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 //
Showing posts with label mad men. Show all posts
Showing posts with label mad men. Show all posts
Wednesday, September 3, 2008
Monday, August 25, 2008
'Mad Men' Detachment on 'The New Girl'
'The New Girl’ - Season 2, Episode 5
MANHATTAN, New York (August 25, 2008) >> virtuality
'Mad Men' demonstrates how characters are effected by their decisions based on the willingness to let go of or forget about relational and/or psychological attachments. A foundation point of the entire series is that Don Draper (Jon Hamm) has become the Creative Director of Sterling Cooper due to his previous detachment from his real identity, his original wife and son, and his brother. The first season's crystal moment of truth about the man who will remake himself as Lieutenant Donald Draper is the poignancy of the son who sees his father leaving on the train.
DISCLAIMER: The essay below contains plot spoilers about Season 2, Episode 5: "The New Girl." 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. MARATHON ALERT: This Sunday, August 31, at 5 P.M. (EST), the first five episodes will be shown in order before the regular cablecast; check your local listings.
In ‘The New Girl’ episode, Don barely hesitates to leave work to meet Bobbie Barrett (Melinda McGraw) at Sardi’s. They liquor up and drive out to Stoneybrook, Long Island for sex on the beach. Don drives under the influence of both alcohol and the sensation of having his ear sucked with serious sensuality resulting in an automobile accident. Peggy Olson is forced to intervene and to bail out Don – literally. (PUBLIC SERVICE ANNOUNCEMENT: If you still insist on holding to the belief that drinking and driving is ultra cool or even sane, please review the James Dean safe highway driving trailer as well as the soon-thereafter crash photos of his mangled Porsche!)
Peggy Olson (Elizabeth Moss) has been dragged in as the rescuer and also has to provide Bobbie a safe haven at her apartment to sober up and to give her injured blackened eye a little time to cool down. Bobbie, we see repeatedly, asks a lot of questions to size up people; she queries Peggy about her possible romantic attachment to Don. Bobbie repays Peggy in her own way with tactical tips on how to achieve a corner office at Sterling Cooper. Bobbie insists Peggy has to “be a woman” and has to get don to treat her as an equal.
After her baby was born, Peggy disappeared from work and was in St. Mary’s hospital with "psycho-neurotic disorder" (possibly post-partum depression). In the flashback, Don came to her urging that she “get out of here and move forward.” In other words, detach as if “it never happened.” Don reveals himself in telling Peggy, “It will shock you how much it never happened.”
Meanwhile, Paul Campbell (Vincent Kartheiser) and his wife Trudy (Alison Brie) have gone to the doctor for fertility evaluation. Turns out that Pete is ripe with “viability” while Trudy is informed the problem is hers. Pete seems ready to let go of the notion of fatherhood in exchange for less encumbered travel time and movie nights. Trudy, on the other hand, expresses suffering from her attachment to her perceived expectation of motherhood, “What is this all for? I really do want a baby.” Pete is unsympathetic and insensitive, “Work this through or keep it to yourself.”
At the office Joan Holloway (Christina Hendricks) has a new diamond ring visibly announcing to the staff her new status (and upcoming attachment) as fiancee to a doctor. Roger Sterling offers congratulations to her but also expresses regrets as Joan was “the only reason I came in to work.” Joan wields new authority and enforces dress code mores on the new girl secretary, i.e., Jane Siegel (Payton List), for showing a distracting amount of cleavage.
Jimmy Barrett (Patrick Fischler) compliments Don as a 'real cool cat' for his detachment from Jimmy’s bad behavior with the Schillings and then helping him escape a contract clause to do the 'Grin and Barrett' television pilot.
After the accident, Don arrived home very late from waiting to be bailed out for his driving while intoxicated to find Betty (January Jones) angry as well as deeply concerned. Mrs. Draper is attached to the notion that Don would call her since she is his wife unaware that he has been with Bobbie Barrett. Don makes the excuse that the high blood pressure pills and alcohol together possibly contributed to the impaired driving. In the end, Betty Draper states her real fear and attachment: “What would we do without you (Don)?” Betty informs Don that he will have to get used to meatloaf without salt (a contributor to high blood pressure) "because we love him." ///
MANHATTAN, New York (August 25, 2008) >> virtuality
'Mad Men' demonstrates how characters are effected by their decisions based on the willingness to let go of or forget about relational and/or psychological attachments. A foundation point of the entire series is that Don Draper (Jon Hamm) has become the Creative Director of Sterling Cooper due to his previous detachment from his real identity, his original wife and son, and his brother. The first season's crystal moment of truth about the man who will remake himself as Lieutenant Donald Draper is the poignancy of the son who sees his father leaving on the train.
DISCLAIMER: The essay below contains plot spoilers about Season 2, Episode 5: "The New Girl." 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. MARATHON ALERT: This Sunday, August 31, at 5 P.M. (EST), the first five episodes will be shown in order before the regular cablecast; check your local listings.
In ‘The New Girl’ episode, Don barely hesitates to leave work to meet Bobbie Barrett (Melinda McGraw) at Sardi’s. They liquor up and drive out to Stoneybrook, Long Island for sex on the beach. Don drives under the influence of both alcohol and the sensation of having his ear sucked with serious sensuality resulting in an automobile accident. Peggy Olson is forced to intervene and to bail out Don – literally. (PUBLIC SERVICE ANNOUNCEMENT: If you still insist on holding to the belief that drinking and driving is ultra cool or even sane, please review the James Dean safe highway driving trailer as well as the soon-thereafter crash photos of his mangled Porsche!)
Peggy Olson (Elizabeth Moss) has been dragged in as the rescuer and also has to provide Bobbie a safe haven at her apartment to sober up and to give her injured blackened eye a little time to cool down. Bobbie, we see repeatedly, asks a lot of questions to size up people; she queries Peggy about her possible romantic attachment to Don. Bobbie repays Peggy in her own way with tactical tips on how to achieve a corner office at Sterling Cooper. Bobbie insists Peggy has to “be a woman” and has to get don to treat her as an equal.
After her baby was born, Peggy disappeared from work and was in St. Mary’s hospital with "psycho-neurotic disorder" (possibly post-partum depression). In the flashback, Don came to her urging that she “get out of here and move forward.” In other words, detach as if “it never happened.” Don reveals himself in telling Peggy, “It will shock you how much it never happened.”
Meanwhile, Paul Campbell (Vincent Kartheiser) and his wife Trudy (Alison Brie) have gone to the doctor for fertility evaluation. Turns out that Pete is ripe with “viability” while Trudy is informed the problem is hers. Pete seems ready to let go of the notion of fatherhood in exchange for less encumbered travel time and movie nights. Trudy, on the other hand, expresses suffering from her attachment to her perceived expectation of motherhood, “What is this all for? I really do want a baby.” Pete is unsympathetic and insensitive, “Work this through or keep it to yourself.”
At the office Joan Holloway (Christina Hendricks) has a new diamond ring visibly announcing to the staff her new status (and upcoming attachment) as fiancee to a doctor. Roger Sterling offers congratulations to her but also expresses regrets as Joan was “the only reason I came in to work.” Joan wields new authority and enforces dress code mores on the new girl secretary, i.e., Jane Siegel (Payton List), for showing a distracting amount of cleavage.
Jimmy Barrett (Patrick Fischler) compliments Don as a 'real cool cat' for his detachment from Jimmy’s bad behavior with the Schillings and then helping him escape a contract clause to do the 'Grin and Barrett' television pilot.
After the accident, Don arrived home very late from waiting to be bailed out for his driving while intoxicated to find Betty (January Jones) angry as well as deeply concerned. Mrs. Draper is attached to the notion that Don would call her since she is his wife unaware that he has been with Bobbie Barrett. Don makes the excuse that the high blood pressure pills and alcohol together possibly contributed to the impaired driving. In the end, Betty Draper states her real fear and attachment: “What would we do without you (Don)?” Betty informs Don that he will have to get used to meatloaf without salt (a contributor to high blood pressure) "because we love him." ///
Saturday, August 9, 2008
HEARD ZONE
CHINATOWN, New York (8/08/08)
HEARD ZONE alludes to the moment of uncertainty when a migratory herd must cross a river. The “mascot” of the fresh water mosasaur is the visual reminder that those who jump first and attempt to cross are likely to discover hungry hidden predators. Today's Nile crocodile awaiting a herd of zebras that must cross the river would be the same metaphor. The site is organized into primary sections of POLITIX, VIRTUALITY, WORLD, ECONO LINES, and CENTCOMM: AT THE FRONT.
POLITIX = political fix for recreational weekenders to hard-cure self medicators. I will be attempting to aim the shining Kleig lights of 21st Century progressivism into the darkly shadowed world of the American demographic forest. Realistically, there are 300 million people on the ground in The States... and we are not all above average. In a reality-based frame, we will traverse the districts of discourse from America's unresolved tribal conflicts to villainous Corporados stealing the church collection plates!!!
VIRTUALITY = the etheric realms of organized electrons that attempt to inform, persuade and assure us as witnesses to our history of transition into an unknown somewhere. Television section opens with “MadMen Reflections in an Antique Mirror.” My focus on that series will be its dramatic presentation rather than its interior decorating aspects. The Internet sub-section will be mobbing up and netting live prey. Humans are swimming in their own Tao, Maya and/or Karma of perceptible immersion. Musica = that which is absolutely necessary and "Unforgettable.” At this juncture, the world of Print Media has as much chance for survival as our first zebra to hit the water. Psycho-demography = population dynamics and interrelational analysis; I will be sounding off to synaptic snap, the crackle of self-remembering and Pop Psyc.
WORLD = All and Everything on the "Occasion." 6.7 billion humans are each clamoring for their share of life and potential in a Malthusian environment of demand pressure and supply squeeze. The tangible and physical realms of our planet's struggle to survive will be reported.
ECONO LINES = analysis and commentary on macroeconometric trends and happenings too large to ignore. Previously, “Sub Prime BBQ” and “Dance of Debt” (on the unbalanced coupling of the U.S.A. and China trade and debt relationship) were series that will be re-introduced in this new configuration. I was pounding my shoe on the table in the first quarter of 2006 and farther back into 2005 attempting to draw attention to the obvious that the bulge of re-financing Adjustable Rate Mortgages in Q3-2007 was over a trillion dollars. The re-fis pressure would be the economic tsunami to hit our beach-front security. My effort will be to interpret macro financial numbers into naturalistic allegories. and references to the worlds of physics and energetics.
CENTCOMM: AT THE FRONT will cover the territory of the corresponding American military command. Big trouble looms from the camel corps of the North African Maghreb to the operational disposition of the Khyber Pass. ///
HEARD ZONE alludes to the moment of uncertainty when a migratory herd must cross a river. The “mascot” of the fresh water mosasaur is the visual reminder that those who jump first and attempt to cross are likely to discover hungry hidden predators. Today's Nile crocodile awaiting a herd of zebras that must cross the river would be the same metaphor. The site is organized into primary sections of POLITIX, VIRTUALITY, WORLD, ECONO LINES, and CENTCOMM: AT THE FRONT.
POLITIX = political fix for recreational weekenders to hard-cure self medicators. I will be attempting to aim the shining Kleig lights of 21st Century progressivism into the darkly shadowed world of the American demographic forest. Realistically, there are 300 million people on the ground in The States... and we are not all above average. In a reality-based frame, we will traverse the districts of discourse from America's unresolved tribal conflicts to villainous Corporados stealing the church collection plates!!!
VIRTUALITY = the etheric realms of organized electrons that attempt to inform, persuade and assure us as witnesses to our history of transition into an unknown somewhere. Television section opens with “MadMen Reflections in an Antique Mirror.” My focus on that series will be its dramatic presentation rather than its interior decorating aspects. The Internet sub-section will be mobbing up and netting live prey. Humans are swimming in their own Tao, Maya and/or Karma of perceptible immersion. Musica = that which is absolutely necessary and "Unforgettable.” At this juncture, the world of Print Media has as much chance for survival as our first zebra to hit the water. Psycho-demography = population dynamics and interrelational analysis; I will be sounding off to synaptic snap, the crackle of self-remembering and Pop Psyc.
WORLD = All and Everything on the "Occasion." 6.7 billion humans are each clamoring for their share of life and potential in a Malthusian environment of demand pressure and supply squeeze. The tangible and physical realms of our planet's struggle to survive will be reported.
ECONO LINES = analysis and commentary on macroeconometric trends and happenings too large to ignore. Previously, “Sub Prime BBQ” and “Dance of Debt” (on the unbalanced coupling of the U.S.A. and China trade and debt relationship) were series that will be re-introduced in this new configuration. I was pounding my shoe on the table in the first quarter of 2006 and farther back into 2005 attempting to draw attention to the obvious that the bulge of re-financing Adjustable Rate Mortgages in Q3-2007 was over a trillion dollars. The re-fis pressure would be the economic tsunami to hit our beach-front security. My effort will be to interpret macro financial numbers into naturalistic allegories. and references to the worlds of physics and energetics.
CENTCOMM: AT THE FRONT will cover the territory of the corresponding American military command. Big trouble looms from the camel corps of the North African Maghreb to the operational disposition of the Khyber Pass. ///
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