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Pretty used to being with Gwyneth

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Frank in all directions

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Simply cannot go back to them

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Entries in peggy olson (4)

Monday
Sep142009

In Which We Plan To Advertise in Ebony

Wading Through The Fog of Mad Men

by ALMIE ROSE

Don Draper is the Kanye West of the 1960s. They’re both creative man-children who get pissy when they don’t get their way. They also look great in shades.

Last night’s episode of Mad Men, aptly titled "The Fog" because the whole thing was a foggy mess, began with The Drapers at a parent-teacher conference in which Don takes the only available chair, leaving his pregnant wife to find her own goddamn chair. Don Draper is not a butler; he does not need to offer his chair to anyone. That’s such a slick Kanye thing to do.

Oh yeah so Sally is acting up in school and Betty has to pee. While she leaves the teacher gets all flirty with Don saying, “It’s going to be a beautiful summer.” Don gives her a look that says, “Yeah, for me to do you in.” Betty comes back in what has to be the shortest pee break in human history.

Back at Sterling Cooper Don gets pissy at a meeting and leaves, like Kanye at an awards show. The British dude tries to talk to Don and Don gets all pissy. Then Don goes home and no one is there to answer the phone and Don gets all pissy.

Don is so angry he could break his Mac Book Air!!!!

Then all of a sudden Duck Phillips appears on the screen and I gasp and do a Snoopy dance of joy. My God how I’ve missed Duck Phillips. But Pete Campbell’s being a total downer about it. If Don is the Kanye of the 60s then Pete is definitely the Pete Wentz of the 60s. Though Pete does have his share of Kanye moments, like when he threw his chicken dinner out the window. Gosh those were great times.

The teacher calls Don and tries to get him to reveal his soul or something and Don’s basically all like, “I got to return some video tapes” and shoots her down. For now, at least.

Then Betty goes into labor. God, it’s always got to be about you, Betty, doesn’t it? At the hospital the nurse is acting all Twilight Zone, being aloof and cold, but does offer Betty a complimentary enema.

Don, who looks a lot like Cary Grant in this episode, waits in the waiting room and starts talking to another expectant father. They reveal things about their lives, or something. I think this guy is a prison warden but I’m not really sure, because Dick Whitman’s Old Timey Tales are kind of dull.

In the delivery room, Betty has a drug induced Technicolor dream. Her acting is not that different from when she’s not supposed to be in a zombified dream state. Upon waking from the dream, Betty asks the nurses to leave her alone saying, "I’m just a housewife." It’s times like these when Mad Men really misses the mark on subtlety.

Then Lady Gaga won best new artist and accepted the award with her face covered in red lace. Then when I came back to Mad Men, Don Draper looked sad. I think I missed something.

This episode is more Lynchian than usual.

Betty gives birth without a hitch and wants to name their baby boy after her dead dad. Don is a dick about it but does not break his Mac Book Air!!!

Duck, meanwhile, borrows a plotline from Friends or Three’s Company in which he invites both Pete and Peggy to a business lunch without telling either one that the other one will be there. That’s so Duck Phillips!!! He’s such a rascal! Pete gets all weird and leaves. That’s so emo!

Duck tries to court Peggy into leaving Sterling Cooper for his agency and Peggy has her doubts. But Duck is wearing a slick turtleneck so it’s going to be really hard for her to turn him down. Peggy asks Don for a raise and Don gets all Kanye about it. Duck Phillips looks pretty awesome now, doesn’t he, Peggy?

Meanwhile Pete talks about "negroes" and makes an ass of himself with Hollis, the elevator operator. Pete thinks it would be a good idea to exploit the black demographic for an ad campaign, but the clients are appalled, because it’s 1963 and no one cares about black people. Roger does another blackface routine to smooth things over.

No, he doesn’t, but he does get angry at Pete and yells, "Are you aware of the number of handjobs I’m going to have to give?"! Seriously, he really says that! After that I kind of tuned out because all I could think about was Roger’s handjobs. I really wish he had gone into detail. Exactly whom would you need to give these handjobs to, Roger? And how? Could you describe it?

The episode ends with the baby waking up Betty from her sleep and she seems kind of bummed out by it. Don of course does not wake up. Don, how could you be so heartless?

Almie Rose is the senior contributor to This Recording. She writes here, and twitters here. She is a writer living in Los Angeles. She last wrote in these pages about hot places in L.A.

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"Kitchen Stove" — Henri Almond (mp3)

"Wolves and Laundry" — Henri Almond (mp3)

"Trois Ans Avec" — Henri Almond (mp3)


Monday
Aug312009

In Which I'm Peggy Olson And I Want To Smoke Some Marijuana

Mad Men: The Musical

by MOLLY LAMBERT

 

Great episode. The viewers at home breathe a sigh of relief as Mad Men hits its stride in the third inning after two wobbly-kneed and tedious first attempts. All the gears are finally whirring. Everyone (Joan!) has shown up. Characters are mixed up and re-matched in new social settings. And so many GIF opportunities.

 

So Many GIF Opportunities:

Roger in blackface

Peggy getting high

Don Draper hopping over the bar

Sterling's wife v. Joan

Pete and Trudy's dance routine

Joan playing the accordion

Sally Draper stealing from grandpa

The Tigertones reunion

 

So many chances for things to go horribly wrong, and yet for the most part it went alright. Matthew Weiner clearly thrives on the narrative tension of awkward situations, and yet he does not go straight for the banana peel every time. Jane's alcohol induced collapsed was not followed up with one of Mad Men's trademarked "vomiting in public embarrassment" sequences.

 

Pete & Trudy's Charleston: America's Next Best White Dance Crew?

Are they setting the characters up to be happy just to twist the knife later? Joan's husband's lack of medical prowess being revealed with the suggestion that patients die on his table seems pretty ominous. As does the whole "Grandpa Gene" situation. Or is it possible that after two seasons of turgid misery the Mad Men ensemble's lives will finally achieve that "freeness" the sixties is so often associated with. Probably not.

the other contender: Monica and Ross's "Routine" from Friends

There were some overly long poetic monologues. That Sam Elliott type (Chelcie Ross) in the empty bar served no purpose other than to make me laugh with his rambling about "taking a johnboat down past the old mansion." Peggy's overly mothering secretary who won't go home was neither here nor there.

"IT'S MOHAIR!!! HE'S LIKE A TOTALLY IMPORTANT DESIGNER!!!!!"

But the Breakfast Club bit with Peggy and the other creatives holed up smoking reefer at Sterling-Cooper on a Saturday was delightful. Christina Hendricks may not be a real redhead, but she really plays the accordion. How she fits it comfortably over her massive (real) breasts is a mystery for the ages.

 

"I'm so hiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii"

The cut from Peggy smoking the joint to the hallucinatory nightmare of Roger singing "My Old Kentucky Home" was one of many such touches that made this episode feel like the show is the Sopranos successor it ought to be. At its finest, Mad Men is a slow-paced and richly rewarding character drama (like The Wire). At its worst it's a campy soap (like True Blood).

I see you Patrick Bateman, hitting on my Peggy Olson, don't even think about it man!

Here's hoping the season continues in this fashion. I'll admit the first two episodes left me a little cold compared to this one, which I loved. Mad Men — like The Sopranos — theoretically follows one antihero while remaining an ensemble show at heart. Don Draper is cool, but he is just one of the eight million reasons we love this show.

 

In the end, it's really Pete Campbell's show. We're just watching it.

 

Molly Lambert is the managing editor of This Recording. She tumbls & twitters. You can find her review of last week's Mad Men here.

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"Soil, Soil (demo)" — Tegan & Sara (mp3)

"Burn Your Life Down (demo)" — Tegan & Sara (mp3)

"Call It Off (demo)" — Tegan & Sara (mp3)

 

Thursday
Aug272009

In Which Mad Men Whispers To Us Over and Over Again

Keep Some Of Your Tools In The Toolbox

by MOLLY LAMBERT

Peggy Olson got laid you guys! And nothing terrible happened. It's the lesson every Catholic girl must learn, preferably not after dropping the love child of the less sexy Head Of Accounts, the married one, the neurotic one, the one who has won no awards for his evocative New England set short stories.

Ann-Margaret in 1963 is like Megan Fox right now. Telling a "normal" girl that's what is sexy is retarded, even if it's true. Lots of things are sexy. Most of them are less glaringly "sexy" than Ann-Margaret or Megan Fox. Peggy didn't score because she channelled Ann Margaret. It's because she's gonna slam dunk the Patio account.  

Sometimes a girl just has to venture outside her Brooklyn apartment, go to a bar, and make small talk with someone not necessarily as smart as she is but certainly passably attractive enough to go home with. Sometimes a girl just needs to have sex.

In the first two episodes of this season Mad Men has done the fanservice of giving sex scenes to the two characters most desperately in need of them, Peggy and Sal. After the nonstop Bon Temps Bang Bus that is True Blood, it's nice to come down to a level where sex is not as easy as wandering down to your local Maenad orgy bacchanalia.

Meanwhile adulthood is a total drag, as Don decides that Betty insist on taking in her dementia suffering father. Knowing Don, he will be out there high fiving crotches with stewardesses like the premiere's Slutty Betty in no time. Real depressed Betty's life will probably continue to get worse, given another reason to be confined to the house. But hey, after you take the kids to Tarrytown they can get a Cookiepuss at Carvel!

"I can see by what you carry that you come from Tarrytown"

Don is going to sell the new Penn Station based on the idea that it belongs to the future, and setting up the corporate fantasy bonanza of the 1964 New York World's Fair. The new Penn Station will be ugly and everyone will hate it until enough time has passed that the people have forgotten the old one. Such is progress. 

Who knows what the future holds? Who among us wants to believe that our decisions influence our lives? Where the fuck is Joan Holloway? What's going on with her douchebag doctor husband? You know Joan would be asking this shit right off the bat, because she is a good gossip. Unrape my heart. 

And no, Ann-Margret can't sing. Or she couldn't sing well enough for "Bye Bye Birdie." But who cares? She's adorable. It's gonna sell truckloads of Patio diet soda.

Molly Lambert is the managing editor of This Recording. She tumbls here. She twitters here.


"Moon Over Miami" — Sarah Vaughan (mp3)

"Crazy He Calls Me" — Sarah Vaughan (mp3)

"Stormy Weather" — Sarah Vaughan (mp3)

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