darkness and gloom swirled around each character – in particular around a broken Don who sat alone in his shadowy bedroom after learning that the thing he always feared would happen if the truth about his identity came out, had actually came true: that someone like Betty would never love someone like him – there was a bit of lightness in the person of Margaret Sterling in all her bratty, self-centeredness. As the scenes switched from location to location depicting people’s reactions to news that the president had been killed, mostly with tears and astonishment, there was Margaret, in a heap of rich, blindingly white fabric crying, “It’s all ruined!” Mourning her wedding, not the president.
 
Mourning . . . doesn’t that seem like a common thread throughout “The Grown-Ups?” Don was mourning the death of love. Betty was mourning the president and the death of her marriage. Pete was mourning his once promising career at Sterling Cooper and the fact that people at work cared more about business than what had transpired in Texas. Roger seemed to be mourning the fact that he no longer had Joan as a confidante. Margaret was mourning the disintegration of her parents' marriage. And there were Sally and Bobby, their childhood innocence shattering, bit by bit, as they sat in front of the TV and learned that the president’s young children had lost their father.

What did you think of “The Grown-Ups?” By the way, was anyone else miffed that the preview for the season finale contained no new footage? I'm unwilling to accept that next week is the last new Mad Men episode until next summer.

UPDATE: Just saw someone mention on Twitter that there was a similarity between the Aqua-Net storyboard in Peggy's office (four people in a convertible) and Kennedy's limo. I didn't catch that.
Image credit: Carin Baer/AMC.

'Mad Men' Creator and Stars Analyze 'The Gypsy and the Hobo'

Watching the AMC video below -- featuring interviews with Mad Men creator/writer Matt Weiner, and stars Jon Hamm and January Jones -- doesn't really answer fundamental questions about the impact of Don's admission of his life of lies to his wife and whether Betty's going to leave him or try to make it work. If anything, it spawns more questions:

Mad Men Season 2 DVDs & Killer Vanity Fair Photos

I've spent the past couple of days marinating in Mad Men's second season DVDs in preparation for a column I've been working on. And, I must say, as a Mad Men fan, I found the DVD extras to be insightful. There are a bunch of audio commentaries on the disks which not only illuminated characters and plotlines, but also confirmed some of Mad Men fans' suspicions about why show-runner Matt Weiner had certain things happen.

For example, Jon "I'm Don Draper" Hamm said that the one of the main themes of the AMC show's sophomore season was about the evolution of the female characters, about "these women finding their place and finding their power." While commenting on the season two premiere, Weiner said that Betty Draper (January Jones) was trying to figure out the value -- in hard currency -- of her housewifedom and determine whether being a married, at-home mother was a form of prostitution. "I love this idea," Weiner said, "'What are we worth?'"

On the audio commentary for the episode "The New Girl," (otherwise known as the one where Don gets into a drunk driving accident while the Odious Bobbie Barrett's in the car, and Peggy bails them out of jail), it was fascinating to hear actress Melinda McGraw, who played Barrett, express her shock at how much "people hated Bobbie Barrett." She speculated on why there was a double-standard for Bobbie's cheating versus Don's, calling her character a female version of Don the debonair.

The disks also included a two-part documentary about the evolution of the feminist movement, using the women of Mad Men as a jumping off point, putting the show into historical context. (If Weiner sets season three in 1963 -- he hasn't yet divulged the year -- this Newsweek piece provides some details on what historical events transpired in 1963 that could be woven into the Mad Men narrative.)

Meanwhile, the media (myself included) are working themselves up into a frenzy leading up to the August 16 season three premiere:

-- Vanity Fair just released a long article about Mad Men and included some killer Annie Leibovitz photos of Hamm and Jones that should sell a lot of copies of that magazine. Smokin'.

-- New York Magazine had a three-article package about the show, including a shout-out for the snake-like Pete Campbell and a guide to the show's first two seasons.

-- And after seeing the slate of Mad Men events slated to occur in New York City in the next week, I'm kinda wishing I lived in NYC to attend them.

Image credit: Annie Leibovitz via Vanity Fair.

Introducing, 'Desperate' Mondays

I'm already in Mad Men withdrawal and am trying to figure out how I'm going to fill the void left by the exquisite equivalent of the dark, independent film I've been watching each Sunday evening since July. But fear not. I've come up with an idea. While it's going to seem like forever until we get fresh episodes featuring Don Draper & Co., I've decided to blog weekly about the exploits of the ladies of Wisteria Lane, the Desperate Housewives.

I know, you're saying, "Desperate Housewives doesn't hold a candle to Mad Men." Which is true. No show on TV, except maybe Lost, is comparable to the Matt Weiner masterpiece.

Or maybe you're thinking, "That show is sooo five years ago." (During the days when it snagged two Golden Globe awards for best comedy and offered stellar suburban satire.)

But, in case you haven't noticed, DH has been undergoing a comedic revival this season. The let's-vault-five-years-into-the-future stunt has paid off as the show has regained some of its season one mojo. In the past few weeks, we've seen the once glamorous Gabby Solis transformed into an "everymom," very much dressed down as she's busy raising her two daughters, including one with a weight problem (the one who recently walked in on Gabby and hubby Carlos having . . . relations, or, as they told her, "wrestling"). Lynette and Tom Scavo have struggled with their troublesome teens. Bree Van de Kamp Hodge has emerged as an up-and-coming Martha Stewart, complete with a disintegrating home life. Susan Mayer, freshly divorced (her second), is having difficulties raising her young boy while trying to date. (Read my review of this season of DH here.)

Starting next week, Mondays at the Suburban Mom: Notes from the Asylum will now feature regular Desperate Monday installments, where we can dish about America's premiere suburban moms, only with a satirical twist. Looking forward to reading your comments.

Image credit: ABC.