‘Mad Men’ Recap: ‘New Business’ or Just More of the Old?
In true Mad Men style, everything “new” is old again. In a choppy and, at times, unsettling episode, old stories from Don’s past are uncomfortably and awkwardly tied up. But will closing these chapters really make way for anything new?
Don begins his new business in an old role: making milkshakes for his boys in Betty’s kitchen. Betty looks fantastic and seems content as she tells Don about her plan to enroll in a psychology masters degree. Psychology is a surprising career move for a woman almost devoid of empathy — her own daughter won’t even confide in her — but Betty isn’t the most self-aware person, so… ok. (Plus, does anyone else see the irony in Betty’s interest in psychology after her dalliances in therapy earlier in the series, under Don’t watchful eye, of course?) As Henry enters the room, Don takes his leave, looking back regretfully at the family he couldn’t make work. If this is the last time we encounter the Francis family, we’ve left them in a surprisingly happy place, at least for them.
But Don’s encounter with Betty is downright loving compared to his dealings with Megan, who’s flying in to move the last of her things to LA. The conversation is tense and focused on money, as the divorce isn’t finalized, and Megan is on an allowance from Don — a situation neither of them can tolerate much longer. Megan and Don won’t be seeing each other, but Megan does plan to meet with Harry Crane, who offered to use his television connections to help her find a new agent.
The old business of ex-wives makes way for Don’s continued interest in Diana. A few months have passed, and Diana disappeared from the Greek diner, but Don tracked her down. His attentions are persistent to the point of making her uncomfortable, but of course she calls him (considering that the only foreplay for their first encounter was “My name is Don,” she clearly didn’t need that much persuasion). But what began as a 3:00 a.m. booty call ended up as something more, as Don consoles Diana over the pain of her recent divorce and move from Wisconsin. As the two bond over shared loss, their connection is already deeper than what Don had with either of his wives.
Yet, the next morning, there’s more to tell. Di becomes distraught as she sees the kids’ rooms, telling Don she lied about being childless and that she actually lost her daughter two years ago. Don, no stranger to tragedy, lies, or covering up one’s identity, is tender, sympathetic, and uncharacteristically authentic. For a man whose entire life is built on manipulating emotions to gain power, Don doesn’t appear to have an agenda here. Perhaps there is some new business scattered in with the old?
The instant and genuine intimacy they’ve built is harshly interrupted by an uncomfortable elevator ride with Don’s former lover, Sylvia. The physical similarities between the two women are striking, but that’s where the comparison ends. Diana is a complete contrast with every other woman in Don’s past: she is neither rich, nor glamorous, nor particularly young. She has little to give but herself, which makes Don’s interest in her even more intriguing.
Back at the office, Peggy hires Pima Ryan, a well-known, artsy female photographer, for a piece of new business at SC&P. Stan is jealous, angry, emasculated, and intimidated by the presence of another woman on the account — and one in his own field, no less. Pima takes advantage of Stan’s vulnerability by seducing him in the darkroom, surrounded by the erotic photos he took of his girlfriend in an attempt to appear more impressive. After this encounter, the guy who couldn’t wait to get her out of his hair (and there’s a lot of hair there) is recommending her to work on any account he can think of. But what he doesn’t know is that Pima, who’s more hustler than artist, pulled the same seduction act on Peggy. Whether Peggy was hot and bothered by the attention or just plain bothered is unclear. But what is clear is that Peggy didn’t take the bait, and Stan is even more humiliated.
Megan’s mother Marie and sister Marie-France — two unhappily married women themselves — have come to help Megan move, and old business crops up everywhere as the Calvet women bicker over unhealed wounds. Left alone to handle what should be a small move, Marie takes her revenge, telling the movers to pack up the entire place so Megan can have “what she deserves.” Of course, a larger move costs more money, so she calls her old friend-with-benefits Roger to pay the difference. With true Roger Sterling class and style, he stays behind to help Marie leave one final parting gift at Don’s place.
As gross as Roger is for helping Marie defile Don’s empty apartment, he’s not the biggest pig of the episode. That award goes to Harry Crane, whose offer to help Megan find a new agent turns into an awkward and sloppy quid-pro-quo proposition. Megan swiftly shoots Harry down for being the fool that he is and walks out. Of course, Harry does the only respectable thing: tell Don that Megan is crazy and delusional about her career. Sorry Harry, but Don sees through you, too. And worse than that, he doesn’t really care.
Megan’s encounters with her mother, sister, and Harry finally break her resolve to stay distant and businesslike with Don. Frustrated and angry, she directs all the day’s disappointment at him: “I gave up everything for you because I believed you, but you’re nothing but a liar. An aging, sloppy, selfish liar.” He agrees, and gives her a million dollars — likely much more than even her aggressive lawyer was fighting for — to free them both. Chances are, we’ll never see Megan again as Don ties up this old business.
If Don believes that his reward for the day’s stress (which included a golf session with a garishly-dressed Pete) is solace in his new relationship with Diana, he’s sorely mistaken. Diana is surprisingly cold, as she reveals that there’s a second daughter who is still alive and left behind in Wisconsin. For a few moments, Don made her forget the guilt of leaving her daughter behind, but the pleasure of forgetting was too much for Diana, who continues to punish herself for creating a new life.
Returning home, alone, Don turns on the lights to his dark apartment and sees that Megan has taken everything. A thinly veiled metaphor for Don’s life in these last few episodes this is not — on the contrary, it’s plain to see that this is a man left with nothing.
What did you think of “New Business?” Tell us in the comments!
