Mad Men: Curtains Fall On Don's Winter In "The Summer Man"

We've seen plenty of Mad Men episodes go for the existential, from Anna's ghost visiting Don one night last week, to Betty's pregnancy taking her through "The Fog" into a dreamworld  of vibrant colors and fatherly janitors and yet none feel quite as artsy as "The Summer Man."

It's nothing quite as emotionally revealing as Don and Peggy's night during "The Suitcase," but the introspection comes in another manner.  Don takes to writing his thoughts in voice-over narration as he attempts to curb his drinking; an unusual plot device for Mad Men, but an effective one.  If you can decipher the metaphor of Don's words, or see through the visual metaphors of his sinking through the pool. 

A little reflection helps Don on the path to discovering his new identity, subtly tossing out the remains of "Draper" as he deals with the reality of a drink's allure or the ability to say 'no' to a willing woman now and again, even co-exist with Betty and Francis.  We've spent all season watching Don as a miserable drunk, "that sad bastard" the neighbors deride, so it's a pleasure to see Don on an upswing.

"The Summer Man" plays just as much Joan Holloway's show as Don's however, painting the portrait of a woman uncertain of her own purpose and taunted by the power she no longer wields.  A husband departing for basic training, looks that no longer command the respect of the younger men around her and those who used to see her as role model unsure of how to please her.  If last week made a testament to the changes in Don and Peggy's relationship, here we've set our sights on Joan and Peggy.  Now matter how Peggy views her actions as defense of Joan against Joey, the fact remains that Peggy eclipsed Joan's social class, but can scarcely command femininity in the same way.

We're also given a clue into Betty's deep resentment of Don, far more than past affairs, secret identities, or even simple jealousy seeing him out on a date.  In her moments with the returning Francine, she pinpoints that Don gets to live the high life in the city and see family in scheduled regiments.  Don enjoys the benefits of the escape she internally craves, though by episode's end the two have something of a needed reconciliation.

I should note that there are indeed 13 episodes to this season rather than the previously mentioned 10, so we've plenty more time to earn a clearer narrative direction toward the finale.  Season three ended with the idea of changing up the Mad Men universe so we'd be hard pressed to expect any more major changes, but less complacency is always apprecated, particularly with such hot-button issues as Peggy and Pete's baby, Joan's husband's departure, or even the dangling cast members from the Sterling-Cooper of old.

And Another Thing...

• Damn you, disclaimers of nudity for turning out to be Stan's pressed ham.
• Don standing outside the health club, watching pastiches of the '60s walk by as he lights up a smoke in his sunglasses, "Satisfaction" playing in the background must be the coolest, if overtly "retro" moment of the season.
• Notice, this would be one of the first episodes we deliberately see Don eating, after characters repeatedly mentioned he had to.
• I'm likely the only person disappointed to realize Don's forlorn gaze at Peggy was focused on the alcohol, not her sensual sipping.
• Let Joan be hereafter known as "The Big Ragu."
• It made for a nice metaphorical cut from Henry and Betty arguing in the front seat to Don and Bethany in the back.  Though this is twice now we've had to watch Jon Hamm being "made comfortable."
• Was that Joey swimming next to Don or just another young man?