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Mad Men

Ms. Fit

TRIBE Member
^^lol that was one of many "OH SNAP" moments of the episode.

and yes, flashy, there is something so beautiful yet flawed about pete's character and it compliments peggy's own distant yet mysterious and level-headedness. those two characters just dance so gracefully together (in the metaphoric sense lol).
 
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BigBadBaldy

TRIBE Member
OMGOMGOMG I'm so excited for this on Sunday! I can't wait to see where they go with this season. I wonder if they'll continue the timeline or if it will jump ahead like last time? It seems like there was just too much left unresolved in the storylines to jump another gap into the future, but we'll see.
 
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Lysistrata

Well-Known TRIBEr
haha, i only finished watching it last week! i'm fresh as a daisy and totally stoked! i hope Joanie poisons her rat-ass of a fiance. the peggy confession scene was amazing, but i so don't think she should have told him anything: nothing good can come of it.

so this is always going to be on sundays? same as true blood. i'm gonna have a regular date with my bit torrent on mondays.
 

Bernnie Federko

TRIBE Member
Tonight! Tonight! Tonight!

from today's Toronto Star:

"What you call love was invented by guys like me, to sell nylons."
– Don Draper

When last we encountered the enigmatic Don Draper, Mad Men's key man, he was headed out the door of Sterling Cooper, having revealed that he had no employment contract with the advertising agency and wasn't much interested in sticking around under the leadership of the rancorous drunkard, Duck Phillips.

Anxious young ad shop employees had noted the telltale signs of something big being up at the agency. "The conference room is signed out all day. I checked the fridge. There's canapés. Really good ones."

Meanwhile, pregnant Betty Draper, wife of Don, took herself off to a bar where she consumed both a gimlet and a man who was not her husband.

I know ... you're on the edge of your seat already.

Season Three of the much heralded, award-winning series starts tonight with Draper – yes, of course he's back – flying to the Baltimore headquarters of London Fog. The founder of the trench coat company frets that, you know, everyone needs only one raincoat, so how in the world could the company's future possibly appear prosperous?

The answer, of course, lies in advertising, which commingles with the relentless post-war ascendancy of consumption. It's this codependency and its companion compulsions – want, desire – that define both the industry in the eyes of series creator Matthew Weiner and the cast of characters he has working in it.

Fans of the show will be pleased to hear that Draper remains dark, brooding, unknowable, like one of those outwardly becalmed, inwardly disturbed let's-have-another-vat-of-gin John Cheever characters. The women remain engirdled and wasp-waisted with lipsticked lips as bright as cherries. Especially Joan, whose stately bosom floats through the secretarial pool as proudly as the prow of a ship, followed by her majestic rear end.

It is the spring of 1963. The publication of Betty Friedan's The Feminine Mystique a few months earlier appears to have gained no notice at Sterling Cooper. Whatever earthquakes there are have been caused by the takeover of the firm by the British agency Putnam, Powell and Lowe, which has resulted in the arrival of a numbers man and his number two, both of whom, in a rare misstep for Weiner, are badly drawn boy stereotypes.

Weiner makes few such mistakes. Rather, he has a deft ability to play past-as-present tricks on the viewer. In the 1960s, London Fog, which really was based in Baltimore, advertised its "Maincoat" with the selling line, "Lets you laugh at the weather," which just sounds so Draper. And wouldn't you know it would be the first American clothing manufacturer to advertise on television, the popularity of which as an advertising medium had been initially ignored by the old-school ad men at Sterling Cooper, for whom an advertisement was an art form best rendered in still life.

I won't tell you what fresh marketing line Draper comes up with to try to reassure the London Fog people. But here's a twist: the real life London Fog company will soon launch its fall ad campaign featuring supermodel Gisele Bündchen, who, coincidentally, is very good at carrying off that naked-under-a-trench look that a guy like Don Draper would appreciate.

Should sales of London Fog trench coats explode this autumn, the circle will be made whole.

"Advertising," as Draper once said, "Is based on one thing: happiness. And do you know what happiness is? Happiness is the smell of a new car. It's freedom from fear. It's a billboard on the side of a road that screams with reassurance that whatever you're doing is okay."

Or a Chatty Cathy Doll. ("You can tell it's Mattel, it's swell.") Or an Oldsmobile 98. ("Its brilliant skyrocket engine and 1963 Hydramatic develop a silken flow of power.") Or learning, as consumers did in 1963, that at Avis "We try harder."

That last line was the genius creation of Doyle Dane Bernbach, the true-life Manhattan ad agency that had an explosive run starting in the Mad Men era. DDB was the polar opposite of Sterling Cooper: it broke down the barriers between departments, pairing copy writers with art directors and producing iconoclastic rule-breaking advertising that Weiner wove into one episode. The agency's "Think Small" campaign for Volkswagen, which placed the little Beetle on a vast expanse of blank space in print advertisements, was like no car ad the flash-the-steel North American auto industry had ever seen.

The ads very much matched the personality of the shop that created them. Says Keith Reinhard, at 74 the chairman emeritus of DDB Worldwide: "It wasn't white shoe," meaning not WASPy and elitist. "We had a lot of Jewish copy writers and Italian art directors. That separated it from the agencies where everybody got the train to Westport in the evening."

In other words, from Sterling Cooper, where the accounts men and art directors and copywriters – the male ones, that is – usually don't make it to the train until vast amounts of alcohol have been consumed. Was life really like that?

As it happens, in the Sixties, Reinhard was creative director at Needham Harper, which would later merge with DDB. He tells this story: "One night I'm working late in my Don Draper office with my narrow tie. It's 8:30 or 9 o'clock and in comes this beautiful young woman I actually had my eye on and she said, `I came to see if you'll let me hide in your office.' I said, `Why do you need to hide?' She named an account director who was inebriated, chasing her down the hall. Yeah, there was a lot of that."

A couple of points: he married the girl. And, at the time, smoked two and a half packs of Marlboros a day. Marlboros, by the way, were initially marketed as a ladies' cigarette with a red line around the tip, "to match red lips and fingertips!" Round about 1963, some cowboy was dubbed the Marlboro Man and suddenly the cigarette was the hottest selling puff in the world. The following year, the U.S. Surgeon General's advisory committee released its landmark report on smoking being hazardous to your health, which has to be a future Mad Men story line.

As for Reinhard, he composed many famous lines himself in his career. "You deserve a break today," may ring a bell, Reinhard having created the first national ad campaign for a growing burger chain called McDonald's. "Two-all-beef-patties-special-sauce-lettuce-cheese-pickles-onions-on-a-sesame-seed-bun" was also his.

Booze? "There were a number of executives, myself excluded, who kept a bottle in their desk drawer, who often nipped it before lunch and in many cases we didn't see them afterwards. So those parts are true."

You can see how easily it is for creative types like Weiner to become obsessed with the industry, and the era. In May, he was awarded a special CLIO, the advertising industry's equivalent of an Emmy. Reinhard did the honours.

The DDB example is essential to understanding the future of the mythic Sterling Cooper, for the white-shoe agency, despite an absurdly robust roster of clients that ranges from Kodak to Procter & Gamble to Bethlehem Steel, is an anachronism ill-prepared for the shakedown of the Sixties, where agencies like DDB will thrive. The Beatles. Mick. Carnaby Street. Twiggy. However, will Sterling Cooper, which seems more psychically aligned with Johnny Mathis, speak to this new generation? (The "Pepsi Generation," by the way, was coined in 1964, the year Rudi Gernreich unveiled his topless swimsuit.)

Superficially, miniskirts, Dacron and go-go boots will have to become the rage, even at Sterling Cooper. But it's the moody undercurrents that keep us coming back for more.

I can't say whether that atmosphere will feed into the ad campaigns, though there's plenty of opportunity.

I can say that the characters make Eugene O'Neill's creations seem like a merry band. Peggy Olson is going to come on like a thundercloud as her name is stamped on the agency's most appealing client files. Sal's torment ... well, I shouldn't even go there. Joan ... I have high hopes for Joan.

The constant intertwining of sexuality and identity focuses most completely, of course, on our mystery man, Don Draper. "I keep going to a lot of places and ending up somewhere I've already been," he says, yes, enigmatically, hooking us into what we hope will be the best season yet.

baconpan
 
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Flashy_McFlash

Well-Known TRIBEr
That was one of the best episodes of the season IMO. All important points were covered, including an interesting glimpse at Don's origin story. Loved the stuff with Sal and Pete's obligatory meltdown too. This season's gonna be insane.

It needed a bit more Betty and more Roger, but both were great in the small parts they had this week. Roger's entrance was hilarious! "Oh...sad meeting."
 

sianspherica

TRIBE Member
Pretty sure Roger says "Sorry I'm late.....oh, it was THAT meeting" not sad.

Anyways, good episode.

Love Betty looking hot as fuuuuuck. Loved Draper being Draper and fucking the stewardess. And having him catch Sal in the room with the bellboy was priceless. Good stuff.

But someone refresh my memory: why is Don still there? I thought he got a big payout when the company was sold but I thought he then quit the company once Duck was installed as President?
 

Flashy_McFlash

Well-Known TRIBEr
Duck was never installed as president...He blew up in the meeting where Don said he didn't have a contract and the Brits said he couldn't handle his liquor. I guess he was fired.

Don never quit - he said he wouldn't work for the kind of agency Duck would run. Now that Duck's out, he's basically where he was before.
 

erika

TRIBE Member
I loved Don's line to the airline stewardess at dinner "I've travelled a lot and always end up going to the same places..."
 
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Top 5 favourites:

'She's taken to your tools like a little lesbian'
The Tentacle Porn.
'Oh jesus...' *fire alarm*
The bit about it being his birthday and drivers' license 'It wouldn't help'.
And Sally rooting around in his suitcase. I thought for sure she was going to come out with a shoe or a bra. As it was, the bit with the stewardess' pin + Sally while Betty talks about the day she was born = like whoa.
 
I think the thing that blows me away about the show is how powerfully subtle each of the characters are:

Betty to Don: "You're good at this..."
Don to Sal: "Limit your exposure"

It's funny how a lot of things said have a great double entendre. Don telling Sal to keep the homeaux behavior undercover so subtly (and seeing how uncomfortable Sal looks when he's showing the rough copy of the ad to Kenny and company) was such a great bit.
 

grumblegirl

TRIBE Member
I think the thing that blows me away about the show is how powerfully subtle each of the characters are:

Betty to Don: "You're good at this..."
Don to Sal: "Limit your exposure"

It's funny how a lot of things said have a great double entendre. Don telling Sal to keep the homeaux behavior undercover so subtly (and seeing how uncomfortable Sal looks when he's showing the rough copy of the ad to Kenny and company) was such a great bit.

Yes. Yes.

So awesome.
The writers were really earning their pay when they wrote that episode.
 
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kaniz

TRIBE Member
I need to watch Seasons 1 & 2 - caught a few episodes when they first started to air, but was too busy at the time to keep up with things.

Really enjoyed the first episode of Season 3 - but feels like I need to catch up a bit to know some of the back story to what's going on. The "Limit your exposure" was a great line - especially with the lead up of "I want you to be honest with me...." and seeing Sal starting to sweat and get all nervous.
 

Lysistrata

Well-Known TRIBEr
soooooooooooooooooooooooo goooooooooooooooooooooood.

pete is such a bastard. poor sal. joan should marry me instead.
 

janiecakes

TRIBE Member
'She's taken to your tools like a little lesbian'
The Tentacle Porn.

*love*

why women love don draper:

The other day, I saw Don Draper in a restaurant on Manhattan's Upper West Side. Or rather, I saw Jon Hamm, the award-winning actor who plays the ad exec anti-hero on AMC's Mad Men, which kicked off its third season Sunday night. He was dining with friends in a quiet corner of the bar, his broad shoulders hunched over his appetizer, thinly disguised by a pair of nerdy glasses that Draper wouldn't be caught dead in. Despite his unobtrusive air, Hamm was causing quite the stir. The hostesses stared. The waitresses giggled and gaped at him. Female patrons sized him up like tigresses in heat. Even the manager was giving him her best seductress eyes.

When I told my friends about the sighting, their reactions were similar. "I don't get excited about celebrities," one said, "but if I saw him, I'd tear off my clothes." "He is so sexy," said another. "I love him," said a third. "He looks like he would know how to throw me to the wall and do me right."

Why are we so wild for Draper? By any measure, the character's a cad. He constantly cheats on his wife. He skips town for weeks and won't write or call. He doesn't talk much, and anesthetizes any feelings with copious amounts of booze. He's an enigma, a locked box of a man who resists, maddeningly, easy explanation. And yet he excites an attraction among women—particularly ones my age, women in their late '20s and '30s who were born after the era that Mad Men portrays—that seems unmatched by any leading man on television today, with the possible exception of Lost's con artist, Saywer (another strapping scoundrel with a deeply troubled soul). We describe our obsession in words that, like the show itself, are somewhat retro. "He is a straight-up man. He makes me feel like a woman via the TV." "He's a throwback to a time when men were men. "It's the thickness of his body." "Shoulders to cry on and a jaw that causes women to swoon."

A man's man. A virile man. A masculine man. Strong terms. And ones that would make our postmodern gender-studies professors blush. After all, we're the generation of women who grew up beating the boys in math class, reading Judith Butler (by choice or by force), celebrating "Grrl" power. Traditional male-female roles were going out the window while we were still toddlers. And maybe that's why we feel a little guilty when we stop to admit to ourselves why Draper excites us. Because we're not supposed to be using those terms anymore to describe our desires. Those words threaten a backsliding—they hint at some deep, unspoken turbulence; that, as if by saying we want a "real man," we threaten to erase all the gains our mothers made in terms of equality in the workplace and the home. After all, we don't believe in that evolutionary "me Tarzan, you Jane" nonsense anymore. We're supposed to want men who are sensitive and respectful; men who emote and help around the house, and talk openly about their feelings. And we do want these things. Don't we? So then why are we fantasizing about Draper rather than Jim from The Office?

"Would I want to marry him?" one acquaintance—an executive assistant at a high-end financial firm, and the dictionary definition of "independent"—asked rhetorically. "No. But he has that whole 'strap a sword to me, I'll cut down men and then ravish you' thing." We have to clarify this matter, you see, lest men misunderstand us (or, worse, lest we misunderstand ourselves). So we lay it out very clearly: we don't want to wed Don Draper. We know madness that way lies. We see how Betty Draper is drowning in loneliness, one more beautiful woman trapped in her suburban prison, desperately trying to pull devotion out of Don. We see how she's had to resort to silent fury to make him come around again. And we're cynical about this next season, for Betty's sake—sure, Don wrote her a letter saying he can't live without her. Sure, she let him back in the house. But a baby's on the way, and nothing says ball and chain like a newborn. And men like Don Draper don't change their spots. Already in this season’s first episode, he's undressing a stewardess. My mother's generation—who had to live with such men, whose hearts were broken by such men, and whose careers were stymied by such men—don’t seem to have much interest in Don Draper. They know all too well the downside of a man's man. And they made sure as hell to raise us differently.

So we've been raised to marry different men. Men like our president, Barack Obama: supportive, mature, levelheaded, equal partners. A bit sexless, OK, but who these days still thinks that a gal can have it all? Better a sexless Obama than a philandering Bill Clinton (speaking of men who make powerful women simultaneously swoony and ashamed of said swoon). And anyway, there are so few men like Draper around that we're not in any real danger of meeting one—at least not in the affluent, cosmopolitan jungles where Mad Men's viewers are concentrated, and where smart young women flock to make their careers take flight. They're a dying, if not dead, breed: these men who came back from the battlefields and settled down in whitewashed houses and were somehow expected to find the same visceral rush in office jobs and country clubs and nice, sweet wives that they gained from far-off adventures and wars. Men who couldn't be satiated by these staid substitutions; men who were made caged animals by domesticity; men who unleashed their restlessness in ways both erotic and destructive. These types of men are not the men we marry anymore. But, apparently, they're still the ones we love.

http://blog.newsweek.com/blogs/popvox/archive/2009/08/17/why-the-ladies-love-mad-men-s-jon-hamm.aspx
 

Lysistrata

Well-Known TRIBEr
don's obviously a kinky fiend - the way he talked to that stewardess and made her stand up and undress for him was so D&S. and he's obviously not a monogamous person. but he lives in the milieu where there isn't the possibility of being honestly poly and kinky, so he does what he has to do - unfortunately poor Betty suffers for it. i'd like betty to find some birth control and a lover on the side.
 

Spinsah

TRIBE Member
don's obviously a kinky fiend - the way he talked to that stewardess and made her stand up and undress for him was so D&S. and he's obviously not a monogamous person. but he lives in the milieu where there isn't the possibility of being honestly poly and kinky, so he does what he has to do
I think that might be somewhat of a projected reading. Isn't Don's assumption of multiple identities/personas and that inherent dishonesty a large part of the sexual charge?
 
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