Tag Archives: Joan

“Out of Town”

August 16th, 2009

“Tell me about the day I was born.”

One of the most fascinating elements of Mad Men in its first two seasons was a spin-off of this question, asked by Sally Draper at the end of the show’s third season premiere, “Out of Town.” Birth has played a substantial role in the series to this point, whether it is Peggy’s child at the end of Season One, or the birth of the lie of Don Draper which has been present throughout the first two seasons, and questions of birthright play substantially into the complicated history of Pete Campbell. If we take these three character as our most substantial (which the episode doesn’t, but I’ll get to that in time), we realize that this question is more loaded than it seems.

For instance, the day Sally was born could mean something very different for Betty, who remembers it in the most romantic way possible, than it does for Don, who remembers the experience within the context of what could have been earlier infidelity, or struggles (as we learn in this episode) to reconcile with his own complicated childhood. Don remembers the time, and he remembers the weather, and he remembers what he was doing that day, but he’s blocked out the emotions, the experiences – he starts the story, in its simplest form, but Betty is the one who adds the sentimentality, fills in the details of how they felt (which is what Sally really wants to here in that moment).

What “Out of Town” accomplishes most of all is establishing how various characters, in their response to new pressures in the workplace as well as new personal pressures, are coming to terms with the intersection of the emotional and the social expectation. All of the show’s characters know what they’re supposed to do in these situations, but actually doing it with a straight face and hiding their inner frustration, their inner desire, or even their inner happiness is proving far more challenging. And yet, the way the series structures itself, these people don’t have anyone to turn to, as the British Invasion of Sterling Cooper combined with the secretive and judgmental nature of the period have made this even less advisable than it was before.

It’s created a scenario where, just as with Peggy last year, there are that many more characters who can empathize with what Don has been doing for much of his adult life, although in ways different enough to only add to the show’s diversity rather than creating a sense that there is only one type of conflict the show can truly handle. This is not a series rebirth, certainly, but by allowing individual characters to come to terms with the birth of their own sexual awakening or the frustration of being unable to get to that point of achieving something substantial, the show is yet again reinvigorated by a leap forward in time (to the Spring of 1963) for a new season and a new set of complicated interpersonal circumstances for us to enjoy and, as you’ll soon see, for me to analyze extensively.

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