More theme, from a broader perspective. Sounds like a bit of a whogivesafuck, right? Not all of those things are imaginary wounds, says Don. So she lets Pete into her apartment even though she knows he's getting married on Sunday. Don is doing what he will do for the next few years; he's wandering through the avenues of life where people discover that they love another, an experience that runs entirely counter to the world of his childhood, where all he learned were the different degrees to which he was unloved. Don Draper is reluctant to talk about his past, or his childhood, whether with his wife Betty or his boss Roger Sterling.
Betty's physicians suggest she try psychoanalysis, an idea that upsets Don. Would you like to answer one of these instead? Yet the precariousness of his family's wealth means that he really must act as a self-made man. I needed to fast forward through it. Who knows anything about that guy. This pitch defines a lot of what the series is ultimately about. And the gossip of suburban housewives is never interesting, even for suburban housewives. Of course he has a family.
I suppose that Don probably first recognized those same expressions on horny men who came in and out of the whorehouse in which he grew up, but then did Matt Weiner see that far ahead in his character? But when pressed, Don will only say of his past that he was a baby in a basket, like Moses. Many of them will probably involve Don's memories from his past, Betty's little cruelties toward Bobby and Sally Draper, and any scene involving. And it starts here, I think, as Weiner starts to flesh out Betty's character. Don: He dodged a financial scandal by standing with his wife and begging for his dog. Betty sees a specialist about her ongoing physical problems; a managing partner leans on Don to get involved in the Richard Nixon presidential campaign; Peggy gets some unwanted attention from a copy writer. It reminds me of all those great moments in the show over the past six years when characters at Sterling Cooper et al have gotten a chance to put Pete in his place.
It was written by series creator and directed by. I had forgotten about this part of her storyline. It's still a joke, but it's not. It's now a present-day bar catering to contemporary wealthy financiers. Give Mad Men credit - in 1960, Don may have been more insightful than Roger about the pain of life, but as we approach what might be the the show's final season, Don has missed every possible epiphany that the changing times could have opened to him, and he will probably pay even more very dearly for it in the very end. Betty Friedan's book was a bestseller then, describing the dull empty ache and deep dissatisfaction so-called happy housewives suffered.
An admission wrapped in a distraction. We'll be here after each episode. L'ambientazione storica della serie ritrae i cambiamenti sociali in atto negli Stati Uniti all'inizio degli anni sessanta, con sullo sfondo la campagna presidenziale che contrappose John Kennedy a Richard Nixon. As you mention in your question, the shaky hands are a part of Betty's character from day one. Sally is a bopping, happy little person, eager to please, so far off from the eventual teenager who will accidentally witness both Roger Sterling getting blown by Don's second mother-in-law and her father making the time with an upstairs neighbor. Though Mad Men has always made Don Draper the central core of its universe, I fell in love with the show first because of Peggy.
Given that the 1960s Space Race took place in the context of the Cold War, you'd have to be a moron to not consider and even worry that it's all pretext for the ultimate extermination of the human race with nuclear weapons or worry whether average consumers think of the Space Race also in the context of the Cold War. One of the fascinating things about Betty in these early episodes is how poorly she conceals what she really feels, what she really wants to say. Like Steven Hawking recently saying that if robots continue to be developed to take people's place, it could mean the end of the civilization. Betty has to remind him to go get the birthday cake again, so he goes. When Don and Roger go to Cooper's office to officially dismiss Mr.
One of the best things about Mad Men was that, after its first season, it managed to stop trying to convince us to see the way things were back then and to prove its historical accuracy to the 1960's through awkward bits of dialogue and props. It uses a painting by Mark Rothko as a prop. Kinsey frequently uses slang to appear above the level of intellectual and cultural thought in the field of advertising, and while he seems genuine enough in guiding Peggy around the office, Samuel is the first real clue that Kinsey is just another phony, maybe even the biggest one of all. As Roger gets more and more drunk, he reveals more about his personal life including the admission that his daughter, Margaret, had to see a shrink, something Roger half-denies later when sober. Where other period pieces have so often failed, Mad Men succeeds in making its setting entirely authentic. How do you talk to women when you're married? I love these little symmetries.
The most powerful image to me in Episode 1 is what Don sees before falling asleep on his office couch; it's one that many of us who sat in doctor's offices and classrooms with flourescent lights remember: the image of a fly trapped inside a ceiling light fixture, in love with the light yet doomed to die up there. She ends her story with an expectant look at Don, a look that some men don't read correctly and some men choose to ignore out of fear. He demands to know when she got her television, as he knows it must have been from another man, and that's not acceptable to him. Don is quite forward thinking. I loved her from the moment I saw her, and it was a testimony to Don's potential for depth that he fell in love with her when she set him straight about how she knew her own business better than he.