Last week's episode relied on the audience's knowledge that Jai Alai was never going to become America's pastime to move a plot along, and in "The Fog" the audience's knowledge of the future is even more important. Mad Men usually doesn't rely so blatantly on the whole "check out what these people don't even see coming!" idea, and I am not sure how I feel about it being so important in this episode. I do think that it is becoming more and more necessary as we move into the sixties, but at the same time I hope it isn't relied on too much, as it almost was here.We had Sally interested in the death of Medgar Evers, which I think is a hint not only to the upcoming Civil Rights Movement but to the future of the character herself. Matthew Weiner has said in interviews that Sally is going to be representative of the generation of people who were radicalized by the Vietnam War and the Civil Rights movement, and I like that even though she is very young, we see her already taking in the injustices of the world. I am definitely interested to see what she does with them, and to see her rebelling against her perfect on the outside, so messed up on the inside parents.
Don making Sally a midnight snack and telling her that "Everything is going to be alright" was adorable as always. I think the fact that her teacher is so concerned for her is going to draw Don to the teacher even more than her physical attributes or the fact that she is a more "modern woman" than Betty, which he seems to have been attracted to in the past. She was obviously into him as well, which is kind of screwed up considering he was there with his pregnant wife, but kind of understandable because, well, she has eyes.
My favorite "they don't even know what's about to hit them" plot was Pete and the Admiral televisions. I loved this plot for so many reasons. One, because it showed us Pete as robot/Vulcan "It would be illogical for them to not want to make more money". And not only did it give us more "Civil Rights is coming" hints (Pete even uses the word integration! It was great when the guy was like, "That can't be legal!" and Pete just replied "Of course it's legal." while trying to stifle a laugh at the idiot.") but also because Pete, boy genius, idiot savant, standing right in front of us inventing niche marketing! And everyone (besides Layne) thinks it's a stupid idea! I also loved his conversation with Hollis in the elevator, because it showed race divisions in an interesting way. Pete wants to think of himself as not racist, and honestly Hollis wants to believe that he is at least less racist than many people, but he can't rely on "Mr. Campbell" seeming nice, because it could be a facade. The end where Pete asks him about baseball was great, because they acknowledged the awkwardness of the situation while still showing us that Pete really did want to be friendly, and he saw Hollis as just another customer in many ways. Sometimes Pete Campbell is a hard guy to like, but I liked him a lot in this ep.Speaking of finding characters sympathetic even when they are often awful, I was feeling for Betty through every step! Having to go through all of that alone (and of course, with my modern expectations of having the father or at least someone by her side during the birth) being all drugged up and crazy (again, we now know that doing that is not the best idea)
, and having to face all of her demons all at once (Don's lies, her father's death, her mother's cruelty) made me really feel for the character. She had gone so cold this season that it was hard to remember why I identified with her so much last season, but the writers used her trippy twilight sleep to remind us why Betty is who she is. Her self image was definitely summed up in what her father as the janitor told her in her dream. "You're a house cat, very important with little to do." I think that image of herself is why she decided to let Carla leave and not get another maid/nanny. Betty wants to be more than what she is, and what the world sees her as, but she has no idea where to begin. She only knows that she has to get up in the night to get the baby, so that's what she does. Here's hoping that she softens towards little Gene (Oh Don loved that name!) as well as towards poor Sally and Bobby (Oh Bobby. Don wasn't kidding when he said he doesn't play catch with him enough! That kid is always ignored, by parents and writers alike!) She just wants everything to be okay when the baby comes. Who can blame her!?*
Other thoughts:
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-Don and the prison guard. Interesting juxtaposition. Maybe this is the person Don might have been had he remained Dick Whitman? Working class, but seemingly happy. Was Don inspired to be a better man by Dennis? Did Dennis give him some kind of permission to blame his parents for who he as become?
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-Duck! Hmm he seems to have landed on his feet, though his eagerness to recruit Peggy and Pete was interesting. Does he need them for something? I hope he found Chauncey, I will say that much.
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-Pete to Peggy. "Your decisions affect me." Understatement of a lifetime Pete!
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-Peggy asking for equal pay. I really don't think Don was trying to put her off. He really is arguing for paper clips at this point, and creatives are being seen as lazy drunks. I think he even knows that she should be getting equal pay, and if she gives him a chance, will go to bat for her when he thinks he can win.
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-Peggy to Don. "You have everything. And so much of it." Still, it's not enough. Don't emulate him too much Peggy!
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-Best moment for me: Watching Don sell Layne on what the creatives need. Don is in his element when he is trying to convince someone of something, and it is always beautiful to watch. Bravo Jon Hamm! Also, we were reminded about how Don loves movies and sees them all, which is a good character callback.
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Next week: Joan! I love Joan. And Roger! I LOVE Roger. Also, talking and stuff, or so it seems.
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