As readers of this blog know, I am a huge Mad Men fan. So, whether in the hope of adding something new to the gigabytes of fan analysis and commentary that fill the internet; or consoling my grief at the end of one of television’s finest creations; or simply trying to stop the “I’d like to buy the world a Coke” song from replaying in my mind all day, I would like to share my own thoughts on the series finale. In particular, although many commentators have described the resolution of Don‘s journey simply as a cynical return to advertising with a great idea for a Coca Cola commercial, I found it to be a deeply resonant insight into the joys and struggles of living a creative life.
First, a few words about the other characters, whose stories expanded the themes of the show with remarkable power:
I found Joan’s story to be the most moving, being both heart wrenching and triumphant. Although I had hoped she would find the love she desired, I had suspected that the need to realize her professional and creative potential would become the center of her life. How can someone with her intelligence endure the abuse of unimaginative, sexist, corporate drones without developing an overwhelming drive to realize the gifts that had been denied for so long?
Although I was initially disappointed that Peggy turned down Joan’s offer of a partnership in her production company, I believe that her instincts were right. Joan was as much a mentor to Peggy as was Don, and it was clearly time for Peggy to move past both of her teachers and navigate toward her own goals. I do not know what will become of Peggy’s romance with Stan, but it is part of the process of finding her own creative voice.
As to Pete Campbell, I found myself happy for him, in spite of his ingrained tendency to selfishness, deceit, and self-pity. Although I doubt he will remain faithful to his wife for long, I do believe he has learned to keep his affairs discreet, short-lived, and out of town – an approach greatly simplified by the Lear Jet now placed at his disposal. I also believe Trudy probably will come to recognize and accept the arrangement, at least at an unconscious level.
I find Roger and Marie’s romance to be surprisingly sweet, and much deserved for a man who was possibly the sweetest character in the series. As they settle into a deep connection, made almost unbreakable by the intensity of their sexual passion and the ferocity of their arguments, I can see them becoming icons of sophisticated, New York Bohemianism, sitting at their usual table in a well-worn cafe, surrounded by a growing community of artists, writers, and assorted eccentrics.
Perhaps the most heartbreaking scene in the finale showed Don’s daughter Sally washing dishes in the dimly lit Victorian kitchen while her domineering, cancer-stricken mother sat smoking at the table. I can only hope that Don’s past and future presence in Sally’s life will help her to shake off her mother’s influence and live her own life – a possibility suggested by the strong albeit turbulent connection between Don and his daughter, and by Betty’s surprisingly perceptive comment in her last wishes letter: that Sally would indeed walk to her own drummer.
That leads us to Don’s strange, somewhat ambiguous satori on the meadow overlooking the California coast. Although his “enlightenment” was ultimately grist for his advertising work, producing the famous “I’d like to buy the world a Coke” commercial, I disagree with those commentators who describe it simply as Don failing to rise above his life as an ad man. If we look past Don’s sexual irresponsibility, his desperate alpha-male persona, and the harm he has caused those close to him, we can see his journey as a flawed Everyman’s effort to realize the gifts of great creative ability in spite of the obstacles of modern society and his own fundamental loneliness. Continue reading