Not to mention that it appears she's on the verge of creating Virginia Slims.

Not to mention that it appears she's on the verge of creating Virginia Slims.

One misfortune, sure, that could happen to anybody.  TWO misfortunes, OK, maybe …

One misfortune, sure, that could happen to anybody.  TWO misfortunes, OK, maybe …

And I love it that they never tried to make a story arc out of it—it's just a thing that happens in the background, with scarcely anyone (even Roger) paying much attention to it.  A lesser show would never have had the confidence to play off the end of Roger's "enlightenment" with such casual verisimilitude.

And I love it that they never tried to make a story arc out of it—it's just a thing that happens in the background, with scarcely anyone (even Roger) paying much attention to it.  A lesser show would never have had the confidence to play off the end of Roger's "enlightenment" with such casual verisimilitude.

A credit-line extension doesn't become debt, though, until it's been drawn on.  They've cancelled the bonuses, so the only money that's actually been allocated from the extension is Lane's $7500.  In fact, though they haven't discussed it as such, given that SCDP has to staff up to meet the Jaguar work, a credit-line…

A credit-line extension doesn't become debt, though, until it's been drawn on.  They've cancelled the bonuses, so the only money that's actually been allocated from the extension is Lane's $7500.  In fact, though they haven't discussed it as such, given that SCDP has to staff up to meet the Jaguar work, a credit-line…

I kind of can't believe that nobody's mentioned the moment that stands at the (moral) center of the episode, and probably of the season:  after his scene with Lane, Don blows into Roger's office and says, very pointedly, "I don't like where this is going."  And you think—after Joan, last week, after what's happened…

I kind of can't believe that nobody's mentioned the moment that stands at the (moral) center of the episode, and probably of the season:  after his scene with Lane, Don blows into Roger's office and says, very pointedly, "I don't like where this is going."  And you think—after Joan, last week, after what's happened…

I can't for the life of me remember where I saw this or who wrote it, or anything like the exact quote, but it was something about Rod Stewart and the balance between his laziness and his ambition.  To the effect that, Stewart wanted to be a star so badly that if he had to make great music to do it, well then he'd…

I can't for the life of me remember where I saw this or who wrote it, or anything like the exact quote, but it was something about Rod Stewart and the balance between his laziness and his ambition.  To the effect that, Stewart wanted to be a star so badly that if he had to make great music to do it, well then he'd…

But Don, I think alone among the men in that room, knows that her marriage is over.  (That's how their test-drive date started, remember?  He swoops in to her rescue just after she's been served with Greg's papers.)  The "she's married" was for the partners' consumption, it wasn't what was behind his reaction.

But Don, I think alone among the men in that room, knows that her marriage is over.  (That's how their test-drive date started, remember?  He swoops in to her rescue just after she's been served with Greg's papers.)  The "she's married" was for the partners' consumption, it wasn't what was behind his reaction.

Ah, of course.  Beautiful.  So that when Ginsburg pitches his treatment to Don, he's also secretly twisting the knife:  I've seen the two of you, and I've seen that you can't own her …  Adds that edge to his little I-did-it-again dance at the end of the scene.

Ah, of course.  Beautiful.  So that when Ginsburg pitches his treatment to Don, he's also secretly twisting the knife:  I've seen the two of you, and I've seen that you can't own her …  Adds that edge to his little I-did-it-again dance at the end of the scene.

I worked in an ad agency for a while—not on the business or "creative" side, thank god—and The Pitch is actually queasily fascinating for me, especially coming right after Mad Men.  However harsh it may be, the fiction inevitably glamorizes its world—and then The Pitch throws a bucket of cold water in your face.  Just…

I worked in an ad agency for a while—not on the business or "creative" side, thank god—and The Pitch is actually queasily fascinating for me, especially coming right after Mad Men.  However harsh it may be, the fiction inevitably glamorizes its world—and then The Pitch throws a bucket of cold water in your face.  Just…

Not to mention that, of all people, T. E. Lawrence wouldn't exactly have torn a swath through a harem …

Not to mention that, of all people, T. E. Lawrence wouldn't exactly have torn a swath through a harem …