MANHATTAN, New York October 1, 2008 >> mad men virtuality ©ML Duby
“Stop dining on the drama of other people’s lives like teenage girls.”
– Don Draper
On the other hand, now that we’re here, we might as well enjoy the Mad Men crew indulging their usual barrel of drink. We’ll sample a few hor'dourves and chat before the main course. Unfortunately, one of our regulars – Freddy – over-imbibes to the point of literally pissing himself. Let’s be clear about the Mad Men equation of consequences...after the disclaimer, of course.
DISCLAIMER: The essay below contains plot spoilers about Season 2, Episode 9: "Six Month Leave." If you haven't seen that episode, check out the Mad Men schedule on amctv.com to see when encore presentations are airing or download it from iTunes.
Freddy Rumsen (Joel Murray) is sent on a one-way out, “six-month leave of absence from which he won’t return” (Roger Sterling – John Slattery) because the “man is a train wreck” (Duck Philips – Mark Moses) and “disgusting” embarrassment according to Pete Campbell (Vincent Kartheiser). The scenario is that Freddy is so totally tanked and still drinking right before the Samsonite luggage client meeting. The unprofessionalism and potentially erratic, unpredictable presentation seems less important that the social stain of wet trousers.
The Six-Month Leave episode is really about who and what we hold onto. Against the real-time world backdrop of Marilyn Monroe’s death, we view our characters reacting to the news, revealing (or not) their feelings about the event, and resolving to move forward toward a “fresh start” as it was put by Don Draper (Jon Hamm). Draper in the elevator on the way up: “Can’t say I’m surprised.” Peggy Olson (Elizabeth Moss) astutely comments, “We’re lucky Playtex didn't go for that Jackie/Marilyn campaign." The secretarial pool is universally weepy with mourning. Roger Sterling sneers that Miss Monroe was a movie star that threw it all away as Joan Holloway (Christina Hendricks) pines, “This world destroyed her.”
As for Freddy’s plight, he’s dead in the world of Sterling Cooper. Despite his skill set, shared war stories and the loyalty of creative team, Freddy is finished, kaput, sayonara, adios, bye-bye and finito. Roger insists the firm “has to let him go.”
One of Roger Sterling’s violated cardinal sins is lust of the variety that all so frequently allies with disloyalty. Roger ensures the jettison of Freddy is “all being done the right way.” Apparently, 25 years of marriage with Mona does not weigh up as equal to his attraction to the 19-year old secretary Jane Siegel (Payton List). Roger commits a double cop-out, first with a fake name – secretary "Margaret" – to Mona and then, with a twisted-version replay of Don’s suggestion that “it’s your life, you have to move forward.” Roger's business is clear justification without acceptance of responsibilities for his actions and the underlying intentions.
Conflict between Don and Roger is foreshadowed with Roger’s reminder to Don that “you don’t have a contract” with Sterling Cooper. Roger adds, “Your loyalty is starting to become a liability.” At the close, Don ignores Roger’s effort to “explain” his misuse of Don’s bar comment, requests Jane to be off his desk and closes his office door in Roger’s face.
Marilyn Monroe sang “I’m Through With Love” in “Some Like It Hot.”
(1931) Matt Malneck; Songwriters: Gus Kahn, Fud Livingston, Matt Malneck
I'm through with love I'll never fall again
Said adieu to love Don't ever call again
For I must love you or no one
And so I'm through with love
I've locked my heart I'll keep my feelings there
I've stocked my heart in an icy Frigidaire
And I mean to care for no one
Because I'm through with love
Why did you lead me to think you could care?
You didn't need me for you had your share
of slaves around you to hound you and swear
their deep devotion and emotion to you
Goodbye to spring and all it meant to me
It can never bring the things that used to be
For I must have you or no one
And so I'm through with love
I'm through with love
That's why I'm through with love
Showing posts with label Duck Philips. Show all posts
Showing posts with label Duck Philips. Show all posts
Thursday, October 2, 2008
Wednesday, September 3, 2008
'Maidenform' Reveals Mad Men Double Standards
MANHATTAN, New York (September 1, 2008) >> mad men virtuality >>
"Nothing fits both sides of a woman better than Playtex." Mad Men's 'Maidenform' episode is a view into the substrata of the prevailing social rules of the early-60's sexual double standard. Don Draper (Jon Hamm) maneuvers between the compartments of the complicated world he has chosen to create for himself. The pressures of reality on his walls of separation are mounting.
DISCLAIMER: The essay below contains plot spoilers about Season 2, Episode 6: "Maidenform." If you haven't seen that episode, check out the Mad Men schedule on amctv.com to see when encore presentations are airing or download it from iTunes.
Women dressed like code for men in 1962: Shoes, stockings, skirts, dress straps, bras, accessories, etc. Clothes reveal how "men want to see them" according to Peggy Olson (Elizabeth Moss). Women's fashion of the era featured appropriate outfits for every occasion. Yves Saint Laurent had yet to score the knock-out blows against the established order with pant suits, safari wear and revamped color motifs.
Before the shakeup of the Sixties, privileged white males (like our Mad Men boys club) flaunted and exploited their positions of presumed authority over all women due to their gender. That perspective demanded uniforms of domestic, office and provocative attire from women. Men objectified and divided women into functional roles and sexual types (e.g., good girl versus bad girl). The Sterling Cooper self-ordained review committee typed the photo shoot bra models into two roles. As Don put it to the Playtex clients: "Two sides of one woman - Jackie (Kennedy) by day or Marilyn (Monroe) by night."
Peggy Olson did not fit at all and was laughed at as a Gertrude Stein or Irene Dunn (who won numerous Oscar awards for her acting). As Peggy put it, "Women expect to be as "men want to see them." When she is not included in activities related to her own account, she joins the after-hours mens' party dresses as the Devil in a Blue Dress to go to the strip club.
In the mind set of the time, it's acceptable to ogle swimsuit models at the golf club fashion show with families and kids but not OK for wife Betty Draper (January Jones) to wear a sexy bikini beach outfit in the privacy of her own kitchen. Don is merely reflecting the social onto his personal in ways that he increasingly cannot control. Don lives between his functions as a successful advertising executive and the difficulties of dealing with the psychological issues and processes of his marriage partner and children.
On a side note, an approaching series plot arc is foreshadowed as Duck Philips undergoes a series of self doubts. First, Duck cannot connect with his divorced family. Then, Duck must admit, "You have an 'I told you so; I hurt the company'," to Don about the American Airlines account fiasco. Finally, Duck confronts the urge to drink and releases the last link to his family - his dog Chauncy - onto the streets to fend for himself.
Mirrors Mirror
The thematic focus on the double standard is reinforced in the Maidenform episode by both the cinematic tools of mirrors and the reflection of the downside effect on our characters -- how they respond to one another and who they become. (That evidence will be explored in more detail as the season and accompanying commentary continues.)
The mirrored images are as obvious as Pete Campbell (Vincent Kartheiser) gazing at himself with smugness after his couch romp with the brassiere model. The day/night photo for the Jackie-by-day/Marilyn-by-night Sterling Cooper campaign pitch is visually representing a deeper level for our gazing or gawking at the social sexual double standard.
Don Draper and Bobbi Barrett (Melinda McGraw) watch themselves in the mirror in a stimulating and intoxicating turn-on. Then, Don suddenly senses and understands that Bobbie derives pleasure from him being her behavioral counter-party in a twisted pool of murky yin-yang S&M. Don Draper asks Bobbi as he is tying her wrists: "Does it make you feel better to think that I'm like you?"
Don also has two very different and awkward images of himself in his daughter Sally's eyes. First, she beams at him when he stands as one of the veterans at the country club. Then she comes into the bathroom to sit and watch her daddy shave in front of the mirror. The admiring look repeats the sequence and Sally's comment that "I'm not going to talk; I don't want you to hurt yourself," echoes and ricochets Bobbi's remarks in her bedroom. Don becomes very uncomfortable and sends Sally out. Don sits on the toilet seat reflected in yet another mirror at the close -- Narcissus incarnate darkly gazing into the lake of experiential realization. ///
c2008 by M.L.Duby // 'Maidenform' - Season 2, Episode 6 //
"Nothing fits both sides of a woman better than Playtex." Mad Men's 'Maidenform' episode is a view into the substrata of the prevailing social rules of the early-60's sexual double standard. Don Draper (Jon Hamm) maneuvers between the compartments of the complicated world he has chosen to create for himself. The pressures of reality on his walls of separation are mounting.
DISCLAIMER: The essay below contains plot spoilers about Season 2, Episode 6: "Maidenform." If you haven't seen that episode, check out the Mad Men schedule on amctv.com to see when encore presentations are airing or download it from iTunes.
Women dressed like code for men in 1962: Shoes, stockings, skirts, dress straps, bras, accessories, etc. Clothes reveal how "men want to see them" according to Peggy Olson (Elizabeth Moss). Women's fashion of the era featured appropriate outfits for every occasion. Yves Saint Laurent had yet to score the knock-out blows against the established order with pant suits, safari wear and revamped color motifs.
Before the shakeup of the Sixties, privileged white males (like our Mad Men boys club) flaunted and exploited their positions of presumed authority over all women due to their gender. That perspective demanded uniforms of domestic, office and provocative attire from women. Men objectified and divided women into functional roles and sexual types (e.g., good girl versus bad girl). The Sterling Cooper self-ordained review committee typed the photo shoot bra models into two roles. As Don put it to the Playtex clients: "Two sides of one woman - Jackie (Kennedy) by day or Marilyn (Monroe) by night."
Peggy Olson did not fit at all and was laughed at as a Gertrude Stein or Irene Dunn (who won numerous Oscar awards for her acting). As Peggy put it, "Women expect to be as "men want to see them." When she is not included in activities related to her own account, she joins the after-hours mens' party dresses as the Devil in a Blue Dress to go to the strip club.
In the mind set of the time, it's acceptable to ogle swimsuit models at the golf club fashion show with families and kids but not OK for wife Betty Draper (January Jones) to wear a sexy bikini beach outfit in the privacy of her own kitchen. Don is merely reflecting the social onto his personal in ways that he increasingly cannot control. Don lives between his functions as a successful advertising executive and the difficulties of dealing with the psychological issues and processes of his marriage partner and children.
On a side note, an approaching series plot arc is foreshadowed as Duck Philips undergoes a series of self doubts. First, Duck cannot connect with his divorced family. Then, Duck must admit, "You have an 'I told you so; I hurt the company'," to Don about the American Airlines account fiasco. Finally, Duck confronts the urge to drink and releases the last link to his family - his dog Chauncy - onto the streets to fend for himself.
Mirrors Mirror
The thematic focus on the double standard is reinforced in the Maidenform episode by both the cinematic tools of mirrors and the reflection of the downside effect on our characters -- how they respond to one another and who they become. (That evidence will be explored in more detail as the season and accompanying commentary continues.)
The mirrored images are as obvious as Pete Campbell (Vincent Kartheiser) gazing at himself with smugness after his couch romp with the brassiere model. The day/night photo for the Jackie-by-day/Marilyn-by-night Sterling Cooper campaign pitch is visually representing a deeper level for our gazing or gawking at the social sexual double standard.
Don Draper and Bobbi Barrett (Melinda McGraw) watch themselves in the mirror in a stimulating and intoxicating turn-on. Then, Don suddenly senses and understands that Bobbie derives pleasure from him being her behavioral counter-party in a twisted pool of murky yin-yang S&M. Don Draper asks Bobbi as he is tying her wrists: "Does it make you feel better to think that I'm like you?"
Don also has two very different and awkward images of himself in his daughter Sally's eyes. First, she beams at him when he stands as one of the veterans at the country club. Then she comes into the bathroom to sit and watch her daddy shave in front of the mirror. The admiring look repeats the sequence and Sally's comment that "I'm not going to talk; I don't want you to hurt yourself," echoes and ricochets Bobbi's remarks in her bedroom. Don becomes very uncomfortable and sends Sally out. Don sits on the toilet seat reflected in yet another mirror at the close -- Narcissus incarnate darkly gazing into the lake of experiential realization. ///
c2008 by M.L.Duby // 'Maidenform' - Season 2, Episode 6 //
Thursday, August 7, 2008
'Mad Men' Takes Flight One
MANHATTAN, NEW YORK (August 7, 2008)
The essential nature of drama is conflict. How the future unfolds and circumstances resolve is dependent on the characters and how they adapt or do not due to their inherent hubris (fatal ego flaw). Characters develop (transcending upward or devolving down). These very same principles apply on 21st Century TV as in the ancient theaters of Greece beginning in the Sixth Century B.C.E. We, the audience, are drawn in by identification with those characters and through our anticipation of what will transpire.
DISCLAIMER: The essay below contains plot spoilers about Season 2, Episode 2: "Flight One." If you haven't seen that episode, check out the Mad Men schedule on amctv.com to see when encore presentations are airing or download it from iTunes.
The operational center of the Mad Men universe is the office complex of Sterling Cooper that doubles as its emotional arena. The character conflicts of staffers introduced in the Flight One episode will resolve in that primary setting. As Joan Holloway foreshadows, People should not bring their problems into the office. They just drag you into the garbage.” The antagonistic dualities are being established.
At the open, Paul Kinsey has thrown a party in his suburban Montclair, New Jersey “poor little rich boy apartment.” Paul introduces his girlfriend Sheila White (who is black) to fellow staffers. Joan immediately and directly insults Paul with her feigned surprise that he would be “open-minded.” Staffers observe that Paul has lifted an office typewriter (and made him vulnerable). His justification is that he is a WRITER who NEEDS it. Later in the office, she shows her sharp teeth: “At least I'm not a phony.” Viewers see a male hand steal Joan's red purse from her locker; then her ID is copied and posted on the bulletin board with her birthday circled. (Presumably) Paul's act of payback reveals Joan’s age to be 31.
The episode reveals Peggy's internal spiritual conflict. She visits her new baby that is living at her mother's. Sleeping in the same room with the baby are two additional boys who are potentially hers. Peggy declines communion. This all adds up to possible issues such as aversion to contraceptives and abortion, which was still generally illegal at that time.
Betty Draper demonstrates talent as a card shark when the Drapers entertain at home. She also expresses a greater willingness to confront Don but he dodges the confrontation, “I’ll say whatever you want but I don't want to fight about it.” Rules of marriage are about to be tested.
Don Draper's contradiction at the office is that cutting loose a client is called “conflict of interest” for a good reason. We have additional complications as Duck Philips has recruited Pete Campbell in opposition to Draper’s call for “loyalty.” Pete Campbell’s father was in the airplane that crashed. He is suddenly without even a semblance of an emotional or moral rudder. Inheritance has turned to obligation and security into uncertainty.
Early 21st Century needs the straight-forward self-made (on many levels) Don Draper. Golden Globe Best Actor Jon Hamm deserves his accolades. His persona is resonating with those who are aware they are somewhere new now but unsure where, when and what that is. Our own end-of-era feelings and anxieties are being projected onto characters that we know are soon to find themselves immersed in social upheaval and revolutions across the realms of human existence.
Ageism and racial prejudice have been added to the previous blatant gender prejudice of WASP-ish 1962. The religious underpinnings of “proper” socially contractual sexual mores are creaking and cracking from the weight of cultural pressure. The duelists in these emerging conflicts are maneuvering and circling without head-on collisions – so far. Plenty of combatants are itching for a fight this season. ///
The essential nature of drama is conflict. How the future unfolds and circumstances resolve is dependent on the characters and how they adapt or do not due to their inherent hubris (fatal ego flaw). Characters develop (transcending upward or devolving down). These very same principles apply on 21st Century TV as in the ancient theaters of Greece beginning in the Sixth Century B.C.E. We, the audience, are drawn in by identification with those characters and through our anticipation of what will transpire.
DISCLAIMER: The essay below contains plot spoilers about Season 2, Episode 2: "Flight One." If you haven't seen that episode, check out the Mad Men schedule on amctv.com to see when encore presentations are airing or download it from iTunes.
The operational center of the Mad Men universe is the office complex of Sterling Cooper that doubles as its emotional arena. The character conflicts of staffers introduced in the Flight One episode will resolve in that primary setting. As Joan Holloway foreshadows, People should not bring their problems into the office. They just drag you into the garbage.” The antagonistic dualities are being established.
At the open, Paul Kinsey has thrown a party in his suburban Montclair, New Jersey “poor little rich boy apartment.” Paul introduces his girlfriend Sheila White (who is black) to fellow staffers. Joan immediately and directly insults Paul with her feigned surprise that he would be “open-minded.” Staffers observe that Paul has lifted an office typewriter (and made him vulnerable). His justification is that he is a WRITER who NEEDS it. Later in the office, she shows her sharp teeth: “At least I'm not a phony.” Viewers see a male hand steal Joan's red purse from her locker; then her ID is copied and posted on the bulletin board with her birthday circled. (Presumably) Paul's act of payback reveals Joan’s age to be 31.
The episode reveals Peggy's internal spiritual conflict. She visits her new baby that is living at her mother's. Sleeping in the same room with the baby are two additional boys who are potentially hers. Peggy declines communion. This all adds up to possible issues such as aversion to contraceptives and abortion, which was still generally illegal at that time.
Betty Draper demonstrates talent as a card shark when the Drapers entertain at home. She also expresses a greater willingness to confront Don but he dodges the confrontation, “I’ll say whatever you want but I don't want to fight about it.” Rules of marriage are about to be tested.
Don Draper's contradiction at the office is that cutting loose a client is called “conflict of interest” for a good reason. We have additional complications as Duck Philips has recruited Pete Campbell in opposition to Draper’s call for “loyalty.” Pete Campbell’s father was in the airplane that crashed. He is suddenly without even a semblance of an emotional or moral rudder. Inheritance has turned to obligation and security into uncertainty.
Early 21st Century needs the straight-forward self-made (on many levels) Don Draper. Golden Globe Best Actor Jon Hamm deserves his accolades. His persona is resonating with those who are aware they are somewhere new now but unsure where, when and what that is. Our own end-of-era feelings and anxieties are being projected onto characters that we know are soon to find themselves immersed in social upheaval and revolutions across the realms of human existence.
Ageism and racial prejudice have been added to the previous blatant gender prejudice of WASP-ish 1962. The religious underpinnings of “proper” socially contractual sexual mores are creaking and cracking from the weight of cultural pressure. The duelists in these emerging conflicts are maneuvering and circling without head-on collisions – so far. Plenty of combatants are itching for a fight this season. ///
Thursday, July 31, 2008
Mad Men Reflections in an Antique Mirror
MANHATTAN, NEW YORK (July 28, 2008)
In February of 1962, network programming on black and white television was the penultimate unifier of American self-perception. Season two of AMC's dramatic series “MAD MEN” opened with a background motif of Jacqueline Kennedy conducting her famous TV tour of the redecorated White House. All of the Mad Men women viewing together from their respective vantage points captured a perfect moment. I vividly remember my mother (she was “Mom” then) dressing up and applying makeup and jewelry to watch the tour as a nationally televised cultural event. Jackie was coming into our home, albeit via one-way broadcast beams, so one had to look one's very best. Ahh, "for those who think young."
DISCLAIMER: The essay below contains plot spoilers about Season 2, Episode 1: "For those Who Think Young." If you haven't seen that episode, check out the Mad Men schedule on amctv.com to see when encore presentations are airing or download it from iTunes.
It has been 46 years and change since then. These truisms are not trite. America saw itself as a society and a people in very different light at that time. We were the victors of World War Two and the champions of manufacturing. We still believed in our moral certitude. We saw ourselves as the good people that triumph in movies and life. At that juncture, Americans wished to be modern without any reasonable notion what that might mean and would portend. (Is 46, the mystical number of chromosomes, a subliminal message from creator Mathew Weiner alluding to our national DNA?)
White middle-class Americans were clueless to the impending revolutions that had already begun around them. David Halberstam in his history of “The Fifties” wrote what I mysteriously felt when I was finally allowed to see it: When Marlon Brando stepped off his motorcycle in “The Wild One,” that was the instant of electrical discharge and seismic pre-shock. “Brown vs. Board of Education” had been decided almost eight years before; combat boots had already been committed in Vietnam; experimentation with L.S.D. had been entrusted to C.I.A. field operatives.
Social life in 1962 Manhattan was “discos” and the Twist – everywhere. Meanwhile, off-screen and out in the boondocks where those things happen, the musical world was in a phase of rock innovation and dance tunes. At the top of the February 1962 music charts were Little Eva's “Locomotion” and Gene Chandler's “Duke of Earl.” Bruce Channel's “Hey Baby” (best known from the movie “Dirty Dancing”) was climbing the charts as The Drifters' “Up On The Roof” was peaking. “The movie “Twist Around the Clock” was being released in various cities and featured Dion's “Runaround Sue” and “The Wanderer.” Chuck Berry entered federal penitentiary that month on a racially loaded conviction for violation of the Mann Act – transporting a woman across state lines for the purposes of committing immoral acts.
Without over reliance on catchy tunes and soundtrack, Mad Men projects its message with visuals and “messages lines” in similarity to the advertising world of its day. The social underpinnings are under strain but the characters have no sense of what is about to transpire. Let’s watch from a safe distance and see what they learn. ///
In February of 1962, network programming on black and white television was the penultimate unifier of American self-perception. Season two of AMC's dramatic series “MAD MEN” opened with a background motif of Jacqueline Kennedy conducting her famous TV tour of the redecorated White House. All of the Mad Men women viewing together from their respective vantage points captured a perfect moment. I vividly remember my mother (she was “Mom” then) dressing up and applying makeup and jewelry to watch the tour as a nationally televised cultural event. Jackie was coming into our home, albeit via one-way broadcast beams, so one had to look one's very best. Ahh, "for those who think young."
DISCLAIMER: The essay below contains plot spoilers about Season 2, Episode 1: "For those Who Think Young." If you haven't seen that episode, check out the Mad Men schedule on amctv.com to see when encore presentations are airing or download it from iTunes.
It has been 46 years and change since then. These truisms are not trite. America saw itself as a society and a people in very different light at that time. We were the victors of World War Two and the champions of manufacturing. We still believed in our moral certitude. We saw ourselves as the good people that triumph in movies and life. At that juncture, Americans wished to be modern without any reasonable notion what that might mean and would portend. (Is 46, the mystical number of chromosomes, a subliminal message from creator Mathew Weiner alluding to our national DNA?)
White middle-class Americans were clueless to the impending revolutions that had already begun around them. David Halberstam in his history of “The Fifties” wrote what I mysteriously felt when I was finally allowed to see it: When Marlon Brando stepped off his motorcycle in “The Wild One,” that was the instant of electrical discharge and seismic pre-shock. “Brown vs. Board of Education” had been decided almost eight years before; combat boots had already been committed in Vietnam; experimentation with L.S.D. had been entrusted to C.I.A. field operatives.
Social life in 1962 Manhattan was “discos” and the Twist – everywhere. Meanwhile, off-screen and out in the boondocks where those things happen, the musical world was in a phase of rock innovation and dance tunes. At the top of the February 1962 music charts were Little Eva's “Locomotion” and Gene Chandler's “Duke of Earl.” Bruce Channel's “Hey Baby” (best known from the movie “Dirty Dancing”) was climbing the charts as The Drifters' “Up On The Roof” was peaking. “The movie “Twist Around the Clock” was being released in various cities and featured Dion's “Runaround Sue” and “The Wanderer.” Chuck Berry entered federal penitentiary that month on a racially loaded conviction for violation of the Mann Act – transporting a woman across state lines for the purposes of committing immoral acts.
Without over reliance on catchy tunes and soundtrack, Mad Men projects its message with visuals and “messages lines” in similarity to the advertising world of its day. The social underpinnings are under strain but the characters have no sense of what is about to transpire. Let’s watch from a safe distance and see what they learn. ///
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