Masters of Sex 1.10: “Fallout” suffers from a clunky central metaphor

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It seems to be a requirement of popular fictions set in times of war that, at some point, the looming threat of total annihilation brings interpersonal tension to the surface. That turns out to be exactly the case with “Fallout,” which, despite a few strong moments, is too cute by half in its wink-nudge acknowledgement of viewers’ distanced relationship with the time period. That’s troubling, as Masters of Sex had a strong sense of balance on this score until now.

Admittedly, it gets its worst offense out early, when one of Alison Janney’s pals warns of one potential outcome of an attack on Washington: “Can you imagine Dick Nixon as President?” Elsewhere, the raid-drill alertness merely serves to underline character beats we already know well – Austin’s tireless lecherousness (though he does, admittedly, get the episode’s best line: “Everyone has typical aerioli!”), DePaul and Virginia’s growing bond, William and his lack of patience for pretense. On the other hand, the shots of Virginia and William roaming the hospital halls as though it’s just another day at the office, while the lights creak on and off around them, are undeniably striking.

The greatest asset of “Fallout” is its coherent take on male privilege. When William learns that a woman from the study was accidentally impregnated during her session with Austin, he immediately defers to the fact that they’re “covered,” legally speaking, by the signs both participants signed. Austin reacts with primal fear that he might actually incur some responsibility, until William assures him that will not be the case. Meanwhile, Virginia is unmoved by the idea that William’s refusal to release Austin’s name isn’t gender-based, but as she points out, that’s an argument without meaning. In some cases, like this one, there’s no true equivalency to be drawn. Additionally, the conflict between Ethan and William is waged despite his wife’s obvious joy at her pregnancy. In a man’s world, pride trumps everything. Women have unfortunate fates befall hem, but apparently it’s men who wind up, according to William, “trapped.” So it goes.

Margaret Scully’s scenes this week are unusually strong. While I’ve struggled with the writing for this character at times, “Fallout” handles her learning of her husband’s sexual orientation with sensitivity and grace. While her conversation with a prostitute on the ins and outs of sex with married men is appropriately stunted and awkward, until this stranger delivers one of the most important pieces of information Margaret will ever hear: Barton is gay. The certainty on her face spells it out; there’s room for laughter, but not denial. The shot, only a few minutes later, of Margaret clutching her husband’s silly pajamas, pondering where she went so wrong, is one of the most affecting of the whole series, so it’s not surprising that director Lesli Linka Glatter holds on it for as long as possible. (Points deducted for Margaret’s speech to Austin about how “what they’re actually doing is falling.” Way on-the-nose, fellows.)