Mad Men: season 5, episode 10

Old names and faces and a masterclass in flirting.

We knew there was friendship there. We also knew - from an aside remark way back in Season One – that he’d never tried it with her. But my goodness, Don and Joan. What sexual tension, what a thrill! “God, you’re irresistible,” she tells him. From the jukebox sweet Doris Day sings “A Christmas Waltz” (the episode’s title), but the real dance is taking place at the bar. Take note: this is how it looks when Mad Men’s most sexual creatures try and out-flirt each other. “You want to dance?” . . . “You and me, in Midtown? You with that look on your face?” “What look, baby?” Irresistible. 

It’s a seductive quality both characters possess in abundance that we haven’t seen for so long. And we reminisce along with them: Burt Peterson and Freddy Rumsen, their standing argument that Joan was a lesbian. We remember those names and faces, those Sterling Cooper days, too. Elsewhere in the episode Paul Kinsey, absent since Season Three, reappears. As does Bobbie Barrett, that alluring old flame of Don’s, in his use of her phrase “I like being bad and going home and being good.” While the affair was “a disaster,” Joanie knows better, purring at him “You enjoyed every minute of it”. 

But it truly was a disaster – his car accident with the comedian’s wife lead, eventually, to the collapse of his marriage with Betty. At the end of the scene Don leaves the bar unsettled and a little upset; Joan has touched a raw nerve. Some men are just promiscuous, she says. Or can’t be satisfied, or recognise what they have. Driving the Jaguar at top speed, shifting gears to accelerate, Don’s inner turmoil has been stoked. Earlier he tells Joan the car does nothing for him. “It’s because you’re happy; you don’t need it,” she replies. But he is turned on by the car, isn't he?

The Jaguar E-type is of course more than a car. It’s the most beautiful car of all time, an export, glossy red – the perfect symbol of consumerism. If there’s a clear theme to the episode it’s this. Paul Kinsey returns as a Hare Krishna – he “rejects the material world” – but really what he wants is his woman and some money (maybe a farm, though even that requires of him “a little less recruiting and a little more working,” Harry notes). There are others cheating and spending: Lane forges Don’s signature (a double-fake of the Draper identity) for an advance to cover himself against the taxman; Roger offers to pay Kevin (his baby son with Joan) through college, though it’s a “short term” attempt to fix their relationship.

And there’s the play, America Hurrah: “I like to have a can of beer in my hand as I watch the beer ads,” declares the actor. But TV makes him sick - every channel on it. "It’s about the emptiness of consumerism," says Megan. But Don’s job is to encourage people to buy things. He’s selfish, she says, and smashes her plate of spaghetti with as much force as Joan, upon receiving her divorce papers, smashes the model Mohawk. 

Nostalgia and materialism – the two themes in play here – weave so cleverly. With three episodes in Season Five remaining, Don may have reached a crossroads where his work and marriage diverge (doesn't Megan seem more and more a catalyst than a character?). “This time last year,” Don tells his colleagues, the company was at crisis point. Now they must sink or “swim the English channel” to “drown in champagne”. It’s an inspiring speech, one we haven’t heard him deliver in years, and the car, and worldwide recognition, is the prize. At the beginning of the episode Don tells Pete the Jaguar pitch “sounds like a lot of work", before going to nap on his office couch. Now he’s taking off his jacket. If Draper's back, is Megan out?

Read the Mad Men series blog

Joan as Rita Hayworth, Don as Aly Khan? Photo: AMC

Alice Gribbin is a Teaching-Writing Fellow at the Iowa Writers' Workshop. She was formerly the editorial assistant at the New Statesman.

Photo: Getty
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Nicholas Serota's Diary

The Arts Council England chair on tea with Lord Sainsbury, solving problems with cake, and opening up the industry.

On Saturday, I head to the Theatre Royal Stratford East to see Tommy, an extra­ordinary production of The Who’s musical that has emerged from a collaboration between the Ipswich-based New Wolsey Theatre and Ramps on the Moon, a consortium taking work with deaf and disabled performers into the mainstream. Preconceptions about what we understand by “disabled” are blown away. The cast dazzles with talent and brings to the work a bold perspective that leaves the mind fizzing with challenges. How important it is to make this kind of work central to what we do.

Sunday

A chance amid a busy transitional time to enjoy a private party at home, with a collective celebration for daughters’ and grand-daughters’ birthdays. Lots of cake-eating, which is good practice for my new job at the Arts Council, where any difficulty can be surmounted with the help of a slice of lemon drizzle or Victoria sponge.

Monday

My first full day in my new office at Arts Council England in Bloomsbury. A massive in-box to clear. Bent double over this most of the day, I manage somehow to do my back in again, thus proving that the burden of the abstract is no less weighty than that of the real. There are also emails from former museum colleagues at the Art Basel fair, where Maria Balshaw is the centre of attention.

Tuesday

A day of meetings with wonderful benefactors: including tea with Lord Sainsbury and his wife, who have done a huge amount to improve access to the arts. Their support for the Ashmolean, the Holburne in Bath and London-based galleries is well known. They have also been involved with a wholesale redesign of public areas at the Royal Opera House, which will lead to greater access and use for education and events during the day, as well as a complete makeover of the important Linbury Studio.

I finish the day by hopping on the Tube to the Tate to attend a farewell party for a long-serving member of the building projects team. We joined and left at the same time and, in between, we have built a lot together. So it was poignant.

Wednesday

I head to the national council of the Arts Council, and we sign off on the new national portfolio for 2018 to 2o22. It ends an exhaustive process that began 18 months ago.

This is where the Arts Council will spend the bulk of its funds over the next four years, some £1.6bn in total, across 831 organisations that determine the future direction of the arts sector. It has been fascinating. The Arts Council remains a custodian of standards and aesthetics, but it is also increasingly working with partners across government, local authorities, higher education and communities as a developer of social environments, giving people a voice and helping them to articulate what is culturally relevant to their lives. There are evolving expectations. People now look to the arts to increase well-being and regenerate local economies. Fortunately, despite the cuts in recent years, the Arts Council still has excellent knowledge and networks to help it deliver national policy at a local level.

There are two important headlines to the investment we agreed. First, that it delivers a substantial increase in funding outside London – roughly £170m over the four years, supporting a geographically wider and a more genuinely diverse range of organisations. We have held nothing back. The time is right to invest for lasting change. As the success of Hull as the UK City of Culture this year has shown, there is an appetite and a need for the arts. We can and will do more for people everywhere.

Second, we have done this without any overall reduction in investment in London, where we have refreshed the portfolio, bringing in from the margins some brilliant and challenging companies. That has been made possible by the selfless way that leading organisations based in London have taken a small cut so our funds can go further. They understand that everyone benefits from a more diverse arts world – not least London. The strength of this wonderful city comes from the breadth of the cultural conversation it has. It is an inspiration, even in the darkest moments.

Thursday

To a BBC board meeting, where we touch on the progress of Culture UK, the partnership that brings together the BBC, Arts Council England, the Arts Council of Northern Ireland, the Arts Council of Wales and Creative Scotland. There is funding for organisations to make content that can be shown on the BBC and plans so far to put theatre, opera, ballet and the spoken word into broadcasting, while the BBC’s online platform can widen public access to such events as the Manchester International Festival.

Friday

Another full day at the Arts Council, reviewing plans for the announcement of the national portfolio, discussing the nuance of particular decisions, prepping with a huge amount of detail. I’m also thinking ahead to events in July, when I’ll be talking about the international work of arts organisations at the Creative Industries Federation conference. There is a strong awareness of the “soft power” of the arts, while we often overlook the obvious – that international exchange, collaboration and experience are crucial to the standard of practice we enjoy in Britain, and that they are also a valuable and potentially huge source of income.

Again, the Arts Council has expertise in this area. It takes time and investment to acquire this knowledge. Over the next few years, we will need – as an arts sector and as a nation – to make the most of all the expertise we possess. I’m looking forward to the challenge. 

Nicholas Serota was the director of Tate between 1988 and 2017. He is now the chair of Arts Council England

This article first appeared in the 29 June 2017 issue of the New Statesman, The Brexit plague

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