Another Farewell

It has been almost three weeks since the finale of Mad Men. Say it ain't so! Everyone out there has probably already heard their fill about Coca-Cola, "hippie" retreats, and the grand spark of a sweet relationship, but not me, I've just been sitting back ruminating on it all. And when I say "sitting back" I hope everyone is imagining me in a rocking chair, puffing away at a pipe, and rockin' back and forth with an enigmatic look on my face.  I come up with my best ideas in that exact kind of environment.

Dramatic recaps posted the second after an episode airs can be fun and necessary these days, especially if you want to get your word in before one of the other talking heads says exactly what you were going to write.Yet, much of the time it all feels too fast.

The internet seemed over Mad Men within a couple hours after the finale aired. With so much information flowing through every second, it quickly felt like there was instantly some sort of pressure to just be done with it. To keep up with our quick pace about everything, meant that by Monday morning, after tuning into the finale and reading a couple bits of commentary, we should all have already found a new show to obsess over.

Why? That's not how I ever want to roll people.

As a general rule, I like to tightly grasp hold of things I love for as long as possible (aka, Walt & Jesse, Tami & Coach, The Braverman's, Kenneth Ellen Parcell, Pawnee), squeezing absolutely as much enjoyment out of them before making a natural decision to move on and say goodbye (for now).

While I still haven't entirely let go yet, over the last week being Mad Men less has had me diving into the bevy of new television that's out there. Just a quick judgement: I'm finding that there is no other show that is giving off the exact same "classy adult drama vibe" that Mad Men projected week after week for years. With that in mind, there is an awful lot to be said over what the television landscape looks like without this show being on the air.

Just the loss of the overall design of the show and elaborately accurate costumes from the era has now made TV less fashionable. And no, sorry, as hard as they have tried/continue to try, The Playboy Club, Pam Am, or The Astronaut Wives Club, will never be considered valid substitutes. 

Mad Man had such a detailed vision and it will be difficult to match. The costumes and setting even set trends off around the country where everyone was scrambling to get that "Mad Men" look.

And "the look" was only a small segment of what made this show stand out. It is by no means a simple show, but it is simple in concept. Mad Men is a drama about people. Who am I kidding, almost all TV shows are about people, but there isn't a lot of shows that look at people the way Mad Men did. The advertising world of the 1960s, while perfect for causing equal parts tension and fun, was merely the backdrop to analyze the deep roots of human life.

Sevens seasons were spent looking into how people feel and act in their darkest and highest moments (literally and figuratively). That combination of emotions made for a show full of tears, laughs, and, at times, bonkers surrealism. People fixate on all the drama and fantastical moments, which are super terrific and everything, but Mad Men is also a lot funnier than anyone ever gives it credit for.Without including such great sense of humor, and characters with true wit, this show would not be as well rounded and I wouldn't care for it as much as I do.

Tune in for a brooding Don Draper giving a life changing pitch that will make you want to buy a new Chevy and leave with a hysterical Roger Sterling quip. Not just those two either - the show is filled with well developed characters.Mad Men, for me, became most addicting just because you became invested in wondering how each of the character's story would turn out.

And even though anyone who is anyone places Don Draper among the trend of "anti-hero" leading men, there is still something entirely unique about his personality and voyage that makes him separate from just another Tony Soprano or Walter White. [Those two are also greatly different from one another, but I digress.] We can't forget about everyone else either - from Joan, to Peggy, to Harry Crane, the characters on Mad Men can't be compared to any other.

Creating a batch of distinct people had a lot to do with the way Mad Men chose to focus attention on ideas that are not always written about for TV. Bringing up fresh ideas, would need some new characters to support it. Women's role in the workplace, big dreams, class issues, stereotypes, and being an overall judgmental society are just a few of the backbone themes ever present through all of the stories.  We all hope these issues are getting better in the world we live in now, and it has (for the most part), but telling the story from the 1960s point of view, also highlights how much these issues are still holding people back, even today.  

And that's where it comes down to - the story. Over the years and through much of my writing here, I've come to the realization that much of what makes me love a movie, a TV show, or a song, is about the story it is telling. I'm definitely beating a dead horse, since I've expelled this nonsense endlessly before and I'm also far from the first person to ever feel that way.  

Mad Men was, and will continue to be (as I and others re-watch it/discover it), about story. It is a rare show that was written in a way that felt totally complete. There was never a sense that a scene could have been written better or that something was missing. Every moment felt full, because of the high standard for quality that was demonstrated consistently by those folks making everything tick behind the scenes.

The audience never had to expel thoughts like, "Hey! I could write this better, you schmucks!". There was trust that what was unfolding before our eyes was the highest peak of greatness. As if no one was actually writing the situations the characters were finding themselves in, but that it was just happening as it should be, like fate. Even in some fantastical moments, this show was never contrived. It all felt entirely natural.

Sure, all hardcore fans have had frustrations in the way Matthew Weiner chose to leave some stories ambiguous. Like, where the hell did Ginsberg go? But that can be explained away with just, maybe no one knows? That's killer for anyone who had a favorite character just peace out, which was really only a few here and there, but people in real life can do the same thing. We all have had those people who come and go in life, sometimes with no explanation - it just happens.

Let's not forget that things have been worse for other TV shows that have ended. We all remember (I just read about it) the endless frustration over The Soprano's cutting to black and the big reveal about Lost. If a TV series ends and there are only miniscule frustrations, that is a real triumph. So, congrats to Mad Men.

Now, I know this show also isn't for everybody, so some of you out there have more complaints than I do. But every time I try to look at this with a critical eye and sit wondering how someone could not be obsessed with this show, I always have just ended up at a loss.

Overall, Mad Men ended like the whole series always was - unpredictable. While I would have preferred Don not be separated from the rest of the cast so much in the final episodes, it had to be done. The show was all about his journey. Don was never going to entirely figure his life out while drinking with Roger Sterling. Before he hit the road, he did have some great final moments with the rest of the cast, so we just have to let it be. Plus, his last conversation with Peggy, mid mental breakdown over the phone, was worthwhile indeed.

Even before the very end of the episode, was a moment I thought would never actually happen, and was also brought on by a phone call.. Peggy fans around the globe, including myself giddily smiling on my couch, couldn't help but rejoice that her final moments on screen were not about work, but instead removed the question mark that was surrounding her life outside the job.

We all were rooting for Peggy's work success, because she is a bad ass, but that could lead to forgetting that she also was looking for a loving relationship. Then Peggy and Stan got on the phone, typical for them, but this time their conversation was less about work and more of a tip of the hat to all those romance movies from the 60s and 70s. Stan declared his love (finally!) and Peggy sealed it in her typical fashion: "I mean I must be. Because you’re always right. I can’t believe this. I think I’m in love with you too. I really do."  Peggy and Stan got their happy ending, which made me more excited than any romantic comedy I've ever seen. Swoon.

Don in a way, had his happy ending too. At first it seemed like his trip to California wasn't going to teach him anything. He wound up at a hippie feeling retreat. Once I realized that most of the episode was going to take place there, I honestly couldn't believe what was happening. Once again, Mad Men took everyone down an unexpected path. Could Don honestly be happy at a place like that? While seemingly crazy at first, it turned out to do the trick.

Most interestingly, Don, the guy who always had the biggest, grandest monologues, was brought to silence at the retreat. We never actually got to see Don have a big revelation about his deep sadness and regret (even though he does a little of that over the phone to Peggy). Instead, someone else at the retreat, who had a very similar story to tell, had the final dramatic monologue in the show. Again, all I can say is, wow. Giving up an entire scene in a show's finale to a character that had never been seen before, seems crazy, but it totally worked.

After the other man told his story, Don walked forward to embrace him and they collectively weeped. That guy just said everything he was feeling. Don breaking down was a total release of his emotions. He was always grand at spinning a story in a pitch meeting, but talking about himself always made him a bit more reserved. So this way of expressing his emotions felt entirely perfect. He could let it out without saying a word.

That expression must have been enough for him, since in the final scene Don seemed more at peace. That could have just been the scenic location speaking and all that white clothing, but from my perspective, I think Don was ready to move on and face the world anew.

Maybe Don did create one of the most memorable TV commercials in history or maybe he left the advertising world and stayed with a California state of mind. That's for the viewer to decide.

Wait - no!

He definitely went back to McCann Erickson! He's just too good at those pitches and ideas! This time though, he had hopefully released some of the past so he could get back to his current life, family, and friends.

Mad Men taught me many things, but most importantly, to always stick with what you're good at, even if it takes stealing someone else's identity.

Ha! Okay, but in all seriousness people - my big take-away from the show is that a different name will get you a fresh start, and you can eventually come to terms with the past, but what's innately you inside will not change. Own it.

With that, we say farewell to another good one. Mad Men - may you rest forever in the hallowed halls of the treasured TV archive. Keep Friday Night Lights, The Wire, 30 Rock, Parks & Recreation, Six Feet Under, Pushing Daisies, Breaking Bad, and all the rest company. We'll see you next time on one of the hundred instant streaming services.


Until next time.

Going Mad: "The Milk and Honey Route"

 
[Rambling Side Note Intro: So, I messed up internet. Instead of being strapped to my laptop typing away about Mad Men last week, I enjoyed the sunshine and went away over the weekend. Ooops. The following is now entirely behind, and somewhat irrelevant to those watching along with the show as it airs on television, but there are still so many feelings to get out about, "The Milk and Honey Route". It just can't be skipped. So here we go - I write the following about the penultimate episode, completely knowing the future, while those hippies singing "I'd Like To Buy The World A Coke" continues playing on repeat in my head...]


"You knew we'd catch up with you eventually."

Those words may have been said by a police officer to Don in a dream he was having, but it turned out to be related to more people than just Don. In a shocking turn, that bad omen also significantly applied to another character that has been on the show since episode one.

While everyone was hypothesizing about Don's end - will he die, will he jump out of a window, is he really Walter White? -  no one was keeping their eye on Betty.

Over this string of new episodes, Betty's plot lines were shifting to a point where everything was going her way. She was back in school (something she desired), plus, after numerous years of tension following their divorce, Don was back to calling her affectionate nicknames like "Birdie" and they were both all smiles in each others presence.

Because I wasn't donning my pessimistic hat while tuning in for this episode, there had been absolutely zero time scheming up thoughts that something bad had to happen to Betty in order to counteract all the positive vibes that had come into her life.

It seemed like Don and Betty's scene together in Betty's kitchen during the previous episode was her goodbye. Their moment together felt very final and would have been a pleasant farewell for her character. [By the by, if "Pessimistic Hats" were an actually accessory, they would be in the shape of Eeyore.]

So, that scene did turn out to be a farewell, but a different kind. It was a goodbye to the past, before the future got a little more dim, or just real, whichever floats your boat.

Really, who could have guessed that things would take a turn for the worse? Probably the person who was borrowing my "depressing thoughts hat" for the night!

It was such an upsetting turn that I felt just like that little girl who picked flowers right before being blown up by a bomb. Okay, so maybe that's a little dramatic, but still, you catch my drift.

In the first couple scenes of this episode, Betty struggled to make it up a flight of stairs. She's a youngish woman and it's been years since her last hit of Reddi-Wip, so of course I couldn't help but yell out loud in my living room to anyone who would listen, "Why in the heck is Betty so out of shape!"

The answer was surreal: Betty was diagnosed with advanced lung cancer.

Mad Men is famous for nailing the 60s to a tee. Most notably, how everyone smoke and drank to their hearts content. With that in mind, the fact that a character was diagnosed with lung cancer wasn't as shocking as who the death sentence was given to.

To be honest, Betty was never my favorite character. She was enjoyable from time to time (shooting birds, becoming "Fat Betty" and thus my soul sister), but she never was featured as much on the show after divorcing Don, and instead made her way to becoming part of the supporting cast. Since she was only in scenes for a couple minutes at a time (aside from a few episodes here and there), it seemed like that was just how her story would continue.

Even though she was pushed to the background, Betty, being the ex-wife of the central character Don, was always a continual force on the show, even when she wasn't physically in scenes. She was part of the story that made Don who he is! She was one of the originals! Hearing about her diagnosis was a totally unexpected circumstance and an all time devastating moment in any television series I have cared about.

Even if you didn't like that character, it was difficult to not be shocked. Creator/director/writer extraordinaire, Matthew Weiner, probably moved her to a bit part on purpose, just so the impact would hit that much harder.  That dude really knows how to deliver one heck of a punch.

It wasn't just the discovery of Betty's ill health that was heartbreaking, it was all in the way she handled her situation. Betty's sense of strength was on display like never before. She didn't want her children to know she was sick and only wished to continue on with life. It was then left to the people around her to fall apart instead. Henry was severely distraught and with no one else to talk to, drove up to Sally's school. He went against Betty's wishes and told Sally everything.

Betty was angry to find that Sally left school with Henry and showed back up at their house. So much so, it at first appeared that she wouldn't even look Sally in the face. Really, this whole situation seemed cold on Betty's part, but it turned out it was with good intentions. While her young sons remained in the dark about the situation, Betty came to Sally with a rather adult responsibility - Betty gave her a letter that detailed specific instructions to follow after her death.

What a terrifying  job for a teenage girl. Sally, still in probably a mixture of disbelief and dread, handled it all with such an adult manner. Betty trusted that Sally, over Henry, would be able to keep it together. Betty then instructed Sally to go back to school - she had watched her own mother die and didn't want Sally to experience life with the same dose of reality.

These two have never been close and what's sad, this situation is what will bring them together, because if not now, when?

Overall, these moments with Betty are what people will most remember about "The Milk and Honey Route". So much so, I found it difficult to concentrate much on the other two main stories.

Still, between Pete reconciling with Trudy, and Don getting punched by some drunk vets in a hotel room, there were many other moments that made this episode just another in the non-stop endless greatness that is this series as a whole.

This episode really kept the shocks going. After referring to Mr. Campbell as "Creepy Pete" for the entire series, by the end of this episode, he was far from a creep, and was actually more like "Cheery Pete". He totally redeemed himself, won Trudy back, and somehow became the voice of reason. It's kind of nuts.

Fitting his new, breezier state of mind, Pete was pondering throughout this episode why it is that everyone is always seeking out something better. Why can't we just be happy with what we have? After all this, it is rather comical then that he ended up leaving McCann Erickson for a luxurious private jet company. But I think it was for different intentions than greed (even though "Greedy Pete" does have a nice right to it...). For him, he needed to seek out something better in order to have a fresh start and get his life to a point where he respected and appreciated Trudy. Which he did, and though surreal, you can't help but hope it all works out for them.

Because I can't help but dig deeper, a simple search of the episode title draws out other connections to this idea as well. "Milk and honey" are referenced in the bible, specifically to do with the "the promised land" - a place that has everything you will ever need.

Those "needs" will be different for everyone. Pete's new outlook on life is definitely the promised land for him. Betty's acceptance of her terms in life and decision to continue on going to school is the best version of that mythical life she will get [Betty's letter to Sally being read out loud over the scene of Betty once again slowly climbing those school steps at the end of the episode, was an utterly powerful, Steel Magnolias level crying moment]. Don on the other hand was still out searching for that "milk and honey".

In the final scene, Don gave his car away (beside money, his last big material object) and sat down at a bus stop looking off down the road. At that moment, all he had was a plastic bag full of clothes, an envelope of money, and nothing left but time to think about where he could go. If only he knew what was happening back home.


Until next time. 

Going Mad: "Lost Horizons"

If I was lazy or had no love of writing whatsoever, the wrap up of last week's Mad Men would be simply these two screenshots:

Anyone who didn't like Peggy before had to have changed their minds after seeing this episode. Plus, all the rest of us that already adored her were given more reason to keep cheering on her coolness. These images have been bouncing around the internet all week and with good reason, because those moments alone will make this episode go down in the television hall of fame.

Although, as badass and carefree as those scenes were, they sadly don't sum up every characters experience in this episode. We would have hoped that all of our friends at the now defunct SC&P, would still be thriving, but not everyone is taking the new office by storm like Peggy did.

Well, with the exception of Ted and Pete, who, based on the previous episode, had already made it clear that they were more accepting than the rest about joining McCann Erickson. Let's just say, they fit right into the crowd.

This episode then fell on the shoulders of four of the main players - Joan, Roger, Peggy, and Don - where each one of them had very different stories to tell in "Lost Horizons".

Let's first start with the most frustrating tale, which belonged to Joan Holloway. 

In the previous episode, it was easy to tell that Joan was becoming worried about her new position. She was taken very seriously at SC&P, but who's to say about her treatment at this large corporation. Well, the run in she and Peggy had with those stereotypical "bros" in the fist episode this season was definitely foreshadowing to her future.

At first it looked like everything was going to work out grand for Joan - the female copy writers [Peggy ain't the only one now!], all smiles, instantly tried to brown-nose their way onto her accounts, she had her own office, and she still controlled all of the business that she had personally maintained at SC&P!

Quickly though, it is made clear that in the advertising world SC&P was Shangri-La, and now after being dragged into reality, Joan slammed into that glass ceiling, which forced her down a couple floors.

In general, the new office just doesn't give off good vibes either. Everything just feels a tad off putting. The hallways are tight and dark and the people are extremely fake. Once Joan started dealing with her coworkers up close, people really showed off their true colors and everything became rather hellish.

"To help with her transition" into the company, a very unprofessional man was set up to help with Joan's accounts. He quickly made an ass of himself and her by not studying up on her notes about the clients, and while on a call with one of these people (who is in a wheelchair), asked if he liked to play golf.

Instead of apologizing to Joan for hurting one of her clients, he instead sassed,  "I thought you would be fun". Oh, because women can't be professional AND fun. I really don't know how women put up with his garbage.

In this case, Joan tried to stand up for herself and went to ask one of the higher ups, Ferg, for help. Let's put it this way, Ferg was only worse. We should have known just based on his terrible impression of Don. He did the typical creep move, like hinting they should take a trip together to visit the client and "fix the relationship" that may have been hurt by that phone call. What, he just wanted to get to know Joan - what's the harm in that? Thank God Joan wasn't born yesterday. She already sacrificed enough to get where she was in her profession and didn't want to take this treatment any more.

As she was extremely over these guys, Joan went to the top. Surely the big boss, Jim Hobart, would help her, right? What ensued was the standoff of the century and a proud moment for Joan, and all the female characters on the show.

The conversation started off civil, but when it was clear that Hobart only cared about defending his male employees, Joan started to lay down the law, even threatening to contact the ACLU and file a lawsuit. Herb  got angry and admitted he didn't care about losing her accounts or if she was part of the company at all.. Here's the thing - under her contract, Joan is still owed a large chunk of dough and she was not going down without it. She earned it! If only it were that easy. Hobart only offered her part of the money and then angrly told her to get out of his office.

Anyone, like me, who has been rooting for Joan this whole series, had to be disappointed by this outcome. She came so far, and then ended up getting shot down anyway. It is very upsetting, but probably very true to the way things worked out for many women most of the time. Joan at first didn't want to take the money and was going to insist on collecting all of it, or nothing. Only Roger convinced her to take the offer and run. It doesn't feel fair, but if she pushed any more and it went to trial, she probably would have lost everything.

Joan loved her job, so this really felt terrible. Hopefully though, before the end of the series, Joan will be established at a job that respects her talents once again. She's too smart and good at what she does to end up jetting off with that new beau of hers and just spend the rest of her life as a decorative piece on the arm of a dude.

While Joan jumped right into the new office only to fail, Roger (her closest confident) was feeling nostalgic and hanging around the offices at SC&P as long as he could. He's the captain and he will go down with his ship! The old office was looking a wreck - the main lights were shut off, cables and wires were hanging out of the ceiling, papers were thrown all over the floor, and (almost) all of the furniture was gone. The only ones left were Peggy (whose office at McCann wasn't set up yet and was busy being annoyed about being mistaken for a secretary), Roger, and a couple of the people who didn't get hired on at the new place.

Roger decided to use his time wisely, like scare Peggy. At one point, Peggy thought the office was empty, but instead was lured into a different part of the office by ghostly sounding organ music. The Phantom Of SC&P turned out to be Roger, but the big question here - why did they have an organ? It's a great question, but who cares, because it was a terrific, very weird addition to the episode.

It is entertaining whenever Roger and Peggy, the essence of opposites, are teamed up in scenes together. It was rare, but he, on occasion, had asked her to do crazy things, and she would always sass him back, never taking him too seriously even though he was the head honcho. Now, as they became the last members in the office, these two decided to do what everyone always did - drink. Pulling his usual tricks, Roger practically begged Peggy to run out to buy them booze. She refused to run his errands, but it turned out that she had a rogue bottle of Vermouth - they were set.

Just like the last day of school, Peggy and Roger spent much of this time reminiscing about how good they had it with SC&P. There was also a lot of stress during their tenure, but they both agreed that they definitely were going to miss the moment in time that was now being left behind. Peggy actually acted quite bitter towards Roger. She asked him why he didn't protect them all better and sold off the majority of the company. Now look what that got them!

Roger acknowledged that it was a mistake and now he must deal with being treated as an aging gentleman in a big corporation, hilariously quipping that his office was located, "on the retirement floor". Even with the tad bite of melancholy, all of their moments together in this episode are awfully sweet and a terrific farewell to the office and everything we have known as Mad Men up to this point. It felt nice to see some of the characters linger on the past and not just rush ahead.

While Roger lamented about watching his name being removed from the walls, without skipping a beat, Peggy smiled and said that she hoped to get her name on a wall someday. I think she will. And here we are folks - confronted with the past and future. But Roger isn't going down just yet - cue their last night in the office. This time there is no work to be done, just Roger at the organ and Peggy roller skating around him. Drunk and content - setting out and prepared for their next adventure.

Where Joan ran into lots of frustration and terrible treatment this episode, Peggy was able to charge ahead, and continued on her streak of strong self confidence to be the beacon of hope and progress. All pumped up after a night with Roger, lead to Peggy's ultimate bad-ass entrance to her new job - ciggie dangling out of her mouth, sunglasses shielding the pain of a hangover, and not a care in the world. That famous flight attendant guy knew how to quit, but Peggy just set the standard for how to show up on your first day of work. Please tell me someone has set this slow motion scene to some rad song by now.

These three characters were struggling and coming to acceptance about their work life, but Don, as usual, was not just questioning the job, but life in general.

Just like things were originally looking up for Joan, Don initially gave a convincing impression that he too would make an easy transition. He showed up in the big boss man's office (aka sexist jerk Jim Hobart) and with a big smile, pitched himself as a new man: "I'm Don Draper from McCann Erickson." Hobart looked like a giddy child, clapping over Don finally uttering those words, and admitted Don was his white whale - he finally caught him!

What have they gotten themselves in to? Did they just sign a contract with the devil. I think so.

All this splendor of nabbing the top dog in advertsing didn't last long. Budweiser was coming in for a pitch and Don was told to go to the meeting. He was the creative director at SC&P, but now at a huge company, there isn't just one, but probably a hundred. The Budweiser meeting was in a boardroom filled with men like Don, and apparently, that was not even the whole group who held that position.

Already flabbergasted by his state of near insignificance - I mean how many more creative directors did they really need? - he instantly got bored with the meeting. He instead looked out the window and watched a plane fly around the empire state building. To me calling to an image of King Kong, but that doesn't really make sense here. It instead seemed to mirror a scene earlier on in the episode.

When Don first walked into his new office, he was alerted from his secretary/current interior decorator, Meredith, that one of the windows was not sealed tightly. He came close to the window, with the whistling of the wind coming through the panes, as if nature was beckoning him outside. Anytime Don gets close to a window it references the show's opening credits. Even though it is continually denied, I live in fear that the writers will actually decide to do that to his character. I know, I know, stupid, because they just can't do it! They can't! I will lose it if Don actually jumps out a window. Would that be a new form of jumping the shark? The image of falling and his escaping the advertising world is better as a metaphor anyway and his desire for freedom only intensives in the next scenes.

Back to the meeting. After looking out the window for awhile, Don just decided to peace out. No one, except Ted (who has worked himself into the machine already), even noticed he left.

So, where was he off to? First stop was Betty's. Don went inquiring about his sons who turned out to not be home. Things in the show and Don's life really are getting wrapped up. Even Betty seemed to have forgiven him. They had a pleasant chat, that ended up involving a neck massage. They are entirely civil and actually seem to enjoy each others company. This scene instantly felt like a farewell and combined with his peering longingly out widows, very much created a sense of dread, and left us all wondering what the heck he was up to.

Apparently, taking a cue from Jack Kerouac was the plan. Don hopped in his car to start off on an adventure. He was heading west to Racine, Wisconsin (where Diana the waitress is from). Late into the night during a stretch of the drive, the ghost of Bertram Cooper showed up to ride shotgun - this and the roller skates/organ made for quite the surreal episode. They didn't talk about much, mostly just chit-chat and tying in a reference to On The Road, but this Cooper apparition was well timed and seemed to wrap up what Don saw in the first vision of Cooper back at the SC&P office. The first time Cooper did a song and dance that was focused on pleading with Don to understand the important things in life and now he showed up again once Don was out trying to experience that exact advice.

Once he got to Racine, Don pulled up in front of  house, and knocked on the door. With Budweiser on the mind, he pitched himself to the woman who answered the door as a man delivering the grand news of a prize! Someone in that house was the lucky winner of a brand new fridge full of beer.

It was obvious what he was trying to pull. This was Diana's house, but now her husband has gotten remarried and the woman who answered the door was his new wife. Smartly (or crazily - however you want to take this stalker-esque moment), he said Diana was the contest winner and he needed to know where she lives now so he can deliver the prize.  This lady told him that Diana wasn't there, but he can come inside and wait for her husband.

The daughter Diana left was inside - very creepily standing on some stairs behind the door [between this shot and the organ music, I can see Matthew Weiner making an eerie movie] - making this sad storyline even more real.

When Diana's ex husband showed up, he instantly knew Don was a fake and told him to get out of the house. The man stopped Don before he drove away and we found out that Don wasn't the only guy who had been trying to find Diana. This all just seems odd. I mean she seems nice and all, but what kind of pull does she hold over all these men?

The episode ended with Don driving even farther away from New York. He picked up a hitchhiker (who, allegedly, could be an allusion to Bob Dylan) that needed to go to Minnesota. Don, with no real sense of urgency to return to the job (it's okay, Jim Hobart just think he's on a bender, because that's a sensible reason to miss work...), said that sure, he could go that way.

With the sun shining and open mid western fields surrounding them, two strangers drove off down an empty highway, literally toward the horizon. I wouldn't say Don is lost, but he's definitely looking.

Based the always vague and terrific "coming attractions", I think I remember seeing Don in a suit. So, either he stays MIA on the road and still looks sharp, or he is back in NYC by the next episode. While some of the characters are now settled, and one in particular had a huge loss in their direction in life, there is still quite a lot to be determined.

We've only got two more episodes to find out where everyone will end up, or if Don and Joan will still be off wandering.



Until next time. 




Once again, my scatterbrained initial thoughts of the episode:

Ferg is terrible at don impressions
Wind whistling through window allusion to falling out??
Everyone at McCann is a suck up. Just trying to get on Joan's accounts.
Don is their white whale. Seems at first to really buy into their deal. I'm Don Draper from MCcann Erickson.
Meredith meeting don at the front if the office so he doesn't get lost. Calls her honey: does she think they're married?
Joan is working with a dummy guy who thought she would be fun when he is the ass who asked a guy in a wheelchair if he played golf.
Peggy wants an office!! Will be reached at sc&p until then.
Meredith is don's decorator
Peggy walked into the falling down office building. They turned the lights off
This new place is too formal and lame
Don walked into a whole board room of creative directors
Light beer meeting
Don looking out the window, plane over the empire state building. Then he just walks out. Is the sky open opportunity to come?
Ferg is also a creep!!! Joan deserves way more respect than this. Those dudes Peggy and her met with earlier in the season were actually quite the forshadowing. They need to keep those accounts otherwise what would she do? Jerk jerk jerk.
Don and Betty are civil. He gave her a shoulder rub. They seem happy.
Don driving to Wisconsin ghost of copper sitting shotgun. Reminding him more about best things in life are free. Talk about on the road.
Ghosty roger sterling playing an organ...why did they have an organ????
Peggy is moving to mccan.
Her and Roger have a moment where they reminisce about how good they had it. Peggy seems bitter that roger didn't protect them all better. Peggy hopes she too gets to have her name on a wall. The past and future. Rogers new office is on the retirement floor.
Don fridge salesman in Wisconsin.
Joan is laying down the law! I feel so bad for her. what these women had to put up with.ANGRY!
Then cut to another lady having the time of her life. Peggy roller skating with roger playing the organ. Then Badassing herself into the office, with a ciggie and that painting. She is the bestttttt.
Roger tells Joan to take the money and run! Noooo
Don is definitely jack keraouc.
All the stuff with him was about being out on nature. Sun, wind, the sky overlooking the office building.
Lost horizons. Don driving off in to the middle of nowhere.

Going Mad: "Time & Life"

"We don't know lots of things about lots of people."

It's true - we make judgements about others all of the time even though we have absolutely no idea what exactly is the story behind every human life. This statement was brought on by Peggy reflecting on a confrontation she had with a mother who had brought her child into SC&P to help with an ad campaign.

Not knowing the truth behind people could be the mantra for Mad Men as a whole, but when Peggy said this she was referring to her  life and, in particular, one of her own secrets.

That's right, after lots of speculation, long time fans were finally given the official details of what happened to Peggy's baby. It was done in a subtle and classy way, but was still shocking, since most had assumed the issue would never come up again. The past was the past. But this is an event that was crucial to Peggy's life, so I'm glad she was finally given some extra time to talk about what had happened.

In fact, every episode this season has found characters contemplating change and generally thinking about their life, past and present. Obviously, "Time & Life" continued on that same path. Along with Peggy's confession, people were shacking up with old girlfriends, meeting up with ex-wives, and all of the workers at SC&P were faced with a life altering decision that was made for them, instead of by them.

Really it's all there in the title - life is all about time. We only have a fixed amount of minutes, months, or years on earth and for the characters on Mad Men, their lives are about to go off in, what was for many of them, an unexpected direction. We've got ourselves another double meaning here too, because SC&P is located in the Time-Life Building. Besides the name, the building itself becomes quite the focal point of the entire episode.

An old friend, Ken Cosgrove, was brought back, probably for the last time. Anyone who is really keeping tabs should have known that this meant something bad was going to happen.  Remember, most importantly, he wears an eye-patch, and secondly, he was the one let go from SC&P in the season premiere. On his last day at SC&P he basically laid down a "plague on both your houses!" decree, claiming he was going to make their lives miserable.

As he is now one of their clients, Pete and Don had a dinner meeting with Ken to discuss plans for a campaign. Even though he was getting wined and dined, Ken hated everything Pete was saying until Don showed up. Yep, just like many people who watch this show, Ken was outright spiteful towards Pete.

At this point he was just another difficult client, as he said he would be, but Ken became very important later when some bad news came calling to SC&P.

Igniting more memories of the past, Joan and Roger sat together in his office to receive this bad news. McCann Erickson - the company that recently became the majority owner of SC&P - wants to shut down their office, so all members of SC&P (or those who don't get fired) will be absorbed into McCann's building.

It's the end of an era for our friends in the advertising world, but I personally can't see why they were so shocked. Why have two separate companies when you could just merge them together and become a mega company that rules the world?

Either way it is sad to see something these characters worked so hard to build crumble beneath them. I guess nothing lasts forever. However, it shows that Don and the gang are well respected in the industry and are desired employees at the biggest ad agency in the country. 

Well, Don, Roger, Pete, and Joan don't see it this way, and began trying to brainstorm a scheme that would save their butts. Ted didn't have that much stake in SC&P and sounded actually quite excited to go work for McCann. Oh Ted, that kind of hurt your credibility. But still, he's a pilot, so he's pretty great.

Don got to thinking about the West Coast office. Let's put it this way, Lou is a lucky SOB. Earlier in the episode he had called Don simply to say, "Enjoy the rest of your miserable life!" That sounds so sweet, it should be on a postcard. Lou said that he was moving to Tokyo, because the people who made Speed Racer wanted to make his blasted comic into a cartoon.

With Lou gone (can we all say, finally!) there is no one manning the office in California. Don had a light bulb moment - maybe they should try to convince McCann to let SC&P operate from the west? It turns out that the merger would cause the company to lose accounts, since McCann has clients that would conflict with some of SC&P's (think Coke and Pepsi - they probably don't have the same marketing team). By keeping SC&P open, they wouldn't lose any money.

The team got to work trying to get commitments from several of their clients, so that they could make their pitch to McCann. Here is where Ken came back into play.

Ken represents a large account (Dow Chemical) and they need to cement as much revenue as they can to impress McCann. Dollar signs do speak louder than words.

Roger and Pete met up with Ken to try to convince him to stay with SC&P if they move west. Just as he had foretold in Roger's office earlier in the season, Ken finally got his chance to really stick it to 'em. I don't think I've ever seen anyone say "no" with such pleasure. Without thinking about it, Ken looked at Roger and Pete, and simply turned them down with a smile. Then, pleased with himself, just got up and walked out of the room.

Even without DOW Chemical, they decided to push on and try to convince McCann to keep SC&P separate. At the meeting with the head of McCann, Jim Hobart, Don was in full ad man mode. The whole gang looked excited - they really thought this was a sure fire win for them.

And then Hobart cut off Don mid sentence during his pitch. Cue that cliche sound of a needle scratching a record. And add a "Whaaaa?" No one cuts off Don Draper.

They are going forward with the merger, no exceptions will be considered. Don was flabbergasted, as was everyone else in the room, aside from Hobart, who knows that he rules the world. Quite well done, in a ingeniously framed shot, all of the partners looked like the exact mirror opposite to when they gathered together for the first time in what was their new office. One scene signaled the beginning, the other, an end.

This whole time the partners at SC&P seemed to really only be worried about themselves. But what about the rest of the people that keep the company running? Rumors start buzzing around the office. Most surprising of all, it is Pete, of all people, who finally went to tell someone else about the company's dilemma. Pete recognized that Peggy certainly had the right to know what was going on.

These two have quite the mixed up past, but at least things over the years have loosened up to the point where they can be friendly. [For a fabulous recap of this scene and some fascinating investigation into what all the costumes could represent in this episode, check out Tom and Lorenzo.]

We haven't had much insight into Pete's life lately, so it was actually nice to see some more focus on him, even if he has been rather loathsome through most of the series.

Pete and Trudy were brought back together for the sake of their daughter's education. Tammy wasn't accepted into the private school that Pete's family has always gone to. Or sorta always gone to? Pete didn't even go there, but that's beside the point.

They had a meeting with the head master of the school. Pete and Trudy put on their most winning smiles and it still didn't do them any good. It turns out that Tammy didn't score well on the "Draw Man" test. To me, this sounded like some sophisticated upper class way to evaluate children. There must be lots of extreme tests and puzzles. That is not the case however - the test is actually exactly what it sounds like. Give a kid a piece of paper and ask him/her to draw a man (or person - I'm happy to see it is referred in this way now-a-days).

Tammy didn't draw enough body parts, so her score was low, but at least she remembered to draw a mustache. Unlike other people at SC&P, Pete is sans mustache, so he was instantly taken aback, inferring that Trudy is involved with a man who is rockin' a 'stache. Is that you Roger Sterling?

Ultimately, the headmaster just had it out for Pete and poor Tammy had to suffer. The end of the meeting almost turned into a brawl when the headmaster revealed that for centuries his family has feuded with the Campbell's (Pete's family). What a bizarre detail. Another case of the past effecting the present.

I never cared much about Pete and Trudy ending up back together. She rightfully divorced him after-all. In a scene back at her house, that all changed. Trudy seemed lost and alone. Plus, those two kids just seem right together. If Pete does a little groveling and produces some sort of grand gesture, I will accept her taking him back. He does seem to have changed for the better. Maybe he realized time is ticking away.

Another quasi-couple, which in this case is an office duo, are brought together by a child. Peggy and Stan, trying to hire some kids to help with an ad, had grouped them in a room with some toys. Looking uncomfortable and unsure what to do, Peggy authoritatively told them to play. It wasn't until goofy Stan stepped in, that the kids began to horse around.

Whenever Peggy is around children - most recently, that boy who she let watch TV in her apartment - we as an audience can't help but think about Peggy's enigmatic baby situation. She herself always seems to be thinking the same thing, making her act more awkward, instead of just being relaxed. But hey, not everyone is comfortable with kids, and that's okay too.

As mentioned earlier, one of these kids is left behind at the SC&P's office. Her mother was coming back, but no one knew when. Peggy and Stan ended up having to look after her. Being the "childless crazy adults" that they are, they didn't see the harm in a child playing with a stapler. And as luck would have it, the girl staples her finger, perfectly timed with her mother showing back up and making them look negligent.

The mother is furious, even though it's just a little staple. Peggy instantly judges this woman, who is all dolled up, just like the mom in Now & Then who is cruising around town looking like Nancy Sinatra. This agitation boils over into a big argument between the two, leading to the woman grabbing her daughter and storming out of the room.

This episode found  Peggy coming to several realizations about different parts of her life. After Pete told her about the company merger, Peggy decided to think about her future employment. Maybe she could find some place better than McCann and choose her own destiny. So, she asked for advice from a headhunter. She is great, who wouldn't want her as part of their team? The guy giving her career advice said that working for McCann is her best option.  Peggy seemed to think, so that's it? Is this everything I've been working for? Her dream of becoming the first female creative head at SC&P won't happen, but maybe it will at McCann.

Then she was finally faced with a situation where she couldn't avoid the topic of her child anymore. After the fight with that mother, Peggy was sitting in her office with Stan. She told him that it wasn't fair of her to automatically think that woman was a bad mother, because we never really know everything about other people's lives. Stan made - what he didn't know would be - an ill-timed joke that maybe he has some illegitimate child out there. Which lead to this great comment by Peggy:

"“But you don’t understand your mother! Maybe she was very young and followed her heart and got in trouble, and no one should have to make a mistake just like a man does and not be able to move on. She should be able to live the rest of her life just like a man does. Maybe you do what you thought was the best thing.”

With a dramatic pause, and a little curious eye from Stan, Peggy admitted she had given a boy up for adoption. Plus, she doesn't know where he is, because otherwise she would never be able to get on with her own life.

It's conversations like these that are really making me sad about Mad Men ending. There is no other show expressing these realities for women in such a matter of fact way. They happen, so let's talk about it. Also, after seeing Stan's sweet and caring response to Peggy's tough admission, how can they not be destined to be together?

The "little" people at SC&P are tackling some deep issues, but the partners were still off in la la land, commiserating like millionaires do, about their failed pitch over drinks. Joan and Pete left together and have a meaningful conversation in a taxi. Joan, rightfully so, is unsure that she will maintain the same level of respect at McCann. Pete on the other hand is very calm about the whole venture. This is really the episode where Pete tried his damnedest to be redeemed for past transgression. And you know what, it's really working.

Roger and Don, stayed at the bar and after awhile were looking a mess. You always know characters on this show are drunk because of their hair. "Business" means a slicked back look, but "intoxicated" means hair looking disheveled. Now that they're loosened up, they seemed to be accepting of this new business change. Right before Roger left to go meet up with Marie (aka Megan's mom/Don's ex mother in law), he grabbed hold of Don's face and said, "You are okay."

That endearment holds a lot of meaning to Don's life, because it has seemed that this is what he has been searching for - being okay. And still, he staggered off to find Diana, who left him a message, but now seemed to have disappeared again. Her apartment is even now rented by two men. Don, move on, buddy. You are not going to be okay if you keep digging around for people who are not interested.

Now that the partners were a little more at ease about their jobs, there is still the question of telling the rest of the office the truth.

Meredith had a major cow man, and if that usually meek woman was pissed about all the secrecy and rumors, just imagine how everyone else was feeling. The partners gathered everyone together to make the announcement about the merger to their employees and hopefully ease their minds.

But before Roger or Don could even finish speaking, everyone around them were already jabbering amongst themselves and began walking away looking annoyed and shaking their heads. Many of them were obviously concerned that they would still have jobs, something the main dudes didn't have to worry about.

Don, Roger, Pete, Ted, and Joan may have been the head of the company, but now they're just another voice lost in all the noise. Won't working for a big corporation be grand?



Until next time.

Going Mad: "The Forecast"

Don is selling his apartment, Joan is trying to have it all, Sally is forced to think about life beyond boarding school, and Peggy wants to rule the advertising world - "The Forecast" was an episode that had many characters working towards what is coming next in their life. Perhaps even "forecasting" their future. Even Lou is trying to get that blasted comic of his turned into a cartoon. Allegedly Hanna-Barbera is very interested and he might be spending more time in LA fishing for his own fame instead of working for SC&P. Either way, he's lame, so let's move on to more important people.

Episode 10 kicked off with Don being woken up by his very cheery/pushy real estate agent, who - let's all be honest - we all thought was just another one of his birds who has a key to his apartment. But for right now, it appears their relationship is strictly business. This Jennie Garth lookalike preceded to whirl herself into a panic, having a very Carolyn Burnham, "I will sell this house today!", mantra moment, hurrying Don along so he won't disturb the folks who should be arriving to look at the apartment.

At the office, Roger assigned Don the task of writing a manifesto about SC&P. It is for a business meeting that Roger will be attending in some tropical location. Apparently, having the grandest mustache in the office means having a few perks, including passing off work and going on vacation.

Don is back at it! Even though he doesn't do much of the creative work himself anymore, the people in the company still think he is the best man to do many tasks. Plus, they all want his opinion, because he's still got "it". Which is exactly why Peggy would first (and importantly) finally ask Meredith, Don's nosy secretary, to mind her own bee's wax, and then tell Don that the team needs his approval for a Peter Pan "Tinkerbell" cookie account pitch.

He's finally able to let his students in the creative department fly, but they all returned to the nest rather quickly. One of the guys, John (had to look up his name, sorry), blew the pitch with Peter Pan. They are giving SC&P another chance, but John begged Don to take over. Being the headstrong guy that he is, Don said that he wouldn't, because people need to fix their own mistakes. He did, however, give this scared kid advice, providing some anecdotes for how to win back clients, something he has had to do a few times in the past.

Don might be seemingly killing it at work, being a smart mentor and all, but he is knocked down a few pegs upon returning to his apartment. There he finds the frustrated real estate agent. Since Don refused to stage the area with furniture (remember he has none) or replace the carpet, you know, the place in the bedroom that has wine all over it [Side Note: I'm so excited that such a random incident has come to play during every episode!], nobody wants the apartment. But this place is freaking amazing! Have you seen that view? Carpet is easily replaceable, people!  This episode of House Hunters: Mad Men drove me nuts.

The real estate agent had other points. She said the apartment reeks of failure and that "it looks like a sad person" lives there. Using deck furniture indoors can do that to a person.

Away from the "sad" life of Don Draper in New York, Joan is off in sunny LA , meeting up with the West coast office. But first things first, she was in her hotel room relishing time in the adult world away from her roommates - mom and baby. She ordered herself a little room service consisting of grapefruit and decided, after a, "why the hell not"  kind of shrug, on some french toast as well. Treat. Yo. Self.

After her breakfast, Joan bustled into the LA office. This is where we find out from Lou's secretary that he is running late, due to the whole thing with his monkey comic. Joan is a high ranking person in the company and here we still see Lou's secretary spill a bunch of gossip, which she wouldn't have done to Don or Roger. I always find it interesting that even though she is a partner, Joan is still treated like she's just one of the gals. A woman in a prominent role is not a common enough occurrence for people to get a cue to change the way they talk to people based upon rank, instead of gender.

Joan and Lou are supposed to meet up with one of their clients, so when a man walked in, Joan automatically assumed he's there for the meeting. Turns out she's wrong and this was some guy who was lost. Everyone who looks at Joan is instantly bewitched, so of course this dude, Richard, asked her out. Joan, enjoying the power of her single life, said yes, and since this guy fits her "older man" type, they end up back at her hotel room.

Richard at first is somewhat mysterious, but eventually told Joan the story of his life - once married with several kids, he ended up getting divorced after his children had grown and moved on with their own lives. He's a freewheelin' guy who, inspired by his children traveling the globe, wanted to do the same with nothing to tie him down. Joan said that she doesn't have a husband, but casually forgot to mention that she does have a young child waiting back home.

At first it seemed like this was going to be a "what happens in LA, stays in LA" situation, but Richard surprised Joan by showing up in NYC. During this rendezvous though, Joan revealed her truth, to which he admitted that he doesn't want to deal with anymore kids. After she stormed out, we could all be thrilled that Joan stood up for her own life and wiped her hands of Richard.

Peggy gets a lot of credit for being a great example of a powerful woman who pushes boundaries, but Joan shouldn't be forgotten either. She is trying to be a good mom, be a strong contender on the job, and, maybe a little in her spare time, find a guy that loves her. It is then slightly disappointing when Richard shows back up, saying he actually did want to be a part of both her and her sons life. Joan, this guy still seems iffy - we all think you can do better. Hopefully she doesn't forget to stand up for her own rights when deciding to settle down again.

On the subject of mother/children relationships, Betty and Sally were getting things together for Sally to go off on a summer trip that will venture across 12 states in 12 days. Apparently, this was a trip that Betty also took, but back then they only visited six states. Sally, unable to not be somewhat of a smart ass, replied with one of those classic burns straight out of the old days: "Weren't they still colonies?"

Mother and daughter seem to be civil, but will probably not ever (or at least for many years) have a tight relationship. There is always something that pulls them apart. Case in point, the arrival of a blast from the past at their front door - Glen. We've seen Sally and Glen in numerous other episodes (the one where they have a day on the town in NYC is one of my favorites), but this was the first time Betty has seen this kid, who once lived on their block and creepily asked for a lock of her hair, all grown up.

Betty looked overcome with a weird sort of instant attraction to Glen, as in, she couldn't believe this kid who had a crush on her is now a man. No matter, because both Sally and I felt VERY awkward about her luring eye. Quickly she bounced back to reality and offered them drinks - beers and smokes even, because she's a cool mom. 

Glen brought a girl with him and wondered if Sally wanted to go with them to a theme park. Turns out though that the fact he stopped by wasn't just for a fun summer lark. Glen has signed up for the Army and is being sent to Vietnam. Man Men has always done a fantastic job of integrating important points in history into the stories. It's as much a show about advertising and personal relationships as it is about American culture during the 60s and 70s. So, of course, one of the characters would have to go fight in this war. 

Sally freaked out. Apparently Glen has always shared anti-war ideals with her, specifically anger about Kent State. Always contradicting each other, Betty basically told Sally to quit her nonsense, referred to her as Jane Fonda, and then told Glen he's doing the right thing for his country and she couldn't be more proud. But Sally still couldn't stand it all - Betty or Glen - and ran up to her room without saying goodbye to one of her closest friends.

Later on Sally does call his house, but Glen wasn't home. She ends up giving her tearful goodbye to his mother. Even though I always thought Glen and Sally could end up as more than friends, the last we see of Glen this episode is in a scene between Glen and Betty in her kitchen, where he revealed that he had actually been pining away all this time for Betty, not Sally. He wanted most of all for Betty to know that he was going to Vietnam and grabbed her into his arms. At first it seemed like she would Mrs. Robinson this situation, but Betty pushed him away. By doing so, she was both honoring her marriage vows (what Don never did) and also avoiding being creepy herself.

What started as a somewhat weird scene, merged into something quite meaningful. Glen only signed up for the Army to gain approval from his step father, which did just the trick. Now he is terrified about what he is about to face and needed someone to reassure him. Betty tried her best to at least put him a little at ease by just listening to what he had to say. He may be of age to be considered a man, but Glen's just a kid. How true this fear must have been, or still is, for many that are going off to fight in a war.

Back at SC&P, Vietnam doesn't seem to be on the minds of anyone else. Don pulled out a look from the old days - laying back on his couch and talking into his recorder while working out the perfect dreamy words for the speech Roger had assigned to him. Breaking up his thoughts, Peggy burst into his office and asked Don to do her performance review. Originally Ted was supposed to conduct these, but Ted told Peggy to do her own. The thing here is that Peggy (deservedly) wanted someone else to review and recognize her many achievements from the last year.

Don agreed and started right off with the typical interview-esque question - "What do you see for your future?" To no ones surprise Peggy said that she wants to be the first female creative director at SC&P. Don was impressed that she knew exactly what she wants, but at the same time, wasn't taking Peggy that seriously and started to push back with more questions about life in general. This annoyed Peggy and she showed that by saying something that continues to make her character a wonderful addition to the world of television:

This failed interaction with Peggy isn't the only time that showed his grip on being that smart mentor might be out of control. John took the "Don Draper No Fail" advice too literally, and completely bombed once again at his presentation for Peter Pan. Losing control of his anger, he told Don off, telling him he's really not that great and is just a handsome face that people can't turn down.

Does this mean Don is in "the bubble?" Sure he's a handsome dude, but of course not, we all know Don also has the advertising smarts. Letting his annoyance with failure get the best of him meant that John was sent packing.

Although it may seem like criticism doesn't ever get to Don, John questioning his talent did actually get in his head and lead to passing down some advice to his daughter.

On the night before Sally's trip, Don took her and some of her friends out to dinner. They are at the age where everyone is asking, "what do you want to do with your life?" Her friends seem to have a good idea, but Sally is sick of this question already. She is also especially sick of watching her father get hit on by women, or even girls, since one of her friends took a definite liking to Mr. Draper.

For obvious reason, Sally is noticeably angry when Don dropped her and her friends off at the Greyhound bus, which apparently will be their ride for their cross state adventure. [Side Note: Is this something their school has rented? Or are parents just sending their kids out on a Greyhound? So many questions that maybe no one else cares about.]

Sally told Don that as far as she's concerned, her dream is to grow up and not be like her mother or father. Woo - sassy teens really know how to burn their folks. Unlike Betty, at least Don had a powerful retort that really made his daughter think. He told Sally that she is already like both her parents and she's a  pretty girl that will have to prove that there's more to her than a face. This may seem conceited, but based on our society, we all know this to be true. Before she boarded the bus, Sally definitely looked like that blast of reality really gave her something to think about while traveling around the country.

In this way Don asserted what one thing in his life he knows to be true - yes, he's good looking, but after working his way to the top, he had proven to many in his industry that his creativity and smarts for advertising is unmatched as well.

After giving Sally that dose of realness, Don returned to his apartment to find out that (wine stain and all!) it has been sold! Even though this is what he wanted, the episode once again ended with Don looking forlorn and all alone standing out in his hallway.

Several other characters seemed to know where they wanted their life to be heading, but what is "the forecast" for Don? Is this all leading up to Don just ending up alone? We've only got four more episodes to find out.



Fun Facts from "The Forecast":

• Glen is played by Matthew Weiner's son.  

• I really wanted those Peter Pan Tinkerbell cookies to be real, but alas, I haven't been able to find them anywhere! Either way, at least it sparked my memory of this Peter Pan aficionado who used to show up on Late Night With Conan O'Brien. 

Until next time.

Going Mad: "New Business"

Coming to the end of a series with an immense cast of supporting characters means finding the way to say goodbye in a lot of different ways. Sunday's episode, "New Business", was largely devoted to what could (possibly) be the last time the show would feature Megan. Plenty of time was spent setting up how her, and a couple others, will be sent off in exciting directions. Including one specific character who decided to leave her husband and sack up with Roger Sterling in NYC.

The episode kicked off with an odd sight. Don and his sons were hanging out. Not only that, but they were in the kitchen at Betty and Henry's place. What...is...happening.

It is evident that Don has been trying to be a better father, so is it terrible that when I saw a blender in Don's hands, I just assumed he was making himself a blended boozey drink, perhaps a margarita? Oh, it's milkshakes! They had been out at dinner, but the restaurant was out of ice cream. Certainly making those for your kids is what a good father would do.

Shortly after Betty and Henry return home, Don hastily takes his leave, grabbing his fedora, which had been adorably perched atop his youngest child's head. Right before he exits the kitchen, he longingly looks on at his kids, their mom, and step dad.  The expression on his face says everything  - he's the guy who takes his kids out to dinner and looks after them every other weekend. He is bound to miss out on a lot of these smaller, everyday moments. Leave it to Mad Men to have a ton of subtext in what is just a simple two minute scene.

Slowly, but surely, Don is taking notice of things he didn't care much about before.  This all fits right into the rest of the episode, which is mainly focused on Don kicking out the old and bringing in the new. Everything from women to furniture to the evolving sense that his view on the world and himself are changing.

Over a telephone conversation with Megan in LA, it is revealed that Megan will be coming to NYC to finally move all of her stuff out of Don's apartment. The divorce will be official. She also doesn't have enough of her own money to cover the cost of movers or to live on in general. Apparently, that decision to move to Cali for acting wasn't so hot of an idea. She is not coming alone either - her sister and infamous french mother will also be along for the ride.

And they sure "help" alright. But first, there was more with Diana.

Last week, it felt like some parts featuring Diana (aka that waitress) were dreamlike and surreal. Well, since she showed up again this week and communicated with more members of the cast, I'm going to say that theory has been debunked. Don tracked her down working at a new restaurant. Apparently she went back to her hometown of Racine, Wisconsin for a while (a place I only know because of A League Of Their Own. Thanks, movies!). Now she's back in NYC and Don was able to deliver this smooth ass line, "I want to have dinner with you, even if it's for only five minutes at a time." You know, in between bringing him his dinner and filling his water glass. Diana isn't falling for that, but takes Don's number anyway.

She does call him later that night and they have a time together at his apartment. Things get a little tricky though the next morning, when stumbling into Sally's room, Diana sadly sits down on that seldom used twin bed. She admits to Don that the reason she left her husband in Racine was because they had a daughter who had died.

Don has had many a lady friend in the past, but while listening to Diana's story he shows a different side of himself. For one, he honestly looks sympathetic. It seems like Diana, being a regular gal from the Midwest, makes him feel connected to the real Don - or rather - Dick Whitman. "Don" may belong in the sophisticated set of upper class New York, but that's just the mask he wears. The identity that is a huge success, but funnily enough, really has never made him completely happy. Now that he seems to be more free with his past, that real side of him would long for a lady who is a waitress, apposed to having an affair with the wife who lives with her rich husband downstairs.We are reminded of this, when Don and Diana have a rather awkward elevator run in with Dr. and Mrs. Rosen.

As this new relationship is developing, so is one within the confines of the office. We really haven't seen Don doing much work in the last couple episodes, but everyone else, including Peggy, are working their buns off.

It's always a good episode any time Stan and Peggy are paired together. Peggy has just hired a new photographer for a Vermouth ad campaign. "Teen Wolf", aka Stan, seemed annoyed that Peggy hired this woman, Pima Ryan, who is a big deal in the photography world. Although, as the episode goes on, Stan's attitude starts to make sense. Stan admires Pima and wishes he could be an artsy photographer like her instead of working at an ad agency. Pima hits on Stan in a dark room, which he seems to like very much. Although, when Pima does the same thing to Peggy, things get a little more tricky. Obviously, she's a hustler baby (I just want you to know), who is just trying to push their buttons. We all know Peggy ain't going to put up with that.

Adding new characters like Pima for a single episode actually causes quite a bit to be revealed about already established members of the cast. Even though he has been on the show for a couple seasons, I think Stan has only been seen outside of the office a couple times, so it was nice to have a storyline that focused on him. We saw where he lived and that he has a girlfriend! Which also made that darkroom scene more critical. Stan, quit that cheating! Especially if you end up with Peggy. 

We're not saying goodbye to those two yet, but if this is the final episode for Megan, she sure went out on an interesting note. Megan, her sister, and her mother, Marie, showed up at Don's apartment to pack. Marie is notably upset over her daughter's impending divorce and is fuming over Don, noting that red wine stain in the carpet and proclaiming, “You're lucky he didn't give you syphilis." Everything just sounds so much classier in a french accent. 

After seeing Marie in that state, most people would have second thoughts about leaving mommy behind with the keys and in charge of the moving operation. Alas, Megan has no choice, as she, in hopes of improving her acting career, has to run off to a meeting with SC&P's own TV man - Harry Crane.

Megan had originally planned on only taking a few things from the apartment, but she shall have it all if Marie has anything to say about it! She promptly called her past conquest - Roger Sterling (answering the phone with perfect comedic delivery, as always) - to ask for some money. Upon Sterling's arrival at the apartment, he hands the moving people some cash, and looking around, realized that there is not a single piece of furniture in sight. Marie had everything loaded up and taken away! Megan will definitely be getting her fair share now.

Sure, she needed some extra money to give to the moving company, but Marie obviously called Roger there for other reasons. This all really makes you wonder why she is so judgy about Don cheating on Megan - it takes one to know one.

Career lifelessly flailing, getting divorced, mom running off with a guy who isn't your dad - if right now you're thinking, "hey, I think Megan's life deserves to get worse", than you are right on target.

Before this episode, Harry Crane could have been credited as the least pervy member of SC&P. Well, he just moved up to number two (sorry Pete, you will probably always be number one). Almost instantaneously after Harry sits down to have lunch with Megan, he insinuates that if they went to a room in the hotel, he could - wink, wink - make some really good arrangements for her career.  First Joan in the last episode, now this. Megan should have taken a move from the Real Housewives book and chucked that wine in Harry's face, but she just stormed off instead.

This is definitely not the type of meeting she was hoping for and the next day she had to go finalize her divorce. Megan was never a favorite character of mine, but lumping all this bad stuff together makes it rather easy to hope that something works out in her favor.

After telling Don off in their lawyers office, basically playing the, "you ruined my life" card, Don said, "I'm sorry" with as much sincerity as when talking to Diana about the death of her child. He just seemed to really mean it. Does that make up for how to treated people? Maybe not entirely, but he's trying. With that, he wrote Megan a check, so that she can have the life she deserves.

It seems like a cool million big ones would seal the deal. She at first has the sassy "are you joking" reaction we all would have, but then quickly folded up the check and walked out of the room. Megan may never get to be a huge star, but while she figures that out, at least she'll have the funds to live luxuriously.

Now that he's got one woman down, Don ventured to Diana's place - the one room sort of dingy establishment a waitress in NYC could afford. While there, Diana revealed more of her story, as in, she had left out a few important details. She did have one child that died, but when she left town, she was also leaving behind another daughter. Ultimately, Diana decided that she must push Don aside, because he was making her moderately happy, an emotion she felt she doesn't deserve.

All throughout his entire life, Don has had a lot of people come and go, but he still seemed jaded by this exchange and only continued to look downtrodden upon returning to his apartment and finding it empty. No more Megan. No more Diana. No more couch. The final shot is of Don standing in his (very cool) sunken living room, staring out into the vacant room. There's nothing quite like a fresh start.

Just like every episode, we are left with countless questions. Was that a wrap for both Diana and Megan?  Will we ever seen Don and Peggy working together again? Will Pete keep wearing the worst costumes? How is Ginsberg doing!?

Hopefully, that's all to come - we only have five episodes left to find out.


Just a few other thoughts from "New Business":

• "NAC": No afternoon calls. As in, some clients have this noted under their contact information, because they drink too much during the day and are then too sloshed to have coherent conversations with in the afternoon. Oh, business in the 60s and 70s

• Historical information for anyone who (like me) didn't understand the reference in the following quote: "I've got two secretaries and three telephones. I feel like Marlon Perkins is chasing me on the Savannah. Hiding is pointless." - Roger Sterling. To quote the internet: "Richard Marlin Perkins was an American zoologist best known as a host of the television program Mutual of Omaha's Wild Kingdom from 1963 to 1985."

• Pete got upset with Don for smoking in the car. Remember, Pete just learned to drive a couple seasons ago! That epiphany really made me laugh - he's like a scared teenager who doesn't want any distractions.

• Don's secretary Meredith had a HUGE can of Tab on her desk. You'd have to pick up that bad boy with two hands.

Until next time.

Going Mad: "Severance"

Each episode of Mad Men is tightly veiled in mystery. Even when we think we are getting let in on a preview for next week's episode, nothing is actually revealed. At the end of every episode, that AMC narrator voice says the leading phrase, "on the next episode of Mad Men...", and the previews that follow week after week are notoriously vague. It's just a bunch of clips of characters saying out of context sentences or a reaction shot of Don looking befuddled.

Try as you might to guess what may happen next, but odds are these previews just trick us into believing one thing or another that never actually happens. And still I stay tuned for these previews and try to piece together these nonsense scenes into having meaning. It never works - I have yet to guess any upcoming plot point correctly.

Anyone wanting to have some insight into the episode they are about to watch, should probably spend some time analyzing the title of the episodes instead. With a title like "Severance" we could have all guessed there would be at least one severing of ties in the season opener - be it a work or personal relationship or even both. Maybe some of you out there did make this connection, I, however, was off thinking in lala land as the episode started and didn't pay attention to the title. I was then rather surprised when the episode included the death of a character from the past and that one of our friends from SC&P was let go.

Turns out there was lots of severing going on. But let's first go back to the beginning.

The initial scenes of Mad Men's return on Sunday had Don Draper looking happier than he has in recent memory. This may have been because he was overseeing the casting of an ad that "forced" him to be alone in a room with a bunch of leggy women. Their only job was to seductively gawk at themselves in a mirror while being draped in an expensive Chinchilla coat. [Side Note: There is a shout-out to the accumulation of a literal binder full of these women models later in the episode. Mitt Romney would be proud.] But Don actually smiled! Work is good again!

It would appear that his life is as well, as Don is next seen retelling a hilarious tale about toasters to three women in a booth at a diner. This moment is totally upstaged when Roger f'ing Sterling waltzes onto the screen with what can only be described as the grandest white mustache to ever grace a man's face. That reveal will be going on my list of favorite small comedic moments in the series. Between that 'stache and their jumpsuit clad, big haired female companions, it is real - the show is definitely moving into 1970s chic.

While still at the diner, Roger calls their waitress over for the check (he calls her Mildred Pierce - a reference I finally understand!) and Don looks perplexed. He instantly feels like he has met this woman before. More on that later.

When returning to his now permanently Meganless apartment, we find out that: a) Don did not bring home that big haired jump suit woman. b) He has a phone answering service - this old timey way of life seems so strange now. That some random person knows all about your life and who calls you would be weird. But for Don it works out great, since the woman in charge of his messages just deals out women's numbers like she is his own personal dating service. c) He is now a carefree millionaire who doesn't want to spend time crying over a bunch of spilled red wine on the carpet. Just throw a blanket over it, baby!

The Monica Geller in me would not be able to sleep just knowing that there was a giant wine stain in my bedroom, but to Don it's no biggie. He just goes to sleep, where he ends up dreaming about Rachel. Remember her? It took me a bit to place her in the series as well. She first appeared way back in season 1 and Don wanted to run away with her. Leaving us all to question - is that who the waitress in the diner reminded him of?

Other people at Sterling Cooper & Partners are also busy and running into problems - one project is bringing together Peggy and Joan to work on that classic ladylike item, nylons. They got to throw in a reference to L'eggs Eggs, so that's a good thing. This partnership lead Peggy and Joan to a meeting with three men who could be seen as the equivalent to today's "bros", just with a tad more sexism and objectification thrown in.

These ladies are smart and professional, so you can't help but cringe and get furious for both them as they try to remain calm while handling these immature men and classily steering the conversation back on track. Even though, I think we all would have preferred to see Joan knock each one of them out instead.

Back in the elevator after their meeting, they let out their frustration - Joan a tad more than Peggy. "I want to burn this place down", should be the new slogan of the feminist revolution.

Although, even lady to lady appreciation is difficult for these two. Peggy admitted that Joan, who is also now a millionaire, wears clothes that she feels purposefully attract attention. She then continues that Joan's new wealth could allow her to dress more dowdy? I'm not really sure where Peggy was going with this, but either way, these women could learn a little something from each other.

And through the episode we see as this tense argument steers both of the women off in directions that are a little out of character.

Joan comes to work wearing a high necked blouse, otherwise known as her attempt at a very "Peggy" top. (Let's be clear here - Peggy has a ton of cute clothes too.) Although, that doesn't last for long. Joan obviously realizes she doesn't have to change, but does take some of Peggy's advice. She quickly runs out of her office door to try on some designer duds and spend some of that new dough.

When the gal at the dress shop recognized that Joan used to work there (remember that? I had forgotten the time she took another job!), I very much was rooting for a Pretty Woman moment. With all that Joan has accomplished in the last few seasons, that scene was just asking for power Joan to swivel around in a dramatic turn and say, "Do you work on commission? Big mistake. Huge!"

Peggy on the other hand decides to channel Joan a little and accept the offer of going on a blind date. Over the course of the dinner, and with the assistance from a lot of wine, Peggy lowers her strong inhibitions to this guy who originally seemed to annoy her. Next thing we know these two kids are as thick as thieves and talking about jetting off to Paris. When Peggy can't find her passport, the drunken trip is called off. Probably for the best anyway, since in the light of day any Joan magic dust that was cast had worn off, and Peggy is back to her old work oriented self.

There is a lesson in here somewhere - don't back down about your morals, keep being a powerful woman, but have some fun now and then too.

While these two ladies are struggling, Ken Cosgrove (aka the guy who wears an eye-patch now) isn't having the best week either. For those of you who forgot like I did, we got to be reminded last night of a very important fact - Ken's wife is Alex Mack. Thankfully we got to see her at least one last time. After gathering with her parents, in honor or her father's retirement, Ms. Mack encourages her husband to quit SC&P. She feels Ken is always stressed, which the audience can attest to, since whenever we see him on the show that is always the case. Well, unless he is dancing.

According to his wife they have plenty of money and she doesn't want him to waste his life away working like her father did. She feels he should get back to doing what he wants - like writing his book. "You gave them your eye. Don't give them the rest of your life," she said. She has a point and at the same time delivered another  really great quote. This episode was full of 'em.

Alex Mack may be very right, but for some reason Ken doesn't want to take up this offer to move on with his life. Unbeknownst to him though, the company had other ideas. Now that McCann owns 51% of SC&P, they have a say in a few things. They want Ken out. It's as simple as that.

Well, they probably should have first thought a little bit more about how Ken was connected, because he is not going down without a fight.With what seems to be simply out of spite for SC&P, Ken accepts a position at his father-in-laws old company as the head of advertising. Oh, yeah, that company is also a client of SC&P's. Ken making Roger Sterling's and Pete Campbell's life a living hell could make for an interesting story coming up.

With all of these plot developments, the season is starting off very strong, with some highs and lows for numerous characters. Don is not exempt. We have reached the point where his high in the beginning of the episode begins to fade.

Don still has the same secretary as last season - who is only second in hilariousness to Mrs. Blankenship - and she delivers some upsetting news. Rachel, the gal who appeared in his dreams, had died just recently.

What is interesting here is this is another circumstance where Don is seeing ghosts. It is a consistent theme that is always following him. In the first seasons this could be tied to an allusion of his past. That his secrets were haunting him. Now, it could be the same, but now it's not secrets, it's his regrets that can't get out of his mind.

Since this episode is very focused on dreams, that could lead to making sense of an interesting run in Don has with that waitress, Diana, from the diner in the beginning of the episode. This scene that happens later in the episode has Don going back to the diner where Diana quickly alludes to "knowing what he wants". What follows is a rendezvous (wink, wink, if you catch my drift) out in a dark alley. It's sort of an odd scene, even for the escapades of Don Draper. In that way I can't help but wonder - did this actually happen?  Or was this diner scene a dream? It could go either way, but it seems pretty clear that Diana reminds him of Rachel and seeing her is helping him through finding out about her death.

In other ways to mourn, Don shows up at an apartment where Rachel's family is sitting shiva. Her sister greets Don at the door and she know exactly who he is - he's Don Draper, everybody knows that guy. He finds out she had children and lived the life she wanted, all happily with her husband and kids before dying of Leukemia. She was content without him and then just died. That fact only seems to make him distraught.

The last scene of the episode finds Don back again at the diner. Diana is there again, but he just wants to talk and have a cup-o-joe, instead of a repeat of that same business in the alley. He tells her about how he had a friend that died and they talk about understanding death. Diana tells Don that when people die we want to make sense of it, but there is basically no point.

It's true - we don't know for sure what life means and when it comes death, all we can do is always think about those that have departed and just keep sipping on our coffee in a diner. It seems difficult and there are so many questions, but there's not much else we can do.

Again, is this just Don working out his feelings for Rachel and about life in a dream? Or is he actually talking with this woman? To me it doesn't matter, because it's just more contemplation and showing that Don is still lost, but trying to figure it all out. It's like he's answering Cooper's beyond the grave song and dance from the finale last year, about how, "the best things in life are free".

If that musical number wasn't a set up for what this season will bring for Don, I don't know if anything else will. He has money and work is going well, so maybe that means his relationships can finally begin to soar again.

That is the biggest question of all - where will this season take Don and his life?

Playing over the last shot of Don sitting in the diner (and earlier in the episode as well) is a song lyric that asks,  "is that all there is?" Do we all just live life the best we can only to eventually pass on, just as we saw for Rachel?

For Don, maybe what we've seen so far in the series is all life will bring for him, but what a perfect interlude to finding out if there is more. We've got six episodes to find out. 


Until next time.




For anyone who is more interested in a live-blog format: below are my frantic first thoughts that I typed out directly following the end of the episode:

Chinchilla coat
Don looking happier than ever until he finds out about Rachel
Roger sterlings stache
Definitely into the 70s with fashion hair jumpsuits
Dont cry about spilled wine. Just throw down a blanket and call one of your girls. He's so carefree until death comes knockin
Peggy and Joan talking leggs eggs
Ted Chaough also has a 70s stache.
Alex Mack is eye patche's wife!! We finally see what is under the patch. He's not happy and she wants him to quit.
Sexist interview with a group of stereotypical old timey bros
Ken from accounts is losing accounts, Ferg in particular is pissed.
I want to burn this place down - Joan
Her and Peggy have a righteous argument in the elevator. Joan is a zillionare and could dress better according to Peggy.
Don sees ghosts! Also his secretary is the best
What is happening in that alleyway with that waitress. Does she remind him of Rachel or one of those gals from the house he grew up in? Aahh why does he care what she is reading, Roger called her Mildred Pierce.
MIT Romney would be proud of that binder full of women they have for the chinchilla coat ad or whatever they are auditioning women for.
Joan is about to pull a Pretty Woman on our asses - big mistake, huge. In that Oscar de LA renta dress.
Peggy on a date, off to Paris?
Next morning that high has REALLY worn off. She needs to learn how to have a little fun. Why so serious.
Ken is going to make their lives a living hell, being their client now and all.