"Mad Men" Week 4: A Lecture from the Professor Emeritus of Accounts

With only 45 minutes left before the week five episode airs on AMC, here is my week four rumination on Roger Sterling for the "Mad Men Project".  A hearty congratulations to goes out to Colin McGuire, as his "TV Without a TV" blog was just named one of the best newspaper blogs by the Maryland/DC/Delaware Press Association. I thank him again for making this all possible.

After three weeks of watching Roger Sterling pathetically navigate his reversal of fortune within the agency, it was satisfying to see him return to form as a shrewd and savvy account man once again (perhaps the John Slattery director credit had something to do with this). Roger might be a terrible human being, but there's no denying that he's gifted with an emotional intelligence quotient that no other account man at SCDP possesses, especially arch-enemy Pete. And while Roger hasn't worked as hard as others to bring in new accounts, his hard work is reflected in the round-the-clock dedication to the whims of his clients. To him, the dedication of the account man is so total that nothing (including moonlighting as a hack science fiction writer) should divide your attentions. Roger relishes his work and believes it can satisfy every intrinsic need.

 

The scene with Roger teaching Lane the performance aspects of a successful client dinner was a highlight not just for Roger, but for "Mad Men" in general, as it momentarily stripped the show to its essence. That statement might seem trite, but to echo Colin's frustrations with last week's episode, the dream sequences and other soap opera-like flourishes often detract from the very compelling drama that exists in the everyday work of ad men. In other words, it was a welcome change to see Roger actually doing his job, and doing it well, too. Roger was surely being self-deprecating (and perhaps self-pitying) when he referred to himself as "Professor Emeritus of Accounts," but the countless three-martini lunches and late night dinners he's logged over the years certainly give him the expertise that Lane could benefit from. Unfortunately, Lane was unable to implement Roger's manipulation-masquerading-as-empathy routine with Edwin Baker from Jaguar, setting up a follow-up dinner and a calamitous turn of events ironically spurred by Roger. 

 

Naturally, Roger's efforts to cater to clients often leads to morally dubious behavior, and when Lane's buddy from Jaguar looks to indulge in some after-dinner "fun," seasoned veteran of debauchery Roger knows exactly what he's looking for. The resulting loft party with prostitutes (and a madam who might be Dr. Faye Miller's fat older sister) leads to unsurprising sexual dalliances for Roger, Pete and the client (and surprisingly not Don), but ultimately spells disaster for the Jaguar account when Mr. Baker's wife eventually discovers evidence of the "fun" he had. While Lane's anger over the circumstances is ultimately transferred to Pete via fist, it's worth wondering if Lane has gained a new respect for Roger's account man sensibilities. Lane has put Pete in is his place (for the time being at least), perhaps opening the door for a restoration of Roger's role as top account man.

"Mad Men" Week 3: Roger's Deep Pockets

Here's another (thankfully less-winded) analysis of Roger Sterling's insufferable antics from week three of "Mad Men". 

Roger Sterling's ineptitude and toothlessness were played up for laughs this week, albeit for only a few minutes of screen time. Having totally neglected his day-to-day management of the Mohawk account (to presumably spend all day lounging in his office in what appears to be a dentist's chair), Roger is forced to find a copy writer to craft an entire corporate image campaign over the weekend for a Monday morning conference call with Mohawk. With "genius" Ginsburg out of the office, Roger is forced to turn back to the penis-free Peggy to handle the creative grunt work. Of course, he needs her to sacrifice her weekend and to lie about her sudden role in the campaign.

Roger thinks a simple $10 bribe will buy Peggy's silence and compensate for the sudden overtime, but Peggy is not about to be manipulated so easily. Roger dismisses her protests over this raw deal by pulling rank and threatening to fire her if she doesn't comply, but Peggy sees right through these hollow threats. Roger's back is firmly against the wall and she lets him know it, giving him no choice but to sweeten the deal by upping the bribe. As Peggy hustles Roger for the $400 in his pocket, his lack of power is laid bare in a most embarrassing fashion. (This begs the question that Harry asked in week 1 — Why does Roger always carry so much money? And more importantly, how does he continue to have so much cash in light of his divorce and the lean times the agency is experiencing?).

Because Roger is effortlessly hustled by a woman who moments earlier he scolded like a child for having her feet on the desk (not to mention the whole lack-of-penis dig last week), the scene is another hilarious yet powerful example of Peggy's subversion of the prevailing gender dynamics in the offices of Sterling Cooper Draper Pryce. And thanks to Pete and Peggy, Roger is receiving his due karma, no doubt to the satisfaction of the viewing audience.

"Mad Men" Week 2: "Tea Leaves"

This is way late, but more astute readers would have already breezed through it over at "TV Without a TV". Anyway, here's another installment of passionate analysis for Roger Sterling and "Mad Men" week two.

"Tea Leaves" was an apt moniker for the second episode, as Roger Sterling catches an unsightly glimpse into the not-too-distant future of the advertising agency he's known his entire life — a future that will likely have no place for him, and sooner rather than later.

 

Roger's stake in the future of Sterling Cooper Draper Pryce continues to be thwarted by Pete Campbell's restless ambition. The power struggle between them picks right up in the first scene, as Roger refuses to go to Pete's office for a meeting regarding Mohawk Airlines. There is good news to celebrate, though, as Roger's client-winning rapport based around liquor and wartime nostalgia has brought the regional airline back to SCDP. Pete acknowledges Roger's role in landing the account and asks him to handle the day-to-day work. While Pete suggests Roger hire a simple retail copywriter for basic airfare ads, Roger has other ideas and wants to give Mohawk "a good looking version of Don." Though Peggy is a qualified in-house candidate for such work, Roger is concerned that the traditionalists at Mohawk would prefer "someone with a penis" to write their copy. Peggy is then given the task of hiring a new copywriter with grand ideas (and proper anatomic orientation). 

 

While Peggy fears that iconoclastic young copy writer Michael Ginsburg will clash with the prevailing austerity of Roger and Don, both men are impressed upon meeting and urge her to hire him. However, Roger's motives are based more on insensitive opportunism than talent, as he feels having "a Jew" on board would make the agency seem more "modern" and impress Mohawk. He chalks up Peggy's misgivings about Ginsburg to feelings of job insecurity and assures her that no one will replace her. 

 

Roger is forced to reevaluate this position, however, when Pete gathers the entire staff together to announce the acquisition of Mohawk. In Machiavellian fashion, Pete seizes the moment to cement his prestige in the eyes of agency by declaring to everyone that he's signed the airline himself, giving no due credit to Roger. While Roger is certainly receiving his comeuppance for trying to poach Pete's accounts in episode one, he is understandably furious and warns Peggy to forget what he's told her about Ginsburg and job security, as we learn Pete was the last person Roger hired (and according to Roger, was something of a protege). Roger then storms back to an office to liquor his wounds with Don following behind. 

 

As Roger and Don share a moment of closeness that hasn't been seen in a little while, the notion of mortality looms large, albeit in different senses. Don is concerned about Betty's possible terminal illness and  acknowledges how her death would change his life (with Roger callously quipping that Betty's death would "solve everything"). While the ever-jaded Roger has given up on actual life and death, he is forced to confront his own mortality within the agency, expressing resignation over having to prove his worth and being "exhausted from hanging onto the ledge having some kid's foot on my fingertips." Roger has certainly been outmaneuvered by Pete, but his predicament is equally his own fault.

 

When Roger leaves Don's office, he innocently asks "When is anything going to get back to normal?" For Roger, posing this question is a delicious slice of irony. Of course Roger was referring to the power struggles in the SCDP offices, but the seismic social and cultural shifts to come in the late 1960s (and their resulting effects on the advertising world) will undoubtedly turn the WASPy privileged profession Roger inherited into something unrecognizable. Whether or not Pete pushes him out, Roger will face the unpleasant reality of his own obsolescence.

 

Bombs away.

"Mad Men" S5 Week 1: Will Roger Sterling Ever Have a Silver Lining?

Here's my inaugural contribution to the  "Mad Men Project" TV blog run by Frederick News-Post copy editor, entertainment scribe and good friend Colin McGuire. For additional in-depth analysis of "Mad Men" and its band of chain-smoking, adulterous and mostly unlikeable characters- click here.


"As a wise man once said to me, the only thing worse than not getting what you want is someone else getting it." — Roger Sterling

We could all agree that with the possible exception of Betty Francis/Draper, it is Roger Sterling who holds the title of The Most Easy-To-Despise Character On "Mad Men." Like Betty, he's an adult-child that's been irreparably damaged by an upbringing insulated by wealth and privilege. But unlike Betty, Rodger's narcissistic behavior echoes and embodies the ugliest societal and cultural ills of the era that "Mad Men" is so adept at capturing (or sensationalizing, depending on who you read). Rampant chauvinism, bigotry and adultery have been part of Rodger's MO in every season. Combine these broader cultural character flaws with a petulant rich boy sense of entitlement (see above quote) with a total lack of empathy that even brushes with death cannot mitigate, and there's very little hope for him.

Despite Roger's seemingly intractable character flaws, there was a bit of thought (and perhaps hope) that Matthew Weiner and associates might have sketched out some sort of redemptive arc for him this season. Roger is so easy to hate now that it's making him one-dimensional — a charge not often leveled at the show or its characters. However, if the two-hour season premier is any indication, the author of "Sterling's Gold" will continue to be King Midas in reverse and earn weekly heaps of scorn from the viewing public.

Roger's coarse boorishness was in full bloom Sunday night, providing for choice moments of drama and plenty of comedy (he might be insufferable, but it's hard to dispute his humor). Whether he was ruining Don's surprise party (thanks to a debate over etiquette, no less), openly coveting the new Mrs. Draper during her chanteuse rendition of "Zou Bisou Bisou" to the chagrin of Jane ("Why don't you sing like that?"), or eyeing up he and Joan's newborn son like Narcissus looking in the mirror, it was classic Roger.

One standout scene occurs when Roger mocks Megan's Francophone song and dance routine in front of a not-so-amused Don (Don: "We don't make fun of each other's wives in this office"). Roger backpedals and offers Don some backhanded compliments of Megan while contrasting his own wife's stupidity and neediness to lighten the tension. It's trademark Sterling cruelty, but moreover it illustrates Roger's continuing resentment of Don's allure (just like Roger's toast at the party). Even in the young-enough-to-be-my-daughter trophy wife game, Don has emerged victorious over Roger. Look for this simmering jealousy to boil over throughout the next 12 weeks.

However, the most significant Roger subplot of the episode is his battle for power and prestige with Pete Campbell. With the loss of the Lucky Strike account last season, Roger lost his only true stake to relevance within the organization — something that Pete was happy to call him out on (and almost get punched for in the process). Now, with Sterling Cooper Draper Pryce entertaining very few clients and little more to do than pout over his secretary's attention to Don's business, Rodger resorts to poaching Pete's accounts by lecherously hovering over Clara's desk to sneak a peak at Pete's meeting calendar (and despite Pete's later dismissal, probably Clara's breasts too). Pete is obviously infuriated when he shows up for the Mohawk Airlines meeting to find Roger in his old-boy boozehound element with the clients.

The power jockeying continues as Pete petitions the senior partners for Roger's larger and more prominent office space to entertain potential clients. Despite Pete's attempt to illustrate his portfolio of many accounts to Rodger's zero as justification for the office space, Rodger simply pulls rank on him and tells Pete that he can do business "in the crapper for all I care." The writing is on the wall, however, and Rodger sort of capitulates by forcefully bribing Harry Crane to trade offices with Pete. This tense Rodger and Pete interplay yielded plenty of comedic moments as well, especially when Roger took the bait regarding Pete's supposed 6 a.m. meeting with Coca-Cola on Staten Island.

Above all, the feud with Pete underscores Roger's growing sense of desperation. His name might be "on the building" as he used to brag, but claiming no major clients with whom to share booze and swap war stories, Roger will forcefully deny his irrelevancy and possibly sink to even lower depths than witnessed Sunday night. Whereas Pete seems concerned (at least on the surface) about the success of something larger than himself, Roger is stuck in shameless self-preservation mode. Will he legitimately reclaim his birthright through some redemptive act, or will Roger Sterling's "Mad Men" colleagues finally tire of his insufferable business as usual and drive him out of the agency? We know his association with Don and Lane is uneasy, and we know his only true ally, Bert Cooper, is fading into an irrelevancy of his own. Might we see the replacement of the "S" in SCDP with a "C" this season? I cannot wait to find out.

Spring Cleaning

As you can easily infer from the posts below, this blog was created for a video production class back in the spring of 2010 and has sat dormant ever since. But thanks to my friend Colin McGuire and his "TV without a TV" blog over at the Frederick News-Post web site,  I'm finally dusting off this neglected cranny of cyber space and trying my hand at television analysis/criticism/bloviation. The show?  Why of course, the cultural, critical and er, "commercial" tour-de-force that is AMC's Mad Men. 

You (my one, and probably imaginary, reader) may already be lamenting the fecundity of blogs on this subject, but for his "Mad Men Project", Mr. McGuire has selected seven colleagues/friends/associates to analyze each episode of the fifth season from the viewpoint of a different character. Aside from being an outside-the-box type approach to blogging this show, the project is sure to generate some rich and engaging discussions (that hopefully involve more than seven people) and generally be a fun exercise for all involved.

As for my character, I'm pleased to say that I'll be following Roger Sterling. The character is arguably the most unlikable on the show, but I'm anticipating Matthew Weiner and co. might introduce a new trajectory for him this time around. I'll be posting my thoughts on him both here and on the "TV without a TV" blog each Friday of the season. To learn more about the "Mad Men Project", click here. Season five premieres this Sunday at 9 PM on AMC.

Meet the Intern: Episode One- Project #4

I've submitted this video internship visit for my final video production project. In this video, senior Speech Communication major Madeline Therasse discusses her internship experiences at Hermitage House Youth Services in Cambridge Springs, PA. Maddie gives a tour of her work space and we also hear from her supervisor, Ms. Lin Gabriel. This video is content for the soon-to-be-launched virtual internship site of the Edinboro Communication and Media Studies department. Let me readily acknowledge the less-than-stellar framing of Ms. Gabriel, along with an exposed lav mic cable (apparently I haven't learned from past mistakes). In hindsight, I also wish I would have shot more b-roll. Enjoy.

Special thanks to my grad student colleague Brian Shreve for his assistance.

High School Journalism Day Video Essay- Project #3

Here is my third project for JOUR 419, a video essay using footage from the Communication and Media Studies Department's 2nd Annual Journalism Day. It's longer than the 2-3 minutes specified, but I felt that my a-roll was quality enough for a six-minute video. In hindsight, I wish I would have chosen some different shots and angles and captured some additional footage from the end of the event. Nevertheless, enjoy.