save the date, because you’re all invited to my dumb late birthday party. tuesday may 28th at #santospartyhouse! be there or be ◼. #vashtiesdumblatebirthday
In my head, I want to dress vintage late 50’s early 60’s. In reality, I dress like a teenage boy who sometimes likes to put on a kitten heel and lipstick.
Corinne Bailey Rae - Closer (Live in Williamsburg)
I don’t want to give you up
But I don’t want to hold you up
I don’t want ambiguous
I just know that I’ve had enough
I want you to travel with me
Lay loose and let your mind go free
Show you things that you’ve never seen
But you just got to go with me
“Some men who want to compliment random women on the street are genuinely good guys who just don’t understand why their comments might be unwelcome. Some men who want to compliment random women on the street are creepy predators. Most are somewhere in between, and guess what? I don’t know you, I don’t know your life, and I have no idea if you’re going to leave it at “Hey, you look good in that dress!” or follow it up with “But you’d look better without it! Har har! C’mon, where’re you going? I know you heard me! Fucking cunt, nobody wants your fat ass anyway, bitch.” When you compliment a random woman who doesn’t know you, no matter how nice you are about it, there’s a good chance she’s going to freak out internally because for all she knows, you could be that latter type. And I get that it’s really unfair that women would just assume that about you. I get that it sucks that sometimes, expressing totally reasonable opinions like “hey you’re hot” will make women terrified of you or furious at you. That’s not fair. But if you’re going to lay the blame for that somewhere, for fuck’s sake, don’t blame the woman. Blame all the guys who have called her a bitch and a cunt for ignoring their advances. Blame all the guys who may have harassed, abused, or assaulted her in the past. Blame all the people who may never do such a thing themselves, but who were quick to blame her and tell her to just get over it. Blame the fact that if she stops and talks to you and then something bad happens, people will blame her for stopping and talking to you.”
Italy in Spring.
My honest answer is I don’t know because I’m not in the situation, but my best guess would be no. I wouldn’t.
bohemea: I need you, and nothing else will do.
When chaos overwhelms a part of your life that you usually dominate, like Don does his workspace, a natural urge to control something, anything, takes over. When my life becomes chaotic, I crawl inside myself and make strange lists, like Ted admits with his Gilligan’s Island-margarine pairings. During the darkest times in my past, my house was impeccably clean because, while I couldn’t control what was happening to me, I could absolutely control the space around me.
Taking control over another person is tricky. It can be an exciting, freeing experience for both, or it can be a warning of potential abuse; control must be given as freely as it is taken, and trust must exist on both ends. For Don and Sylvia, their short game of dominance and control was exciting and cathartic, but ultimately, with too much time for Sylvia to consider the truth of their play, an ending.
What a gift though, to read another person well enough, like Don did Sylvia, to know that she needed, for a spell, to lose control; to not know what was going to happen next, but trust that she was going to enjoy it. Don, in turn, was able to know with complete certainty, that while his work was muddled and confused with new people and change and challenges, there was something beautiful waiting for him, something even more beautiful than Megan because Sylvia was waiting on Don’s order. She existed only for him.
We’ve seen Don’s dominance take over with nearly all his relationships. We’ve heard him tell more than one woman to stop talking. We’ve seen his need to control take an abusive turn with Betty, and a filthy worded role play scene with Megan. What we ultimately see with Don though, with the women he cares about – Betty; Megan; Sylvia – is a boyish need to keep things as they are, even if the woman is miserable. “Please,” Don begs Sylvia as she calmly explains to him that their relationship is damaged and doomed. Don doesn’t want to stop playing; he doesn’t want the beautiful, smart, lovely woman to leave him.
After shaming, ignoring, shoving and calling Betty a whore, when she finally tells him it’s over, he lowers his head in a darkened room and weeps. A strong shouldered man, broken because the beautiful woman he loved tells him he’s not good enough. When he and Megan fight at the HoJo after she turns down his delicious orange sherbet offer, he violently kicks in a door, chases her while she grips her hairbrush, like an angered father attempting to control his defiant daughter. When they fall together, and Megan holds an aching limb and cries, Don’s face looks terrified and exhausted. She stands, proud and frightened, and he crawls to her, clutches her, and suddenly, he’s the frightened child.
Every woman Don chooses ends up finding a voice that says, “I don’t need you”, and it terrifies him. For Don, there is nothing more frightening than being insignificant; unneeded; unwanted. He keeps a loose hold on one woman while wrapping himself around another, and when one fails, he grips the one that’s still there, hoping that she doesn’t go away, hoping that he can always return to her and find her, sweetly waiting for him. The foreshadowing image at the end of the episode, while Megan sits on the end of the bed and cries watching the footage of Bobby Kennedy’s assassination, and Don sits near her, facing away, looking shame faced and tired, is a glimpse of what it would look like if Don lost Megan too – just a sad lonely man, filled with remorse.