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A SHOT IN THE ASS Even Roger, who has a heart condition, gets one of Cutler's injections.
The rest of the agency seems to fare better with Cutler's mysterious butt injections, maybe with the exception of Stan. The Great Beard may work well when he's one toke over the line, but this pushes him even further into mania. He ends up trying to kiss Peggy in his office before admitting to her that his 20-year-old cousin was KIA in Vietnam. It's an echo of their first interactions, when Peggy deftly and cleverly repudiated his sexual advances, and it ends with Stan expressing appreciation for her rear, to which she responds "Thank you." Only Mad Men could try to make "You've got a great ass" sound wistful, heartfelt, and nostalgic. Then he ends up having sex with Wendy the psychic, failing to live up to the advice, “You have to let yourself feel it. You can’t dampen it with drugs and sex.”
There's yet more death with Gleason's passing, and Chaough's empathy contrasts once again with Don's lack of it. He's too busy mourning the sudden death of his affair, but Ted is genuinely affected. Peggy reacts to this and Don seeing her comfort his former nemesis sends him off on another trip back to his red-light past. Peggy is clearly feeling some form of dissatisfaction with her life with Abe and one wonders what will become of that relationship. After all, it's her name on the apartment deed.
Sally's adventures in babysitting leaves her feeling ashamed for having been duped. But, as she tells her father, it's really only because the story was plausible by default. Why couldn't her dad have had a black nanny he called Grandma Ida? That's entirely possible for all she knows of his past. Don admits to her that the incident was his responsibility. "I left the door open, it's my fault," a line that could just as easily refer to his culpability with Sylvia. In his eyes, Don's problem was leaving himself open to feeling and letting someone else peek into what lies behind the door to his heart. But he's learned his lesson and from now on that door will be barred, chained, and double-locked from the inside.
Going down? Still more elevator symbolism this week. There should be a sign that reads: "Danger! Do not exceed maximum metaphorical weight."
The only thing that would have made Ken Cosgrove's opening drive more Blue Velvet-terrifying is if they were eerily singing "See the USA, in your Chevrolet...."
"Why don't you take a nap? Your face looks like a bag of walnuts." Roger's line of the night.
Ken's little bit of fleet-footed vaudeville is projection on Don's part, who is the real song-and-dance man. His ranting summation of advertising as a trade-off of entertainment for attention cuts especially close to the fear that his profession and the profession of his mother are essentially one and the same.
"You just flushed the toilet in my head."
"She's off on the casting couch," says Betty, with her typical civility towards Megan.
"Chevy is spelled wrong!"
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