MANHATTAN, New York (August 18, 2008)
"When the flesh meets the cross…Seduced by evil desires…" Admonitions and warnings of a sermon open the episode of ‘Three Sundays.’ How do we learn right and wrong? We can hear the encouragement to behave properly and the threat of punishment for immoral actions but we learn by empathetical observation of those in positions of standing. Witnessing actions of our parents and societal role models teach us what will be rewarded and what will be negatively reinforced or punished. At the extreme, the Catholic church of Peggy offers heaven and warns of hell.
DISCLAIMER: The essay below contains plot spoilers about Season 2, Episode 4: "Three Sundays." 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 Drapers engage in a domestic drama regarding how to control and discipline their son Bobby. He is full of “shenanigans, ...being wild in the house, ...lying in (Betty's) face” and ignoring warnings to be careful. Betty wants Don to deliver Bobby a spanking to teach him. Betty snarls the point, "First the washing machine and now the hi-fi... How else is he going to learn the difference between right and wrong?"
It is interesting to note that Betty has started to neglect the understood motherly function of feeding her kids (at 7:30 PM) and her husband when he returns from work. Betty at the end learns from Don: "My father beat the hell out of me. All it did was make me fantasize about the day I could murder him." Their couple violence escalates to shoves and threats to bodily harm (as in "put you through that window").
Daughter Sally is about eight years old and precociously knows enough to ask Paul about sex when she visits the office. “Do you kiss her? Do you ride on top of her?” Discussions with Joan about breast size and expectations of her own image of what she will be when she grows up are Sally's way of being sophisticated and “hip” (not yet a verbal meme for eight-year-olds in 1962). As we know, the tweeners and younger girls of today are bombarded with provocative and suggestive images and sounds. Some will not be so fortunate as to be carried home in the arms of their fathers after their first experiment with drinking whiskey until they pass out. It is worth noting for concerned parents that about 20% of children (even as young as six) are interested in sex, know the basics and fantasize about its adult implications (from the perspective and dream worlds of children, of course).
On the other hand, Roger Sterling has learned that he can get anything he wants if he is willing to pay the price of the ticket or “invoice” as he puts it. Vicky the prostitute has agreed to Roger’s price point in exchange for Roger getting whatever he wants in sexual acts. They depart from the hotel room to Lutece with Roger volunteering to school her in the finer points of red wine (and perhaps how to be his perfect mistress).
Father Gill learns from sister Anita Olson during confession that Peggy has “seduced a married man.” Anita judges her and hates her for her sin of the out-of-wedlock child. What's more, Anita feels that Peggy “acts like nothing has happened.”
Peggy's story resonates for us all. My own personal footnote is that I was conceived out of wedlock in murky circumstances during an evening of a summer baseball tournament. The act of conception was in a car with alcohol involved. This was an era when abortion was out of the question. Our nuclear family had a “wild-man” electron from before day one. “Growing up with the teenagers” was literal, figurative and painful. My familial (not the biological) father suffered and withdrew from me at a very early age.
Father Gill commits an act of tender kindness when he gives Peggy the blue Easter egg “for the little one.” May we all learn compassionate wisdom. ///
Showing posts with label Drapers. Show all posts
Showing posts with label Drapers. Show all posts
Monday, August 18, 2008
Tuesday, August 12, 2008
Manage Expectations on Mad Men's "The Benefactor"
What do we expect? What would Don Draper do? How do the characters “manage people’s expectations”? How are others able to use and manipulate us because we "expect" them to behave a certain way? The level of social contracts contains a framework within which we expect people to act and respond. The characters who trump that level with their willful expedience to take the game beyond the boundary triumph as the winners. They act on their needs and how to attain them beyond societal norms.
DISCLAIMER: The essay below contains plot spoilers about Season 2, Episode 3: "The Benefactor." 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 Benefactor" (episode #16) of Mad Men involves five couples: Drapers, Barretts, Schillings, Harry and his pregnant wife Jennifer, Arthur and his girlfriend Tara. Each of those couples demonstrates surface of expectations (e.g., contractual fidelity) and how those expectations really play out under the table and/or below the belt.
For example, the couple of comic Jimmy Barrett and his manager/maybe-wife/(sister-in-the-old-days) Bobbie have very low expectations around "fidelity." It's all business and survival. In the open, Jimmy goes beyond politeness and totally insults the obese Mrs. Schilling as a semblance of the Hindenburg. He ceases to stop and dumps on with “buffalo” and “whale” comparisons. Getting drunk on a contracted promotional shoot doesn’t faze him as wrong or inappropriate. People expect it. Later in the episode, Bobbie tells Don on the phone that Jimmy is auditioning at the Copa nightclub – controlled by the Mob in those days. That’s hard ball rules.
Bobbie thinks (expects) she can intimidate Don Draper as if he plays by the understood rules of propriety in business dealings. She will discover that Don plays hard ball better than she does. Bobbie expects a payoff for her behavior but doesn't get one. The turning moment is the command-performance sex in the front seat of Don’s car during the hailstorm. He protests, “I don't want to do this.” She retorts, “(IT) doesn't feel that way.” In the powder room at Lutece, Don manipulates Bobbie's expectations of his need/affection/lust for her. Don threatens to ruin Jimmy if she does not prompt him for the apology to Mrs. Schilling.
The insulted Schillings deserve but barely expect an apology from the likes of Jimmy Barrett. Mrs. Schilling “knows that’s what (Jimmy does) but she doesn’t have the stomach for it.”
Harry's wife Jennifer expects him to ask for a raise. She also has expectations that they somehow “deserve” the money because they need it for the coming baby. Oh my, how times have changed.
Arthur, the handsome rider, expects to be treated as “the rooster” at the stable but discovers that Betty turns down his advances. Immediately revealed are imbalances of money (she's got it) and dimorphism (he is much larger than she is). Arthur's relationship with Tara seems to be social climbing, expedient and unequally balanced.
Betty Draper defends her fidelity and performs as Don's “better half.” She understands the game and asks Don if the business dinner at Lutece will be an occasion for her to “talk” (i.e., participate in the conversation) or one in which she is expected to be silent. When the evening ends with Betty cuddling cozy next to Don in the car, she expects him to recognize that they “make a great team.” ///
DISCLAIMER: The essay below contains plot spoilers about Season 2, Episode 3: "The Benefactor." 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 Benefactor" (episode #16) of Mad Men involves five couples: Drapers, Barretts, Schillings, Harry and his pregnant wife Jennifer, Arthur and his girlfriend Tara. Each of those couples demonstrates surface of expectations (e.g., contractual fidelity) and how those expectations really play out under the table and/or below the belt.
For example, the couple of comic Jimmy Barrett and his manager/maybe-wife/(sister-in-the-old-days) Bobbie have very low expectations around "fidelity." It's all business and survival. In the open, Jimmy goes beyond politeness and totally insults the obese Mrs. Schilling as a semblance of the Hindenburg. He ceases to stop and dumps on with “buffalo” and “whale” comparisons. Getting drunk on a contracted promotional shoot doesn’t faze him as wrong or inappropriate. People expect it. Later in the episode, Bobbie tells Don on the phone that Jimmy is auditioning at the Copa nightclub – controlled by the Mob in those days. That’s hard ball rules.
Bobbie thinks (expects) she can intimidate Don Draper as if he plays by the understood rules of propriety in business dealings. She will discover that Don plays hard ball better than she does. Bobbie expects a payoff for her behavior but doesn't get one. The turning moment is the command-performance sex in the front seat of Don’s car during the hailstorm. He protests, “I don't want to do this.” She retorts, “(IT) doesn't feel that way.” In the powder room at Lutece, Don manipulates Bobbie's expectations of his need/affection/lust for her. Don threatens to ruin Jimmy if she does not prompt him for the apology to Mrs. Schilling.
The insulted Schillings deserve but barely expect an apology from the likes of Jimmy Barrett. Mrs. Schilling “knows that’s what (Jimmy does) but she doesn’t have the stomach for it.”
Harry's wife Jennifer expects him to ask for a raise. She also has expectations that they somehow “deserve” the money because they need it for the coming baby. Oh my, how times have changed.
Arthur, the handsome rider, expects to be treated as “the rooster” at the stable but discovers that Betty turns down his advances. Immediately revealed are imbalances of money (she's got it) and dimorphism (he is much larger than she is). Arthur's relationship with Tara seems to be social climbing, expedient and unequally balanced.
Betty Draper defends her fidelity and performs as Don's “better half.” She understands the game and asks Don if the business dinner at Lutece will be an occasion for her to “talk” (i.e., participate in the conversation) or one in which she is expected to be silent. When the evening ends with Betty cuddling cozy next to Don in the car, she expects him to recognize that they “make a great team.” ///
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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