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"Three Sundays"
Mad Men episode
Episode no.Season 2
Episode 4
Directed byTim Hunter
Written byAndre Jacquemetton and Maria Jacquemetton
Original air dateAugust 24, 2008 (2008-08-24)
Guest appearances
Episode chronology
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"Three Sundays" is the fourth episode of the second season of the American television drama series Mad Men. It was written by Andre Jacquemetton and Maria Jacquemetton and directed by Tim Hunter. The episode originally aired on AMC in the United States on August 17, 2008.

The episode tackles on the professional and personal lives of three of its main characters – Don, Roger and Peggy – over the three most religious Sundays of the year. The workers at Sterling Cooper anxiously prepare for a pitch for American Airlines. Peggy develops a relationship with the priest at her church. Don meticulously tries to perfect the right presentation for their potential client. Roger tries to form a romantic relationship with a call girl.

Plot

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Passion Sunday

[edit]

The episode begins with Peggy and her family at the Church of the Holy Innocents. In an attempt to leave, Peggy lies to her sister, Anita, and says that she feels sick. On her way out she meets Father Gill, a visiting priest. After a short conversation, Peggy decides to go back into the church for the rest of Mass.

Meanwhile, Don and Betty are sleeping in bed at home, but are woken up by a phone call from a friend about a barbecue that afternoon. They decide to cancel and spend the day relaxing around their house. Bobby is reprimanded for touching the stereo, but he lies about doing so. Later, he breaks the bed, increasingly angering Betty.

At the Olson residence, Father Gill comes over for dinner. During dinner, Peggy's mother expresses pride about Peggy's work in Manhattan. Father Gill offers Peggy a ride home, and asks for her advice on giving presentations because he has to deliver the sermon on Palm Sunday.

At a restaurant, Roger and Mona have dinner with their daughter Margaret and her fiancé, Brooks. Margaret doesn't want a big wedding, but Roger and Mona attempt to convince her otherwise.

Palm Sunday

[edit]

Father Gill stops at the Olson household and gives Peggy's sister and mother a copy of the sermon from that day to show to Peggy. Anita's jealousy starts to grow when she realizes Father Gill has taken a liking to Peggy.

At the Draper residence, Don is making pancakes when he receives a phone call from Duck that the American Airlines pitch has been moved up to Friday, and that Don must come into the office. While Don is distracted by the phone call, Bobby burns his chin on the pancake griddle. Betty has to take Bobby to the hospital, so Don brings Sally to work.

At Sterling Cooper, Duck organizes the American Airlines presentation. Not satisfied with their creative pitch, Don decides to change direction and chooses not to mention anything of the airline's past accident, instead focusing on the American future. As the workers focus on the pitch, Sally explores the office: listening in on adult conversations, asking Paul about his intimate relationship with his girlfriend, and finishing off someone's alcoholic beverage. Don notices that Sally was drinking, but does not say anything.

Not in attendance, Roger sleeps with a call girl named Vicky he met through Ken and Pete. He pays extra to engage in more romantic behaviors with Vicky and, afterwards, Roger convinces her to dine with him at Lutèce.

On Good Friday, the Sterling Cooper crew perfectly prepares the boardroom for American Airlines. Moments before the meeting, Duck reveals that their client contact, Shel Kenneally, was fired that morning, essentially destroying their chances of landing the account. The Sterling Cooper team presents to the remaining American Airlines team, knowing there is no chance they will convince them. After the meeting, Don conveys his annoyance to Roger over Duck causing them to lose a client, instead of gain one. Roger counters by declaring his love of "the chase" which makes victory much sweeter.

Later on that day, Anita makes a confession to Father Gill about her anger towards Peggy, revealing Peggy had an illegitimate child with a married man. Although stunned by this information, Father Gill tells Anita to try to forgive Peggy, since she is not as strong as Anita.

In the evening, Don and Betty get into an extremely heated argument about raising their children, particularly disciplining Bobby. Betty urges Don to hit Bobby, and expresses her anger that all of the punishing of the children must fall to her while Don gets to be out of the house all day. Bobby apologizes to Don for misbehaving, and asks Don about his late father. Before going to bed, Don reveals to Betty the abuse he suffered at his father's hands, and states that they should be grateful for a good child like Bobby. Betty silently apologizes.

Easter Sunday

[edit]

At the Holy Innocents’ Easter egg hunt, Father Gill thanks Peggy for advising him on giving his sermon. He gives an Easter egg to Peggy and tells her to give it to "the little one,” referring to her child. As he walks away, Peggy looks back, disturbed, wondering if he knows her secret.

First appearances

[edit]
  • Brooks Hargrove: Margaret's fiancée who later becomes her husband and Ellery's father whilst also being Mona and Roger's son-in-law.
  • Father John Gill: a young priest visiting NYC who becomes acquainted with the Olson family.

Reception

[edit]

The episode has generally received positive reviews. Noel Murray from The A.V. Club gave the episode an A stating that it gives “little slices of life, in which small gestures - Roger pining for his old ways, Peggy taking pride in the way her career aspirations impress an unattainable…”[1] IGN gave the episode a rating of 8.7/10 explaining how the show “can bring the funny, but it excels in the sorrow.”[2] Will Dean of The Guardian praised the episode for its attention to Peggy's personal life. He stated that the “whole plot was deftly done” and that Father Gill's presence “was a subtle and nuanced trick…."[3] Predictable scenario made infinitely more interesting by keeping protagonists away from each other.” Sally Tamarkin from The Slate suggested for the episode to be used as an introduction for first-time watchers.[4] She implied that if one needed to know a little backstory to Mad Men, “‘Three Sundays’ was the one to watch first.”

References

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[edit]
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Three Sundays

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"Three Sundays" is the fourth episode of the second season of the American period drama television series , written by André Jacquemetton and Maria Jacquemetton and directed by Tim Hunter. The episode, which originally aired on AMC on August 17, 2008, with a runtime of 48 minutes, explores interpersonal dynamics across three consecutive Sundays in 1962, focusing on characters navigating family, work, and personal ambitions in the advertising world of . It centers on copywriter () as her family hosts a new parish priest, Father John Gill (), leading to tensions and unexpected opportunities; meanwhile, account executives () and Ken Cosgrove () entertain a client whose wife, Mona Sterling (), catches the eye of agency partner (). () and his wife () share a rare moment of domestic harmony during a weekend with their children, while the Sterling Cooper staff, including and senior partner Bertram Cooper (), prepare for an urgent pitch amid underlying professional pressures. Key themes in "Three Sundays" include the search for confidence and authenticity in personal and professional spheres, highlighted by Peggy's advice to Father Gill on delivering an effective sermon and Roger's nostalgic reflections on his own family life during his daughter Margaret's wedding planning. The episode features notable guest performances, such as Hanks as the earnest young priest, and underscores the series' signature blend of mid-20th-century with character-driven narratives.

Production

Development

The episode "Three Sundays" was written by André Jacquemetton and Maria Jacquemetton, who structured the narrative around three consecutive Sundays in 1962—Passion Sunday, Palm Sunday, and Easter Sunday—to parallel the religious progression of toward while reflecting character arcs of , confrontation, and tentative renewal. This tripartite framework drew inspiration from literary and televisual precedents, such as Julia Glass's Three Junes and the House episode "Three Stories," adapting the motif to advance season 2's overarching themes of reinvention and secrecy. Specifically, the script deepened Peggy Olson's post-partum storyline by exploring her concealed motherhood through and interactions, while highlighting Don Draper's professional instability amid mounting personal and career pressures. As the fourth episode of season 2, "Three Sundays" built directly on preceding events from earlier in the season, including the decision to pursue the account after the crash in "Flight 1," with tensions from the pitch mishandling escalating here, using these to propel the season's examination of social upheavals under creator Matthew Weiner's vision. Directed by Tim Hunter in his debut for the series, the episode incorporated subtle visual motifs of isolation in family scenes, such as confined domestic spaces and distant gazes during gatherings, to underscore emotional estrangement without overt exposition.

Casting

The principal cast of "Three Sundays" features the series' core ensemble, with portraying the enigmatic advertising executive , as the ambitious copywriter , and as the charismatic agency partner . These actors reprise their roles from prior episodes, providing continuity to the Sterling Cooper agency's interpersonal dynamics. Supporting appearances include as the competitive account executive , as the office manager Joan Holloway in a brief but pivotal scene, as Don's wife , and as media buyer . Additional recurring performers such as as art director Salvatore Romano and as account executive Ken Cosgrove contribute to the episode's depiction of workplace routines. The episode introduces several guest stars in their first appearances within the series, notably Colin Hanks as Father John Gill, a young Jesuit priest who visits Peggy's family and becomes a recurring figure across three episodes. Hanks, son of actor Tom Hanks, was cast in the role after expressing enthusiasm for the show, crediting creator Matthew Weiner for the opportunity that marked a significant step in his career. Another debut is Derek Ray as Brooks Hargrove, Roger Sterling's son-in-law and the fiancé of his daughter Margaret, portrayed by Elizabeth Rice; this introduction establishes Hargrove's place in the Sterling family lineage, with Ray reprising the role in later seasons. Other guests include Audrey Wasilewski as Peggy's sister Anita Olson Respola, Jerry O'Donnell as her husband Gerry Respola, and Christopher Carroll as the local monsignor, all enhancing the familial and ecclesiastical settings central to the narrative. Weiner's choices for these newcomers integrated them seamlessly into the established , allowing guest characters to interact organically with protagonists like Peggy and without overshadowing the core cast.

Plot

Passion Sunday in 1962 opens with Don navigating his domestic routine alongside his wife and their children, Sally and Bobby, in their suburban home. The family shares an awkward dinner where Betty serves roast, but Don remains emotionally detached, offering minimal engagement as Betty handles the children's minor misbehaviors with frustration. This detachment extends to preparations for church, where Don's lackadaisical parenting—such as casually listening to records while sipping cocktails—underscores the superficial harmony in the Draper household, marked by small irritations like Betty's crankiness over the children's antics. At Sterling Cooper, the day also highlights the early stages of preparing a high-stakes pitch for , reflecting the post-1960 election shifts in the industry toward bolder campaigns. Don exudes characteristic confidence, casually brainstorming ideas in leisure attire and teasing a "pitch for the ages" to his colleagues, including a relaxed work session with key team members like . However, subtle signs of account instability emerge, as the airline's liaison later faces dismissal, positioning the effort as a precarious courtesy bid amid competitive pressures. Peggy Olson attends mass at her family's church, where she encounters the new visiting priest, Father John Gill, during a post-service . Father Gill says grace awkwardly at the meal. Later, while driving her to the subway, Peggy offers him advice on delivering a more engaging [Palm Sunday](/page/Palm Sunday) sermon, which he receives with politeness. Meanwhile, Roger Sterling has with his wife Mona, daughter , and her fiancé Brooks Hargrove at a , where tensions simmer beneath the surface. Roger clashes with over wedding plans, pushing for a traditional ceremony while she resists, highlighting their strained father-daughter relationship marked by lingering resentments from his recent divorce.

Palm Sunday

On in 1962, the Sterling Cooper advertising agency team, including , gathers at to accelerate preparations for a crucial pitch to executives, as the presentation date has been unexpectedly advanced to . During the meeting, account executive Duck Phillips reveals that his key contact, vice president Shelly Keneally, has been fired amid the recent American Airlines Electra crash (Flight 1 on March 1, 1962) that killed 95 people (87 passengers and 8 crew members) and tarnished the brand's image, effectively pulling the account and rendering the effort futile; Don, visibly frustrated, storms out and later vents his anger by hurling a through a glass door in the office, heightening tensions among the staff. Pete Campbell plays a minor supporting role in the airline account preparations, assisting with logistics alongside Ken Cosgrove while dressed casually in tennis shorts, underscoring the impromptu Sunday work session. Joan Holloway offers brief advisory input during the chaos, managing office flow and subtly counseling on client relations, though her involvement remains peripheral amid the men's dominant focus on the pitch. These professional setbacks exacerbate Don's ongoing identity struggles, as glimpsed in his terse interactions with colleagues. Meanwhile, Peggy Olson attends a second meeting with John Gill at her family's home after , where she tentatively seeks guidance on her hidden life choices, including her secret motherhood from the previous year. Unbeknownst to Peggy, her sister Anita has already confessed the truth to the priest during , prompting Father Gill to offer misguided counsel that she should pursue and motherhood to find fulfillment, suggestions that clash with her concealed reality and only deepen her sense of isolation and unresolved guilt. Peggy assists him with refining his sermon for clarity and personal appeal, but the exchange leaves her emotionally adrift. Roger Sterling, seeking respite from the mounting pressures of his daughter's impending wedding and familial expectations, arranges a rendezvous with a named , a friend of his mistress Jane Siegel, at a Midtown . He negotiates with her candidly, offering double the rate plus carfare while expressing a desire for uncomplicated indulgence—"I want everything I want"—as a stark contrast to the obligatory wedding planning discussions with his wife Mona earlier that day. This escapade highlights Roger's pattern of evading personal responsibilities amid professional distractions like the airline account.

Easter Sunday

On Easter Sunday in 1962, joins his family for a , where his subdued demeanor contrasts with the celebratory atmosphere of the holiday, reflecting his ongoing amid recent professional setbacks at Sterling Cooper. Back at home, domestic tensions escalate when insists Don discipline their son Bobby for breaking a toy airplane; Don refuses, sharing a rare personal revelation about his abusive father: "My dad beat the hell out of me all the time, and the only thing it made me do was fantasize about the day that I could murder him." This confession fosters a tentative moment of intimacy between Don and , hinting at potential personal renewal, while Don's mind lingers on recovering from the failed pitch. Peggy Olson's day unfolds at her family's church in , culminating in the Easter egg hunt where children, including her secret son raised by her sister Anita, search for hidden treasures. Father Gill approaches her with a painted egg, offering it "for the little one" in a of kindly obliviousness, unaware of the full weight of Peggy's guilt over giving up her ; her face visibly sinks, underscoring the persistent emotional burden she carries despite the priest's well-intentioned but piercing remark. Meanwhile, Roger Sterling attends a family gathering focused on his daughter Margaret's upcoming wedding, enduring awkward toasts and conversations that highlight his internal dissatisfaction with his own marital history. As his wife Mona reminisces glowingly about their ceremony and urges a grand event, Roger grimaces, his thoughts drifting to extramarital pursuits, including a recent encounter with a that echoes his unfulfilled desires. The episode closes at the Sterling Cooper office that evening, where Don, demonstrating resilience in the face of the airline account loss, dictates a fresh pitch idea to Peggy for a Gillette campaign, signaling a forward momentum amid the day's reflective ambiguities. The religious symbolism of Easter renewal subtly ties to these character arcs, evoking themes of forgiveness and tentative rebirth.

Themes and analysis

Religious and moral elements

The episode "Three Sundays" structures its narrative across , , and in the 1962 liturgical calendar, employing these Christian observances as metaphors for the characters' moral and spiritual journeys—suffering and anticipation of betrayal on , triumphant entry into conflict on , and the promise of and renewal on . These holidays parallel the personal "crucifixions" faced by the protagonists, such as Don Draper's professional setbacks evoking themes of and isolation, and Peggy Olson's concealed personal symbolizing a deeper spiritual void amid societal expectations. This framework underscores the tension between secular ambition and religious introspection, drawing on the Lenten season's emphasis on and redemption to highlight the characters' ethical dilemmas without resolving them. Father John serves as a comic yet poignant moral foil, embodying a naive, progressive that clashes with the cynical worldview of the advertising executives. As a young Jesuit , 's earnest interactions, including seeking professional advice on delivery, represent an idealistic adapting to modern life, contrasting sharply with the ad world's manipulative . His role exposes the limitations of institutional in addressing personal hypocrisy, as his subtle gestures reveal an awareness of hidden sins while upholding sanctity, thereby critiquing the superficiality of in a materialistic era. Catholic imagery permeates Peggy Olson's storyline, evoking , guilt, and elusive redemption through symbols like informal "confession-like" dialogues and the presented as a token for her secret child. The egg, handed over on Sunday, signifies both renewal and unattainable , as it alludes to Peggy's relinquished without direct confrontation, reinforcing her internal moral conflict within a devout family context. This imagery highlights the weight of Catholic doctrine on personal shame, where institutional rituals offer structure but fail to bridge the gap to genuine spiritual healing. In contrast, the Protestant-leaning backgrounds of and emphasize a more secular, individualistic ethic, underscoring prevalent in American society. While Peggy grapples with and communal judgment, Don and Roger's experiences reflect a detached from religious observance, prioritizing professional success over ethical consistency and revealing the era's broader cultural duplicity in balancing public virtue with private . This juxtaposition illustrates how religious affiliations shape frameworks, with Catholicism demanding overt and Protestant influences enabling rationalized self-interest amid societal change.

Family and professional tensions

In "Three Sundays," Don Draper's strained marriage to is depicted through his passive engagement in family rituals, such as Easter preparations, juxtaposed against his intense professional drive to secure the account. Betty voices her exhaustion from managing the children alone, confronting Don with, “I’m here, and then you come home and get to be the ,” while pressuring him to discipline their son Bobby for misbehavior. Don resists, citing his abusive upbringing—"My dad beat the hell out of me"—which leads to a heated escalating into him shoving Betty, exposing the fragility of their partnership amid Don's emotional detachment. Roger's generational conflicts surface during a tense dinner with his ex-wife Mona, daughter , and her fiancé Brooks, where disputes over traditions highlight his resistance to change and fear of . Roger demands a conventional , asserting control in a way that alienates his , later channeling his frustrations into an adulterous encounter with a , to whom he declares, "I want everything I want." These clashes underscore Roger's coping with aging through , as his professional authority at Sterling Cooper wanes alongside personal irrelevance. Peggy Olson embodies the isolation of a single working , navigating loyalty to her role while grappling with the hidden fallout from her out-of-wedlock , which her Anita weaponizes in a to Father Gill. Anita resents Peggy's independence and career ascent, viewing it as abandonment of family duties, a tension subtly acknowledged when the priest gives Peggy an "for the little one." At , Peggy endures resentment from junior secretaries, amplifying her vulnerability in a male-centric environment where her ambitions clash with societal expectations of domesticity. The episode critiques gender roles by contrasting women's domestic burdens with professional barriers. Characters like , confined to , and Peggy, pursuing amid isolation, illustrate the era's tensions between family obligations and career aspirations, where women bear disproportionate emotional and social costs.

Reception

Critical response

The episode "Three Sundays" received widespread critical acclaim for its character-driven storytelling and structural innovation. awarded it an A grade, lauding the nuanced portrayal of Peggy Olson's storyline, which explores her professional pride amid family resentments and culminates in an emotionally resonant Easter confession with Father Gill, symbolizing themes of forgiveness. Reviewers highlighted the three-Sunday framework—spanning , , and —as a masterful device for delivering "slices of life" that build emotional layers through restrained pacing and subtle gestures, deepening viewer understanding of the characters' internal conflicts. IGN gave the episode an 8.7 out of 10, praising its examination of Peggy and Don Draper's family dynamics, revealing the tensions beneath their suburban facades without resorting to overt drama. The review commended director Tim Hunter's handling of the material, which effectively integrates guest performances, particularly Colin Hanks's portrayal of Father Gill as a compassionate yet probing figure in Peggy's arc. This approach underscores the episode's strength in blending personal vulnerability with professional pressures. The named it a standout, potentially the series' best to date, for its deft exploration of quiet desperation in suburbia through the strained Olson family interactions and Don's domestic frustrations. The review acclaimed Hamm's subtle performance as Don, capturing his ambivalence and bursts of irritation—such as hurling a toy robot or physically confronting —in a way that highlights repressed paternal instincts. While most reviews celebrated the episode's advancements in season 2's motifs of personal reinvention and responsibility, overall, critics agreed it effectively propelled the season's reinvention theme by contrasting characters' stalled growth against the religious holidays' redemptive promise. This aligns with broader acclaim for Mad Men's meticulous historical detail in depicting American unease.

Viewership and impact

"Three Sundays" premiered on AMC on August 17, 2008. The episode drew a Nielsen household rating of 1.07, corresponding to approximately 1.1 million total viewers, a figure that represented a modest contribution to season 2's overall live viewership average of 1.17 million despite a slight decline from the prior episode's 1.26 million. This performance aligned with the season's upward trajectory in popularity compared to season 1's average of 900,000 viewers, helping to sustain Mad Men's momentum as a prestige cable drama amid competition from emerging series like . Season 2, including "Three Sundays," played a key role in elevating the series' critical standing, earning widespread praise for its sophisticated and historical depth, which cemented its as a leading entry in the early 21st-century wave of acclaimed . The episode's focused narrative on family dynamics and personal guilt further supported the season's exploration of societal shifts, contributing to Mad Men's growing cultural footprint. In the years following its airing, "Three Sundays" has influenced scholarly discussions on and motherhood in mid-20th-century American media, particularly through its portrayal of Peggy Olson's emotional struggles and suppressed trauma. The episode's tripartite structure, centered on services, has also been analyzed for its subtle religious undertones, highlighting themes of faith, confession, and moral tension within the series' broader examination of identity. Among fans, it enjoys strong retrospective acclaim, with an 8.1/10 rating on from over 3,100 votes and frequent inclusion in lists of standout episodes for advancing key character arcs like those of Peggy and .

References

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  2. https://www.slantmagazine.com/tv/mad-men-mondays-season-2-episode-4-three-sundays/
  3. https://www.latimes.com/archives/blogs/show-tracker/story/2008-08-18/mad-men-three-sundays
  4. https://research.hrc.utexas.edu/fasearch/findingaid.cfm?eadid=01160
  5. http://sepinwall.blogspot.com/2008/08/mad-men-three-sundays-i-saw-her-today.html
  6. https://variety.com/2008/tv/news/posted-by-stu-1-19747/
  7. https://www.imdb.com/title/tt1118058/fullcredits/
  8. https://www.hollywoodreporter.com/tv/tv-news/colin-hanks-life-pieces-getting-828734/
  9. https://crashdown.com/news/2009/03/la-com-colin-hanks-thanks-mad-men-for-new-career-chapter/
  10. https://www.avclub.com/mad-men-three-sundays-1798204856
  11. https://www.imdb.com/title/tt1118058/plotsummary/
  12. https://madmen.fandom.com/wiki/Three_Sundays
  13. https://www.vulture.com/2008/08/mad_men_the_secrets_are_out.html
  14. https://ew.com/recap/mad-men-recap-season2-episode4/
  15. https://www.lostinthemovies.com/2019/09/mad-men-three-sundays-season-2-episode-4.html
  16. https://jimcofer.com/2008/08/19/mad-men-three-sundays/
  17. https://www.theguardian.com/culture/tvandradioblog/2009/mar/04/mad-men-three-sundays
  18. https://www.slantmagazine.com/tv/mad-men-mondays-season-2-episode-4-three-sundays
  19. https://digitalcommons.unl.edu/dialogue/vol6/iss2/7
  20. https://www.academia.edu/2017385/Whenever_a_man_takes_you_to_lunch_around_here_Tracing_postfeminist_sensibility_in_Mad_Men
  21. https://www.ign.com/articles/2008/08/19/mad-men-three-sundays-review
  22. https://madmen-tv.livejournal.com/89942.html
  23. https://www.adweek.com/convergent-tv/mad-men-series-finale-was-hit-amc-shows-most-watched-episode-164874/
  24. https://variety.com/2009/scene/awards/mad-men-thrived-in-second-season-1118005068/
  25. https://www.empireonline.com/tv/reviews/mad-men-season-2-review/
  26. https://digitalcollections.ric.edu/record/6302/files/Dulude_2021_honors.pdf
  27. https://bencrew.substack.com/p/season-2-episode-4-three-sundays
  28. https://www.imdb.com/title/tt1118058/
  29. https://collider.com/mad-men-peggy-olson-best-episodes/
  30. https://www.bustle.com/articles/83925-9-underrated-mad-men-episodes-from-the-new-girl-to-lost-horizon
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