Poor Sally. She "saw something nasty in the woodshed," to quote one of my favorite films, Cold Comfort Farm (John Schlesinger, 1995). Even though this episode ends on a down note for just about every character featured during this show, the focus on Mad Men's women in "At the Codfish Ball" really made this episode stand out. Two moments in particular made me outright cheer, and I'll explore them in more depth. Also, the show is clearly trying to rehabilitate Don Draper after his "dream murder" and the horrifying fight he had with Meghan last week.
This season, Mad Men has been exploring in some form the growing youth movement and generational tensions synonymous with the Sixties, and nowhere does that storyline carry more power than in the struggles and preoccupations of Sally Draper. This episode is bracketed by Sally's phone calls to her friend, Glen, who's been a fascinating character from the earliest days of the series. His crush on Betty was so creepy and weird early on, but his steadfast friendship with Sally has really come to define him. That he's played by Matthew Weiner's son, Marten, always blows my mind a little.
It seems that Sally and Bobby are often left at the mercy of Grandma Pauline, and Sally is continuing to complain about this woman (justifiably) to anyone who will listen. (Betty, Henry, and baby Gene seem to be out of town all the time). Sally gets much more mileage from conversations with Glen than with Don, and in a burst of comic slapstick, Pauline trips over the phone cord spread across the hall, and breaks her ankle, sending the kids over to Don's by default. Sally's delighted, because she's undoubtedly Daddy's girl.
Unfortunately for Don, Sally and Bobby aren't his only house-guests; he and Meghan are entertaining her parents as well. Emile and Marie are French Quebecois, and very, very unhappy. From the moment that Emile walks through their door and tells his wife, in French, to drink so that she'll "become nice," you get the sense that this visit will not be a pleasure. Emile is some kind of lefty professor who is turned off by their stylish apartment and displays of wealth. Conversely, I'm delighted by that cool lamp next to the bar, and Meghan's fab dress even matches. Nice.
Sally and Bobby briefly interrupt the tensions at dinner when they arrive, and Don frames Sally's calling 911, icing Pauline's ankle, and "keeping her calm" as downright heroic. Sally's relationship with Meghan is also warm and friendly, and it's always nice to see a stepmother not portrayed as creating a rift between father and daughter; those petty jealousies are absent. Still, with a mom like Betty, Meghan's bound to seem kind and supportive by comparison. It's unlikely that Meghan will ever tell the kids that they are "boring" or that they should go "bang their heads against the wall."
In fact, knowing that Sally doesn't like fish, Meghan makes spaghetti for the kids (weirdly without any sauce), and Marie fondly tells Sally that she used to make Meghan spaghetti when she was child. This nostalgic moment becomes the inspiration for Meghan's saving the Heinz beans campaign, conjuring an idealized scene of mother and child, through the ages, cooking beans--from caveman days to futuristic moon colonies. When Meghan presents her ideas to Don at work the next day, coming up with "Heinz Beans--some things never change," Don looks at his wife with new respect. Whenever he tries to box her into the "wife" category through sexual innuendo, she insists that "this is about work" and "I don't want to change the subject." She wants to prove herself. Still, Meghan is hesitant and conflicted; she fears reprisals from Stan and Michael Ginsberg, and initially wants Don to take credit for the idea. Thankfully, Don refuses, saying "You don't really want me to do that," to which she replies "no."
The guys do grumble to Peggy about the changes, questioning whether the new campaign was actually Meghan's idea. Yet they good-naturedly recognize that this campaign is better than what they had. Building on last week's camaraderie, both Stan and MG respect Peggy, and they playfully tease her over take-out Chinese, stating to Abe, who joins them, that if she keeps eating Chinese food, she'll go up a cup size (referring to the Playtex bra account). When Abe takes off for home, Stan says "he's too good looking for you!" This comment will come back to haunt Peggy when Abe calls to meet for dinner the very next night, and hangs up before she can say no. Their fighting last episode still weighs on Peggy, and she believes that Abe's about to end things between them. She goes to Joan for a cigarette and some womanly advice.
Sally and Joan's friendship continues to evolve this season, and as two working women with history at SCDP, they are well matched. (Yes, I'm a secret fan of their getting together, just as I dream of Alicia and Kalinda together on The Good Wife. Not going to happen). Joan wisely tells Peggy that "men don't take the time to end things," and instead just ignore you until all that's left is hate. She thinks that instead, Peggy may be looking at a marriage proposal. Peggy never imagined this possibility, and is equal parts stunned and delighted by the idea. Joan warns her to prepare a careful answer, especially if that answer is going to be "no."
Peggy shows up to the Minetta Tavern in a new dress, beaming at Abe. They both seem a bit awkward, and Abe looks extremely nervous. The "proposal" isn't quite what Peggy expects either. Abe asks her "to move in together," and her smile is still on her face, but their is something just a little flat in her eyes. She was expecting more.
Still, she grabs his hand and says "yes." Her reaction to his proposal helps define the line she continues to push in regards to female hetero respectability. Last week, she gave a stranger a hand job. This week, Stan suggests that Abe's too good looking for her. Does Peggy say yes because she's worried about losing Abe, and ending up alone, or is it because she's tasting the so-called sexual revolution, and liking the flavor? I think her ambivalence in this scene, and when she tells Joan her news, speak to her conflicted feelings--and her daring.
Peggy is the focal point for both cheer-worthy scenes this week. When she arrives to SCDP the next day, she is met by Joan delivering the news that there's champagne in the conference room because Meghan landed Heinz at dinner the night before (yes, Don gives Meghan credit here too, and she deserves it). Then Joan notices Peggy's ring finger is bare, and says that champagne may not be right for the moment. Peggy haltingly tells Joan that Abe proposed they move in together, worrying that Joan will be disappointed for her, but defensively stating that they don't need a piece of paper to prove anything. Joan snaps that the piece of paper Greg has with the Army is more important than any paper she shares with him (nailing that coffin down tight). Joan congratulates Peggy, believing the proposal romantic and Peggy brave before giving her a big hug. Yay! I'm grinning just remembering this beautiful scene between these two incredible women.
And yet things get even better! Meghan steps out of the celebration and runs into Peggy, who immediately cries, "Meghan, congratulations!" and embraces her. When Meghan sheepishly tries to undercut her accomplishment, Peggy exclaims, "I know what you did, and it's a big deal!" What I love about Peggy, is unlike any other character on this show, she is utterly devoid of guile. She blurts out how she feels, even when it's sometimes inappropriate. She tells Meghan "I tried to crack that nut. If anything, I should be jealous, but I look at you, and...I don't know...I'm getting to experience my first time again....This is as good as the job gets, savor it." One can see Meghan's complicated reaction here. She's used to experiencing jealousy, pettiness, and blanket dismissal. Instead, a fellow woman colleague she respects is cheering her on. She decides to "savor it" giving Peggy a quick squeeze in solidarity. This moment is a triumph for Peggy, Meghan, and Mad Men! Yay! I'm smiling as wide as Meghan!
Ah, but Mad Men is always eager to bring viewers back down after they are up. Back at chez Draper, the griping and sniping turns into full on screaming matches with the two in-laws. After a little shopping interlude, Meghan, Marie and Sally return home. Sally politely asks "papa" if she can attend his awards dinner that evening; Don's being lauded by the American Cancer Society for his letter denouncing tobacco (last season). Marie points out that daughters need to witness their father's successes, and then Emile explodes, screaming in French that Marie won't be happy until he's dead. He storms off to his room, and she joins him. Screaming ensues. When Don asks what the hell happened, Meghan explains that at one point, after an unsuccessful meeting with a potential publisher, Emile called his grad student girlfriend, sobbing. Marie walked in and overheard his conversation, and was understandably furious. Meghan's reaction says so much about why she's willing to put up with Don's volatile moods; this kind of behavior is standard operating procedure for her. As she tells Don, "They do this all the time. They'll recover. They always do." Wow.
Roger pops by before they depart, and there's noticeable sexual tension between he and Marie; she openly flirts with him while she ties his bow tie for him. Before Emile has time to protest, Sally emerges in her dress for the "ball," looking young, hip, and older than her twelve years.
Don's shocked reaction is priceless, but Emile warns him, "No matter what you do, some day your little girl will spread her legs and fly away." Hilarious implied butchering of English coming off as disturbingly Freudian! Don tells Sally to get rid of the boots and make-up or she has to stay at home. Meghan replies, "wings, Daddy," but everyone gets the drift. Sally's not a little girl anymore, and she is about to witness some very adult behavior!"
Disappointments come fast and furious throughout the rest of the episode. Peggy and Abe invite her mother to dinner to tell her their "news," and she ends up taking back the cake she brought them, declaring that she will not help them celebrate their "living in sin." Mom basically tells Peggy that cliched "he won't buy the cow if he gets the milk for free" story, and the evening turns pretty damn sour.
At the ball, Sally asks where the "staircase" is, disappointed that she cannot make a grand entrance. Then she's served codfish (with the head on) for dinner, inspiring this episode's title. Marie and Roger massively flirt with each other, and then leave together. Emile accuses Meghan of surrendering her dreams for Don's love. Don is told by Ken Cosgrove's father-in-law (played by Ray Wise) that everyone admires his work, but corporate businessmen don't like and will never work with Don because he "bit the hand" with his anti-tobacco letter. Finally, poor Sally, taking a wrong turn from the bathroom, opens a door to find Marie giving Roger a blow job; she gets an eyeful before she runs back, no longer interested in her sweet "Shirley Temple.''
The episode's final image is a striking contrast to the idealized version that Meghan uses to sell the Heinz campaign. Instead of generational equanimity, these generational relationships are riddled with strife. The realities that this group are forced to face, about themselves, and each other, continue the tensions that underscore this entire season. Sally's encounter with the sordid side of the "city" has undoubtedly only just begun.
