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During the third season of Mad Men Feministing writers will offer some of our thoughts on feminist moments, scenes, and themes in the new episodes in order to start a discussion about these topics in our community. *WARNING: Lots of spoilers follow.

And now the season finale of our most mistitled Tuesday column.

Don's flashbacks.

Outside of his general denial that Betty is leaving him, I think these scenes partly explain why Don chooses to prioritize saving his company over his marriage. It wasn't just growing up poverty-stricken, but potentially blaming his father's death on the fact that they went broke (after all, he wouldn't have been so drunk had things been better) drives Don to save his own business, and hence his life. -Vanessa

Don's arc has been strikingly Oedipal this season. This continued with seeing the death of his father in the same episode where major challenges to his power lead Don to reevaluate his priorities and begin to create a life on his own terms. -Jos

As one of my Mad Men-watching buddies pointed out, yes, these childhood flashbacks point Don toward re-evaluating his life. But it's always his work life, not his home life, where he decides to make changes -Ann

The end of Sterling Cooper, the beginning of Sterling Cooper Draper Pryce. Cooper: "I lost my business last year!" Don: "Well do something about it."

This illuminates the difference between the Connies and Coopers of this world, and the Roger Sterlings. Don obviously took to heart what Connie said about building something himself -- and was not only inspired himself, but was able to awaken that motivation in Cooper, too. This scene, along with so many in this episode, really shows what a brilliant salesman Don is, despite his comment to Roger that he "learned his lesson" about his shortcomings in managing clients. -Ann

Betty: "I made an appointment with a divorce attorney and I suggest you do the same." Don: "Maybe you should see a doctor. A good one this time." Betty: "I've had a tough year. I felt I should tell you rather than let you get a phone call at work." Don: "Well forget it. i'm not going to let you break up this family." Betty: "I didn't break up this family."

So many power dynamics shifted in this episode, and in a number of cases we were shown a linked gaining of power by a woman and loss of power by a man. Betty, in pants again, is taking control of the situation. Much of the power regarding her marriage is now in her hands. Don's attempts to stop this process felt like the angry, potentially (and later actually) violent lashing out of someone who knows how little power they have. Trying to medicalize a woman actually taking a stand, trying to put all the blame on Betty are pretty standard responses, but they're also not very intelligent reactions. It was really satisfying to watch Betty work to liberate herself from this marriage. -Jos

Agreed. This episode could have been called "Don Eats Crow." -Ann

Gawd, I loved watching Betty say all of this to him. Especially when Don suggested that she needed to see a doctor. Amazing. -Jessica

I thought it was so interesting that he brought up the idea of Betty going to see a doctor, because the last time Betty went to see a doctor, Don blatantly betrayed her trust by receiving updates from her doctor on what were supposed to be private sessions. Now, he's bringing up the idea of seeing another doctor to invalidate her feelings, but in reality he's just providing another piece of evidence for why she should leave. -Lori

I had that thought, too, Lori. It's like, wow Don, perhaps referencing one of the many points when you broke Betty's trust is not the best way to convince her not to divorce you. -Ann

During the third season of Mad Men Feministing writers will offer some of our thoughts on feminist moments, scenes, and themes in the new episodes in order to start a discussion about these topics in our community. *WARNING: Lots of spoilers follow.

(Apologies for the column being delayed again. I (Jos) had technology issues that made it impossible to put together yesterday.)

Peggy and Duck. Kinsey: "I know a nooner when I hear one."

Ew. Just ew on the Duck/Peggy thing. More ew with Kinsey. -Samhita

Gotta say, I kind of love the term "nooner." And that our girl Peggy is lured to the hotel with promises of a Monte Cristo sandwich. But I will never forgive Duck for unplugging that television. I have to wonder what story Peggy will invent to explain where she was when she found out Kennedy was shot. Gross. -Ann

"Wow, the president's been shot. Better unplug the TV so depressing news doesn't get in the way of teh sex." -Duck -Jos

Margaret's wedding.

So painful to watch, why did they go through with it? -Samhita

You have to love that when she found out about the assassination, Margaret is more concerned about it ruining her wedding than anything else... -Jessica

Margaret: "She said in India if the wedding doesn't take place at the appointed time they burn the bride." Mona: "Just because she went to India doesn't mean she's not an idiot."

I believe they are referring to the cultural practice of sati that had long been outlawed at that point and happened when women were widowed they were thrown into the funeral pyre with their deceased husband, not on their wedding day. Other than being sexist, it was often even more tragic because wives were often much younger than their husbands. But that is irrelevant. They flattened the cultural history and reality of sati in India to demonize and scare Margaret into marriage, basically saying, we are just as sexist as those backwards Indians, so please don't think twice (at least I would like to think that is what the writers were doing with that). -Samhita

Roger and Jane fight.

This entire episode seemed to be about men infantalizing the adult women in their lives. Roger yells for Jane like she's his maid, and then scolds her like a child. (In fact, it's a repeat of the tone he just took with his own child on the phone.) Although I gotta say, it feels very satisfying to see how Roger's fantasy life with a much-younger wife has not played out at all like he'd hoped. I really loved seeing Mona in a position of strength and power throughout this episode. Lioness, indeed! -Ann

During the third season of Mad Men Feministing writers will offer some of our thoughts on feminist moments, scenes, and themes in the new episodes in order to start a discussion about these topics in our community. *WARNING: Lots of spoilers follow.

Roger Sterling and Annabelle Mathis.

It was kind of nice to see Roger flirting with a woman his own age. I also love that we're getting some backstory on him. -Ann

I think this turned out to be so interesting, since Roger ultimately "rejects" her advances and normally his weakspot is teh ladies. It is almost cute that he is obviously doing it for some kind of broken-hearted revenge. -Samhita

Ugh. I hated seeing Annabelle's character portrayed as ultimately "humiliated" because of her failed sexual advances on Roger, even if that portrayal rings true with the social norms of the time (and today's). I don't think it was a coincidence that she was also stubborn and "couldn't move on" in business as well- that she had already "soiled the value of her good name" but was hesitant to look for another- it was just painful for me to watch her character as a casualty of Roger's newfound strength/willpower. Women don't have to take such a hard L every time a man decides to take "the high road"- if that's what Roger was even doing. -Lori

Oh, yeah...and what Lori said. -Samhita

Q: When does Roger say "no" to sex with a drunk woman? A: When he wants to be cruel in an attempt to make himself feel better and win the upper hand. -Jos

I'm with you, Jos. For a moment, I really thought Roger had grown a conscience. So much for that. -Chloe

This whole thing gave me second-hand embarrassment. -Jessica

Don and Suzanne Farrell.

Don's behavior with Suzanne, was now clearly foreshadowing for the facade of the Don "the Man" to break to him being a human. The tension of her waiting in the car along with Betts confronting him about his past was basically unbearable. What I still don't understand about her character is that she is supposed to be the super independent bleeding heart liberal, but it almost reproduces this woman who is just blindly supportive of the actions of a man. It is almost what women are taught to fear about feminists...women that want/get all the love of a man, without the expectations or the attachments. -Samhita

Yeah I don't know what it means for feminism and the show that she ended up getting hurt and sort of cast to the side. Was this meant to be a critique of the "liberated woman" model you mention, Samhita? I also thought it was interesting that of all the things Suzanne didn't get to say in their brief "breakup" conversation, one thing she did ask Don about was her job. Damn. It just made me realize how perfectly aware she was that her affair with Don threatened virtually every element of the life she had set up for herself, and how much she had to lose, and yet she was still willing to jump into it head first. I just don't know if the writers were trying to depict this, and her, as brave, romantic, foolish, or all of the above. -Lori

Ugh. Her waiting in the car was horrible. Her walking away with her suitcase into the darkness, looking so tiny was the worst. But Don basically forgetting about her and ending it so easily was a good reminder that no matter how independent or feminist or smart - he simply doesn't have relationships with women that are based on equal footing ever. -Jessica

We've been building towards the big character shifts in this episode all season. We started off with everyone wandering aimlessly - things weren't turning out how anyone wanted and there was a loss of stability, a shifting of the ground following the Cuban missile crisis, but no one knew where to land yet. In this episode Joan, Don, Roger, and Betty all took important steps in terms of recognizing or responding to their emotional realities, which is a huge change for a show that's been defined by repression. Makes Suzanne's character make a lot more sense to me, actually - she's already taken that step but is surrounded by characters who haven't so she comes off as strange, out of place. She's not just an early suburban feminist, a manic pixie dream girl (thanks to commenter Tara K. for pointing out this aspect of the character), or clueless - she's a complex character like the show's leads, but we haven't been given an in to understand her because our leads haven't, either. At the end of the episode Don calls Suzanne by her given name for I think the first time - in fact I can't remember anyone referring to her by any name besides Miss Farrell before this moment. Suddenly they're closer to the same plain. The affair with Suzanne was a growing experience for Don, but even his self improvement work hurts women, in this case Suzanne and Betty. -Jos

Joan and Greg. "You don't know what it's like to want something your whole life and plan for it and count on it and not get it, OK?"

During the third season of Mad Men Feministing writers will offer some of our thoughts on feminist moments, scenes, and themes in the new episodes in order to start a discussion about these topics in our community. *WARNING: Lots of spoilers follow.

Carla and the Drapers' church habits.

As someone who grew up in a religious community I identified with processing difference through performance of faith. One of the first ways I became aware of race was through differing religious rituals. In this episode we see Sally starting to engage with racial difference, possibly as a result of Miss Farrell's class. -Jos

Don and Suzanne Farrell.

This feels much more relationship-y to me than Don's previous affairs. I think this is partly because the power dynamic is unlike anything we've seen with Don before: Don and Suzanne appear to be relative equals in their interactions. I was consistently surprised by the ways Don reacted to Suzanne, going along with her words and actions when the expectation based on his past actions is that he will push away. -Jos

Don: "There is a blue that at least forty five percent of the population sees as the same."

That ish was deep. I don't even have anything more to say about that. -Lori

Don: "Every time i hear 'and then' there's another chance for the ladies at home to misunderstand."

Just in case we forgot: Don thinks the women he sells to are idiots. -Jos

This seems to be Don's logic towards most people, which is another reason why he doesn't tell Betty much about his past- he doesn't think she can really "get him". -Lori

During the third season of Mad Men Feministing writers will offer some of our thoughts on feminist moments, scenes, and themes in the new episodes in order to start a discussion about these topics in our community. *WARNING: Lots of spoilers follow.

Betty's dream.

Every time Betty wishes to passively allow life to happen to her, the fainting couch is involved. Being undressed by a man you're not married to? It's ok, darling, you're clearly in distress because you're on your fainting couch! -Ariel

Betty: "I want what I want when I want it. You don't care what it does to the rest of us. Like someone else I know."

Or like every relationship with a clear power dynamic in this episode. Conrad Hilton, Lee Garner, Jr., and Don Draper all want something: Connie wants a campaign, but also constant support, Lee wants Sal, and Don wants Miss Farrell. And they don't care about how getting what they want affects anyone else. -Jos

The "I have a dream" speech.

I thought this was a nice correlation to the Birmingham terrorism referenced later in the show, as a sign not only of the disconnect, but of the contrast between the young activist teacher and the older, noncommittal ad man. -Ariel

During the third season of Mad Men Feministing writers will offer some of our thoughts on feminist moments, scenes, and themes in the new episodes in order to start a discussion about these topics in our community. *WARNING: Lots of spoilers follow.

And yes, this edition of the column is a day late because of wedding weekend. A very good excuse, I'd say.

No Peggy!

Seriously Mad Men writers, what are you doing to me? This is just mean. -Jos

Pete reads Ebony.

Pete really seems to be following through on his idea to market to the African American community. This was just a subtle hint but I'm curious to see where this storyline goes. -Jos

Betty: "I'm paid well enough already."

What's Betty talking about? What does she consider a housewife's wages? -Jos

I love how Don's first reaction to seeing Betty working on this campaign was "you should be paid for that". Ironically enough, Betty does work- admittedly of a different sort- in front of him every day that he fails to really acknowledge or value. I wonder if the writers are foreshadowing a greater feminist awakening in Betty, since much of the feminism that emerges during this era is related to acknowledging the monetary value of housework (ie Betty Friedan). Sidenote: Woh, I just realized that Betty's name is, well, Betty. -Lori

During the third season of Mad Men Feministing writers will offer some of our thoughts on feminist moments, scenes, and themes in the new episodes in order to start a discussion about these topics in our community. *WARNING: Lots of spoilers follow.

No Joan!

I feel so conflicted. Season three of Mad Men has been a genre roller coaster ride (we've even had a musical episode and a screwball comedy, not to mention the many horror subgenre references including depiction of Betty giving birth and Don's sorta abduction this week). Even though "Seven Twenty Three" started with flash forwards it still felt to me like a classic episode, a reminder of why I fell for this show in the first place. So much happened and the show engaged with so many fascinating topics, but can I really love an episode with no Joan? And I didn't see her in the preview for next week either. -Jos

No Joan freaks me out. It's like peanut butter with no jelly. Or something. Though I can't imagine the show would do without her for too long. (Also, random weird Joan fact that I certainly did not find out while reading InStyle Weddings - Christina Hendricks is marrying the Super Troopers Snozzberries kid. Seriously. -Jessica

Don's one on one interactions with other men: Roger Sterling, Conrad Hilton, Pete Campbell, Carlton, Bert Cooper.

A strong reminder that Matthew Weiner wrote for The Sopranos, a show focused on fragile masculinity. This week gave us a number of comparisons of performance of power between Don and other men. Don and Roger used to be like a buddy comedy, but I think Don also saw Roger as a father figure. In an episode so filled with daddy issues it felt positively Freudian, Don had to kill his father - metaphorically, of course. I was reminded that both Roger Sterling and Archie Whitman went about affairs in very public ways that Don disapproves of (a major source of his own self-loathing - he hates his birth so much he's been running from it for years). Don finished the slow work begun at the end of last season of pushing Roger Sterling out, at least in relationship to creative. Don's interactions with Connie Holton and Mr. Cooper both contained telegraphed visual cues that they are more powerful than him - both men took Don's chair. Connie feels a connection with Don, but he presents a hypocritical "family values" image that will probably become an issue. Remember, this man who told Don his office needs a Bible and family pictures was a notorious womanizer who cut his heirs out of his estate. Cooper finally played the card he's had since season one: "After all, when it comes down to it, who's really signing this contract anyway?" Cooper's pretty eccentric, but he showed us in this scene why he is so successful. Meanwhile Pete and Carlton provided the contrast, men to whom Don can easily feel superior. I mean, Carlton stares at the sun (yes, I get looking at the eclipse was symbolically rich, including representing characters approaches to change. But it was also a source of much funny). -Jos

Betty gets involved in local politics in her living room.

I'm glad to see Betty doing something else than sulking and riding horses (though her shooting was pretty cool that one episode) but I kind of hate that her fellow Junior Leaguers were pretty blatant about wanting Betty to use her looks to get shit done. -Jessica

Betty's fellow members of the Junior League, upon discussing the consequences of a water tank and endeavoring to talk to the governor's office, say "Real estate- that's scary." Uh oh, ladies-- property ownership. Run away. -Ariel

Also, Betty says to Don "all you do at work all day is evaluate objects. I would like the benefit of your eye," in reference to interior decorating choices it felt like the writers' comment on the constant objectification of women in the workplace. -Ariel

During the third season of Mad Men Feministing writers will offer some of our thoughts on feminist moments, scenes, and themes in the new episodes in order to start a discussion about these topics in our community. *WARNING: Lots of spoilers follow.

Bobby: "I'm bored." Betty: "Go bang your head against the wall... Only boring people are bored."

My mom was always reading multiple parenting books when my sister and I were young. The books encouraged raising children to conform to the compulsory gender binary and were no doubt flawed in many other ways. But at least there was something available. Betty is stuck with the job of being a parent to three children. Don's involvement is fleeting at best - he gets to have meaningful moments with his children without being there for all the everyday challenges. Betty knows how to care for a baby, but she is raising Bobby and Sally without any road map. It makes sense that she tries to silence Sally with the television and appease her with a Barbie. Betty won't have to deal with anyone lecturing her on the merits of baby wearing, but she is also working an unpaid job with almost no support. -Jos

You know, I'm pretty sure my dad used to say this to me! But yes, totally agree, Jos. Though until recently, Carla has been doing that heavy lifting for the most part as well. -Jessica

Betty on moving to England: "I could get a pram and a real nanny."

Makes sense Betty would want to move to England, where full time nannies are socially acceptable. I think it is worth noting that Betty was largely raised by Viola, her family's African American maid, and that Carla plays a role in raising Sally and Bobby. Viola does not register as a nanny to Betty, but I imagine she filled a fairly similar role. -Jos

Joan plans to leave Sterling Cooper, Greg doesn't get the job.

I understand it could be problematic if Joan leaves Greg because he's not bringing her the kind of money and prestige she wants. I don't care. I say use whatever excuse necessary to leave that asshole. If Joan does leave Greg that will probably be the reason closest to the surface, but we all know Joan has been through much worse with her angry, unstable rapist of a husband. -Jos

Ugh, could Greg be more sniveling? I'm genuinely curious abut how the writers will either bring Joan back to Sterling Cooper or keep her in the loop if she's not at the agency. I don't think Mad Men could exist without Joan! -Jessica

During the third season of Mad Men Feministing writers will offer some of our thoughts on feminist moments, scenes, and themes in the new episodes in order to start a discussion about these topics in our community. *WARNING: Lots of spoilers follow.

Yes, we are publishing this Monday column on Tuesday again. Between Omega and the VMAs it couldn't be helped.

Pete tries to market Admiral Televisions to black people, harasses Hollis.

Pete represents an interesting shift, realizing money can be made from African Americans as consumers while still being racist. His approach is all about the bottom line - black people are buying Admiral Televisions so the product should be marketed to them. It's the most logical economic decision. Pete is still a scary racist, using his position to menace Hollis. And he's still incredibly ignorant, failing to realize The American Dream has a very different meaning to Hollis, especially in the aftermath of Medgar Evers' assassination and thinking he can get some comprehensive picture of why some members of a group would by a product from one man. He just doesn't have a problem taking any money he can get. -Jos

I've read comparisons of the 1960's Admiral Television depicted in this episode to the modern day Cristal, referencing the public falling out between the high-end champagne company and rapper/hip hop mogul Jay-Z back in '06 when a Cristal rep made some problematic comments about the company's hip hop following. This analogy works for me but I'm more inclined to recall the Tommy Hilfiger escapade from the 90's. Remember that whole thing? The hood started rockin' Tommy to death (I remember my middle school self decked out in those tommy overalls, one strap loose!) and then there were rumors (never fully substantiated, I should dutifully add) that Hilfiger said his clothes weren't made for the African-American community, but for upper-class whites. *shakes head* But let's be clear. These situations- Mad Men's Admiral, the real world's Cristal and Tommy- don't embody the manifestation of some epic duel between bigoted racism and colorblind capitalism. That would make capitalism moral, and it isn't. Rather, the situation with Admiral in this episode showcases how intertwined and indistinguishable these social forces are. Capitalism isn't some kind of separate entity, independent of the society it serves. It- just like any other social system- is both a reflection of and an influence on the people who make up its ranks. So racist behavior is driven by capitalist ideals (Pete's racist assault on Hollis in the elevator to get the info he needs for financial gain), and capitalist behavior is driven by racist ideals (Admiral execs choosing to advertise to whites based on the idea that blacks will want what whites do, aka the idea that blacks will be racist by virtue of self-hate). -Lori

The Bridge on the River Kwai.

This has nothing to do with anything, but The Bridge on the River Kwai is my favorite movie and I was happy to see it name dropped on Mad Men. A good choice in an episode that touched on decorum and communication across difference. -Jos

Sally's teacher.

I'm trying to figure out what is up with her character. I get that she's supposed to be the kind hippie and all, but what's with her drunk dialing Don? Is it because of the connection they have in losing someone when they were young or his general irresistible-ness? -Jessica

I found her calling Don like that a little unrealistic - not to say this doesn't happen, but something about it just didn't sit right with me. I'm still trying to get what she's about too, am curious to see how the relationship unfolds. -Vanessa

Mad Men has earned my trust when it comes to storytelling, but the clichéd possibilities with the teacher have me a little bit worried. And seeing her drunk dial Don with her bra strap hanging off her shoulder did nothing to allay my concerns. Visible bra strap = slutty flake is just way too overplayed (and, ya know, sexist). -Jos

During the third season of Mad Men Feministing writers will offer some of our thoughts on feminist moments, scenes, and themes in the new episodes in order to start a discussion about these topics in our community. *WARNING: Lots of spoilers follow.

Peggy moving to Manhattan. "You're gonna be one of those girls?" Peggy: "I am one of those girls."

I love this! Own it, Peggy. Her response seemed aspirational -- especially given her exchange with Joan over the ad and her initial meeting with the roommate. She doesn't quite think of herself as "one of those girls" yet, and this new apartment is an important step. -Ann

I loved this line so much. My crush on Peggy continues. Though it's clear from her meeting her potential roommate that she's not quite one of "those girls" yet...but she's getting there. -Jessica

Bobby: "War is bad." Gene: "Maybe, but it makes a man out of you."

Gene's attempt at teaching Bobby masculinity - it's all about violence and sex workers. Don is uncomfortable with encouraging the violence of war. Perhaps he prefers the version of masculinity he teaches by example - absenty father and husband, infidelity, using sexual violence to get what he wants... -Jos

This is also interesting in the context of Don's story -- war isn't where he became a man, it's where he became a different man. And you can see how much he dislikes Bobby's interest in his grandpa's war stories. -Ann

I thought it was intriguing how Don humanized the story Gene was telling as well by telling Bobby there was "a person in that helmet." -Jessica

During the third season of Mad Men Feministing writers will offer some of our thoughts on feminist moments, scenes, and themes in the new episodes in order to start a discussion about these topics in our community. *WARNING: Lots of spoilers follow.

Derby Day and "going back in time."

Change was once again central to this episode, but this time the focus was on class in a way it hasn't been on Mad Men before. We got to see old money performing class in a way that is quickly becoming antiquated and the complexities of living as an upwardly mobile person uncomfortable in a world one wasn't born into. All of this while perched precariously at the end of the American dream that defined the 1950s. I think this will quickly become one of my favorite Mad Men episodes, an hour of television so layered I'll be able to return to it again for new ideas and insights. -Jos

I spent this whole episode jotting stuff down like "Peggy is tough" and "Pete and his wife scare me", so I'm definitely going to have to watch it again! - Jessica

Joan and Jane's subtext confrontation.

Did anyone else find Jane's attempt to one up Joan a little too on the nose? There was just no subtlety to anything she said, like she was trying too hard. And then ending the conversation with an attempt at a classic Joan walk away? No one can do that better than Joan. To me this conversation hinted at Jane's inability to play the class role she's been thrown into, something that became incredibly clear later in the episode. -Jos

You know, I think you're right - that it was meant to display how uncomfortable she is in her new rich wife role.  And of course that awkwardness was only exacerbated by her drunkenness towards the end of the show.  It made me even more aware of how young she is, as well - she seemed like a little kid to me.  Also, Joan rocks. - Jessica

Peggy and her secretary Olive.

This episode was full of character pairings I found absolutely fascinating. Olive represents what Peggy should have become - she dresses in a way reminiscent of season 1 Peggy, has been a secretary all her life, and feels strongly about the divide between secretaries and their bosses... or more accurately the divide between women and men, and she needs to be reminded that she works for Peggy. Olive thinks she needs to protect this young woman, but Peggy really does seem to be on top of things. -Jos

When Peggy says to Olive, "you are scared aren't you???" she is touching on the fear of Peggy becoming like the men and the level of discomfort and confusion Olive is feeling with a woman in a position of power. -Samhita

I really loved the exchange between Olive and Peggy - highness aside, it really was a sweet moment.  And I just can't get over how much more I love Peggy with each passing episode.  From her disdain for the sexism of dudes in her office to her calling them out on only asking her about "brassieres, body odor and make up," she is just kicking ass lately. And hey, she says it: "I'm in a very good place right now."  Couldn't agree more. - Jessica

During the third season of Mad Men Feministing writers will offer some of our thoughts on feminist moments, scenes, and themes in the new episodes in order to start a discussion about these topics in our community. *WARNING: Lots of spoilers follow.

Marketing Diet Cola to women.

I thought this was a great selection of a product for exploring what I think will be some of the major themes of season 3. Change was a big focus of the episode, which included foreshadowing of a major change in the U.S. occurring on the date of Roger's daughter's wedding, November 23, 1963. Patio (wow, what a terrible name) marks a major change in how soda will be marketed, but the men of Sterling Cooper are resistant to selling a product by appealing to anything but the male gaze even when the soda's meant for women. Now diet products marketed at women are ubiquitous and in this episode we got to see some of the first moments of this shift in the marketing world. Most of Peggy's coworkers think she gained and then lost a lot of weight in season 1 without knowing the true story. So as a character she is perfectly situated to express the need for a new approach to marketing Patio while also having a very complicated personal relationship to conversations about the product. - Jos

Different reactions to Ann-Margret in the opening of Bye Bye Birdie. Ken calls Peggy a "prude."

Random fun fact: Both Vanessa and I were in a theater production of Bye Bye Birdie back in the day.  She was Ursula; I was Rosie.  Yes, we sang.  So I had no in-depth feminist thought surrounding this sequence besides me getting all excited and singing along. - Jessica

I couldn't have been older than twelve the last time I saw Bye Bye Birdie. I remember finding it fabulous and oddly disturbing. I like to imagine I had a look on my face similar to Sal's reaction to Ann-Margret. If the show makes it to 1969 and Stonewall can Sal please be a drag queen? - Jos

Don: She's throwing herself at the camera. It's pure, makes your heart hurt.
Peggy: No one seems to care that  it speaks to men, not the people that drink diet drinks.
Don: It's not about making women feel fat. This is, "Look how happy i am that i drink Patio. I'm young and excited and desperate for a man."
Peggy: I don't mind fantasies but shouldn't it be a female one?
Don: Peggy I know you understand how this works. Men want her. Women want to be her.
Peggy: if that's true...
Don: It is. I'm sorry if that makes you uncomfortable. ...
Don: Leave some tools in your toolbox.

Don has expressed this sentiment before but I think Peggy is starting to make the point that female desire can go beyond wanting to conform to male desire. Don also responded with condescension when Peggy said "sex sells" last season but he seems to have come around to that one. This episode was about change, and Don has always been resistant to the new and strangely nostalgic given the fact he's run away from his past. - Jos

Welcome to our newest series! During the third season of Mad Men Feministing writers will offer some of our thoughts on feminist moments, scenes, and themes in the new episodes in order to start a discussion about these topics in our community. *WARNING: Lots of spoilers follow.

The opening dream-like sequence

I was struck in the opening moments of the episode by the intense sexism that defines Dick Whitman's back-story and the degree to which Don Draper seems to be aware of this. Here is a man who is a proud misogynist, yet the past he rejects is shaped by the treatment of women as objects for sexual pleasure and reproduction, patterns Don has repeated. --Jos

Previous flashbacks for Don have often revolved around his father and a sort of hyper-masculine cruelty and neglect. These flashbacks were really centered around the women of his past, childbirth, bodies, and, as Jos said, sexism. I wonder if this is setting the tone for a shift in some of this season's "births." --Courtney

Betty says of Sally, "She's taken to your tools like a little lesbian."

From the beginning the show signals this season will deal with shifting gender roles as well as homosexuality. Betty's joking did not downplay the fact that she sees Sally's use of a hammer as aberrant behavior. --Jos

I actually wondered about Betty's comment, was it anachronistic? I got the impression from previous seasons that homosexuality is perceived as a perversion, not really as lifestyle/sexuality. (Remember when the Russian guy at Sterling Cooper guy who comes out is called a pervert by folks around the office?) And therefore it would be weird for Betty to reference it so casually. But maybe I'm wrong. I need some schooling from a gay-rights historian! --Ann

I was sort of thrown off by Betty's joke as well. There was certainly an edge to it, but even the fact that she would joke about it made it seem less pathological than I had thought it might sit in her mind at this time, in this place. --Courtney

I totally felt like it seemed anachronistic too. But maybe, like Jos said, it's more of an indicator of what this season will be bringing to the table in addressing gender roles and homosexuality. Perhaps they're looking to show changes in attitudes and some progression as the show moves forward through time - between Betty's comment, Sal finally getting a little booty and Don not outing Sal. (Though not that much time has actually gone by in the show...) --Vanessa