Mad Men C to Z S2:E8 A Night to Remember Transcript

Below, find a written transcript of our Season 2, Episode 8 Mad Men C to Z podcast for A Night to Remember.
You can listen to the episode here.
Also, please visit the full episode page with Sterling Lines, Double Dip questions, show notes, time stamps, and more.

Introduction
Jenna: Hi, I'm Jenna.
Steve: And I'm Steve. Welcome to All Things Mad Men, from Chip and Dip to Zou Bisou.
 
Jenna: We started this podcast to connect to fans like us who pick up something new each time you watch the show. We break down each episode of Mad Men, from the pivotal moments to our favorite lines.
 
Steve: Be advised, our discussions may include spoilers so we can talk about character arcs all the way through the final season.
We won't be gratuitous with the spoilers, but they can pop up from time to time.
Let's get started with Mad Men C to Z.
 
Jenna: Welcome to Season Two, Episode Eight: A Night to Remember. This episode was written by Matthew Weiner and Robin Veith.
 
Steve: The episode opens with Betty doing some hard riding at the stable. Looks like she's got some energy or frustration to burn off. She's exhausting herself and the horse as she does her rounds.
 
Jenna: The last time we saw her, she and Don were coming back from their evening out at Jimmy Barrett's party, so they have some unresolved things.
We always see Betty so put together so here, seeing her ride as hard as she can, panting, she leans against the horse, sweaty - it's vulnerable and a little broken.

Even though she's doing something strong for herself here by going to the stables in the first place.
 
Steve: After the stable, she's there, back at home, while Don's lounging in bed, sleeping. Still, she looks like she's on a bit of a mission as she waits for him to wake up.
 
Jenna: Also, this shot of Betty coming home in the entryway is so similar to how we normally see that shot of Don coming in by himself. So it's kind of an interesting call out to that.
 
She heads upstairs and yes, she's in that bedroom. She has things that she wants Don to do because they're planning to host a party in the coming week.
 
Steve: And Don seems a little oblivious to the fact that she's got the bit between her teeth here.
And it seems like he's implying in his reaction to her request to fix the outlet of sort of like it's not a big deal. I'll get to it. Don't be stressed about the party.
 
And in her comment back to him, she says, look, you know, I just want you to do what you're supposed to do on the list. It feels like a veiled critique of him as a husband.
Jenna: Oh, I don't think it's so veiled. And he is awful. Here you can just see him trying to calm her down with a voice like, you're being so unreasonable. Of course I'll fix it.
 
And instead of smoothing things over, it makes her icy, overly calm back. Instead of getting upset at him or pressing him, she says,
I'd appreciate it if you take care of the things on the list.
 
And he says, oh, come on. I'll fix it, Birdie. And she goes, thank you. So it's completely - knives are out.
 
Steve: Yeah. She. She's all business.
 
Jenna: In the next scene, Peggy stops by to visit Anita. She's bringing some colored pencils for her nephews. So we see she does care about them, even if she's uncomfortable in their presence.
 
I love that Mad Men shows us this detail about Anita's marriage because they get gossipy instantly as soon as Peggy comes over.
 
She says, perfect timing. Ma just left. So they understand that they love their mother, but she's kind of extra. And Anita says that Jerry's back is still hurting. And she says his buddies think he's a malingerer.
 
And Anita goes, sometimes I think about Mike Ryan. Remember him?
So everybody has these moments where they look back and wonder what other possibilities life might have had for them.
 
And I'm guessing that Peggy's presence really amplifies this for Anita sometimes, because Peggy's life probably seems more fun, even though we know that's not always the case.
 
Steve: Yeah, I do feel like there is that dynamic going on in Anita's head anyway, of sort of the upsides of Peggy's life or choices and then simultaneously dwelling on the downside or what should be the consequences.
 
Who should stop by the house but Father Gil.
 
Jenna: He's stopping by to see Anita's husband and check and see how he's doing. But he catches Peggy alone for a minute. He kind of instantly gets . . . I don't want to use the word intimate here, but he's really, really personal.
 
He says, I see you at church, but you don't seem very comfortable.
She denies this. Here's a truth call out. She says, oh, that's not true.
He tries to kind of push her into getting more involved in church, and he ends up asking her to help promote a church dance. And she does not jump at the chance to do this.
 
She says she's really busy right now, but he makes it very difficult to say no.
 
Steve: Yeah. And in his commentary for the episode, Matt Weiner states that Father Gil is on a personal mission to save Peggy.
 
And I think that's exactly what we see in this scene as he's taking every opportunity to try and throw. Throw out a rope and start to make that connection and reel her into the boat.
 
Jenna: Yes, I get that sense that he's reaching out to her not to take advantage of her expertise for free, but because he wants to draw her into church life, and he's using her expertise as an excuse to do that.
 
But church is part of the life that Peggy grew up with.
It's not part of the life she's trying to build. So she definitely has walls up.
 
Steve: Yeah, it is interesting. And again, I like the writing here in that perhaps church life isn't part of the future she has for herself, but she still has obligations and a presence in it.
 
I agree with your take. You know, it's kind of in her rearview mirror, but that rearview mirror is also the present.
You know, it shows the inside of the backseat of the car as well as what's behind it.
 
 
Jenna: The next scene is at the office.
Duck calls Harry in to tell him that there was a Maytag commercial about the Amazing Agitator in the middle of a television movie about a Russian spy - or agitator.
 
Duck really barks at Harry, saying, get your department in line or I'll gut it.
And Harry is the television department. There isn't anybody else.
 
And it seems kind of weird to me that Duck wouldn't be aware of all the departments because he's super savvy about politics in offices.
 
But Harry says, I take full responsibility. This will not happen again.
And we've often seen Harry fret and not really handle stress well. So he says all the right stuff here.
 
Steve: I'm not sure that Duck isn't aware that there's no one else in his department.
So the way he says it maybe is a little more polite and discreet, but it's clear what the peril is to Harry. And at least in Harry's head, it's very clear.
 
Maybe he doesn't realize that, and he's not in that level of detail, but I'm kind of with you. I think Duck is astute. He pays attention. I mean, all he really has in life, as far as we know, is the job.
So I think he knows darn well that he's putting a shot across Harry's bow.
 
Jenna: I don't think so. They made a reference to it in the commentary. And I think the writers just feel like this is a continuing running joke that Harry invented this job.
And so when Duck first meets Harry and he sees him in a meeting, he's like, who are you? And he goes, I'm the head of the television department. And he's like, okay.
 
So I think it's just sort of this funny thing to them that Harry has gotten himself into this position and having fun with the pretense.
 
Steve: Saying Something in favor of Duck. Here. Again, this. This feels like an appropriate challenge from head of accounts to say, look, something went sideways with Maytag and the ad placement assigning responsibility and follow up on it to make sure this doesn't happen again.
 
So from a professional standpoint, I. I think Duck checks all the boxes. He's doing his job competently, and we've seen this in multiple occasions, even when it leads to friction with creative or, you know, maybe the unpleasantness of having to come aboard the television department head.
 
Jenna: So Harry leaves and heads back to the office guys, his buddies, and he asks will they help him read scripts, and nobody is interested in doing that without pay.
 
And they comment that you need juniors to blame. That's just the way it is.
And they're really complacent about it, and they go back to reading their papers and smoking their cigarettes. But Harry is still agitated, if you will. He needs a solution.
 
Steve: I think part of them not being very sympathetic is, you know, Harry fabricated his own department. He likes to trade on the fact that he is the head of a department.
 
So now when it goes sideways, they're not going to give him the time of day. You know, he. He dug this hole, as in it. Ken, I think, makes the comment about, you know, how can you have trouble doing a job that you made up for yourself?
So it's a pretty witty scene.
 
Jenna: In the next one, we see Duck, Don, and Pete meeting about Heineken. Duck says they're set on competing traditionally, but Don is arguing that there's a market of housewives entertaining at home who are excited to serve imported beer.
 
They decide to try an experiment in stores in the northeast suburbs to see how sales go. Short stacks, near snacks with toothpicks wrapped in cellophane, they say.
And we learn that Duck is coming over for a business dinner at Don's that weekend.
And Pete just hangs around at the end of the meeting, and he still doesn't get an invitation to dinner.
 
Steve: Yeah, and the attraction of the dinner is that Crab Coulson, who we know Don knows from the club, is going to be there, and he works for a PR film that Sterling Cooper is trying to court.
 
So via Don's connection at the club, they've got a crack at Crab.
 
Jenna: I'm like 10 years old because you just said they have a crack at Crab, and that makes me giggle.
 
So Betty's been preparing for this dinner that she and Don are hosting all week. She has a silver tea tray on the dining room table and a can of furniture polish.
 
And there's a broken chair leg. And the chair wobbles. She picks it up and she bashes the chair against the floor. And then she calmly picks up the broken pieces.
The kids can see her from the other room, but she isn't aware of them. What'd you think about this?
 
Steve: The writers talk about it as an actual incident that somebody remembers from their childhood. So I liked that little bit of background on where the idea came for it.
 
I think the important thing about this scene is it shows us how important the dinner is.
And I think it further emphasizes what we already know about Betty, is that appearances are really important to her. She wants everything perfect.
 
And she's under pressure here, as we know, the marriage and the rest.
So all this pressure is coming to a head. The shot of the kids watching her do this quietly and just sort of wondering what's up.
 
And then just the way Betty pulls herself back together and starts to pick up the pieces, it feels so real to me as these are the sort of little moments and things that happen in life that you know, from any perspective of witnessing it, it would be noteworthy and you'd remember it.
 
And then even for Betty, she doesn't have this outburst in front of other people, you know, that would be unimaginable. So it's only in the privacy of her own dining room that she would let herself have this little release of tension.
 
Jenna: The violence of it is surprising to us as viewers because this is not how Betty does things. But Betty has been swallowing her feelings for so long, seeing any of them expressed externally looks unusual. But as Bobbie Barrett says, it has to come out somewhere.
 
So I guess what's strange is more that it took so long for her to demonstrate her anger. This isn't just a hand tremor. She's taking broken pieces of her perfect looking home and destroying them and removing them.
Steve: Yeah, it's probably the biggest outburst from Betty since, what, shooting at the pigeons of the next door neighbor.
Which wasn't really done in a fit of emotion or outburst. That was more of a cold blooded decision to go out there.
 
Jenna: Back at the office, Roger shows up to talk to Harry Crane. And Harry asks for a dedicated underling to read scripts to save the office money. Avoiding surprises, he says this is exactly what the office guys said that he needed.
So Harry makes the direct request and Roger denies him. He says he can't hire anybody to help.
 
Steve: Yeah, Roger doesn't seem very sympathetic to the plight of Harry here and basically just tells him to figure out a way to look after it himself.
 
Jenna: In the next scene, Peggy answers the phone and she pretends to be her own secretary because it makes her sound a little more important. She's got that pretension in her.
 
So the church committee has some concerns about her poster and her theme, A Night to Remember, and they want to speak with her.
Peggy is pretty confident. When she talks to Father Gil about this, she says, tell them this is how it works. And I know better than them, which I think is pretty, pretty brave of her.
 
But he pushes her to have a meeting. He says, they just want to be involved.
So she sighs and she says, I'd love to hear their thoughts. Yeah, she'd love to hear their thoughts the way that Paul wants to see everybody else get a promotion except him.
 
Steve: Yeah. And I think, you know what, what's cute here as well is Peggy's become a copywriter. She's starting to understand the business and how.
And really, she's trying to model the advertising business for this pro bono work she's doing for the church.
 
Of course it's going to go off the rails and it's not going to operate and stay in the lanes that she's laid out for it.
 
Jenna: She also has a unique advertising insight. I think that the other people, Father Gil included, miss. She says, you have to get the girls. It's the only way the boys will come. So she exactly knows who to market this poster to.
 
Steve: Oh, yeah, she's totally professional and mission focused here. So pearl-clutching committee worried about morality and the rest. And Peggy's focused on it, you know, like a laser beam of how do we get the most young people to attend the dance?
 
Jenna: So now Joan shows up in Harry's office. Roger said Harry needed a girl to help with his workload. That's not what Harry wanted or asked for.
But with a little conversation, Joan says she'll read the TV scripts. And Harry doesn't give her a lot of direction. He says, my wife is pregnant. I just want to go home at a reasonable hour.
 
He has a really low bar for success at this task. He just wants to avoid a crisis.
 
Steve: Joan gets this request, and I think we see the professionalism and competence of Joan here. There's an issue. There's something that needs to be done. There's potential resources that she controls.
 
And then when she sees what the lift is, she realizes, you know, hey, she could take a look at it. I think Joan shows very well here as being a constructive contributor in the office, as opposed to Harry, who just seems to be wanting to mitigate risk and keep Duck off his back.
 
Jenna: I agree.
And when Joan leaves, there is this comic moment when Harry's officemate Warren wonders, why can't I talk to her like that? She's so much woman.
And the line is funny.
 
But it also emphasizes how Joan is viewed. She has just offered to take on extra work with no pay and none of the office guys would do that.
But that isn't what's notable about her still, it's how she looks.
 
Steve: That's a great observation. The other one, I would say as well is we see so many cases where due to the sexism, the women are not empowered or treated unfairly or overlooked in the rest of it.
 
I think this is a great peek into what power they do possess. And clearly Joan intimidates the hell out of Warren.
 
And Warren just envies Harry that he could even speak to her as someone you just have a normal conversation with.
 
So it's fascinating in this world of limitations and sexism, Joan, you know, at least as one person has some serious clout and power and intimidation factor on men in the office.
 
Jenna: The dinner party at Don and Betty's house includes Sally doing a ballet routine for entertainment.
 
Roger and Mona are there with Crab Coulson and his wife, played by Amy Landecker, recognizable from Transparent.
 
The women basically argue that when kids get older it gets harder to raise them. And then they start talking about the hassle of owning a boat and whether Betty and Don are going to join the country club. It's definitely not a conversation that would happen in Peggy's apartment.
Steve: Yeah, Crab, Duck, Duck, Crab. I love the introduction there by Roger.
 
Jenna: And Mona gives him just - Mona gives him a look for that.
 
Steve: And then also just the touch where Crab's wife has obviously had a little bit too much to drink and bumps into the entryway to the dining area and the rest.
 
I love these little touches of realism, of the way things go because we often have such a clean scrubbed perfection presented in film and TV, and here we just get some of the sort of messy ragged edges.
 
Jenna: There are a lot of small but important details.
Duck shows up late with flowers. He apologizes because he's without a date and now they have odd numbers.
 
And Don assures him nobody cares. But Betty seems to. She's very polite, but she makes a note to Carla, now will be seven because she has to rearrange the table.
So Don's like, oh, it's no problem whatever, because it's no problem for him.
 
And we also see that Duck is drinking tomato juice while everybody else is drinking wine, so we can see that he's still sober.
 
Roger makes a comment to Don as they move into the dining room, saying,
about Duck, he does everything you need him to, you know.
So it looks like Don and Duck really have moved past their former disagreement and that Duck is working well for the company.
 
Steve: I kind of interpreted that the opposite to say Roger is still beating the drum and pumping Duck's tires to Don to try and reinforce and build this acceptance and partnership between him and Duck.
 
So if it were in such a good state, I don't think he'd feel the need to keep pushing the issue. But I think Roger takes every opportunity to try and build bridges here.
 
Jenna: And at this dinner party she's been working at least a week to plan, Betty is in her element.
She's pretty, she's dressed up, the home is all set, and she announces a menu from around the world, including gazpacho, rumaki, and frosted beer from Holland. She bought Heineken.
 
Steve: You're right. She's the perfect hostess here. Appearances are perfect. Everything's great.
 
And Duck very innocently calls out the fact that she is exactly the person they were trying to target. You know, this campaign of placement in affluent neighborhoods for housewives who are entertaining.
 
And Don begs off any involvement in it. And then Duck sort of explains the connection here. And it becomes clear that, you know, Don's insight and suggestion of an idea probably was influenced by his knowledge of people like his own wife, Betty, and how she might behave in as. As representing this market.
 
Jenna: And as it's revealed that Heineken is a client, and Duck and Don had this disagreement. And Betty's purchase proves Don right. She puts on a brave face.
 
She says, oh, that is funny. What an interesting experiment. And then she smiles and sits in the outlier chair.
 
Steve: She's well raised, she's behaves perfectly appropriately socially, and she's not giving any hint of being put out or upset or anything at this point.
 
Jenna: You also already know that she was frustrated with Don because she has been putting all her energy into making this dinner a success. And it looks as if it is.
He has not - she doesn't feel - put his energy toward contributing the way that she would like.
Even though she is putting on a brave face for her company, she's definitely mad at him about this.
 
Steve: The next scene cuts to Peggy making her pitch at the church committee, very similar to the way clients are pitched at Sterling Cooper. So Peggy's the one making the pitch. Father Gill represents the account man. And then we have the committee for the church.
 
They don't like the name for the evening. They're worried that's a little suggestive. They feel the illustration shows the two young people dancing a little too close together.
 
Jenna: I love Peggy's line when she talks about her poster and the image. And she says it holds the wholesome promise of the kind of hand holding that eventually leads to marriage.
 
So in her pitch, she knows for this audience, marriage is a big goal here.
And I also love the way that church committee members are dressed and the way they speak.
 
So they say things like, I'm not an expert, but . . . And then they go powering on forth with whatever it is exactly they're going to demand from her.
 
Steve: Yeah, it's really fun to see them basically as the difficult clients here who are not sold on the idea and have issues and are now chiming in with their own ideas, which, of course, drives creative crazy.
 
You almost feel if Peggy were Don Draper at this point, he’d stand up, push away from the table, and walk out of the meeting.
In this case, Peggy doesn't have that as an option, but she's clearly looking to Father Gill to come in there and give her some account management support.
 
Jenna: She didn't really want to do this project in the first place.
And now Father Gill isn't supporting Peggy in this meeting. He tries to run interference, and that satisfies nobody.
 
And after the meeting, she explains, you're supposed to tell them to trust me. That's your job.
 
She does have a complete view of this as if it is accounts and advertising instead of, this is an opportunity for me to get more involved with my church. That is not how she sees it. So they're completely at odds for purposes here.
 
Steve: Yeah, Peggy's all business. And I think Father Gill is a little taken aback by it because she sort of comes out with teeth bared here in terms of his failures of what he's supposed to be doing as the account man in the meeting, which was never explicitly said, of course,
ahead of time to him.
 
So even I think Peggy realizes she’s leaning too far forward.
 
Jenna: The next scene gives us a look at Joan's home life in her apartment with Greg. So she's married now. I wonder who from the office she would have invited to her wedding, but we didn't get to see any part of that.
 
Her husband Greg, is played by Sam Page, recognizable from Desperate Housewives, House of Cards, and The Bold Type.
 
In this scene, we can see that Joan hasn't cooked. Greg is bringing home takeout, and she got so interested in reading the scripts for work that she forgot to set the table.
 
He's a doctor, so she asks him about the plausibility of some character coming out of a coma that's in a soap opera storyline. And he seems happy enough to talk with her.
 
But something is a bit off too. He says she should be watching those shows and looking for houses. And we learn he isn't making enough money yet for that to happen.
 
Steve: Yeah, it seems he has this totally traditional view of what this marriage needs to look like and where it should go.
 
And when Joan starts to deviate from that expectation, you know, with just this little example of reading scripts and the rest, it's. It feels like he is nudging her, trying to get her back into what he perceives as her lane.
From Joan's perspective, we can see that this additional task is actually starting to interest her now and again. We can see just her competence and dedication to it.
 
And just clearly when she does things, she tries to do them to the best of her ability.
She's not one of these sort of slackers or people just trying to avoid getting in trouble. Harry.
 
Jenna: Well, and remember when Peggy's roommate made some comment about I don't know why you do that, why you take your work home with you, it showed how Peggy was really committed to her work life.
And now we see the same with Joan. So it's an interesting comparison between the two of them.
 
And we also see that Greg and Joan are both already seated at the table. But then he says, were you going to get me a glass of water, hon? And she jumps up to do it.
So he does seem very traditional.
 
Steve: It feels like Joan is trying to adhere to his expectations to some extent.
 
We go back to the Draper house. The dinner party's now over. The guests have left.
Betty dismisses Carla, works on cleaning up the mess.
We can see Don sitting there in the living room watching TV.
 
Jenna: There's also a shot of lots of Heineken on ice. Still, there's a lot left over.
 
Steve: It becomes clear that Betty's pent up emotions and frustration are about to boil over. And she goes into the living room, shuts off the TV and confronts Don.
 
Jenna: You embarrassed me.
What are you talking about?
You embarrassed me.
What did I do?
 
This argument is everything. This is the argument that basically we've been waiting for a season and a half to see happen between them.
 
And I want to talk about this line where Betty says, you know me so well.
And she says it like an accusation. She does want Don to know her, that the issue is she does not know him.
 
And if he would open up and let her in, I don't think Adam and his poverty,
I don't think any of that would have been a deal breaker for her, given who he is now.
 
Does Betty care about appearances? For sure, but he is a successful, handsome Madison Avenue guy. The problem is not that he can predict what she's going to do.
The problem is that it is embarrassing when other people know him better than she does.
 
Steve: He knows her so well, and he's using it to manipulate her.
He's manipulating her with his affairs and keeping her in the dark.
Now she feels she's been manipulated in front of his work associates.
 
It's probably not a fair criticism in the case of the Heineken, because it really wasn't anything he was planning or had her in mind personally, necessarily.
 
But that's becoming the point of leverage of the fulcrum here of all these other frustrations, of, you know me so well. And I think, as we've seen in their earlier fights, you know, whatever mode he's in, whether it's the denial mode, the bullying mode, the refusing to partake in the discussion mode, again, it all seems to be based upon his knowledge of how she behaves and reacts and what will get her to back down or punt on the discussion.
 
It feels to me at this point, this public embarrassment as she perceives it, is the straw that broke the camel's back.
You know, the real load is the affairs and the other issues.
But this is the one that's busted everything out into the open for her, and she's. She's had enough and she's not backing down here.
 
Jenna: You really feel Betty's pain when she says, and you laughed. You all laughed. It must be so funny being in on it.
 
So the infidelity and the Heineken hurt, but the core problem is she's married to a man and she's left out of his life. That is a truth she just can't escape.
 
And as you point out, you can see that Don thinks he's going to talk her down from this, the way he's done a million times before. It's a pattern for them.
But he is missing how serious this is. She is at a point where there's no going back or glossing over it.
 
And by the time she brings up the direct accusation of his affair:
Don, I know you're having an affair. You and Bobbie Barrett. How could you?
And he starts to bully her about how ridiculous it is. Then he understands, but it's too late.
 
Steve: Yeah, I think. I think that's a great point. It's all wrapped in together here in a world where she's not caving to, you know, his condescension to his denial to his bullying.
 
In a world where she stands up and still forces the issue, forces the question.
Don is really left with empty hands. Like, what else has he got to offer here?
 
Even I was thinking his denial of the affair is very weak. You know, it's sort of.
Well, I didn't have one. You know, he's not trying to offer any more circumstantial evidence to demonstrate how it would be impossible or it would never happen, or giving her reassurances why that wouldn't be something he'd seek.
He really seems at a loss here, because what he's confronting is. Is a very determined Betty, as opposed to maybe the softer, weaker Betty that he previously was able to scare off with some of his tactics.
 
Jenna: They have this great exchange where Don says so indignantly,
you think I would sleep with that woman?
And Betty calmly replies, you can't help yourself.
She does know him so well. At least that part of him she knows.
 
Steve: Yeah. And I think that's the strength of when Jimmy was talking to her in the prior episode.
He's commiserating with her because they're both in the same situation.
 
And I think it's that paralleling of their situation that has a profound effect on Betty, because he says, you know, I know her and you know him.
 
He's not making accusations so much about Don as saying, I know how my wife is, and, you know, she's betrayed me. I think that makes it very powerful because it puts Betty in a position where she has to embrace that reality.
 
If we think back to when Francine had come over to Betty's house and was crying,
Francine alludes to this reality of how their husbands behave and really gives Betty an opening in which she can choose to face the truth. I mean, I think she asks her, how do you deal with it?
 
As if you're sharing in this challenge the same way I am. And Betty completely shuts it down and rejects addressing it in any way.
Francine, my friend, has a problem, and I'm supporting her, but we're not talking about a mutual problem that we each have.
 
If I then go forward to the Jimmy conversation,
Jimmy really is making the same pitch, saying we, we have a mutual problem. Like it's, it's even more connected in the sense of who are they cheating with? It's our, our spouse.
 
But it seems to me this is an evolution for Betty going from keeping up appearances and denial to really the bug in her brain. And I think Jimmy just further seeds it and it grows.
So even with Jimmy, she doesn't acknowledge it, but, you know, this has stuck in her head and it's not gone away at all.
 
Jenna: And she's taking it to the person she should be. And she says,
admit it.
 
And he says, there's nothing to admit. And she says, you're lying. And finally he extracts himself from the situation.
So he isn't actually handling this argument with a lot of success, I don't think.
 
Later that evening, Betty is still in her dinner party dress and her pearls. And Don pretends to be asleep. When Betty opens the door, he's awake and worried. He's a liar and he's just avoiding her.
 
So she decides to go to sleep in her dress and pearls in Sally's bed instead.
 
Steve: It's such a sad, lonely scene for Betty.
She's the adult here. She's facing the white elephant in the room. She's had enough.
 
And Don turns and runs. So I think Don Draper the coward, Don Draper the liar, we're seeing it again here in this scene. He's got a chance here to come clean if he wants to, and he chooses to run from it rather than face it. And I think that says a lot about his character.
 
Jenna: The next morning, Don really acts like a baby at breakfast on his way to work.
Betty is still in her dress from the night before. She's sitting at the table with the kids.
 
And Don acts like he expects her to kiss him goodbye or say something sweet. And Betty doesn't even look at him.
 
And he has the nerve to look put out like, wow, you're not even going to say anything? You know, I guess I'll be the adult and say goodbye. But he has really missed the chance to take the high road.
 
Steve: Betty is still in the dress from the night before and just, just looking,
you know, unkempt and terrible after a sleepless night.
Okay, no, January Jones cannot look bad.
 
Even as we see the, the anger and pain on the face of Betty and realize that this is not getting better, this is not self healing and she's not going to let this drop as she has in the past, because really that's what's happened every time she's been the one to cave to let it drop and then pretend things have gone back to the way they were.
 
The fact that she's not doing that now, I think presents a real quandary, because if Don's not going to engage on this, how do they fix this? Or how can they move forward? You know, it really feels like we're at a potential breakpoint here.
 
Jenna: And the look on his face when he's leaving and he realizes she's not going to say anything, and he goes, okay, bye. Bye. And it has shades of Pete Campbell. It's so obnoxious.
 
Steve: I also like, you know, the obliviousness of the children sitting there at the table. It just feels very real that they're kind of wrapped up with what they're eating for breakfast and their father's going off to work and all the rest of it.
 
The fact that there's this war being waged around them and they're just happily munching breakfast at the table.
 
Jenna: At the office, we see Joan and Harry chatting with the Maytag people. They're very happy with Joan's work on broadcast operations.
One of them makes a comment about how he would have combed his hair for the phone call if they knew what Joan looked like.
 
So over and over, her appearance overpowers her competence.
And at the end, Harry gets the compliment. They say, hell of an operation you've got here, Crane.
Oh, I think so. He answers, and he's smiling and completely happy to have pleased the client.
He has never once complimented Joan that we've seen.
 
Steve: Yeah, he seems oblivious that the win here is, you know, what portion of it is from Joan with her comments or her charm, her astute observations. You know, it's got to be probably 80, 90% of it. And he's clueless about that.
 
Again, tip of the hat to casting. These couple of clients in this meeting are just perfectly cast. And you really feel you are seeing a couple clients who've been charmed by Joan.
 
Harry's basking in the success without ever once thinking deeply about, hey, where did that come from? Exactly. Because it is all Joan.
 
Jenna: Back at the Draper residence, Betty is searching through Don's suit pockets. She smells the jackets and the handkerchiefs, and she struggles with the locked office desk drawer. She is looking for evidence, for proof.
 
She finds napkins with ad jingles and the valentine Sally made for her father, but nothing definitive.
 
Steve: Yeah, and it's such a, I don't know, emotionally exhausting footage of her searching the suits. There's almost a violence as she rifles through the Pockets.
You can see her frustration that there is no evidence.
 
There's no smell to pick up on the suit jacket. There's no evidence coming out of the pockets or in the drawers of the desk. This man has covered his trail.
She knows what's true. She doesn't doubt herself, but she can't find a smoking gun to sort of force that acknowledgement from him.
 
She's still left where she was the prior night with him denying it, and she's got nothing further to force a confession out of him.
 
Jenna: And it's such an interesting scene, too, because we realize she could have done this search at any time, and it suggests to us that she really hasn't before.
Now she's really ready to know if there's something to be known.
 
And she knows there is. Yet not finding it is turning out to be almost worse.
 
Steve: Yeah, and I think we see her emotional state here. You know, she's really upset. She's exhausted from the prior night, and she leaves the suit jackets strewn around.
 
There's almost this carnage from the search. So when Don comes home later, he's going to see, you know, she's not concealing the fact that she's rifled through all this stuff. It's sort of left where she. She found it, but clearly she's still determined.
 
Jenna: Back at the office, Don, Duck, and Pete are in the Heineken meeting.
And Duck and Pete explained that the experiment they did with suburban grocery stores has been successful so far.
 
Duck goes on to discuss Betty and Don's dinner party and how Betty is the perfect client, exactly who they want to sell to. He describes her elegant, elaborate setup with Heineken right next to the bone china.
 
He describes her as well educated with plenty of time to shop,
how it's important to her to be the perfect hostess and the perfect wife.
 
And we see Don's face take a beat when he hears that,
because it's true, she does want to be at the perfect hostess and the perfect wife.
 
But he also knows she's more than that and needs to be more than that.
And he knows he's far from a perfect husband or host, for that matter.
 
Steve: It really feels like Duck has laid out this sort of Potemkin village of a marriage they have. You know, the appearances are all right.
 
Duck means what he's saying here. This is what he's personally observed. It's all absolutely true, and it is so, so hollow.
 
And I think Don Draper just can't avoid that sense of guilt of the reality behind all this. And he knows the state of the marriage at this moment, where for the first time his wife has basically cut him out for an extended period, he's not been able to bludgeon her back into compliance.
 
This problem is unresolved even as it's being held up to the client as this model of perfection that they're going to seek out to move the product.
 
Jenna: The dinner party was disastrous for Don's marriage, but great for his professional life. So the clients agree to buy ads targeting suburban housewives,
and they might even use Betty's menu in magazines.
Ugh.
 
And the clients say, let's start regionally and see how some strangers’ wives feel.
Which is extra punch to the gut because Don might actually be more comfortable with strangers than he is with his own wife.
 
Steve: Well, and as you've pointed out, what is one of the core problems of this marriage, Don is a stranger to his own wife. He knows her oh, so well, and yet she doesn't know him.
 
And here it is again, being ironically laid out in front of him by people who have no idea of how broken this thing is.
 
Jenna: Across the office, Joan is in a meeting with Harry and some new executives. And Joan is fully prepared. She mentions that there's a special storyline coming up in a soap opera and that they will get a lot more exposure if they buy more ads, which is an above and beyond suggestion.
 
These are men who don't watch soap operas, so they probably would never have thought about it this way.
And Harry says, oh, that makes sense. Then that's what we should do.
So even though Joan is bringing so much value to the table, the exec finishes the meeting by saying, I love what she says and I love the way she says it.
 
And this, to me, again, diminishes her work contributions. They can't see past her appearance. And I know we've talked about the advantages it brings, but here her appearance is in the way of her work.
 
Steve: Yeah, that's an interesting question, because I think she's extremely successful in her work. So I'm not sure that her appearance is in the way of that, but it's certainly in the way of being thought about, seriously thought about, in a professional manner.
 
So it feels like she's delivering the goods professionally, and yet she ends up being diminished professionally out of it.
Harry's inability to see just how much she's bringing to this. I mean, she's so prepared, she jumps in with the great comments and ideas.
 
And even if the clients are a little shock and awed at her appearance,
I would hope Harry would be smart enough to see how strong she is here and realize he stumbled onto a something golden that can really help him, but he's not sharp enough to see it.
 
He's not smart enough.
He's probably just relieved he's got two happy clients. I'm with you. I feel Joan is shortchanged in terms of just how excellent she is and how she's proving out in this new role.
 
Jenna: So let's go back to that point you made just a bit ago about Joan not being taken seriously.
Remember, she gave Peggy that advice to stop dressing like a little girl if you want to be taken seriously.
 
And look how Joan dresses. And look at how she is struggling with the same kinds of problems.
 
Peggy went to her and said, there's business going on and I'm not included.
And Joan is in the meeting, and she still is fighting that same battle. It's just rearing its head differently.
 
So it is critical that this is happening.
Even though Joan, we would say probably is wiser than Peggy about the ways that office politics work, she is still having to confront this. And it's so frustrating because she is so competent.
 
And, yes, Harry should definitely know better, and he doesn't.
 
Steve: Yeah, I think. I think it's that can't win trap of the sexism here, because don't dress sexily and they'll accuse you of wanting to be a man, or why can't you, you know, be more feminine, et cetera.
 
And then the opposite. Leverage your. Your feminine advantages.
And then it's like, okay, I can't see you professionally or seriously because I'm too busy thinking about your sex appeal and how great you look.
 
They're opposite sides of the same lousy sexist coin.
 
Jenna: Back at the Drapers’, Betty is lying down in last night's dress. She's been drinking.
 
Sally comes in to check on her, and Betty says she's not feeling well.
And we see her sit up on Don's side of the bed, and she steps on a glass.
 
The chair, the glass, the marriage. A lot of broken bits here. And she's been looking for proof in the details, and there are gaps in what she knows, but the pain and the brokenness, that's real, even if she doesn't have the whole story.
 
Steve: Yeah. And there's no escape from it by, you know, day drinking and being buzzed. The depression she's feeling is not offset by that.
 
As the scene ends, you know, it's that broad shot of her alone on the bed in the dress from the successful party of the night before and the empty hallway out of the bedroom.
 
And it's just such a perfect visual for where Betty is in this relationship at this moment.
Jenna: Back at the office, Roger visits Harry. He says customers are satisfied. The accounting department says it's okay for him to hire someone for Broadcast Operations, the job Joan has been doing for free.
 
Let's remember Roger undercut Joan by saving Jane's job in the last episode.
And Roger doesn't know that Joan loves reading the scripts or that she's good at it.
He probably even thinks he's saving her some work, he says, so her attentions are divided at best, and she's been doing it.
 
But let's note, Roger is part of the reason for what happens to Joan next here.
 
Steve: Yeah, totally. And I wonder, too, isn't there a bit of a parallel? You know, we're criticizing Harry for not seeing how good Joan is in this particular role.
Okay, we can't fault Roger for that because he hasn't been privy to any of these interactions. But he knows her intimately and he's seen her in the office for, is it, years?
 
I'm going to assume we can see that he doesn't see her as potentially anything more than what she currently is and probably, like you say, thinks he's doing her a solid by getting her back into her lane as the office manager, head of the admin pool.
 
So there's such a tragedy to this scene, and I think it shows us that the problem is so much bigger than just, oh, Harry's blindness or lack of intelligence. We know Roger's plenty strong.
He knows everything about Joan.
He has no sense of just how much more she can offer to this company.
 
Jenna: And what a tragedy when we're talking about relationships and how people should know each other. Roger should know better.
 
Steve: The next scene takes us back to the Draper household as dawn comes into a quiet, apparently empty house.
Hello? He asks to no response. He finds Betty upstairs.
 
He asks about the kids. She says she's put them to bed clearly early. That's not their normal schedule. And he can see that she's still in the dress from the prior evening.
She's gone through all his stuff, and he asks her, what's going on?
 
Jenna: I went through every pocket and every drawer and there's nothing.
She looks at him and she says,
I would never do this to you.
How could you do this to me?
And he has no answer for that. He just lies. He says, I didn't do anything.
And she glares at him and he leaves. He can't even face it.
 
Steve: Yeah, it's such a weak response because again, who. Who is Don Draper? He's this creative director. He's got the gift of the gab. So. So Mr. Expert, who can sell everything to anyone and can change clients’ minds.
And this is what he comes back to his own wife with when confronted with her accusations. I mean, it's just such a stark admission, I think almost of. She's exactly right.
You can't even muster up a good lie here. You know, he's just in straight denial and unable to speak.
 
Jenna: Later that night, we see Don sleeping on the couch. And Betty comes downstairs. She's finally changed her clothes. She's in a white robe, showered. Her makeup is scrubbed.
 
And it's really vulnerable and honest. There's no fancy dress between them.
And I think that's so important for this scene. She is trying to have a true open conversation with him.
 
She's not all dressed up and fancy. The way she always puts on a show for him when he comes home from work, right? That's always a performance of some sort.
So this is really her true honest self in the middle of the night.
 
And she says, I don't want it to be like this. I don't know what to do.
And he tries to touch her, and she won't let him.
He says, nothing happened. And she says, now you look me in the eye. You never do that. You never say you love me.
 
And he lies and denies his way through the whole scene.
 
Steve: It does feel like, you know, for somebody who's so focused on appearances,
Betty is now stripped down to the core, the very heart of this relationship between these two people.
 
And she's making an attempt to communicate and address this with all other artifice removed. And he's still a liar. He's dodging it again. It just feels so tragic and sad.
This really is at the heart of their relationship. This is as far as it goes. There is nothing deeper or closer or more honest than this between them. This is the end of the line.
And the line doesn't go all the way to destination, at least not from Betty's perspective.
 
Jenna: But it could.
He says he loves her and the children. He doesn't want to lose this. He's looking straight at her.
It feels like a fake sales pitch. She might want to believe it, but she doesn't. And I have to say I don't either.
 
I think she was open to saving things between them here. I think if he had confessed something and truly apologized, they might have worked it out. But he can't let go of the lie here.
 
And she stands up and walks out of the room.
 
Steve: Yeah, I totally agree with that. That's what I mean. That's what she needs. If this is the end of it, this is as far as he can go. That's the problem.
 
But what needs to happen here is the confession or the acknowledgement to address the substance. And he's not willing to do that.
 
And I think that's the deal breaker for her. And I agree with you a hundred percent.
Had he been able to address that, then at least there's a possibility of starting again and building something anew.
 
And she's offering a chance to move past that and he can't or won't take it.
We get a couple quick, snide remarks between Ken and Pete as they notice Father Gill in the office with Peggy. The next scene cuts into Harry introducing Danny Lindstrom.
 
He's going to be taking over the role that Joan was performing. Now that he can hire somebody.
He calls Joan in again, oblivious to the fact of what effect this may have on Joan introduces Danny as the role full time, letting her know that she won't be required anymore in it, and then quickly morphing into, hey, you know Joan, can you explain to Danny what you do?
 
Jenna: So Danny is completely unqualified for this job, and at least Harry says, I've really appreciated you filling in. I couldn't have asked for more.
 
And then, It would be great if you could fill him in on how it works. Joan had no idea this was coming.
 
Clearly, she's excellent at this job and she hates having it yanked away from her.
But she has no claim to it, so she just has to swallow it and accept it, which she does with as much good grace as you possibly can, even though you can see a light dying in her eyes.
 
This is spoilerish territory here, but I want to bring up this point that comes up in a later season.
Harry is going to make a really awful, terrible accusation about Joan later and how she is undeserving of something while he in fact, has earned it.
 
And I'm going to argue that Harry's action right here contributes to that conflict.
Because Joan is so good at her job here, she does it for no extra pay, without any training, and Harry yanks it away from her without any consideration for her competency or her preferences and gives it to an untrained guy who isn't especially invested in it.
 
What better way for Joan to learn that being good at your job is not enough to be recognized?
I think that directly leads to the thing that I won't directly spoil. But I mean, if you're a fan, you know what I'm talking about.
 
Steve: Yeah, just. Just her invisibility here to Harry, right. There's nothing malicious. He's not trying to stick it to her. If you asked him what did you just take away from Joan?
 
He would say, nothing. I just took away an extra task sheet she had to do. He's so oblivious. And I have to say, I think Christina Hendricks acting in this scene is just fantastic.
 
And it really parallels Betty at the dinner party where she's surprised, but she's gotta hold it together and keep up appearances in a social setting. And then here we have Joan getting crushed with something that in its own ways is, you know, every bit is as destroying and soul crushing and she's gotta hold it together.
 
And just the look on her face in this scene and the way she speaks, you just feel all that pain and sadness of what's being taken from her.
 
The other thing it made me think about here too is back when Joan and Peggy were sort of talking to each other and Peggy was embarking on her different path from the standard one in the office.
 
You know, it was pretty clear that Peggy was this foreign creature to Joan and she just really couldn't understand what Peggy was about and why she would want to take this different path.
 
It's just so interesting now to see Joan discovering a different path that really is quite similar to Peggy's professional path, really, I think starting a divergence from what she had always imagined or thought about.
 
You know, suddenly she's discovered a door. And to have that door shut in her face now, it's just such a painful scene.
 
Jenna: It's especially interesting since she's just recently been married to a doctor, which was her one ambition, her one stated ambition was to do this. And she has this. So now what?
 
So it is very interesting that she does have a window into a professional endeavor that she seems to find very fulfilling and heartbreaking that Harry, as you say, is completely unaware of the pain he's inflicting on her.
 
It's not clear to me how much he would care if he did know.
And this is a pretty thick mark on the Why We Hate Harry Crane chart.
 
Steve: He really has a weak episode here in terms of his.
His own character flaws, his sycophancy, his blindness to the contributions of his co workers and all the rest. Not a good look for Harry today.
 
Jenna: The scene cuts back to Father Gill with Peggy he seems to be very impressed by the copy machine, and they're there copying the flyers for the dance.
 
And while they're sitting together, he presses her to talk or to confess, and she keeps shutting him out.
 
And I have to say,
I don't think it's healthy that she hasn't talked about the baby with anyone. And I mostly feel like he's doing this not because he has to, but because he does want to help, and this is how he thinks he can do that.
 
And even though I feel that way,
I'm cheering for her to hold her ground because he's so pushy. He's not listening to her as an individual, but he's trying to scoop her into a system.
 
And remember, she does not want to be one of a hundred colors in a box. Her situation is unique. She's made mistakes.
And at some point, she might be ready to talk, but not right now in her office.
 
Steve: Yeah, I was trying to think about perhaps this was less of a line cross 60 years ago than it is to my modern eyes. But it just seems so inappropriate that he's doing this.
 
And the other thing that really rubs me the wrong way here is he's trading on insider information here.
He knows from Anita what's happened with Peggy,
so he's coyly asking her, oh, do you have something you want to talk about? Is there stuff you want to get off your chest? You know, da, da, da, da, da.
 
He knows darn well what it is. So it just feels very manipulative to me to have this knowledge of a person who doesn't know you're possessed of this information,
and then to sort of pull and tug and prod at this person to try and get them to open up to you.
 
It's a bad look of Father Gill, in my opinion. And it. It doesn't feel like somebody who's genuinely concerned about you and trying to be honest and forthright. It feels like somebody who's trying to leverage an angle to get you to do what they want you to do.
 
Now, maybe his motivations are good. You know, there's no reason to think his motivations are bad here, but it. But it is a really cringy, manipulative approach.
 
Jenna: And he gets to a point where he says to Peggy, there is no sin too great to bring before God. Do you feel you don't deserve His love?
 
And she looks at him and you can see tears sort of starting to brim over in her eyes.
And I think she would make the choice again. I think she would choose work over single motherhood and social isolation again.
But there's also guilt right here.
 
And this is the same guilt Don has, too.
He does feel, on some level, he doesn't deserve love.
And he moves past it and he puts it away and he tries not to think about it.
 
And here we see Peggy trying to do that, too.
 
Steve: Yeah, and I just want to call out Elisabeth Moss's acting in this scene, because I think she just kills it.
And it is so heartrending at that moment when he asks that question to Peggy.
 
And Peggy doesn't answer the question,
but from the look on her face,
I think we get the sense that he scored a hit with this question.
 
This is exactly something she's wrestling with, you know, rightly or wrongly.
And the acting is so good here. And I also love the way Peggy's character retreats into the cover of her professionalism. You know, your copies are done.
 
You know, let's move off this conversation and shut this line of inquiry down.
It's such a touching scene because I think, like you mentioned, we really think about the emotional toll of this situation and the decisions that Peggy's had to make.
 
Jenna: As Father Gill leaves, you see Peggy's confidence start to fall away, and she stands there a little bit stricken, and her hands are across her lower belly.
And that's just one of those Mad Men details that really hits.
 
Steve: One commonality I think I see across so many of the actors in this show is just their nonverbal acting skills are so strong.
 
So I think, you know, just this episode, I think we see January Jones, Christina Hendricks, and, as well, Elisabeth Moss.
Some of their most powerful moments in the episode are not actually lines they're saying. It's the look on the face, it's the physical movement, it's the darting of the eyes.
 
All those little things that, when done expertly, add up to such a believable, convincing, you know, emotional punch for the character. All of them just do a fantastic job.
 
Jenna: They're so good, inhabiting them and bringing us into the world. And it just makes you want to watch the show over and over and over, which we do,
and I'm not sorry for it.
 
Steve: The next scene is back at the Draper household. Betty's sitting on the sofa with the TV on, and a commercial for Utz potato chips, the one that Jimmy Barrett was filming, comes on.
 
Jenna: Let's notice, too, that Betty is dressed. She looks like herself again.
There's dinner in the oven. She's preparing for Don to come home,
and the kids are watching. Make Room for Daddy on TV. That's not an accident.
 
And this commercial, this one we saw being filmed earlier this season on her TV in her home, she can't escape him.
 
This is a nice place for nice people, he says in the commercial.
And then he asks this question.
Am I crazy? I don't think so.
 
Betty's been looking for evidence of Don's cheating in the face of his denial, and she has to be wondering a little. But she's not crazy, and maybe she'd rather be.
But she definitely doesn't want to look at Jimmy Barrett, who's the symbol of her humiliation here.
 
Steve: They both have the same problem.
So I think it just reinforces that as much as she can smooth over the appearances and pretend like nothing happened and just let this subject drop,
it's out there. It's not going away for her.
 
That's what pushes her over the edge. You know, this. The genie's out of the bottle.
It's the husband of the person he's cheating with, basically saying, I know it, you know, feels like it reinforces that she's got to do something here versus, I don't know. If she doesn't see the commercial, do you think she relents this time?
 
Jenna: No, because she has dinner in the oven and she's dressed for Don to come home. So she's ready to repeat the cycle. It's the commercial that makes the turn.
 
Steve: Yeah, I think so, too.
 
Jenna: So we cut to Duck and Don at the office. The Heineken campaign is a huge success, and in the middle of that success, Betty calls the office.
She tells Don not to come home.
 
I don't care what you do. I just don't want you here.
She hangs up. She turns off the oven, and she leaves the food inside.
 
And Don is left standing in his office. His briefcase is on his desk, and he's ready to go home.
Was there any part of you thinking that he pays for the house so he's going to force this issue? That, yes, he's going to come home and do what he wants?
 
Steve: No, not really. And I think part of the reason is he is a coward.
His first instinct is to run away, even in terms of fighting or resisting tactics,
to dodge the immediate question.
 
I don't think he's got that inner strength to say, I'm going to force this issue now in the other direction. He's already tried his bit of bullying and it hasn't worked.
 
I think the fact that he meekly backs down here and accepts that he can't go home is perfectly in keeping with what we know of Don Draper and the stressful situations we've seen him in to this point.
 
Jenna: There's a montage at the end of the episode - various people alone and vulnerable:
Joan getting ready for bed, rubbing her shoulder where the straps dig into her.
Peggy in the bathtub, staring straight ahead.
Father Gil taking off his clerical collar and taking out his guitar.
 
And Don takes a Heineken out of the fridge in the office break room.
Heineken loves him, but he can't go home.
 
Steve: Yeah,
it's a great wrap up to the episode. You know, Father Gill is a human being underneath all the robes.
 
Peggy grappling with these major ethical questions she was forced to answer as a young woman and probably largely alone in terms of what to do.
 
And then Joan, experienced and competent, paying the price for excellence at her job and then being stymied and having the door slammed in front of her face.
 
And then finally back to Don Draper alone in the office drinking the beer, which in some ways precipitated this blow up of something that's very serious for his relationship.
 
And I think he spent all episode miscalculating how serious it is. But it's clear now, there's no denying it. This is not just another bout of friction with Betty.
 
Jenna: The closing song Father Gill is singing is early in the Morning by Peter, Paul and Mary from 1960.
 
And obviously the title of this episode, A Night to Remember, refers to the theme Peggy's working with for the youth dance at church. Of course, the dinner party is a turning point for Don and Betty, so that's A Night to Remember.
 
And it also refers to a 1958 book by Walter Lord about the final hours of the Titanic before it sank. So we can see a lot of apt symbolism there.
 
How do you think this episode stacks up in terms of season two?
 
Steve: I think it's a strong episode and I think in terms of plot and character development, it's an especially crucial episode. You know, there's a lot happening here that's pretty important and I think we're getting some deeper peeks into some characters, you know, that are part of our Big Six.
 
So, yeah, I think it's a strong one in the. In the top third, for sure.
 
Jenna: It is definitely a night to remember this episode.
It feels like there are just bombs going off all over the place and you can't ever put the pieces back together again.
 
So I - It doesn't leave you with as much in terms of humor, for sure. It does have that effect of making you feel that sense of ick or foreboding that you just kind of need a little more Roger Sterling to make you laugh at something ridiculous.
 
It doesn't give you that satisfaction. It keeps the tension building the whole time and it just lets you sit and stew in the. In the discomfort. And that is kind of hard to take if you're just trying to turn on the television for, for some sort of escapist feel good fantasy. It's not that.
 
Steve: Yeah, it's definitely not a feel good escape where we're left with the lingering radiation of what's gone on before and there is no escaping it.
 
Jenna: That's a wrap on episode eight of season two.
 
Steve: That's it for this episode of all things Mad Men, from Chip and Dip to Zou Bisou. Visit our website: Mad Men C to Z dot com to vote for your favorite Sterling lines, and to share your opinions on our Double Dip questions for each episode.
 
Jenna: You can find us on Instagram and YouTube at Mad Men C to Z, and please listen, like and subscribe. That's what the podcast's for!
 
Steve: Thanks for listening, everybody.