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NY Post Haunted by Season Finale, Chicago Tribune Gives Most Moving Moment to Peggy

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The verdict is in for Mad Men Season 2. The finale was "so good that it's going to haunt me for a long while, or at least until the show returns and gives us some relief," the New York Post declares, adding the drama "each week has consistently delivered shock and awe we are so not used to in a series." The Chicago Tribune notes "the honor of 'most moving moment' went to Don's protege, Peggy," explaining that "[Elisabeth] Moss was breathtaking in the scene in Pete's office." The review also posits that "First among Mad Men's many achievements is this: It has created people whose lives and dilemmas seem absolutely real. They are constantly surprising us, yet no matter what they do, no matter how much particular actions may disappoint us, on some level we root for them."

Says the Plain Dealer, the second season "not only strengthened [Matthew] Weiner's vision for the series, it solidified his show's standing as one of television's best dramas." The Times Herald-Record agrees: "Virtually alone in its class, Mad Men is entertainment for grown-ups who have brains and like to use them...Mad Men offers the nuanced observation and character development of serious fiction."

The New York Times compares the two seasons, writing that Season 2 is "a rich, dense concert of music, design, cinematography and clever writing, but the series traded sardonic zest for melancholia." That's because the season "occupies a more treacherous landscape: the complacent confidence of the late-'50s is over, and the breezy glamour of the Kennedy administration is strained by the civil-rights movement, women's simmering discontent and a defiant new generation that listens to Bob Dylan, reads Frank O'Hara, feels no shame in free love or homosexuality and doesn't want to be told what to want by Madison Avenue."

Posted by Carolyn Koo
October 28, 2008 10:55am

Filed under: Press & Related Links

Comments

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By BelleJolie on November 11, 2008 5:21 PM

Peggy's confession to Pete ranks as one of the top scene's so far. And imo, it had even more gut-wrenching punch due to the scene in a previous episode where Chauncey the dog was cast out to the wilderness of New York's mean streets. Everyone blogged about how they hoped the helpless dog would get picked up by kind strangers, but we were left not knowing his welfare- that gnawing, hopeless feeling of never knowing for sure how it would turn out for Chauncey- and left with deep distaste towards horrible Duck for abandoning him so. The parallel of the two actions- now Peggy giving up their baby to strangers- never knowing how things would turn out for "it" (she never even acknowledges the gender of their baby).
- This parallel action was rendered more poignant by repetition: The repeating form concept so often used in advertising- the Lucky Strike double circle, the TwinPops popscicle, etc. Two abandonments, Two Dons, the double life so many characters lead. While most people don't bear animosity towards Peggy for letting her baby go the way Duck's actions drew hostile judgement, We all craved so much to hope that somehow Pete would get to see his child, maybe even get it back. The reality is- most children adopted out back then never re-united with their bio-parents. The lost dog and the lost baby are excruciatingly painful loose ends to live with. - BelleJolie

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By BelleJolie on November 11, 2008 5:24 PM

Peggy's confession to Pete ranks as one of the top scene's so far. And imo, it had even more gut-wrenching punch due to that scene in a previous episode where Chauncey the dog was cast out to the wilderness of New York's mean streets. Everyone blogged about how they hoped the helpless dog would get picked up by kind strangers, but we were left not knowing his welfare- that gnawing, hopeless feeling of never knowing for sure how it would turn out for Chauncey- and left with deep distaste towards horrible Duck for abandoning him so.

The parallel of the two actions- now Peggy giving up Hers and Pete's baby to strangers- never knowing how things would turn out for "it" (she never even acknowledges the gender of their baby).
- This parallel action was rendered more poignant by repetition of the abandonement theme: The repeating form concept so often used in advertising- the Lucky Strike double circle, the TwinPops popscicle, etc. Two abandonments, Two Dons, the double life so many characters lead.

While most people don't bear animosity towards Peggy for letting her baby go the way Duck's actions drew hostile judgement, We all craved so much to hope that somehow Pete would get to see his child, maybe even get it back. The reality is- most children adopted out back then never re-united with their bio-parents. The lost dog and the lost baby are excruciatingly painful loose ends to live with. It will be a looong wait 'til Seaon Three...
- BelleJolie

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By BelleJolie on November 11, 2008 5:25 PM

oops- double post- please delete first one.

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By mad fan on January 5, 2009 6:36 PM

Sorry to disagree, and agree. Peggy's revelation to Pete was a potential show stealer. Wasn't it nice to see "suave," "sophisticated" Pete flabbergasted? Utterly and truly at a loss for words? Not only that but Peggy's obvious peace with the decision while Pete's still struggling to comprehend he has a child out there, anywhere, who knows where - he sure doesn't; and she doesn't care as long as it's happy. Loved it.
But more intriguing than that was Betty's bar room interlude followed by the chicken gnawing episode in the eerie light of the open refrigerator door; followed still by Betty's kitchen table confession of her pregnancy. I wonder if she'll tell Don it's the stranger's child? Yes, Don will tell her about the $500,000, otherwise how else will he keep her (now that he actually seems to want her). And with a wink and a nod, it seems he wants her just as she's about over him. At the table he reached his hand out to her - palm up - and she put her hand in his, palm down. This explains the changed power dynamic within their relationship. Don't get me wrong, Don's philandering won't stop, so maybe Betty's is just getting started. What's good for the goose is always good for the gander. In my opinion, the hollow, over-stated emotion of the scene illustrated just how devoid of emotion the scene was, actually.
And how about the business machinations going on at Sterling Cooper? The grown men getting there "merger" updates from the phone operator were so true and pathetic as to be laughable. And, if any of them have jobs after the merger, which one will keep their word to her? Hell, they'll be throwing her under the bus in 3 seconds or less.
But with Hamm and Jones up for individual Golden Globes in their respective categories illustrates the power of the dialogue and the chemistry that is what keeps us riveted to this show. So Peggy and Pete are great. Betty and Don are like the car accident we can't stop ourselves from looking at, gawking at for that matter.