And a special bonus this week.
Each week, Chris Piascik draws one of the better quotations from the episode and we pair it with the recap I write on his site and here.
If you’re reading this sentence it’s because I finished the recap before Chris finished the drawing and I had to go to bed. Check back in the morning.
I enjoyed this episode a lot, but I don’t have a whole lot to say about it. Like last week, it seemed to move the plot forward quickly, but not touch so much on bigger (and more subtle themes). I haven’t noticed if this is the first, but this episode was directed by John Slattery (Roger Sterling).
-“There’s a time for beans and there’s a time for ketchup.” Apparently, however, the time for beans at SCDP is not now. People think the agency is dying and they don’t want to be associated with it right now. “I will have an exciting idea, I know that.” Doesn’t mean much.
-Did you see Harry Crane’s office? It had an antique desk and a replica cannon. Crane really is a ridiculous character.
-Sketchy Glenn is back giving Sally Draper an additional psychiatry appointment per day. He’s really coming across as well-grounded and it’s weird. Glenn’s decided that if he can’t have Betty, he’ll have Sally instead. I loved how he turned and ran when he saw Betty.
-We’re getting closer and closer to the late 60’s and unfortunately Midge is the sacrificial lamb for the writers to depict the coming popularity of heroin/drugs. Her and her husband are so far gone that he’s willing to whore her out for a score. Her painting did seemingly inspire Don’s ad in the New York Times. Though maybe it was her obvious desperation that was the inspiration. “It’s about what she sees when she shuts her eyes.”
-“She doesn’t care what the truth is as long as I do what she says.” Sally is learning to be like Betty. Suppressing everything as a tactic to get by. Incidentally, Betty needs Sally’s psychiatrist more than Sally does. The conversation between Betty and the doctor was great and when the doctor said, “I’m a child psychiatrist”, the implication being that Betty is a child.
-Peggy wanted Don to change the name or the conversation, and according to Ken Cosgrove, Don at least changed the conversation. It was quite literally an ad for the agency, as Don mentioned, and it gave him the opportunity to get on his advertising genius high horse. I love when he gets on his advertising genius high horse. I don’t remember the exact quote, but he’s said something similar before. “This ad is genius and if you don’t get it, I’m not going to bother trying to explain it, you won’t get it anyway. Luddite.”
-Creative is “the least important most important thing there is.” Talk amongst yourselves.
-After the NYT ad, Don had to pry from Peggy what she thought of it. I feel like he has to do that quite a bit. He’ll do something, and she won’t tell him what she thinks. It’s almost as if he’s used to getting a response, positive or negative from everyone, and her not responding throws a wrench in his sense of normalcy. This conversation was a reference to the ham fight in one of the first couple episodes. Peggy said something along the lines of, “I thought you didn’t go in for shenanigans like this.” The NYT ad was a stunt in the same way the ham fight was. We’ll see if it was as successful.
-Betty finally wants to move out of the house. Sally’s bummed.
-Ted Chaough’s Kennedy was pretty atrocious, very Mayor Quimbyesque, and I was curious why they got such a poor Bobby Kennedy impersonator.
-Don paid Pete Campbell’s share, which I guess is Don’s way of thanking Pete for carrying Don’s shit. Where did Don get $150K?
-Also, did Bert Cooper really just quit? “You there, get my shoes.” It would be a fitting exit for a man without an office.