1. Instead of focusing solely on the adulterous antics of SCDP's ad men, Matthew Weiner propelled most of our illustrious female characters into the spotlight this week, with Joan taking center stage. Last season's fourth installment, "Mystery Date," was Joan-centric, with Greg returning from the war only to clash brutally with Joan. And then we got the acknowledgment of the rape prompting the cessation of their relationship. Yet, Joan's struggle to support her newborn son didn't stop there. She made a difficult decision in "The Other Woman," securing a partnership in the agency. Over half a year later, Harry Crane wasn't afraid to address the ever-so delicate matter after Joan fired his secretary. Once Joan ignored an apology to teary-eyed Scarlett, she sauntered off to the partners' meeting. So, Harry decided to further press Joan's buttons. Granted, he was still wound up from wooing Ken's father-in-law at Dow Chemical into sponsoring the television special "Broadway Joe on Broadway" and reckoned Joan was complaining about him in the meeting. As Ken patiently waited outside, smoking a cigarette, Harry marched into the conference room to interrogate SCDP's partners as to what lies Joan was telling about him. As always, they disregard Harry and revert to Joan for an explanation. And that's when Harry does it. He affirms, "Just keep talking to her because she's partner. I'm sorry my accomplishments happened in broad daylight and I can't be given the same rewards." Now, on "Mad Men," characters' dalliances and immoral activities are often inconsequential or several episodes later one's misdeeds (i.e. Lane) yield fatal results. Joan truly questions if it's worth being a partner. There's even a sense of uneasiness when Harry mentions her prostitution, as Don's eyes widen as he stirs in his seat, Pete is tense with a defensive rebuttal and Roger just slowly glances at Joan. It's almost as if Harry's spoken a taboo, yet there's no limits in "Men's" landscape. Once the train arrives in the station, our characters spin more out of control. There's glimpses of feminism in this episode, and Joan's at the forefront of it. How does she escape this menacing shadow? Can they respect her as a secretary? We get it. Everyone (except Don, remember that beautiful scene between Jon Hamm and Christina Hendricks in "Christmas Waltz" when he arrived at her apartment to express his concern for her not to undertake the degrading action?) utilized Joan as a means to an end, so how much do they really value her?
2. While this episode had its fair share of plot advances and surprises, there was nothing like the hilarious, yet awkwardly uncomfortable conversation that ensued over Don and Megan's dinner with Megan's boss, Mel (Ted McGinley), and his wife, star of the soap opera, Arlene (Joanna Going). Simply, they beseeched Don and Megan to "become better acquainted" over some grass and a "then we'll see what happens" after their lavish meal. Essentially, a you-know-what. Or something of those sorts. Arlene even offered to make Don her signature black coffee in the morning. The Drapers refused, yet this scene did more than resound on the uneasiness plaguing Don (from his affair and his memories of living in the whorehouse), but it also took a stab at Megan. Remember that miscarriage? Well, now Mel's offered her soap opera character a love scene and she's tense about Don's (or James Garner, if Arlene's speaking's) reaction. It's difficult for Megan to step out from Don's shadow without a kink in their marriage, since she doesn't want to displease Don. But, she wants to be a renowned actress even if Don or her parents discredit the occupation. In the fifth season finale, Marie Calvet called what Megan's dream to be a successful actress a "phantom." That accusation served as a metaphor for many other elements of the finale, but now, the title of Megan's soap opera, "To Have and to Hold," also has two-fold meaning. First, it's a 1900 novel (bestseller of the year, actually) chronicling a English soldier turned explorer in the Jamestown colony who finds a wife, yet through a turn of events must thwart plots to kidnap her and deliver her back to England where they can live in peace. Additionally, it's another metaphor for what "Mad Men's" all about: perception. Megan believes she has a firm command of her career, but it's clear at the end of the episode that Don's resentment may become an issue if this storyline continues. As we know, Megan's unaware of Don's current infidelity. Yet, she knows his true name, Dick Whitman. What she doesn't know is the ACTUAL truth behind Arlene's intuition when attempting to flatter Don. She predicates, "I'm sure he's a man who plays many roles." Yes, there's a lot of states to the morally complex Don (Dick) Draper (Whitman). And, there's things (or people) Don senses he controls, yet he doesn't at all. What one has and what one believes to have are two completely different arrangements, as this episode further implores. Keep that in mind...
3. Back to Joan. When her old friend Kate interviews for Avon, they spend the night out in the city. Filled with an elegant performance (maybe not as good as the ones in"Christmas Waltz" or "The Other Woman") by Christina Hendricks, the agency's newest partner has quite the night. Commencing in a burger joint that Joan describes as a "soda fountain" with the vibe of "high school right down to the clientele," all she wants is a drink and a livelier atmosphere. By the end of the night, Joan's relaxed, sitting at the end of a couch in a club while Kate and her man for the night steal a few bases. She doesn't care that she's alone. Or so it seems. A few sips here, another glance there and the kaleidoscopic scene of the club (coupled with the French song "Bonnie and Clyde" by Serge Gainsbourg) sinks Joan right in. Soon, she's making out with Kate's man's friend. The next time we encounter Joan and Kate, Gail Holloway is waking the hungover duo, mid-morning. As they lay in bed, Kate makes a confession, remarking, "The whole reason I talked to Avon is because I wanted what you have." Joan confronts the claim with a sweet, "It's not what you think. I've been working there for fifteen years and they still treat me like a secretary." Indeed, Joan's inability to fire Scarlett, her effort over maintaining the time cards, and questioned status from Harry Crane makes her job look meager. Maybe it's because how she got the partnership. However, it could just be since she's a woman. Either way, Joan has a chip on her shoulder from her "achievement" and needs to do what she does best (buckle down and fight it out) in order to succeed.
4. Onward to Heinz. Project K is in the bag for the agency, right? Stan, Pete and Don are on a mission to secure the Heinz Ketchup account. They already have the beans, vinegar and sauces under their helm. After a secret meeting with Timmy (Kip Pardue) in Pete's apartment, Project K is underway with Stan working from a closet that has windows are covered with tin foil. Stan works diligently (while smoking a little grass for the "cobwebs"). Soon, Project K is ready. Don gives the pitch with the tagline "Pass the Heinz" in an upscale hotel to Timmy and a sidekick. The absence of the ketchup bottle doesn't please Timmy, thus Pete promises they'll make one with the classic bottle as well. As the "Project K" crew meanders out of the room, they're greeted with a few familiar, yet unexpected faces outside of the room. It's Peggy. It's Ted Chaough. And it's some other guy from the rival agency. Softly, Peggy mutters a "hello." Next, Timmy's partner ushers them into the room as Ted teases, "I hope you left us something." Agitated, Pete and Stan head to the elevator, but Don stays to listen. What he hears is Peggy's firm command of the pitch without any of Don's support or guidance. Several months ago, Don ran into Peggy at a movie theater in "The Phantom" and he reminisced on their journey, "This is what happens when you help someone. They succeed and move on." Indeed, Peggy's her own person and she's both struggled and flourished in a world where female copywriters are a rarity, so this moment is just another stepping stone for her. That moment in the theater was nostalgic, and it resonates with Peggy's pitch, as Don puts his ear to the door to hear some well-known jargon. As Peggy commences, she testifies, "I always say, if you don't like what they're saying, change the conversation," with the eventual tagline of "Heinz. The Only Ketchup." Yes, catsup isn't ketchup. It's clever, Peggy. Timmy sure liked it. Don silently applauded her in the hallway. But, Timmy liked another agency more. And that's when we see the first (and hopefully not last) aftermath of Peggy vs. Don at a bar close to the hotel. Stan's pissed, since it's his fault Peggy and Ted knew about the Heinz account in the first place. So, he casually flips off his "friend," as the passive Ted orders himself a drink. Ken Cosgrove, who like Harry is somewhat displeased with his spot at SCDP, storms in to scold Pete, but they've already lost their portion of the Heinz account. Truly, what SCDP "held" in beans, vinegar, and sauces is no more.
Next week: More of Megan's up-dos, Roger and Don wear tuxedos and drink (shocker), and Henry Francis (shucks!).
