Ah, Finn Polmar. All the sighs at Matthew Goode posing it up a storm in court. Please come back next season as there is far too much unresolved tension left to be explored.
Super flexible Alan Cumming also on the set of The Good Wife shooting the finale and woah that’s a lot of bagels for the amount of people in this scene.
The BAFTA TV awards took place last weekend and here are some post ceremony level hijinks from Ophelia Lovibond, Dawn O’Porter and Chris O’Dowd. Excellent pattern attire too.
The last episode of Orphan Black came with a whole lot of wincing at things being poked into other things they probably shouldn’t. Here is Ari Millen modeling with another version of himself.
The You’re the Worst cast continue to be excellent at Instagram while also making the wait for season 2 seem forever away (still no date). A season 1 rewatch might be the only thing to solve this issue. Already coveting costumes.
Transitioning to a bigger firm was always going to be harder for some on Mad Men which is why they did everything they could to stop this from becoming a thing with no success in last week’s terrific outing. We’ve seen how seriously Joan and Peggy were taken in one of their meetings a few weeks ago and Joan’s desire to burn the place to the ground comes back in full force after she propositioned and treated like garbage.
Don has never been one for being tied down and the whole point of starting their own firm at the end of season 3 was to embrace a semblance of freedom. That has long gone and staring out of the window is far more satisfying than listening to another version of himself wax lyrical about dudes and beer. If these words were coming out of Jon Hamm’s mouth it might be different, but through this other guy the spell is broken.
Hell, Peggy gets mistaken for a secretary and her new office is not ready so instead she is offered a place in the pool; a compromise she is not willing to take. All this is done via her secretary Marsha and she’s not even worth a phone call from anyone at McCann. Peggy gets the best deal of the episode in that she gets to hangout in the old office with a surprise companion. The moment where Peggy calls out asking out if anyone is there accompanied by creepy organ music is made all the funnier thanks to the person playing said music. It’s not just a soundtrack choice, but Roger putting off going over to his new office for as long as possible.
Peggy notes how this is the most Roger has ever paid attention to her and while she nails the reasons he wants her to stay there – so she can be his audience – these scenes are so much fun that I can only be thankful that they fucked up Peggy’s move. Roger talks in big terms when it comes to how much he feels for the company and while Peggy points out how miserable it was (let’s not forget one partner killed himself not all that far from where they sit) it was far from all bad. Roger has been the one in the past to tell Peggy how it is and that she should ask for things including not going over to McCann at 4 o’clock when she is drunk as they have already made her wait. Instead she stays drinking and now I have a new life goal:
My track record with roller skates means I wouldn’t be able to secure my other life goal which is Peggy’s incredible McCann entrance.
This outfit, those sunglasses, that look; everything is perfection and it’s probably all going to go to shit in an instant. But at least we have this. Without Joan, Peggy’s accounts are going to get picked over and I just hope that Peggy’s career dreams won’t be left in the wreckage.
Peggy has been gifted with Bert Cooper’s ‘octopus pleasuring a woman’ painting by Roger and she proudly clutches it under her arm when making her big entrance. Bert Cooper makes an appearance in Don’s car as a sleep deprived hallucination and I’m glad to see him act as Don’s almost voice of reason while also pointing out that of course he did not read On the Road (I tried to read this book once, but it was very much not for me). Bert is the man who died watching the moon landing and spoke one of the lines of Mad Men – “she was an astronaut” – so it is fitting that he is in an episode that closes out with David Bowie’s “Space Oddity.”
Don has his own mission which is to find Diana and while I have no investment in this relationship in the slightest, there is another interaction that warms my heart. When Don’s attempt to take Sally back to school is unsuccessful because she got a ride with someone else he does get to share a genuinely warm moment with Betty. He gives her a shoulder rub which looks like it could lead to more, but doesn’t and there is no antagonism here.
Betty has followed her dream of enrolling in college to get a Masters in Psychology – repeating my dream of ‘Mad Woman: Therapist Betty Draper’ as a spinoff please – and she’s already started on the reading list. Don calls her Birdie and whenever he uses this affectionate nickname I melt and forget all the shit that has come between them.
Two more episodes to go! Here is Roger to play us out this week.
Fancy frocks aplenty at the White House Correspondents’ Association Dinner. Plus various other red carpet looks on this edition of Look of the Week including bold prints and the 70s influence I can’t get enough of reigns once again.
Gillian Jacobs is killing it in Peter Pilotto showing why she is a resident Out of the Box member as she often leans towards daring, patterned choices like this one. Pairing this dress with black strappy platforms and super soft curls mixes retro glamour with Old Hollywood chic; Jacobs looks stunning.
A beaded Naeem Khan dress for Lucy Liu and this is simple chic at its best. Red lipstick adds an extra pop and the hair down approach adds a softness to the whole ensemble.
As the White House Press Secretary on Scandal we’re used to seeing Darby Stanchfield standing behind a podium in various forms of business wear so it is good to see her in something a little more fancy (and with a whole lot less drama going on) and this ivory Ludmila Corlateanu gown is just that.
Also taking a break from TV drama is Troian Bellisario from Pretty Little Liars and even though I stopped watching some time ago I still really want to know who A is. The gold belt detail enlivens this white dress and there is a dash of 70s summer cocktail party to the whole cut of it.
Speaking of my favorite style decade here is Juno Temple at the Far from the Madding Crowd premiere embracing 70s print in Saint Laurent and I am reminded by both Temple and Gillian Jacobs that platform heels are the only ones that don’t break my feet. Well those and the gaudy metallic silver wedges I wore when I was 16. I probably won’t be digging those out again.
Taking a break from capes is Game of Thrones’ Sophie Turner decked out in Louis Vuitton Resort 2015 at the annual Garden Brunch in Washington DC over the weekend and as with Michelle Williams in everything Louis Vuitton I am definitely feeling the mixture of textures, patterns, buttons and zips.
Lady suit alert! Mae Whitman wears the appropriately titled “Boob Suit” from Rachel Antonoff at Refinery29’s digital content presentation (so much exciting stuff on their roster) looking equal parts edgy and adorable. Of course there are bonus red lipstick points and I am forever drawing hearts around her name.
Mamie Gummer does the whole effortless chic thing in skinny jeans, white tee suede boots and a coat that skirts near bathrobe territory, but manages to look super cool at the same time. Yes I would spill something down both outfits in an instant and be super sad about it.
As with my complicated feelings about jumpsuits/rompers, the crop top is another one that falls into this category. Elisabeth Moss at the Chaplin Award Gala in Nha Khanh is the perfect amount of crop to the top with that slight sliver of torso on display (don’t get me wrong I am all for other people wearing this garment, but it terrifies me personally). This is a really pretty outfit and the graphic print/length of the skirt gives it a retro feel and still manages to avoid all Mad Men influence comparisons.
I wrote a whole thing about Peggy in the most recent episode of Mad Men but one thing I didn’t cover was how much I love this dress. Peggy’s style has been so much sharper this season and this is partly down to her growing confidence and because the new decade is hitting all her sartorial points. I would 100% wear this today.
You’re the Worst doesn’t have a return date yet (*sigh*) however the cast are back on set and they are already gifting us with plenty of photos. More like you’re the best (I will see myself out). Also included in this week’s Instagram round-up is my new favorite show, an unexpected crossover idea, Mad Men feels and getting ready for wrestling.
Aya Cash calls it like she sees it when it comes to her co-stars dissatisfaction at this adorable photo. Yes I am still coveting Cash’s Alice + Olivia dress that she wore to the FX event.
Will Edgar still harbor his “This Woman’s Work” infused crush on Lindsay? All signs point to yes, especially if she is wearing this super cute strapless dress.
Adding to the forever always Peggy Olson worship is this photo courtesy of Elisabeth Moss from the set of Mad Men. Forever wincing at what Vincent Kartheiser went through to get the perfect Pete Campbell hairline.
Without having seen a single episode I’m already calling the untitled Jenny Slate/Ari Graynor FX show from The Obvious Child team my new favorite. T-necks and leather jackets assemble.
This organized chaos desk scene looks very familiar and Jessica Williams audacious Effie Trinket inspired outfit is all part of a Daily Show bit skewering CNN’s coverage of the WHCD over Baltimore.
The Elementary team are pretty prolific Instagram users, but alas they have shot the final day of season 3 so this will be the last one from awhile (it hasn’t been renewed yet, but it seems likely it will).
Crossover potential ahoy! The Scandal team would probably do pretty well in a zombie apocalypse situation particularly the B613 trained folk. It would not be so good for all the beautiful costumes which feature on the show. If they ever get to Washington DC on The Walking Dead they might need a fixer of a different kind.
Couches are a vital part of the office furniture on Mad Men; just think of how many times we have seen Don Draper reclining on one. In this episode he does so contemplating how they can keep their independence (they can’t). Don’s reclining experience is not what interests me and it is Peggy Olson who springs to mind when I think of this location. From her early morning encounter with Pete back in season 1 when only a cleaner was in the office to the end of the second year as nuclear annihilation loomed. Pete confessed his love as the Cuba Missile Crisis peppered the unburdening of the soul with Peggy revealing how she “could of had you in my life forever if I wanted to” because she had his child. In “Time & Life” this story is revisited in a couple of ways and Peggy earns her Queen of the Sofa Confession title.
First between the parents who never were.
Pete is having a shit fit about the merger and after he storms out of the meeting the first thing he sees is a very awkward looking Peggy getting hugged by an over-excited child.
Automatically conjuring up feelings of their big secret it jolts Pete into telling Peggy about the drama which has just unfolded. He thinks it is only fair and no one else is going to tell her. No matter how many arguments they have about work (such as the bickering match last week) they have this unspoken bond and one that is unknown to anyone else. Yes Don and now Stan know about Peggy’s baby secret, but she has never spilled who the father is. On another show this would have probably been worked in along with a final season reunion with their son, but Mad Men is not that show and this is probably all the closure we are going to get with this storyline. If that is the case then I am more than fine as it is dealt with so beautifully this week. There is much space between them so despite their strong connection the void is wide. Now take into account the couch confession at the end of season 2:
Obviously a lot has changed as 1961 is very much sponsored by the color brown (so is 1970 but there’s a lot more color) plus they both look like babies themselves. Pete’s couch has grown substantially and so has the gap between them; this secret is there forever connection and destruction of what was. There is a tiny part of me that ships these two and of course Peggy deserves so much more than Pete and yet I can’t help how much I relish their scenes particularly when they allude in the vaguest terms to what occurred in the past.
Adventures in Stan and Peggy inadvertently babysitting while at work include Peggy revealing all about the big McCann move to Stan while the girl they’re not watching accidentally staples her finger. Peggy and Stan have a high comfort level with telling each other how it is and despite their many disagreements they are close enough for Peggy to warn him about this merger. Lots of pointing of knees toward each other.
After the bleeding finger/Peggy joining the list of characters who have uttered fuck this season moment (Sally and Megan being the other two so far) Stan and Peggy end up having a the kind of conversation which pretty much has me wanting to make PEGGY OLSON 4EVA tees/cushions/banners. What starts off as a discussion about what transpired with the girl and her mother moves into very personal territory as Stan finds out his assumptions about Peggy and her feelings about kids are way off base. Stan thinks Peggy is angry she has got to this certain time in her life without having kids and he compliments on everything she has achieved because she hasn’t had kids. It is like a precursor to the “Can a woman have it all?” discussion and Peggy tells him not to “do that.” Double standards feature heavily as Stan makes a joke regarding not having any kids that he knows of with Peggy countering “It wouldn’t matter if you did. You can walk away.” Stan’s claim of understanding because he had a mother who wasn’t great is not enough for him to understand his mother.
Of course this is nothing to do with Stan, his mother or the woman who yelled at Peggy and Stan is intuitive enough to pick up on this and the strong feelings of guilt Peggy is projecting. And Peggy is right that a woman should be able to move on the way a man can in the same situation. Peggy has managed to do this because it was kept so hush hush and because the circle of people who know about it is so small, but this doesn’t stop her thinking about this (remember in “The Suitcase” when she told Don that playgrounds made her think of her son, this line still devastates me now). Also gut-wrenching is Peggy’s answer to Stan’s “What did you do?”
“I’m here… and he’s with a family somewhere. I don’t know but it’s not because I don’t care. I don’t know because you’re not supposed to know or you can’t go on with your life.”
Peggy says she’s fine and my screen is very blurry right now as this scene is heartbreaking/stunning/soul crushing/life affirming/all of the above. Elisabeth Moss is so spectacular at revealing Peggy’s pain without tipping into hysterics and she is particularly good at holding her tears so we can see them but they don’t fall from her eyes. I’m not looking forward to the moment when Peggy Olson is not in my life.
And in other non-Peggy couch moments from this episode that are worth pointing out and another encounter that comes with a lot of feelings.
Roger and Joan have both moved on (Roger is still seeing Megan’s mother Marie and Joan is with Richard) they also share the bond of a secret child and a whole lot of history.
A less than happy former couple waiting on a coach at a prospective school for their child is Pete and Trudy as they fail to hide their animosity with each other. All it takes is insults from another, a punch and my new favorite Pete Campbell line – “The King ordered it!”- for Trudy and Pete to go from these faces to a tender moment. Pete is in a rush to get back to the city because of everything that is going on, but there is time to listen to Trudy’s woes including how she hasn’t got many friends because their husbands hit on her. Her worries then turn to ten years time when the attention from everyone stops and actually this might be my favorite Pete line as he tells her “you’re ageless.” Pete Campbell the sweetheart. Catch it soon before he is gone forever.
TV Instagram round-up time with clones aplenty, a glimpse at what Coachella would have been like in the days of The WB, show crossover ideas, tees to covet and what goes on between takes on Mad Men.
Spot the real Tatiana Maslany and Orphan Black season 3 opens with a clone filled scene requiring a whole lot of time and several clone doubles. Extra points for whoever uploaded this picture for using tilt shift giving it a dreamy aura much like the scene itself.
More Mad Men treats from new Instagram favorite Elisabeth Moss and an intense looking game of giant Jenga. Not as intense as the scene in this week’s episode which led to Peggy’s inclusion in this picture parade.
Busy Philipps knows what the people want delivering a Scott Speedman photo shoot and while I am partial to the ‘Shy Speedman’ I think “Smiley Speedman” is my true weakness.
Laverne Cox looks stunning as does Julia Garner, although I can’t help but get a little nervous at the sight of Garner and if Kimmy will make an appearance on tonight’s season finale of The Americans.
Caitlin Fitzgerald gets back into the Masters of Sex swing of things and the checks are very on point for 2015 as well as the 1960s. Nice emoji usage summing up maybe where this year will take Libby Masters.
Patterns aplenty on The Today Show as shows collide with Gina Rodriguez and Taryn Manning. While Diane Guerrero is already on both Jane the Virgin and Orange is the New Black I could definitely see some of the other ladies on Jane ending up in Litchfield. Or some of the ladies heading to the Marbella when they get released from prison.
Playing House returns Tuesday, August 4 and in the meantime you can stock up on plenty of Jammer merch, some of it as modeled by the shows stars Lennon Parham and Jessica St. Clair. I am very excited to have these ladies back in my life.
Looking to the past and asking questions about the future is what advertising does by using nostalgia and desire for the things we had/want to shift products. Mad Men explores this notion throughout its seven seasons charting one decade and the two that bookend it. The 50s influence was clear to see at the start of the show from the style to the traditional Draper family setup.
Change has come in an explosive fashion throughout this ten year period and when a new decade begins there are plenty of questions/thinkpieces (even before this term was a thing) about what the future will look like, while examining the ten year period that has just occurred. The question of the future is something that looms over this episode which is kicked off by Roger giving Don the task of writing their Gettysburg Address for his work trip to the Bahamas.
This is the most we have seen Don work in a while, but all he really does is ask other people how they see their future because he has no idea about his own. We see another divorced man celebrating the freedom of no plans, but without anything to look forward to, what is the point? Even the empty apartment which Don swears had some good times – all I can think of is arguments aplenty and Zou Bisou Bisou – is gone by the end of the episode and we are left with Don out in the hallway with no idea what the fuck he is going to do. Enter this week’s killer closing credits song choice with Roberta Flack singing “The First Time Ever I Saw Your Face” and even though Don’s sad face often has me rolling my eyes in exasperation on this occasion and with this song I feel for the dude.
You know who I feel more for? Yep, it’s Sally after she has to endure not one but two flirtatious encounters with her parents and her friends. The Glen/Betty relationship has always included this weird energy and Betty is incapable of not making something about her as she has this desire to be better than everyone, even her own kids.
Don’s problem comes courtesy of his inability not to flirt if presented with the opportunity; on this occasion he claims he played along so not to embarrass Sally’s friend Sarah and even if this is the case it is still worthy of every moment of side eye and snark that Sally sends in the direction of her father. Before she gets on the bus she tells Don that he “can’t control himself” and that if anyone pays attention to either him or Betty then they just “ooze everywhere.” That imagery alone conjures up a whole lot and considering what Sally has walked in on the past it has a profound effect on how she views these interactions. Sally digs the knife in a little further by pointing out that she will hopefully be different to her parents, but Don flips this back on her by telling her “you are like your mother and me, you’re going to find that out.” Run, Sally, run!
Expectation versus reality comes into play throughout the episode and while advertising is fleeting – Don lightly scoffs at Peggy’s desire to create something with lasting value – it uses certain hopes/dreams to sell a product to us. No, this new vacuum cleaner won’t turn a house into a happy magical home, but they might use that idea to get you to buy one. So when Glen comes to see Sally, he’s really there to see Betty and he’s hoping to get something good out of his Vietnam predicament. Betty isn’t the reason Glen is going to fight in a war we have previously seen him want to protest (as Sally pointedly reminds him while also asking him “are you fucking stupid?”), but if he can re-establish his connection to Betty through this, then maybe there is a point. The same goes for Joan and Richard as his version of a post-divorce plan is ruined by Joan having a four-year old, something Joan inadvertently yells at Kevin about, but luckily her resentment is directed at the babysitter and then she feels like shit about it. Later on she snarks at Richard how she ditched her son for him.
There is a lot of disappointment oozing its way through the episode and a whole lot of side eye and angry face going on as demonstrated by this picture parade of brilliant reactions to dudes pissing off these ladies:
Oh, Pete.
Oh, Richard.
Oh, Don.
And Sally isn’t the only one in Don’s firing line this week as Mathis takes Don’s ‘no apology’ advice after a horrific pitch meeting and ends up getting fired because he is no Don Draper. Mathis breaks the whole thing down saying how Don can get away with behaving like this because of how he looks and how the Lucky Strike story where he doesn’t give a shit about offending the clients is different in reality; it was only because Lee Garner Jr thought he was hot that earned him a valued seat in those meetings. Ahh, the handsome bubble. See expectation versus reality. You can dream big all you want but there will forever be obstacles in your way. Whatever magazines dare to envision for this new decade as hope springs forth will get mired down by what has come before it and the Vietnam War is not just going to go away because it is 1970. The past will haunt the present and while this allows us to dream for a better future, this won’t always be the case.
It’s May 1970 on Mad Men and the message is that some things change, some stay the same. Don’s penchant for brunettes in pain is one staple you can rely on and “New Business” opens with the exception to this rule. Yes Betty has been in pain, but she is never going to admit it and now she’s going to be studying psychology. Betty is smart remember (“I speak Italian“) and there’s part of me that would love her to be my therapist. No, really.
The tableau Don looks upon is the family he once had and he can’t go home as this family has moved on. So has Betty’s style as there is a softness here with frills and pattern.
“New Business” showcases the women of Don Draper including Megan as she is in town to finalize their divorce and get the rest of her things from the apartment. Megan is as stylish as she has ever been doing Cali cool in a hoodie peasant blouse and flared jeans looking nothing like her more traditionally dressed mother and sister.
For her meeting with Harry, Megan dresses up in her “Welcome to LA” blue baby doll number prompting Harry to call her every man’s fantasy and that she looks like Ali MacGraw and Bridget Bardot had a baby. Harry does what Harry does and is the worst by hitting on her and then running to Don to call Megan crazy. Megan is incredibly fashion forward so it is strange to see her wearing something from a year ago, but it is obviously a look she feels confident in despite her lack of good acting fortune recently.
Past and present collide for Don with elevator awkwardness and I don’t think Arnold would be cracking so many jokes if he knew what his wife Sylvia, had done with Don. Here we see sadness through the prism of the wealthy and the not so financially secure as Di has nowhere near the amount of money, but just as much pain. Di remarks to Don that he can’t know the amount of heartbreak and boy he should dish out the Dick Whitman routine. Don later gives Megan $1 million dollars and the feeling of ennui can’t be cure by money alone and there’s a whole lot of dissatisfaction running throughout this show.
Annie Hall before Annie Hall and celebrity photograph Pima Ryan sashays in with all her sexuality and confidence in a range of amazing tailored menswear. Pima seduces Stan after he is rude and abrupt when he first meets her and she tries her hand at Peggy delivering the super cheesy ‘I want to photograph you’ line. Mimi Rogers is incredible in this role as she plays Stan and Peggy sees through the hustle. On both occasions Peggy wears bold colors with strong patterns and while her style isn’t ever going to match the sartorial highs of her colleagues it is definitely improving. Peggy is still in control and showing her femininity at the same time.
And because I can’t resist Pete Campbell in sportswear I will leave you with this beauty to round things off.
From these first two episodes alone I am so happy to see what Janie Bryant has already managed to do with the end of 60s fashion with a push into my favorite clothing decade.
Mad Men returned this week and one of its stars joined Instagram; so far Elisabeth Moss is killing it with the set photos, costume peaks and cat pictures. Plus moreMasters of Sex season 3 costume hints and a new furry addition to the Girls set.
One of my favorite Peggy costumes (from “The Flood”) and a break from the dreaded pantyhose. I have definitely worn a variation of this outfit. Probably not with those shoes.
Random Mad Men hookup reveal. Or rather a preview of their appearance on Watch What Happens Live. Elisabeth Moss prepared for this interview in the best way she could – by watchingReal Housewives. Have I mentioned how much I adore her?!
January Jones is still the undisputed Instagram hashtag queen and her co-star has far to go to reach these heights. This includes Jones’ Easter post in a very on point Betty frock from her Coca-Cola audition back in season 1.
Carrie Bradshaw wasn’t too hot on technology particularly phones and SJP has similar feelings; getting lightly teased by an off camera Kerry Washington as part of their Glamour cover behind the scenes.
As with Peggy, I love seeing Virginia in pants on Masters of Sex and as there’s going to be a time jump I’m really looking forward to seeing how this impacts Virginia’s costuming. These sneak peeks are fantastic.
My first question when I saw this photo was whether this is a new addition to the Girls cast as a puppy would sure be a step up from Desi for Marni. It turns out this is Moxie, Allison Williams’ new pup and so sadly I don’t think we will be seeing this cutie onscreen.
Mad Men returns for its final episodes and the end credit music is asking the big question “Is That All There Is?” Peggy Lee’s half spoken track is also heard at the start of the episode in a scene which plays with the setting; is this a flashback to Don’s fur coat selling days? Is he in full seduction mode? Is he dreaming? The answer is none of the above; it is all an illusion and instead Cindy is in casting session with a couch full of dudes (some with new facial hair, oh hi Ted) all eager to take part in this decision.
“Let’s break out the booze and have a ball”
That’s what we should be doing with these last few episodes and everyone on screen is striving to make sense of what they have or what they want to have. Advertising is about wish fulfillment and these characters embody this idea albeit in a wonky fashion; Ken gets fired and instead of seeing it as a sign to write that novel he maybe dreamed of doing he instead takes another advertising position as big fuck you to the company that has shown him no loyalty. Joan is more than financially secure, but the original source of those funds can’t be forgotten when skeezy dudes don’t take her seriously and Peggy backs up this notion that it’s down to her appearance. So she goes shopping and pretends that she never worked at Bonwit Teller. And yes people will still go shopping even when department stores are being blown up with Joan proving Don right.
Peggy allows herself to dream a little suggesting an impulsive trip to Paris trip with Brian Krakow (!), but then she can’t find her passport and the hangover the next day leads to sourness towards what she deems is a ridiculous notion. But I can’t forget her post smooch smile as it was a joy to see. Groovy looking Stan is quick to point out this is what fun looks like and yet all Peggy can feel is the hangover shame.
Don seems to have it all, except for any real personal connections returning to an empty apartment and ringing his messaging service (oh hey a real life answer machine). And while he can still pull his old Don Draper moves there’s something so sad and hollow about it. From women in their underwear almost mirroring Megan cleaning long ago or a back alley hook-up which only takes place thanks to Roger’s $100 tip. Don repeatedly comes back to the diner trying to place the waitress and yes Elizabeth Reaser has more than a passing resemblance to Rosemarie DeWitt; so much so that at one point even I was questioning whether or not it was Midge. Seeing exes all over the place infiltrates Don’s dream world as he sees Rachel Katz (née Menken) modeling the fur as if she is in casting.
What this dream does is prompting a desire to reconnect, which doesn’t quite pay off as Rachel died the previous week and Don’s trip to her apartment doesn’t necessarily provide him with the closure he maybe desires. There was something about Rachel and in a way she was one of the ones that got away even if Don was the one who couldn’t commit. Instant seething at his name from Rachel’s sister Barbara with passive aggressive questions about his family (fair) while pointing out that Rachel had everything (I don’t know how true this is, but also totally understandable why she tells Don this). Barbara wants to know what Don is looking for by coming here and it isn’t surprising Don wants to know what happened to this woman he once loved. ‘The life not lived’ to echo Ken’s sentiment.
Is Don going to find out there is something more or that all there is?
Oh and one quick costuming bonus starting with how much do I want Peggy’s dress that looks like a pre-DVF wrap dress pattern dream?
If you answered with anything less than a “crazy amount” then sadly you do not get today’s prize (today’s prize is a plate full of hot cross buns, may or may not be imaginary).
And Joan’s rage filled retail therapy includes a dress that looks a whole lot like Peggy’s hanging in the background, but there is no way Joan would ever contemplate mirroring Peggy’s style. Not in season 1 when she gave her the tour of Sterling Cooper and not now after that elevator argument that broke my heart. These two women are never going to be the BFFs I so crave them to be.
I’m going to leave you with this and pretend they are going off on lunch time missions in a secret spy caper.
TV Ate My Wardrobe 
