We next see Peggy in the Creative
meeting where Pete, visiting from the Los Angeles office, is helping to provide
leadership. Lou heads the meeting of Stan, Peggy, Harry, and Pete, and Pete
requests Don’s presence as well. Confused, Peggy asks if Mathis (Peggy’s other
subordinate) should also be present, but Pete assures her that only Don is
needed. When the meeting begins, Peggy announces that they’re “circling a
strategy. Our job is to turn Burger Chef into a special treat.” Referring to
the research gathered by their survey, they discuss that moms need permission
to go to Burger Chef because they basically feel guilty about not being at home
doing the cooking every night. And who gives moms permission but dads? Peggy
then describes the ad posters featuring Stan’s artwork, and ends with the tag
line: “Aren’t you glad everybody loves Burger Chef as much as you do?” Lou
loves the ad concept and comments that it’s nice to see “family happiness”
again. Others in the room all say they like it as well. Sitting quietly at the
back of the meeting room, Don eventually summarizes that dad surprises the
family, thus absolving the mom of any guilt. “Right on strategy” he says,
confirming the group opinion.
However, after Don leaves the room, Pete
throws Peggy a curve ball by suggesting that Don should be the one to deliver
this presentation to the client, not Peggy. But “it’ completely your decision” he emphasizes. When Lou
wonders about this, Pete says, “Lou, you’ve never seen Don at his best.” He tells
Lou that Don will give the ad pitch a sense of authority, whereas Peggy will
give it emotion. Surprised and offended, Peggy says, “I don’t like being in
this position.” Then Ted, in California, speaks up over the speaker phone and
tells Peggy, “I would use every resource at my disposal to win it…but it’s your decision.” Surprised to realize
that Ted is even present and listening to the meeting, let alone that he agrees
with Pete, Peggy is taken aback. Pete then assures the group, “You know, she’s
as good as any woman in this business!” (translation: Peggy’s good…for a girl…but we need a man to really sell it).
Finally, Ted encourages Peggy and the group, “Keep up the good work,” further
undermining Peggy’s confidence.
Later, Peggy goes to Don’s office,
and in her role as an authority figure, announces to him (as if it were her
idea): “I’ve given it careful thought and I think you should give the
presentation.” Surprised, Don tells her she did a good job and asks, “Wait a
minute – whose idea was this?” Towards the end of their conversation, Don tells
her that he was “noodling around” and wondering what the ad would be like if
presented from the kids’ perspective. “Mom, can we go to Burger Chef?” Without giving it much time to consider the
concept, Peggy says, “I appreciate it, but we already have a strategy.”
Peggy then exits Don’s office and,
out in the hallway, runs into Megan, who has come for a weekend visit. They
chat, and Megan says that pretty soon, Peggy will be in Don’s office, to which
Peggy shrugs. Then Stan joins the gathering, greeting Megan with a kiss. “Did
you hear about Ginsberg?” he asks Megan. Stan tells her he’s visited Michael in
the hospital, but that Peggy won’t go. As Don comes by and whisks Megan off to
a lunch date downtown, Stan says to Peggy, “I miss her.” Thinking of herself,
Peggy accuses him, “You didn’t even ask me how it went!” Stan looks at her with
surprise and asks, “Are you mad at me?” and, after observing her bad mood,
exits the room.
At home that night, Peggy rifles
through a pile of work files, too agitated to sleep. Stretching to come up with
a better ad idea, she tosses the files on the floor of her bedroom in frustration.
Later she calls Stan at home to talk about the ad. Since it’s a Saturday night,
Stan immediately says, “Find something else to do today…that’s an order!”
However, Peggy continues to discuss her discontent and frustration with the ad.
Although Stan says, “The work is great, I’m positive, exclamation point!” she
disregards his opinion because, she says, “We both know there’s a better idea.”
Stan says, “There’s always a better idea” but Peggy’s insecurity continues,
until finally it sinks in that Stan has a date and so she ends the call.
Next Peggy calls Don at home and
states bluntly that his “kids’ idea” doesn’t work and is a bad idea. Surprised
at being unnecessarily offended, Don engages in the conversation with her
anyway. Next she accuses him, “Why are you undermining me?” to which Don
replies, like an obedient subordinate, “From now on, I won’t express myself.”
Then Peggy yells, “It’s tainted because you expressed yourself!” They end their
phone call and Don attempts to have a nice dinner with Megan, but later that night
he turns up at the office to work with Peggy on developing a better idea.
There Peggy continues to hurl
offensive remarks at Don until she finally finds the humility to ask him how
she’s supposed to know when she has found the best idea. Don says “that s a
tough one” and continues, “that’s the job – living – not knowing.” Remembering
the days when she worked for Don, Peggy’s anger re-emerges and she yells, “I
would have given you 100 ideas and never asked why!” Peggy then challenges Don:
“Show me how you think.” Don turns to reviewing pros and cons, the pros being:
“It’s almost done, it’s good, and the client’s onboard.” Peggy complains:
“Those are cons, and you know it!” Then Don says ironically, “Whenever I’m
really unsure about an idea, I abuse the people whose help I need. Then I take
a nap and I start again and see if I end up in the same place.” Having been on
the receiving end of Don’s abuse, Peggy calms down and seems to understand
herself a little better.
They continue to brainstorm ideas,
with Peggy lying on the office couch drinking, and Don posing questions from
across the room to Peggy’s stream of consciousness. Together they discuss women
who have to work but don’t get the dignity of a professional title, and yet still
have to be the mom – a fact that Don says is too sad to be the basis of their
ad. Peggy questions whether the happy, smiling family even exists anymore – the
family that eats dinner smiling at each other instead of watching TV. Then she
says, “What the hell do I know about being a mom?” and reveals that just a
couple of weeks earlier she turned 30 years old. “Now I’m one of those women
lying about their age.” In a fatherly way, Don says, “I worry about a lot of
things, but I don’t worry about you.” Still wrapped up in her self-pity, Peggy
asks, “What do you have to worry about?” Don replies, “That I never did
anything, and that I don’t have anyone” – comments that show insecurities he
has seldom revealed. Peggy goes on to ask, “What did I do wrong?” and Don hands
her a tissue along with the reassurance, “You’re doing great.” Suddenly, this
triggers a new idea for Peggy and she asks, “What if there was a place where
you could go and break bread, and whoever you were sitting with was family? –
That’s it!” Don then comments on the Frank Sinatra song “My Way” playing on the
radio, and he invites her in a gentlemanly way to slow-dance with him” –
mirroring the support Don provides Peggy for doing the ad her way, and for
living her life on her own terms.
In the episode’s final scene, we see
Peggy, Don, and Pete sitting at a table at a Burger Chef, where Peggy tells them
that she plans to shoot the ad there. “It’s about family” she says. “It’s clean,
well-lit, and every table is a family table.” Pete counters, “I hate the word family. It’s vague. Mom is more specific. Tell her, Don!” But Don tells Pete that Peggy
is doing it the way she wants to do it, and that it’s right. Pete quiets down
and bites into his burger, smudging food on the side of his mouth. Like a dad, Don
motions as if cleaning his own cheek to give Pete a clue, and like a mom, Peggy
hands Pete a napkin. The camera pulls back and we see the three of them through
the Burger Chef window, looking like one among many family tables, where Pete
is the kid and Peggy and Don are the parents.
Throughout the episode, Don interacts
heavily with Peggy from his subordinate role, and also as a supportive,
fatherly advisor. In addition, he, like Peggy, works at home over the weekend
on ad ideas; is polite with Pete and cooperates with him, even though he
doesn’t really like Pete; and showers Megan with appreciation and loving
attention, taking her shopping and showing her consideration almost as if he were
playing a Cary Grant role. When Megan searches Don’s hallway closet for a
fondue pot to bring back to California at the end of the weekend, she says, “I
miss my things.” Don replies, “I sleep better when you’re here” and then offers
to bring her things next time he flies to LA at the end of July. This thought triggers
Megan’s imagination, and she says, “I want to see you somewhere where there’s
nothing else going on – not LA, not here.” When Megan finally flies back to LA, we see
both her and Bonnie sitting separately in First Class, with Bonnie smoking and
looking upset, and Megan smoking, drinking, trying to be emotionally
controlled, and distracting herself by looking at a magazine.
Pete’s story occurs during his week
in New York with girlfriend Bonnie. On flying from LA to NYC, Bonnie insists on
paying for part of the trip. However, Pete overrules her and lets her know the
costs are covered by the company, not him. She then tries to convince Pete to
let her meet his daughter, Tammy, but Pete says, “I don’t want to confuse
Tammy.” When Bonnie wonders why Pete is not yet divorced, she says, “I don’t
know where this is going, and I don’t want to fail because of delay.” Pete
counters evasively with, “I thought you were never going to get married again.”
The conversation ends with Bonnie grabbing him in a way that embarrasses him,
and then telling him, “Meet me in the restroom in 60 seconds,” an exciting
prospect for Pete.
At work, Pete seems in command and
gaining respect during his meeting with the Creative group, where he manages to
bring in Don and persuade Peggy to go along with the ad presentation strategy
secretly agreed upon behind Peggy and Lou’s back. But privately, Pete spends a
lot of time and energy trying to win back ex-wife Trudy, an effort destined to
fail, rather than courting Bonnie.
On the weekend, he goes to Trudy and
Tammy’s house (where they all once lived as a family) and calls out for Trudy,
but she’s not there. The maid, Verna, appears holding little Tammy’s hand, and
Tammy hides behind Verna, possibly not even recognizing Pete as her dad. After
introductions, Pete wants to give Tammy a Barbie doll “all the way from
California,” but Tammy stays back. Then, speaking to Tammy, Pete says, “Well,
Verna’s going to come with us to the car,” in effect marginalizing Verna by
refusing to make eye contact with her and make a direct, adult-to-adult
request.
Later that night, Pete brings Tammy
home and, seeing Verna, asks, “Where’s Trudy?” Verna responds that Trudy came
home but then went out again. Pete says, “Why don’t you give Tammy a bath and
I’ll tuck her in?” to which Verna consents. Next, Pete calls Bonnie and says
he’s stuck at Trudy’s house with no one to look after Tammy, clearly a lie but
also a strategy for ensuring that he sees Trudy. Amazed, Bonnie responds, “You
want me to see ‘Oh Calcutta’ by myself?”
When Trudy finally arrives home she’s
dressed up in an expensive evening dress, the usual fashion for dates in those
days. Trudy asks Pete if he (and Tammy) just got back, and Pete accuses, “No,
but you did.” “Did you have a good time?” she asks, and he replies, “I was in
fine spirits until I thought about you pulled over on the side of the road,
necking with Charlie Fidditch.” Trudy laughs this off, and Pete demands, “Who
was it then?” He tells Trudy, “You still have feelings for me!” but Trudy says
definitively, “We’re getting a divorce” and “You’re not part of this family
anymore.” Yet Pete insists: “We’re still married!” and stomps off, ruining the
homemade cake sitting in the kitchen on his way out.
Back at his hotel room, Pete orders
food and relaxes on the bed as Bonnie enters after a long day of shopping.
She’s surprised that Pete didn’t wait for her so they could share dinner,
complains about how dirty her feet are because of shopping in sandals, and asks
Pete if he got his work done. When Pete says he only got some of his work done,
Bonnie loses her patience with him for not spending time with her. Pete
attempts to come on to her sexually in order to shift her mood, but she defies
him with, “You’re not going to ___ your way out of this!” She then leaves the
room to wash her feet.
Bob Benson’s story covers his
relationships with Joan and family as well as with Chevy executive Bill
Hartley.
We first see Joan at home, leaving
baby Kevin to Grandma Gail while Joan goes to work. Gail asks, “Aren’t you
going to eat? You’re disappearing!” to which Joan instructs her mom to take the
baby and go outdoors today. Next we see Bob Benson at the New York office, in
from Detroit, as he invites Joan to come over and chat with the visiting
executives from Chevy including Bill Hartley, the new VP of Brands. While
secretary Clara ushers the Chevy group in to visit with Harry Crane, Bob tells
Joan he wants to see her on Saturday evening “unless you have plans with some
married guy.” Joan responds that if he wants to see Kevin, he has to see her
mom, too, but Bob says he wants to see the whole family.
Next we see Bob waking up to a phone call
in the middle of the night. He rushes out to bail Bill Hartley out of jail
after Bill has been arrested and his face bloodied by the cop for attempting
oral sex with an undercover cop, with even the jailer mocking him as he’s
released from his handcuffs. In 1960s America, homosexuality was both illegal
and publicly despised. As Bob and Bill take a cab to Bill’s house, Bob tells
Bill he should go to the hospital, but Bill fears being further abused there.
He also tells Bob, in so many words, that his wife understands his
homosexuality and won’t turn him in. Bill also gives Bob the lowdown on the
Chevy account, saying to Bob, “I’m going to miss having you around.” Bob
responds forcefully, “I’m not of your stripe, and you should think twice about
threatening me like that.” Bill, however, explains that GM loved SC&P’s
work and they loved Bob’s service, but their strategy was always to take the XP
in-house. However, Buick will soon come to Bob with an offer. Surprised, Bob
asks when this will happen, and Bill says it’s imminent. Then Bill asks Bob how
he manages to live in New York City with so much “temptation,” and Bob
reflects, “It’s hard.”
On Saturday evening, Bob arrives at
Joan’s apartment bearing gifts, including an erector set for baby Kevin and
flowers for Gail. Bob promises the family “a day that starts with pancakes and
ends with an ice cream sundae.” When Joan enters the room, Bob gives her
attention as well. Later that evening, when Gail and Kevin have gone to bed,
Joan and Bob sit on her living room sofa and enjoy a drink together. Bob tells
Joan he got her something and that his heart is pounding. Then he shows her a
ring. Surprised, Joan warns, “You don’t want this” but Bob says, “You’re not
listening to me.” Then Joan confronts him: “You shouldn’t be with a woman,” to
which Bob responds, “I have been, you know.” Joan demands, “Why are you doing
this?” At that point, Bob admits that he’s going to be moving on to a job with
Buick, and that GM expects “a certain kind of executive,” i.e., a man with a
family who at least appears to be straight. Joan is shocked that he’s planning
to leave SC&P, and he says he just heard about it and warns her not to
divulge the information. “We could comfort each other through an uncertain
world” he appeals, but Joan says she wants true love, and she’d rather die
hoping to find it than to settle for such an arrangement.
Finally, Roger’s story involves
conflicts with a few key characters. We first see Roger sitting in a men’s club
steam room with Jim McCann, head of the competing ad agency named after him,
just as Sterling Cooper is named after Roger Sterling (actually, after his
father). Like sparring brothers, they needle each other, with Roger saying,
“Thank you for failing at Burger Chef and giving us a chance.” Jim gives it
right back to him, with, “I know you guys want to be just like McCann when you
grow up.” During their spat-chat, Jim mentions something about Buick, and Roger
wonders, “Are you looking for a job?” Jim responds that he just wants to
“advance the lives of people I respect,” although it’s unclear what that means.
Next, we see Roger having a talk with
Jim Cutler at Sterling Cooper offices. Jim confronts Roger and, in a demanding
way, asks for Roger’s cooperation, which leaves Roger looking skeptical. By the
end of the program we see the SC&P partners’ meeting (Jim Cutler, Roger
Sterling, Pete Campbell, Don Draper, Bert Cooper, and Joan Harris), in which
Cutler announces that the company has just lost Chevy, their largest account.
In blaming tones, he dubs this “Roger Sterling’s Failure” but Roger counters,
“You signed it.” Cutler continues that the agency will be taking on Harry Crane
as their newest partner, a bad surprise for Roger and Joan. Pete offers, “If
that’s what it takes…” and Don voices the opinion, “Say what you will but he’s
very loyal.” Roger and Joan both object loudly, but after a vote is taken,
everyone present except Roger and Joan vote to approve Harry as their newest
partner, and Bert Cooper tells everyone to get back to work.
Returning to his office to sulk,
Roger is disgruntled when Joan enters the room to talk. “Spill the beans or get
out” he snaps. Already having heard from Bob Benson that Chevy would be lost to
SC&P and that Bob would be invited to work with Buick, she tries not to
show too much. Roger says, “I knew McCann was up to something. They’re afraid
we’re going to steal Buick.” Sounding shocked, Joan says, “What?” and Roger
replies, “Just forget it.”
Some strong themes stand out in this
episode, the first being the strategies
people develop for both professional and personal success.
·
Peggy
and Lou have a strategy for the Burger Chef ad campaign under Peggy’s
leadership, featuring a happy family.
·
Pete
and Ted have a twist on this strategy, letting Don present the campaign as the
voice of authority while Peggy would step in as the voice of emotion; they also
use the strategy of telling Peggy it’s up to her whether to do this, while at
the same time undermining her confidence to the point where she gives in.
·
Peggy
develops a new strategy for the ad, first by trying to elicit Stan’s help and
then getting Don’s help in rethinking the ad.
·
Pete
has a personal strategy for winning back Trudy, but his strategy of arguing
with her to convince her she still has feelings for him fails, while his
strategy of keeping Bonnie happy on the side is quickly falling apart.
·
Bob
Benson uses a gift-giving strategy for winning over Joan and her family.
·
Bob
Benson has a strategy for becoming a Buick executive that involves a marriage
proposal to Joan, where he proposes to play the role of a good provider to Joan
and a model father and son-in-law, with the understanding that he would have a secretive
homosexual lifestyle on the side.
·
Joan
has a strategy for being happy that involves finding true love, or at worst continuing
to hold out hope for the rest of her life that she will someday find it.
·
Bonnie
has a strategy for getting remarried, and it involves investing time in Pete’s
life, but not delaying too long, and also being honest with him about her
doubts and concerns.
·
Chevy
has had a strategy of testing out Sterling Cooper & Partners on an
advertising project for the XP, and then taking the project in-house but
continuing the business relationship.
·
Jim
McCann has some sort of business strategy when he talks to Roger at the
clubhouse steam room, although Roger doesn’t know what it is.
A second major theme is the many ways that people handle
uncertainty.
·
Advertising
agencies always deal with uncertainty when they develop ad campaigns and then
try to sell their ideas. Their business is to meet uncertainty with high levels
of creativity and optimism.
·
Roger
and rivaling agency head Jim McCann have a men’s club steam room conversation
that leaves Roger very uncertain of what McCann is up to. Rather than
confronting McCann, he deals with this uncertainty by listening for clues in a
subsequent conversation with Joan, where he attempts to piece together the
puzzle analytically.
·
Peggy
is uncertain about the quality of her Burger Chef ad campaign, and handles her
uncertainty by listening to her self-doubts, raising the bar on herself, and
pulling in a coworker to help her develop a superior ad concept.
·
Bonnie
is plagued by uncertainty regarding her chances for marriage with Pete. To deal
with her uncertainty, she invests time and energy in their relationship but
also starts asking questions about why Pete isn’t divorced yet, and why he isn’t
spending time with her during their week in New York, as she constantly
assesses the situation in her mind.
·
Joan
has an uncertain future, being an aging single mother living in a cramped
apartment with her mother and not having a husband or lover. Yet the way she
reacts to this uncertainty is by clinging to the hope that her true desire for
an authentic love relationship may still happen, and by rejecting any false marriage
arrangement that could prevent the real thing from occurring.
·
Bob
Benson’s future in business is particularly uncertain because, in that era in
America, his sexual orientation is not only illegal but also scorned in the
business community. He handles his uncertain future with Buick by not only
hiding his gay identity but also attempting to secure a family arrangement so
he can appear to be a straight man and thus move up in the ranks at Buick.
·
Bill
Hartley faces uncertainty every time he seeks a sexual encounter, including not
only the uncertainty of whether his advances will be accepted or rejected, but
the uncertainty of whether he will be arrested and beaten for trying, and the
uncertainty of being revealed at work as “queer” and therefore becoming a
business outcast. He deals with his uncertainty through his marriage to a woman
who understands his homosexuality and accepts him for who and what he is, which
at least helps to protect him at work.
·
Tammy
is very uncertain of who Pete is, and she deals with her uncertainty by hiding
behind Verna, someone she trusts, and holding her hand. She only moves forward
into a relationship with her dad when Verna leads her to Pete’s car.
A third theme is the myth of male authority compared
with the way women seek to gain validation from a special man (or men).
·
The
men Peggy desires validation from include Don and Ted. When Pete suggests that
Don should be the voice of authority and Peggy the voice of emotion for her
Burger Chef ad campaign, Peggy objects to this, because her inner authority is
what matters to her, whereas Pete’s opinion doesn’t. When she hears Ted make
the same suggestion, though, her confidence is shaken because she craves his
validation. Don supports the ad campaign, but maybe because Ted doubts it, she
believes Don must doubt it too.
·
Stan
attempts to play the male authority figure for Peggy when he tells her, “I want
you to take the day off. Find something else to do today. That’s an order!” But
since Peggy obeys her own inner authority, she continues bothering Stan for
help until she realizes she should leave him alone. She doesn’t want his
authority or his validation because he’s not that kind of special man to her;
she just wants his assistance in reaching her goal of a better ad.
·
Don
attempts to play a subordinate role to Peggy, but after abusing him for a
while, Peggy treats him like the talented mentor he really is, learns more
about the creative process from him, and is deeply relieved and comforted to
obtain his fatherly validation of her as a woman, despite the fact that she’s
not married at her age.
·
Bob
Benson attempts to play a supportive male role with Joan and her family,
providing her with a sense of validation and offering to comfort her in the
midst of an uncertain world. However, when Joan objects to his proposal, he
warns her sternly: “You’re not listening to me,” as if being the man makes him
the de facto authority figure in the
relationship. Joan, however, is following her inner authority about the
direction of her life and rejects Bob’s authoritative tone. She expresses her
desire for a man that she truly loves – the man she envisions whose validation (not
bossy authority) would mean great happiness to her.
·
Roger
used to play the role of validating Joan’s femininity and business
intelligence. However, now Roger is reduced to the role of trying to boss her
around as if he’s the authority, telling her, “Spill the beans or get out,”
when in a previous year, he might have drawn the information out of her through
an intimate discussion.
·
Bob
Benson and Bill Hartley help to validate each other. When Bill tells Bob, “I’m
going to miss you,” he wasn’t threatening Bob with being fired; he was
expressing deep gratitude for the validation and comfort he feels from Bob’s
likeminded understanding of gay life.
·
Pete
plays the authority figure both to Bonnie – approving or disapproving her
various requests as if he’s the boss – and to Tammy, Verna, and Trudy. Neither
Trudy nor Bonnie respect his authority, as these women respect the authority of
what they believe to be true. No doubt Tammy will grow up seeking his approval
and validation, but Trudy no longer has any use for his validation and is
looking for another man to fill that role, while Bonnie is slowly learning that
Pete isn’t the man of her dreams after all.
·
The
woman in the first scene who is interviewed at Burger Chef and says she needs
to beat her husband home clearly feels fear due to her husband’s authority. She
represents many ordinary mothers of that time who were treated as subordinates
by the man of the house, men who demanded that their wife be home with dinner
on the table the minute they arrive home from work. This woman’s worried
demeanor speaks volumes about the level of comfort and validation married women
received in 1960s America, in comparison with the insecurity they felt under
the domination of male authority at the time. Unlike the independent women at
SC&P, many women still felt they had to obey the authority of their
husbands over the authority of their own inner voices.
Multiple homecomings, dreams of a “getaway,” and
surprises help to pull together the
episode.
·
Megan
and Pete both enjoy homecoming greetings when they arrive at the New York
office from Los Angeles, while Bob Benson’s homecoming from Detroit brings him
handshakes as he ushers in the guests from Chevy.
·
Bonnie
dreams of her week-long getaway in New York, although the reality doesn’t live
up to the dream; meanwhile, Megan tells Don she longs for a place they can meet
where nothing else is happening – not at his place or her place, but a special
getaway; finally, Peggy envisions Burger Chef as the perfect getaway where a
family can go to enjoy a clean, well-lit place to eat, where every table is a
family table, and where the people you sit with while you eat are family.
·
Some
of the many surprises throughout the episode include Bob Benson’s surprise
gifts for Joan and family; Peggy’s surprise when she hears people undermining
her ad strategy and realizes Ted is in on the conversation; Don’s surprise at
being insulted by Peggy multiple times when in fact he is supporting her
original campaign idea; Peggy’s surprise at running into Megan at the office;
Stan’s surprise at Peggy’s sudden mood change, to which he asks, “Are you mad
at me?” and backs away from her; Trudy’s surprise at seeing Pete in her home
when she returns from a date; Pete’s surprise at meeting Verna when he goes to
pick up Tammy; Bonnie’s surprise at discovering that Pete ordered room service
before she arrived back the hotel from her shopping trip; Bob’s surprise at
receiving a phone call in the middle of the night from Bill Hartley; Bob’s
surprise at learning that SC&P is going to be dropped by Chevy but that
Buick will make him a job offer; Joan’s surprise at receiving a marriage
proposal from Bob; the Executive Board’s surprise at learning they’ve lost
Chevy, their biggest account; and Joan and Roger’s surprise at learning that
Harry Crane is about to become a Partner at the agency.
Finally, a major theme in this
episode is the nature of family, a
topic I explore in depth this week in my
other Mad Men blog article, which will
be posted on BlogCritics.org.
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