Peggy said what we were all thinking: Don Draper is a monster.
When you think he can't get worse. After last week's hard-to-watch moment when, instead of telling Sally the truth about what she saw and treating her with respect, he blatantly lied to her, this week we see him relieved that she doesn't want to visit. When boarding school is suggested, he doesn't protest: he's willing to send his daughter away, and willing to pay the price.
And monsters do have feelings. It has been weeks since the Sally incident happened, and he's sleeping in her bed, drunk at every moment, ripe with guilt. He wanted her to know that Megan and Don both miss her, but barely got the words out. His condition is so bad that Megan has to tell him he needs to pull back.
Then, we see Don dealing with his ex-protégé and his business partner's blossoming love. Sure, Ted's vision is clearly impaired. But Don handled it with the worst way possible: By humiliating him, and by going back on his word. First, he backs on a promise and calls Sunkist, clearly out of spite and not for the good of the agency. Then, in a horrifying scene, embarrasses Ted in an extremely icky way. He claimed to Peggy that he intervened because he cares about the company. Really? He hasn't cared about the company in months.
The usually evasive Don couldn't cope with being an outsider to the duo's jokes. He is in no way to be the moral police of any situation. But misery loves company, and clearly, Ted and Peggy were far from it.
And finally, Bob Benson's secret is revealed. We still don't know the extent of it, but he's clearly not who he said he was. And Pete's the one who caught him. Lucky for him, Pete knows a thing or two about identity fraud, and he's steering clear. Pete not taking an opportunity to belittle someone? Publicly? Surprising. Maybe he really does want to stay out of Bob's way. Or maybe he wants something to hold over him. Lucky for us, the Bob Benson storyline isn't dead.
And finally, we knew Matthew Weiner's real life son would make a cameo this season. Glen isn't the creepy kid he used to be, but is still fascinated by Sally, who apparently, "loves trouble." I can only imagine a lot more of it if she does indeed go to this boarding school. Also, how is everyone missing that there is clearly something bigger going on with her?
"Pretend it's Ralph Nader and let’s go get a drink." This is in reference not to the five-time presidential candidate Ralph Nader we know today, but to reports by media outlets at this time that GM was trying to discredit Nader because of his reports on unsafe automobiles as an advisor to the United States Senate subcommittee on car safety. Awesome mention.
Poor Ken Cosgrove. He's the nicest, isn't he?
“Found hookers that take traveler’s checks?” Harry is hilarious. And so is Megan and Don’s distaste for him. Also, his outfits get more and more ridiculous.
Bobby and Manolo. Well, they're together.
“She has good manners with everyone but me.” Betty vs. Sally. She cares for Sally very much, but still refuses to see the signs of her distress and excuses it to be teenage angst. I’m scared for Sally’s future.
“I once had a client cup my wife’s breast.” OK, Cutler. You’re strange.
“The wave of the crime is not the wave of future.” A line from a Nixon campaign ad, and another reference to the violence of the times.
Megan on TV. Don watches for a second before changing the channel. Jerk.
“I know how to make a Tom Collins.” We know, Sally. Your dad taught you. Happy Father’s Day!
"Rosemary’s Baby." First, Sally was reading the book. Now, it’s being discussed and watched on screen. Is there a significance apart from its popularity at the time?
There is a moment in this episode when Don is zoned out, staring at the TV, ignoring Megan. He looks terrifying. You can see his inner demons working away. What does the future hold for Don? With only the finale left, what are your “Mad Men” predictions? Is there going to be a violent end? Or maybe an uplifting one (although I don’t see how that’s possible). Leave your thoughts in the comments.
About Viewer Discretion
ContributorsKatie McLeod is Boston.com's features editor.
Rachel Raczka is a producer for Lifestyle and Arts & Entertainment at Boston.com.
Emily Wright is an Arts & Entertainment producer at Boston.com.
Sarah Rodman is a TV and music critic for the Boston Globe.
Meghan Colloton is a Things to Do and Arts & Entertainment producer at Boston.com.
Michael Brodeur is the assistant arts editor for the Boston Globe, covering pop music, TV, and nightlife.