'Mad Men' recap: 'You're an attractive girl, Peggy'

“Mad Men” can be a lot of things, but one thing it’s usually not is a tearjerker. The show always packs an emotional wallop — you'll laugh, you’ll cringe, you’ll want to throw paperweights at Don — but good, old-fashioned lumps in your throat are hard to come by. Sunday night, however, there wasn’t a dry eye at my house. Granted, I watched the episode by myself, but still: If the image of Don, drunk, heartbroken and  curled up in Peggy’s lap, won’t get you a little misty-eyed, then your name must be Betty Draper.

For some time now, Peggy and Don have had a certain understanding. But the terms of their “special relationship” were unspoken and, therefore, easy to ignore. For Don, it meant being a bully; for Peggy, it meant giving in to Don's unreasonable demands. Sunday night, Peggy challenged the unspoken terms of their friendship, and as a result, their kinship became something real. One of my favorite things about “Mad Men” is the way that the most incremental developments can pack such a dramatic punch, and the fact that the very best episodes are often the ones in which very little actually happens.  I’ve heard "Mad Men" creator Matthew Weiner say the stakes on the series are low because, in the real world, most of our problems are not that melodramatic.  This episode was a perfect example of that; it was also my favorite of the season and maybe even my favorite of the series so far.

As the episode begins, both Peggy and Don are in emotionally fragile states.  There’s no question as to what’s on Peggy’s mind after she runs into a very pregnant (and ever so slightly patronizing) Trudy in the ladies' room.  Don’s in an even gloomier state after getting an “urgent” message from Anna’s niece, Stephanie; an “urgent” phone call can only mean one thing, and he knows it.  Rather than call California, Don starts to drink, and he calls Peggy in to see where she is on the Samsonite pitch.  There are two ways to interpret this move: 1) Don’s in pain, and he needs Peggy, his punching bag, or 2) Don uses his work to escape from his anguish, and Peggy’s his favorite person to work with.  Of course, it’s a bit of both, isn’t it?

Faithful “Mad Men” viewers will know that things tend to get freaky after-hours at the agency. (I’m thinking of “The Lost Weekend” and “Nixon vs. Kennedy” and, of course, the more recent "The Good News”), and the late-night drama is only more pronounced now that Don’s a full-fledged alcoholic with an empty apartment he doesn’t want to go home to.  I’ve always been a sucker for movies and TV shows centered on the “one-night-that-changed-it-all” device. (It’s a weakness that probably dates back to movies like “Adventures in Babysitting” and “Sixteen Candles.”) When the night begins, Peggy is Don’s malcontent underling; by its end, she has replaced Anna as the only person who really knows Don.  In return, Peggy has a friend to whom she will never have to explain anything.  Don might be a harsh boss, but as a friend, he’s not the judging type.  What remains unclear is the answer to Peggy’s question, “How long are you going to go on like this?”  Though if anyone’s going to rescue Don from his rye-soaked decline, it will be Peggy. No doubt she will always be glad she ditched dinner at the Forum of the Twelve Caesars.

A lot of the credit for this change goes to booze, of course, which helps to lubricate Don's and Peggy’s soul-baring.  But a lot of it also goes to Peggy, who doesn’t shy away from asking questions, as she once would have done — and doesn’t hold back her own secrets, either.  The pivotal scene, I think, is the one at the bar during the Liston-Clay fight.  Peggy tells Don she hates dating;  she is, it must be said, fishing for compliments.  But who cares?  It works.  Don tells her she’s attractive, which opens up a conversation about Allison, and then — credit to Don for this one — Peggy’s baby. It bears mentioning that even though we all know Don is a sad and occasionally evil drunk, a rotten father and an unreliable employee, there are two moments in this episode when I still want to be Peggy.  First, when Don tells her, “You’re an attractive girl, Peggy.”  Second, when Don takes a swing at Duck for calling Peggy a whore.  I consider myself a feminist, but that doesn’t mean I would mind having a handsome man punch some jerk's lights out  on my behalf.  So sue me. 

Another reason I loved this episode?  It appealed to the film-studies nerd in me in a major way.  This episode was called “The Suitcase,” which is, of course, a reference to Samsonite.  But, if you’ll indulge me for a second, I also think there’s something else going on here. Hitchcock was famous for using MacGuffins — objects that initially drive the plot but decline in importance in favor of the "real" story.  The suitcase, often stuffed with money or jewels or secret papers, is a favorite MacGuffin.  Now, there aren’t any visits to the Bates Motel or chases across Mt. Rushmore in this episode, only a late-night dinner at a Greek diner and the forging of a real friendship between Don and Peggy, but the suitcase functions in the same way.  If it weren’t for the Samsonite account, Peggy wouldn't have gone to dinner with Don.  Initially, it’s the reason she stays.  As the episode progresses, it becomes clear that Peggy isn’t staying because of “the suitcase,” but because of her relationship with Don: She can feel the tectonic plates shifting beneath her feet, and wisely, she decides to ride out the changes. Peggy and Don continue to brainstorm halfheartedly at the diner, and when Don comes up with a solid idea for Samsonite at the end of the episode, who really cares? I sure didn’t.

What matters is that hand.  I was worried that, after their long night together, Don would put the wall right back up where it used to be — that he’d pull another “Thank you for bringing my keys.”  When Peggy knocks on his door, I'm convinced he’ll be mean and impassive once again.  He sure manages to put on a clean shirt and whip out the pomade pretty quickly; why not the emotional armor too?  So when Don rested his hand on Peggy’s — a nice nod to the very first episode of the show — and asked her to keep the door open, well, people, I cried. 

It’s true: Even bloggers have hearts. 

A few things I’d feel remiss not mentioning:

--  If the recordings for “Sterling’s Gold” are to be believed, Lyle Evans was not a Matthew Weiner-generated meme intended to confuse “Mad Men” viewers but a physician who performed an unnecessary orchiectomy on Bert Cooper.  (Translation: he cut Bert’s testicles off.)   Well, that certainly solves everything, doesn’t it?

-- All hail Ida Blankenship, Queen of Perversions.

-- Recovering alcoholics are “self so-righteous,” according to Roger Sterling. 

I have but one question for you, Show Trackers, but it sure is a loaded one. What’s in store for Peggy and Don, after their special night together? 

-- Meredith Blake
twitter.com/MeredithBlake

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Photo: Peggy (Elisabeth Moss) lives it up on her birthday. Credit: Mike Yarish / AMC

Comments

[Jerry D]

I couldn't agree more about last night's episode. By far, the best of the season and certainly the best of the series in terms of the quality of Jon Hamm's acting. It was the first time I watched the show and felt he deserved an Emmy. His emotional breakdown was as convincing as any I've seen on the screen, large or small. Of course, Elizabeth Moss wasn't too shabby herself! Full disclosure: I am proud to say I know Randee Heller, who plays Ida Blankenship, and want everyone to know she's a stunning-looking woman underneath that wig and make-up!

[RB]

"You're cute as hell"...
Ugh, that got me!

[Rekster]

One of the best episodes in the history of this great series. This has truly been Don Draper's season. Jon Hamm has continued to excel in the spotlight this year. He is the star of the show but this season he has been the STAR.

It looks like AMC will once again be the home of the Best Actor Emmy. I know Bryan Cranford won't be eligible since Breaking Bad won't be back in time for next seasons Emmys but it wouldn't matter anyway with the great season Jon is having.

Meredith, I was with you with the lump in my throat and the tears in my eyes during those scenes with Don and Peggy on the sofa and most especially when Anna appeared with the suitcase.

I loved reading the comments from all the other fans of this truly great series and can't wait for next weeks episode.

[don]

Who writes this crap. I hope you're not paid for this article.

[cinnamon barks]

@Richard Nusbaum: The song is actually by Fred Niel, performed early by H.P. Lovecraft.

"The Suitcase" is one of the best things I've seen on television and emotionally satisfying all 'round. Kudos to everyone for great commentary.

[Ann]

Is it wrong to love a show this much? I can't get over last night's episode.

Is it wrong to love a blog about a show so much? Beautiful analysis, Meredith. And comments. Thanks for allowing me to wallow in all of the episode's wonderfulness.

Everyone has commented on so much, but my favorite exchange may have been when Peggy and Don have it out about who gets credit or thanks for ideas -- "That's what the money's for!"

The ghost of Anna -- shivers down my spine. Don's sobs -- tears streaming down my face.

[Mike]

What an enjoyable episode. Don & Peggy are a great combustible chemistry experiment. The shows writing and character development keeps us hooked.
I was very happy to see Don sobered up enough to actually have a conversation and share his past. What a break through.
The Show is the main course, but could the meal be complete without Meridith's sweet thought provoking dessert. Thanks Meredith and to all who comment.

[Shellie]

"What’s in store for Peggy and Don, after their special night together?"

It'll be very complicated, as Matt Weiner says in the behind-the-scenes video at the "Mad Men" Web site. For Don, Peggy is a cute girl whom he could have bedded, but he refrains because he respects her both professionally and personally (that's rare for him, a womanizer). She's also a mother figure, considering she gave away her child and Don never knew the prostitute who was his mother. Don believes she "doesn't have to explain herself" on that front, especially. And another reason why Don went ballistic when Duck called Peggy a whore.

Whenever there's a "special bond" between a straight man and a straight woman, it will feel romantic. Their special bond is one of mutual attraction, respect, understanding, and it is much like family. I think it'll be hard for both of them to keep it platonic, but they both realize it'll have to remain that way if they want to have a meaningful relationship at work and otherwise.

I'm sure Don thinks she's too good for him, and Peggy knows he really can't change his stripes. They both know he has baggage -- an older guy with an ex-wife and kids, and she's young with her entire life ahead of her. And they both know he'd be unfaithful to her, so getting together would only end in heartbreak. That's reality. But romantic love is such a powerful draw that eventually they might not be strong enough to resist temptation.

If she leaves the agency for a better opportunity, and that means Don won't be able to see her every day, expect Don to break down to her and lay everything on the table, like he did when he begged Peggy to join Sterling Cooper Draper Pryce. (Except this time, the stakes will be incredibly high.)

After this, losing Peggy will mean more crying, drinking and spiraling out of control for Don.

[Christine]

plus, in the suitcase vein, when Anna appears, she is carrying a suitcase--a Samsonite???

[vegasgirl]

An emotional wallop of an episode. Hamm deserves an Emmyalone based on this one, as does Moss!
However, I do not to see those two getting romantic. Their relationship is deeper than that, and should stay on that level.
Tremendous show, all around!

[Be Beauty]

I love this season of Mad Men. This episode was amazing, yet extremely hard for me to watch. My dad is a severe alcoholic and watching Don is like watching him. Like Don, his life is beginning to fall apart, it is sad and painful to watch. I must applaud the writers of the show for writing the dimise of an alcoholic so well. Like my dad, I feel bad for Don, but at the same time he did it to himself. Therefore, I don't think I could ever cry for Don. Due to my circumstances, I will always be Team Betty.

[JR]

The enduring image for me from this episode was Anna walking in with suit case in hand as if prepared to go on her final journey. Smiling and not saying a word as she turns to leave Don forever. What a classic scene!

[Lauren]

Loved it! I was a little off this season this until this episode. So deep, I could go on and on. Let me say that the relationship between Don and Peggy is totally new ground, honestly like nothing else I've seen on tv. I am not sure I even WANT them to hook up ... it would ruin it. Want to know why Don hasn't hit on Peggy? It's not because she's not pretty enough. It's because she's too THERE. It's a switch on the old "My wife doesn't understand me" line.

Also loved your insights about the "macguffin." I wondered about the "there's another way out of this office" line. And worried that it might be the window. After all, I have seen the opening credits.