During the third season of Mad Men Feministing writers will offer some of our thoughts on feminist moments, scenes, and themes in the new episodes in order to start a discussion about these topics in our community. *WARNING: Lots of spoilers follow.

No Joan!

I feel so conflicted. Season three of Mad Men has been a genre roller coaster ride (we’ve even had a musical episode and a screwball comedy, not to mention the many horror subgenre references including depiction of Betty giving birth and Don’s sorta abduction this week). Even though “Seven Twenty Three” started with flash forwards it still felt to me like a classic episode, a reminder of why I fell for this show in the first place. So much happened and the show engaged with so many fascinating topics, but can I really love an episode with no Joan? And I didn’t see her in the preview for next week either. -Jos

No Joan freaks me out. It’s like peanut butter with no jelly. Or something. Though I can’t imagine the show would do without her for too long. (Also, random weird Joan fact that I certainly did not find out while reading InStyle Weddings - Christina Hendricks is marrying the Super Troopers Snozzberries kid. Seriously. -Jessica

Don’s one on one interactions with other men: Roger Sterling, Conrad Hilton, Pete Campbell, Carlton, Bert Cooper.

A strong reminder that Matthew Weiner wrote for The Sopranos, a show focused on fragile masculinity. This week gave us a number of comparisons of performance of power between Don and other men. Don and Roger used to be like a buddy comedy, but I think Don also saw Roger as a father figure. In an episode so filled with daddy issues it felt positively Freudian, Don had to kill his father - metaphorically, of course. I was reminded that both Roger Sterling and Archie Whitman went about affairs in very public ways that Don disapproves of (a major source of his own self-loathing - he hates his birth so much he’s been running from it for years). Don finished the slow work begun at the end of last season of pushing Roger Sterling out, at least in relationship to creative. Don’s interactions with Connie Holton and Mr. Cooper both contained telegraphed visual cues that they are more powerful than him - both men took Don’s chair. Connie feels a connection with Don, but he presents a hypocritical “family values” image that will probably become an issue. Remember, this man who told Don his office needs a Bible and family pictures was a notorious womanizer who cut his heirs out of his estate. Cooper finally played the card he’s had since season one: “After all, when it comes down to it, who’s really signing this contract anyway?” Cooper’s pretty eccentric, but he showed us in this scene why he is so successful. Meanwhile Pete and Carlton provided the contrast, men to whom Don can easily feel superior. I mean, Carlton stares at the sun (yes, I get looking at the eclipse was symbolically rich, including representing characters approaches to change. But it was also a source of much funny). -Jos

Betty gets involved in local politics in her living room.

I’m glad to see Betty doing something else than sulking and riding horses (though her shooting was pretty cool that one episode) but I kind of hate that her fellow Junior Leaguers were pretty blatant about wanting Betty to use her looks to get shit done. -Jessica

Betty’s fellow members of the Junior League, upon discussing the consequences of a water tank and endeavoring to talk to the governor’s office, say “Real estate- that’s scary.” Uh oh, ladies— property ownership. Run away. -Ariel

Also, Betty says to Don “all you do at work all day is evaluate objects. I would like the benefit of your eye,” in reference to interior decorating choices it felt like the writers’ comment on the constant objectification of women in the workplace. -Ariel

Continue reading “Mad Men Mondays: You grow bullshit”