Mad Men recap: We explain what the characters really mean when they say and do what they Zoo Be Zoo Be do what they do
When last we left Draper and Co., things were looking optimistic, or at least as optimistic as Mad Men ever gets. Don announced his engagement to the beguiling Megan. Joan and Dr. Greg were expecting a bundle of joy (that’s got a silver fox for a father). Peggy saved SCDP by landing the Topaz pantyhose account. Pete seemed less at odds with himself and Trudy was contentedly pregnant. If there’s one thing Mad Men has shown us though, it’s that the only constant is change, so let’s not get too comfortable. And since Mad Men is always about the subtext of what’s being said or done, we’re here to explain what the characters really mean when they say and do what they Zoo Be Zoo Be Zoo what they do.
Let’s translate the Zoo Be Zoo Be Zoo »
When Sally mistakenly tries to open Don and Megan’s bedroom door looking for the bathroom, what she’s really looking for is…
A glimpse into her father’s new life with her new stepmom. What she (and we) learns: Megan sleeps in the nude. Seeing Sally shyly observe her over breakfast makes us anticipate the development of their relationship this season—we hope she gets super into French culture and goes all Nouvelle Vague. How great would she look with a Jean Seberg haircut?
When Don says to Sally: “Give Morticia and Lurch my love.” What he’s really saying is…
“I’m still the Gomez of this Addams Family.” Snap, snap indeed.
When Megan says to Don: “I have to get these to Peggy.” and “You’re a dirty old man.” What she’s really saying is…
“I want to be taken seriously.” Coupon-copywriter Megan won’t give in to Don trying to seduce her at the office (I guess it’s only cool when you’re not married) because she doesn’t want her coworkers to talk. It’s too bad that by the end she sees she’s her own worst enemy when it comes to how she’s perceived.
When Peggy says to Stan (who we’re grateful is still a smart ass) about Don: “I don’t recognize that man. He’s kind and patient.” Stan replies: “And it galls you.” Then Peggy: “No, it concerns me.” What we’re really getting confirmation on is…
Peggy clearly likes Don better when he’s being a dick (no, we’re not making an allusion to the Whitman years). We don’t see uptight Peggy being keen on laidback Don. We’re guessing the real “bean ballet” will be the dance between Peggy and Don.
What Peggy and Megan’s different spins on black and white fashion say about them…
Peggy doesn’t stray from her 1965 wardrobe in her simple black collared A-line dress, while Megan is in a loose and frilly polka dot blouse. Peggy’s hair is firmly set and pressed while Megan’s is loose and teased. Peggy has not undergone any seismic shift since we last saw her, and Megan doesn’t feel any pressure to conform to more somber attire to be viewed as a career gal.
When Joan’s mother says: “Joan, he’s not going to allow you to work.” And Joan replies: “Allow me?” what’s really going on is…
Joan is realizing that all those things she thought were important, a doctor husband and now a child, don’t diminish her craving for the power of her career. If anything, feeling lost as a new mom is making her miss the control she felt while at work. Later, when she drops by SCDP, we see Joan still knows how to use her “buxom” curves to her advantage—stunning everyone in her hot pink dress. Sorry, Molly Ringwald, but that’s how to be a ginger and wear pink.
When Pete howls at his secretary: “Do you think he’s looking at your breasts? He’s looking at my ca-len-dar.” What we’re really seeing is…
Pete is still quick to throw a snit when he doesn’t get his way. This episode, the power struggle between Pete and Roger quickly escalates and is clearly going to be a key (and hilarious) device this season.
When Trudy says to Pete: “Dissatisfaction is a symptom of ambition, it is the coal that fuels the fire, you know that.” What she’s really giving is…
A typical Trudyism—can’t you see her reading a book about how to motivate your husband? We’re too distracted by the caftan however: it’s too Mrs. Roper, not enough Talitha Getty. It’s interesting to see Pete at home, coming in late, his brow furrowed in much the same way as Don’s in the Betty days. The difference: Trudy actually seems to bring comfort to Pete
What you wear to Don Draper’s 40th birthday party says a lot about you, like…
Pete in his tartan coat and Trudy in a bright flowered dress are clearly out to make the loudest sartorial statement. Megan in her very short dress and what look like Roger Vivier Pilgrim pumps—even though Belle de Jour hasn’t come out yet, we’re sure she’s ahead of fashion—shows she’s no old ball and chain. Roger’s wife Jane wears a demure society girl dress: her approach to May-December is very different than Megan’s. Harry Crane ends up wearing the feather boa of one of Megan’s friends. He’s intent on appearing hip but of course just looks ridiculous. Stan wears short-sleeved collared knit number two of this episode: red and orange checkered and just as tight fitting as the others (Stan loves to show off his biceps).
What Megan’s gift to Don (a sexy rendition of “Zoo Be Zoo Be Zoo”) shows is…
How unprepared Don is for the upcoming youthquake and how awesome Mad Men is when things get awkward. Can’t you imagine Megan practicing her yé-yé girl performance in front of a mirror like an adolescent (and maybe after watching we went and did that exact thing ourselves)?
When Megan says to Peggy: “What is wrong with you people? You’re all so cynical. You don’t smile, you smirk.” What she’s really saying is…
“I am Canadian and we are a nice and polite people.” Showrunner Matthew Weiner isn’t above leaning on a Canadian trope, it would seem. Also, as a general rule, we Canadians like surprise parties and presents and nice things and don’t appreciate when our coworkers say things about us in the coffee room. And most importantly, we all want to have sex with Don Draper, too.
When Roger, spotting Joan and the baby at the office exclaims: “Well, well, well. There’s my baby.” What he’s really saying is…
For a minute there we weren’t sure if he was talking about the baby or Joan. When Roger takes the baby and smiles at it paternally, a cigarette hanging out of his mouth, he might as well be a proud papa lighting up a congratulatory cigar. But Joan stays composed, and doesn’t look worried that he is any the wiser. As insecure as Roger acts this episode, with his one-liners and funny faces we’re getting the full Sterling’s Gold treatment.
When Joan says: “I can’t even imagine how handsome that man must be blushing.” to Lane, what we’re really hearing is…
Don is still our matinee idol. Last season was very much about Don’s introspection (dude even did some journaling) and saying goodbye to the last tie to Dick Whitman (Anna). This season, Don is as happy as we’ve ever seen him, but he’s keeping his distance from us and we really don’t get any time alone with him. Also, of all the impressions we saw of Megan’s performance, Lane’s was our favourite. He’s really got the moves.
When Megan says to Don: “You don’t get to have this. Go sit over there. All you get to do is watch.” What we’re really thinking is…
This is kinky. Has Weiner been reading Fifty Shades of Grey? We’re a bit confused by Megan’s mercurial tendencies, but Don isn’t. In this episode, we’ve seen Megan is easily wounded but capable of asserting her anger. We’re also a bit chuffed that Don left the office when he heard Megan was upset. Does she have him wrapped around her finger? (Side note: we’re going to have to try cleaning in our underwear.)
When Don says to Megan: “I don’t really care about work.” What we’re really wondering is…
Will this be the theme of season five? Will Don be saying the same thing at the end? If he no longer cares about work, where do his priorities now lay? (Or is this question already answered by where and with whom he lays at the end of this episode?)
Mad Men airs Sundays at 9 p.m. on AMC. See you next week, where it looks like we’ll be getting an eyeful of Betty and Henry’s life in an episode directed by Jon Hamm.
