If Megan is Lady Lazarus in Mad Men’s Episode 8, does she rise from the brink of metaphorical death of her dream to be an actress?
If Don is the eternal Phoenix rising from the ashes, is Lazarus also a reference to his literal brush with death as the SCDP elevator doors open, and he catches himself before stepping into an empty shaft?
Did anyone else flash to iconic opening images of the ad man floating downward from the top of his Madison Avenue building?
Doesn’t our hero seem increasingly out of step with the times? Is he falling – whether he fully realizes it or not?
If Megan pursues her dream (which isn’t his), will he slip back or find himself stuck – unable to progress further, dependent on her youth and awareness as his guide?
While last week’s episode of Mad Men featured a roller coaster ride for our favorite characters, ending with a dismal and disappointing turn for each at the end – not so this week, though for Don, Megan, Pete and Peggy, life continues to present itself as a mixed bag.
Furtively, Megan
Megan may be good at advertising – very good, in fact – but she wants to pursue her dream of acting. She’s been sneaking around to go to auditions. Though she doesn’t get the latest part, she isn’t ready to give up – or to give in – to what might be perceived as the expectations of a transitional era.
(Shades of the Plath poem, Lady Lazarus, rising out of oppression and morphing in the process?)
Megan breaks the news to Peggy, who is indignant that Mrs. Draper doesn’t comprehend her own talents. But Megan understands it’s time to resign, breaks the news to her hubby, and Don reluctantly supports her decision.
Cue the violins; the next day is a teary one for Megan as she says goodbye, and Peggy has mixed feelings. Don? He’s happy with his wife at his side, and he also values her contribution – surprise, surprise. We see what a good team they make in the office – highlighted by Peggy’s attempts to stand in for Megan in a Cool Whip kitchen test, as she blows the pitch with Don, whereas Megan had nailed it.
Just taste it, indeed!
Megan exits, kisses her hubby goodbye, descends in the elevator – and Don pushes the button to follow her. He pauses briefly, and if he hadn’t, he would’ve plummeted to his death.
Metaphor for just how many endings? And what about Don’s future in dramatically changing times?
Furtively, Pete
Pete, Pete, Pete. What are we going to do about you? You haven’t Don’s cool nor his appeal, but your star is rising in the agency. Do we need anything else to remind us of both factors, as you clumsily drag your gift of Head skis out of Roger’s office?
And a few scenes later, Perpetually Peeved Pete is wrapped up in a steamy embrace with commuting buddy Howard’s unhappy wife. Sure, he knows all about Howard’s exploits in the city and Howard’s wife apparently knows as well. But Pete wants more than a one-time encounter with the lovely Beth Dawes. She spurns his subsequent advances, but we have to wonder if he’s willing to give up.
Don Towing the Line
Naturally, Don is frustrated with Megan. He wants her happy, he wants her at his side. But he seems to understand that letting her fly may be the only way to keep her. He says to Roger:
I don’t want her to end up like Betty, or her mother [Marie].
Don may be tender and understanding with his wife, but he takes his anger out on Peggy, as she can’t seem to remember “Just Taste It” for the Cool Whip pitch. Those were Megan’s lines, and the repartee that flies between husband and wife advertising team doesn’t fly when Peggy steps in.
Peggy – No Girl Friday!
And who can blame her? Who wants to be the Megan substitute, and still not appreciated for everything she contributes?
Peggy, Peggy, Peggy. You are your own woman! You give Megan what for, you tell Don to shut up, and you put in the hours getting the job done – with a little Mary J and Stan at your side.
And what’s not to love about the way Peggy responds to Joan, who sizes up Megan as a future failed actress with a rich husband? Very 1950s, Joanie! But you, Peg of My Heart, you respond:
I don’t know. I think she may be one of those girls who’s good at everything.
Bingo!
What Next? A Little Night Music
Music, music, music. The 1960s was certainly the decade of music evolving, music threading itself through popular culture like never before, music separating the generations – becoming noise to one, and a rapturous universe to another.
The episode is filled with conversation about music – the Beatles, Herman’s Hermits, the Zombies.
Don is bewildered by it. Here, too, Megan is his translator, and without her assist, he’s lost.
Megan on the other hand is anything but out of her element – almost anywhere. She genuinely appreciates the confidence she’s gained working at her husband’s side, and his support for her choice to pursue acting. With an almost girlish expression, barefoot and in the kitchen, she says:
I love you. You’re everything I hoped you’d be.
But did I imagine the radio in the background droning about Johnson and Vietnam?
Megan is blissful as she heads off to class. Don stands stoically in their brightly colored apartment with its spectacular views and air of contemporary savvy. Yet the man in the suit and crisp white shirt seems out of time and very alone. He puts a record on the stereo, given to him by Megan, and listens to the sounds of the future.
1960s Divide, Mad Men Mentions
Megan? She’s at home wherever she goes.
Peggy? Likewise, though her struggles appear more complex than Megan’s.
Joan seems as caught between worlds as Don. She’s in between two generations, two ways of seeing men and women, as well as the workplace, and herself.
Incidentally, did you note how brilliantly the colors and lighting were handled in this episode? There are those moody dusty tones, to highlight secrecy; the brightness of the Sterling Cooper Draper Price lobby as backdrop to Don, standing alone at the elevator bank. And the light behind him suggesting an angel on his shoulder as those doors opened and he didn’t step in without pausing – to chase after Megan?
And speaking of brilliance, how I thought of Audrey Hepburn in the scenes with Jessica Paré as she gleefully heads out to evening acting class!
She’s dressed in capri pants and flats, a muted flared jacket, her hair pulled back in a simple pony tail. She is the epitome of an early sixties Audrey – blithe, light, vulnerable, and utterly irresistible.
How could Don not want her happy? But what will it mean as she rises and he stays put?
Season 5 photos: Click images above to access originals at AMCTV.com.
For more musings and reviews on Mad Men, pop by here.
Madgew says
I love your reviews. Without your insight I would find this season very boring. I don’t have the time for analysis when I watch a show for pleasure so your thoughts do it for me. 🙂
BigLittleWolf says
Thanks, Madge!
batticus says
The song from Revolver Megan pointed out to Don, “Tomorrow Never Knows” was definitely the sound of the future when it came out. A brilliant choice by the writers, Don is increasingly out of it and he needs Megan more than ever now.
BigLittleWolf says
So true, batticus. A brilliant choice, yes. And Megan has little idea how much sway she holds in that marriage. What was it Pete said? The women get what they want?
(Of course, as with everything, we don’t know the implications of that on the future.)
Jan says
Brilliant, as always! Thank you for once again noticing things for all of us!
This was definitely Peggy’s episode, although Megan is really stepping up. Who ever saw that coming?
Don is so lost, how did he completely lose his zhu zhu?
Thanks, D. A.!
BigLittleWolf says
He does seem to have lost his zhu zhu, Jan! Think about how many times he’s had to reinvent himself. He’s finally “happy,” not to mention honest with the woman he loves, and now the world is revolving in a way that he can’t fathom. At least, not yet…
And don’t you adore the way Peggy is speaking her mind? Quite the maverick for those times. Even for these times.
team gloria says
you are a delicious genius – no one else could get Herman’s Hermits, Sylvia Plath and Mad Men in the same blog post.
😉
waving from manhattan in the pearls.
_tg xx
BigLittleWolf says
If only I’d gotten Gidget in there, too…
🙂
Robin says
Another great review!
I used to love Joan (who I initially perceived to be a modern, single, working woman), but now she does seem out of step. I’m sad. (I think I still love her, anyway.)
I do love Megan (and her wardrobe) and Peggy; two women pursuing their dreams – and I think supporting one another – even if they aren’t on the same page.
As for Don, do you think his near death experience might have put life in perspective – even just a little? And Roger, giving Don marital advice – how funny!
Pete! Pete! Pete! Howard’s wife did give him a little hope when she drew that heart in the foggy window. Trouble ahead?
You make me want to watch the episode again. You always pick up on things I miss – like Megan stirring up a flashback to Audrey Hepburn. Brilliant 🙂
BigLittleWolf says
Technically speaking, the Hepburn movie I was thinking of was Funny Face with Fred Estaire. Late fifties, actually. Still, something of Megan in that scene was so Hepburn – to me – as though she had stripped herself of the necessary Madison Avenue mask in order to slip more easily into her first love – the actor’s mask. And that may explain why she could be so terrific at the “just taste it” improv with Don, not to mention the other times she managed to pull out something fresh, thinking on her feet.
I know what you mean about Joan. But she’s a sharp woman and so capable – and gorgeous! I can’t decide if she’s going to toy with Roger (or vice versa), or if a flirtation with Lane will turn into something more.
I doubt we’ve seen the last of her strength and resolve – not to mention her ability to change. And then there’s that Beth number. I’m with you, Robin. I’d say there may be a little trouble ahead for Pete…
And of course, Don will have his hands full with Sally – very soon. (Here’s hoping Megan will help on that score.)
batticus says
I had a listen to the entire Revolver album, I’d forgotten the gems on this album and the influence from their trip to India (John and George’s songs in particular). My guitar teacher had me learn to play Here, There and Everywhere last year to complement another song I was learning that was in the same major key, I’d forgotten it was on this album. Paul’s other superb songs For No One and of course, Eleanor Rigby and Got To Get You Into My Life are all on this album.
BigLittleWolf says
One of my teenagers swiped my old turntable at one point, and I have a box of albums (yep, albums)… somewhere… You’re making me want to rummage around and dig out those records, batticus (yep, records)…
It is amazing music, yes. Thanks for planting those tunes in my head for the day… 😉
Carmelo "@rchie" Arcidiacono says
Mad Men creator Matt Weiner and his team seem to pay so much attention to real life and era details on every episode that you can’t help noticing their painstakingly perfect care at it. A friend of mine who watched this episode in the US told me that in the scene when Don put the Beatles album on the LP-player and then put the needle on the revolving record, he really put it on the last grooves of the album side, as “Tomorrow Never Knows” is ACTUALLY the very last track of Revolver’s side 2, both on the UK and the US editions! And when he stopped the song abruptly you could see the needle was really near the centre hole of the vinyl record!!! Simply amazing and realistic! I’m looking forward to watching Series 5 here in Europe, I’m sure it’s a gas as the first four! In the meantime thanks a lot for your analysis and recap, BLW!
BigLittleWolf says
Thanks for stopping in and commenting. That is extraordinary detail, “@rchie” – Thanks for pointing that out. Amazing.
alita says
Did anyone else flash to iconic opening images of the ad man floating downward from the top of his Madison Avenue building?
Yes. That was exactly the image that floated in my mind. But mind you I always watch the opening without fail because the music is hypnotic and I can’t resist.