Mad Men: season 5, episode 11

Female liberation: what would it take to make you a queen?

As the fifth season of Mad Men nears its conclusion and 1966 gives way to '67, we look back on a series that has largely done away with what was once its characteristic slowness, in which relationships would for the most part develop gradually and characters would reveal themselves, and their pasts, at a more glacial pace. It was inevitable that once many of the main protagonists' secrets - and more plainly, personalities - had come to light over six years, the show would have to compensate much of its intrigue-building for action. It appeared for a while that Season Five's narrative would be character based - here we have the Betty episode; now the Pete, then the Roger show - and one by one their public personas would seem more lacquered as the inner workings of every character were thoroughly and systematically mined.

But the writers of Mad Men are not so formulaic, and "The Other Woman", as much as any episode before it, invites our comparison between those three women it concerns. For all its shock happenings, too, it's an episode that develops themes from its previous one. In "Christmas Waltz" Jaguar was set up as the prize the agency has long desired, and that Don, for his own self worth, must achieve. Now it's not only the needed account, nor just the perfect symbol of American consumerism, but an unattainable woman - the other woman - "the mistress who'll do things your wife won't". Herb Rennet, the Head of the Dealership Association (with a name like an industrial farming product), calls it a "hot red number". But his eye isn't on the car - it's on Joan. She has become the material good: "You're talking about prostitution," she spits at Pete, who corrects her: "I'm talking about business at a very high level." Hence why she makes an appointment later to see him, and he confuses her "ability to perform" for the client with the creative's presentation. 

These two performances then play out simultaneously; we see Joan enter the man's hotel room wearing the fur stole Roger gave her in 1955, bought from a young Don Draper. It's a thoroughly depressing montage, with Don's narration on the worth of a beauitful object, the behaviour that would be forgiven for it - though in fact it's earlier, as Joan's initial fury at her male colleagues ebbs away, than we feel the most despair. Despite his Cleopatra allegory Pete is as foul as the client Herb, who has his own garbled tales of the Sultan of Arabia and Helen of Troy. And in their acceptance, once the price for her has been agreed, the other partners (bar Don) are just as implicted: Lane makes sure he needn't approach the creditors, Roger accepts but refuses to pay, and even Burt's "let her know she can still say no," presupposes Joan's consent. We recall Lakshmi from the previous episode, the Hare Krishna who has sex with Harry Crane "for the movement".  But it's a line of Don's, from when he visits Joan at her apartment, that rings out true: "If we don't get Jaguar, so what? Who wants to be in business with poeple like that?" The line is played twice - we hear Don speak it again when we learn his visit is too late. In her face there's the suggestion that Joan would have acted differently had she known Don was not complicit in the partners' barter. "You're a good one, aren't you?" she says to him. But the others in "the movement", this business she has just sold herself into, are not.

Joan's refusal to shake Pete's hand when she agrees to his offer strangely forshadow's Don's refusal to take Peggy's. Instead, in a most tender act, he kisses it for the longest time. Earlier in another reference to the prostitution of Joan, Don tells Peggy to get herself to Paris and throws money in her face. Now, he offers it sincerely to make her stay - but unlike for Joan, "there's no number" he can name. In the end she doesn't leave out of spite; it's "not a game"; she does it "for her career". And although she's moving on from the company, Peggy is still Don's protégé: doing what he would do, braving the future with a smile, and unresenting.

Which begs the question: will Megan, too, break free of Don when she finally gets a part in a broadway play? She already "comes and goes as she pleases," Ginsberg says, and in her audition dress Don he knows she acts for her confidence more than his pleasure. While Megan has sex with him in his office, her friend Julia helpfully acts another literal Jaguar, prowling on the boardroom desk. Which car is Megan: the Jaguar mistress, the beauty Don wishes to truly own? Or the wifely Buick, patiently parked in the garage?

Unlike Peggy, Megan says that between the man - Don - and her work, she would choose the man and resent him for it. Over the course of "The Other Woman" we see a group of women making a choice (though for Megan it is theoretical) against their heart and will, for the sake of their job. In Joan's case, as a single working mother, the notion of "choice" raises questions that persist to this day: how free is she in choosing not to buy for herself autonomy, in the form of a company stake at the cost of her body, that she would never otherwise be afforded? Is it altogether priceless, being made a queen?

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Peggy Olson in "The Other Woman". Credit: AMC

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

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Commons confidential: Alastair Campbell's crafty confab

Campbell chats, Labour spats, and the moderate voice in Momentum.

Tony Blair’s hitman Alastair Campbell doesn’t have a good word to say about Jeremy Corbyn, so perhaps that helps to explain his summit with Theresa May’s joint chief of staff Fiona Hill. The former Labour spinner and the powerful consigliera in the current Tory Downing Street regime appeared to get along famously during an hour-long conversation at the Royal Horseguards Hotel, just off Whitehall.

So intense was the encounter – which took place on a Wednesday morning, before Prime Minister’s Questions – that the political pair didn’t allow a bomb scare outside to intrude, moving deeper into the hotel lounge instead to continue the confab. We may only speculate on the precise details of the consultation. And yet, as a snout observed, it isn’t rocket science to appreciate that Hill would value tips from Campbell, while a New Labour zealot plying his trade to high-paying clients through the lobbyists Portland could perhaps benefit by privately mentioning his access to power. My enemy’s enemy is my friend.

Is Ted Heath the next VIP blank to be drawn by police investigations into historic child sex abuse? The Wiltshire plod announced a year ago, with great fanfare outside the deceased PM’s home in Salisbury, that it would pursue allegations against Sailor Ted. Extra officers were assigned and his archive, held at the Bodleian Library in Oxford, was examined. I hear that the Tory peer David Hunt, the ermined chair of the Sir Edward Heath Charitable Foundation, recently met the cops. The word is that the Heath inquiry has uncovered nothing damaging and is now going through the motions.

The whisper in Labour circles is that the Momentum chair, Jon Lansman, is emerging as an unlikely voice cautioning against permanent revolution in the party and opposing a formal challenge from within Corbynista ranks to the deputy leader, Tom Watson. His strategy is two steps forward, one step back. Jezza’s vanguard is as disputatious as any other political movement.

The Tribune Group of MPs, relaunching on 2 November in parliament, will be a challenger on the Labour left to the Socialist Campaign Group, which ran Corbyn as its leadership candidate. Will Hutton is to speak at the Commons gathering. How times change. I recall Tony Blair courting “Stakeholder” Hutton before the 1997 election, but then ignoring him in high office. With luck, the Tribunites will be smarter and more honourable.

Politics imitates art when a Plaid Cymru insider calls the nationalists’ leader, Leanne Wood, “our Birgitte Nyborg”, a reference to the fictional prime minister in Borgen. Owain Glyndwr must be turning in his grave, wherever it is.

Kevin Maguire is the associate editor (politics) of the Daily Mirror

Kevin Maguire is Associate Editor (Politics) on the Daily Mirror and author of our Commons Confidential column on the high politics and low life in Westminster. An award-winning journalist, he is in frequent demand on television and radio and co-authored a book on great parliamentary scandals. He was formerly Chief Reporter on the Guardian and Labour Correspondent on the Daily Telegraph.

This article first appeared in the 20 October 2016 issue of the New Statesman, Brothers in blood