Home > Reviews (TV), Television, Uncategorized > Mad Men, 5.11 “The Other Woman”

Mad Men, 5.11 “The Other Woman”

Historically, Mad Men has put a lot of weight on the eleventh episode of each season. Each season has had a highlight in that spot. “Indian Summer,” “The Jet Set,” “The Gypsy and The Hobo,” and “Chinese Wall,” are all memorable episodes and served as a type of crux in setting up the seasonal endgame. Last night, the eleventh installment of the fifth season, called “The Other Woman,” aired.

To say the least, it holds up to them all.

In fact, I would posit that the back half of “The Other Woman” is some of the finest Mad Men to be produced.

But let’s not get ahead of ourselves.To recapitulate, the episode opens on a torpedoed SCDP board room full of tired copy writers working on the Jaguar campaign that Don promised to win. Elsewhere, Megan is preparing for another audition and Peggy is getting sick of being treated like an animal. That’s basically where the episode begins. Certainly not where it ends.

The primary impetus for “The Other Woman” rests in a dinner conversation between Ken, Pete, and Herb, some slob from Jaguar management. He asks them if he can sleep with Joan. However, he doesn’t want to work for it. He doesn’t want to ask her, either. Sure, she’s married and has a baby, but all women are really just prostitues, right? Pete, being the slime that he is, actually propositions Joan the next morning at the office. She says, “I don’t think you could afford it,” obviously flustered. Who wouldn’t be? Later, a partners meeting occurs where Don leaves in a huff, the only one opposing the idea, and the others basically vote to solicit Joan. It’s all just a lowly state of affairs. Long story short, she eventually accepts after Lane offers her a partnership and 5% of the company.

In a galaxy far far away, Peggy accepts an offer from Teddy Chaugh as Head of Copy and a $19,000 salary. The episode ends with Don being crippled by the news after Peggy basically tells it to him in a thoroughly prepared sales pitch of a speech. The closing image is her smiling face as she gets on the SCDP elevator one last time (?) to the sound of “You Really Got Me” by The Kinks. The final music choice was, as is usually the case, a brilliant mixture of irony and earnestness. It was jarring to say the least, but it left the taste in your mouth that inspires some extra inspection.

Before speaking about the evident thematic stuff, it is right to give unusually high praise to the production/costume design of this episode — especially centered around Joan. Her red hair is mentioned a couple times and is complimented by the blood red robe worn by Herb and his blood red bed. Her emerald necklace is matched by the most ravishing robe anyone has ever seen, wearing it when she walks out to touch Don’s face.

Is this how women get ahead? We need not consider Peggy’s future at the moment. At least further than the fact that she has left SCDP. We see her liberation and her pride as she steps into that elevator to the beat of The Kinks. Weiner&co. have set up two different examples of progress in Peggy and Joan. Where Peggy gets a charming Chaugh and some Kinks, Joan gets Herb. Are we meant to understand one type of progress as more genuine than another?

There was a startling moment at the end of the episode. Just after Peggy gives her speech to Don, he thinks that she is kidding and says, “You know I can’t put a girl on Jaguar,” and “Is this about Joan being a partner?” Those two comments were shocking to hear come out of his mouth because it alerts you to the volatility built into Mad Men. In one episode, everything can change. And, here, it has again. Don’s words to Peggy install more meaning into her choice to leave. CGC seems to represent equality and all that is progressive in the ad world. Of course, I can only assume that things will not play out that way. But in Don’s moment of desperation, he proves to himself why she is leaving. All season, we have been seeing how similar Peggy and Don can be. Again in “The Other Woman,” Peggy is given a moment of spontaneous genius, talking to a perfume company on speaker phone. She even spits a nasty insult at Ken. Both of them knew it was out of place, but we knew it was just Don speaking through her.

The portrayal of women in this episode didn’t stop at Peggy and Joan. Megan’s friend is shown crawling around on the board room table, giving Ginsberg the revelation he needs for the Jaguar tagline. Megan is treated like property at home and like meat at auditions. This is nothing new, but there is no reason for her to feel any type of security when walking into those auditions. She does get one step closer this time, and we see Don react to the prospect of her extended leaving. Don is clearly being impulsive when saying, “Well, forget it.” But there’s something genuine, or genuinely ill, about his desire for her. This season has repeatedly shown that Don is the weak link in his string of failed relationships. He is slipping into an unhealthy, albeit different, type of relationship with Megan. Nothing new on the Draper family front this week, but his mental health is starting to spin out of control.

Don and Peggy’s last interaction recalls “The Suitcase,” where he also kisses her hand in the same office. Jon Hamm and Liz Moss imbue that scene with sandbags of regret and nervousness. It might be Peggy’s liberation, but it is only an element of Don’s ruin. His disappointment in Joan’s prostitution is what led him to speak with Peggy in the first place. It all seems to pile onto him. Does he deserve it? This isn’t like the situation with The Sopranos where Tony deserved pretty much whatever he got. In fact, when Joan touches his face she says, “You’re one of the good ones.” Heartbreaker of a line. So is, “Don’t be a stranger.”

While Don and Peggy’s scene was a behemoth in its own right, it was dutifully matched by the obvious, but still deft, intercuts between Joan’s evening with Herb and Don’s pitch to Jaguar. “What behaviors would we forgive?” he asks in the presentation. The slogan, crafted by Ginsberg, (Don, still a mess at work) is “Finally, something beautiful that you can truly own.”

Indeed, there lies the indisputable theme of the episode, neatly tucked into the Jaguar campaign. Women are moving up the ladder. But at what cost? These women are paying with their personal lives. Peggy is forgoing one entirely. Joan is being solicited. We can all see the ramifications of Megan’s achievement. These ladies have a special bond and it is in the forfeiture of their private existence for any amount of respect in the workplace.

The question then becomes — is it worth it?

[EDIT] For the last few minutes I’ve been imagining Weiner&co. strolling around the Internet this morning, shaking their heads as everyone wigs out about Joan soliciting herself while so many have praised Draper for doing the same thing to exponential ends over the last 5 years.

[FURTHER EDIT] Re-watching this episode only serves as a reminder. Mad Men is the most thoughtful and well engineered show on television. Every line seems (and is) packed with significance.

  1. May 28, 2012 at 11:44 AM

    I agree that this was one of Mad Men’s finest episodes, especially this season. When you look back to the first season at Joan, you see the seeds planted for her to eventually sleep to the top. Whereas Peggy has always worked to get to the top, wanting respect for her head, not her body. But the men at the top don’t seem to respect hard work as much as they do scheming and cheating. The men at the top have all schemed and cheated themselves, and they see a kindred spirit in Joan. In Peggy they see “the future” where equality reigns and their cheating won’t get them ahead. And that’s a future for them to fear.

    • May 28, 2012 at 11:50 AM

      Great point, Brad. I’m fascinated at how these two women are accomplishing such similar ends with such different means. Right now, I’m thinking about how Weiner&co. set that situation up to look like Joan is a prostitute while Sterling, Draper, etc. all did the same thing. It might seem obvious, but I guess that type of subtext is the reason this show is so good.

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