"He could be Batman for all we know..."
This is, of course, an episode about marriage, the monogamy that it represents. Hence Pete's return from honeymoon. Hence the varied conversations about temptation from both sexes. Hence Peggy accepting stoically that Pete is now forbidden goods. Hence the sudden awkwardness once Don sheepishly admits his marriage mere seconds after kissing Rachel like a proper Hollywood alpha male.Hence, indeed the downright evil whisperings aimed at poor, divorced Helen Bishop by the smug wives at the birthday party- and the arrogant assumption by a representative man that this makes her susceptible to transparent advances.
And yet this is also, I think, about how being part of a couple gives us an identity. It's 1960, so this is automatically the case for women, of course, not that we in 2022 are even close to shaking off the misogyny inherent in the tropes of marriage, which we still see as an "institution". There are variations, of course: Helen, in suburbia, is all but an outcast, laughed at for her habit of walking by lazy, car-addicted bitches. Yet Rachel, as a business woman, is defined by her work. Of course, she is also defined by other things, as a despicable anti-semitic comment at the party reminds us.
But it's also seen as central to a man's identity and dignity to be able to show himself to be married. Don has this, and so he can exist in a world where his past seems a bit murky and he is seen as just a little bit mysterious, the one with the camera looking at the party guests rather than truly being seen by others. And yet... an apparent stranger recognises hm as Dick Whitman. Who IS Don Draper?
This is bloody good.
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