“Mad Men” Recap: 410, “Hands and Knees”
With the various unravelings taking place in “Hands and Knees,” nearly every major character in “Mad Men” is facing just how tenuous success, happiness, relationships or simply the fragile balance of day-to-day life can be. The episode was a kind of chamber of horrors — everything that can go wrong, short of death or the cratering of the entire advertising industry, is going wrong for our Sterling Cooper Draper Pryce heroes and heroines. That being said, it was not a landmark episode on the order of practically everything that came before it this season, but it was extremely plot-heavy, likely serving as the springboard for some key moves in the final three.
Jon Hamm recently told NPR’s Terry Gross that one of Matthew Weiner’s key tenets for “Mad Men” is that actions have consequences — maybe not from week to week, but everything catches up eventually. This week, we see an unexpected consequence of actions set into motion in season 2 (Pete’s aerospace deal from StaticBlog’s beloved “The Jet Set” episode), and something from last week (Roger and Joan’s post-mugging alley romp). At the top, Joan informs Roger that “she’s late,” and that it could not possibly be her husband Greg, who by now is probably drinking pre-mixed martinis out of an IV bottle in an olive-drab tent. Greg left seven weeks ago, and the mugging was six weeks ago — that’s going to be one silver-haired baby.
And apparently, the bad feelings between Sally and Don persist, and Don is doing everything he can to make up for the fact that he won’t let his little girl live in his Greenwich Village man-cave and make French toast for him, so he calls up to Chez Betty Francis to see if Sally wants to go see the Beatles at Shea Stadium. Sally starts screaming — she might want to save that for the show: she won’t hear a note, but it’ll be 30 minutes that she’ll never forget.
Now we find out we will get to meet the evil bag of pickled Yorkshire pudding responsible for impregnating Lane Pryce’s mother. Robert Pryce (W. Morgan Sheppard) has arrived in New York to bring his son back to Blighty and make nice with the estranged Mrs. Pryce, because hanging on in quiet desperation is the English way. Lane asks Don to go along to dinner, mainly because he could use some backup, but also because Don is essentially Lane’s designated wingman after last New Year’s Eve. So before the festivities, Lane, Pete, Don and Harry meet the rocket men from North American Aviation about promoting their hot new technology, and while key information is currently being blocked out, the NAA guys promise our SCDP men that the big, black blocks will magically go away as business progresses, but as we’ll soon find out, this will require some work from G-men and whatnot.
Playboy Club time — it’s pretty amazing that it took Lane Pryce to escort us to that monument to 1960s swinging, the Playboy Club, after 3.75 seasons. So we’re sitting there as Lane tries to big-dog it in front of his pustule of a father and Don is just observing, bemused at the sight of Lane. Mr. Pryce just bitches about not getting his drinks, but Lane wants to introduce his new girlfriend Toni (Naturi Naughton, who played Lil Kim in the Biggie Smalls biopic “Notorious”). Lane is pretty happy with himself, and he seems to be using this new relationship as a symbol of his independence — a not-so-subtle message to Dear Old Dad that he cannot tell his boy what to do anymore, and besides, he’s got a new life in NYC.
Cut to the following day, and men in hats appear on Betty’s doorstep. These guys are doing a background check on her ex-husband, and suddenly a new dimension to Don/Dick’s subterfuge becomes scarily apparent: because Don needs a government clearance to work with North American Aviation on their account, everyone could soon find out that Don Draper was killed in Korea in 1952. The G-men ask Betty if Don is who he says he is, and while that seems to be code for “Is Don Draper a commie pinko?” Betty is freaked, but not as freaked as Don will be. She calls Don to tell him about the interview, and Don goes into extreme damage control mode, sweating like a nattily dressed stuck pig. He immediately goes to his new secretary Megan (Jessica Pare) and asks her if she submitted a background investigation form on him. It turns out that Megan filled it out herself and asked Don to sign it. Like he does, Don just signed it without knowing what it was, and now he runs the risk of having everybody besides Pete Campbell know about his past and, beyond all that, probably wind up in Levenworth.
Megan, who in her sexy android way is so eager to please, practically begs Don to fire her for screwing up, when in truth she followed standard protocol at SCDP. This subservience is just what Don likes, but not what he needs right now.
In another life, I used to process background investigations in the military and was subjected, during boot camp, to my own background interview and subsequent investigation, so I’m particular interested in and attuned to just how quickly Draper’s false life would fall apart under today’s circumstances. By modern standards, his back story would be in ashes in about 30 seconds. In 1965, if the full investigation were to go forward, he’d probably have a week or so before he’d need to hop a flight to Rio and spend the next several years trading swimsuit models with Ronnie Biggs.
Lane, on the other hand, has more familiar and familial problems at hand. He goes back to the Playboy Club after hours to talk to Toni. “You know that I love you, my chocolate bunny,” he tells her. She’s definitely swayed by how “dashing” he is, but an accent can go a long way.
So Roger and Joan go to see Joan’s OB, who is one seriously judgmental scold (“You have used this woman!”). He tells Roger to write down the name of a doctor who performs abortions in Jersey, because he doesn’t want it in his own handwriting. One thing “Mad Men” has excelled at is chronicling the shift in medical ethics and even the tone and bedside manner used by doctors. The doc talks like Joan isn’t even in the room.Meanwhile, Don is losing his feces over the investigation and calls in Pete to see if his buddy in government can get the investigation halted, telling him he’d probably skip town and country to get away. Pete is pissed, because he knows this means the contract, which he’s been working on since 1962, is probably going away.
The silver fox shows himself as truly a silver weasel in the next scenes, where he wonders aloud if the pregnancy is a sign that he and Joanie should be together, but that doesn’t exactly fit into his scheme given the fact that Jane Siegel Sterling is sitting at home and Roger isn’t keen on two alimony payments a month. So he tells Joan she should just raise the kid as Greg’s baby: it would be Roger’s child, but he would not be in the picture. Joan isn’t sold on this one and, frankly, Roger isn’t exactly impressing her with his chivalry. “I’ll take care of it,” she tells him. Throughout this episode, Roger seems more upset that his dream of having Joan as his woman on the side again isn’t happening according to plan. With this scene, he basically carves a tombstone for their relationship.
When Betty tells Henry about the investigation, Henry is a little upset that agents were in there talking to his wife without his knowledge, but then he gets this kid who wants to be an astronaut look in his eyes and ponders that, just maybe, he’ll be the subject of a background investigation someday. Oh, dare to dream, Henry. But Henry has more to worry about than not measuring up to Don in terms of importance to national security: Betty willingly lied to investigators about Don/Dick. If she hated Don as much as she professes, she would not have done that. She might just have been worried that Don’s heart was going to explode in his chest, but I think there’s more to it than mere medical concern.
Pete’s ire is only rising over the NAA account: the next day, he tells Don he thinks the agency could survive and thrive even if Don were exposed as Dick Whitman and got carted away to the hoosegow, but Don is unequivocal: “Get rid of it.” Pete doesn’t have any leverage, and it’s in sharp contrast to the way Pete perceived things back at the old Sterling Cooper when he found Don/Dick’s true identity. Speaking of which, has Don ever heard of a safe deposit box?
Don directs his accountant to establish a trust fund for Sally, the boys and Betty, and the accountant is more than a little dubious about the notion, thinking it is unwise to grant Betty access to such funds. Yeah, me too — this plays like one of those seemingly minor moves that turn into a colossal problem two years from now. Or, it’s one more step on the road back to Don and Betty’s marital unhappiness.
But true unhappiness, thy name is Joan. She sits in the waiting room of that New Jersey doctor while a mother her age or younger cries for her daughter as she gets an abortion. The woman assumes that Joan is there for her own daughter and asks how old she is. “15,” she replies. It’s a lie of comfort, but you can see that Joan, having been here a couple of times before and riding alone back to the city on a bus, feels like no progress has been made.
Roger, meanwhile, is getting his ass handed to him by Lee Garner Jr. After dinner and drinks, the Lucky Strike scion tells Sterling that he’s covering the check — an ominous move, given that it’s the agency that traditionally wines and dines the client, not the other way around. Garner informs Roger that they’re consolidating all their business with BBDO, and Sterling looks like he’s going to throw up, which is actually Don’s job at the moment. Roger tells Garner that he has covered for him in the past (re: Sal, I suppose), and that he owes him to give SCDP 30 days to make things right. At the moment, we don’t know what this means. He might try to mitigate the loss (yes) or convince Garner that SCDP should take care of all company business (a tough bill). At any rate, according to Lane Pryce, Lucky Strike constitutes anywhere from 68 to 72 percent of SCDP’s business. This is bad.
So yes, Don is a quivering mess of a man, feverish and sweating profusely when Faye finds him in his office and insists on taking him home. Once they arrive in the Village, Don sees two men in hats walking down the hallway, and he can barely contain his stomach — he rushes into the apartment and projects epic chunks into the porcelain. Faye is concerned, but Don isn’t suffering from chest pain, and if she learned anything from her heart-patient father, that is the dividing line between panic attack and heart attack.
Now, when it comes to actual pain, Lane Pryce knows what that feels like, now that his kidney pie-eating pig-tyrant fossil of a father has shown up to press the issue on Lane’s return to the British Empire. Lane had Toni there and had hoped that he, Toni and his liver-stained potted meat mound of a father could have dinner so they might get better acquainted. Well, Robert is going to take a pass, so Toni goes on ahead while Lane and Robert have some quality father-and-son time, culminating in that ancient, moldy treacle tart rapping Lane hard in the old bean with his death cane and then stepping hard on our old lad’s bangers-and-mash grabber. God, what a bastard that old booze sop is — I was hoping Lane would take his now-swollen hand and give that tepid beer swiller a sock in his shepherd’s pie hole.
Up on Park Avenue, Trudy, wearing poofy pregnancy lingerie, walks into the living room to find Pete brooding and/or pouting. He won’t share what is bothering him, but he bemoans the people who leave destruction in their wake (Don) while “the honest people” are left to clean it up. So, who are these honest people you speak of, Petey? Everybody’s got something to hide except for me and my monkey: Roger is at the office, frantically calling old contacts to cover up for the impending Lucky Strike loss, finding out that some of them have died while he was writing his memoirs and resting on a big pillow of tobacco money. But Don, to his credit, is sick of all the lies and, well, just sick: he tells Faye about the real Don Draper and Dick Whitman. It’s strange, but Faye never really seems shocked at anything Don tells her. You would think that there would be at least a pause, but Faye never misses a beat, suggesting that Don might be able to get leniency. Don counters, telling Faye there is no statute of limitations on desertion. But then Pete shows up, acts a little haughty and disgusted at seeing Faye there, although it could be just one of his faces, and tells Don that if they drop the account, the investigation will not go through.
Joan tells Roger that the procedure went fine and they averted “a tragedy,” which might be a kind of loaded statement if you think about the possibility that Joan could have ended up shackled to this mewling has-been for the balance of her life. Roger and Joan go into the partners’ meeting and Pete reveals that NAA is toast, which gives Roger license to rip Pete up and down. This serves two purposes: Roger has a legitimate complaint because they’re passing up good money, and Roger can use Pete as a convenient whipping boy and object of Lucky Strike fury. When Joan goes down the list of clients and asks if Lucky Strike is stable, Roger gives her a “thumbs up.”
Then Faye comes into Don’s office, where he tells her everything is resolved on the Don/Dick potential fiasco. She tells him, “You see? Everything worked out.” But Don Draper is still Dick Whitman is still Don Draper. After agreeing to dinner on the weekend, Faye leaves and Don kind of luxuriates in the pliant, vacant beauty of Megan, watching her apply lipstick so that she’ll be pleasing to everyone. That’s our Don — tell Faye everything you’ve ever hidden from the world, and then threaten your very well-being when you have sex with another secretary (well, to his credit, he skipped one) and incur Faye’s wrath.
And as we saw a couple of weeks before, Faye’s got wrath to spare if she’s crossed.
– Lang
Video of the Day: Justin Timberlake, Jimmy Fallon and The Roots, “A History of Hip-Hop”
JT and JF do a pretty amazing job condensing 31 years of rap into four minutes on the Sept. 29 edition — which, by the way, featured Belle and Sebastian doing the title track for their upcoming album, “Write About Love.” StaticBlog will post as soon as it’s available.
– Lang
Photos: The Pretty Black Chains CD release weekend
The Pretty Black Chains caused quite the ruckus this weekend.
The Oklahoma City-based quartet performed to a sold out crowd at Cain’s Ballroom on Friday in support of The Smashing Pumpkins.
On Saturday, the band packed The Conservatory in Oklahoma City for its CD release.
Here are a few photos from the 20 hours I spent following the band around.
Now, to get some sleep.
-Poppe
Video of the Day: P—ed Jeans, “False Jesii, Part 2″
The mode of armchair art criticism I hate the most, and I hate it more than I hate many things, is the assertion that “Hell, I could do that.”
Yeah, but you didn’t. Last night, you watched an “According to Jim” rerun.
Watching “False Jesii, Part 2″ actually had me thinking “Hell, I could do that,” but more than that, it made me want to do that because I could see myself doing that and loving it. It makes me want to stand around in unfashionable clothes and casually yell at people. Well, more than usual.
By the way, I use the word “P—ed” almost as much as I use the word “the,” but I don’t want to hear about it from my bosses when they start examining our Web traffic. I mean, today it was a choice between this and the El Guincho video, and I blinked.
Employment is good.
– Lang
Video of the Day: Duck Sauce, “Barbra Streisand”
You’ve got your ?uestlove, your Chromeo, your Ezra Koenig, your Santigold, your Mr. West — what else do you need?
– Lang
Via Pitchfork
Video of the Day: LCD Soundsystem, “Home” (Unofficial Video, But Who Cares?)
Stupid kids, always stealing my robot and doing cocaine. Get off my damn lawn!
– Lang
LCD Soundsystem “Home” from FUNWUNCE on Vimeo.
“Mad Men” Recap, 409: “The Beautiful Girls”
Well, so much for the chaste, “That’s as far as I can go right now” Don Draper, but our anti-hero is still the guy we met in “The Summer Man” — fighting his way back, regaining his power. And that’s a good thing, because he needs full control of his faculties with the fecal storm brewing in this episode. As Don and Faye make the beast with two backs in the Greenwich Village man cave, there are two sodas on the table and a lamp crashing to the floor.
“Is it broken?” Faye asks.
“The lamp?” Don says, wondering if, in fact, the bed needs to be hauled to the curb.
Their post-coital pillow talk is what you expect from two people subsumed with work: Don attempts to get information about Faye’s other clients, but the “Chinese wall” is a strong one. Don leaves for SCDP, where Roger is having a fit with a potential publisher over his ephemera-filled memoir. Joan informs Roger that Lane will be taking two weeks off for his son’s visit to New York, but doesn’t want a memo circulated because he’s afraid people will stop working — officious limey. When Roger asks if he could give Joan a “hard time” (heh-heh, he said “hard time”), Joan tells him it’s “not cute,” and leaves. Caroline comes in, and asks him what he said to her, then tells the silver fox that Joanie’s pseudo-surgical husband is off to French Indo-China, where he’ll presumably spend R&R in a dank Saigon hotel room where every minute he stays in the room, he gets weaker, and every minute Charlie squats in the bush, he gets stronger.
Don arrives and immediately blows off Peggy, who is worried about both a car-parts company and a laxative maker coming in, and how messy that could be. Don is not concerned, because The Summer Man just got back from a swim and now it’s time for a nappy-poo. Ida Blankenship, ever the fount of good tidings, tells Peggy, “It’s a business of sadists and masochists. You know which one you are.”
So then Joyce Ramsey (Zosia Mamet) shows up to invite Peggy for drinks, Stan makes some snide lesbian jokes and tells Joyce “you can never do what a man can do.” Joyce tells him, “You’re right,” and licks Peggy’s face. Now, I’m fairly sure that Stan could physically pull that off, but he probably doesn’t have license to do so. Then Peggy tells Stan, “Bad news — Don showed up. We’re on at 4.” Stan immediately swings around and gets to work — no smarting off or anything. The lessons of Joey resonate.
Don wakes up from his refreshing siesta, Ida gives him a message from Faye, and as he’s walking off, she asks him, “Are you going to the toilet?” like she was some kind of distaff Archie Bunker. Oh, Miss Blankenship, how we’re going to miss you.
Peggy’s at the bar, commiserating over the competition at SCDP when Abe Drexler from the downtown be-in/Factory party shows up. Joyce might be interested in some personal Peggy time, but she’s kind enough to help out the apparently lovelorn beatnik Abe — total set-up. Joyce excuses herself to go throw darts — presumably at pictures of Stan. During drinks, Abe goes on and on with his anti-corporate blather while Peggy explains that SCDP is there to help companies that need good communication, and that most of the companies are family owned — including Fillmore Auto Parts. Abe tells her that the company does not hire blacks in the South, which upsets Peggy, but what upsets her more is that Abe, for all his supposed enlightenment, is kind of a chauvinist. He doesn’t see that equal rights for women is all that important.
Meanwhile, in a very nice move, Swedish masseuses appear at Joan’s front door — it’s rubdown and pedicure time. The silver fox isn’t always the most sensitive guy, but this was smoove.
Bert is doing a crossword puzzle and asks Ida for “a three-letter word for a flightless bird.” She tells him, “emu.” He says it starts with an “L,” and she says, “the hell it does.” The would have made a lovely old couple.
Joanie comes in and thanks Roger for the day of luxury. He says, “I knew I was rubbing you the wrong way, so I thought, why not have somebody rub you the right way?” Yeah, like Johnny Gill. But then, Roger goes a bridge too far and tries to get more than just a thank you. Not smoove.
Speaking of not smoove, Abe Drexler shows up with an obnoxious manifesto instead of the 10 Commandments of Love. The beatniks were cool in their own way, but they weren’t the most romantic bunch. While Peggy walks back out of the lobby, the Fillmore guys are in the meeting room with Don, Ken and Faye. Faye is telling them that the modern man has become soft, but wants to do work on his own car to feel like he’s still in control, so they should market to both the pros and the shadetree mechanics. The Fillmore guys cannot decide who to target, Ken offers to use conjunction junction so they can hit both markets, and Don is overwhelmed. But really, he doesn’t know from overwhelmed, because Megan and her French extraction walk in with terrible, whispered news.
Sally has run away, and was found on the train by Gladys Kravitz-Vivian Winters, who won’t let it lie that she thinks Don is a terrible human being. Ida says about Sally, “She looks so chubby in the pictures,” but those were taken before Betty turned into Joan Crawford. Don gets on the phone and reads Mrs. Henry Francis the riot act, and Betty responds by making Don keep her for the next two days. Don tells Ida to not let Sally leave the room, and Ida says nothing, letting the phone ring.
Speaking of riot acts, Peggy tears Abe a new receptacle over his manifesto, and sends him on the road, so to speak. When Peggy tries to get Ida’s attention, she just sits there with her mouth open. She tries again, then touches her own the shoulder. Ida goes face first into her blotter and Peggy screams.
Megan is forced to go back to the boardroom and French-extract Don with his second round of bad news. Joan, Caroline and Peggy are standing around Ms. Blankenship. Joan tells Megan to get an afghan from Harry Crane’s couch. As Faye, Don and Ken present “Fillmore Auto Parts: For the Mechanic in Every Man” to the execs, we can hear Harry protest that “My mother made that!” Yes, well, you can probably get it back later, Harry. Enjoy!
Tough day at SCDP. Don asks Faye to take Sally back to the man cave. Faye, who is such a winning number with adults, doesn’t know the first thing about talking to kids. She relates to Sally like she was trying to calm down a frothing Rottweiler.
As the men in while wheel out Ida Blankenship, Bert Cooper is understandably distraught — as was revealed in Roger’s memoir tapes, Ida was his 1930s Joan. When Bert asks where they’re taking her, Roger tells him the coroner’s office. He says, “No she’s not, she’s going to Frank E. Campbell.” (Frank E. Campbell: The Funeral Chapel, 1076 Madison Avenue. “Known for excellence, trusted for value since 1898.”)
Roger is understandably upset and self-absorbed, telling Joan “I don’t want to die in this office” — meanwhile, others in SCDP simply don’t care: Harry’s telling a terrible Irish joke while Ida goes to Frank E. Campbell wrapped in Mom’s handiwork. “She died like she lived: surrounded by the people she answered phones for.” Naturally, he turns his grief into a chance for some Joanie fun, and asks her to go for dinner and drinks.
Don goes home, where Faye managed to take care of Sally without breaking anything. Don is pissed, but not too pissed to deprive Sally of order-in pizza. For all his issues, Don knows when his little girl needs something more than commands and criticisms — enough of that back in Westchester.
Roger and Joan have cheesecake, of course. And things are starting to thaw a little. Smoove. And while all that cheesecake is going down, Sally and Don wait for their own pie and Sally starts giving Don the third degree over Faye. Sally seems to have her dad down cold — she knows Faye is more than a co-worker, since she knew where the peanut butter was and she had his keys.
As Roger and Joan walk through a tough neighborhood — one that apparently wasn’t so tough not that long ago, before all that Panic in Needle Park set in — they are accosted by a mugger who takes everything. Roger tells Joan to keep her eyes down, as does he, and they give the fine young man their belongings. This has the effect of making Joan want to get sexy with Roger, and they do — in a stairwell not far from the attack. Personally, I’d rather go up to the Waldorf. Hell, it might be more romantic at Frank E. Campbell.
Don tucks Sally in and asks if she wants to call her mom or her brothers. She really doesn’t want to — she wants to move in. “I’ll be good,” she said. These next few scenes with Sally are pretty heartbreaking. She’s been given a crappy home life and Don, who hasn’t taken a single drink this episode, knows it. He sits down to write in his journal, but nothing happens. The next morning, she makes French toast for her daddy. She tries to bring him some Mrs. Butterworth, but it’s a bottle of rum that just happens to look like a bottle of Mrs. Butterworth. No rum cakes for breakfast. But, all this buttering up works — Don agrees to take Sally to the Central Park Zoo.
And while they visit the lions, Bert and Roger struggle with Ida’s obituary. Joan finally gets things rolling and it finally jog’s Bert’s creative flow:
“She was born in 1898 in a barn. She died on the 37th floor of a skyscraper. She’s an astronaut.”
If there is a single line that will be remembered from this season of “Mad Men,” it’s that one.
Roger and Joan discuss what happened the night before. Joan says, “I’m not sorry. But I’m married. And so are you.” True enough, but how often have we seen Jane Siegel Sterling this season? It’s on.
Don and Sally walk into his office and are greeted by Megan, who will “be helping out a bit” in Blankenship’s old seat. Honestly, that’s not the kind of help Don needs — that’s why Joan gave him Ida in the first place.
Cosgrove, who repeats Harry’s joke about Ida’s cause of death (“Don Draper”) proceeds to make fun of the Fillmore CEO’s stutter, which Don is assuredly not cool with, and then tells him that they shouldn’t use rock ‘n’ roll if they want middle-American males to buy in. So, it’s all translucent crooners like Frankie Laine and Perry Como who are mentioned to sing in the spot. Peggy goes for Harry Belafonte to tally Fillmore auto parts. No go.
And then, when Don announces that Betty and Henry are downstairs, Sally starts to throw a fit. Faye has no idea how to deal with her — “Hi Sally. Remember me from yesterday?” Really? – and runs out screaming down the hall at SCDP and faceplants on the linoleum. Megan picks her up and holds her.
“It’s going to be alright,” Megan says in her ultra-cheery tone.
“No, it’s not,” Sally says, burying her face in Megan’s shoulder.
Sally gives Don a cold goodbye — he wouldn’t save her, and this moment will likely color how she sees Don and how much she can rely on him, for anything, in the next few years. And Faye completely loses it because she thinks Don was testing her and she failed in her handling of Sally. He finally gets her to calm down.
“Jesus, what a mess,” Don says, commenting on everything that essentially crashed and burned this episode.
“But part of it is good, right?” Faye asks.
“Yeah.” And they kiss.
Joyce returns and agrees that “Abe Wexler pulled a boner.” (Heh-heh — remember, it meant making a mistake in 1965), and tells Peggy some painful metaphor about soup and pots. Peggy finishes her drink and departs, getting into the elevator with Joan and Faye. Each woman dealing with her own pain that no man in that office can seem to understand.
This was not a landmark episode like … all the ones that preceded it this season, but the farewell to Ida, and Bert’s obit, were excellent. The character was not meant to be there long, but she served her purpose when Don didn’t need any Allisons or Megans around.
Ida Blankenship, Astronaut, 1898-1965
– Lang
Video of the Day: Neil Young, “Hitchhiker”
The godfather of grunge rattles off a history of his pharmacopia in this fuzzed-out glory from next week’s “Le Noise.”
– Lang
Via Pitchfork.
Photos: Ariel Pink performing at The Opolis
-Poppe
Video of the Day: Florence and the Machine, “Heavy in Your Arms”
Ms. Welch out-Goths the Goths by singing while dead and being dragged away. Happy Wednesday!
– Lang
