Three episodes in, the plot of Mad Men thickens and takes on a whole new layer of complexity, adding a juicy bit of mystery to the story of Don Draper and his men at Madison Avenue.
Marriage of Fiagro starts with Pete Campbell returning to Sterling Cooper after his honeymoon. At work, he is reunited with Peggy but tells her their sexual encounter two episodes ago was a one-off deal. Don, on the other hand, has two very different problems to deal with: the obvious attraction between him and Rachel Menken, and a man who seems to recognize him on the train, only this guy refers to him as Dick Whitman and claims they were buddies in the army. On the home front, the Drapers have a birthday party and invite several people, including a shunned divorced woman, but Don appears to be concealing a considerable weight of sadness amidst all the joy.
Aside from the apparent goof of Don's house being totally different from what we saw in the pilot ("apparent" because differences between the first episode and the rest of the season, which is produced at a later stage, are quite common), this third hour of the show is virtually perfect, boasting gorgeous visual details and splendid plotting: the Pete/Peggy subplot gains dramatic substance with just one brief scene, while the sudden introduction of the Dick Whitman mystery adds to the compelling, tragic nature of the main character. Who said the advertising business is all style and no content?
Marriage of Fiagro starts with Pete Campbell returning to Sterling Cooper after his honeymoon. At work, he is reunited with Peggy but tells her their sexual encounter two episodes ago was a one-off deal. Don, on the other hand, has two very different problems to deal with: the obvious attraction between him and Rachel Menken, and a man who seems to recognize him on the train, only this guy refers to him as Dick Whitman and claims they were buddies in the army. On the home front, the Drapers have a birthday party and invite several people, including a shunned divorced woman, but Don appears to be concealing a considerable weight of sadness amidst all the joy.
Aside from the apparent goof of Don's house being totally different from what we saw in the pilot ("apparent" because differences between the first episode and the rest of the season, which is produced at a later stage, are quite common), this third hour of the show is virtually perfect, boasting gorgeous visual details and splendid plotting: the Pete/Peggy subplot gains dramatic substance with just one brief scene, while the sudden introduction of the Dick Whitman mystery adds to the compelling, tragic nature of the main character. Who said the advertising business is all style and no content?