jouster wrote:They won one Emmy. The Shield also won one, while The Wire won none. I'm not really sure what that proves, though, as FlashForward won for stunt coordination. I don't mean to dispute that the Emmys are ultimately worthless, because I think that they are, but it's not like the academy deemed FF to be better written, acted or directed than the shows you mention.

That is true too. My post was mostly a drunken rant when I got home from the bar with friends last night ;-) Sorry...back to Mad Men.

LOL, speaking of drunken rants (thanks for the set-up, Garth!) did anyone find Don's inebriated pitch to Life a bit bizarre? We've seen him drinking and working at an extraordinary level for the entire series, but for some reason, he was reduced to the level of a complete idiot in that scene.

I know that we're witnessing his "Drunken Downward Spiral" this season, and he probably came to the meeting with a sense of professional entitlement after the award, but I thought it was a strange bit of direction.

What is slowly emerging is the myth and aura that Dick created around his Don Draper persona is unravelling. It is obvious now that he manipulated and lied to get to where he is while taking credit for other people's ideas.

However credit should be given for Hamm's peformance. His drunken presentation where he tried to sell a campaign about cereal with a lame concept and all he could then do was repeat the nostalgia idea which won him kudos with Kodak, showed he was limited for ideas.

What did everyone think about that scene when he woke up with Doris the waitress in his bed calling him by his real name. Was it a dream about the past mixed with reality? What happened to the attractive jingle writer he picked up at the bar? Did he imagine her?

Peggy's manipulation of the crass copywriter by getting him to strip down to expose his bravado and really had "little" to brag about.

And of course Jane's "little" cousin whose apparently unimaginative (but ultimately successful catchphrase "cure for the common...." perhaps symbolises not only the truth about Don but the world of advertising in general.

AJColossal wrote:LOL, speaking of drunken rants (thanks for the set-up, Garth!) did anyone find Don's inebriated pitch to Life a bit bizarre? We've seen him drinking and working at an extraordinary level for the entire series, but for some reason, he was reduced to the level of a complete idiot in that scene.

I know that we're witnessing his "Drunken Downward Spiral" this season, and he probably came to the meeting with a sense of professional entitlement after the award, but I thought it was a strange bit of direction.

I did think it was a bit much. Hamm played it very well. But I guess I also figured that Don's nerves leading up to the awards ceremony probably made him drink more than he usually would, and after--with the excitement, I have no doubt they drank more on the car ride back to the office. I guess my only point is that Weiner didn't show us the extent to of Don's drinking.

But I also think that professional entitlement helped things along. Don looked the happiest we have ever seen him when he won that award (again played magnificently by Hamm). So interesting how just 6 episodes ago Don was too nervous to give a proper interview and now he is accepting awards in front of his colleagues.

conkom wrote:What is slowly emerging is the myth and aura that Dick created around his Don Draper persona is unravelling. It is obvious now that he manipulated and lied to get to where he is while taking credit for other people's ideas.

What did everyone think about that scene when he woke up with Doris the waitress in his bed calling him by his real name. Was it a dream about the past mixed with reality? What happened to the attractive jingle writer he picked up at the bar? Did he imagine her?

I don't know how obvious it is that Don lied and took credit for others' work to get where he is. He certainly showed some flaws this episode, with the magnificently intertwined scenes of him and Sterling, and his manipulation to get a job. (This season has really been knocking their endings out of the park by the way...seriously, the music...Don's smile as the elevator closes...pitch perfect) And then later on with him not acknowledging the use of the youngster's idea. But in all fairness he had been on a tidal wave of events and alcohol (not excusing anything mind you), AND he offered to pay for the idea. This is the way the business is done...if Don knew it was the kid's and went ahead with it anyway, then you might have more evidence to convince. But Don has shown that he has talent in this industry. I don't think he used other people to climb the ladder any more than anyone else in the show does.

As far as the "Dick" [Whitman], it is my guess that Don had beer goggles and the jingle writer was the same woman that we saw at the end. He, in a drunken stupor told her his real name. And there ya go. The only imagined part was how attractive he found her at the bar when wasted on martinis.

I love that he is breaking down slowly but surely. It is heart-breaking, but in all honesty this is exactly what is needed for the character to remain interesting and not become a ridiculous caricature. A good-looking, heavy-drinking, chain-smoking, ladies-man who always gets what he wants; I feel like that is how many viewers saw him and they watched it for wish fulfillment television (much the way some Sopranos viewers just wanted to see endless violence, and Entourage viewers watch so they can enjoy the rich, sexy lifestyle in the only way they can) Just showing viewers things that they want to see, does not make a good television show. So far this season is really blowing me away.

Early in the episode it was clear that Peggy felt that Don wasn't acknowledging her input in the winning entry. This is typical in the advertising industry. Don has lived a lie all his adult life. Even the nostalgia theme for the Kodak carasoul is a lie. He himself isn't hankering for the past. His life was never idyllic. He is doing what he can to deny it ever happened.

You're probably right about the beer goggles.

But like Tony Soprano it is interesting seeing his world unravelling.

Actually it turns out that Don was on a real weekend bender. He took the jingle writer home on Friday night after the awards. We saw him wake up on Sunday when Betty rang him. Clearly he took the jingle writer to a restaurant sometime Saturday. She left him there. He then took Doris the waitress home that night. Interesting that he gave her his real name.

He then fell asleep on the sofa where he was woken by Peggy at the door.

conkom wrote:Actually it turns out that Don was on a real weekend bender. He took the jingle writer home on Friday night after the awards. We saw him wake up on Sunday when Betty rang him. Clearly he took the jingle writer to a restaurant sometime Saturday. She left him there. He then took Doris the waitress home that night. Interesting that he gave her his real name.

He then fell asleep on the sofa where he was woken by Peggy at the door.

Oh interesting. I need to rewatch this episode (naturally) but, yeah Don had quite a weekend. I saw this on another board, someone mentioned, "I love that Don's 'hitting rock bottom' still looks like a better weekend than I have ever experienced"

Well, that last episode was just about perfection. Jon Hamm definitely cemented another Emmy for himself, and I'd be incredibly surprised if Elisabeth Moss didn't win one as well.

I texted my friend right after that this was the Mad Men episode I've been waiting the past two seasons for.

This was the kind of dramatically compelling episode that I always feel the show shies away from in favor of "aren't we cute?" cleverness , and it's a shame, because I do feel that there is some considerable talent on the show, especially as we saw from Hamm and Moss.

One of the reasons that last season felt flat was the repeated attempt to wring dramatic tension from scenes between Hamm and Jones, and Jones wasn't up to Hamm's level. Here we had two really good actors whose characters have an intricate history together, and it was a joy to watch them perform.

Yes it was a very good episode. Hamm and Moss both deserve all the accolades and awards (whatever that's worth).

I wouldn't be so critical of Ms Jones. Betty Draper is who she is. She is a troubled soul despite her apparent vacuousness. She does have all the depth of a nineteen sixties' model in an ad in a glossy magazine. But in that respect she is perfect.

What is interesting to see is the slow unravelling of Don Draper.

What makes the show so good is the recreation of the period is faithful, warts and all, especially the realisation that it wasn't as wonderful as people try to make it.

Looking forward to another opus from an alumni of Sopranos - Boardwalk Empire.