Global Warming Is Already Clobbering the Amazon

Amazon canopy at dawn, Brazil. Amazon canopy at dawn, Brazil. Peter van der Sleen/rainfor



When it comes to doing research in the Amazon, Oliver Phillips says the worst part is the sweat bees. Phillips, an ecologist from the University of Leeds who has been working in the Amazon for 30 years, says the bees don’t bite or sting or carry diseases, like many of the rainforest’s other insects, but “they’re just all over you.” The instant you start sweating—which is the instant you set foot in the Amazon—they swarm your limbs, your nose, even your eyes, ravenously feeding on the salt in your perspiration. “They don’t do any damage except drive you crazy,” Phillips says.


For Phillips, sweat bees are an occupational hazard. He’s hiked—on purpose—into swamp forests in Peru, wading through stagnant water that smells like rotten eggs. He’s returned to areas of forest he thinks he knows well, only to find them flooded. But no matter the obstacle, he gets out his measuring tape and doesn’t leave until he and his colleagues have recorded the height and girth of every single tree in a 100 square meter plot. A few years later, they’ll come back to the same spot and do it all again.


Large trees are measured above the roots with the use of ladders. Large trees are measured above the roots with the use of ladders. Roel Brienen/rainfor

Any individual tree doesn’t tell Phillips much about how the Amazon is reacting to climate change, of course. But thousands of them, measured regularly for decades? That’s some of the most valuable climate data to come out of the world’s largest rainforest. Phillips coordinates a project called Rainfor, which aims to census and re-census the trees in hundreds of plots in the Amazon for as many decades as funding will allow. The oldest plots in the network were first censused in the 1970s; over 400 scientists, many of them from Amazonian countries, have been involved in the fieldwork so far.


By tracking “the growth and the history and the death of every single tree” within those plots, Phillips says, Rainfor can calculate how much carbon the Amazon sucks up and stores, thereby keeping it out of the atmosphere where it would contribute to global warming. Tracking changes in the amount of carbon stored and released by the rainforest indicates how the Amazon is responding to—and potentially influencing—climate change.


And if scientists want to have any hope of understanding how climate change will affect the world, they must have data from the Amazon. Every year, the world’s largest rainforest cycles through 18 billion tons of carbon per year as its 6 million square kilometers of trees breathe in carbon dioxide and release it back into the atmosphere when they die. That’s more than twice as much carbon as fossil fuels emit all over the world. Mess with this system and the consequences will reverberate around the world.


Working in flooded forests in Peru. Working in flooded forests in Peru. Roel Brienen

But scientists are less sure about what exactly those consequences will be. The fact is, climate models have no idea what to do with the Amazon as global warming hits its stride. They don’t know whether the rainforest will grow voraciously, nourished by the extra carbon dioxide in the atmosphere, or die off completely, becoming a savanna. They don’t know whether annual rainfall will increase or decrease over the next 100 years. They can’t tell scientists whether or not the devastating droughts of 2005 and 2010 are anomalies or the new normal. When fed all the data scientists have, climate models don’t even spit out the current, documented weather patterns in the Amazon. “All the models [predict] rainfall in the morning,” says Maria Assunção Faus da Silva Dias, an atmospheric scientist and climate modeler at the University of São Paulo. “But nature does it after lunch.”


The problem is that scientists don’t have all that much data on the Amazon, especially in proportion to its importance in global climate systems. Which brings us back to the sweat bees. Fieldwork in the Amazon is rough, and huge swaths of the forest remain inaccessible even to the most determined scientist. This presents a paradox to field researchers. They want to collect long term climate data from parts of the Amazon that will likely remain untouched by deforestation for several decades to come. But that pristine forest will avoid the axe precisely because it’s the hardest to get to.


The Best Research Is Also the Toughest


This was the challenge faced by the team constructing the Amazon Tall Tower Observatory, a 325-meter (nearly 1,000 feet) high, Erector-set-looking steel tower that aims to study the rainforest’s unique atmospheric physics and chemistry. But to make the project work, the researchers needed the top of the tower to be able to sample clean air 30 years. They needed somewhere remote, but also within a day of Manaus.


Eventually the researchers found a site that is only accessible by dirt road. And then by boat. And then another dirt road. The journey takes six hours each way and is unpleasant enough that the scientists hope it will deter loggers and settlers from following their footsteps. They finished building the tower this year; now comes the hauling of delicate scientific instruments. Not made to survive in the jungle, they will need to be constantly monitored and frequently replaced.


To understand why all the hassle is worth it, you really have to climb to the top of the tower (a journey that takes two hours in and of itself, up a narrow, zig zagging staircase). “You just see forest for 360 degrees,” says Paulo Artaxo, an atmospheric physicist at USP. “There are very few other places in the world where in any direction for more than 150 kilometers, there is just forest.” Upwind of Manaus, the forest and its atmosphere are as pristine as they were in the 18th century, Artaxo says. That makes climbing ATTO a bit like going back in time.


Meanwhile, 150 kilometers to the southeast, there’s Manaus. A booming city of 2 million and counting, it’s on track to be “a megacity in the middle of nowhere,” Artaxo says. With people and industry comes pollution. Another ongoing project called GoAmazon is flying planes directly into that pollution, as well as downwind of it, to see how it interacts with the forest air.


RAINFOR team monitoring Amazon canopy, Peru. RAINFOR team monitoring Amazon canopy, Peru. Kuo-Jung Chao/rainfor

The preliminary results are troubling, to say the least. Pollution from the city has filled the rainforest atmosphere with an unprecedented number of aerosol particles, changing the first step in the complex process by which clouds and rain form. Since precipitation that forms over the Amazon eventually ends up in the water supplies of cities like São Paulo and Brazil’s huge agricultural areas, changes to the rainforest’s hydrological could have far reaching and potentially devastating effects.


Rainfor’s work also contributes to a growing sense of dread. Back in 1998, Phillips and his colleagues used their network of tree plots to show that the South American rainforest was sucking up more carbon than it was releasing, thus keeping carbon dioxide out of the atmosphere and mitigating climate change. The Amazon’s role as an important carbon sink has been accepted dogma ever since, bolstering conservation efforts and guiding climate models.


But Phillips and his team didn’t stop measuring trees, braving sweat bees and swamp forests. “In the first week everyone still has a lot of energy,” says Roel Brienen, another University of Leeds ecologist who works on Rainfor. “But after two or three weeks when the food runs low and when the morale runs low, then it’s very difficult to get a whole team going.” Yet slowly they expanded the network to 391 plots. When Brienen crunched the numbers, a startling result emerged. Last month the team reported that the Amazon isn’t pulling in as much carbon as it used to, contradicting the many models that predicted that the rainforest would thrive for another several decades thanks to increasing carbon dioxide levels. In many parts of the forest, the trees do appear to be growing faster and bigger, Phillips says. But they are also dying younger, riding the high of resource abundance until they suddenly flame out. Once a tree dies, its carbon travels back to the atmosphere—exactly where we don’t want it be.


For now, the Amazon is still sucking up more carbon than it’s releasing. But the Rainfor data suggests that a tipping point is coming. As skeptics have long asserted and scientists themselves suspected, models of the future of Earth’s climate did indeed get it wrong. But not in they way anyone would hope. As Phillips puts it: They were “too optimistic.”



Attaching the propeller: How the motility structure of unicellular archaea is fixed to their surface

A research team led by the Freiburg microbiologist Prof. Dr. Sonja-Verena Albers has described the structure of the protein with which the motility structure is fixed to the cell wall of archaea -- a type of unicellular life form. In addition, the researchers demonstrated that this protein is essential for the structure and functioning of the organ. The researchers published their findings in the current issue of the journal Structure.



Prokaryotes, unicellular life forms without a cell nucleus, are subdivided into bacteria and archaea. Much less research has been conducted on archaea, because no pathogenic forms have yet been described. The first isolated archaea came from habitats like hot sulfur springs, hot springs in the deep sea, or extremely saline lakes. Scientists thus long assumed that archaea can only grow in extreme environments like these. Now it is known that archaea, like bacteria, may be found in almost all habitats -- in the intestinal flora and on the skin of humans, among other places. These discoveries provided a stimulus for new research.


It is important for microorganisms to be able to move on their own: When their living conditions deteriorate, they are then capable of finding better ones on their own. The motility structure of bacteria, the flagellum, has been the object of detailed research for more than 30 years. It consists of up to 50 proteins assembled according to a fixed sequence of events. The result is a whip made of protein filaments that functions much like a propeller: A "motor" at the end fixed to the cell wall allows it to rotate, enabling the bacterium to swim.


Up until only a few years ago, scientists assumed that archaea also use flagella to move. However, the sequencing of the first archaeal genome revealed clear differences in the structures of the motility structures of bacteria and archaea. It was found that archaea use a structure called the archaellum to swim. In the model organism Sulfolobus acidocaldarius, it consists of a mere seven subunits but still achieves the same performance as the flagellum despite this simple structure. Only few structural studies of the subunits that make up the archaellum have been conducted to date. Two years ago Albers' research team discovered the structure of the motor protein FlaI and demonstrated that it forms the motor complex of the archaellum along with the proteins FlaX and FlaH. In their newly published article, the researchers describe the protein FlaF, which binds specifically to the model organism's only cell wall protein and fixes it firmly there. "It is important to learn more about these cell wall and surface structures, since the archaea can use them to interact with the environment -- and thus also with human cells," says Albers.




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The above story is based on materials provided by Albert-Ludwigs-Universität Freiburg . Note: Materials may be edited for content and length.



Veep GIF and a Graf: Selina’s Prompt Failure



Veep GIF and a Graf: Selina’s Prompt Failure



VeepSadFace HBO





The 3DR Solo Is a Scary-Smart Drone


Great drone footage is mesmerizing, no matter what it depicts. (Exhibit A: This video of a truck driving through mud in super-slow-motion.) But perfect shots—the swooping landscapes, the hovering overheads—are hard to come by. A new drone from 3D Robotics (a company co-founded by former WIRED editor-in-chief Chris Anderson) is the beginning of a project to make it a little easier.


The $1,000 Solo drone (or $1,400 with a GoPro included) is full of clever tools to automate and simplify shooting. There’s even a one-click way to take an ultra-dramatic selfie video. But one of the most impressive features is that the drone will be sold as an open platform, allowing hackers to tinker with the hardware and software.


The Solo, which will be available in May, is designed to be ready to fly right out of the box. This quadcopter is 3.3 pounds, all black, and vaguely threatening; it looks more like a drone you’d want sneaking behind enemy lines than one you’d want delivering your burrito. It has a simple controller, which looks like an old-school video game joystick, with a holder for your iPhone or iPad, which act as both the monitor for the drone and the remote control for the mounted GoPro camera. There are lots of helpful tools for newbie pilots, like a panic button on the controller that will stop the drone in its tracks wherever you are, and a flight simulator app so you can learn to fly a drone without risking crashing $1,000 into a wall. (Repeatedly.)


The Solo’s best feature, though, is its camera automation. In addition to the standard “follow me” mode, you can draw a line on your phone’s screen, and the Solo will fly back and forth along exactly that line while recording video. Pick an object and select “Orbit,” and the drone will fly a perfect circle, camera focused on your subject the whole time. And in selfie mode, the camera trains on you and flies away, epic-action-movie-style. You can control your GoPro settings in flight, too, which no other drone offers. The goal is for Solo to take great video without you doing much of anything, and then do even more as you get better.


A lot of these first features are made so flying and shooting video will be a little easier. But the second phase for 3DR and the Solo is to open it up—the company sees Solo as a platform, and has opened up both hardware and software in hopes that developers will build specific apps, crazy tricks, and unique functionality into the two computers on board the drone. Or, they can drop new sensors or chips into the accessory bay and do even more.


Drones are rapidly getting both more powerful and easier to master; DJI’s new Phantom 3, launched just last week, has a better camera, live-streaming capabilities, and a new positioning system that makes it much easier to fly. It’s also cheaper than the Solo, when you factor in a gimbal and a camera. But 3DR’s vision is bigger, and more open; it wants to be the Android of drones; extensible and customizable for purposes beyond even what it can conceive. And most of all, it wants to get everyone flying and shooting, because as anyone who’s flown a drone tells you, it’s hard not to get hooked.



This Week’s Trailers: True Detective Leaves Us Guessing


It feels like a lifetime ago that Rustin Cohle first darkened our doorways with his bleak and opaque philosophizing, and yet, it’s only been a year! And even though time is a flat blah blah blah, one more trip around the sun means it is time for True Detective Season 2. And along with the trailer for that juggernaut, we have a few more small-screen entries to add into the mix alongside a pair of festival darlings and one Human Centipede. Oh yeah. It’s back. Humanity is a dazzling spectrum, and we celebrate all of it here in the weekly trailer roundup.


The One Everyone Is Talking About: True Detective Season 2 (Above)


So many intense glances! We went into everything we know about the new season when the trailer dropped last week, but that answer is basically … not much. There are no hints that we’ll see the Illuminati work its way into Season 2, but we’re keeping hope alive!

Pause at: 0:06, 0:15, 0:41, and 0:46 for your new stars.

Song: Unidentified new song


The AlternaScreen One: Other Space


Yahoo is adding to its content streaming business with another island of misfit toys. The Community team will now be joined by a dysfunctional shuttle crew on a “routine collection mission” that will obviously push the amalgamation of rookie scientists outside their comfort zones. It looks silly/fun enough to spend eight half-hour episodes watching, but the real news here is that it’s produced by Paul Feig. The cast is mostly semi-knowns like Karan Soni (Betas), Eugene Cordero (House of Lies), Milana Vayntrub (Silicon Valley), Conor Leslie (Klondike), Neil Casey (Broad City), and Bess Rous (Murder in the First). So they’re a big mystery, but I think we all remember what happened the first time Feig put a bunch of unknowns in a show together! Yeah, so this probably won’t be the second coming of Freaks and Geeks, but it could still be fun.

Pause at: 0:38 for humans with gills. Stop at 0:50 for AI with attitude.

Essential Quote: “Your words will be a sweet soundtrack and I choke to death in the vacuum of space.”—The guy with gills


The Netflix One: Orange Is the New Black Season 3


Wow. Nothing like forgetting how much you miss someone until you see their face again and want to hold them close until the end of time. OITNB spent its second season under the dictatorship of Vee (Lorraine Toussaint), and proving that it was a show well worth more than its initial novelty of Real Women on TV. So here we go again, back to Litchfield, and Round 3 looks like it’s going to be a lot of fun. Lori Petty is in our favorite big house now, which can only be great news for us. Crazy Eyes (Uzo Aduba) has taken to writing porn and/or provocative romantic fiction. Red (Kate Mulgrew) is continuing to kick ass. Piper (Taylor Schilling) sounds like she’s really embracing her time in prison, and, wait for it … Alex Vause (Laura Prepon) is back! Because they obviously couldn’t keep her from us forever. We’ve read that Larry, aka Jason Biggs, is out for Season 3, so that means the only thing standing between Alex and Piper is a whole lot of history. We’re so ready to start this processing session.

Pause at: 0:38 for Taystee (Danielle Brooks) being Taystee. Reevaluate your reality at 0:20. Alex looking worse for the wear at 0:40. Hello who are you at 1:05? Nicky (Natasha Lyonne) is out of her prison beige at 1:12! An unholy union at 1:13. Alex brings the pain at 1:24!

Song: Imagine Dragons, “I’m So Sorry”

Essential Quote: “The world is better in black and white. And red.”—Red


The WTF One: The Human Centipede 3 (Final Sequence)


THIS IS VERY NSFW! As Tom Six promised all those many years ago in a newly Centipede-d world, this would be a trilogy, and so we arrive at the third and final sequence of the ass-to-mouth chronicles. The self-referential framing is through the roof, and the original physician of Satan himself—played by Dieter Laser—is back in the saddle, except this time he isn’t Dr. Heiter. He’s Bill Boss, a prison warden with a whole new, and much bigger, stable of lab rats on whom to carry out his wicked experiments. Six looks like he’s ready to burn it to the ground for the last installment in his gross-out franchise, and while this one looks to be considerably less disturbing than the second one, it will likely be the most shameless. Really, no one should watch this trailer, but in case you’re curious, have at it.

Pause at: You can figure it out yourself.

Essential Quote: “It looks … medically accurate.”


The Sundance One: Me and Earl and the Dying Girl


Here it is! Following in the footsteps of last year’s Sundance smash Whiplash, Me and Earl premiered at the winter fest to great acclaim and took home both the Audience and Grand Jury prizes. Back in January, someone somewhere described it as The Fault in Our Stars but for friendship. That makes sense, but Earl has the decency to be slightly less ham-fisted about all its feelings. It doesn’t carry with it an explosive performance everyone is talking about like J.K. Simmons did in Whiplash, but then again, it’s a different sort of movie. That said, we were quite taken by RJ Cyler as Earl, and the rest of the supporting cast is phenomenal, including Nick Offerman, Molly Shannon, Jon Bernthal, and our forever-mom Connie Britton. When Brooklyn comes out later this year (probably during awards season), the trio of top gets at Sundance 2015, including Dope, will all have come to market. Let’s hear it for the indies that could!

Pause at: 1:28, 1:30, 1:33, and 2:15 for a selection of films by Earl and Greg (Thomas Mann).

Song: Brian Eno, “The Big Ship”

Essential Quote: “Now is not the time for your ‘I’m Greg. I suck. Nothing I do is any good.’ thing.”—Madison (Katherine C. Hughes)


The SXSW One: Animals


We love this trailer because it feels surprising. It’s just a sweet love story about two young things down on their luck and living in a car in Chicago, sustained by their love for one another and feeling grateful for that, until WHOA! He’s stealing from people and she’s holding a lighter under a spoon! While it’s a romantic journey, Animals is also about the horrors of addiction. Star and screenwriter David Dastmalchian (Prisoners) received the Special Jury Recognition for Courage in Storytelling at the 2014 SXSW film festival, and this really does look like a beautiful and tragic way of telling a very common and very sad story. Animals feels unexpected, and we like to be surprised.

Pause at: 0:22 for just a normal cute love story. Just a cute love story with petty theft at 0:38. And just some casual heroin use at 1:26!

Song: Lavender Diamond, “Everybody’s Heart’s Breaking Now”

Essential Quote: “You know we couldn’t have been born into more ideal circumstances.”—Eve Moneypenny (Naomie Harris)



How a bacterial cell recognizes its own DNA

It may come as a bit of a surprise to learn that bacteria have an immune system -- in their case to fight off invasive viruses called phages. And like any immune system -- from single-celled to human -- the first challenge of the bacterial immune system is to detect the difference between "foreign" and "self." This is far from simple, as viruses, bacteria and all other living things are made of DNA and proteins. A group of researchers at the Weizmann Institute of Science and Tel Aviv University has now revealed exactly how bacteria do this. Their results were published online today in Nature.



"In most environments, phages are around ten times more abundant than bacteria. And, like all viruses, phages use the host cell's replication machinery to make copies of themselves," says Prof. Rotem Sorek of the Weizmann Institute's Molecular Genetics Department. "And they are constantly evolving new ways to do this. So bacteria need a very active immune system to survive."


But until recently, scientists were not even sure that bacteria had a so-called adaptive immune system -- one that "remembers" a past encounter to produce a targeted response. That changed several years ago when a bacterial adaptive system called CRISPR was discovered. The CRISPR immune mechanism is not just crucial to the bacteria, it has a major impact on our daily lives: It is used today, for example, to protect the "good" bacteria that make yogurt and cheese. And it may also affect our future: Scientists have figured out how to use the ingenious CRISPR system to "edit" the human genome -- making it a handy tool for a wide range of clinical applications.


To remember an infection, the CRISPR system grabs a short sequence from the invading viral DNA and inserts it straight into the bacterial genome. The bits of phage DNA are stored in special sections of the genome; these form the immune memory. In subsequent infections, CRISPR uses these sequences to create short strands of RNA that fit the genetic sequence of the phages' kin. Protein complexes attached to the RNA then identify the phage DNA and destroy it.


Selectivity is clearly an issue for such a system: Previous research in Sorek's lab had shown that mistakenly grabbing bits of self-DNA can cause the bacterial cell to suffer a sort of autoimmune disease in which it attacks its own DNA, and the results may be fatal to the bacteria. With around 100 times more self- than foreign DNA inside the cell, says Sorek, there would seem to be room for many more mistakes than researchers have actually observed.


How does the CRISPR system know how to insert foreign, rather than self, bits of DNA into the immune memory? Sorek and his research student Asaf Levy teamed up with Prof. Udi Qimron and Moran Goren of Tel Aviv University to answer the question in detail, revealing a complex, multi-step mechanism for this part of the CRISPR process.


They devised an experimental setup using plasmids -- short, circular pieces of DNA that mimic viruses -- and injected them into bacteria cells. These bacteria had two proteins known as Cas1 and Cas2 -- parts of the CRISPR system that are responsible for acquiring the pieces of foreign DNA. The CRISPR system successfully incorporated the plasmid DNA into the bacterial genome, while the "self" DNA was only rarely attacked. The team recorded some 38 million separate immunization events.


Looking more closely at the results, the team found that the CRISPR system, using the proteins Cas 1 and 2, specifically identifies DNA that replicates rapidly. Thus, ironically, it is the phage's survival tactic -- its programmed drive to replicate at all costs -- that proves to be its downfall.


"Still," says Sorek, "this did not completely explain how the CRISPR system differentiates between self and non-self."


The solution came from deeper understanding of the process. During DNA replication, small breaks occur frequently in the DNA; these breaks call up a DNA repair enzyme that "nibbles" a bit of the broken DNA. The team discovered that the "leftovers" from the repair machinery's nibbling are actually the source of the viral DNA used by the CRISPR system to generate the bacterium's immune memory. But when that repair enzyme meets a short sequence called a "Chi site," its nibbling stops. Such Chi sequences are found very frequently throughout the bacterial genome, but rarely in the viral one. So Chi sites also serve as "self" markers: They reject the activity of the CRISPR machinery when they are present, but enable it to use bits of phage DNA if they are missing.


Thus the bacterial cell uses its normal DNA replication and repair processes to identify phage DNA, checking and double-checking that the new DNA differs in two fundamental ways from the "self" genome. Through the activity of the two CRISPR proteins -- Cas1 and 2 -- the bacterial immune system can ensure it is adding foreign DNA, alone, to its immune "memory," and can thus activate its defenses.


Sorek: "Solving the riddle of self versus non-self for the bacterial immune system and deciphering the exact mechanism of this step in the CRISPR process gives us important insight into the unseen confrontation that is taking place everywhere, all around us, all the time." Qimron: "The bacterial solution to evading autoimmunity might be utilized in future clinical applications that take advantage of the CRISPR system."




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The above story is based on materials provided by Weizmann Institute of Science . Note: Materials may be edited for content and length.



Mad Men Recap: Money Can’t Buy Don Love


Seeing Mad Men through its ads: Every week, WIRED takes a look at the latest episode of Mad Men through the lens of the latest media campaign by advertising agency Sterling Cooper & Partners.


“Yes…but is it art?” This age-old question has generally targeted the avant-garde, but its application to advertising can be equally apt. The best work by Sterling Cooper’s resident creative geniuses Don Draper and Peggy Olson—the Carousel, Burger Chef—transcends its mercenary origins to articulate hidden yet widespread fears and desires, in the stealthily symbolic way that’s normally the province of painters and poets. But for an ad to be truly effective, the reverse must also be true: Greed and guile are gussied up in artsy drag, its surface sophistication used to exploit the anxieties the product for sale is designed to salve.


Photographer Pima Ryan embodies this Madison Avenue manicheanism. Played by guest star Mimi Rogers, her talent has made her a legend among SC&P’s creative staff, for good and for ill. Peggy’s thrilled to bring Pima aboard the campaign for Cinzano vermouth, and her onscreen debut takes place in a blinding white soundstage that evokes the iconic artistry of late-season Mad Men go-to reference point Stanley Kubrick. But Peggy’s friend and sidekick Stan Rizzo is equal parts irritated and intimidated by this hired gun. At first he mocks her work, on set and to her face. But when challenged by her directly to show her his best stuff, he comes up short. “You should see what she does,” he tells his girlfriend Elaine, awestruck and petulant in equal measure. “It’s so sensual.” Instinctively, Elaine strips down and volunteers to serve as Stan’s model for an impromptu shoot, in hopes that their real, relationship-based sexual chemistry is enough to rival the simulacrum seen in Pima’s photos. Perhaps life, they hope, can imitate art.


242b9e52-ce1f-6922-ac54-9e5107fd0707_MM 709 PIMA CAMERA Courtesy of AMC

But Stan and Elaine aren’t the only ones capable of conflating sexual and artistic success. After checking out and dismissing the results of their shoot, Pima comes on to Stan, who responds with his typical eagerness. He may have failed to win her approval as a photographer, but becoming her lover is seen as equally validating. If you can’t beat her, join her.


Peggy, however, sees through Pima’s advances when they’re thrust in her own direction. Whatever her problems, confidence in her work has not been one for many years, so the sex/approval trade-off holds no appeal for her. When she snipes at Stan for his infidelity to his girlfriend, and he snaps back that it’s none of her business, her answer exposes their special-guest superstar for what she is: “No, it’s Pima’s business, which turns out to be more advertising than art. She tried the same thing with me, but she didn’t get as far, and that’s why I’m not gonna give her another job.” Art points to a void, something we’re afraid or incapable of articulating. Advertising does the same, then offers something to fill it. In the end, Pima wasn’t selling anything Peggy needed to buy.


Diana, the waitress with whom Don pursues an ill-fated relationship in this episode, has no more interest than Peggy in pursuing outside means to fill the hole in her life. In this case, however, the motive wasn’t self-confidence, but self-abnegation. If she were more like Stan, dating Don—a handsome, talented, enormously wealthy person—would have provided her with some measure of happiness she couldn’t win on her own. But she doesn’t want happiness. She wants to remember her daughters, one who died, and one she left behind when the grief overwhelmed her. She lives in a representation of the void she has embraced, a sparsely furnished and undecorated studio apartment. “Can’t you see I don’t want anything?” she demands of Don. He does see it, eventually, and leaves her to the nothing she’s chosen.


61311f0f-3112-9a77-f2e7-4fea51ed889d_MM709-06 Courtesy of AMC

But he returns to a nothing that someone else has chosen for him: In the hour’s funniest sight gag, Don’s apartment has been emptied out on the down low by his ex-wife Megan’s trash-talking, French-speaking mother Marie. Nominally, this is an act of vengeance against the man she feels dishonored her daughter and damaged her family. But by effectively booty-calling Roger Sterling in the middle of robbing Don blind, she reveals a Stan-like need to seek fulfillment from a happier, richer person than herself. Megan sees this for what it is the moment she returns to the apartment, lambasting her mother and Roger—not for stealing Don’s stuff but for what they did together afterwards. Yet at the same time, she recognizes the unhappiness that drove her mother to do it, and subsequently to leave her father, ostensibly for Roger. In a fight with her sister, she applauds her mother’s decision to end years of emotional misery. “It’s a sin to be a ghoul and feed on everyone’s pain,” she chides her sibling. Whatever her mother and Roger were feeding on, it wasn’t pain.


So that leaves Don alone in his barren apartment. He’s lost Diana. He’s lost the million dollars he paid Megan for their settlement, in a vain effort to persuade Diana that he was serious enough about her to end his drawn-out divorce as soon as possible. The poor sap’s even lost his easy chair. Knowing Don, there will always be someone else to sleep with and some other million to earn. But for the time being he’s learning what Stan learned from Pima: When you get what you think you want, what you’re really doing is acknowledging how badly you needed it in the first place. It may look like art, it may look like love, but you’re being bought and sold the whole time.