
“The mass of men lead lives of quiet desperation, and go to the grave with the song still in them.” That’s from Henry David Thoreau’s Walden.
That used to be me.
It was what I told myself to feel better about my desolation, anyway: that at least I wasn’t alone. I was among the mass of men who went to work and came home to my home in the suburbs and my wife and son, cut the grass and fixed the leaky faucets. I was young and strong and successful and miserable.
So I wrote. I never talk about it these days, but I used to get up at five every morning and write science fiction stories. I suppose I was creating playgrounds in my mind–worlds over which I had total control. I didn’t share my stories with my (now ex-)wife, even after I started to sell them to SF magazines. She wouldn’t have liked them.
There’s a lot of quiet desperation in “Signal 30,” Episode 5 of Season 5 of Mad Men. The show opens with Pete Campbell watching–and laughing at–a gory film (called Signal 30) in driver’s ed class. Pete grew up in Manhattan and never learned to drive; now that he lives in the ‘burbs, a driver’s license seems a necessity. But Pete’s more interested in Jenny, the high school girl sitting in front of him. He’s hypnotized by the tap-tap-tapping of her foot in her sandal.
Later that night, lying in bed with Trudy, Pete is bothered by the dripping of the kitchen faucet. He takes action–grabs the toolbox and fixes the leak. Or he thinks he’s fixed the leak. He’s stopped the dripping, anyway.
Meanwhile, Ken Cosgrove’s been writing science fiction stories. He’s trying to keep it a secret, too–not from his wife, but from everyone else in his life. And Lane Pryce is handling his own quiet desperation by attempting a bold move: a fellow Brit who’s an executive with Jaguar invites Lane to pitch the account, and Lane decides he’ll try to land it without help from the account guys.
Of course, everything falls apart. Pete and Trudy host a dinner party for Don and Megan
and Ken and his wife Cynthia. The evening begins pleasantly enough, with Pete showing off his stereo that’s every bit as large as a coffin. But Cynthia mentions one of Ken’s stories at dinner and forces Ken to confess. The kitchen faucet becomes a spraying fountain, and Don saves the day while Pete is still looking for his tools.
And Lane’s dinner with Edwin Baker is fruitless. Lane takes Roger’s advice and tries to get under Baker’s skin, hope to gain some conspiratorial advantage. But Baker professes to be blissfully happy. There’s apparently no worm in Baker’s apple.
Except that this is Mad Men, and there’s always a worm. Roger, Don, and Pete convince Lane to leave the account work to them. They schedule another dinner with Baker and find out that Lane could not have been more wrong. Baker’s looking for action, and Roger knows just where to find it at a high-class house of ill repute right around the corner. Don is the only one who abstains from sampling the goods; remember, this is our kinder, gentler, happier Don Draper, who tells Pete in the cab on the way home that he shouldn’t throw away everything he has.
It all proves just another temporary fix. The next day, Lane’s wife informs him that Baker’s wife has discovered his infidelity. Lane’s outrage is met with laughter; Pete tells Lane that Baker thought he was ”a homo,” and that Lane had exhausted his value to the company long ago.
And Lane has had quite enough of that, thank you very much. He decides his desperation will no longer be so quiet and challenges Pete to fight, right there in the conference room. Pete’s already refused one offer for fisticuffs this season, and won’t do it again. Lane decks Pete, who slinks back to his office humiliated and defeated. “I have nothing,” Pete says to Don.
The episode closes with Pete back in driver’s ed class where another car wreck film plays, and Pete watches, bruised and beaten, as a high school boy slides his hand up Jenny’s skirt.
So what does Pete want? He does seem to have it all: a high-powered job, a pretty and adoring wife, a beautiful child, a great home, a miniature orchestra in a seven-foot coffin. Why is he so unhappy?
Why was I so unhappy? What does anybody want?
These days, I still get up early. My Beautiful Wife gets up at 4:30 to run, and I write, but not in secret. I haven’t written science fiction stories in ten years. This morning, I got up to watch Mad Men, but it was raining, so Becky went back to bed. I watched “Signal 30″ in the dark family room, then went upstairs to think about it before writing. I crawled back into bed with Becky. I lay in bed with my arm around her, our bodies pulled close, listening to the drip-drip-dripping of the rain. I didn’t want to go anywhere.


Salon.com
Comments
Ken Cosgrove has the only secret that may yet hold any promise.
I'm afraid to see what Pete is going to do next.
Pete's dissatisfaction is an interesting story-line. Not much of the counter-culture in this one but it's out there and he's the sort that might take a plunge. Meanwhile Don is idling and Roger? I suspect he has one big comeback left in him. Glad to see this review Ken.
Could Ken be a shout out to guys like Frederick Pohl and Cyril Kornbluth?
But I love reading your life.
Over and out.
A good friend has the hours and hours of box sets, but this is still my Mad Men rookie season, and I refuse to be anxious when I miss, generally capable of filling in the blanks.
I am appreciative of the cult-like fascination: nothing succeeds like success (Emerson?!).
Think I'll follow-up midweek with these re-caps if Sundays remain this quiet....
AS for the show, was it just me or was "Signal 30" laugh-out-loud funny at times? The comedic element surprised me. I like that. My favorite episode so far this season.
And Pete loses in every imaginable way. Except for trying, and even there, Pete tries too hard. Or better, too obviously.
Pete is almost an inverse of Don. Don ran from his past. Pete's past ran away from him.
Don started at the bottom and Pete started at the top. Except that Pete's legacy proved to offer him no advantages. Since his family had dissipated their wealth, he was left with strictly intangible advantages. But it included ties to a world that was rapidly disappearing. Within a decade, no one would care in the least about his obscure WASP background.
Don wins on skill (plumbing, no less). Don wins on confidence. And everything in between.
But the real difference is imagination. Don created himself. Out of extreme necessity.
But in the 60's -- everyone needed to be able to process and adapt to change. Or become irrelevant. Or extinct.
But it is really imagination. That's were Pete failed. Don ended up with Megan. Pete threw away his chance with Peggy -- and cast his fate with Trudy. Pete was stuck with the limitations of his limited worldly experience, but he embraced them. He made the simple, conventional choice.
Not that Peggy would have worked from him. But it still comes back to imagination. Thats what defines the winners and losers.
It isn't a hopeless moral failing, which makes it even worse when it proves to be the deciding factor.
Happiness truly does come from within.
I love that the writers at Mad Men give us such complex characters to enjoy.
rita: I like busy family weekends, even when I don't want to do them.
Damon: I would always trust Roger's judgment.
Scarlett: Cosgrove. Gotta love him.
Walter: I'm feeling scared for Pete.
caroline: See above.
Abrawang: Thanks. And I dunno: it was certainly over the top, but it often is. I often consider episodes of Mad Men as self-contained works of art. They're incredibly dense.
mimi: Thanks for reading. Actually, I think the show is incredibly nuanced for TV; you must have a very smart granddaughter.
Stefan: I have read The Space Merchants about a zillion times.
mhold: Thank you, mdear.
Duty calls. More later. Thanks again, all.
I enjoy Mad Men. I think it is a thoughtfully written show and deserves discussion on many levels. I always look forward to your analysis and review.
But these comments have truly been entertaining, as well. Any time you bring up television shows on OS, there's always the ones who practically trip over each other to make their claim that they either don't watch TV at all, or they don't value certain television shows, or they think the shows of the 60s and 70s were so much better. Oy!
And Pete well, you summed it up as well as Nick above here.
Enjoyed this even better after I saw the episode.
Brie: Me, too.
J.P.: Yes...but it's worth plowing back through all those old seasons. I envy you.
Erica: Yep. As awful as he is, he does earn a bit of sympathy.
zanelle: You're welcome. Thanks for reading.
bb: Mad Men is freaking hilarious. That's something a lot of people have trouble grasping. So dark--but so funny.
Nick: What an interesting perspective--and I think you are totally right. What Pete has is a failure of imagination. He's just not wired that way.
42go: Most people wake up. A lot don't. But I've been reading a book that suggests, for evolutionary reasons, that we're wired to care about what people think.
Survivant: I'm not much like Pete, actually. Per Nick's comment above, I've always had a pretty active imagination.
Duane: Thanks, dude. I'm off running Punchnels.com these days, and spending most of my time over there. Submit something! (That goes for the rest of you, too.)
rita: Thanks again.
Actually, she is, she announced she wants to write newspaper articles just the other day, without me telling her that was my original career choice. She is intuitive and in advanced classes with a vocabulary that blows me away. My fingers are crossed that she remains focused.
I meant it was incredibly nuances in the past, but many things are right up front now, like Mystery Date, it didn't take much thought to see the themes going on, maybe because I grew up then and could foresee what might be coming. That is my problem with this season, I know too much about the events of the time having lived them myself on both coasts.