Mad Men 6×1 & 2
Ω Seems like a motto to Season 6.
& Sandy: They rejected me.
Betty: Oh. Of course you’d lie about that... So you’ll try again next year. Tell everyone you wanted to finish high school.
Sandy: It’s incredible how fast some people come up with lies...
& Dr. Rosen: What’s that camera you guys are selling? Pentax?
Don: Leica.
Dr. Rosen: And which model will change my life?
Don: Like everybody else, I only know them by the price.
& Roger: What are the events in life? It’s like you see a door. The first time you come to it you say, “Oh, what’s on the other side of the door?” Then you open a few doors. Then you say, “I think I want to go over that bridge this time. I’m tired of doors.” Finally you go through one of these things and you come out the other side and you realize that’s all there are... doors and windows and bridges and gates. And they all open the same way and they all close behind you.
Look, life is supposed to be a path and you go along and these things happen to you and they’re supposed to change you. Change your direction. But it turns out that’s not true. It turns out the experiences are nothing. They’re just some pennies you pick up off the floor, stick in your pocket, and you’re just going in a straight line to you-know-where.
& Psychotherapist: You sound afraid.
Roger: More like irritated.
Psychotherapist: And what do you think is causing that?
Roger: Top of the list, New Year’s. It’s like an extra birthday. You’re supposed to blow out the candle and wish for something. I don’t even know what it is.
& Burt: How was your Christmas?
Peggy: Same as the last five... ruined by work.
& Koss Headphones: Look, you don’t know what to do. I’m telling you what do to.
Peggy: You are. You have solved the problem. But it needs more than a solution. It needs to be a great ad.
& Don: As much as I’d like to join all the ads making fun of the ubiquitous San Francisco hippie, let’s try to trade on the word “love” as something substantial.
— I don’t think that’s possible in this context.
Don: So why are we contributing to the trivialization of the word? It doesn’t belong in the kitchen. “I love this.” “I love my oven.” “You know what I’d love? I’d love a hamburger.” We’re wearing it out. Let’s leave it where we want it.
We want that electric jolt to the body. We want Eros. It’s like a drug. It’s not domestic. What’s the difference between a husband knocking on a door and a sailor getting off a ship?.. About 10,000 volts.
& Peggy: This is Peggy Olson and I’m calling for Mr. Chaough. ... Yes, this is Peggy Olson. ... Let’s not exaggerate. I’ve only called twice. ... Look, Father... oh, I’m sorry, Pastor. I was raised Catholic. ... Well, because my mother is. ... My father is Lutheran. ... Irish and Norwegian. ... No, he passed away. ... He was cremated. ... Look, Pastor, I’m not saying that you didn’t give Mr. Chaough the message, I’m just saying that it bears some urgency. ... Yes, which is to say I don’t think it would bother him at all to know that I’m on the phone. ... Certainly. Do you have a pen?
& Don: What do you want?
Photographer: I want you to be yourself.
Ω Uh-oh. Tough request.
& Roger: I looked out at that crowd and all I saw was a bunch more women I’ve disappointed.
Mona: Roger Sterling, no matter what you do, everyone loves you. What you’re seeing is them worried about how you feel about them.
& Abe: You’re typing a lot. You got a new way to go?
Peggy: No, I’m doing this thing Don used to do. I’m writing a letter to a fictitious acquaintance telling her how great my new headphones are.
Ω Respect.
& Peggy: What have you got?
— We have three very different angles. If you dip the audio in the wide shot, Mark Antony is just, you know, mouthing the “lend me your ears” part. You hear the announcer say one of these things... One. “Are you ready for the sound for the ages?” Two. “Koss knows that good sound is timeless.” Or “Ladies and gentlemen, this is not your old-fashioned sound.”
Peggy: What’s the next one?
— The next one or the second one?
Peggy: You said you had three.
— Those were three. Didn’t I read all of them?
Peggy: Those are three different versions of the same idea. If you can’t tell the difference between which part’s the idea and which part’s the execution of the idea, you’re of no use to me. I know what you’re doing. I’ve been you. You’re hoping this sparks my imagination and then you can say, “Wow, she’s a genius,” or say anything because you want to go home.
— I think they’re very different from each other.
Peggy: Well, I’m sorry to point it out, but you’re walking over the same ground. When you bring me something like this, it looks like cowardice.
& Roger: Damn it, how many times do I have to say this? I don’t feel anything. I’m just acknowledging that life, unlike this analysis, will eventually end and somebody else will get the bill.
& Pete: Well, there’s no reason we can’t tilt the camera up 45 degrees and see the husk of our city dweller on the sand and an arm of the hotel and Diamond Head in the background.
Sheraton: So there would be a man in this photo and he most likely would be naked?
Don: Actually, my first thought is there is no man. Just his footprints.
Sheraton: What happened to him? I think, and I think people might think, that he died.
Don: Maybe he did and he went to heaven. Maybe that’s what this feels like.
Sheraton: It’s a little morbid.
Don: Well, heaven’s a little morbid. How do you get to heaven? Something terrible has to happen.
& Don: A picture of a hotel, even yours, is easy to ignore. This, or some version of this, demands your attention.
& Don: Does that make you think of suicide?
Roger: Of course. That’s what’s so great about it... You know, we sold actual death for 25 years with Lucky Strike. You know how we did it? We ignored it.
--
On the IMDb-1 & IMDb-2
Σ It feels like they have exhausted. But... First of all, it’s [must be] a set-up for a game (season). Moreover, someone need to re-think the episode. Starting from the motto. And in this light, from scene to scene. Looks like it’ll be about death, about life, about the meaning of life.
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