Elisa Kreisinger’s clever reworking of the dialogue from “Mad Men” introduces to the show’s portrayal of 1950s corporate and advertising culture a queer noise that makes audible the homoerotic desires and potentialities that are always already embedded in these spaces. Sound and silence are crucial to this intervention, for the desires that are otherwise unspeakable in this space are articulated in and through silences. By making silences not only speak, but speak queerly, Kreisinger inverts the pattern of silencing that has historically been used to render queer desires publicly unspeakable.