A note from Roberta:
Our frequent commenter, Max the Communist, left this as a comment buried under another topic.
Uh-uh. She can hide, but she cannot run. or something.
And I’m bringing its first comment, from dansj30, with it.
Enjoy her post.
Cheers, Max!
3/9/08
Hey y’all.
I’ve been thinking about Pete Campbell for a long time and this piece comes nowhere near exploring every issue he brings up for me, but I had to put something concrete together. I dedicate this to Roberta, Deborah, and all the rest whose ideas contributed to the making of this piece–they are too many to mention.
I hope you find it entertaining and stimulating.
PETE: THE LOVE THAT DARE NOT SPEAK
Where have all the cowboys gone?
From volatile mood swings to calculated blackmail, from topping Peggy in his office to wounding her at her most empowered moment, from pandering for Sterling Cooper to pimping out his own wife, nothing is terribly safe, sane, or consensual about Pete Campbell.
But before we break out the leather, let’s noticed that Pete’s is not a tale of sadism unfettered. Rather, it is a tale of sadism imprisoned in unconsciousness, constrained by all the wrong bonds—of conformity to bourgeois family, to class prejudices and entitlement, to unexamined masculine and feminine roles, to power-based alliances in both bed- and boardroom that only further disempower him. Every restraint checks Pete, except those of personal responsibility and self-aware agency. He struggles like a blind man in a net, unaware that every move leads to further entanglement, grasping for ever more treacherous means to make himself powerful and free.
“ A deep lack of character” indeed—but more troubles Pete than just a personal lack of character. To put it in a Mad Men frame of reference, what’s character got to do with it? Character may not exist for Pete, but whatever of it exists at Sterling Cooper is far too meager and flimsy to interrogate his worldview. If a man truly is “the room that he is in,” and not what might come from within him, then the office Pete holds is the Ministry of Pandering and he is the Panderer-in-Chief and, as far as the top brass is concerned, he will never leave that office. Talent? Ideas? Creativity? It all falls into the void, since he wasn’t hired for his ideas anyway—a fact that never escapes him.
“No job for a white man?” No job for any man, especially a young man in desperate need—not of masculinist hunting fantasies—but of real, backbone-of-America masculinity, the kind whose main ingredients are courage, integrity, and self-honor. Indeed, it is both poignant and horrifying to observe Pete pitching “Bethlehem Steel: The Backbone of America” to Walter Veith, while at the same time, plying him with drinks and ho’s. “Kids today, they have no one to look up to, because they’re looking up to us,” says Don, presciently. At this moment in Mad Men, third wave feminism is a good ways away, but American masculinity is already in really big trouble.
At work and at home, Pete’s marquee value, the value of the Dyckman-Campbell family name, comes first in people’s assessment of his worth to them. Who can tell for how long that famous, high-class name recognition has informed his self-concept. Burdensome as it is personally to him, he will continue to use it and not question how deeply it structures his relationship with the world. The result: Pete principally knows himself in relation to other “names” around him and the ranks of position and power that they hold. In his world, therefore, nothing is won on merit. People succeed by having power and status or by having access to or alliances with people of power and status. The only other variable is the acquisition of information that could change the power dynamic. Since power, status, and information are always shifting, so are Pete’s impulses and objectives.
Ken Cosgrove, the New Hampshire salesman’s son, has beaten Pete and the other guys to being a published author, in a prestigious magazine that Pete’s father reads. Did Pete every really want to become a writer? He does now. Was he ever really upset that Trudy lost her virginity—and to the man that he now wants her to influence, by any means necessary, to get him published? He has forgotten it. Lots of Pete’s battles are for the moment and he stakes almost everything over trivial wins. His inner world is a confusion of impulses and desires rocked by office politics and changing social relations.
Like King Leontes in Shakespeare’s “A Winter’s Tale,” he is “a reed for every wind that blows” and jealousy is his chronic condition. Only his ongoing war with Don Draper provides a stabilizing conflict upon which he can rely. This makes Don not just any obstacle to Pete’s desires, but a Necessary Enemy, an enemy by which he can define himself. Too bad Pete’s enmity will not simply rest with Don.
Whatever feelings Pete harbors for Peggy, she cannot escape his jealousy. Her own position in terms of gender and job hierarchy may be below Pete’s. Her success in the office may be creepingly incremental, but what little attention or rewards she receives, (along with innocent affection, as from Freddie Rumsfeld) they all go into Pete’s jealousy stewpot. Till at last, what courtesy remains between them cracks when Pete perceives she has allied herself with Don, by refusing Pete information: “Good thing you’re a writer now,” Pete says, acknowledging what Don has encouraged in her, “What do you need me for?” After a lifetime of knowing himself by position or status, and only knowing his desirability in those terms, he can hardly imagine someone liking or wanting him for himself. Like character, it may not exist for him.
Hobo Code/Hobo Clueless
Be it career or sexuality, nothing in Pete’s WASP background has ever prepared him for what he wants. Don, as Dick Whitman, gets a little help. A mysterious stranger, like so many 1930s John Doe’s before him, comes to Dick’s childhood home. There he gives Dick a near-magical set of symbols by which hobos learn from each other what kind of people they are approaching and how they can get what they want out of them. Admen have their own code, a language they use to dissect us, the consumers, and to get what they want—our attention, our money.
As it has been pointed out both here at BOK and among AMC Mad Men bloggers, other codes are at work. Gay subculture is so underground, odd girls1 and odd guys must rely on cues from clothing and cultural references to find each other. When they do, even the slightest revelation may be too much to risk—which easily explains Sal’s hasty retreat from Elliot, regardless of the potential for a perfect match.
So Pete and Peggy act out their own BDSM scenarios just barely within established, conventional codes of 1950’s masculine and feminine roles. If they would want to go further, if they could even begin to identify their desires as such—what can we say?—it’s 1960. Sal’s or Carol’s is not the only love that dare not speak its name. Where is the code, the manual? Where are the more experienced Doms and Subs to show them how? Which way to the demimonde? As has been thoroughly noted, Pete has needs far beyond sexuality. His problems will not be solved simply by spending his evenings at Shaw’s2 or collecting old copies of Bizarre magazine3 (now there’s something for Trudy to find in a shoebox!). Besides, he has bigger gender trouble on his sexual horizon: he has Peggy.
For a brief moment at PJ Clarke’s, Peggy considers herself at the pinnacle of success in love and work. The breakout of the Twist transforms her from meek, obedient secretary into joyous, celebratory, sexually powerful Peggy. Her hottie-hot buxom figure, Twisting her way toward Pete, easily dominates his smaller frame curling up on the bench. I used to look at this scene and think, “Wow, look at all that great body language Vincent Kartheiser uses to show us how twisted Pete is,” when, just as possibly, he could be showing us Pete trying to hide a woody. Happily, as viewers, we do not have to choose. A sexually powerful Peggy might bother our latent, young, insecure sadist not only because he doesn’t like her that way, but also because he does. Pete’s flight from PJ Clarke’s may be as much about his incomprehension of his own desires as any supposed rejection of Peggy.
During the 1980s, family systems therapist John Bradshaw, who wrote Bradshaw On: The Family, and many other works would say that the worst abuser was the undisciplined disciplinarian, the person who had no structure or control for themselves, but attempted to control everyone else. How great it would be if a big ol’ Dominatrix or Dom Daddy would learn Pete some self-discipline; but no one, especially Don, is about to perform that function and it strains belief that Pete will go looking for it. As a result, Peggy becomes the most susceptible target for all his abuse.
Plus, at this historical moment in American BDSM subculture, the Old Guard4 still holds sway. Tops are tops and bottoms are bottoms—no switching allowed. They hardly explore the fluidity of power within relationships. So they, as well as Pete, may be unprepared for a woman, like Peggy, who has the capacity to be both innocently submissive, as she was that morning in Pete’s office, and, potentially, joyously dominant. At least Sterling Cooper is ready for her copy, the “Mark Your Man” campaign for Belle Jolie lipsticks. “She wants to tell the world, ‘He’s mine’,” says Don, in full-on pitch. “He is her possession. You’ve given every girl who wears your lipstick the gift of total ownership.” Who knows how much Don or Ken are ready for this “fresh approach” from the women in their personal lives, but they are certainly ready to sell it.
If only Peggy knew how powerful she is. She could act with utter confidence and not be wounded by whatever Pete says. His insecurities would be writ large for her and she could make a clear decision about whether she wants to play at all. The good news for Peggy is the Twist is in full swing; the Cha-Cha is fading way. Motown is already churning out hits and the British Invasion is just over the horizon. If she could just survive this horrible year, then she’d leave Pete in the dust, still wondering what that thing they had was all about.
As for Humps, time is running out. He is not getting any younger and the nuclear family is closing in on him. If he hopes to get a clue about himself, sexually or otherwise, he will not find it at home with his vanilla-sex wife, Trudy, and his grandchild-crazy in-laws. We shall have to wait for Season 2 to discover if he ever finds, not what he wants, or wishes for, or dreams of, or envies, or fleetingly desires, but what he truly, deeply, needs.
1. Odd Girl by Artemis Smith is a 1959 pulp novel about forbidden lesbian love.
2. Shaw’s was New York’s first leather bar, opened in 1951 or 1953. I was not able to establish if it was still open in 1960.
3. Bizarre was an illustrated fetish and bondage magazine, published from 1946-1959.
4. Old Guard is generally characterized as rigid in role-playing and sticklers for protocol. But Old Guard vs. New Guard may be a myth; it’s a controversial discussion within BDSM communities and too much to go into here in this post.
His Fair Lady
It has been said here and by prominent critics that what happens in the first episode of Season 1, “Smoke Gets In Your Eyes,” continues or sets up what happens throughout the rest of the season. There is one remarkable way in which that is not so. After episode 1, Pete says nothing about Peggy . . . ever . . . to anyone. In episode 1, his mouth runs on and on, trash-talking the new girl, pestering Don about whether he’s slept with her yet. Then, for the rest of the season–nothing. Not a boast. Not a peep. The more one thinks about it, the more astonishing it is.
Here is a young cad, starved for masculinity points. Why won’t he say something? Was he really impressed by that dressing down Don gave him? “No one will like you,” certainly could be an effective threat to Pete. But then again, does he ever really think that anyone likes him? Then, coming back from his honeymoon with that new-baptized feeling, brushing off the guys with, “Gentlemen don’t talk about such things,” that glow doesn’t last for long. So why does his silence about his conquest of Peggy prevail? Why doesn’t he say something, anything, ever?
Afraid it will get back to Trudy? Okay, so maybe he would never boldly claim the money from the office bet on Peggy’s virginity. But say nothing? Sal drops little hints about his gayness all day. Do we really think Pete is incapable of coming up with one plausibly deniable double-entendre about Peggy for the guys? Not our Pete. Our Pete may be a sick, twisted bastard, who is still stupid about life in general—but he’s one clever, little, sick, twisted bastard. The idea that he would be incapable of it is ridiculous. The notion that he is just not that into her, so he won’t do it, is equally nonsensical. This boy raves about coat-check girls and their tangerine panties; what’s one more conquest of a little steno girl?
Episode after episode, Pete’s silence over Peggy deepens into something mysterious and, dare I say it, pregnant with monk-like reverence. Certainly, unlike Paul Kinsey, he is faithfully silent. That silence holds both his longing for her and his denial of his feelings.
Then there is what he does say, to Peggy. Too bad she’s not quite getting that “I’m married,” is Pete’s code for “I want/can’t have you.” I came all the way out to Brooklyn to tell you I’m getting married. I’m back from my honeymoon—I’m married. Why won’t you tell me what I want to know about Don—can’t you see that I’m married? Have I told you yet today that I’m married, my dear? How many different ways can I tell you I’m married?
It’s not just a Pete and Peggy problem. Most all the Mad Men characters have a chronic inability to articulate love. It’s the question of the series: that lightening bolt to the heart, does it really ever happen for anyone? Don uses the concept to sell nylons, but Rachel, a believer, sees in Don the alienation she knows every day as a Jewish woman. Don reacts in shock and awe to her recognition of him. Is that it? Is that the lightening bolt hitting Don, long before he finally kisses her on the roof of Mencken’s? Is it true love or just an adolescent Adam-and-Eve fantasy? Does Don really want to run away with Rachel, or does he just want to run away? And that’s just our hero, ultra-ladies’-man, Don Draper.
Now, returning to our villain: do we dare suggest there is a Romantic suffocating underneath all that blighted self-esteem and twisted ambition? Our final exhibit: Pete attacks Ken. Before this moment, on the same day, Pete gratuitously accosts his willowy secretary, Hildy, in front of all the guys: “I love watching you walk.” We can know it doesn’t mean much to him precisely because he has an audience. The woman whose walk he silently watches is Peggy’s: Peggy, who is leaving the office after her little talk with Joan about her weight; Peggy, who is losing confidence in her beauty, totally unaware that Pete cannot take his eyes off her ass; Peggy who never sees Pete’s furious retaliation against Ken for calling his woman a “lobster.” She may hear about the fight later, but she will never know why it happened. No one will.
Beating up Ken is the noblest, most unselfish and uncalculated act Pete ever commits the entire season. It’s an act made pure by the fact that he will never get anything out of it—no masculinity points, no nothing. Okay, so I am watching African American Lives, Part 2, on PBS. Henry Louis Gates, Jr. is going over Don Cheadle’s genetic trace of his middle passage ancestors back to Africa and Don Cheadle says, “You know, you are what you defend.” A lightening bolt out of the blue—thank you for that, Don Cheadle. So, somewhere in Pete there is a light, a hope, a star. Will he ever see it? It seems too much to believe in, because right now he can punch out Ken with no problem, but he cannot defend Peggy against the worst in himself.
Power-from-within, that is the concept so foreign as to be unrecognizable to Pete—power over others is what he knows, what he feels subjected to daily, what he craves, for his own chance at personal freedom. It’s a Dick Cheney world, and Pete only lives in it; but boy, does he ever want to be its master. Now will he kill the Romantic within him to achieve it? And if he does, will Peggy be the first to get shot in the face?
March 9, 2008 at 6:48 pm
Not really from me, but carried over from the other location. This comment is from dansj30:
Max, let me be the first to say (before we all comment and evaluate your superb post) that the amount of thought and thoroughness of your missive is a true compliment to Roberta and Deborah and their fine blog.
This is why I have this website bookmarked both at home and at work … bravo!
March 9, 2008 at 8:50 pm
I’m stunned. You have…footnotes.
March 9, 2008 at 8:51 pm
Max,
(now I am me, as me)
I just got through it. There’s so much, I don’t know where to start.
So like, pretty much…
wow.
Probably more will come later.
March 9, 2008 at 8:52 pm
Oh look! Deb commented too.
Yeah Deb. Footnotes. We suck. Clams got footnotes.
March 10, 2008 at 1:59 am
Wow, fantastic. You are what you defend. How did I miss that Cheadle quote? It deserves a bumper sticker, I think. And how perfect is it for this show where everyone rationalizes (defends), yet is in denial about, everything? Oh, Pete, who knew you were such a romantic?
March 10, 2008 at 3:32 am
Nice!
I read a post somewhere, imbd?, that posited that Pete hit Ken because his ego was hurt. Basically that Ken was inadvertently mocking Pete’s taste in women. I think you’re position is much closer to the truth.
I also liked the part about Pete being attracted to both domme and sub Peggy, but being freaked out by that realization. Maybe there is also a little Madonna/Whore at work, too.
November 9, 2009 at 10:19 pm
Yeah, I know what you’re talking about. I think it was in the commentary (by Kartheiser himself, I believe) on the DVD for season 1. But I agree with you and this essay: I thought (even before season 2 ended) that it his way of defending the girl he loves. 🙂
March 10, 2008 at 8:58 am
I actually like the theory that Pete’s taste in women was being impugned. Add it to the mix. It’s not like any of us are confined to exactly one motivation.
Max, kind of what you’re talking about is the notion that sublimated BDSM desires are negative when acted out in the real world instead of in a fantasy world.
One interesting thing is the only way to become an Old Guard dominant was to submit to one in apprenticeship; in other words, you trained as his submissive. And that really speaks to the notion that Pete is undisciplined and must be taught discipline. Whipped into shape so to speak.
March 10, 2008 at 10:00 am
I don’t know if it’s so much that they are negative when acted out in the real world vs. in a fantasy world, so much as that they are acted out unacknowledged. Because either place you play it out, if you don’t even know you’re doing it… you know, no safe words, so to speak.
March 10, 2008 at 10:00 am
(Safe words, so to speak. Heh.)
March 10, 2008 at 2:10 pm
I thought a lot about Pete’s pride being hurt regarding his taste in women. Three things negated it for me.
1) None of the guys know that Pete has banged Peggy.
2) Ken says, “How drunk do you have to be?” when it comes to fucking Peggy and that certainly recalls how drunk Pete was on Peggy’s doorstep that first night together–but Peggy was slim then.
3) Pete doesn’t defend his own honor very well; he delays in acknowledging his part in the media buyout of Secor laxative air time to block Kennedy, so he doesn’t defend his friends, like Harry, very well; why does he choose to defend Peggy at this time?
Part of the compelling charm of the scene is its mystery, as regards motivation. Sure, Pete’s pride could be hurt, but that he associates that pride with Peggy without openly acknowledging any association with her to the guys bespeaks a little torch being carried, that has not gone out yet.
March 10, 2008 at 3:15 pm
I wonder if the torch isn’t about wanting versus having. Trudy he has. No mystery. Peggy is a constant mystery; he can have her and then not have her, reject her, sneak with her, share fantasies with her. But she’s never truly his. And perhaps this is why he is sometimes so hateful to her (other than that he’s, y’know, hateful).
March 10, 2008 at 3:21 pm
Brilliant point, Deb.
March 10, 2008 at 3:47 pm
I don’t buy it being impugned taste in women for the reasons Max mentioned. When they were together the first time she was the most sought after woman there, so none of the comments or insults applied to him — other than still wanting her, of course.
Plus, if Ken’s words did hit him that way, all the more reason to keep people from suspecting.
March 10, 2008 at 5:53 pm
Deb, a while back I heard over the radio of a study finding that men fantasize more about women they couldn’t or didn’t have more than women they had/have. Just one more thing for the mix.
About BDSM, one thing about playing out those Dom/sub roles is that they are negotiated and people have a clearer idea of the limits of what will be done in a scene. Plus, the safeword when those limits are pushed too far. Nothing like that is clearly defined in the “straight” world. Would any of that be constructive for Pete? I definitely think so. Will he ever go there? I think he’d have to be dragged kicking and screaming before he would ever let his freak flag fly that openly.
Something’s got to give, though. I think S2 will be evolve or die time for Pete.
March 11, 2008 at 1:50 pm
There’s so much to think about here, Max.
My question is:
So do you all think that Pete is in love with Peggy?
March 11, 2008 at 2:19 pm
I don’t know if Pete loves her, I’d need to see more. I think that he is clearly really attracted to her, but I’m not quite on the love train … yet.
March 11, 2008 at 2:45 pm
It’s not just a question of what does Pete feel? It’s also a question of what will he invest himself in or pay attention to? Right now power seems to be the priority–having power, getting power.
We should also be asking the question whether anyone is in love with anyone in this show. How will we know that love between characters exists or is “true”?
March 11, 2008 at 2:47 pm
Then we would have to start with a definition of love.
March 11, 2008 at 3:06 pm
PS. About the footnotes: what more do you need to know that I am a totally obsessive nerd?
March 11, 2008 at 3:30 pm
Good questions, Max … as far as Pete’s feelings, another viewing of HC last night and I realized (again, I’m usually the last cowboy to the rodeo) that they have sex in Pete’s office when he knows that she’s nervous about her copy being reviewed (the copy she asked for his opinion) … read: she’s a supplicant.
When she’s the girl-of-the-hour at PJ Clark’s, she has status and is full of self-esteem, he cannot deal with this emotionally, and crushes her. All about power, indeed.
The thing about the scene that makes it so heartbreaking for me is that Pete then leaves to go home to his wife … HE HAS A WIFE AND LOVE AND SECURITY AT HOME. Whereas Peggy has everything invested in Pete. Think of the cruel arrogance!
That said, I think Pete is in love with Peggy, although it is an immature, haven’t-gotten-things-figured-out-yet love. So is that still love? You’d have to ask him. What I do know is that Pete’s uncertainty about his marriage and confusion about his place in the world is what makes him so thoroughly human. It’s also why so much of these boards are dedicated to his character.
March 11, 2008 at 5:02 pm
Max: Got the nerd thing. Cool.
Dan: Supplicant vs. Full self-esteem. Wow.
WordPress: I posted a comment to this. Where’d it go?
It said, kinda, that I sure don’t know about love or not, but he is surely moved by her. That is apparent to me in the Hobo Code, in the earlier scenes. She is moved by how moved he is by her, if that makes sense. However twisted, when he is into her, it seems to be her that he is into.
March 11, 2008 at 7:05 pm
Of all the arguments against Pete loving Peggy, for me the strongest would be his total disinterest in her work. Even after the Relaxicisor presentation, he was all like, “It looks like everyone liked it.” Total noncommitment. Thanks, Weaselini! That’s why I am currently making the case for desiring or wanting her, but not full-on love.
Eme, I think the marriage with Trudy is crushing him. That apartment and mortgage–it’s goodbye to youth. I think Peggy’s youth and just-starting-out freshness is a tremendous draw for Pete. (Shades of Roger Sterling!) I also started paying more attention to Pete’s relationship with Don after he returns from the honeymoon.
Pete is back from his honeymoon earlier than he was expected! Then he says, “I missed you, Don.” To which, Don replies, “It must not have been much of a honeymoon, then,” which stuns Pete into silence. I keep thinking now that Pete got married to Trudy to be considered more a member of the men’s club and be accepted by Don as such. But Don keeps on rebuffing him.
March 11, 2008 at 7:37 pm
Sorry, I meant dansj30. Must look at the posts.
March 11, 2008 at 11:56 pm
Just rewatched the Hobo Code. I saw the powerless vs. powerful contrast in the Pete/Peggy relationship, but the word “supplicant” is a real important addition to this conversation! Great thought.
In fact, seeing it tonight I am doubly impressed with your post, Max, because there’s definitely something to the movement of power in this relationship.
When Pete kisses Peggy at 7am in his office, he grabs her hair and PULLS. And she SUBMITS. It is very clear that the BDSM overtones are important to both of them, however unspoken. The more he pulls, the more her eyes roll back and she is aroused. It is really stunning acting, among other things. Frightening. Erotic. Repulsive.
And she is exactly the opposite in PJ Clark’s. She doesn’t just dance up to Pete, she sashays, she displays, she seduces.
The other thing that is clear is that Pete was angry from the moment that Trudy showed up, and everything that followed was him acting out his anger. His masculinity is such a tiny thing, that Trudy’s arrival is enough to emasculate him.
March 12, 2008 at 11:23 am
Also, Peggy is the one asking Pete if he would like to dance. Bad bottom! Bad protocol! Now, if he only knew what he was doing, he could spank her. But Freaky Pete is too freaked out.
Ah, Trudy! I just adore Alison Brie in this role because, with her hair down, she looks like a young Elizabeth Taylor. I’m waiting to see her slink around in a slip with her hair down–so Butterfield 8. If Trudy ever got past nice girl, she would be a little sexual powerhouse.
March 12, 2008 at 11:28 am
Re-enter Charlie.
March 12, 2008 at 11:35 am
When it comes to the men of Mad Men, I’m totally shallow! I’d probably sympathize with Pete if he was more attractive to me. I just find Pete to be a bullying, entitled and obnoxious piss stain!
March 12, 2008 at 12:47 pm
I don’t think anyone has to like Freaky Pete in order to acknowledge that there is a fire in there that is suppressed in all the wrong ways for all the wrong reasons and therefore emerges in unhealthy, contorted, and inappropriate ways.
March 12, 2008 at 1:30 pm
I do admit that I felt for Pete when he asked his parents for money and his father was so obviously a condescending asshat, though.
Personally, I think Trudy comes off as a rather matronly young woman. Maybe it’s her obvious prep school voice but when Pete complained about having to listen to a prep school voice all day, I sympathized. Still, I LIKE Trudy. She’s not easily gaslighted or browbeaten. I just don’t find her attractive but that may be the clothes; Talia Shire also looks dowdy in the 60s fashions and make-up, imo. Anyway, YMMV.
March 12, 2008 at 2:26 pm
Okay. I give.
YMMV???
March 12, 2008 at 2:29 pm
Your mileage may vary.
March 12, 2008 at 2:36 pm
I can’t believe no one’s put that on a t-shirt yet. And also: Objects in Mirror May be Closer Than They Appear.
March 12, 2008 at 2:44 pm
heh, heh.
March 12, 2008 at 3:27 pm
Talia Balsam, not Talia Shire. GREAT typo.
My favorite funny quote ever is “Objects on Calendar May Be Closer Than They Appear.”
March 12, 2008 at 7:26 pm
Dansj30 and Deb: I think another underlying reason for Pete crushing Peggy at the PJ Clarke’s party is that he doesn’t want her to become so successful that she doesn’t need him anymore. It’s not as foregrounded as the sexual power issues but I think that lurks somewhere in the background.
As for Trudy, you know Pete says after sex to Peggy that he and Trudy are supposed to be one person but no matter what he tries, nothing is working. And this episode directly follows the “Take My Turned Out Wife Please”/”5G” episode. So what has Pete been trying since then to bring the two of them together? Fisting? Nipple-clamps? Bringing a few old frat buddies home for a gang-bang with Trudy? Is that not bringing them together? I jest, of course, but I have wondered.
March 12, 2008 at 7:44 pm
Fisting, Max? Jeez.
*kidding*
March 12, 2008 at 8:31 pm
Fist my wife, please. : )
March 12, 2008 at 9:05 pm
I’ve just gone done fisting my wife, and boy, are my arms tired!!
March 12, 2008 at 10:47 pm
Fist my wife, please. : )
Oh, shit, I laughed so loud I may have woken my son.
March 15, 2008 at 4:02 pm
One last little comment on Pete (as if!). Deb a while back made the excellent point that the torch Pete carries for Peggy is probably more about wanting versus having and I agree. Consider that most great fictional romances are about the wanting and longing but never being able to have–“Atonement” and “Brokeback Mountain” being the latest in a long line.
What narrows the scope of possibility for Pete and Peggy’s to be a full-fledged romance is how much of their relationship still dwells in fantasy for the both of them. Don and Midge carry out their fantasies with each other–I want you to pull my hair and ravish me, etc.–but then they come back to just themselves in bed when it’s done. Don may have runaway fantasies about Rachel, but it is the full-fledge woman that he is in love with, in all her complexity. Any part of Peggy that exists outside of his fantasy about her and how she should be for him, he currently doesn’t recognize or runs from.