By Jennifer Baldwin. Mad Men is not what one would call a “plot heavy” show. It’s more like a series of character studies — an exercise in atmosphere and style — and less a wham-bang, action-packed thrill ride. But every few episodes a season, Mad Men lets loose and the stuff really hits the fan. Secrets are revealed! Violence breaks out! Babies are born! Geopolitical events cause everyone to freak out!
Episode 10, “Hand and Knees,” is one of those “plot heavy” episodes. And yet, while everything seemed to go down in this one, nothing really came of it in the end (or at least, nothing yet…).
Lane got whacked with a cane by his stern father, so he’s going back to England. But the ramifications of this are still unclear. Joan, presumably, had Roger’s baby aborted (though there was debate at my viewing party over whether she went through with the procedure or not). But on the surface, Joan seems to have gone back to status quo.
In probably the biggest plot development of the episode, Lee Garner Jr. told Roger that Lucky Strike is moving to a new agency, but again the effects of this shake-up are yet to be felt, since Roger hides the news from the other SCDP partners.
Even Don’s storyline, in the end, amounted to nothing (for now).
Everyone was on their hands and knees — some literally, like Don vomiting in his bathroom or Lane after the cane-thwacking, while others only figuratively, like Roger, pleading with Lee to give SCDP one last chance with Lucky Strike — but everywhere, these characters were falling down, weakened, reduced to the level of servants and criminals. And yet, all of these “hands and knees” moments happened in private — in those secret, almost clandestine moments between intimates that no outsider is privileged to see. I think this calls back to the theme in Episode 7 — that issue of intimacy, of and what it means to know another person — only this time we’re seeing the truly dark side of things, those relationships and aspects of the characters that are too horrible to let escape beyond the confines of an apartment living room or a private booth in a restaurant.
Lane’s cruel humiliation at the hands of his father; Don’s complete breakdown at the thought of being arrested by the feds; Roger’s final failure as a business man with Lee Jr.; Joan’s face-saving lie in the abortion doctor’s office — all of these moments of humiliation are kept secret by the characters involved, none of them willing to let others know the depths of their shame and failure. In fact, when Lane reveals the secret of his relationship with Toni to his father, he’s “rewarded” with violence. By the end, in that last scene with the partners, Lane has learned to hold his tongue and keep his private vulnerabilities to himself.
Even Don is still burdened by secrets, still wearing the mask. He tells Faye the truth about his identity — she’s been granted special intimacy — but Don’s not ready to reveal himself to the world. He was on his hands and knees for most of the episode, but he’s not ready to stay there.
The theme of the episode couldn’t have been more obvious thanks to the music selection over the closing credits: an instrumental version of Lennon and McCartney’s “Do You Want to Know a Secret.” Everyone’s got secrets; everyone’s hoping they won’t get found out. But the meaning doesn’t stop there. A closer look at the lyrics reveals a more sinister tone:
Listen. Do you want to know a secret?
I promise not to tell.
There’s a slyness to this lyric, an implication that secrets will be told, it’s only a matter of time. The promise not to tell is empty. Who will be betrayed?
Closer. Let me whisper in your ear.
Say the words you long to hear.
This suggests that the words the characters long to hear are not the words they need to hear. Don hears Faye say everything will be alright, he gets reassurances from Pete that everything’s been taken care of at the Department of Defense, but are these just empty words? Can the secret go away this easily?
The episode ends with a whimper and not a bang; most secrets stay hidden. But I have a feeling these secrets won’t last more than a week or two. Nobody knows much for now, but I get the feeling things are about to explode, much like the crowds at Shea Stadium when the Beatles took the stage. After all, there are only three episodes left.
Posted on September 30th, 2010 at 6:10pm.
A great episode.Not only was the writing good, but the actors in this soap opera were really spot on!
Very enjoyable to watch, though the actions of Lane’s Dad and Don’s anxiety attack (John Hamm nailed it) gave it all and over riding feeling of genuine pathos. Ditto for Roger’s grovel…and Joan’s visit to the doctor.
Sally shows she is her own girl with shrieks of happiness over going to see the Beatles at Shea, and even the ice queen could express a bit of slight joy for her daughter between the cringing. Could see that Betty is missing Don, and he did the right thing by thanking her for covering up his secret.
Don pulled through with a huge assist from Pete, who showed the most maturity of all by taking one for the team. Must have been the sight of his pregnant wife that made him realize that pride & ego take a backseat to what is really important. For the first time, I actually like his character.
As for the whole meaning of the episode title, yes…everyone was to some extent or another on their hands and knees, though I suspect that Roger will remain there the longest. I also see Faye having a hard time at some point because she has really invested in the relationship with Don…which is always risky.
Will also be Interesting to see how the whole Lucky Strike thing plays out. Have a feeling that Peggy (MIA this week) and Pete are going to rise to the occasion.
Thought for a moment that Don would not get the tickets…and am now waiting for him to give that sexy secretary the schtupping she deserves.
Anton, I was shrieking for joy too when Don told Sally he had Beatles tickets! BEATLES!!! She’s a fictional character and STILL I was excited for her to see the Fab Four at Shea. Such is the power of the Mop Tops.
And please continue to like Pete! Pete rules!!
The show spends way too much time on Peggy when they should be focusing more on Pete. He’s the more interesting “youth” point of view, in my opinion.
Joan got the abortion, if you ask me. That is an open question in the same way that Pete’s rape of the au pair, Pete and Peggy’s encounter, Don’s sex with Allison, etc etc, are open. Matt Weiner may show something happening and he may not – it’s pretty random. On the ground that we didn’t see it happen, Anna might still be alive for all we know, right?
He may make a better monster than a father, but Lane’s father is right – to run around at Playboy clubs chasing chocolate bunnies while still married is, as they say over there, Not On.
Still not sure why Pete took the hit – why not tell the partners why they had to drop North American Aviation?
P.S. Your “See a full list of Jenni Baldwin’s posts here.” link still ain’t right.
OK that tab is working now.
If there’s ever a problem along those lines, by the way, use the ‘Authors’ tab and call down articles that way.
Yeah, I’m with you on the abortion question. I think it’s been implied that Joan’s had one before, so why wouldn’t she go ahead with one here?
And I think you make an interesting point about Lane’s father. He is right, in a way, but I think his stern, violent methods point to one of the factors that contributed to the 60s rebellion. The radicals and rebels in that decade overreacted, but they were reacting to an old-school repression and sense of duty that could be stifling. Lane was acting childish, but his dad was being a dick.
Does Pete take the hit because he secretly wishes for Don’s approval? (Pete and Peggy both seem to regard Don as a father figure.) Or does he take the hit because he has secrets of his own (i.e.: the affair with Peggy, the love child, etc.)? The mysterious of Pete are unfathomable. 😀