If you follow Mad Men but missed last night’s brilliant final episode of the third season, then please skip right past this post to avoid spoilers. Thanks to sartre for letting me know about the terrific weekly recaps by Tim Goodman of the San Francisco Chronicle. Here’s the opening paragraph from last night’s analysis:
Remember that feeling so many of you had when watching Ep. 6: “Guy Walks Into An Advertising Agency” – as the John Deere mower came in contact with Guy’s foot, resulting in a bloody mess? For a lot of viewers, there was a palpable release because that episode seemed to cut out the vague, interpretive interior motivations and replaced them with, for “Mad Men,” uncommon, direct action. Well, the Season 3 finale, “Shut the door. Have a seat.” one-upped that with giddy abandon in arguably the best melding of plot-movement and existential crisis exploration of the entire season. I mean, come on – that was a gloriously fast-driven episode that brought both joy and emotional pay-off to everyone who has ground through the machinations of Don and Betty Draper this season. In fact, the finale was about as close to a full-on fist-pumper as any episode that “Mad Men” has ever aired. I can’t recall an episode in this series where I’ve paused the TV to let out a pent-up whoop of exaltation. This was a beautiful, rewarding mix of forward movement – Don, Roger, Bert and Lane conspiring to start their own agency as Sterling Cooper is sold out from underneath them – and the emotional angst of Don and Betty splitting in half.
This season had me worried from the very first episode, since Matthew Weiner seemed intent on fracturing every major relationship that held Mad Men together. There was a reckless abandon to how he stripped away the various characters’ facades and pretenses — sometimes resulting in the cruel shock of seeing favorite players jettisoned out of the Mad Men orbit altogether. It wasn’t until last week that I began to have an inkling what Weiner was up to, but was still completely unprepared for the extent of the ultimate upheaval that blew things to smithereens last night.
All the chaos of the previous 12 weeks suddenly all made sense, in an exhilarating display of plot threads being unraveled and rewoven. The disordered pandemonium in everyone’s lives reached a brutal emotional peak last week, as Betty Draper watched Lee Harvey Oswald get shot before her eyes in the seemingly cozy cocoon of her very own living room. “What is going on!” Betty shrieked, and she might well have been asking that question about Weiner’s plans for the series as much as the disintegrating world around her.
“Things fall apart, the centre cannot hold…” but at the end of this spectacular season of Man Men we see how even the fragments of the worst collapse can fall back upon each other, reordering their support in patterns unexpected and fresh. Beaten up but not beat down, facing the promise of a new beginning that might turn out better and more fulfilling than what was lost.
Heather Havrilesky has an excellent Mad Men wrap-up at Salon [SPOILERS]:
Breathtaking, really, that each character’s deepest desires and drives could be satisfied without screwing up the story or turning it into a fairy tale. In particular, the difference between Peggy and Joan and what they each want was beautifully expressed in seconds: Roger, Joan and Peggy are hunched over the books at the old offices, exhausted from their scrambling attempts to bring as much with them to the new firm as they can before they’re locked out, when Sterling asks, “Peggy, can you get me some coffee?” Without wavering, Peggy snaps back, “No.”
Next we cut to Don informing Joan, “I’m at the Roosevelt, but I’ll need you to find me an apartment.”
“Furnished?” Joan asks without skipping a beat, in that tone of professional nonchalance that makes her such a star. Sure, Joan’s made to be a caretaker and organizer of men’s lives, but does that make her miserable? No. She absolutely glows when she’s s given an opportunity to do what she does best…
The only character whose fate feels slightly tragic is Betty. How heartbreaking was that shot of her on the plane to Reno, holding her little, worried-looking baby as Henry Francis snoozed in the seat beside them? Now Betty has the dull life and the dull Daddy of her dreams, and not surprisingly, there she is, looking as hopelessly alone as ever. (And really, someone should give that baby an Emmy for encapsulating the angst of that scene in his poor little face. Another boy goes barreling off into an unknown future with a dad who’s not his own. Is Francis even a good guy? Who knows?)
Who knows? arrrghh! we’ll have to wait another year to find out.
22 Responses for "“Full-on fist-pumper” finale for Mad Men, Season 3"
I couldn’t help noticing in last week’s episode and this week’s the lack of spark between Betty and Francis. There seemed to be no real emotional or physical connection between them. The kiss in last week’s episode was so… so nothing. And, they haven’t even had sex.
Is that bad acting? Or, is it good acting foreshadowing their future relationship?
You know, I think that lack of chemistry has to be deliberate, Roger. As Havrilesky says:
“Now Betty has the dull life and the dull Daddy of her dreams, and not surprisingly, there she is, looking as hopelessly alone as ever.”
Be careful what you wish for?
I think Betty thinks she knows exactly what she’s getting with Francis, even if we disagree. And we should. I feel like she’s trying to take a step back and get some kind of certainty while Don feels like he has his finger on the pulse of the world and is trying to move forward with that. Betty’s departure is, in a sense, liberating, but in a way she’s just changing teams, not the game itself.
Brilliant finale. The machinations of Cooper, Draper, Sterling, Pryce (loved it when he was fired over the phone and he took it in stride) were very entertaining.
And Pete’s comment that he wasn’t really sick to Don and Roger=priceless.
ha, srh1son, the entire scene at Pete’s apartment was so funny. When Pete says he has other options, his eavesdropping wife instantly calls from the bedroom: “Honey, can I speak to you for a minute?!” And none of the three men even act like they’ve heard her.
(though, at the same time, she’s making her feelings clear and perhaps given Pete the nudge he needed to leap in the right direction.)
I do agree, Magically Delicious, Betty is getting exactly what she thinks she wants. Well-played, she’s landed in a cushy place. I think it’s a pity that what she wants is so homogenized — and it’s a pity for us that this might push her storyline to the fringe.
What a fantastic finale. I was left speechless at the end of it. And on a superficial note, does Jon Hamm get better looking by the minute? That man is ridiculously handsome it’s barely human anymore.
Whatlobster, have you seen the 30 rock episode from last season called “The Bubble.” It pretty much deals with exactly what you’re talking about, especially because it guest stars Jon Hamm.
Also in other news, Betty Draper herself is the host for this week’s Saturday Night Live. Let’s hope it as good as Don’s episode last season. I’m still cracking up over “Jon Hamm’s John Ham.”
I agree — this was a great episode, beginning with the arty shot of Don’s head against his bed pillow, with shadows creating a “crown of thorns” visual effect.
The Betty Draper story line I think will get interesting. Although she wants (and has found) a daddy/protector, I suspect that turbulence lies ahead — especially as the feminism of the 1960s may begin to affect her consciousness.
I’m really glad that Joan has returned to the fold. Hers is a very appealing character in more than a physical sense.
When I learned that the Cooper character is played by musical comedy star Robert Morse I nearly fell off the couch.
Did anyone notice that last week’s episode (the JFK assassination episode) was directed by Barbet Schroeder?
I posted a Mad Men piece two years ago noting how sweet it was to see Robert Morse’s career arc stretch from How to Succeed in Business Without Really Trying (1967) to owning his own 1960s company in Mad Men, Pierre.
But wow, I did not know that Barbet Schroeder directed last week. That’s very cool to know
Love how when Don arrives at the office pillage party and sees who’s there, he says, “Joan. What a good idea.” Understatement of the evening.
oh… and as I said to Sasha last night: a great way to kick off Season 4 will be for Sterling-Cooper-Draper-Pryce to hire Salvatore — as a director for their TV commercials.
Hopefullly, we’ll meet up with Sal in season 4. Though, his absence did give us that sweet moment when Don kicked open the door of the art dept. office.
I also wonder if we’ll see Cosgrove and Kinsey working for competition next season? Having everybody back under one roof might be a little too neat/predictable.
Magically Delicious,
Yes I have seen ‘The Bubble’. It’s in fact one of my favorite episodes of 30 Rock season 3. It seems that 30 Rock and Mad Men have similar fan base, which is no surprise as both are brilliantly written shows.
My favorite scenes — besides Lane’s smashing “Happy Christmas!” — were the two key conversations between Don and Peggy. I loved how the first scene highlighted Peggy’s confidence and dignity. And the second one moved me to tears, as Don admitted, finally, that Peggy was truly talented, and that he needed her.
What a wonderful, complex show.
Peggy: And if I say no, you’ll never speak to me again…
Don: No, I’ll spend the rest of my life trying to hire you.
With the late afternoon sun streaming into her apartment through narrow airshaft windows, it looked like Don’s eyes were misting up.
Re: Betty
Let’s remember this show is about feminist history… oh yeah and advertising. Betty is doing exactly what women have had to do since the beginning of time and right up until yesterday. If you wanted out of your marriage you had to find another source of income… I mean husband. A woman of her place might not have known any other way (despite the budding mentality Peggy represents). Ask your mom. Being a wife in those days was just as much about business as advertising is. She had a business decision to make. She is just as savvy at being a woman as Joan, Peggy and Trudy just not as progressive. But yes, we know what history is headed her way. How will it effect her? That’s what makes all of this such great story.
I was wondering about Sal’s fate, as well, but wasn’t he fired because of the client from the tobacco company (I’m assuming Lucky Strike). I don’t know how they’ll get him back if that client is the backbone of the new firm.
I loved the way Peggy handled herself this season, specially on this episode. And of course I’m very glad Joan is back in the game.
All in all it was the best episode of the season, the best season finale for Mad Men and possibly my favorite episode of the series so far. Very very thrilling!
One year is too much! =)
The other great line of the night:
Roger: Peggy, can you get me some coffee?
Peggy: (pauses) No.
FANTASTIC episode. Loved every second of it.
All I have to say about next season is this: we BETTER get a rehash of Joan and Roger.
She’s his “one.” Not Mona, or Jane. And he just figured it out.
Wonderful comments, all. Goes to show how sparingly yet richly done this series is.
Best episode since Betty shot off a rifle and Joan smashed her husband’s head. Finally, fresh air out of the dregs. Betty’s not on the sidelines – too many scenerios. The kids …. if Don keeps up with Suzanne, (admired teacher by Sally), there’s a story with mother attachment conflict & Don being parental ref. And Henry may very well need Don’s marketing expertise for a political campaign. Or, Don could become human, influenced by this new, “respect demanding”, adventure, atmosphere with Betty seeing Henry not fitting in, in transition Reno, mixing up the energies. Don’s newfound place and independence, learned from Connie Hilton, eventually wins Betty back, which I think he ultimately wants. He’s emotionally sick. Can’t expect miracles here.
You know it isn’t over for Pete and Peggy. Joan has them sharing the same desk now. Those two are destined. Not necessarily a love affair, but something in each other’s lives to grow. Love Trudy though! Consistently my favorite character for many reasons.
Although Joan has it in her to be a good wife, I can’t see her being a good ‘military wife’. Different breed, different ballgame. She’s an urban gal. This could be her out. I want her with a real man, confortable in his skin, who cares as much and pray it isn’t Roger. Leave him in the dust. Let her out shine them all.
Heartwarming that Cooper gets to do it all again, a valued purpose. He loves living, I think. Sets the tone, nips the bud, allows for flow – all without a flutter. Can’t imagine the show without this solid, centered, nurturing beacon. Think about it. They all end up seeking him!
Best episode ever. It’s like the Michael Scott Paper Company arc from The Office, but more badass.
Leave a reply
All comments should respect the Awards Daily House Rules. If you think a particular comment breaks these rules then please let us know, quoting the comment in question.