I thought this scene was very interesting for what it was trying to do. Hollis is referring to the kind of freedom that the civil rights movement is pursuing: the freedom to be treated equally, without regard to what marketing demographic you fit into. Pete meanwhile is offering the freedom of the American dream: to have more consumer choices, i.e.1000 types of cereal, and get a sub-prime mortgage.

Very apt.

Don't take me wrong, Pete is my favourite, but I find his oft recurring visionary talent quite mysterious, because it is always combined with equally severe interpersonal myopia. It almost looks like these insights come to him subconsciously. And surely, if he's such a research nut, he would know that one man does not a focus group make. Although, to be fair, his marketing idea made perfect sense.

The scene was entertaining and intriguing but I didn't find it convincing: perhaps it was signposting its message too clearly. Pete stopping the lift to tell Hollis it was his job and it was very IMPORTANT made me laugh out loud though, as did his face at the end of his scene with Peggy after she comes out of Don's office. Priceless!

Another thing I found interesting is how this scene parallels the scene that happened between Don and Rachel in the "Babylon" episode. Don reached out to the first Jewish person that popped into his head (although he obviously had ulterior motives) as Pete reaches out to the first black person he has an opportunity to talk to.

Although I would say that Don handled the initial antagony a little better!

What insightful observations! The Pete/Hollis scene was fascinating on many levels and beautifully acted. It is one of many examples in MM where seemingly small moments can have so much impact, and tell you so much about the characters.

I agree with Ms. Dijkman: Pete is such an interesting brew of good ideas and poor execution, laced with a heavy dose of immaturity (i.e., storming out when he sees that Peggy was invited to "his" lunch with Duck). Pete has all these ideas swirling around but he often has difficulty channeling his brain activity in a way that makes sense or doesn't scare people. I think back to Season 1 (I think it was the first episode) where Pete says to Don, "and you people tell me I'm good with people." Pete seemed to be quite surprised that anyone would think he had "people skills."

That's a really good point about Don treating Rachel as an exponent of Jewish people in general. I was reminded of the first episodes of the first season by the 'nosh' conversation with Duck. I think it was in the third episode when Pete said something about 'Don and Molly Bloomberg'. I always assumed that was supposed to be a generic jewish name, or could it be possible that Pete had got hold of a copy of the reader's digest version of Ulysses? I wonder...

RIP Mary Travers, by the way

She had a really stunning voice (even better than Father Gill's)

.....The impression from the elevator scene was not so much that Hollis was lying or being cagey…..more that he, as an individual protagonist in his own life, simply defied being objectified and pigeon-holed. Hollis couldn’t tell Pete, who was as well-intentioned as possible (if crude and heavy-handed) given his identity and circumstance (and the times) what he so desperately wanted to hear, largely because it didn’t exist, at least for Hollis.

Anyone who has been objectified, from male to female, fat to skinny, ugly to pretty, old to young, poor to privileged, janitor to senior executive, understands what that feels like.

Hollis displayed unbelievable patience with the invasive, frivolous questions, and I don’t know how he managed to check himself from screaming in Pete’s face whilst thoroughly scrambling and desecrating that patent-leather hair.

Ultimately, Hollis DID say what he meant, which was that 'we have much more important things to worry about right now.' I have to hand it to him for so brilliantly toeing that very difficult line, yet getting his point across.

The look Hollis finally gave Pete, in answer to his waxing about "The American Dream" - a look which spoke infinite volumes - was priceless.

As said before, La Monde Byrd superbly nailed that scene. I love his character and am crossing my fingers we see a LOT more of him.

@ Ms Dijkman on September 17, 2009 11:30 AM

"Signposting its message too clearly" - try this article, I just stumbled across it searching news.google for "Mad Men", it's got great points.
http://www.sfgate.com/cgi-bin/blogs/tgoodman/detail?blogid=24&entry_id=47516

@ Helen Bishop on September 17, 2009 1:16 PM

Thank you ma'am!

@ Dry Manhattan on September 17, 2009 2:53 PM

"Hollis displayed unbelievable patience with the invasive, frivolous questions, and I don’t know how he managed to check himself..." I don't think you appreciate the position Hollis was in. He had no other choice, very very literally had no other choice, but to act with the restraint he did. If those other two men hadn't gotten off the elevator, he couldn't have ever said anything about "more important things" - it's barely believable as the scene is now.

Do you remember the party at S-C, after which Peggy complained that her locker was broken into? She later cries about some employees of the building having been fired for that. Hollis and another other Negro can be fired at any time, for any or no reason at all, and what reference will they give when applying for their next job?

My initial reaction, on behalf of Hollis, was a lot like what Carla told Gene: "We don't all know each other, Mr. Hoffstadt", since he gave her the impression that he figured all black people were in the same network.
Hollis's expression reminded me of Carla's...like not all black people buy the same kind of TV set and who cares anyway. Pete knew that, of course, but he only had one person to research. Remember when Don asked the black guy in that restaurant (Season One, opening episode, I think) what kind of cigs he smoked and why? Although Don wasn't interested in the race angle, the man looked afraid to answer (his white boss popped in to make sure the guy wasn't annoying Don).

…..One Man…..As per your post, I am perfectly well aware of the peril regarding Hollis and his station of employment. That portion of my comment was rhetorical, obviously.

Labor laws protecting employees from wrongful termination have been effected in many states in years past, but the fact also remains that, in some states, nothing in terms of that peril has really changed to this day, at least for some, and I am being deliberately vague about that.

In states enacting the “at-will” employment laws, almost ANYONE can be fired for any reasonable cause which is not related to race, however manufactured in actuality, no explanation required.

While saying that, I will also say that a statement as dogmatic as that should always be open to respectful debate.

@ Jolie10 on September 17, 2009 11:32 PM

I thought the waiter in the pilot was quite happy to talk to Don. He's much older than Hollis and probably more at his ease in handling situations - and Don is a lot easier to take than Pete! (Loved the white boss: "sometimes he gets CHATTY.")

The more I've watched this scene and then subsequently the one where Pete is given a tongue lashing by Roger, the more I have to ask....what the hell does Roger do anyway??? Don is the one who does 98% of the damage control....so where does Roger get off claiming he'll have to do so many "hand jobs" to make up for Pete "insulting" the Admiral TV execs by attempting to illustrate the high sales going on with "Negroes"??. Even Pryce agreed that this type of market should not be ruled out. Roger is falling into some kind of a deep and outmoded rut at SC with Coop not far behind. And what's with Coop lately? He's becoming more of a figurehead too (not that he wasn't already....he spends more time choosing art work than really working anymore...SC is just a glorified retirement to him now.)

The more I've watched this scene and then subsequently the one where Pete is given a tongue lashing by Roger, the more I have to ask....what the hell does Roger do anyway??? Don is the one who does 98% of the damage control....so where does Roger get off claiming he'll have to do so many "hand jobs" to make up for Pete "insulting" the Admiral TV execs by attempting to illustrate the high sales going on with "Negroes"??. Even Pryce agreed that this type of market should not be ruled out. Roger is falling into some kind of a deep and outmoded rut at SC with Coop not far behind. And what's with Coop lately? He's becoming more of a figurehead too (not that he wasn't already....he spends more time choosing art work than really working anymore...SC is just a glorified retirement to him now.)

The more I've watched this scene and then subsequently the one where Pete is given a tongue lashing by Roger, the more I have to ask....what the hell does Roger do anyway??? Don is the one who does 98% of the damage control....so where does Roger get off claiming he'll have to do so many "hand jobs" to make up for Pete "insulting" the Admiral TV execs by attempting to illustrate the high sales going on with "Negroes"??. Even Pryce agreed that this type of market should not be ruled out. Roger is falling into some kind of a deep and outmoded rut at SC with Coop not far behind. And what's with Coop lately? He's becoming more of a figurehead too (not that he wasn't already....he spends more time choosing art work than really working anymore...SC is just a glorified retirement to him now.)

The more I've watched this scene and then subsequently the one where Pete is given a tongue lashing by Roger, the more I have to ask....what the hell does Roger do anyway??? Don is the one who does 98% of the damage control....so where does Roger get off claiming he'll have to do so many "hand jobs" to make up for Pete "insulting" the Admiral TV execs by attempting to illustrate the high sales going on with "Negroes"??. Even Pryce agreed that this type of market should not be ruled out. Roger is falling into some kind of a deep and outmoded rut at SC with Coop not far behind. And what's with Coop lately? He's becoming more of a figurehead too (not that he wasn't already....he spends more time choosing art work than really working anymore...SC is just a glorified retirement to him now.)

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