Airing on AMC from 2007-2015,Mad Menhas continued to bewitch new and returning audiences alike with its complex but subtle tackling of social and personal issues. The show’s creator,Matthew Weiner,incorporates topics such as feminism, misogyny, racism, poverty, alcoholism, adultery, depression, politics, capitalism… and the list goes on. It’s quite the melting pot of themes, plot lines and characters with a sprawling ensemble cast, not one of them missing the mark. However, you may be wondering — how did they wrap it all up? Much like other successful ensemble-cast dramas (Orange is the New Black,This is Us),Mad Mennever truly creates any villains — except for sleazy Jaguar dealer, Herb Rennet.
Editor’s Note: The following contains spoilers for the series finale of Mad Men.
The sheer variety means that there’s a character or storyline for everyone, that there’s always a chance for any given viewer to think: “Yes, I understand them.” Everyone is given an opportunity to show their flaws, but by the next episode we see their humanity and can’t help but love them. For example, Roger Sterling: by all accounts a serial womanizer, alcoholic and a bit of a bigot… but we do see his love for his wife and daughter, and his loyalty to Don as not just a colleague but a friend. Then, in the same breath, he makes a hideous passing remark to a female staff member about her “assets." This is a maneuver thatMad Menpulls time and time again, which always leaves the audience wanting more. Our feelings toward these characters almost becomes like a toxic relationship: we believe, eventually, they will change for the better. But, of course, the cycle must end, the show must end — and does it end it well?
The answer is yes and no. Yes, it is a remarkable and moving piece of television that addresses the core character arcs of the series: Don Draper (Jon Hamm), Peggy Olson (Elisabeth Moss) and Joan Holloway (Christina Hendricks). No, things aren’t completely perfect for any of them;Mad Menwould never be so optimistic or kind to its characters. However, it’s this realism that gives the show its strength and makes the finale so much more compelling. The numbers don’t lie, as “Person to Person” (the finale’s title) is currently rated a whopping 9.3/10 on IMDB. So, what about the episode warrants these figures?
First, it’s all about balance. Yes, I’m aware the language is very reminiscent of the hippy retreat that Don ends the series in… but it’s a fair point.Mad Menexplores the yin and yang of humanity right to its very end, and it’s that consistent balance that demonstrates the show’s loyalty to its themes. There is no black and white for the sake of laziness or fan service; it holds its ground in the gray area for the sake of its characters and its message. Peggy, Joan and Don all manage to find balance in their lives, after pushing themselves into one particular narrative for so long.
Peggy Olson
Peggy has always been a headstrong, determined career woman, which is obviously a very admirable feat. She appears very reminiscent of New York’s first female copywriter, Mary Wells Lawrence: who, ironically, worked for Sterling-Cooper’s rival, McCann-Erikson. Lawrence was an inspiration for many women of the time that desired a fulfilling career in a very male-dominated industry. Peggy does just that, she climbs the ladder, goes toe-to-toe with the boys and, at times, even sprints miles ahead of them. Of course, her confidence can lead to arrogance on occasion, but that’s because she’s a human being, not just an allegory for the career woman.
Although she has attempted dating and relationships, it’s never been with full commitment. Her work has always been her first and last love at the end of the day. Oftentimes, Peggy’s dating life comes as a result of social pressure — particularly from her mother and from Joan, who are both very much of the opinion that you need a man to lead a happy life. By the time we get to the finale, Peggy has reached the height of her field, having earned the position of Chief Copywriter. She has her own apartment, she manages the entire building: she is the independent career woman that we all knew she wanted to and could be, ever since her Belle Jolie pitch in the show’s first season. She has all she ever wanted, so… what next?
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Peggy has never been a woman who feels that she needs romance, but clearly wants it. However, her past relationships have usually been with married men or who don’t understand her passion for the creativity of her profession. Thus, it is so rewarding for us as an audience to see her and Stan pronounce their love to each other. He is not married, not using her for any sort of gain, and understands her need for independence and her love for her job. As a member of the company’s Art Department, he’s seen it all firsthand. Thus, we leave Peggy happy to see her happy. Of course, things might not work with her and Stan, she may take the job at Joan’s film production company (which may lead to another argument with Stan), but she has the options she always fought so hard for and has the love that she deserves.
Joan Holloway
Moving onto our other leading lady, Joan Holloway, whose arc is actually the yin to Peggy’s yang, to reference the balance metaphor. In “Person to Person,” Joan’s arc goes in the opposite direction of Peggy’s. Joan, throughout the show, remains a zealous believer in marriage and needing a man to have a full and happy life. However, men have not placed Joan on the same pedestal, as she’s dealt with consistent harassment, chauvinism and even assault. However, she proves herself an intelligent and savvy woman of business, having made partner toward the final episodes. By the finale, she is starting up her own film production company and balancing being a single mother. She has eradicated any need for a man in her life, letting go of the traditionalist ideals, which we see are imparted by her mother (Season 5, Episode 1: “A Little Kiss’"). These views have greatly influenced her choices and views for the majority of the series. She has abandoned values that have either held her back or actively hurt her to create a life of independence and self-sufficiency.
Don Draper
Last, but certainly not least, is the main man, the gorgeous glue that holds the entire show together: Don Draper. We’ve followed Don the most closely, compared to any other character, having access to his troubling childhood during the Great Depression and his traumatic time in Korea, where his great lie of Donald Draper began. This intimate access means we know of Don’s crippling imposter syndrome from the beginning. And while we certainly don’t always like his choices, we understand them. From the spine-chilling scene of him in the show’s third episode (“Marriage of Figaro”) silently smoking in the car, watching those late-night trains go by, we are introduced to that feeling of complete emptiness that consumes his existence. His persona of a together family man, the faithful husband, the present father, the affluent businessman — it’s all a façade. The only time we really see Don comfortable in his own skin is during a pitch.
Overall, the show’s title encapsulates the entire theme of the episode, with a clever dual-meaning. “Person to Person” implies an understanding between human beings: Stan understands Peggy, Peggy understands Don, Don understands Leonard. All these characters are finally seen and respected in the way they’ve always wanted to be. However, there’s a play on words regarding person to person marketing, still bringing the theme back to the industry that has so deeply influenced Peggy, Joan and Don. “Person to Person” speaks to our need to define ourselvesforourselves, whether that’s through a creative career, parenthood, or who we choose to love.
Indeed, everything isn’t tied up with a neat bow, but we leave these characters feeling confident that they’re ready for the next chapter and decade, as the show ends in the Summer of Love, 1969. We are never born ourselves and must, like Don, forge our identities and what makes us who we are.Mad Menends on the optimistic note that we can find contentment in the people we choose to be.
