Written with my good friend Margaux Poupard.
Trevor: That was an unapologetically lovely episode, speaking mainly of those last twenty minutes.
Margaux: It was also an extremely juicy episode, Bob Benson finally reappears and makes sure to burn every bridge he has before heading back to Detroit. I hate to say it, but, Roger called it last season!
Trevor: You can always count on Bob Benson to stir shit up. “Be right back, gotta go bail out Glen Gulia from The Wedding Singer, then offer Joan the world’s least romantic proposal.”
Margaux: Jesus, my jaw hit the floor when he busted out that ring. But I honestly wanted to Joan to slap that beautiful face of his when he said he’s giving her the best option. How dare he! Poor Joan, even when things are going great for her, she’ll still end up getting dumped all over with others bullshit.
Trevor: You gotta hand it to Mad Men; Bob appeared last season out of nowhere, and when he went away all anyone could say as “Where’s Bob Benson?”
Rough episode for the women of the show. Bob’s proposal is almost a betrayal of the friendship he and Joan had built; Bonnie is starting to see the Pete Campbell we all know and, um, love; and Peggy can’t get Don out of her head no matter what.
Margaux: Don handled Peggy’s childish outburst throughout the episode, calling Don to tell him that his idea of pitching the Burger Chef ad from the kids perspective sucked, like a champ. Don is finally realizing that he and Peggy are pretty much the same person, and that bums him out. But when they share that adorable dance together, Don knows this is how he should of treated her all along. It legit choked up at the scene.
Trevor: The dance was amazing. That whole scene between the two of them had echoes of “The Suitcase.” They opened up to each other, which in Don’s case is remarkable, because he never opens up to anyone. “My Way” was a great song choice – even if I would have preferred the Sex Pistols version from Goodfellas – and that kiss on the head was perfect.
Margaux: Very protective, which was mirrored in the scene later with Pete, Don and Peggy when they “break bread” at Burger Chef. He sticks up for her, and because Pete’s boner from Don only gets bigger when Don tells him no, concedes to Peggy’s new take on what eating with family really means.
Trevor: Another perfect shot, that closing image. Family was a big theme tonight. Trudy tells Pete, “You’re not part of this family any more,” which is harsh, but also true. Then to prove that he can’t have his cake and eat it too, there’s a literal cake on the table, and Pete pulls the classic “ruin my daughter’s cake by planting a beer in it” prank. We’ve all been there.
Margaux: Bonnie put it most astutely, “I don’t think I like you very much in New York.” You can take the bitter dickhead out of the New York and give him an orange hue, but what a shock, Pete’s sunny disposition is just a facade.
And about that shot with Megan and Bonnie both on the same flight back to LA, ending with a stewardess severely shutting the curtains? Umm, ominous much? My literal interpretation of that is that it’s curtains for their respective relationships. Megan did trudge up all of her old crap in the NY apartment to bring back with her to California. Don’s not that blind to his crumbling marriage, ya know, since this isn’t his first time to the divorce rodeo.
Trevor: Don can see the writing on the wall. Megan isn’t in New York to get dresses and necklaces and shoes; she’s there for the damn fondue pot. Also, earlier in that scene, Don finds an old newspaper with a headline about JFK getting shot. Betty left Don the day JFK was shot, so everything is really coming full circle.
Margaux: Welp, that’s grim and accurate. But I’m concerned for the agency, they’ve got a lot riding on Burger Chef, especially with losing Chevy and having Don back just in time for them to be courting a cigarette company. And from that steam room conversation with Roger, if you ignore the jokes, it seems like SC&P’s street cred is laughable at best. They’re always the last to find out.
Trevor: That’s a good point. And the infighting doesn’t help either; Roger jabs Cutler about his “secret plan to win the war,” meaning fire Don Draper. Then the real bombshell comes: Harry Crane as partner?? Wuh? (note to self: find gif of head explosion from Scanners, put it here)
I loved Roger’s reaction. “Yes to everything else, but Harry Crane?” Someone pointed out that Roger and Harry have the same relationship as Michael and Toby on The Office.
Margaux: Ha, I’d buy that. But Roger really echoed what the the audience (meaning me and my boyfriend) were thinking, um no thanks. Crane’s a great ass kisser so I’m not entirely surprised he slimed his way into a partnership, yet I agree with Joan’s point. Give him credit where it’s due but don’t make him a fucking partner because he complains the most.
Trevor: Yeah, I’m not sure about that either. They’re trying to put their fancy computer front and center; too bad they don’t have a fancy ad man to go with it.
So in terms of stars, I was thinking four and a half? “The Strategy” had so many flawless scenes, and for a show with an avowed cynic at its center, it was nice to see Mad Men get a little sentimental. That dance – wow.
Margaux: Four and a half for sure, there were so many great and touching moments that really pay off if you’re as invested in these characters as we are.
Trevor: Sadly, we only have one episode left this year. THANKS OBAMA. See you next week for “Waterloo.”
About Author
