Mad Men's Final Season

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flipp525
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Re: Mad Men's Final Season

Post by flipp525 »

FilmFan720 wrote:I've heard this theory floated about for the past several years, and it drives me nuts. First off, it seems to completely ignore what Weiner has been trying to do with this show. Most importantly, though, while the facts may fit, the motivation don't. Where along the way does it seem to hint that Don Draper (the con artist he is) would become a hijacker or end up on the FBI Most Wanted List. It seems grossly out of character, and I find this more ridiculous than the stupid Manson family theories.
I would have to agree with you. I really can't imagine the show going in this direction (I don't see anything in Don Draper's character, for example, that would all of a sudden turn him into a hijacker). I'm just surprised that this is literally the first time I've heard of it.

The woman who came up with the theory seems very pleased with herself. The supposed "signs" that she and others have seen supporting her pet theory are probably just Weiner fucking with her which is definitely something I can see him doing.
Last edited by flipp525 on Thu May 07, 2015 6:23 am, edited 1 time in total.
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Re: Mad Men's Final Season

Post by FilmFan720 »

I've heard this theory floated about for the past several years, and it drives me nuts. First off, it seems to completely ignore what Weiner has been trying to do with this show. Most importantly, though, while the facts may fit, the motivation don't. Where along the way does it seem to hint that Don Draper (the con artist he is) would become a hijacker or end up on the FBI Most Wanted List. It seems grossly out of character, and I find this more ridiculous than the stupid Manson family theories.
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flipp525
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Re: Mad Men's Final Season

Post by flipp525 »

Interesting theory on a possible ending for Mad Men:

"No matter what happens in the next two weeks, it was a hell of a run. No conspiracy theory has ever gotten the Cinderella run of credibility this one got—more and more arresting and believable until the last second."

http://www.thedailybeast.com/articles/2 ... um=twitter
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."

-Gone With the Wind by Margaret Mitchell
flipp525
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Re: Mad Men's Final Season

Post by flipp525 »

Also, these tweets from the real McCann-Ericsson are kind of hilarious and amazing:

http://www.adweek.com/news/technology/m ... -46-164445

I was curious what others thought of the title of this episode, "Lost Horizon." Was it because they were sold a kind of "Shangri-La" future with the M-E absorption and it's turned out to be anything but?
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."

-Gone With the Wind by Margaret Mitchell
flipp525
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Re: Mad Men's Final Season

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I really loved the callbacks to earlier Mad Men moments in "Lost Horizon." Most obvious was Peggy's (quite badass) walk into the new office with her box of personal items ("it's an Octopus pleasuring a lady") which was a clear recreation of the scene in the first episode when spritely young Peggy Olson in ponytail and big skirt joined the secretary pool at Sterling Cooper.

The Roger/Peggy chemistry in their scenes together was golden. Such an unexpected treat to see those two characters interacting. The only other moment I recall those two characters sharing a two=person scene, Roger was (again) handing over a wad of cash to her (so, another throwback).

So men from all over the country are coming out to Racine to look for Diana? Really? I couldn't tell exactly what made Don walk out of that meeting. Was it the mere mention of "Wisconsin" in that guy's speech about Beer Belt men thereby triggering his search for Diana? Was it his sudden realization that he was in a room full of "Don Drapers" and he needed to go out and become Dick Whitman again? It was clear when Don walked into the meeting that he had used that white whale line on everyone there. Did he see the helicopter and remember that he had to take Sally to school (no, Tee, you were not alone at missing Sally here. Thank god she'll be back next week)? That seemed unclear to me. I also thought that the scenes of him lingering near (and even caressing) windows was Matt Weiner simply fucking with the swath of bloggers who are convinced that the series will, without a doubt, end with Don jumping out of a window as telegraphed by the opening credits.

Joan's fate seemed all but sealed the second that SC&P moved to McCann-Ericsson. Let's be honest: they were never going to respect her status there. I'd say that taking the $250K was definitely the right decision in this impossible situation (which happens to be over $1.5K in 2015 dollars). I have a feeling that all the ME boys knew the Joan/Jaguar story.

It's interesting to note that in Joan, Betty, and Peggy we see three different articulations of the feminism that was sweeping the country at this time—a new activism. Many women might not have been able to frame their feelings or impulses into words, but they were living it. Even Diana the waitress.

It's funny how this season Meredith has become one of my favorite secondary characters on this show. Stephanie Drake has been just perfect. I also loved Shirley's utterly classy exit.
Mister Tee wrote:And Roger's complete failure to come through for her seemed to seal something -- her taking the picture of their son at that moment suggested an iron door closing.
Great observation.
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."

-Gone With the Wind by Margaret Mitchell
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Re: Mad Men's Final Season

Post by The Original BJ »

Mister Tee wrote:(Though, was I alone in being crushed at missing an expected scene with Sally? Is it possible we've seen the last of her? I mean, there are only two hours left)
No need to fear -- scenes from the next episode focused (it seemed entirely) on Sally, Betty, and Pete.
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Re: Mad Men's Final Season

Post by Mister Tee »

Slightly more elaborate thoughts, to add on to last night's drop-in:

Lots of really nice two-character encounters: Don & Joan in the elevator, Roger's befuddled conversation with Shirley, Don's cordial chat with Betty. (Though, was I alone in being crushed at missing an expected scene with Sally? Is it possible we've seen the last of her? I mean, there are only two hours left) And of course Roger and Peggy even prior to the skater's waltz.

Joan's predicament was so painful to watch. It was edifying to see her make the attempt, but she was a decade or two early; she had no chance of prevailing. And Roger's complete failure to come through for her seemed to seal something -- her taking the picture of their son at that moment suggested an iron door closing.

Interesting idea about Carnival of Souls, Mike. The whole episode felt like life after death -- Bert Cooper literally turning up, but also the shell of the Sterling Cooper office (and the guy who keeps staying there even though he doesn't work anymore). For all the main characters, the sale to McCann has been like a death.

Don's trip to Wisconsin was my least favorite part of the show...at least he didn't track Doomed Waitress down, but it still feels like a less-than-inspired way to spend Don's final days. He's continuing west, at least as of this week's final moment. (He also might be descending into religious symbolism territory -- picking up a Jesus-looking guy on the road to St. Paul)

Eclectic music -- Sealed with a Kiss from 1962, Hi-Lili from the 50s, and Bowie from the 70s.
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Re: Mad Men's Final Season

Post by Mike Kelly »

Peggy on roller skates, to "Hi-Lili, Hi-Lo" = divine
And before that, I think Roger was playing the music from Carnival of Souls. The episode reminded me of that movie a little bit.
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Re: Mad Men's Final Season

Post by Greg »

The story line I am now the most curious about is Joan's. I have a suspicion that she will not just take the money and run.
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Re: Mad Men's Final Season

Post by Mister Tee »

Peggy on roller skates, to "Hi-Lili, Hi-Lo" = divine.
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Re: Mad Men's Final Season

Post by Mister Tee »

flipp525 wrote:
Mister Tee wrote:Apropos of which, let me disagree just a tiny bit with what Uri wrote last week. I agree with him about 90% on the show's method, that it deals in rhythms far different from most shows, and doesn't trade in Big Moments (which is why, unlike Breaking Bad, it was a poor choice to split its final season in half like this). But, especially for a lot of us whose youth roughly coincided with the years depicted, part of the joy of the show has been re-experiencing moments we lived through -- whether momentous, like the Kennedy assassination and the moon landing, or trivial/lurid, like Marilyn Monroe's death, or the Richard Speck massacre. Because of that, my one disappointment this season is that, except for the throwaway mention of Kent State, there's been no real context offered. And I honestly can't recall any particular event to come in 1970, except maybe the back-to-back deaths of Jimi Hendrix and Janis Joplin, that would change that. If the show ends satisfyingly, that of course won't matter. But part of me wishes the show had wound up in 1969, with the Manson murders and the Miracle Mets -- or could find some comparable moment to bring the show that began with some of my earliest memories (the Kennedy/Nixon election) to a fitting conclusion.
Not sure of your local listings, Tee, but here in D.C. on WETA (which is the public television channel) there's a documentary program airing at 8PM tonight called "The Day the '60s Died." The description reads: "Recalling the turbulence that followed President Nixon's April 30, 1970, announcement of America's incursion into Cambodia, which included mass protests by college students and the shooting deaths of Kent State students by National Guardsmen." It seems like a nice complement to this last half-season of Mad Men.
It is on here, thanks. I've got it set to DVR.
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Re: Mad Men's Final Season

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Mister Tee wrote:Apropos of which, let me disagree just a tiny bit with what Uri wrote last week. I agree with him about 90% on the show's method, that it deals in rhythms far different from most shows, and doesn't trade in Big Moments (which is why, unlike Breaking Bad, it was a poor choice to split its final season in half like this). But, especially for a lot of us whose youth roughly coincided with the years depicted, part of the joy of the show has been re-experiencing moments we lived through -- whether momentous, like the Kennedy assassination and the moon landing, or trivial/lurid, like Marilyn Monroe's death, or the Richard Speck massacre. Because of that, my one disappointment this season is that, except for the throwaway mention of Kent State, there's been no real context offered. And I honestly can't recall any particular event to come in 1970, except maybe the back-to-back deaths of Jimi Hendrix and Janis Joplin, that would change that. If the show ends satisfyingly, that of course won't matter. But part of me wishes the show had wound up in 1969, with the Manson murders and the Miracle Mets -- or could find some comparable moment to bring the show that began with some of my earliest memories (the Kennedy/Nixon election) to a fitting conclusion.
Not sure of your local listings, Tee, but here in D.C. on WETA (which is the public television channel) there's a documentary program airing at 8PM tonight called "The Day the '60s Died." The description reads: "Recalling the turbulence that followed President Nixon's April 30, 1970, announcement of America's incursion into Cambodia, which included mass protests by college students and the shooting deaths of Kent State students by National Guardsmen." It seems like a nice complement to this last half-season of Mad Men.
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."

-Gone With the Wind by Margaret Mitchell
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Re: Mad Men's Final Season

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Mister Tee wrote:Quick jump back to last week's episode: I'll be the one person to stand up for the Glen Bishop plot. I know people have long been down on the storyline, largely from hating the actor, considering him a pure nepotism hire. But he has lingered season after season, and his thread was worth winding up, especially the way it came about.
I have no problem with the actual plot (and, in fact, I think that wrap-up to the Glenn/Betty storyline was really very interesting). I don't think that's what anyone here was complaining about. My main objection was to the level of acting from Marten Holden Weiner which is glaringly subpar when compared to others on the show. It's a very clear case of nepotism to the detriment of the fabric of the show.
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."

-Gone With the Wind by Margaret Mitchell
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Re: Mad Men's Final Season

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I never got around to posting about last week's episode, but my feeling there was that the show was about 90% back, and last night it was back to full strength.

It seemed a show about failure: Don's pitch didn't stop Jim Hobart; Roger was confident he'd handle Ken Cosgrove, but Ken flipped him off; Pete was sure he could fix the Greenwich Country Day School situation and flopped miserably (though he did speak a quintessential Pete Campbell line: "The king ordered it!"); and both Roger and Don failed to keep the Sterling Cooper employees in line at the finale. All the things that have always worked are suddenly of no use -- a sign times have changed, that the rulers will eventually be ruled.

Quick jump back to last week's episode: I'll be the one person to stand up for the Glen Bishop plot. I know people have long been down on the storyline, largely from hating the actor, considering him a pure nepotism hire. But he has lingered season after season, and his thread was worth winding up, especially the way it came about. I've spent the many seasons since Betty banished him from the house thinking he was a genuine friend to Sally. And Sally was certainly devoted to him -- defying parental orders to keep seeing him, seemingly sincerely upset he's going off to Vietnam when they'd just had a nasty fight. But Glen's reappearance, when he knows Sally won't be there, is shocking: it makes it seem he only cultivated Sally as a way to keep Betty in his sights all these years. And, though Betty doesn't respond as he might have dreamed, she's much more tender toward him than we'd expect (suggesting her real reason for sending him away was what? -- she feared him staying might lead to something creepy?). This was a pretty interesting way to end a plot-line.

Back to last night: all sorts of great scenes, topped, as most are saying, by the Peggy/Stan scene, which could be a cri de coeur for lots of women in that dawn-of-feminism era. Stranger on the Shore made for great background music. This is, in fact, the second time the tune has been featured on the show: it was playing way back in, it must have been season two, when Betty had her anonymous one-off in the back of a restaurant/bar. I say "must have been", because that season took place in 1962, when the song was on the radio.

It seems Weiner is using music differently this year, though: not matching his closing tunes to contemporary hits. Even "First Time Ever I Saw Your Face" was about a year - year and a half early for the song's radio popularity. And last night's Dean Martin tune was from another time entirely. It reminds me that, when the show started, the music mostly wasn't 1960 pop; it was the cocktail lounge stuff Madison Avenue folk would have listened to instead. (The one time contemporary music intruded -- when "The Twist" came suddenly blaring from the radio -- it was like a message from the future.) The intervening seasons featured music far more time-specific, which seemed to say our characters couldn't help but be affected by what was going on around them. Now, maybe they're back to being out of time -- because their own time of primacy has passed.

Apropos of which, let me disagree just a tiny bit with what Uri wrote last week. I agree with him about 90% on the show's method, that it deals in rhythms far different from most shows, and doesn't trade in Big Moments (which is why, unlike Breaking Bad, it was a poor choice to split its final season in half like this). But, especially for a lot of us whose youth roughly coincided with the years depicted, part of the joy of the show has been re-experiencing moments we lived through -- whether momentous, like the Kennedy assassination and the moon landing, or trivial/lurid, like Marilyn Monroe's death, or the Richard Speck massacre. Because of that, my one disappointment this season is that, except for the throwaway mention of Kent State, there's been no real context offered. And I honestly can't recall any particular event to come in 1970, except maybe the back-to-back deaths of Jimi Hendrix and Janis Joplin, that would change that. If the show ends satisfyingly, that of course won't matter. But part of me wishes the show had wound up in 1969, with the Manson murders and the Miracle Mets -- or could find some comparable moment to bring the show that began with some of my earliest memories (the Kennedy/Nixon election) to a fitting conclusion.
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Re: Mad Men's Final Season

Post by Kellens101 »

Last night's episode was excellent, a great return to the Mad Men we love. It was full of incredible acting from nearly everyone, especially Elisabeth Moss, Vincent Kartheiser, Christina Hendricks, John Slattery and of course, Jon Hamm. There were great moments across the board: Pete and Trudy, the telephone call from McCann to Roger and the moment with him and Joan after the call, Peggy's remarkable speech to Stan, Peggy talking to Pete about the loss of the company, the meeting with McCann, the scene at the bar when the partners are solemn, Don's barside chat with Roger, etc. This episode was great and I'm so excited to see what comes next for the final 3 episodes.
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