‘The Gold Violin’ Plays Mad Men

MANHATTAN, New York (September 8, 2008) >> mad men virtuality

‘The Gold Violin’ is a story authored by Sterling Cooper staffer Ken Cosgrove (within the episode of the same name) that was inspired by a painting and “was perfect in every way except it couldn't make music." Like the Taoist peeling of an onion's skin, we explore new layers on ‘Mad Men.’ Certain individuals, especially Don Draper, begin to learn deeper relational and hierarchical truths they might prefer not to know. Moral consequences – past and future – are revealed in a mosaic of exterior/interior tensions laid out in layers of both subtle contained strokes and loud colors of emotion.

DISCLAIMER: The essay below contains plot spoilers about Season 2, Episode 7: ‘The Gold Violin.’ 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.

There is a delicious mixture of senses and revelations in ‘The Gold Violin’ episode. Our characters act out vignettes inside a larger collage of immense emotional and dimensional depth "like looking into something very deep - like you could fall in.” The ‘Mad Men’ series reveals itself once more to be a contemporary version of the Medieval Morality Play. Simply put, “morality plays have a protagonist who represents either humanity as a whole, i.e., Everyman, or an entire social class (e.g., Don Draper). Antagonists and supporting characters are not individuals per se, but rather personifications of abstract virtues or vices.” (Source: Wikipedia)

The new Coupe de Ville Cadillac announces the arrival of Don Draper (Jon Hamm) as a made man. In addition, Bertram Cooper (Robert Morse) reveals to him that it’s “time for the horse to catch the carrot.” Cooper piles up the frosting on the cake: “You’re going to be wearing a tuxedo a lot more. You’ve been invited to see how things work.” Don is climbing into a new stratum of what Vance Packard defines in “The Status Seekers” (1959) as the Upper Middle Class.
Don’s status points include the new Caddie, the senior executive and partner rank at Sterling Cooper, the picture book family of college-educated Betty and the kids, the house in the suburbs, etc. Name your own points: ______.

The irony is that Don (wearing a tux) is soon confronted by Jimmy Barrett’s (Patrick Fischler) angry accusation that he has been sexing it up with his wife Bobbie. Jimmy drags Betty Draper (January Jones) into the fray forcing her to see what’s going on, “Oh come on. Look at them.” Jimmy doubles down and calls out Don to his face, “You know what I like about you? Nothing. And what did you get? Bobbie. Lots of people had that. I go home at night and I laugh at you. You don't screw another man's wife. You’re garbage. And you know it.” Jimmy closes, “It’s been a gas.”

Betty Draper transitions from being thrilled at the new Cadillac (“gorgeous -- like a jet”). She strokes Don’s ego: “You work so hard, you deserve it." She enjoys life as their whole family shares a sunny picnic together. At the Stork Club, Jimmy forces her to see Don and Bobbie as mutual spousal cheaters until it makes Betty sick in the fresh car (with an assist from too much champagne).

Salvatore Romano’s (Bryan Batt) marital relationship with his wife Kitty (Sarah Drew) is the simplest version of everything’s perfect but it won’t play music. Ken Cosgrove (Aaron Staton) seems to be putting himself into a situation in which sexual seduction (with flattery) by Sal might naturally flow going forward.

Joan Holloway (Christina Hendricks) discovers that her presumed authority as office manager has been quickly trumped by Jane Seigel’s (Payton List) attractiveness. Roger Sterling (John Slattery) weighs in as the arbiter and master of the realm to Joan’s chagrin. Sleazy business awaits. As we expect events to further unfold for that troika… each of us run has permission for our imaginations to run wild and ragged.

Two pieces of art (the painting and the metaphoric violin) provided the anchors for this episode in which we see and hear dimensional depth of the characters emerge. More specifically, depth is intentionally referenced twice. First, Smitty (Patrick Cavanaugh) remarks on the 60-page Students for Democratic Society screed – it’s a generational thing so you have to be into it to get it. Second, the abstract expressionism of the Rothco painting creates a visual illusion that makes you look into it. An additional reinforcement is that the Sterling Cooper staffers have to sneak into the sanctum of Cooper’s office to see this hidden art object.

It is worth noting for regular readers that the ‘Mad Men Virtuality’ essays are primarily focused on the psychological dynamics and dramatic tensions and resolutions rather than the “look” or culture referencing of the show. As Bertran Cooper cautions, "Don't concern yourself with aesthetics. You'll get a headache.” c2008 by M.L.Duby ///

'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." ///