Category Archives: John Slattery

Analog This: Mad Men Season 5 Finale

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Jessica Pare: Humanizing French Canadians Since 2010.

Warning! May contain some minor spoilers for the season five finale. Read with caution.

Two years ago, when the previous season of “Mad Men” was drawing to a close, I claimed that the fourth season was the best season yet (I’m also not entirely sure I actually knew what the word “dissertation” meant). I take it back, because season five blew every other season out of the water. And unless season six can work miracles, and I know Matthew Weiner is good at doing that, it will be tough to top this one.

Yet, the season finale, entitled “The Phantom,” was a little bit disappointing. It was definitely not a bad episode. I think my expectations for “Mad Men” are a bit too high. But when a major character dies a week before, it seems a little peculiar to only mention the tragedy once the week after. And while throwing in Don’s brother was a nice touch (it tied in with his guilt over Lane’s death), it felt a little bit out of nowhere considering the fact that Don was less haunted than usual by his past this season. As did  the cliffhanger, which questioned whether or not Don would return to his adulterous days.
Nonetheless, it was still a fitting way to tie together a fantastic season. A lot happened this season, and I’m hoping this list below can account for as much of it as possible. Here are some of the reasons why season five was so damn good:

It took a turn for the surreal: “Mad Men” took some storytelling risks this season. It often felt less grounded in reality. One episode involved an elaborate dream sequence in which Don murdered a woman and effectively extinguished a piece of his soul. It also included an LSD trip. More on that coming up.
The New Don Draper: Chuck Klosterman wrote a very thoughtful peace on “The New Don.” I didn’t know if Don would be as interesting a person without his alcohol, copious cigarettes, and many affairs. Turns out that can’t be possible. The new Don is a better Don because of Megan (Jessica Pare). To borrow a line from “Jerry Maguire,” she completes him. She is the ying to his yang. She is filled with the youthful energy and ambition that he was beginning to lose as he reached middle age. Also, while we’ve seen Don going through many existential crises with his family life, this was his first major existential crisis at work. For a brief while, the life of an ad executive didn’t seem to be for him.
The New Betty and Sally: I have to hand it to “Mad Men” for making two of my least favorite characters likable this past season. Sally (Kiernan Shipka) gets better the closer you draw her to the adult world. Meanwhile, Betty (January Jones) seems much less empty and shallow when she has a real problem to deal with. 
Michael Ginsberg: Sterling Cooper Draper Pryce went through some major changes this season, including the hiring of its first African American, and its first Jew. Michael Ginsberg (Ben Feldman) became one of the show’s best characters, with the ambiguous revelation that his backstory might include being born in a concentration camp. He also has an odd, outgoing, and unforgettable personality. Some might call him a Jewish stereotype, which to me is just another word for totally relatable.
John Slattery: As Roger Sterling, John Slattery walked away with every scene he was in with his hilariously sardonic sensibility. While evaluating his own purpose at Sterling Cooper Draper Pryce, Roger became more valuable to the show than ever. He also had a few pretty big revelations this season. Speaking of which…
Roger Takes LSD: This season, the usually old school Roger attends a fancy party (surprisingly lacking monocles) and drops acid. It is not some stereotypically bad trip of melted colors, but rather one of the greatest scenes crafted on this show. It goes from funny (an orchestra playing every time Roger opens a bottle of liquor) to moving (Roger hearing the sounds of cars from his childhood). And it is all perfectly set to The Beach Boys’ “I Just Wasn’t Made For These Times.” And most importantly, this wasn’t just some throw away scene: Roger really changed from it. And it effected him the rest of the season.
Something French: Season five kicked off with Megan’s memorable rendition of Gillian Hills’ “Zou Bisou Bisou,” met with a very awkward reaction from Don and company. The catchy song quickly reached the pop culture lexicon, and was even featured on an episode of “30 Rock.” Between this, and Francoise Hardy’s “Le Temps de l’Amour” making an appearance in “Moonrise Kingdom,” I hereby proclaim 2012 the year that 1960s French pop music became popular again in America.

Connecticut: It’s nice to see that my homeland became a representation for suburban boredom. I can’t say that living here is as exciting as living in New York City, but at least I didn’t grow up in Cos Cob.

Pete Campbell: Even after five seasons, I still don’t quite know how to feel about Campbell (Vincent Kartheiser), the ambitious child of privilege. On the one hand, he’s constantly selfish and conniving. On the other hand, he exemplified this season that even if you have everything you want, it’s possible to still be missing something. As Don became more and more of a moral compass, Pete transformed into the man Don once was [Editor’s Note: How could anyone possibly cheat on Alison Brie? How?]. Kartheiser is one of the ensemble’s best actors. Nonetheless, it was a great moment of schadenfreude to watch him get punched in the face.

Filed Under: First World Problems.
I can’t even say if this post does the entire season justice. What were your thoughts on season five? Were you satisfied by the finale? What questions do you need answers to? And did you finally figure out what this poster meant?

Mad Men: Dissertation on the Best Season Yet

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Warning: Spoilers for the fourth season ahead. Proceed with caution.

When the epic finale of the third season of “Mad Men” ended with the image of Don Draper (Jon Hamm) walking into his hotel, unsure of the future that lay head, I was unsure of one thing: how could the makers of “Mad Men” possibly make an episode of television this good ever again?
Well, Matthew Weiner did it again, for every single episode of the nearly flawless fourth season of “Mad Men.” “Mad Men” took the cautiously optimistic tone of “Shut the Door. Have a Seat” to a whole new level.
Uneasiness seemed to be the theme of this season. Season three ended with the assassination of JFK and season four was set to the backdrop of Vietnam and the Civil Rights Movement. This is no longer the 1960s that “Mad Men” first began in where big men in big suits could sit comfortably behind their desks and ignore the problems of the world. This was a time when reality was leaking into office life.
With this, we also got a changed Don Draper, for better or worse. At one point, we see him trading in whiskey for wine and even questioning his own smoking addiction and incessant love affairs.
Much of this season was really about change, and how people respond to it. In addition to that, the show gave us many welcome changes. A scenery change is always good, and the new office of Sterling Cooper Draper Pryce allowed for even more pressing problems. Another welcome change was the show’s change in attitude. Despite the constantly serious subject matter, the show found a subtle, witty sense of humor this season. Much of this came through the show’s dialogue, mainly banter between the main characters. A lot of this humor also came from small, charming moments which seem inconsequential. One of the best that is easy to forget is Don and Lane (Jared Harris) sharing a bottle of whiskey in a crowded movie theater.
A few of the show’s principle actors also showed a few welcome changes. Mainly young Kiernan Shipka as Sally Draper. This season, she dropped the lisp and whininess and became one of the show’s darker and more interesting characters.
Then there’s Betty Draper (January Jones). It is easy to hate on January Jones because, well, she’s sometimes something of a terrible actress. However, it’s hard playing a character that the audience is forced to hate, so she deserves some credit for that. In the last few moments, after all the horrible things she had just done (mainly, trying to ruin the happiness of everyone around her), she somehow came off as sympathetic. It’s easy to forget that her paranoia and hatred towards all things that breath comes from years of being cheated on by Don. Perhaps the best quote to define Betty this season is this: “Just because you’re sad doesn’t mean everyone else has to be.”
This season also managed to solve its Don and Betty plotline quite well through an unspoken midseason reconciliation between the two that was both revelatory and moving. Then there was those final moments as the two stood in there empty Westchester house, remembering their past and looking into the future. This announced the end of an era for “Mad Men.”
Season four of “Mad Men” brought the show to new levels both story wise and thematically. The characters reached new lows of desperation, whether it had to do with searching for clients or searching for lovers. In this we could find characters constantly falling back into old habits or falling into the habits of others. Every character in this mad mad world is always trying to be someone other than themselves.
And at the center of this of course is Donald Draper, played as strikingly and mysteriously as ever by Jon Hamm. Like the company he helped start, Draper went on a bumpy and confusing course this season. He oscillated between redemption and past troubles. The more his secrets unraveled, the more he felt he had to beef up his fake identity. By marrying the much younger secretary over Faye, he proves to continuously try to slip back into youth rather than move forward.
The greatest moments of “Mad Men” always lie in mystery and intrigue, just like with Draper himself. It’s not just mysteries like “who is Donald Draper?” it’s more like the mystery behind his true emotions and intentions. Am I the only one more interested in what Don was looking at out that window in the final shot than why Joan decided to keep Roger’s baby?
Overall, the reason season four proved “Mad Men” to be the truly amazing show everyone thinks it is is because this season really proved the show’s real ambitions. It is attempting to use the past, settings, and people to re-create the idea of America. Few shows have dared try to achieve something this big since “The Sopranos” and have gotten this close to being right. This season showed us the constant rising and falling of the American Dream. As from episode one, Draper has both exemplified and put down the myth of the self made man. What category he ultimately falls into still remains a mystery.
“Mad Men” has always remained fascinating because of the endless intrigue. What I love best is hard to say. It could be the fact that missing one facial expression can impact one’s perception of an episode. Or it could be how carefully every little detail is put on screen. Most importantly, I like it for a reason different from every other show I’ve ever enjoyed. While I enjoy most shows for having a sort of cinematic value, I enjoy “Mad Men” because its ambitions and overall contributions to the world are too grand to fit into one two hour time frame. The 1960s may be over, but the era of “Mad Men” will always continue.