For all the media flutter about Joan and Roger and Pete and Sal, I'm one of those people who feels she would be perfectly happy to watch a "Mad Men" composed exclusively of scenes between Don Draper (Jon Hamm) and Peggy Olsen (Elisabeth Moss). Hamm and Moss have, for one thing, an acting alchemy that's fairly unique on television right now, the kind of skillful play off each other than leads even underwritten scenes to be fraught with meaning. They are experts at filling in the blanks, for each other and for the script, so to speak. Which explains why it's taken me an entire week to work up the will to write about last Sunday's episode, "The Suitcase," basically a two-hander written specially for Hamm and Moss. It's just taken that long to come down from the high. I had resolved not to flood this space with Mad Men analysis, but it's just my luck that the week I start blogging here Mad Men runs what I suspect will be remembered as one of its greatest episodes.
The party line of the chattering classes on Mad Men this season seems to be that it's been slow-going, with little plot development and a lot of Don facedown: in his drink, in the boardroom, in his secretary. For my part, I find the focus on Don's failings refreshing. Last season, as his marriage disintegrated and he felt stifled by the oversight of the distant British firm that had bought Sterling Cooper, I detected in the writing a certain amount of sympathy for him that I couldn't quite countenance.