Mad Men: season 5, episode 7

Bad writing and behaviour at the codfish ball.

Sally Draper summarises "At the Codfish Ball" all too well with her closing word: Dirty. The episode sitting in the middle of the fifth season is a very mean one, and arguably full of . . . filler material. Whatever glimmered through - Sally briefly funky in go-go boots; hers and Roger's playfulness; his camaraderie with ex-wife Mona - was outshone at the close by a crude-mannered and flagrant sex act. It seemed such an unnecessary encounter; as seemed, for the large part, much of the episode.

Beginning with the sad climax of it: Sally, stripped of makeup, attends her first "codfish ball". The fish is quite good (why will she try this and not Megan's dover sole?), but the adults are hypocrites: members of the American Cancer Society all smoke cigarettes, the industry celebrates Don as it snatches away from him its business (he "bit their hand", as Ken Cosgrove's father-in-law puts it) and bored/married adults give fellatio in the nearest half-dark room. 

There's no clear themes here besides parents behaving badly - nothing new for Mad Men. In some ways this was Megan's chapter, though she emerges more of an enigma than before. If her reaction to Don's demands in "Far Away Places" inclined us to think Megan was channeling the 1966 feminist spirit, we may be mistaken. If a successful career is what Megan wants then it doesn't appear to be in advertising; despite her success this week with the Heinz campaign. To begin thinking about Megan - until now have we been asked, or bothered, to do so? - we must consider her father's early remark to the luggage-carrying Don: "My daughter pretends to find interesting what I find interesting because she loves me". Is this the answer to her behaviour with her husband? Is Emile's comment so telling? (Must we ask, eventually, whether Megan does love Don? My own mother finds her quip at the Howard Johnson's table "Go call your own mother!" - knowing Don's past - too full of spite for it to be true).

Her behaviour throughout the development and selling of the Heinz pitch suggests that Megan neither cares for her work nor for the plight of her fellow female colleague. Megan warns Don her beans idea "Might be terrible!", but why does she take it to him and not Peggy, her unofficial mentor? While Peggy in Season 1 was pioneering as the first woman copywriter in the history of Sterling Cooper, Megan's main concern is "they’ll hate me," and wishes Don would "tell them it was your idea”. After Ms Olson's struggles to be respected, to have due credit granted her work (see Glo-Coat just a year previously), Megan's reservations, delivered with a giggle, are a slap in the face to Peggy.

The gulf between the two is most apparent in Megan’s strange disconnect with Peggy’s excited praise. “I know what you did and it is a big deal," Peggy tells her. "I tried to crack that nut. If anything I should be jealous, but I look at you and I think I’m getting to experience my first time again." "Savour it". Peggy can't help but notice the forced smile she receives. After the tense pitch over dinner - where Megan sets him up and Don delivers, to Heinz man's delight - the Drapers choose to reward each other with sex. Is it a stretch to consider it undermining of the work that they have sex in the office? We took for granted at the opening of Season 5 that Megan was now a copywriter, and perhaps she did, too. Does she still want to be an actress . . . or what?

Katherine Olson's disregard for her daughter's happiness is no surprise. Nor is Peggy's temporary unease at Abe's non-proposal: she has always teetered on the edge of traditional/liberal. The only things of note for Peggy in this episode: "Someone dumped you?" - her sweet incredulity at Joan (who speaks the saddest line, “Men don’t take the time to end things. They ignore you until you insist on a declaration of hate,") and the framed photograph of JFK on her apartment wall. We're glad to see the return of Glen Bishop; previously creepy, now a teenager (read: dangerous). And also of scant interest is the newly published novel Don reads in bed: The Fixer by Bernard Malamud, where the protagonist forgives his former wife for leaving him. Do we care to read anything in this?

There's little else here. Are we to begin imagining Megan will become her mother Marie, who repeated Mrs Draper's good night to the children in California at the end of Season 4: "Bonne nuit des animaux"? A learnt habit, perhaps. There's certainly no subtlety there. The same writer was responsible for both episodes and that, alone, may be the reason why.  

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

Kyle Seeley
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For emotional value, Emily is Away – a nostalgic instant messaging game – is this year’s best release

If you want to express your lingering teenage angst, there’s no better option.

Every now and then, a game is released that goes beyond what it may look or sound like. It goes straight to the pit of your insides where you thought you had no soul left, and jolts you back to life. Or at least it attempts to. This year, it's Emily is Away.

Firstly, anyone and everyone can virtually play this thing as it’s a crude Windows XP simulator displaying an AIM/MSN messenger client and can run on the PC equivalent of a potato. And it's free. It’s a short game, taking about 30 minutes, in which you play a person chatting away to your friend called Emily (who could be more), choosing from a set list of pre-selected instant messages.

Each chapter takes place in a different year, starting in 2002 and ending in 2006.

You’re instantly smacked with nostalgia thanks to the user screen of Windows XP and a fuzzed out background of Bliss, which was the default wallpaper in the operating system, and probably the most widely seen photo in the world. And your ears aren’t abandoned either, with the upbeat pinging sounds reminiscent of how you used to natter away with your personal favourite into the early hours.

The first chapter starts with you and Emily reaching the end of your last year in high school, talking about plans for the evening, but also the future, such as what you’ll be studying at university. From this early point, the seeds of the future are already being sewn.

For example, Emily mentions how Brad is annoying her in another window on her computer, but you’re both too occupied about agreeing to go to a party that night. The following year, you learn that Brad is now in fact her boyfriend, because he decided to share how he felt about Emily while you were too shy and keeping your feelings hidden.

What’s so excellent about the game is that it can be whatever you wish. Retro games used the lack of visual detail to their advantage, allowing the players to fill in the blanks. The yearly gaps in this game do exactly the same job, making you long to go back in time, even if you haven't yet reached the age of 20 in the game.

Or it lets you forget about it entirely and move on, not knowing exactly what had happened with you and Emily as your brain starts to create the familiar fog of a faded memory.

Despite having the choice to respond to Emily’s IMs in three different ways each time, your digital self tries to sweeten the messages with emoticons, but they’re always automatically deleted, the same way bad spelling is corrected in the game too. We all know that to truly to take the risk and try and move a friendship to another level, emoticons are the digital equivalent to cheesy real-life gestures, and essential to trying to win someone’s heart.

Before you know it, your emotions are heavily invested in the game and you’re always left wondering what Emily wanted to say when the game shows that she’s deleting as well as typing in the messenger. You end up not even caring that she likes Coldplay and Muse – passions reflected in her profile picture and use of their lyrics. She also likes Snow Patrol. How much can you tolerate Chasing Cars, really?

The user reviews on Steam are very positive, despite many complaining you end up being “friend-zoned” by Emily, and one review simply calling it “Rejection Simulator 2015”.

I tried so hard from all of the options to create the perfect Em & Em. But whatever you decide, Emily will always give you the #feels, and you’ll constantly end up thinking about what else you could have done.