"The Benefactor" deepens the series' exploration of power dynamics, moral ambiguity, and the shifting roles within the Sterling Cooper agency

Los Angeles Center Studios - 450 S. Bixel Street, Downtown, Los Angeles, California, USA

Joel Murray and Aaron Staton in Mad Men (2007)

Still of Jon Hamm and Melinda McGraw Mad Men

Still of Jon Hamm and Melinda McGraw Mad Men and The Benefactor

Jon Hamm

Elisabeth Moss

Vincent Kartheiser

Matthew Weiner

Rick Cleveland

Robin Veith

Trouble rises on the set of a commercial while Don plays hooky from the office.

Lesli Linka Glatter

The Benefactor

&quot;The Benefactor&quot; deepens the series&apos; exploration of power dynamics, moral ambiguity, and the shifting roles within the Sterling Cooper agency

&quot;The Benefactor,&quot; the third episode of the second season of &quot;Mad Men,&quot; directed by Lesli Linka Glatter explores the power dynamics, moral ambiguity, and the shifting roles within the Sterling Cooper agency. The episode centers on Don Draper&apos;s (Jon Hamm) complicated relationship with Bobbie Barrett (Melinda McGraw), the wife of a difficult client, comedian Jimmy Barrett (Patrick Fischler), and the ways in which personal and professional boundaries are tested. The title, &quot;The Benefactor,&quot; is layered with meaning, referring both to Don&apos;s role as a manipulator and to the ways in which individuals seek advantage in a world defined by transactional relationships.

The episode opens with Harry Crane (Rich Sommer) being promoted to head of the television department, a position he earns after aggressively pursuing a controversial sponsorship deal. Harry&apos;s storyline is marked by a sense of ambition and frustration, as he discovers that his colleague Ken Cosgrove (Aaron Staton) earns more than him, prompting Harry to assert his worth and seek recognition. The cinematography in these scenes is sharp and deliberate, using tight framing and subtle shifts in lighting to underscore the tension and discomfort among the characters. The production design, from the office furniture to the costumes, immerses viewers in the world of early 1960s America, while the editing is seamless, highlighting the contrasts between Harry&apos;s public and private personas.

Don&apos;s interactions with Bobbie Barrett are marked by a sense of ambivalence and frustration. Don&apos;s attempts to seduce Bobbie and assert his dominance are met with indifference, as Bobbie remains unfazed by his tactics. The direction and editing in these scenes are sharp and deliberate, highlighting the contrasts between Don&apos;s public and private personas. The episode&apos;s portrayal of Don&apos;s struggle to maintain his relevance is both compelling and unsettling, capturing the complexity of his relationship with the agency and the ways in which he is both celebrated and marginalized.

The episode also delves into the lives of other characters, particularly Peggy Olson (Elisabeth Moss), whose copywriting career is progressing at Sterling Cooper. Peggy&apos;s interactions with her colleagues reveal her ambition and her willingness to navigate the office&apos;s complex social dynamics. The direction and editing in these scenes are sharp and deliberate, highlighting the contrasts between Peggy&apos;s public and private personas.

Betty Draper&apos;s (January Jones) subplot is equally significant, as she reconnects with an old friend and finds herself struggling with car trouble. The episode&apos;s portrayal of Betty&apos;s naivete and her newfound awareness of her sexual power is handled with sensitivity, capturing her sense of displacement and the ordinariness of her suffering. The direction and editing in these scenes are dreamlike, with a slow, floating quality that underscores the sense of dislocation and the characters&apos; emotional distance from one another.

&quot;The Benefactor&quot; deepens the series&apos; exploration of power dynamics, moral ambiguity, and the shifting roles within the Sterling Cooper agency. Its nuanced performances, rich visual style, and thoughtful storytelling set a high bar for the series and for the medium as a whole.

"The Benefactor," the third episode of the second season of "Mad Men," directed by Lesli Linka Glatter explores the power dynamics, moral ambiguity, and the shifting roles within the Sterling Cooper agency. The episode centers on Don Draper's (Jon Hamm) complicated relationship with Bobbie Barrett (Melinda McGraw), the wife of a difficult client, comedian Jimmy Barrett (Patrick Fischler), and the ways in which personal and professional boundaries are tested. The title, "The Benefactor," is layered with meaning, referring both to Don's role as a manipulator and to the ways in which individuals seek advantage in a world defined by transactional relationships.

The episode opens with Harry Crane (Rich Sommer) being promoted to head of the television department, a position he earns after aggressively pursuing a controversial sponsorship deal. Harry's storyline is marked by a sense of ambition and frustration, as he discovers that his colleague Ken Cosgrove (Aaron Staton) earns more than him, prompting Harry to assert his worth and seek recognition. The cinematography in these scenes is sharp and deliberate, using tight framing and subtle shifts in lighting to underscore the tension and discomfort among the characters. The production design, from the office furniture to the costumes, immerses viewers in the world of early 1960s America, while the editing is seamless, highlighting the contrasts between Harry's public and private personas.

Don's interactions with Bobbie Barrett are marked by a sense of ambivalence and frustration. Don's attempts to seduce Bobbie and assert his dominance are met with indifference, as Bobbie remains unfazed by his tactics. The direction and editing in these scenes are sharp and deliberate, highlighting the contrasts between Don's public and private personas. The episode's portrayal of Don's struggle to maintain his relevance is both compelling and unsettling, capturing the complexity of his relationship with the agency and the ways in which he is both celebrated and marginalized.

The episode also delves into the lives of other characters, particularly Peggy Olson (Elisabeth Moss), whose copywriting career is progressing at Sterling Cooper. Peggy's interactions with her colleagues reveal her ambition and her willingness to navigate the office's complex social dynamics. The direction and editing in these scenes are sharp and deliberate, highlighting the contrasts between Peggy's public and private personas.

Betty Draper's (January Jones) subplot is equally significant, as she reconnects with an old friend and finds herself struggling with car trouble. The episode's portrayal of Betty's naivete and her newfound awareness of her sexual power is handled with sensitivity, capturing her sense of displacement and the ordinariness of her suffering. The direction and editing in these scenes are dreamlike, with a slow, floating quality that underscores the sense of dislocation and the characters' emotional distance from one another.

"The Benefactor" deepens the series' exploration of power dynamics, moral ambiguity, and the shifting roles within the Sterling Cooper agency. Its nuanced performances, rich visual style, and thoughtful storytelling set a high bar for the series and for the medium as a whole.

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