The Shrine

Imakeholesinu wrote:Well last weeks episode definitely put a damper in the second to last sentence in your post. All they did was focus on Peggy and Pete basically and how Don is a complete dick to his secretary. I'm wondering if Peggy will become even more progressive with the group of young people she is hanging out with. I thought the exchange between Pete and his father in law two nights ago was great and somehow he came out on top. Cosgrove did make a cameo as well.

I swear if I could I would propose marriage to Christina Hendricks, I'm not sure what it is about her but she is just amazing with her delivery and the way she carries herself.

I do like how they moved away from Don's family drama (Sorry January Jones, you couldn't act your way out of a paper bag), though it looks like they make a return next week and the Ex-Mrs. Draper wants to "Kill Him".

Imakeholesinu wrote:I swear if I could I would propose marriage to Christina Hendricks, I'm not sure what it is about her but she is just amazing with her delivery and the way she carries herself.

http://blogs.suntimes.com/scanners/2010/08/mad_men_modern_compartments.html wrote:I've deliberately left out huge, important chunks of the episode that don't take place in the office -- but had to include Pete's magnificent shrug (with mirror, bar, decorative screen, and the unseen room down the hall), to contrast his apartment with his office, and the small framed mirror with the wall-sized observation mirror at work. The episode is mostly about Peggy (Elisabeth Moss) and Pete (Vincent Kartheiser) going in different directions, discovering new ways to open or close doors between their work and personal lives, contrasted with Don Draper (Jon Hamm), who begins the episode chain-smoking and drinking during a four-way phone call, his office a tangled web of coiled cords. Notice all the cross-sight-lines communication going on (horizontal, vertical, diagonal) -- people watching other people, exchanging glances or sight-unseen, through various frames in their separate compartments -- culminating in Allison staring the wrong way through the two-way mirror and looking Don right in the eye, seeing him for who he really is.

Both Pete and Peggy find themselves banging their heads against work surfaces in frustration/resignation, but the episode gives them a moment of grace, through glass doors in the reception area, in a brief, wordless coda I've included almost in its entirety. Peggy is leaving for lunch with some of her new boho friends; Pete is standing around with some suits ("new" clients, including his father-in-law), waiting for Don so they can have a business lunch. (BTW, I couldn't squeeze it in, but the shot of Pete knocking his forehead against the post in his office is followed by a shot of Peggy getting into the elevator -- much like the last shot here -- in which she first meets the LIFE photo editor who introduces her to the Village crowd who come by to get her at the end.) Man, what a terrific movie this is!