“Christmas Comes But Once a Year”
August 1st, 2010
“I don’t hate Christmas – I hate this Christmas.”
When Don Draper sits down to take part in a demonstration of a new form of customer research, he finds a questionnaire which asks him to describe his relationship with his father – the question, according to the Doctor heading the study, is designed to create a sense of intimacy which will then influence a more honest or meaningful answer to the following question about who makes household decisions. Of course, the test is not designed for someone like Don Draper, who has trained himself to shut down at the mere mention of his past – he walks out on the test because he cannot fathom that someone would want to return to their past in that fashion.
“Christmas Comes But Once a Year” is about what happens when people who are still running away from their past run smack dab into the present, people who are either so focused on not repeating past mistakes that other parts of their lives suffer or people who have lived so much of their lives covering up their past that they have no idea how to live in a present which no longer has the same rules. All of them are hoping that what they feel now won’t last forever: they remember happier Christmases, Christmases before their lives were thrown into a state of upheaval, and they hope that those Christmases will come again.
However, Don Draper also seems to think that it will happen without having to actually do anything.
Mad Men the Morning After: Critics Relate to “Public Relations”
July 26th, 2010
When I was somewhat incredulous about why anyone even the least bit afraid of spoilers would read pre-air reviews of a show like Mad Men, part of that response came from the fact that I think pre-air reviews are a horrible medium for capturing the complexity of a show like Mad Men. I am a firm believer that the best analysis from television critics comes after, and not before, an episode airs, and so while I avoided reviews before “Public Relations” aired I spent the morning (or, more accurately, the early afternoon) reading some really intelligent thoughts from the critical community.
And, as I’ve done in the past with other shows, I figured the intelligence of those comments warrants some further discussion, so let’s take a look at what the critics are saying about Mad Men’s “Public Relations.”
July 25th, 2010
“It was going great until it wasn’t.”
Mad Men has always been a series grounded in duality, logical since Dick Whitman’s double life represented the central conflict within the series. Very rarely did the series ever move beyond the existential, largely avoiding direct action in favour of short glances, conversations with unintended prescience, and the growing sense that the balance could no longer hold. At the end of the third season, that duality was broken: Don’s secrets were revealed, Betty ran off with Henry Francis, and even the identity crisis at Sterling Cooper – caused by PPL’s influence over the company’s holdings – was eliminated when the pending purchase led to the formation of the independent Sterling Cooper Draper Pryce.
The third season was Mad Men’s two worlds finally colliding, and the fourth season premiere, “Public Relations,” demonstrates how that collision has never truly stopped. The direct conflict the series has always avoided has become something these characters fetishize and desire, and unfortunately something that has become untenable within the new business world in which they operate. Before, Don Draper was a sly yet self-destructive force operating with what he considered a safety net, and now he’s a sly yet self-destructive force who refuses to change his behaviour despite the newfound risk. And so his entire life becomes a collision, sometimes to his benefit and most times to the detriment of his business, his sanity, and his personal relationships.
However, the benefit of a collision is that you ask yourself important questions, wondering what went wrong and re-evaluating just what you want from the world around you. “Public Relations” is Don Draper seizing the day, choosing to stop running into the same brick wall at every turn and steer the car in a new direction – it’s possible that a collision waits just the same down this new path, but it’s a collision he can control, manage, and perfect.
And until it isn’t, it has every chance of being great.