Mad Men s4e13: Tomorrowland

“But I think, in my heart, it was an impulse. Because I knew what I needed to do to move forward.”

Ahh, the curveball season finale. As we all know, Don Draper is the reigning king of the fresh start, always moving forward and all that garbage. But life really isn’t conducive to clean slates as Henry makes crystal clear to Betty, along with those of us living on planet earth know intrinsically. One of the show’s central themes is prominent in this episode.. can people really change? Or is it all just a blip?

image courtesy of IMDB

This is and is not the Don Draper we’ve gotten to know throughout the series thus far. When it looks like he’s going to come to terms with his own identity in some meaningful way, he veers sharply left (and imitates Roger by making an impetuous and capricious move) and proposes to Megan. The hell? True to form, I guess.

Betty certainly thought her life would change when she married Henry. Sure, things are different, but it’s not all that she envisioned. As her journey continues, she’s learning that life is less and less the ideal iconography she was pitched and the only thing you can really control is your perspective.

Bets, you can move out of your house and leave Ossining, but your problems are gonna follow ya if you don’t look inward and work on that shit. Her fresh start with Henry hasn’t radically changed her nor her life, and a new house in Rye won’t do that either. At least she’s with a man who will communicate with her exactly what is wrong with her actions, and call her out on her bullshit instead of just disappearing, but it’s up to her to do the work.

Now that Don’s not around to blame for her erratic/childish behaviour, she’s gotta learn to adapt and be an adult. Henry has precisely no time for her impulsive shitfit re:Glen and Sally being friends which is probably for the best. Firing Carla inadvertently draws Don closer to Megan too, ha.

And man, Faye didn’t deserve such shit treatment. She really got a raw deal, but I can’t say I didn’t see it coming. Don lost interest episodes ago, and it doesn’t look like he was ever really that into her; she’s not the right person for him. But getting some fucking phone call like “oh yeah bee-tee-dubs I met someone and am suddenly engaged PEACE” is crushing, but she blasts him with a truth H-Bomb before hanging up.

“I hope she knows you only like the beginnings of things.”

image courtesy of Imgur

Let’s be real, the Hobo Code stuck with him. Dude is always looking to hop that midnight train going anywhere; Faye represents facing his issues and working through his Dick Whitman/desertion garbage feelings like a real life person, whereas Megan represents a clean slate and bright-eyed optimism that only youth can foster. Poor girl doesn’t know what she’s signed on for..

I’m drawn back to the season premiere, and that reporter snapping Don out from his thoughts; “Who is Don Draper?” Good question. He’s tried to make himself a better man this season, but suddenly jerks to the crutch of the Fresh Start(TM) personified, Megan. The first time I watched this finale, that ending gave me whiplash– but going back and examining the earlier episodes, it adds up pretty neatly. All along there were these little snippets planted that she’s the shining star for Don; the Pond’s focus group, being naturally nurturing to Sally, actually getting what The Letter was about.. etc. The pieces are all there.

Megan’s on the level. Maybe she’ll be the one to accept Don for who he really is, to love Dick Whitman and all that mess entails, allowing him to get on with it sans too much manpain. And hey, maybe he’ll do it right. He tells her he feels like “himself” around her, the best version of the man he aspires to be in the day to day. Maybe she’ll coax more of that out into the open.

At the end of the day, Don is someone who needs to be needed, and Faye didn’t really deliver that; Megan does just that little bit. He also needs someone who will nurture his kids in the way that Betty simply can’t at this point, in a way that he’s unable to as well; since he grew up with no loving mother figure, seeing that in Megan is magnetic.

image courtesy of Slant Magazine

She also didn’t have a fucking meltdown over a spilled milkshake, which Betty certainly would have done. Between Megan’s sunniness and Don’s slight ability to even acknowledge his past to Sally (“that’s my nickname sometimes” re:Dick and Anna on the wall) and have it go well, Don seems on top of the world.

It’s an optimistic ending for a season fraught with such darkness, yet I can’t help but wonder how pristine that slate will stay as lives move on. Fundamentally, people don’t change– not wholly.

Peggy and Joan share a moment over the absurdity of the engagement; Peggy signed the first bit of new business with Topaz that day, but natch.. that’s not as important as getting married. Those dudes are all just between marriages, after all.

image courtesy of Roger Ebert

And it didn’t slide past Roger that Don did the exact thing he was judged harshly for back in Season 2, either. Granted, Roger reacts much better than Don ever did— and there’s absolutely fuckall Don can quip back about it.

Don and Betty have one last encounter in the house on Bullet Park Road, and it’s a bittersweet adieu. It’s also one of those rare moments where she softens towards Don, and they have an easy interaction; she’s vulnerable about how things aren’t ideal in her life. Don lets her know that he’s engaged, and even in her sensitive state, Betty manages to not say anything shitty which is pretty good progress.

She does ask if it’s to Bethany Van Nuys, and Don is essentially like “WHO??

image courtesy of Tom + Lorenzo

Adios, house; thanks for the memories. Onto the next one.

The finale closes with Sonny & Cher’s “I Got You Babe” as Don stares off into the void, his new fiancée asleep on his chest. Natch, the first thing I thought of was the always relevant Groundhog Day, the tale of a man trapped in a fucking time loop with endless fresh starts as he relives the same day over and over.

And once he gets it right, he breaks the loop and can live happily ever after.. but only after something like 100 goddamned years.

Here’s hoping Don gets his shit together sooner than Bill Murray. As a man who’s started over quite a bit, maybe he’ll stick the landing this time.

That’s a wrap on Season 4, kiddos! Stay tuned for Season 5 reviews, starting soon.. will Don do it right with his marriage this time? Will Pete’s hairline continue to evaporate? Will Peggy be running the place by the time we return? Will trash Greg do the math on Joan’s baby??? Do people really change or is it all just smoke and mirrors?

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Mad Men s3e7: Seven Twenty Three

“Young people give us energy, don’t forget that.”

One of my favourite episodes right here. I know I’ve said that at least 100 times, but this episode is fucking fantastic. The structure, the concurrent storylines, all of it; aces. There’s some glimpses at how desperate Don is at his core, how much of an isolationist asshole he can be when he feels even the slightest bit threatened.

Conrad Hilton shows up unexpectedly at Sterling Cooper, and Don is fashionably late per usual. The buzzing junior execs are worked up into a froth, then shooed away. Hilton points out the lack of family photos in his office Don’s real connections to the world, while sitting in his chair behind his Important Man(TM) desk. He then gifts Don the New York hotels as a start.

Betty is having some sort of ladies’ meeting about the reservoir, and links up with Henry Francis, the silver fox from My Old Kentucky Home who was borderline creeping on her while sauced on martinis. Henry and Betty decide meet for lunch to discuss the reservoir that Saturday afternoon. As she hangs up the phone, she checks Don’s desk drawer almost as a reflex. Still locked.

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incredible, iconic Betty look.. || image courtesy of Pinterest

They have a nice lunch, where Henry orders the foul midcentury staple of apple pie with cheddar cheese. Walking to the car, they spot a fainting couch in an antique shop window. Henry explains the story behind the couch’s silhouette, revealing that he used to work as a mover before becoming an attorney. Betty buys this whacking great couch as a form of furniture protest on Don, who had one-upped her interior designer with one end-table swoop.

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image courtesy of ApartmentTherapy

While Betty has a flirtatious Saturday afternoon with Hank Frank, Don is at a school-related eclipse viewing party with Sally’s forever parched teacher. Oh yeah, and it turns out Carlton stares into the sun, shocking nobody.

Don and Miss Farrell make friendly conversation, then she faux calls him out for being one of those bored philandering suburban men, when the reality is that.. it was just a pleasant conversation? It seems like she’s trying to take control of their interaction, but it comes off as super fucking tryhard. Eyeroll.

Speaking of thirst, Duck is really trying to court Peggy over to Grey with an Hermès scarf. Shit is mad classy, but she ain’t into it; he calls her bluff by inviting her to The Pierre for a meeting, so she can return the scarf to the Hermès people in person.

Don’s contract, or lack thereof, is a hot topic. Connie needs him to have a contract in order to work together, and Lane agrees with the pragmatism behind it.. along with pressure from Hilton’s herd of lawyers. Bert puts his foot down and emphasises that the contract is important to Sterling Cooper as well as Conrad Hilton to drive the point home.

“I met him once. He’s a bit of an eccentric, isn’t he?

Ah, the irony of Bert Cooper calling someone an eccentric..

Roger tries to talk Don into signing the contract, tempting him with his name on the front door; no avail. Stonewalled. Sneakily, Roger rings the house and chats to Betty about Don signing the contract in a roundabout way. She’s flippant and frosty on the phone, but the wheels are turning. Jackpot, but also a major dick move on Roger’s part.

And it’s bad timing again for Peggy. After that irritating conversation Don had with Roger, she tests the waters re:Hilton under the false guise of work needing approval, and Don is prickly at best. Apoplectic about the contract hammer coming down, he takes it out on Peggy in an attempt to reassert control. Maybe he sees her as an extension of himself and is thus hard on her, but nonetheless it’s another major dick move.

At the Pierre, Duck dangles the opportunity of a new gig at Grey in front of her, then makes his real intentions known. It’s probably one of the grossest come-ons I’ve ever seen, and I’ve been witness to a lot of vile things..

Peggy: “What are you doing?”

Duck: “I was just thinking about all the times I walked by you and didn’t even notice. How is that possible?”

Peggy: “What do you want from me?”

Duck: “I want to take you in that bedroom, lock the door, take your clothes off with my teeth, throw you on the bed and give you a go-around like you’ve never had.”

..

UGH NO, CAN WE FUCKING NOT WITH THIS SHIT

nope

Ahem. Peggy’s previous experience banging dudes has been with young guys, perhaps guys who didn’t know what they wanted, or the first thing on how to please a woman. So I guess Duck seems appealing? VOM. Apparently he also ‘loves the morning’.

Once Don gets home, Betty grills him about his contract. She pushes back on Don and his “I have all the power, they want me but they can’t have me” garbage; as if she wouldn’t understand how that works. And on top of that, she got more information from Henry in an hour about his job and life than Don has ever given her in years of marriage. She’s getting more confident.

Like a pedantic manbaby, Don bounces. He drives off into the night, shattering his rocks glass in direct contrast to Red in the Face where he makes absolutely certain that Roger returns the glass to Betty. Wanting to indulge his transient fantasy, he picks up some young 20-somethings. They’re looking for a ride to Niagara Falls to get married; the 22 year-old guy is 1A, headed to Vietnam. Is any of it real?

Ah, drugs. Don pops a few pills, and hallucinates that his father Archie is in the motel. The hitchhikers are slow dancing, and are wondering when the fuck Don is gonna drop so they can rob him already.

Archie: “Look at you, up to your old tricks. You’re a bum, you know that?”

Don: “No, I’m not.”

Archie: “Conrad hilton? You wouldn’t expect him to be taken so easily! You can’t be tied down.”

Don: “That’s right.”

Ahh, then the guy pops Don on the back of the head, and he falls to the floor of the Knights Inn. This is a real place in Hackensack NJ, by the by.

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image courtesy of Tom and Lorenzo

Conrad Hilton might not be so spot on about young people giving us energy here. The next morning, an exhausted Don shows up at the office all fucked up. Thanks, hitchhiking assholes. His pipe dream transient fantasy has failed him. As he strolls into his office, Cooper is sitting in the big seat behind his Important Man(TM) Desk, and serves him with some ice cold realness.

Bert: “Would you say I know something about you, Don?”

Don: “I would..”

Bert: “Then sign. After all, when it comes down to it.. who’s really signing this contract anyway?”

HARSH. But, don’t get it twisted; Cooper ain’t wrong. 7/23/1963, the date Don signs.

“What do you do? What do you make? You grow bullshit.”

Mad Men s1e8: The Hobo Code

This episode informs a bunch of Don’s character through a flashback to his childhood. The Hobo Code is one of my favourite episodes in the series.

Before we get to the really meaty stuff, Pete and Peggy have an early morning bang in the office, and Pete proceeds to get all weird and deep. He’s talking about his wife and how she’s basically another stranger to him, implying that Peggy is a little more than that. See also, Things Men Say to Mistresses 101.

Contrary to this roundabout compliment, he’s a massively miserable prick at the bar that afternoon while celebrating Peggy’s successful copy in the Belle Jolie meeting. Mark your Man! She’s dancing and having fun, and when she invites him to join in he flatly tells her “I don’t like you like this”. Lighten the fuck up, Pete! It’s a nod at how closed off he really is, that being confronted with something real like Peggy genuinely enjoying herself, he’s got no goddamned idea what to do.

Though she’s upset by his supercilious remark, Peggy is finding her footing with the men at Sterling Cooper as well as her writing. She’s digging to find her true self, along with Salvatore albeit in a different way in a near-sexual encounter with Elliott at a hotel bar. Ah, Sal. Ya should’ve gone to see his view of Central Park!

So, Don is the guy with the escape plan. He’s likely mapped out every single possible way out within minutes of being in any one place, and when Bert Cooper gives him a $2500 check with a very close to home speech attached to it, he panics.

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“The hell did you just call me?”

image courtesy of Mad Men Wikia

Bert: “When you hit 40, you realize you’ve met or seen every kind of person there is, and I know what kind you are.. because I believe we are alike.”
Don: “.. I assume that’s flattering.”
Bert: “By that I mean that you are a productive and reasonable man, and in the end completely self-interested. It’s strength. We are different– unsentimental about all the people who depend on our hard work.”

Don doesn’t let much on about himself, so he’s fairly spooked by this bit of accuracy. He runs off to see Midge and is greeted by some ginger in an actual Fez. Whilst stoned in her beatnik paradise of weed and Miles Davis, Don remembers meeting a Hobo one day while growing up. Since it’s the Great Depression and all, he comes to stay on the Whitman family farm for a meal in exchange for some work. Though frightened at first, Dick is drawn to him.

Bert Cooper and this Hobo think themselves a cut above the rest of the world because they each follow a self-centred credo. They both share that wisdom with Don, hoping to show him how their way of thinking distinguishes them. As a kid, Dick absorbs everything the Hobo says with rapt fascination and understanding beyond his years. This is a kid who’s been looking for an escape route for as long as he can remember.

Dick: I’m supposed to tell you to say your prayers.

Hobo: Praying won’t help you from this place, kid. Best keep your mind on your mother, she’ll probably look after you.

Dick: She ain’t my momma.

Hobo: We all wish we were from someplace else, believe me.

Dick: Ain’t you heard? I’m a whore child.

Hobo: No. I hadn’t heard anything about that.

Dick: You don’t talk like a bum.

Hobo: I’m not. I’m a gentleman of the rails.. for me, every day is brand new. Every day’s a brand new place, people, what have you.

Dick: So you got no home, that’s sad..

Hobo: What’s at home? I had a family once: a wife, a job, a mortgage. I couldn’t sleep at night tied to all those things. Then death came to find me.

Dick: Did you see him?

Hobo: Only every night. So one morning, I freed myself with the clothes on my back. Goodbye! Now I sleep like a stone: sometimes under the stars, the rain, the roof of a barn. But I sleep like a stone. Tomorrow I’ll be leaving this place, that’s for certain. If death was coming anyplace, it’s here, kid, creeping around every corner.

The next morning post-work, Archie stiffs the Hobo the nickel that was offered and tells him to leave. As he’s walking down the street, Dick sees that their house is marked with a sickle – “a dishonest man lives here”. Not inaccurate.

When Don comes to his senses and goes to bounce, the beatniks really rail into him about ‘inventing the lie’ and all that other crap. Don offers some devastating nihilistic realness.

“Well, I hate to break it to you, but there is no big lie. There is no system. The universe is indifferent.”

The episode closes the following morning with a flurry of typewriters and the minutiae of people chatting, closing in on his emblazoned office door; Donald Draper, a different type of dishonest man.

I mean, good lord. This episode packs so much into a couple of scenes, and Don carries these ideas with him throughout the show’s run. Through those flashbacks and his interaction with Cooper, you really learn what makes Don tick. He’s constructed this bulletproof disguise for the outside world, but Dick Whitman is still rattling around in there somewhere.

But eventually,  if you centre your life around yourself and escapism, pretty soon everything starts to look like a door.

Some thoughts on Betty, + Mad Men s7e13 “The Milk and Honey Route”

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iconic s1. image courtesy of Tumblr.

“We knew we’d catch up with you eventually.”

That State Trooper nightmare holds some weighty foreshadowing. And, fun fact.. he’s the same actor who played that cop in s5e6 “Far Away Places”. Goddamn!

Jesus, that last episode of Mad Men was a sucker punch. I haven’t had a hell of a lot of time to organise my thoughts, but that penultimate episode hasn’t left my head; it resonated with me. We’ve watched Don shed more and more things as this half-season wears on; first his wife, then his furniture (involuntarily, but he seems happy about it), his apartment, his job, and now his car. I can’t help but be reminded time and time again of that bum from the iconic s1 episode “The Hobo Code”, because it feels like Don took so much of that guy’s viewpoint to heart it’s hard to ignore. It’s easily one of the most important episodes of the series.

Even this past episode’s title, “The Milk and Honey Route”, is hobo code for a train/journey that rolls through a field of plenty – with a different meaning for every individual. A route that promises better things to come. Don’s route apparently involves a smackdown from an octogenarian WWII Vet with a phone book to the face, but when he gives away his Cadillac and sits on that bus bench in the middle of goddamn nowhere.. he looks the happiest we’ve seen him in a long time.

Another question that this series posits: what IS happiness, anyway? Besides the moment before you need more happiness, that is. It’s a look at the future — that future which Don was always envisioning in his pitches, that gleaming American Dream. What lies ahead, the promise of better things to come. The life that you can’t see just yet, but the one you daydream about.

Don has built a career hawking Things(TM) that are engineered to be tied with achieving that feeling of innate happiness, of contentment. It all goes back to the pilot.

“Advertising is based on one thing, happiness. And you know what happiness is? Happiness is the smell of a new car. It’s freedom from fear. It’s a billboard on the side of the road that screams reassurance that whatever you are doing.. is okay. You are okay.”

If I buy this thing, I’ll feel what I’ve been longing for; but nope, you just end up with a lot of shit at the end of it.

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We’re on the road to nowhere.. image courtesy of ONTD

Even when he bought that Cadillac in s2e7 “The Gold Violin”, Don wavered because he didn’t know whether he deserved it or not. That status symbol rang hollow to him, a point driven home by little Sally asking “are we rich??” on their garbage picnic one Sunday with the Caddy. On the other hand, Roger’s words echoed through his head–“Like the song says: Enjoy yourself. It’s later than you think.” And I feel like he couldn’t get rid of that car fast enough at that bus stop.

Where will Don be in the finale? My guess (and the most obvious one at that) would be California. It’s always held such hope and opportunity for a fresh start to Don, but I think that hearing the news about Betty will boomerang him right back to New York. I mean.. it’d better. I feel like if he hears the news of Betty’s cancer and she dies while he’s outta the loop, that will be something that truly breaks him. I really hope that’s not the case.

This show has always had a couple of central thematic elements at its core; the grim spectre of death, and ‘can people really change?’ When two important women in Don’s life died from cancer, he wasn’t able to get out of his own way to help or be there in any capacity. Maybe he’ll get his shit together for Betty? My ideal Mad Men ending is taking it back to s1e13 “The Wheel” and in this version, Don actually makes it to Thanksgiving dinner. Yeah yeah, it’s Norman Rockwell as shit.. but then again, who the hell knows what’s going to happen?

I’ve seen a lot online about how people think Betty’s most recent storyline and fate is some form of either cheap, bad writing, or doing her dirty; personally I feel like this is the most compelling and appropriate end for her. Don’t get me wrong, I uglycried during this episode; it was difficult to watch, and I totally lost it when Henry broke down telling Sally the bad news. That’s also likely the first time Sally has seen a grown man exude that kind of emotion. But I was also blown away by Betty’s stoicism and acceptance, and knowing exactly when it’s over. Can people really change? Not entirely, per se, but they can get to know who they really are at their core and learn how to function and move forward within that paradigm. Look at Pete, who has finally accepted his own nature after a long struggle; he’s set to be the King of Wichita.

Remember the first Betty-centric plot in s1e2 “Ladies Room”? It deals with her crippling anxiety, due mostly to the death of her mother a few months prior. She’s so nervous and wound up that her hands go numb; she crashes their gigantic yellow car into someone’s birdbath, then has a miniature breakdown to Don wondering what would’ve happened had Sally ended up with a permanent scar on her face. Yikes. It’s clear that Betty was raised to be beautiful, by a woman who instilled the idea that good looks and a perfect figure are the only social currency she would ever need in life. And not so naturally for 1960, Betty questions it.

“My mother wanted me to be beautiful so I could find a man. There’s nothing wrong with that. But then what? Just sit and smoke and let it go ’til you’re in a box?”

Huh. Is that All There Is?

In “The Milk and Honey Route”, we learn that Betty had to watch her mother die while all of the beauty her mother was so proud of completely evaporated in her horrible decline. Her mother deeply instilled that aforementioned standard of beauty; a standard that maybe Betty has felt oppressed by, but one I think that she has been empowered by. Betty is elated when recounting that she was an Italian designer’s muse (and showing off those incredible clothes made just for her), she’s proud of her modeling career, and is always charmed when a man is into her.

As an aside: Don, to an extent, also uses his looks to get away with bullshit nobody else could. Mathis astutely calls it when he tells Don in s7e10 “The Forecast”, You don’t have any character. Youre just handsome!” Christ, Mathis. Don takes that harsh observation like a bullet, and chooses to impart that wisdom to Sally; don’t be like your mother and I. We gave you your looks, it’s up to you to be more than that. And so on.

While her grim prognosis was a jarring left turn, it also makes damn near-perfect poetic sense for her character arc. I’m in the midst of rewatching s1 right now, and it’s like a slap in the face; of course this is how it would have to be. Betty has made significant strides in knowing herself, and learning about the people around her in the world. Her act of surrendering right away and giving instructions to Sally is her own way of not repeating her mother’s mistakes. Her closing part of the letter where she lets Sally know that marching to the beat of her own drum is a good quality to have in life is entirely heartbreaking; it made me wonder what adventures Betty could have had, had she not been so constrained by the era in which she grew up. Sally has that same inherent agency; she was just born into a more appropriate generation. As a result, Sally and her mother have a very complicated relationship. Betty was just coming to understand more of Sally’s behaviour in recent episodes, and in turn reflecting on her own treatment of her daughter. Moving forward.

Throughout the series, Betty has struggled with how to assert her independence, and refusing cancer treatment is the ultimate declaration. She won’t let the opinions of anyone, not Henry nor Sally, sway her decision.. she’s making the best choice for her own damn self. As a woman who had such little control over her life, she should at least have control over how she dies if she’s able.

Betty also remembers when her father died, and how frantic the immediate aftermath was — and that when Gene confronted her with his postmortem plans neatly laid out a few weeks prior, she did not want to listen (not entirely unlike Sally literally covering her ears as Henry broke the news).. but she was thankful that he put it all together. With that foresight, Sally will not have to witness a drawn out battle in which Betty loses the looks that were so important to her, and in the end Betty will go out looking like herself. In the Blue Chiffon, with the hair she likes, and the lipstick that she keeps in her purse. Even though Betty is not exactly fiercely conquering new frontiers like Peggy, she is still going out in a way that is the most “her”, and I feel like this will help Sally way more than Betty’s mother’s death helped Betty in the long run.

People are railing against her shallowness as well, but like.. do you watch this fucking show? It’s what Betty has been taught to value most in life, in a time when women didn’t question much of anything and just followed ‘the rules’. And hey, it’s easy to prefer intellectualism over vanity. Thoughts and ideas can transcend generations and looks will only be preserved with photographs, and even those fade every few decades. But Betty is no stranger to intellectualism, either. She speaks Italian. And when Henry confronts her with the hopelessness of life, the inherent futility of keeping up appearances when we are all constantly dying.. she replies simply, “Why was I ever doing it?” Because for Betty, the image is a truth in itself; it’s everything. It makes her happy, and damn it, that’s enough.

A big part of Betty’s character arc and evolution has been learning when it’s time to stop and let go. If anything, what Weiner wants us to take away from Betty’s overall story and perhaps the show itself, is that it’s imperative to accept when something has come to an end (so meta). Betty’s terminal cancer pretty much annihilates any nonsensical fairytale ending where Don and Betty reconcile. As much as we’d all love to watch these characters to the point where they all die off, it’s a show about actualization, about a form of reality. Betty, in her choice to further her education, finally became her own person. And by the conclusion of the series finale on Sunday, all of the characters will have reached a point that puts them nearly at complete odds with who they were at the start of the show.

And Mad Men itself, will then complete its’ own journey in answering the very question that was posed at the beginning of the series: “Can people really change?”.

 

Betty: “I’ve learned to believe people when they tell you it’s over. They don’t want to say it, so it’s usually the truth.”

Sally: “I’ll be with you. I won’t let you give up.”

Betty: “I know that.. and I don’t want you to think I’m a quitter. I’ve fought for plenty in my life. I know when it’s over. It’s not a weakness. It’s been a gift to me. To know when to move on.”