“Does this family exist anymore?”
This question is posed by Peggy in the midst of a developing advertising strategy for “Burger Chef”, a process that involves not only hours in the office, but market research in the field (the field being a “Burger Chef” parking lot, of course). It’s a question that applies to nearly every character throughout this episode, one which is expertly crafted and impeccably acted. It’s Mad Men at its best.
As we’ve seen with numerous examples throughout the season, the counterculture was all about breaking away from societal norms and rejecting our past ways of life, and that was met with criticism and unease from the older generations. In “The Strategy”, we see Peggy attempting to build her pitch around the past, around the idealized version of a family emphasized in the media for many years prior, because that’s exactly what SC&P is out to do. Lou, fittingly, loves her original pitch, but there’s something missing; there’s something different about the woman Peggy meets at the beginning of the episode, the working-class woman who’s just trying to make it home with some burgers. For, the notion of a family is simply changing right now, as are gender dynamics.
Throughout “The Strategy”, our characters attempt to grasp onto anything left from their pasts, any sliver of the relationships and families they thought they had. Don, for example, stares longingly after Megan as she stands on the balcony, but in reality, his secretary doesn’t even know he’s married (cue Megan death stare). Pete tries to assert control over Trudy and see Tammy, but in reality, he’s losing both, already pushed out of his family while his relationship with Bonnie is crumbling. Bob Benson tries to create the ‘perfect family’ with Joan after talking to Bill Hartley, but in reality, Joan’s fed up with facades, with fake relationships and fantasies. She wants love, and she’d rather die hoping for it than live under an arrangement.
At the end of it all, we’re left with Peggy Olson and Don Draper, and what a fantastic pairing it is. It all starts with a little statement, with Don stating that he’s been noodling with the idea of emphasizing the kids in the ad; because of this, Peggy starts to question herself. Does Don know something she doesn’t? Is Don a better thinker than she is? So, she asks him point blank: what’s your thought process?
This segues into that beautifully written and acted scene that ends with them slow dancing to “My Way”. Tears, I tell you. The Peggy-Don relationship’s always been one of the most fascinating ones on television: they may have been at odds, but they also bring out the best in each other, and if nothing else, it’s a way to see Elisabeth Moss and Jon Hamm running circles around most other actors on TV. It’s classic Mad Men, heartbreaking because they’ve fallen even further and know it, but also uplifting since there’s something to be found underneath all the rubble. They have each other; they’re relieved to finally find that connection again, and they both need that reassurance to move into the Burger Chef pitch. It’s not romantic, but it’s important.
At the end of the episode, we see Pete, Peggy, and Don eating at Burger Chef, creating their own family out of a pile of broken or nonexistent families, realizing that the ‘perfect family’ they’ve been selling might not resemble an actual family. The camera pulls back as they chew on their burgers, turning a new page and contemplating the future.
They’re also enjoying the now.
GRADE: A
OTHER THOUGHTS:
– “I worry about a lot of things, but I don’t worry about you.” Awwwww.
-How did your proposal go? NOT GREAT, BOB!
-It’s like “Suitcase 2.0” over here.
-Pete seems to put work before family, and it’s no coincidence that Don does that as well. Pete looks up to Don in his own way, and that idea makes its way into the final scene at the restaurant.
– “You’ve seen your daughter for the year. Don’t you have a plane to catch?” Oh, Trudy. You’re awesome.
– “First, I abuse all the people whose help I need. Then, I take a nap.” This is the process I use all the time.
-Seriously, what a perfect series finale this could’ve been. I’m sure Weiner will craft an even better one, but the final 15 minutes or so are as perfect as you can get. Bravo, show.
-Next week: intense music.
-One more episode left. I’m not ready for this half-season to end, nor am I ready for the show in general to end. I’ll see you next week.
Photo credit: AMC, Mad Men
Polar Bears Watch TV 
“The Suitcase” 2.0? Fuck yeah. Now I just have to try avoid spoilers until I get a chance to watch it.
I don’t think it’s as good as “The Suitcase”–not much other TV is, for that matter–but it’s certainly up there. The stuff they explore in this episode is definitely reminiscent of “The Suitcase”. Hope you enjoy it!
Best line of the episode: Ken Cosgrove (eyepatch guy) talking about his kid, says “you’ve really got to keep an eye on him.” I really did a LOL.
Haha yes, I forgot about that one. That was hilarious.
Couldn’t agree more with your review and, like you, I dread the hiatus. Why, AMC? Why?
AMC must be dreading the end of the show, especially if Halt and Catch Fire doesn’t fare well. They’re not in a good place right now, even with Walking Dead (at this rate, we’ll have a season 35 consisting of 52 episodes).
Also, I feel like Mad Men’s one of those shows that takes a bit to develop and craft its stories, so the hiatus doesn’t seem like it would work as well as it did for Breaking Bad. I mean, imagine attempting to split up a Game of Thrones or Boardwalk Empire season. I have faith in Weiner and so far, season 7’s been great, but it also just reeks of desperation from AMC.
I agree. When it was first announced though, Matthew Weiner said the following: “We plan to take advantage of this chance to have a more elaborate story told in two parts, which can resonate a little bit longer in the minds of our audience. The writers, cast and other artists welcome this unique manner of ending this unique experience.” This is all PR speak of course, but let’s hope the story is constructed in such a manner that it could work as two smaller seasons, instead of one season brutally torn in half.
Losing Mad men is going to leave a hole in the TV landscape. There is nothing on ANY channel that is even as close to as well-written as Mad Men. I will miss it immensely.
It’s an entirely different genre, but I think Hannibal is up there. Fargo’s writing is also excellent.
Fargo is awesome but it’s an event. It’s a one-off. It won’t last. That cast is amazing. Billy Bob, Martin Freeman, Colin Hanks. Hannibal is good too. (I’m surprised that it’s on NBC especially this last episode) I’m loving the overlap with the movies/books but I’m still nervous that Will is gonna end up doing bad things with people’s skin… like Hannibal wants. But Mad Men will absolutely go down as one of the best written shows in the history of television. I would compare it to other AMC shows Breaking Bad, Walking Dead or Turn (which is really good even though it’s taking them a while to get all the pieces in place)
I think Mad Men is AMC’s best show by far. Breaking Bad was definitely up there (even though I think it’s a tad overrated), but the other AMC shows can’t hold a candle to it, in my opinion. I’m doing weekly Turn reviews now and did those too for Walking Dead’s last season and well… Not great, Mel!