| "Ladies Room" is the second episode Mad Men | | | | artist named Midge on the side (to the point of calling in |
| Season One, and continues to introduce viewers to | | | | sick to work in order to do so) behind his wife's back, |
| the recreated world of 1960s-era New York City via | | | | but does start to feel a bit guilty due to Betty's |
| Peggy Olsen. Peggy and her supervisor Joan stave | | | | believed psychological issues and worries that she |
| off the flirtatious advances of the men (who are very | | | | may realize that he's not as committed to the |
| interested in the 'new girl' Peggy and want to know | | | | relationship. |
| whether she is attached or not). Peggy, still harboring a | | | | While Don is away from Sterling-Cooper, the junior |
| crush on Pete Campbell, reacts uncomfortably while | | | | executive Paul makes a play for his secretary Peggy |
| his work mates tell scandalous stories about him while | | | | by kissing her unexpectedly at work as Peggy quickly |
| he's away on vacation with his fiancée. Meanwhile, | | | | pulls away in rejection. Disillusioned with her role in |
| Betty Draper demonstrates problems with hand | | | | Sterling-Cooper, she runs to the bathroom to cry yet |
| tremors as she wrecks the family car while out on a | | | | actually has to wait for another woman at |
| drive with the Draper children, prompting Don Draper to | | | | Sterling-Cooper that is already doing the same thing. |
| react belligerently when Betty thinks she needs to see | | | | Another memorable line comes from Peggy as she |
| a psychologist. | | | | says, "Why is It that every time a man takes you out |
| His famous line, "Doctors must love that they finally | | | | to lunch, you are the dessert?" This line reflects |
| have an answer for 'I don't know what's wrong'" | | | | Peggy's rejection of the 1960's-era role that women |
| cleverly illustrates Don's no-nonsense, no-excuses | | | | are forced to play in the workplace, and foreshadows |
| solitary way of life. While his wife Betty fights through | | | | her future in creative. |
| her own problems, Don continues to see the female | | | | |