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Salvatore Romano is a dapper, “straight” art director pined after by certain female office workers, and a tormented gay man who’s keeping his sex life under wraps the office Sal may be fake, but he sells it so exuberantly that straights never see through it. He is straitlaced and uptight but also more open to lifestyle experimentation than anyone who knows him could imagine. Don Draper is Don Draper and Dick Whitman. A person’s identity can be at once emotionally true and quite obviously constructed. The scene feels like an answer to the slow-motion scene of Peggy at her desk in “Ladies Room.” She was helpless there, but this time she’s in command, tapping her creative power as if it were a Vermont maple tree and being rewarded for her insight.Ī place can be a place but also an idea. Then it suggests that the same feelings of alienation that spur her to watch and listen instead of participate also mark her as an artist. The gig requires Don’s approval, and Peggy might not have secured it if Don hadn’t mused on the useless, predictable maleness of the boys’ Right Guard campaign in “Ladies Room” and asked, a touch haplessly, “What do women want?” What they want, Peggy tells Freddy, is to not feel like “one of a hundred colors in a box.” As directed by Andrew Bernstein, Peggy’s focus group epiphany captures Peggy’s sense of social isolation. She participates in a focus group exercise for Belle Jolie lipstick, fixates on a lipstick-blotted tissue as another secretary tosses it into a trash can, christens the trash can a “basket of kisses,” and wins the alcoholic, sexist Freddy Rumsen’s (Joel Murray) admiration-and a tryout as a copywriter. The subtlest and most significant haven in “Babylon” is the one that carves itself out in Peggy’s mind as she starts to change. He’s afraid he’ll lose her to a younger man, and she’s afraid he’ll trade her in, like a car, for a “newer model.” “Do you have any idea how unhappy I was before I met you?” he asks her. There’s another Utopia in the hotel where Joan and Roger enjoy matinees with room service. Snuggling in bed, he suggests they study “advanced reproduction” together, and when he jokes that he flunked the class, she says it’s because “you got caught cheating,” and lets the remark hang there. Betty doesn’t know about her rivals, but she still worries that Don’s too desirable to be faithful. He’s endangering his Betty utopia by visiting the others. She’s one of three potential Utopias in Don’s current sexual landscape, the others being Midge and Betty. “The Greeks had two meanings for it: you-topos, meaning ‘the good place,’ and oo-topos, meaning ‘the place that cannot be.’”ĭon seems like a possible Utopia to Rachel, and Rachel to Don. Rachel says she learned in college that utopia is a Greek word whose meaning changes with its pronunciation. Israel, she says, “is more of an idea than a place.” “Utopia,” Don says.
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She does live in her own Israel, the store that gives her more contentment than any person in her life. The heart of the scene is Rachel’s description of the Jews as a people who “have lived in exile for a long time.” “Why aren’t you there?” Don asks her. He wants to pick her brain about Israel, the place and the idea. Midway through “Babylon,” Don Draper, whose agency had a spec meeting with the Israeli Tourism Bureau, goes to lunch with Rachel Menken. All these places are home and not home, a place and an idea, a thing that is and cannot be.
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New York is Israel, Israel is Utopia, Utopia is Babylon, and Babylon is New York.