A Little Kiss (S5x01 & S5x02)
Airdate: 25 March 2012
Written by: Matthew Weiner
Directed by: Jennifer Getzinger
Running Time: 92 minutes
Mad Men, in its first four seasons, established a benchmark for television drama that few shows have since dared to challenge. The series had become synonymous with the burgeoning "Golden Age of Television," a period marked by complex narratives, intricate character studies, and a sophisticated approach to storytelling that elevated the medium to the status of high art. Consequently, the launch of the fifth season was not merely an event; it was a cultural occasion, hyped to an unprecedented degree. The delay in the premiere, caused by protracted and acrimonious salary negotiations between the network and the cast and crew, only heightened the anticipation. When A Little Kiss finally aired, it lived up to the hype, becoming a television event that shattered records. It was the highest-rated episode of the series to date and remains the most watched episode in the show's entire run.
For a show dedicated to depicting the immense social upheaval of 1960s America, it was logical that the series itself would undergo a transformation in its fifth season. The premiere episode introduced a structural novelty by adopting a feature-length format, a distinct departure from the standard broadcast practices. However, in an annoying habit inherited from the era of network television, this extended runtime was later split into two parts for syndication purposes. This division, while perhaps commercially expedient, inevitably creates a sense of artificiality for the viewer. The episode struggles with this bifurcation, using Don Draper’s 40th birthday party as a convenient marker for the break, a narrative device that serves the needs of syndication rather than the organic flow of the story.
One of the most daring and successful aspects of the premiere is the dramatic reconstruction of an actual historic event. On 27 May 1966, a group of Black activists staged a picket on Madison Avenue, demanding an end to racial discrimination in the advertising industry. The episode captures this moment of real-world civil rights activism, juxtaposing it with the insular world of the ad agencies. The Young & Rubicam (Y&R) executives, reacting with a mixture of condescension and hostility, threw water bombs at the protesters. Accompanied by New York Times reporter John Kifner, the protesters entered the Y&R executive offices to complain, inadvertently catching the young executives in the act of their malice. The incident was reported the following day in the New York Times, grounding the fiction in a specific historical reality.
This incident serves as a perfect anchor for the setting of Season 5. It highlights both how the United States had changed since the early years depicted in the series and how the protagonists and their company, Sterling Cooper Draper Pryce (SCDP), were beginning to adapt—or fail to adapt—to those changes. Roger Sterling immediately recognises the opportunity that this social shift presents. He perceives the Y&R scandal not just as a moral failing of a competitor, but as a business opening. SCDP launches a campaign using the slogan "Equal Opportunity Employer," aiming to paint their rivals as bigots. The strategy is a stroke of cynical genius, and it appears to be working. However, the episode cleverly sets up a trap for SCDP. At the very end of the episode, a large number of African Americans arrive, taking the ad literally and seeking employment. The executives are forced into an awkward position, having to diplomatically resolve a crisis they helped create with their own campaign. It is a brilliant piece of social satire that underscores the gap between corporate rhetoric and genuine inclusivity.
While the episode is rich in political and corporate intrigue, it also pivots sharply to focus on the personal evolution of its major characters. Joan Harris Holloway wants to return work following the birth of her son, Kevin. The circumstances of Kevin’s conception are complicated; his biological father is Roger Sterling, while her husband, Greg, a military doctor, is currently serving at Fort Dix and considers the child his own. Joan is attempting to adapt to this new reality, aided by her mother, Gail (Christine Estabrook). However, the disruption to her professional life is palpable. She misses work and is desperate to end her maternity leave and return to the office, a desire that reflects the era’s limited support for working mothers and her own formidable ambition.
In the meantime, the financial picture at SCDP is admittedly healthier than it was a year prior, yet the company is not out of the woods. This precarious financial state is a source of deep frustration for the British expatriate, Lane Pryce. Seeking a temporary release from his professional anxieties, he takes a wallet he discovers in a cab and seeks out the owner. This impulsive action leads to a flirtatious phone conversation with the woman whose picture is in the wallet, providing a brief respite from his stress. However, the narrative soon reveals that the wallet belongs to a man named Polito (Brian Scolaro), who turns out to be the woman's boyfriend.
The personal dynamics within the agency are also in a state of flux. A simmering conflict between Pete Campbell and Roger Sterling reaches a boiling point. Pete, now a partner, is ambitious and feels undervalued. He views Roger as a thief who constantly charms and poaches his business contacts using underhanded tactics. In a petty but spirited retaliation, Pete arranges a prank business appointment for Roger, a childish move that underscores Pete’s immaturity. The tension is exacerbated even after Pete is granted a bigger office, as he has merely swapped spaces with Harry Crane. For Pete, this is a humiliation; losing to Harry, whom he views as a hack and a lightweight, stings more than the lack of space itself. It highlights the generational and personal divides that permeate the agency.
The central plot of the episode, however, revolves around the marriage between Don and Megan Draper. The two are still deeply in love, a fact evidenced by Don allowing Megan to take a job at the agency specifically so he can spend as much time watching her as possible. Megan, eager to establish her own identity, decides to throw Don a surprise birthday party. Don, who harbours a deep-seated dislike for birthdays, is not particularly enthusiastic about the celebration. The festivities culminate in what would become one of the most memorable musical numbers of the entire series. Megan decides to give her husband a truly special present: a spectacular rendition of "Zou Bisou Bisou," a 1960 French yé-yé song originally performed by Gillian Hills. The performance is highly provocative even by the liberating standards of the 1960s, and it is met with rapturous applause from the guests.
Directed by Jennifer Getzinger, the episode provides an excellent insight into society in the middle of profound change. The episode features plenty of humour, particularly in scenes where Harry Crane makes his not-so-fatal faux pas, a running gag that highlights his social awkwardness. The best and most memorable part of the episode is undoubtedly the party at Don’s apartment. It brings together different generations, social classes, and ideologies, as well as varying attitudes towards the pressing issues of the day, most notably the Vietnam War. It is a great example of ensemble acting and direction, capturing the vibrancy and the underlying tensions of the era.
The musical performance of "Zou Bisou Bisou," performed by Jessica Pare, is arguably the defining moment of the episode. It became an instant classic, achieving unexpected popularity on iTunes following the premiere. Pare’s delicate, breathy delivery and the song’s sensual rhythm provided a stark contrast to the gritty realism of the advertising world. It was a moment of pure, unadulterated glamour and romance.
However, the episode is not without its flaws. The structure of the episode feels somewhat artificial due to the division at the birthday party, used as a marker for syndication. The second part of the episode attempts to inject additional drama, focusing on Lane’s continued handling of the wallet and its owner, Polito. While this subplot is interesting, it feels like an afterthought, an attempt to stretch the narrative to accommodate the two-part format. The potential for drama is there—particularly if Polito turns out to be a mobster—but it feels somewhat tacked on.
Another aspect of the episode that looks slightly melodramatic for melodrama’s sake is Megan’s reaction to Don’s coolness toward the party and the song. She becomes unhappy, acting out by cleaning the apartment in her underwear. The scene, predictably, arouses Don and leads to sex, but it also feels like a calculated move. It could be interpreted as a bit of fan service, a moment designed to titillate the audience and showcase Pare’s physical appeal, rather than purely driven by character motivation. It feels slightly forced, a concession to the expectations of a network television audience in a way that the rest of the series so often subverts.
Despite these structural and narrative indulgences, A Little Kiss represents a significant success for Mad Men. The use of historical events to ground the fiction is seamless, and the exploration of the changing social landscape is incisive. The character development, particularly for Joan and Megan, is rich and nuanced. Even the melodramatic elements and the artificial division of the episode do not detract from the overall impact of the show. The premiere manages to balance the epic scope of the political changes occurring outside the office doors with the intimate, personal dramas playing out within them. While some elements may not work out perfectly in the long run, the start of Season 5 stands as a robust, entertaining, and intellectually stimulating return to form.
RATING: 7/10 (+++)
==
Blog in Croatian https://draxblog.com
Blog in English https://draxreview.wordpress.com/
InLeo blog https://inleo.io/@drax.leo
Substack https://draxster.substack.com/
LeoDex: https://leodex.io/?ref=drax
InLeo: https://inleo.io/signup?referral=drax.leo
Hiveonboard: https://hiveonboard.com?ref=drax
1Inch: https://1inch.exchange/#/r/0x83823d8CCB74F828148258BB4457642124b1328e
BTC donations: 1EWxiMiP6iiG9rger3NuUSd6HByaxQWafG
ETH donations: 0xB305F144323b99e6f8b1d66f5D7DE78B498C32A7
BCH donations: qpvxw0jax79lhmvlgcldkzpqanf03r9cjv8y6gtmk9
