"Mad Men" Waldorf Stories (TV Episode 2010) Poster

(TV Series)

(2010)

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8/10
Over the Hump
borowiecsminus30 August 2016
Warning: Spoilers
This is episode #45 of "Mad Men." Counting the two-part episodes as only one episode, when you finish watching this episode, you are exactly half-way through the show.

Congratulations.

The episode is unlike anything we've ever seen in Mad Men. Don's character, for once, is... different. Not "Gypsy" different, more like drunken fool different. And a drunken Don Draper only causes mayhem.

The acting, particularly from Jon Hamm, is fantastic. Especially in the first half of the episode. We always knew he had a big ego, but he had never been so obvious about it. It's also a brilliant way to set up "The Suitcase," the episode that follows it. Make us laugh here, while we still can.

The writing is also great, with the particularly memorable line from Peggy, "stop staring at women who will never stare back." Shots fired, Peggy Olson. The idea that the writers had to have them have essentially a contest to see who will break first ("break" referring to putting their clothes back on; they were working in the nude after Stan called clothes unnatural) was a very interesting choice. It's "Mad Men," so it probably symbolizes the nakedness of their emotions. I don't know. Some sh*t like that. The point is it's unlike anything we've seen in the show before.

Also, fittingly for the half-way point, we get to see how Don got his job at Sterling Cooper. However, these flashbacks were like those in "Lost:" confusing. Did Roger actually say welcome aboard? I honestly don't know. Frankly, the flashbacks were poorly executed. Half the time, I didn't realize they were entering flashback. But, I will give credit where it's due, which is to the makeup team, who did a great job of making Draper and Sterling look just a little bit younger.

Enjoy the next half of Mad Men.
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10/10
This episode has the feel of a pilot episode.
civicbatchhack23 April 2012
This episode was aired during the middle of season 4, but the parts where Roger Sterling is flashing back to when he first met Don Draper would have been an excellent introduction of Draper to the viewers in the series premier. Also, this episode could have been a stand alone mini movie, you would not need to have seen any of the previous episodes to understand what is going on. Not many shows can produce an episode in the middle of their 4th or 5th season that has the feel of a pilot. Not many drama shows halfway into their 4th season can have the feel of a movie where a storyline isn't dependent on previous episodes. And yet, the story of this episode ties in with the rest of the series. This episode had a beginning, middle, and ending. There was no "wait until next week" to see the conclusion of the story. Nor was it a "monster of the week" like the X-files used to do, then nothing from that episode is ever relevant to the series again. Not all Mad Men episodes are like this, and I'm not sure the writers intended any of it. If they did, I doubt many other writers could pull something like this off.
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9/10
Summary Very Good on this episode
DKosty1237 June 2011
Warning: Spoilers
The IMDb summary is very good on this episode. It is a very interesting episode too. For instance, the week-end Peggy spends with the uninspired worker - she needs the power to fire this guy or she needs a wedge with Don Draper or somebody to get rid of this no-load worker who obviously can not create anything outside a center fold. We should see something upcoming on this if the writers of this show continue the high quality of scripts.

As for Draper, what a night he has (think it is actually an entire week-end). He wins the award on Friday night and wakes up in a hotel bed on Sunday afternoon with a waitress named Doris who he obviously does not remember at all. He starts with a brunette prior to that who is long gone. Most critically, he has missed picking up his kids for their visit on this Sunday. Don's personal life is coming apart here.

In a way, there is an ironic twist on Draper here. His life not only has 2 total separate identities but this week end has created a third as Doris the waitress calls him Dick when he wakes up. Does this mean he spilled the beans to Doris or is it the ultimate intimate compliment? As for Pete and his rival being back, this is a good thing. It should benefit the new agency in business terms but along with that Pete needs heat put on him to upgrade his business savvy. With Draper having all these problems, a burden of business might be coming down the road for Pete and he will need more ability than he has shown so far.

In a way, Draper has become an icon who is like an iceberg. What shows above the water, his image, is no where near as complex as what is below the surface of the water. Can Don keep it together here?
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8/10
Calling a bluff
jotix10013 May 2011
Warning: Spoilers
Don and Peggy are seen interviewing an eager young man, Danny Siegel, who was referred to them by Roger Sterling, This man has come armed with his imaginary portfolio to show what he can do to be of help in the agency. The only reason Don agreed to interview him was because he is a cousin of Jane Sterling, so Roger had go through the motions to please his wife. Don and Peggy decide not to hire the man.

Don, Roger, Pete and Joan go to the annual Clio awards. The new agency is nominated for the best spot in household cleansers. Their job with Glo-Coat is the winner and the agency is recognized with the prestigious prize. Don drinks a lot at the party. Unfortunately, they must go back to the office because they have a meeting with Life cereal executives. Don, visibly tipsy, makes the presentation. The cereal people do not care much for what they are shown. Don ad libs a few slogans. The one that hits is a tag that came from Danny Siegel's portfolio of ideas.

Roger, who has been dictating his memoirs to his secretary, suddenly remembers how Don Draper came to work for him. In flashbacks we see Roger at a fur showroom buying a mink coat for Joan. They were lovers at the time, so he wanted to show his appreciation to her. Don is the salesman. Roger gives Don Draper his card. Little did he imagine Don will haunt him for a job in the advertising agency, until he gets it out of a worn out Roger.

Don has directed Peggy to work on an idea for an upcoming campaign. She does not like the new art director, Rizzo. Don asks his secretary to get them a hotel room so they can work in that environment. Rizzo is a show off. He wants to shock Peggy by his bold language. When he tells her she is uptight, Peggy rises to the challenge by getting off her clothes, asking Rizzo to do the same. Rizzo has a problem with his endowment and Peggy calls his bluff.

Pete Campbell is quite surprised when he learns Ken Cosgrove is coming for an interview. He is being considered by the new agency because he is not satisfied with the present job. Pete has words with Lane about not having been told about the return of Ken, who was chosen by Lane Pryce to be a co-account manager with Pete. Now, feeling superior, Pete wants to be recognized.

This episode was directed by Scott Hornbacher. It was written by Eric and Brett Johnson in collaboration with the creator of the series, Matthew Weiner. The idea of running through the program has to do with stealing ideas and facing a challenge head on, as shown by the plucky Peggy Olsen.
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7/10
Life And Other Flashbacks
TheFearmakers8 September 2023
This episode had the best flashbacks since it's no longer going so far back that it doesn't even seem like Don Draper being that the kid version of Don had big lips and looks nothing like what Don would turn into...

These have Don working for the job before the job, at the fur company, trying to land a job with Roger... I could have watched an entire episode centering on this particular time-line as it's very intriguing and not self-absorbed or tragic or gothic, and I am glad that the whole "Don's secret past" thing is pretty much, um, in the past...

The story-line between Peggy and new guy Rizzo (a good character once he grows out of his childish left wing cliche) is pretty good but almost like the pilot for another series altogether like, an opposites-attract rom-com or something...

Meanwhile an awards dinner is where everything leads, so the anticipation covers even the more slow aspects of an episode that's somewhat nostalgic, other than centering on the past...

The LIFE cereal scene is also nice: there are far too few clients being pitched on a series where that's not only the plot, but we see the true power of the leading character in the process.
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