Great ending to a fine first season. However, there is one story-line that really baffled me. Yes, you've guessed it correctly.. Peggy's pregnancy. How could she not know, for nine bloody months, that she's pregnant? I mean, yeah, Peggy's not the slimmest of the bunch, but still, she felt nothing? It was really baffling how this story-line just came out of the blue. It is really baffling.
10 Reviews
Season One (8/10 stars): As Authentic/Absorbing A Period Piece As You'll Ever Find
zkonedog4 July 2019
Truth be told, the first season of Mad Men starts off a little slow. Not bad in any sense, but just a bit of a "what am I watching here" sort of effect. Then, a few episodes in, there's a scene with a bunch of characters in a bar and Chubby Checker's "The Twist" plays on the jukebox, prompting a rousing dance response. In that moment, the show (if it is for you) will have you wrapped around its finger the rest of the way.
For a very basic overview, this season introduces viewers to 1960's New York City advertising firm Sterling Cooper. Under the jocular (if abhorrent by today's standards of decor) direction of Roger Sterling (John Slattery), Don Draper (Jon Hamm) is the top ad man in the company--but also one who harbors a deeply personal secret past. At first glance, it seems like an "idyllic society" where the men work (and drink--often simultaneously!) and are supported by the women in their lives. Yet, we quickly learn that the stereotypes and prejudices of the time make it a complicated place for some--like new secretary Peggy Olson (Elisabeth Moss) trying to fit in with the crowd but also maintaining some standards.
Without a doubt, Mad Men is the best period TV drama I've ever watched. Even when it thematically waxes and wanes a bit, it is utterly convincing at putting you (and keeping you) within its time period. From the sets to the costume designs to the music, show creator Matthew Weiner has it all covered here.
Besides the "glitz and glamor" of it all, there are deep thematic elements at play here too. The "good old boys club" mentality of the Madison Avenue mavens is almost surreal--making one wonder if this was truly the way your parents/grandparents operated back in the day. The treatment of women in the time period also takes center stage, whether it be Don's embattled wife Betty (January Jones) trying to manage his mercurial tendencies and two children, or office matron Joan (Christine Hendricks) embodying the bombshell allure that often brings with it complicated repercussions. In short: there's as much depth as breadth in this first season.
Does everything work perfectly in S1? I don't think so. Don's core mystery didn't resonate with me quite as much on the re-watch as it did initially, and a few other angles are strangely managed in terms of pacing. The show also suffers a little bit from the "too many shades of grey" problem, where it is hard to find anyone to truly root for. I realize the show is utterly set up to explicitly subvert expectations, but it can be difficult to know where to place your emotions when everyone has a repulsive side.
Overall, I land on 8/10 stars for Mad Men's inaugural effort. It is a period piece of the utmost quality and it creates extremely interesting characters (if sometimes managing them a little strangely). There is certainly room for growth into subsequent seasons.
For a very basic overview, this season introduces viewers to 1960's New York City advertising firm Sterling Cooper. Under the jocular (if abhorrent by today's standards of decor) direction of Roger Sterling (John Slattery), Don Draper (Jon Hamm) is the top ad man in the company--but also one who harbors a deeply personal secret past. At first glance, it seems like an "idyllic society" where the men work (and drink--often simultaneously!) and are supported by the women in their lives. Yet, we quickly learn that the stereotypes and prejudices of the time make it a complicated place for some--like new secretary Peggy Olson (Elisabeth Moss) trying to fit in with the crowd but also maintaining some standards.
Without a doubt, Mad Men is the best period TV drama I've ever watched. Even when it thematically waxes and wanes a bit, it is utterly convincing at putting you (and keeping you) within its time period. From the sets to the costume designs to the music, show creator Matthew Weiner has it all covered here.
Besides the "glitz and glamor" of it all, there are deep thematic elements at play here too. The "good old boys club" mentality of the Madison Avenue mavens is almost surreal--making one wonder if this was truly the way your parents/grandparents operated back in the day. The treatment of women in the time period also takes center stage, whether it be Don's embattled wife Betty (January Jones) trying to manage his mercurial tendencies and two children, or office matron Joan (Christine Hendricks) embodying the bombshell allure that often brings with it complicated repercussions. In short: there's as much depth as breadth in this first season.
Does everything work perfectly in S1? I don't think so. Don's core mystery didn't resonate with me quite as much on the re-watch as it did initially, and a few other angles are strangely managed in terms of pacing. The show also suffers a little bit from the "too many shades of grey" problem, where it is hard to find anyone to truly root for. I realize the show is utterly set up to explicitly subvert expectations, but it can be difficult to know where to place your emotions when everyone has a repulsive side.
Overall, I land on 8/10 stars for Mad Men's inaugural effort. It is a period piece of the utmost quality and it creates extremely interesting characters (if sometimes managing them a little strangely). There is certainly room for growth into subsequent seasons.
The Wheel (#1.13)
ComedyFan201019 November 2018
Warning: Spoilers
A nice finale for the first season. The scene when Don called to talk to Adam and finds out he hung himself was really good. If only he did it before. This incident changes Don's view on family. Although who knows for how long. Betty's suffering was also well portrayed in this episode.
To me highlight was Peggy. I loved her working on the radio recording and really bringing the woman she wanted to sound confident to tears. One is very happy for her promotion. Even though it happened because Don wanted a revenge on Pete. It was a pretty amusing scene. Only now I am worried for Peggy. Her surprising birth (which also explains her weight gain) might ruin her chances. We'll see it in the next season
To me highlight was Peggy. I loved her working on the radio recording and really bringing the woman she wanted to sound confident to tears. One is very happy for her promotion. Even though it happened because Don wanted a revenge on Pete. It was a pretty amusing scene. Only now I am worried for Peggy. Her surprising birth (which also explains her weight gain) might ruin her chances. We'll see it in the next season
An amazing finale to a brilliant first season
Red_Identity18 September 2010
Here we come to the end of the first season, and the episode reminds us why Mad Men proves that it is one of the best shows in recent years, if not the best.
The episode was written and directed by the show's creator, Matthew Weiner. It brings us closer to Betty Draper's pain, and the remorse than Don Draper feels. It also keeps hinting at what Peggy Olson's new future will be, as well as give us a completely satisfying ending. The episode also has many amazing scenes, like the presentation of the Carousel advertising. In that moment, it shows how much Don has lived and how much his secrets could really cost him, together with some amazing direction, cinematography, and music. The episode shows just how flawed each character can be, including Pete's continuing selfish behavior, Don's hypocritical statements about a friend's affair, and Betty's naive and misunderstood cry for help to a kid.
Together with the end of the first season, it is to be said that the cast is amazing- one could not try to gather a better one. Jon Hamm is amazing in the central role, and I think that he will surely win his much deserved Emmy one day (after three years he still has not yet won). Elisabeth Moss is just getting started, as she is in her shining moment in the second season. January Jones is very underrated, but she has proved over the years how to play from the innocent wife to the lost girl inside to the cold-hearted woman in in the series. Of course, we also have the amazing Slattery, Kartheiser, and Hendricks in her sexy role. I also want to give a shout-out to guest star Anne Dudek as Francine, who proves in this episode what a great actress she is.
Ultimately, this episode is as fine as an episode can get, and since I started watching the series from the second season I can gladly say that it will just continue to keep getting better, and many will wonder how that is possible. But Mad Men will continue adding layered story lines to completely interesting and complicated characters.
The episode was written and directed by the show's creator, Matthew Weiner. It brings us closer to Betty Draper's pain, and the remorse than Don Draper feels. It also keeps hinting at what Peggy Olson's new future will be, as well as give us a completely satisfying ending. The episode also has many amazing scenes, like the presentation of the Carousel advertising. In that moment, it shows how much Don has lived and how much his secrets could really cost him, together with some amazing direction, cinematography, and music. The episode shows just how flawed each character can be, including Pete's continuing selfish behavior, Don's hypocritical statements about a friend's affair, and Betty's naive and misunderstood cry for help to a kid.
Together with the end of the first season, it is to be said that the cast is amazing- one could not try to gather a better one. Jon Hamm is amazing in the central role, and I think that he will surely win his much deserved Emmy one day (after three years he still has not yet won). Elisabeth Moss is just getting started, as she is in her shining moment in the second season. January Jones is very underrated, but she has proved over the years how to play from the innocent wife to the lost girl inside to the cold-hearted woman in in the series. Of course, we also have the amazing Slattery, Kartheiser, and Hendricks in her sexy role. I also want to give a shout-out to guest star Anne Dudek as Francine, who proves in this episode what a great actress she is.
Ultimately, this episode is as fine as an episode can get, and since I started watching the series from the second season I can gladly say that it will just continue to keep getting better, and many will wonder how that is possible. But Mad Men will continue adding layered story lines to completely interesting and complicated characters.
The carousel
jotix1001 February 2010
Warning: Spoilers
Don and Betty have different ideas about the upcoming Thanksgiving visit to her family. Don has no intentions of going, in fact, he must appear odd to her family by the way he behaves. Francine, a neighbor of the Drapers, comes in to tell Betty what she has discovered by going over the telephone bill where it shows a Manhattan number her husband seems to dial often. Betty is left thinking maybe she can find out the same if she goes over the long distance calling from her number, but she doesn't act on her hunch.
Bert Cooper remarks about how many times Mr. Menken, Rachel's father has called to express his concern about his daughter. Don feels the boss is getting too personal, but everything is left in the air. Duck Phillips tries to rally the troops into bringing new accounts to the firm. There is talk that Kodak is not happy with the reception its new product, "The Wheel", a slide projector, has received when another agency has tried to market it. When the Kodak executives come in for a presentation Don has reworked the concept into renaming the slide projector as "The Carousel", something that has an immediate good effect on everyone at the meeting.
Peggy, who has been given creative control of the new 'exerciser' product, is seen interviewing three actresses who will be the voices in the commercial the agency is producing. She chooses one girl that turns out to be not suited for the radio commercial. At the same time, the ambitious Pete Campbell tries to interest his father-in-law to let him handle the campaign for a new product, Clearasil. As Pete announces the good fortune in landing the new account, Don congratulates him, and tells him he will be assisted by Peggy. Pete answers that Peggy, being a secretary is not suited to work with him. Don calls Peggy and offers her a promotion so that she will work with Pete.
As Peggy moves into her new space, she is accompanied by Joan, who reminds her not to forget the girls that were her peers in the secretarial pool. As she is trying to settle, Peggy gets a great deal of pain in her stomach. She goes to the hospital, where she is examined by a doctor. The problem with her weight is due to pregnancy, something that doesn't surprise her. When the new baby is brought to her, she wants no part of it.
Don has another surprise coming. When he examines the box mailed to him by his own brother Adam Whitman, he decides to call the hotel where he was staying. The front desk man gives him the sad news about Adam's suicide. At the end of the episode Don agrees to accompany Betty to the Thanksgiving celebration at her family's.
Another excellent installment of this award winning series. Directed by Matthew Weiner, who co-wrote the script with Robin Veith, the episode keeps one's interest since the start. "Mad Men" packs a lot in its content, as we are taken to our not too distant past to meet people that perhaps we have known in different places, with the same complex problems of the many characters of this highly enjoyable show. The feat Mr. Weiner achieves is that at no time, it feels we are watching one of those atrocious 'soap operas' of daytime television, but a character study of real people and the way they deal with life.
The strength of the series is the marvelous overall acting Mr. Weiner and his collaborators get out of the amazing cast. Jon Hamm, Elisabeth Moss, Vincent Kartheiser, January Jones, Christina Hendricks, Bryan Batt, Michael Gladis, Aaron Staton, Rich Sommer and Robert Morse, work as an ensemble, a truly remarkable accomplishment.
Bert Cooper remarks about how many times Mr. Menken, Rachel's father has called to express his concern about his daughter. Don feels the boss is getting too personal, but everything is left in the air. Duck Phillips tries to rally the troops into bringing new accounts to the firm. There is talk that Kodak is not happy with the reception its new product, "The Wheel", a slide projector, has received when another agency has tried to market it. When the Kodak executives come in for a presentation Don has reworked the concept into renaming the slide projector as "The Carousel", something that has an immediate good effect on everyone at the meeting.
Peggy, who has been given creative control of the new 'exerciser' product, is seen interviewing three actresses who will be the voices in the commercial the agency is producing. She chooses one girl that turns out to be not suited for the radio commercial. At the same time, the ambitious Pete Campbell tries to interest his father-in-law to let him handle the campaign for a new product, Clearasil. As Pete announces the good fortune in landing the new account, Don congratulates him, and tells him he will be assisted by Peggy. Pete answers that Peggy, being a secretary is not suited to work with him. Don calls Peggy and offers her a promotion so that she will work with Pete.
As Peggy moves into her new space, she is accompanied by Joan, who reminds her not to forget the girls that were her peers in the secretarial pool. As she is trying to settle, Peggy gets a great deal of pain in her stomach. She goes to the hospital, where she is examined by a doctor. The problem with her weight is due to pregnancy, something that doesn't surprise her. When the new baby is brought to her, she wants no part of it.
Don has another surprise coming. When he examines the box mailed to him by his own brother Adam Whitman, he decides to call the hotel where he was staying. The front desk man gives him the sad news about Adam's suicide. At the end of the episode Don agrees to accompany Betty to the Thanksgiving celebration at her family's.
Another excellent installment of this award winning series. Directed by Matthew Weiner, who co-wrote the script with Robin Veith, the episode keeps one's interest since the start. "Mad Men" packs a lot in its content, as we are taken to our not too distant past to meet people that perhaps we have known in different places, with the same complex problems of the many characters of this highly enjoyable show. The feat Mr. Weiner achieves is that at no time, it feels we are watching one of those atrocious 'soap operas' of daytime television, but a character study of real people and the way they deal with life.
The strength of the series is the marvelous overall acting Mr. Weiner and his collaborators get out of the amazing cast. Jon Hamm, Elisabeth Moss, Vincent Kartheiser, January Jones, Christina Hendricks, Bryan Batt, Michael Gladis, Aaron Staton, Rich Sommer and Robert Morse, work as an ensemble, a truly remarkable accomplishment.
Back to basics
MaxBorg8928 August 2010
Mad Men has repeatedly been described as the new Sopranos, a fact strengthened by its Golden Globe and Emmy success (the first season won Best Drama a year after David Chase's mob masterpiece had collected its final trophies). While the comparison is mostly due to creator Matthew Weiner's association with the HBO hit, it is spot-on in that Mad Men is a riveting, sharp look at a specific group of people, all with their secrets and aspirations, and the end of Season One confirms this from start to finish.
Plot-wise, Don isn't entirely happy, having just been in a fight with Peggy because he doesn't want to spend Thanksgiving with her and the kids. As far as work is concerned, however, all is well after Pete's blackmail plan failed (apparently, Bertram Cooper has no problem working with a guy who took a dead man's name). In fact, when the latter shows up with an account he got from his father-in-law (it's for a well-known product called Clearasil), Don shamelessly gives it to Peggy, who's quickly becoming a valuable asset within the agency. Her personal life is less perfect, though, as a trip to the doctor suddenly reveals...
The entire first season of the show was a pleasant surprise: hand in hand with an accurate portrayal of 1960s America and its workplace characteristics (casual sexism and racism, plus lots of drinking and smoking) came a stunning character drama, and the finale delivers the goods by resetting the status quo (Don's power over Pete) and at the same time looking to the future: some plot points - the Dick Whitman storyline - have been shelved (at least for now), while others (Salvatore's homosexuality, Peggy and Pete's affair, Betty's domestic troubles) are sure to be expanded upon in future episodes, thus making sure fans will come back to see how things play out.
Most important, of course, was the evolution of the characters, and while The Wheel doesn't give everyone the great moments they've enjoyed throughout the season, it's an excellent showcase for the talents of Hamm, Kartheiser and Moss, the latter rewarded with a plot twist whose payoff will surely be one of the high points of the second season. Staying in the female area, January Jones deserves credit for making Betty all the more complex than your usual '60s housewife, and Christina Hendricks is also fantastic as a woman who is much more than just a great piece of office eye-candy.
In short, the first season ends like it started: smart, stylish and drenched with emotion. Who would have thought Madison Avenue could be the center of such impressive storytelling? Certainly not HBO, which made the mistake of passing on one of the best TV treats of the decade. And as the old adage goes, this is just the beginning...
Plot-wise, Don isn't entirely happy, having just been in a fight with Peggy because he doesn't want to spend Thanksgiving with her and the kids. As far as work is concerned, however, all is well after Pete's blackmail plan failed (apparently, Bertram Cooper has no problem working with a guy who took a dead man's name). In fact, when the latter shows up with an account he got from his father-in-law (it's for a well-known product called Clearasil), Don shamelessly gives it to Peggy, who's quickly becoming a valuable asset within the agency. Her personal life is less perfect, though, as a trip to the doctor suddenly reveals...
The entire first season of the show was a pleasant surprise: hand in hand with an accurate portrayal of 1960s America and its workplace characteristics (casual sexism and racism, plus lots of drinking and smoking) came a stunning character drama, and the finale delivers the goods by resetting the status quo (Don's power over Pete) and at the same time looking to the future: some plot points - the Dick Whitman storyline - have been shelved (at least for now), while others (Salvatore's homosexuality, Peggy and Pete's affair, Betty's domestic troubles) are sure to be expanded upon in future episodes, thus making sure fans will come back to see how things play out.
Most important, of course, was the evolution of the characters, and while The Wheel doesn't give everyone the great moments they've enjoyed throughout the season, it's an excellent showcase for the talents of Hamm, Kartheiser and Moss, the latter rewarded with a plot twist whose payoff will surely be one of the high points of the second season. Staying in the female area, January Jones deserves credit for making Betty all the more complex than your usual '60s housewife, and Christina Hendricks is also fantastic as a woman who is much more than just a great piece of office eye-candy.
In short, the first season ends like it started: smart, stylish and drenched with emotion. Who would have thought Madison Avenue could be the center of such impressive storytelling? Certainly not HBO, which made the mistake of passing on one of the best TV treats of the decade. And as the old adage goes, this is just the beginning...
A Fitting Conclusion to a Spectacular Season
borowiecsminus15 July 2016
Warning: Spoilers
The episode, granted, was not as good as the season as a whole. But it is still a great episode of television, just barely missing the cut- off for the Top Fifty (by one point), and it makes me glad I decided to binge-watch "Mad Men." It leaves the viewer craving the second season.
The best part of the episode is the acting. Here, all three main characters have excellent performances: Jon Hamm, Elizabeth Moss, and the legendary January Jones. While Hamm consistently delivers the best acting in the cast, and this episode is no exception, it's wonderful when it isn't by far, and in this episode it's actually very close.
The story being told in this episode almost feels like a film noir, particularly the heartbreaking (if somewhat confusing) final scene. It has a heartbeat about it, like each scene lasts however long and they're all equal; as if you're seeing the same story from different perspectives.
One of the greatest episodes yet.
The best part of the episode is the acting. Here, all three main characters have excellent performances: Jon Hamm, Elizabeth Moss, and the legendary January Jones. While Hamm consistently delivers the best acting in the cast, and this episode is no exception, it's wonderful when it isn't by far, and in this episode it's actually very close.
The story being told in this episode almost feels like a film noir, particularly the heartbreaking (if somewhat confusing) final scene. It has a heartbeat about it, like each scene lasts however long and they're all equal; as if you're seeing the same story from different perspectives.
One of the greatest episodes yet.
Nearly Perfect
julienlegiletier18 July 2018
Warning: Spoilers
Mad Men's first season is undoubtedly its worst. That it is still fantastic says a lot about the show overall. The finale is perhaps a good embodiment of where the season works and where it doesn't. Where it doesn't is in the unsubtlety of certain character moments. The characters themselves, written brilliantly to be complex and real, are often betrayed by moments of odd, obvious dialogue, as if the storyteller wants the viewer to be unsure of what they think of them. On a similar vein, certain plot elements are awfully soap opera. It is clear that the writers have not quite hit their stride, though I would venture that Mad Men was still, at the time, the best-written show on television. The problems I have with this season are also issues I have with some points of The Sopranos, so perhaps it is a televisional problem.
The Wheel is by far the season's best episode. It is a finale of mostly understated drama, and a statement against sentimentality. The presentation of 'the wheel' is itself superb, then the episode's ending is a deconstruction. It says a lot about Don's character, and parallels the finale of the show almost ten years down the line.
The early scenes with Peggy are wicked. Her development throughout the season is exceptionally handled. It's interesting, also, how her promotion comes out of Don's competition with Pete and not out of his kindness.
The Wheel is by far the season's best episode. It is a finale of mostly understated drama, and a statement against sentimentality. The presentation of 'the wheel' is itself superb, then the episode's ending is a deconstruction. It says a lot about Don's character, and parallels the finale of the show almost ten years down the line.
The early scenes with Peggy are wicked. Her development throughout the season is exceptionally handled. It's interesting, also, how her promotion comes out of Don's competition with Pete and not out of his kindness.
Season 1: Looks good and offers potential but somehow doesn't deliver and, while interesting, doesn't mange to do more than that
bob the moo6 September 2009
Mad Men was in my "I should watch that" pile for quite a while, mainly on the strength of the critical response it got and the fact that "grown-up" channel BBC4 picked it up for UK viewers. Starting it for myself I could see straight away all the many good things that has been said about it. It looks very slick and cool and has what I assume to have been the atmosphere of the time within the circles of these advertising agencies – sexist, racist, "proper" and with a clear definition of what success or lack of success is. In this regard the cosmetics of the show are really well done even if they do occasionally feel a bit overdone (with the constant smoking, drinking and other aspects as ever present as the wallpaper in the rooms). This is initially built on by establishing this world as somewhere where the viewer understands the rules, the attitudes and so on, I'm sure they are very simplified and very much a version of the period that is polished by someone not from there but it does still work for what it is and it offers a strong bed to do more with.
And it is at that point within the series as a project that I started to have my problems because it is not as gripping as I would have liked in terms of the characters and the content. It is not a comparison I want to make but coincidentally I am re-watching The Sopranos at the moment (season 2 at the moment) and it has impressed me by how engaging each thread is whether it being just one for that episode or one that spreads across the season; it makes each episode engaging while also building the characters and the bigger plots at the same time. With Mad Men the same doesn't happen even though I could see it trying hard to do it. For some reason it left me a little cold to the characters and the events – even Peggy, who I had assumed would be the "wide-eyed-innocent" device that the show uses to introduce us to this world (she is, but really only for a while). I'm not saying that nothing happens, because that is not the case – we learn the pasts of some of the characters and the true nature of other characters and relationships, there is stuff going on and to a point I found it interesting.
The problem is that I mostly only found it interesting. I didn't really feel like it ever engaged me or made me care like I would normally want to be by a show (not just a drama, I generally want to be engaged in the show rather than just going along with it). Season 1 never managed to do that and I'm not entirely sure why but it never felt different from the first episode – never made me feel like I had grown with the show over the 13 or so episodes or that I cared more as a result of the time put in. It is not the fault of the cast but I just think the writing is not as good as the hype suggested it was. I have read others on IMDb saying how complex and layered it all is but I just didn't see that – the standard things I would expect to see from a 1950's drama are all there and have all been done before even as recently as 2008's Revolutionary Road. That it is doing them again is not a problem but if you are doing something so familiar then you need to do so with something that makes it stand out and Mad Men never convinces me it has that.
Hamm's central turn helps things by virtue of his charisma and the way he can easily do the "I have a troubled back-story" look at a moment's notice. Likewise Moss, Kartheiser, Slattery and others all provide solid turns that suggest they can do more than the material often lets them. Hendricks sticks in the mind the most of the cast but this is mainly down to how well she works her figure and her sex appeal. It all makes the conclusion that bit more annoying because it appears to have quality or the potential for quality across the board but yet somehow the material never manages to do more than bat to first base when I was waiting to see it knock it out the park at some point.
I will return for season 2 at some point but I will not be in a rush on the basis of this. I'm interested to see what happens with the characters, interested to see where they take it from where season 1 left off but that is the problem – I'm only "interested" not emotionally involved or engaged in the plots and characters.
And it is at that point within the series as a project that I started to have my problems because it is not as gripping as I would have liked in terms of the characters and the content. It is not a comparison I want to make but coincidentally I am re-watching The Sopranos at the moment (season 2 at the moment) and it has impressed me by how engaging each thread is whether it being just one for that episode or one that spreads across the season; it makes each episode engaging while also building the characters and the bigger plots at the same time. With Mad Men the same doesn't happen even though I could see it trying hard to do it. For some reason it left me a little cold to the characters and the events – even Peggy, who I had assumed would be the "wide-eyed-innocent" device that the show uses to introduce us to this world (she is, but really only for a while). I'm not saying that nothing happens, because that is not the case – we learn the pasts of some of the characters and the true nature of other characters and relationships, there is stuff going on and to a point I found it interesting.
The problem is that I mostly only found it interesting. I didn't really feel like it ever engaged me or made me care like I would normally want to be by a show (not just a drama, I generally want to be engaged in the show rather than just going along with it). Season 1 never managed to do that and I'm not entirely sure why but it never felt different from the first episode – never made me feel like I had grown with the show over the 13 or so episodes or that I cared more as a result of the time put in. It is not the fault of the cast but I just think the writing is not as good as the hype suggested it was. I have read others on IMDb saying how complex and layered it all is but I just didn't see that – the standard things I would expect to see from a 1950's drama are all there and have all been done before even as recently as 2008's Revolutionary Road. That it is doing them again is not a problem but if you are doing something so familiar then you need to do so with something that makes it stand out and Mad Men never convinces me it has that.
Hamm's central turn helps things by virtue of his charisma and the way he can easily do the "I have a troubled back-story" look at a moment's notice. Likewise Moss, Kartheiser, Slattery and others all provide solid turns that suggest they can do more than the material often lets them. Hendricks sticks in the mind the most of the cast but this is mainly down to how well she works her figure and her sex appeal. It all makes the conclusion that bit more annoying because it appears to have quality or the potential for quality across the board but yet somehow the material never manages to do more than bat to first base when I was waiting to see it knock it out the park at some point.
I will return for season 2 at some point but I will not be in a rush on the basis of this. I'm interested to see what happens with the characters, interested to see where they take it from where season 1 left off but that is the problem – I'm only "interested" not emotionally involved or engaged in the plots and characters.
Consequences and "It's A Wrap" Of Season 1
vivianla8 June 2020
Warning: Spoilers
Peter talks to his father-in-law while Trudy talks with her mother. Trudy's father brings up to Peter about having kids, "to start growing things". Work is not everything.
Harry is in trouble with his wife, Jennifer, who will not let him come home. Rachel Menken is off on a trip for three months. Now Don Draper won't have someone to go to for advice and won't be able to make love with her.
Betty Draper's friend comes rushing in from the cold and tells Betty that she found out her husband has been having an affair. She thought Betty would know what to do, to the dismay of Betty. Betty wears a beautiful blue coat that seems to be a trend as other women are wearing blue coats.
Betty tells her husband when he comes home about her friend's husband's affair. Betty asks her husband how could you do that with someone you love, someone who you had kids with? Donald Draper is stuck as he has cheated so many times and he replies who knows why people do what they do. Betty suspects her husband is also doing suspicious things and keeps a letter sent to him.
Peggy takes charge as our leading lady. Annie reads out the script for the masturbation device. Annie has a very clear voice and I will take note of this for myself. Peggy ends up letting Annie go because she is not speaking with confidence. Annie cries as she claims to be herself but Peggy keeps saying what the problem is after each take.
Betty opens the letter to find out that the psychiatrist she is seeing is in contact with her husband. Betty is upset she has no one to truly talk to in private. The psychiatrist is talking with her husband about her appointments. She sees Glen in the parking lot and reaches for comfort from him, a little boy. Glen says he wished he was older and looks at her with wishful eyes. Betty tells Glen that adults do not know anything. Betty has all these problems she as an adult has and does not know what the correct solutions are.
Don shows his ideas of marketing "The Wheel" by introducing it as "The Carousel" instead. He gives a beautiful presentation on its use and he uses his own personal photos with his kids and his wife. Betty looks beautiful on her wedding day. Don gives an amazing verbal presentation as well, saying how the carousel provides a slideshow of nostalgia that you can click to go back or forward as you please. Don seems to feel emotional about his family.
Peggy is promoted and gets her own shared office space. Joan walks her to her new space and tells Peggy not to forget she used to not have a closed door. Joan seems jealous but tries to play it off cool.
Peggy suddenly feels not so swell and goes to the hospital where the doctor feels her belly. He tells her she is pregnant and the nurse congratulates her and asks if she would like her husband or boyfriend to know. Peggy is shocked and I am completely shocked as well, never suspecting she would be pregnant. Peggy has a boy and she does not even look at the baby.
The next scene shows Don coming home way earlier than expected and he tells his wife and kids he is going with them. The Carousel seems to have brought up the feelings he first had with his new wife and kids.
The next scene shows Donald coming home to an empty house as he calls for his family. He sits on the staircase looking sad.
Harry is in trouble with his wife, Jennifer, who will not let him come home. Rachel Menken is off on a trip for three months. Now Don Draper won't have someone to go to for advice and won't be able to make love with her.
Betty Draper's friend comes rushing in from the cold and tells Betty that she found out her husband has been having an affair. She thought Betty would know what to do, to the dismay of Betty. Betty wears a beautiful blue coat that seems to be a trend as other women are wearing blue coats.
Betty tells her husband when he comes home about her friend's husband's affair. Betty asks her husband how could you do that with someone you love, someone who you had kids with? Donald Draper is stuck as he has cheated so many times and he replies who knows why people do what they do. Betty suspects her husband is also doing suspicious things and keeps a letter sent to him.
Peggy takes charge as our leading lady. Annie reads out the script for the masturbation device. Annie has a very clear voice and I will take note of this for myself. Peggy ends up letting Annie go because she is not speaking with confidence. Annie cries as she claims to be herself but Peggy keeps saying what the problem is after each take.
Betty opens the letter to find out that the psychiatrist she is seeing is in contact with her husband. Betty is upset she has no one to truly talk to in private. The psychiatrist is talking with her husband about her appointments. She sees Glen in the parking lot and reaches for comfort from him, a little boy. Glen says he wished he was older and looks at her with wishful eyes. Betty tells Glen that adults do not know anything. Betty has all these problems she as an adult has and does not know what the correct solutions are.
Don shows his ideas of marketing "The Wheel" by introducing it as "The Carousel" instead. He gives a beautiful presentation on its use and he uses his own personal photos with his kids and his wife. Betty looks beautiful on her wedding day. Don gives an amazing verbal presentation as well, saying how the carousel provides a slideshow of nostalgia that you can click to go back or forward as you please. Don seems to feel emotional about his family.
Peggy is promoted and gets her own shared office space. Joan walks her to her new space and tells Peggy not to forget she used to not have a closed door. Joan seems jealous but tries to play it off cool.
Peggy suddenly feels not so swell and goes to the hospital where the doctor feels her belly. He tells her she is pregnant and the nurse congratulates her and asks if she would like her husband or boyfriend to know. Peggy is shocked and I am completely shocked as well, never suspecting she would be pregnant. Peggy has a boy and she does not even look at the baby.
The next scene shows Don coming home way earlier than expected and he tells his wife and kids he is going with them. The Carousel seems to have brought up the feelings he first had with his new wife and kids.
The next scene shows Donald coming home to an empty house as he calls for his family. He sits on the staircase looking sad.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
