Reel Low: Ironclad [2011]

Well, this post has been sitting in draft form for nearly two months as I became consumed by Mad Men posts, went on vacation and had a crazy excursion through the justice system, which culminated in coming face-to-face with a an eventually convicted child molester. All of that didn't exactly give me a lot of time to contemplate a decent but unessential medieval action flick that had the tendency to take itself a little too seriously at times, yet not enough at others.

But that's not important. What is important is that the world know Ironclad gets a simple thumbs-up from me. It's been a little too long now for me to write up a proper review without re-watching it, but I liked it. Overall, the movie is a little on the uneven side, but with these actors and mostly well-done scenes of action and bloodshed, I consider it recommendable. It's the story of a small, ill-trained and under-provisioned group of soldiers defending themselves against impossible odds, much in the spirit of Seven Samuraiand Zulu. While nowhere near as good a film as those, there's enough good material with this one to hold your attention. This is quite possibly the best medieval siege movie of the last decade. Only the Helm's Deep scenes in The Lord of the Rings: The Two Towers come to mind as having exceeded what director/screenwriter Jonathan English did here (and by a wide margin, I should add).

Ironclad has been criticized for being historically inaccurate. This is generally an odd critique to me for action films inspired by landmark moments of the past. Did you really expect an education from a James Purefoy movie? No, you came for the insane violence and stayed for the great performances of top-billed cast members. Speaking of, Purefoy is predictably solid as the the gruff yet earnest knight templar leading the small band of castle defenders. Meanwhile, Brian Cox and Paul Giamatti simply outdo themselves repeatedly in this movie. They're the real reasons to watch this one. Rounding out the cast is the wonderful Derek Jacobi as a timid lord and the serviceable, if unspectacular Kate Mara as his young wife. And for those of you yearning for more Games of Thrones action, Charles Dance (Tywin Lannister) does have a small role here as the Archbishop of Canterbury.

Oh, remember how I said Ironclad is crazy-violent? Check this clip some Dutch dude obviously made from a bootleg copy of the film. (Very SPOILER-ific due to lots of kill-shots.) It's fun stuff.



Better than the real trailer, in my opinion.

MAD MEN Partners' Meeting - "The Phantom"

Welcome to the Mad Men Partners' Meeting -- a roundtable discussion of this week's episode from your friendly neighborhood LowBrowMedia savants.
This is a spoiler-heavy zone. You have been warned.

"The Phantom"

Season 5, Episode 12

airdate: June 10th, 2012

Mark: Damn. Well, Jon and Mike, I guess we have an answer for you regarding Don’s place on the spectrum of Goodness. With the final scene of season 5, Weiner seems to suggest that Don is getting back to his old tricks, and that the flashes of a compassionate, supportive and emotionally available Don Draper that we got over the last 13 episodes were not signs of an evolved cad but rather part of a larger routine of selfishness that keeps perpetuating itself over and over again. There have been suggestions here and there that Don had once been as loving and present with Betty as we have seen him with Megan, and it was only when Betty gave up her career in order to embody the picture perfect housewife stereotype that Don both demands and despises in equal measure that their relationship started to sour. Megan striking out on her own as an actress seemed to threaten Don, but when Megan lowered herself to ask Don for a part in a commercial, her dependence on him was almost a worse fate. Don doesn’t know what he wants. He wants the dream, the excitement and possibility and glamour promised by the campaigns he, Peggy, Stan and Ginsberg dream up. But life is always messy. It’s the same with Peggy as with Megan. Don wants Peggy there, he wants to mentor her and nurture her creativity, but the minute she challenges him or threatens to surpass him, she’s a stranger. Now that Megan is “just somebody’s wife”, she has compromised herself, like Joan with Mr. Jaguar, and tarnished the perfect veneer that Don craves. This is certainly not the final nail in the Don-Megan marriage, it’s more like the first trip to the hardware store to buy nails. And while I hoped Don and Megan would build something nice with those nails - like a birdhouse or a garden shed - I’m afraid it is going to be just another coffin, as the saying goes.

This was all very upsetting, but I have to say I was a little taken aback with overt nature in which a lot of this stuff was presented and explored in the script and through Weiner’s direction. Usually this show is a little more elegant in its treatment of symbolism and subtext. Many times in “The Phantom” I felt as though I was being hit over the head with Weiner’s laptop, and as a result the finale was a little dissatisfying for me. It’s fun to speculate on what is going on under the surface with Don, what impulses and fears are guiding his actions, and to be able to draw your own conclusion that there is a void within Don that can’t be filled. It’s not quite as fun to be told point black that Don has a big, rotting symbolic tooth that he tries to ignore and convince himself will go away but that is causing him incredible pain. Sounds a lot like all of those pesky emotions the characters are repressing all the time. Furthermore, I suppose leaving us on a bit of a lingering note was better than cutting straight to Don having a threesome with the two girls from the bar, but do we have to have Don go straight from the commercial set to picking up chicks? The season has been building Don up very deliberately all season, to knock it all back down so quickly felt a little uneven. However, I will say that the shot of him walking off of the soundstage and into a pitch black void of negative space was a striking image, and half-way subtle in its symbolism. Half-way.

There were some pretty on-the-nose moments, too, in the story of Pete Campbell, the saddest little boy in the world. The whole thing with Alexis Bledel and Pete’s train buddy being such an over-the-top monster is pretty brutal. I don’t doubt that things like this happened in those days, but having this guy go so far as to force his wife into electroshock therapy so that he can carry on cheating on her and keeping her as essentially an indentured servant? Villains are all well and good, even necessary in good fiction, but maybe they could have given this guy some shading. And Pete’s grand speech to an amnesiac Bledel about his “friend”, while very well-acted and certainly moving, was another case of Mad Men telling and not showing. Great dialogue, great performances, but let us do some work as viewers, you know? Am I crazy? This episode just seemed out of character for a show that pretty much shows everything and tells next to nothing. Pete getting knocked around never gets less funny/sad, though. It all just ended on such a note of defeat. Even as Sterling Cooper Draper... Campbell? expands to a new floor and new possibilities, the partners seem mostly burnt out. Even Roger’s LSD enlightenment seems to have worn off. Or has it? I know not to come to Mad Men to be uplifted, but whereas previous seasons have gone out with a big push forward (“Shut the Door. Have a Seat.”), this finale just seemed to signal decay.

What do you guys think? Am I being a crabapple? A stick in the mud? A grouchypants? A complete and utter moron who should be taken out into the street and shot? Did I miss something? Did Weiner stick the landing? Am I just grumpy because this finale featured zero Sally Draper? What’s the verdict on the season overall?

Jon: Mark, you certainly aren't alone in your displeasure of the season 5 finale among Mad Men internet fandom. And I don't blame you for feeling that way, because not a whole lot happened in this episode when it came down to it, which gave me fits when trying to assess it. Usually I try to stay away from the pundits until after having written my peace on the episode in question, but this week I couldn't. "The Phantom" was a tricky bastard to write about. However, I think expressing too much disappointment in it overlooks how much crazy shit went down in the two preceding episodes. I mean, between Joan becoming partner, Peggy's departure the SCDP and Lane's suicide, we haven't exactly been short on monumental shifts in the show's dynamic. Now, that said, big goings on in previous episodes do not make this a good finale. As finales go, it was on the weaksauce side. But I began to appreciate "The Phantom" a bit more when placed it in context of the entire fifth season, and while it's far from a season highlight, it caps off a couple of storylines we've been following over the last 13 episodes.

In my mind, "The Phantom" serves as a sly intro to season 6 as much as it was a capper to season 5. There are constant hints of Lane's void, from his empty office and conference room chair to Joan's sudden transition into the financial prude (because someone has to bloody do it). I think it was smart to tackle this now; they'd have to address it eventually, and showing us the group mourning and moving on in their individual and collective ways while the audience is still coping with a world without Lane Pryce gets that unpleasant but important business out of the way instead of months from now when the show returns. Also, they're expanding! Man, that gorgeous shot of the five partners gazing out from what will become the second floor of SCDP (or whatever they end up calling it post-Lane), does anything point to a triumphant future more than that? Gets you pumped up for next season already. But before I get too far ahead of myself, there a couple of other matters to wrap up.

Plotwise, we get the conclusion to Pete's doomed tryst with Beth and Megan's first acting job since leaving the advertising game. Mark, you totally nailed it by pointing out how overt Weiner and company was with their intentions this time around. And no moment was more explicit than Pete's admission of the chronic unhappiness of his "friend" to Beth in her hospital room, now devoid of any memory of their brief affair, so extreme that he comes to the conclusion that "life with his family was some temporary bandage on a permanent wound." I mean... damn. That's harsh, bro. I too would've preferred the show's usual elegance in delivering such a message, but at least it all let him getting his bitch-ass face decked again this year, not once but twice in a span of two minutes!

Now let's talk about Megan's latest acting defeat. Things have gotten continuously worse for her prospects at work, and we get a literal explanation from her mother for the episode's title as Megan chases the phantom of her dreams. I was a little surprised she reduced herself to stealing her friend's idea to get Don to pull strings to cast her in a commercial. We've never seen her so petty before. And his initial reaction was the appropriate one to me, but Megan really is just that desperate to take the next step in her career that she'd ask this of him. We know she can turn on the magic in a moment of inspired desperation, like the Heinz dinner when she and Don salvaged the account at the last moment, but really we have no idea if she's actually any good at acting. Every moment we've glimpsed of her acting has been part of a montage, spinning around at a casting call, or a silent film reel. But that reel did its job, because it sold Don. If his marriage to Betty disintegrated when she stopped modelling and became a suburban housewife, one has to wonder if helping Megan jumpstart her acting career will allow their marriage to strengthen or just push them to the same fate. After all, as Megan Calvet, the actress, her double life has now begun. And Don, as Nancy Sinatra reminds us, is no stranger to living twice. Can they make it work? I guess that all depends on whether or not Don decided to take up the two girls at the bar up on their offer in the closing seconds of the episode. Many online people assume he'll steal a few moments away with them, but I'm not yet convinced. Guess we'll have to wait until next season. Hopefully it won't be another 18 months like last time!

One final comment -- will this be the last we see of Ms. Olson, smiling in her Richmond hotel room in spite of the fornicating dogs outside her window? I doubt it, but I fear now that she's left SCDP, she could be regulated to guest-character status, much like Betty was this year. Sure, January Jones' real-life pregnancy may have forced Weiner's hand in that matter, but if you're not in Don Draper's inner circle in some capacity, you're not likely to get any screen time on Mad Men (unless I'm forgetting about someone). Anyway, hit us up with your thoughts, Mike!

Mike: A controversial episode, to be sure!  Like you both, I'm definitely questioning my responses a little bit to the finale here.  I've heard the "too on-the-nose" criticism about this from a bunch of different outlets, and you know what?  Sometimes a toothache is just a "hot tooth".  Sometimes seeing a vision everywhere of your brother who killed himself after being rejected by you, immediately following an arguably comparable situation with a co-worker is just... well, you get the idea.  In this case, though, could it be that Weiner and company don't trust us to figure it out?  Or are we, as fans and armchair critics, just getting too good at picking apart the stories?  Or, as a vocal minority have opined, have Weiner and the writing staff simply shifted their style to match the more loud, blatant, and unsubtle '60s?  I think that's a terrible theory myself, in that it is essentially stating that they wrote things poorly on purpose.  It couldn't be further from the truth, since in my opinion at least, "Mad Men" has been and is still a showcase for some very fine writing.

Yet, consider the opposite for a moment.  Is it possible that, despite an otherwise master-class performance this season (and, let's face it -- every season up until this point) they simply dropped the ball on this one and erred on the side of telling and not showing?  Sure, it's not outside of the realm of possibility.  But if that is the case, what happened to their quality control?  Is Matthew Weiner's hubris and white-knuckle grip on the steering wheel so great that nobody else on the staff would say something when his metaphors are getting a little too obvious on a finale, from which he's got to know that critics and viewers, detractors and fans alike, are expecting so much?

I, too, felt let down and a little disappointed at the end of this episode.  But the more I thought about it, the more I realized that the answers to its puzzles aren't quite as cut-and-dry as they first appeared. My initial response was based on expectations for some kind of huge revelation or turnaround like the third-season finale.  When I started to try to understand the episode on its own terms, outside of what I thought I wanted it to be like, I started liking it a whole lot more.

I'm still in the process of trying to find a way to look at this episode that still trusts that the series creators know what they're doing.  While I'm probably giving it a little too much credit, there's actually a lot to like about this episode.  There were all sorts of small rewards, nuances and charater revelations about every one of our favorite characters here.  The explosive scene between the widow Pryce and Don was, well, dynamite.  Even the (possible) final appearance of Peggy was heartwarming and a little sad.  The callbacks to previous seasons, what with Adam Whitman's ghostly reappearances, and Pete's outright vocalization about what's been eating him this entire time, well -- I'll be honest, I didn't have a huge problem with those scenes. What I'm trying to say here is, if this was a lesser episode of the fifth season, perhaps it's only in retrospect because of the high points so many of the other episodes reached.

Much has been made of the HBO dramatic series model (cross-reference: "The Sopranos" and "The Wire", especially) wherein episode 12 of the 13-episode season is where the climax of the season arc hits, and then traditionally the final episode is a denouement of sorts.  Since the creator of the show has that sort of pedigree, it's not surprising that, like Jon mentioned above, this finale was more of a lead-in for the next season than an exciting conclusion to the swingin'-from-the-rafters (yeah, I said it) roller-coaster ride that was Lane's final downfall and suicide in the penultimate episode.

You guys have already covered a lot of what happened in the show, and done a great job picking it apart. What I want to look at mainly is what this last episode is trying to say about Don. This whole season, I was expecting the very worst from him.  Despite some quite conspicuous flare-ups of "old Don," what we've seen until this episode is a man trying to be better than his instincts, even going against them in the name of love, and experiencing a lot of joy but also a lot of disappointment as well.  What is different between my interpretation of the final scenes in this episode and the consensus opinion seems to be that I don't believe Don has made up his mind yet about what he is going to do.  Yes, he is clearly disappointed in Megan's betrayal of his principles that he surely thought she had shared.  Yes, when he reached a kind of breaking point like this in his relationship with Betty, that is undoubtedly when the death knell for their relationship was first sounded.  But "new Don" has shown us time and time again this season that he has, at the very least, been attempting to learn from his mistakes.

As Don watched Megan's reel being projected onto the screen, I didn't feel like he was disgusted by her or what she was about to have him do.  I definitely sensed his admiration, tempered with more than a touch of sadness.  This expression, I propose, is not that of a man who has given up on his wife -- at least, not yet:

I mean, were we supposed to think Megan's rejected audition film was awful? I'm going to put myself out there and say that even though it may have lessened his regard for her a bit, Don submitted Megan's film for the audition process because he saw something there.  I did, too!  And then, it seems, so did the clients, since they ended up picking her for the part after all.  Megan's mercenary and disloyal tactics aside, she really looked the part in the tiny fragment of the commercial that we glimpsed.

Don may or may not have learned from his loss of Peggy and the slip of at least the initial iteration of his relationship with Megan through his fingers.  Seasons six and (I hope) seven are going to fill us in on that, I'm sure.  As for whether Don stays faithful to his wife when propositioned by an attractive female at the very end, I think that still remains to be seen.  As much as others have complained that they were spoon-fed information this episode and even a few before it, this episode's end did not provide a clear answer.  I think it goes without saying that Don was feeling a bit lonely, but did that mean that he truly was in fact alone?  Was that an innocent yet regretful smirk on his face, or the hum of the ol' charm engine getting started after a brief hibernation?

Dramatically, it probably makes more sense that Don would start to delve into his darker nature again. But as I've said before here, "Mad Men" for me has always been a show that swerves in another direction whenever I think it's going to head a certain way.  I'm crossing my fingers that Don doesn't take that path again, because there aren't a whole lot of terribly interesting storylines I can think of down that particular rabbit hole that haven't been explored already.  That said, I would certainly relish the opportunity to be proven wrong!

In conclusion, I'll just say this: to say I loved this season of television would be an understatement.  Nobody wants to see the quality of a favorite show go downhill, but I really think that we are all being a little over-sensitive on this one.  I'll agree that this was not my favorite episode of the season, but in the greater mosaic of what they're trying to do here, I think it will be an important piece.  Of what, only time, and the impending end of the series a few years out, will tell.

(P.S. Thanks to Jon and Mark for keeping this thing going all season long, even when I flaked out towards the end a little.  Great work, everyone involved.)

---------------------------

See you in season 6!

Previously:
Episodes 1 & 2 - "A Little Kiss"
Episode 3 - "Tea Leaves"
Episode 4 - "Mystery Date"
Episode 5 - "Signal 30"
Episode 6 - "Far Away Places"
Episode 7 - "At The Codfish Ball"
Episode 8 - "Lady Lazarus"
Episode 9 - "Dark Shadows"
Episode 10 - "Christmas Waltz"
Episodes 11 & 12 - "The Other Woman" & "Commissions and Fees"

MAD MEN Partners' Meeting - "The Other Woman" & "Commissions and Fees"

Welcome to the Mad Men Partners' Meeting -- a roundtable discussion of this week's episode from your friendly neighborhood LowBrowMedia savants.
This is a spoiler-heavy zone. You have been warned.

"The Other Woman" & "Commissions and Fees"

Season 5, Episodes 11 & 12

airdates: May 27th and June 3rd, 2012

Jon: Hey, hey! Long time no talk. My vaycay was great, thanks for asking. But we have more important items to discuss: the two most recent episodes! Since we've been behind recently, I'm gonna combine the most recent two into a single post to expedite things for Sunday's season finale. Some great items will be overlooked in the name of speed and the greater good of the further adventures of the Partners' Meeting.

First up, a look at "The Other Woman." This episode's focus was on three of the most important ladies in Don Draper's life - Megan, Peggy and Joan - and SCDP's continued pursuit of the Jaguar account. All along their angle was to sell the Jaguar brand as the equivalent of a man's mistress. Which leads us to first to discuss  Joan, who despite always being one of the strongest female characters on the show, if not all of television, is routinely reduced to a slab of flesh. Part of this is because she has never been shy at using her looks to command what she wants; it works more often than not, but the events of this episode are an explicit reminder of the cost of that tactic. One of the key decision-makers on the British luxury brand's side proves himself to be an even sleazier car magnate than what the other characters on the show led the audience to believe (and they didn't exactly mince words on this topic), and all but demands to Pete and Ken during a dinner that if he doesn't get a night with Joan then SCDP won't have a prayer of getting the account. She immediate shuts down Pete's shameless broach of the subject, but ultimately Lane's suggestion of demanding partnership and 5% of the account's profits as a reward for the dirty deed end up being enough to sway her. But I think the real reason Joan agrees to sleep with the Jag-off is because she is led to believe that all the other partners are on board with this decision, even Lane and Roger, her "champions" at the office. Who can blame her if she begins to believe she really is just a pretty face and a set of dynamite curves tasked with being a divorced single mother at time when that was considered downright immoral by society. There must have seemed as if she really didn't have a better option. Of course, what she doesn't know is Don was one dissenting voice who was so disturbed by the idea that he left the room after Pete brought it up, which only allowed them to vote without his counter-point to dissuade them from going forward with the distasteful proposition. Majority rules, after all. When Don finds out that she was planning on going through with it, he rushes to her apartment to tell her she's better than that. He thinks he's made it to her before she met with the dealership owner, but after some crafty editing, we learn before the close of the episode that Joan had only just returned from her rendezvous with the creepazoid before Don arrived. After his speech, she says, "You're a good one, aren't you?" which was just beyond heartbreaking. (More on Don in a bit.) Ultimately, SCDP gets the Jaguar account the next day and a shocked Don learns that Joan, in fact, did her part in reeling them in.

Meanwhile, Megan has continued with her acting plans while the grumbling Don remains reluctantly supportive. That is until Megan reveals that her new possible gig will take her to Boston for a couple of months of rehearsal if she lands it. Don is absolutely furious. Not only is his bride no longer working side-by-side with him, now the very real possibility of her leaving town to pursue her dreams has arrived as well, and that is more than he's able to handle. They have a spat over it, but the issue remains unresolved since Megan has yet to actually land the part. But, much like Joan, Megan can do little more than turn around for the male casting trio for her role in the play, and she is passed over for it; one of the other cutlets looked better on display, I suppose.

Then there's Peggy, who's continuously fought against being just a pretty face, a pawn in the workplace or even seen as a woman working in a man's world. She's always just tried to be an equal through intelligence and hard work. So while she took charge of all SCDP's creative business while Don and his team obsessed over nothing but Jaguar, you can understand her frustration when Don (frustrated by the Joan and Megan developments) treats her inhumanely by tossing money at her face during an argument. That was her final straw. And a couple of meetings with good ol' Freddy Rumsen and a SCDP competitor later, she gave her notice to Don, and there was nothing he could do in that moment to win her back. He lost her days before.


So, is Don one of the good ones as Joan attests? In her experience, absolutely. He's worlds above the other partners and just about any other man she's been in the company of that we've been privy to on the show. And we've seen him be amazing to lots of characters. But Don continues to treat Megan and Peggy atrociously whenever that infamous Draper temper flares up. So... I guess he is sometimes? It's such a hard question to answer, which is why it's so fascinating to contemplate.

And it's a subject that was similarly broached in "Commissions and Fees." While checking the books to see how Jaguar's unique payment request would effect business, Bert Cooper discovers Lane's forged check from "Christmas Waltz." However, since Don's name is on it, he accuses Don of having given Lane a bonus behind everyone's back and being "the good little boy while the adults run this business." And he may have a point, because even though Don cleans up the Lane mess a heartbeat later, he does so in about the most decent way possible by giving Lane an opportunity to devise a story for his resignation. Unfortunately things unravel quickly from that point for Lane, and he ultimately decides to hang himself in his office over the weekend. Continuing with the Don is a good guy evidence, he refuses to let Lane hang there any longer once he learns the body has yet to be moved, enlisting Pete and Roger to help him cut him down. The easy thing would have been to leave him there as Pete, Ken and Harry decided to do (hard to blame Joan or Bert for it though). And he also treated Glen surprisingly well considering the day he had, not only giving the youngster a ride back to school but letting the boy drive the car there himself.

I don't know. Maybe I'm looking too hard for reasons to like Don right now after all the sadness the Joan and Lane stories brought and the prospect of no more Peggy in our lives. He's obviously a complicated man who cannot be easily classified as a villain or a hero in any traditional sense. There does seem to be more good in him now than we've seen in some time, perhaps ever, and I think it's worth putting a spotlight on that for a moment.

Shifting back to Lane for a sec... ugh, that was so depressing. I guess I don't have a lot to say about his suicide. Ever since Joan rejected his advances after the fight with Pete, things have been going downhill for him, and life wasn't particularly rosy for him before that to boot. Once we saw him reduced to embezzlement, it was a good guess his time at SCDP was likely coming to a close and

So many questions are lingering now. Will Joan hold any form of resentment against Pete, Roger and Bert for what they pushed her into? Don't see how you could blame her if she did. How does SCDP deal with Lane's suicide? Practically speaking, Joan will be able to slide into his duties rather seamlessly (there's been a running joke much of this season that she really did all he was responsible for), but this is not Mrs. Blankenship were talking about. The man was a partner and killed himself in his office; there will be constant reminders for all of those characters. Will it drive someone like Pete to change their outlook on what they have in life? And have we seen the last of Peggy Olson? She could easily join the ranks of Kinsey, Rumsen and Sal, the former key members of this group of ad men barely ever seen again after stepping outside their inner circle. Like Joan replacing Lane, Ginsberg could fill the void she'll leave, but at what cost? His volatility may get the better of him. These may not be addressed in the finale, but I'm sure they'll continue to be relevant down the line.

Man. These last two episodes were big downers, but had so much great material packed in. I haven't even talked about really major stuff with Sally, some interesting tidbits on Betty, or even my homeboy Glen! Mark, any thoughts on those characters or were you as consumed with Joan, Peggy and Lane as I was?

Mark: Hey, Jon! Glad you had a good vacation. Geez, where to begin? Well, you know I always have something to say about Sally. It doesn't take much for this kid to break my heart, so you can imagine my reaction to her in this episode. Things are never easy for Sally, so it was appropriate that she would experience her first period while playing hooky at the Natural History Museum with Glen. This show is so adept at portraying the rollercoaster of confusion that is adolescence, and Kiernan Shipka is turning out to be quite a thoughtful actress. I thought the whole subplot, from Sally's reticent crush on Glen "Holden Caulfield" Bishop to her panicked dash back home to Betty, was handled very well. It was also touching to see Betty have a rare moment of selflessness and compassion for her daughter in a moment when Sally desperately needed her mother to put these scary things into perspective. Betty's speech about the life-affirming nature of menstruation was an uncharacteristically upbeat moment for Mad Men. For once this show wasn't convincing me that life is a meaningless nightmare.



And God knows I needed it these last two weeks, as this sweet story was surrounded by the destruction or near-moral-destruction of one of my favorite characters (Joan) and the one I most wanted to pat on the back and tell to calm the fuck down and smell the roses (Lane). First off, Lane. I agree, Jon, this was so depressing, and even though it was laced with some traditional Mad Men gallows humor, the death of Lane Pryce hit me hard. I feel like it is something that is going to irrevocably change the landscape of this show. Off the top of my head, I can't think of anything else like this that has hit the SCDP crew so close to their own turf. Even though his reasons were not made clear to the rest of the partners, and I doubt Don will make them clear, I think each character will see what they want in themselves through Lane's suicide and won't be able to help being changed by it for better or worse. I've read elsewhere the theory that Lane gave too much and never claimed anything for himself. I don't know if I agree with that, at least not in the literal sense. I think the problem with Lane is that he allowed himself to be a shadow that the rest of the world passed through. He sat on the sidelines of his own life, and like Pete he daydreamed about being Don Draper, a big bold American bad-ass, until he got backed into a desperate corner, and the only way out was to swallow his pride and take a long look at himself and where he was. And Lane couldn't do that. He couldn't admit to himself that he needed help or that he made a mistake, and he certainly couldn't bear the humiliation of Don (being relatively compassionate, in a Don way) calling him on his actions. Don gave Lane the option of starting over, but that's where Lane and Don differ. That's why Don is the ultimate ad man. He is able to believe in some pie-in-the-sky ideal so strongly that it becomes a reality. Lane hated himself to the very core. He could never be Don Draper, because Dick Whitman would always be there eating away at him from the inside.









Lane snapping his glasses in half right before doing the deed was such a powerful physicalization of that self-hatred. Now the gallows humor I was talking about. I did love Lane as a character, but he is one of those Coen Brothers-esque heroes where its kind of fun and cathartic to see him be endless shit upon as a result of his own stupidity and bad luck. When Lane's wife surprised him with that Jaguar. Damn it. Jared Harris totally nailed the sinking dread of the situation. And after hearing so much about Jaguar's being substandard vehicles, I have to admit I did not see the punchline coming of Lane being unable to start the car and asphyxiate himself with the exhaust. It feels a little weird to say that was a great moment, but it was thematically on-point, it was totally appropriate for the character, and the subtext of the Jaguar-as-mistress being unreliable in a show filled with desperately unhappy philanderers was not lost on me. Just good writing.




I would say poor Joan, but I almost feel like I should be saying poor Don. Sure, Don is essentially our main character, but it almost seems like Don is suffering more for Joan's (and Lane's) decisions than they are. As gross as the SCDP partners were for entertaining the sleazebag Jaguar guy's offer... Well, let's face it, Pete is the gross one, although for as much as the others protested they didn't exactly stop it from happening. I feel like Lane was at least looking out for Joan in his own fucked-up way by suggesting that she get some financial leverage in the negotiation, and ultimately Joan made her own decision. I worry that this is one of those things that Mad Men characters carry around all of their lives that poison them slowly, but as a single divorced mother in the mid-1960s Joan is a stigmatized, ostracized figure. And with Greg off playing GI Joe in the Mekong Delta, Joan only has herself on which to rely when the bills start rolling in and the fridge goes on the fritz. It is horrible and depressing, such is the Gospel According to Weiner, to have to compromise yourself and give up pieces of your soul each and every day in order to stay afloat, and this was an extreme illustration of that in Mad Men's short-story mold. I'm glad to see Joan claiming some more power for herself, but at what cost? I just hope that some day down the line Joan doesn't have to suffer the indignity of being reminded of how she got to where she is by some pigheaded and petty SCDP shithead (I'm looking at you, Pete.)

This whole thing really gives some mileage to Don's downward spiral. Jon, it's interesting to try to pin Don down as being either a good or bad person. He's a complicated guy, definitely flawed and hypocritical, but not evil. Like anyone, I think Don is a good person when he wants to be. It's not easy to be good. It's downright impossible to be good all the time. I think Don is a good person who has been scarred by his experiences. He was discarded as a child and taught to disappear if things aren't going his way. There is an emptiness to him, a fluidity to his identity and how he perceives the world that others don't share. He's a bit of a sociopath in that way. We've joked before about Don being capable of murder. He does have a psycho tinge to him in his ability to disappear or change on a dime when things get too real, but more and more I feel like Don is just a kid who is trying to embody a childish ideal. And in accordance, he definitely acts childish. He is overflowing with respect and admiration for Joan, but when she compromises his idealized vision of her, he is crestfallen. I believe he is genuinely hurt and saddened that Joan was taken advantage of, but I also think there is an element of him feeling let down by her. The same with Peggy. He gets wrapped up in his own stuff and treats Peggy like garbage, and completely disrespects her by throwing money in her face. And when she stops taking it and seeks a new opportunity, he begs her to stay, in a touching scene that has just enough of a dash of "abusive boyfriend swearing he'll never do it again" to make it that special brand of "Mad Men complicated". Don't get me wrong, I absolutely believe that Don respects Peggy and cherishes their professional chemistry and history, but I also think it is important to him that he always remain the mentor and she remain the adoring pupil. But I think Don can be a great person in the moments that he chooses to be kind, which you're right, Jon, these moments seem to be more plentiful these days (credit to Megan, whom I didn't get to discuss much), whether it's paying some respect to Lane's body or taking it easy on the scared and stranded Glen. But Don always gets something out of it. In his night drive with Glen, Don was able to escape from the complications and compromises of living in the world and experience the optimism of childhood. As confusing and scary as adolescence can be, it's amazing how all of those fears can be washed away (at least temporarily) by something as simple as a grown-up letting you take the wheel.

Again, this may just be me not wanting to let go of Peggy, but I don't see this as her exit from the show. I think this is just the next chapter in Peggy's evolution as a young woman in the career world, which has provided such a nice spine for the show. It was great to see her step into a whole new world of possibilities as the Kinks tore down a few more shreds of the good-old-boy business tactics of SCDP. Maybe I'm selfish, but I don't want Peggy to stray to far from us.

Previously:
Episodes 1&2 - "A Little Kiss"
Episode 3 - "Tea Leaves"
Episode 4 - "Mystery Date"
Episode 5 - "Signal 30"
Episode 6 - "Far Away Places"
Episode 7 - "At The Codfish Ball"
Episode 8 - "Lady Lazarus"
Episode 9 - "Dark Shadows"
Episode 10 - "Christmas Waltz"

MAD MEN Partners' Meeting - "Christmas Waltz"

Welcome to the Mad Men Partners' Meeting -- a roundtable discussion of this week's episode from your friendly neighborhood LowBrowMedia savants.
This is a spoiler-heavy zone. You have been warned.

"Christmas Waltz"

Season 5, Episode 10

airdate: May 20th, 2012

*** Welcome faithful Partners' Meeting readers! Family vacations and just general life events and such have taken ahold of the LBM crew over the past couple of weeks, so we very late with this Mad Men review. But have no fears; we'll be catching up and be back in the grove soon. ***

Jon: Full disclosure -- by the time the final version of this post sees the light of day, I should be maxing and relaxing along the Myrtle Beach strip, Kenny Powers style. In other words, I wrote this too fast and only about 14 hours after finishing my section for "Dark Shadows," so I apologize for being less than thorough this time. But enough of that. Let's get this party started!

Okay, in my mind, three major things happened this week: Lane decided to do a little embezzling, Harry hung out with the Krishnas, and Don and Joan basically went on a date.

First, let's discuss Lane. Turns out my Revolver analysis from a few weeks back was more on the nose than I could have known, because the Taxman is after our favorite British ex-pat for eight large. Trouble is, Mr. Pryce doesn't have anywhere near that sort of mullah on hand, so he hatches a plan to give everyone at the company Christmas bonuses, his being -- wouldn'tcha know -- $8,000. But first, he's gotta convince the other partners to dish it out asap. They agree to the bonus, but not to pay it out immediately, which is too late for Lane. The man is in such dire straights he forges Don's signature and cuts himself a bonus early to take care of the tax hounds. Things seem to be okay for him until the episode's closing scene, when we learn Mohawk Airlines is pulling all of their advertising to stem the financial bleeding from a mechanics' strike, depleting SCDP of expected funds. Surprisingly, the partners decide to give the staff a bonus as planned; however, the senior and junior partners will be biting the bullet and forfeiting theirs. Happy Christmas, Lane! You're in exactly the same pickle you were in the opening moments of the episode. I kid, but I adore Lane, and this is simply awful to watch. Things have continued to spiral out of his control at every turn despite real effort to right the ship on his part (even if it is by shady methods). This could get ugly fast.

Speaking of characters we haven't seen anything substantial from in a while, Harry actually got a plotline! And got to reacquaint himself with old friend of the show Paul Kinsey, who we haven't seen since the formation of SCDP left everyone but the core characters on the outside looking in. The years have not been kind to Kinsey, who fell down the advertising firm ladder until he found himself working at the A&P. And now even that's looking up, as he's immersed himself in what has to be an early branch of the Hare Krishnas in New York City (this is Christmas of 1966 after all). At first, Paul seems to want to recruit Harry to his new-found religion, but then when they're chowing down a diner, we learn the real reason he made contact with Harry again -- Kinsey wants Harry to use his television contacts to pass along his unsolicited Star Trek spec script into Gene Roddenberry's hands, as if Harry Crane actually had such powers. (Btw, anyone else think it's a shame that Kinsey wasn't better friends with Ken, the sci-fi scribe? He might have been able to provide legit criticism and encouragement for that script, as opposed to the weak television industry connections that Harry could only offer even if he wanted to help him.) Anyway, Harry knows it's an awful script. But so does Kinsey's creepy, but still hawt Juliette Lewis-esque ladyfriend, Lakshmi, who seduces Harry to keep him from being able to help Paul succeed with his writing dreams. But Harry actually does Kinsey a solid and gives him a ticket to LA with some seed money. He's probably doomed to fail out there, but at least he's not under the thumb of Lakshmi and the Hare Krishnas.

Now to the happy stuff! I know I'm glossing over a lot here in terms how Don and Joan set off on their little date in the first place, but how AMAZING were Jon Hamm and Christina Hendricks in "Christmas Waltz"? I never suspected the two of them had chemistry like that. Hendricks in particular exuded more sex in the episode than I've ever seen from her (which is saying something). Every line out of her mouth was jaw dropping. And Hamm just looked like he was having the time of his life every time the two of them were in the same room together. I know I was writing early in the season about how great Don and Megan were for each other, but damn... I never got a glimpse of this before. I'm not sure there's going to be anything going on with these two just yet, but I know this is what I'll be rooting for on the show until further notice.

Okay, I should really be packing for my trip now. I'm going to have to talk about Joanie and Don more when I come back in two weeks, assuming they give us something to discuss. What say you, good readers? Am I asking for post-hook results of Moonlighting and Who's The Boss? here, or could it work?

Previously:
Episodes 1&2 - "A Little Kiss"
Episode 3 - "Tea Leaves"
Episode 4 - "Mystery Date"
Episode 5 - "Signal 30"
Episode 6 - "Far Away Places"
Episode 7 - "At The Codfish Ball"
Episode 8 - "Lady Lazarus"
Episode 9 - "Dark Shadows"