IMDb > "Mad Men" The Other Woman (2012)
"Mad Men: The Other Woman (#5.11)"
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"Mad Men" The Other Woman (2012)

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Overview

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9.1/10   879 votes »
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Director:
Writers:
Matthew Weiner (creator)
Semi Chellas (written by) ...
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Contact:
View company contact information for The Other Woman on IMDbPro.
TV Series:
Original Air Date:
27 May 2012 (Season 5, Episode 11)
Genre:
Plot:
Peter asks Joan to make an unspeakable sacrifice to help secure the Jaguar account, Peggy prepares to make a drastic move in response to Don's treatment, and Megan's acting career begins to create tension with her and Don. Full summary » | Full synopsis »
User Reviews:
On Tolerance for Ambiguity See more (3 total) »

Cast

 (Episode Cast) (in credits order) (complete, awaiting verification)
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Episode Crew
Directed by
Phil Abraham 
 
Writing credits
Matthew Weiner (creator)

Semi Chellas (written by) and
Matthew Weiner (written by)

Produced by
Lisa Albert .... consulting producer
Semi Chellas .... co-producer
Jon Hamm .... producer
Scott Hornbacher .... executive producer
Nina Jack .... co-producer
André Jacquemetton .... executive producer (as Andre Jacquemetton)
Maria Jacquemetton .... executive producer
Janet Leahy .... consulting producer
Bob Levenson .... co-producer
Victor Levin .... co-executive producer
Erin Levy .... co-producer
Blake McCormick .... producer
Marcy Patterson .... co-producer
Frank Pierson .... consulting producer
Michael Saltzman .... consulting producer
Nathaniel Smith .... associate producer
Matthew Weiner .... executive producer
Josh Weltman .... co-producer
 
Original Music by
David Carbonara 
 
Cinematography by
Don Devine 
 
Film Editing by
Tom Wilson 
 
Casting by
Carrie Audino 
Laura Schiff 
 
Production Design by
Dan Bishop 
 
Art Direction by
Christopher Brown  (as Christopher L. Brown)
 
Set Decoration by
Claudette Didul 
 
Costume Design by
Katherine Jane Bryant  (as Janie Bryant)
 
Makeup Department
Lana Grossman .... makeup department head (as Lana Horochowski)
Lucia Mace .... key hair stylist
Ken Niederbaumer .... makeup artist
Ron Pipes .... key makeup artist (as Ron 'Ronnie' Pipes)
Theraesa Rivers .... hair department head
Arturo Rojas .... hair stylist
 
Production Management
Karen Ruth Getchell .... production supervisor
Scott Hornbacher .... unit production manager
Leslie Jacobowitz .... post production executive (uncredited)
 
Second Unit Director or Assistant Director
Erik J. Carpenter .... second second assistant director
Hillary Cohen .... dga trainee
Adam Ben Frank .... first assistant director
Jessica Lowrey .... second assistant director
 
Art Department
James Bolenbaugh .... art department production assistant
Camille M. Bratkowski .... lead set designer (as Camille Bratkowski)
Sean Clark .... assistant props
Alec Contestabile .... set decoration production assistant
Rhonda DeMarc-Elliott .... set decoration buyer
Eric Dennis .... assistant property master
Mindy Frank .... buyer
Ellen Freund .... property master
Greggonio Galicia .... tool man
Corey Gomez .... set dresser
Kama Hayes .... art department coordinator
Bart C. Hubenthal .... on-set dresser (as Bart Hubenthal)
Sean Lyons .... paint foreman
Jefferson Murff .... leadman
Lars Petersen .... construction coordinator
Hugh Pritchard .... set dresser
Charles Randolph .... set dresser
Evan Regester .... graphic designer
Rosendo L. Rivas III .... labor foreman (as Rosendo Rivas)
Jonathan Robertson .... lead carpenter
David Saltzman .... assistant property master
Erik Soderstrom .... set dresser
Shanna Starzyk .... assistant art director
John L. Sullivan .... prop maker foreman (as John Sullivan)
Helga Tjia .... set decoration production assistant
Steven C. Voll .... general foreman (as Steven Voll)
John Youngblood .... assistant property master (as Johnny Youngblood)
Wendy Jerde .... scenic painter (uncredited)
Melissa McSorley .... prop food stylist (uncredited)
Craig Zumbroegel .... propmaker (uncredited)
 
Sound Department
Peter Bentley .... sound mixer
Edmond J. Coblentz Jr. .... sound effects editor (as Edmond J. Coblentz)
Jed M. Dodge .... dialogue editor
Cormac Funge .... supervising sound editor
Bud Raymond .... second boom operator
Christopher Sposa .... boom operator (as Chris Sposa)
Alec St. John .... sound re-recording mixer
Ken Teaney .... sound re-recording mixer
 
Special Effects by
Thomas L. Bellissimo .... special effects supervisor (as T. 'Brooklyn' Bellissimo)
Shannon J. Thompson .... special effects technician (as Shannon Thompson)
 
Visual Effects by
Niki Hillier .... visual effects coordinator (uncredited)
Jason Wilson .... visual effects artist (uncredited)
 
Camera and Electrical Department
Michael Ambrose .... gaffer
Steve Brewer .... grip (as Steven Brewer)
Scott Browner .... camera operator: "a" camera
Jeff W. Curtis .... dolly grip: "b" camera (as Jeff Curtis)
Shawn Duchscherer .... electrician
Larry Edwards .... key rigging grip (as Larry D. Edwards Jr.)
Louie Escobar .... grip
Greg Etheredge .... electrician
Anna Ferrarie .... loader
Patrick Gomez .... grip
Lisa Guerriero .... second assistant camera: "a" camera
Patrick Hoeschen .... electrician (as Pat Hoeschen)
Paul Howard .... rigging gaffer
Annika Iltis .... second assistant camera: "b" camera
Ron P. Jaffe .... still photographer (as Ron Jaffe)
Juan Pablo Jara .... camera production assistant (as Pablo Jara)
Timothy James Kane .... first assistant camera: "b" camera (as Timothy Kane)
Eugene B. Kerry .... grip (as Eugene Kerry)
Jim Leidholdt .... dolly grip: "a" camera
Colin Mayo .... dimmer board operator
Rudy Melendez .... electrician
Pat O'Mara .... key grip
Greg Reyher .... best boy electric
David Sammons .... camera operator: "b" camera
Anthony Tellez .... best boy grip
Chris Toll .... first assistant camera: "a" camera
Dustin Woods .... grip
Michael Yarish .... still photographer (as Mike Yarish)
Christopher Tamuty .... lighting technician (uncredited)
 
Casting Department
Beth Bowling .... original casting
Kendra Shay Clark .... casting associate
Mandy Glasser .... background casting: Central Casting
Taylor Kinzie .... background casting: Central Casting
Kim Miscia .... original casting
 
Costume and Wardrobe Department
Lori Angelo .... set costumer
Kalen Dawson .... set costumer
Le Dawson .... costume supervisor
Gilbert S. Hernandez .... set costumer (as Gilbert Hernandez)
Jennifer Ireland .... key costumer (as Jen Ireland)
Marilyn Madsen .... tailor
Phoenix Mellow .... costume production assistant
Lorie Shew .... set costumer
Tiffany White Stanton .... assistant costume designer
Jessica Dalager .... set costumer (uncredited)
 
Editorial Department
Howard Alexander .... post-production coordinator (as Howard J. Alexander)
Michelle Fellner .... assistant editor
Dennis Mackelburg .... colorist: dailies
Tim Vincent .... final colorist
Jenny Lynn Wood .... post-production production assistant
Paul Amadeus Kim .... non-linear digital assistant (uncredited)
 
Music Department
Jennifer Barak .... music editor (as Jenny Barak)
James T. Hill .... music scoring mixer
Matt Lilley .... music clearance
Alexandra Patsavas .... music supervisor
Geoff Stradling .... orchestrator (uncredited)
 
Transportation Department
Robert aaron Brown .... driver (as Rob Brown)
Matt Dolan .... driver
Gary Ferraro .... driver
Spencer Foster Jr. .... transportation captain
Spencer Foster .... driver
Jay Galloway .... driver
Troy Gould .... transportation co-captain
Dick Huffine .... driver
David Joseph .... driver (as Dave Joseph)
Brian Joseph Moore .... transportation coordinator (as Brian Moore)
Boris Tomov .... driver
 
Other crew
Heather Jeng Bladt .... assistant: Matthew Weiner
Linda Brettler .... advisor
Carissa Caryotakis .... office production assistant
Michael M. Chang .... assistant to producers
Marcelo Chow .... set production assistant
Lance Crabtree .... accounting clerk
Kevin Danchisko .... key assistant location manager
Tristan Daoussis .... key assistant location manager
Nicole DeStefano .... first assistant accountant
Coleman Gladis .... production secretary
Gavin Glennon .... key assistant location manager
John Hampian .... production coordinator
Kristin Johnsen .... payroll accountant
Brett Johnson .... story editor
Denise Karey .... script supervisor
Kathryn Allison Mann .... head of research
Robin E. Michels .... medic (as Robin Michels)
Lisa Owad .... assistant production office coordinator
R. Scott Poole .... location manager (as Scott Poole)
Evan Price .... script coordinator
Amy Roy .... assistant to producers
Ahmed Saker .... medic
Brandon Schiffman .... set production assistant
Laura Sevier .... clearance
Spencer Taylor .... set production assistant
Chris Thrasher .... office production assistant
Alejandro Trujillo .... chef (as Alex Trujillo)
Timothy Tucker .... production accountant (as Tim Tucker)
Paul Volpe .... craft server
Michael Zakian .... second assistant accountant
Barbara Biddle .... broadcast producer (uncredited)
Jackie Medel .... production assistant (uncredited)
Lucas Paul .... production assistant (uncredited)
 
Thanks
Russ Campbell .... special thanks: Old Focals
 
Crew believed to be complete


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Additional Details

Country:
Language:
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Did You Know?

Goofs:
Anachronisms: While Harry, Peggy, and Ken are on the phone with Chevalier Blanc Cologne, you can see a close up of the speaker phone that they are using. The speaker has a logo of the Bell System that was not introduced until 1969. This episode takes place in January of 1967.See more »
Movie Connections:
References A Hard Day's Night (1964)See more »
Soundtrack:
You Really Got MeSee more »

FAQ

This FAQ is empty. Add the first question.
10 out of 21 people found the following review useful.
On Tolerance for Ambiguity, 28 May 2012
Author: rajah524-3 from United States

*** This review may contain spoilers ***

The adroit juxtaposition of Don's presentation with Joan's aside...

How many of us were raised (taught, instructed, indoctrinated, trained) to tolerate ambiguity or unresolved conflict? If the conductors of our cult-ure promoted anything other than black and white, all or nothing, all good or all bad, all right or all wrong thinking, do you think our cult-ure(s) would survive in the contests against the similarly raised competition?

I've seen every last episode. And just when I thought that Matthew and his monumentally conscious collaborators could not outdo their previous efforts, they knock me in the head with a triple play like this.

Angry feminism is the "feminism" most of us either buy into (out of guilt?) or reject (out of hand). In the world of centerless, immoderate mental polarity most of us take for granted, it's all about "Hanoi Jane" or "hairy legged ragers" or "intellectual dominatrix's" ... and the "overweening" Helen Reddy, the "subversive" Betty Friedan, or the "castration-bent" Alanis Morissette.

Change does not go down easily with those who have been regimented so effectively that the majority of them will sit tight when the wealth accumulators elect to vacuum the pockets or slaughter the sons (and now daughters) of those they trained to make, consume and fight.

I've no idea if Matthew & Company understand all this, but it surely =looks= like they do in episodes like this. The hopeful, achievement- obsessed Cosmo Girls up against the wall, or perhaps more accurately, painted into the corners of their indoctrinated identities as objects accepting the rights of others to use them as they see fit.

The adolescent female of today loathes her mother for giving in. She can afford to. In today's world, the woman are =all= putting out. The dilemmas faced by Peggy, Megan and Joan are Just The Way It Is now.

Is our ardent willingness to sell out and be "all that we can be" abetted by better clarity and conscious resignation? Or are the Peggy's, Megan's and Joan's of today just as "snowed" by their instructors as their mothers and grandmothers were?

In 1966, most of us still believed in a "fairness" that was not yet so obviously a fairytale. It was part of the "glue" of our cult-ure then.

No; I do not expect to be widely understood. And neither, I think, does Matthew. (He knows he needs to make the characters, the plots and the scenery interesting.) But MM's niche success suggests, at least, that there are people out there who are least "fascinated" by The Way it Was (and Still Is?) and this ensemble's nuanced, perfectly articulated packaging of it.

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