Thirteen--What a great question. I'm not sure I know the answer myself, but I think it has at least something to do with the pull the Old World, i.e., Europe, has always had for America--and vice-versa. Don't forget that we are a very "young" country, not just in years, but attitudinally as well. It's part of our appeal--and our downfall. European culture has had hundreds of years to develop and mature; there's both a sophistication, and a more mature way outlook on life. Unlike America, it seems Europeans realize, to paraphrase Matthew Weiner, that there ARE consequences for actions, you CANNOT have it all or fix everything the way Americans, especially when we were at our apex in the fifties and early sixties, seemed to think. It is only now, in fact, that we are reaping the consequences--environmental, economic and social, for our carefree, irresponsible ways decades earlier. I think that Europeans, having been through countless wars, including two world wars that were fought on their soil, while we remain largely untouched, have a paradoxically nihilistic attitude, as was shown in this episode, and at the same time a stylistic and intellectual appeal that isn't found here as much. Europe represents the "past-" -America the "new'. People come here to reinvent themselves, but they cannot get away from the past, i.e., the Old Country. In this last episode, we see that Don's come about as far as he can go with reinventing himself as DD, and that he's making a kind of u-turn back to the "old country", i.e. Dick Whitman. Maybe that's why the Europeans were so necessary in this episode as a way to open the door back to that return.

Not sure if any of this completely explains the European seductiveness/temptation factor, I'm hoping others will chime with their thoughts as well.. Great question.

it seems Europeans realize, to paraphrase Matthew Weiner, that there ARE consequences for actions, you CANNOT have it all or fix everything the way Americans, especially when we were at our apex in the fifties and early sixties, seemed to think. It is only now, in fact, that we are reaping the consequences--environmental, economic and social, for our carefree, irresponsible ways decades earlier. I think that Europeans, having been through countless wars, including two world wars that were fought on their soil, while we remain largely untouched, have a paradoxically nihilistic attitude, as was shown in this episode, and at the same time a stylistic and intellectual appeal that isn't found here as much. Europe represents the "past-" -America the "new'. People come here to reinvent themselves, but they cannot get away from the past, i.e., the Old Country. In this last episode, we see that Don's come about as far as he can go with reinventing himself as DD, and that he's making a kind of u-turn back to the "old country", i.e. Dick Whitman.

Nice points, sf! I had consider the old/new of Europe vs. America, but I hadn't applied it to Don's past catching up with him (tempting him?), or that discrepancy between believing everything can be fixed and knowing that it can't be fixed--something that Don is realizing. Also the nihilistic attitude. Good call!

Thirteen - in much the same way we, the audience in 2008 view this show, the Europeans serve the characters of Madmen. The world of Sterling Cooper/Don Draper is both familiar and distant to us. The Europeans serve the purpose of a mirror to the rest of the characters. The similarities and differences are there to compare, contrast, adopt or reject.

The dream like feeling of the "Jet Set" is how many non-Californians felt about the Golden State in the 50's, 60's, 70's and even the 80's. As sfcaramia wrote, people (other Americans) came here to reinvent themselves. The "idea" of California is Don's temptation - go to a place where everyone has a past that they are leaving, everyone wants to reinvent themselves, in a land where your bloodline has no consequence (right Peter Dykeman Campbell?) and the sun is always shinning and beauty is worshiped.

I do not think its practical that Don Draper will run away with the Nomads but there are a number of career possibilities I can see him pursuing as the reinvented Don in California. Here are a couple of ideas, for laughs & giggles:

1. Head of in-house marketing for Mattel. I see him developing the campaigns for Barbie, Major Matt Mason, Hot Wheels, etc.

2. Vice President, Government Relations, North American Aviation. Having become ill after the Polaris Missle slide show, he decides that the exploration of space more suitable to his mores. North American, based in Downey, CA, is the primary contractor for the Apollo Command Module, is ready to into full production and NASA will spend billions going to the moon.

3. TV-Movie Producer/Studio Head - after watching Don's presentation of "the Carousel", I thought he would be a natural if he pitched a TV series or a movie. The more I thought about it, his skills were better suited as the head of a studio, ala Bob Evans or a Richard Zanuck, representing the "new" Hollywood.

4. Director of Development, Disney Corporation. Secret plans for Disney World/Epcot Center are in the works. Walt Disney needs a right hand man to help him assemble the land parcels while not bringing attention to the identity of the buyer. Walt needs a visionary, someone who understands packaging and giving people what they want. The position requires salesmanship, charm, obfuscation, sophistication, vision and creativity.

To all of the above: Bravo to all of you for your great thoughts and ideas; very entertaining reading to say the least. There is great depth and understanding here that this neophyte to the series is enjoying. To "Polo Bear"....I really like your Number 3, "TV-Movie Producer/Studio Head suggestion. I agree that DD has that natural skill for selling. We used to call them 'flim-flam' men and they could sell you just about anything. But do you think his past would hold him back at all? He's seems so tied to it now - like a voyage of rediscovery for him (and for us). I must say this show is truly one of the best I seen. Again, thanks everyone, and please keep these great ideas coming.......tomorrow's show will tell all......can't wait.

Thirteen said: Why use Europeans to play Devil's advocate?

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I like what I read here...on this post and others on this MM board. Many of the comments are awe inspiring to me in their depth and truth. I won't even try to add to your ideas, but will comment on something a little different, but not completely off topic. The USA is a country of immigrants. In the 1960s, that was still obvious in surnames and accents, in grandparents who were Old World European in dress and language. It was not unusual to hear their stories of immigration and name changes at Ellis Island. In 2008, we are more removed from those stories, but Don wasn't. One of his flashbacks showed that, the class distinction and ambience of a European title could have been attractive or repulsive to one who grew from peasant stock.

I appreciated that the incorporation of the Nomads and the lure of California came together while Don was away from the office, but still had an attachment to it, in the form of Pete. One line kept going through my head as I watched the Jet Set episode...'it is a nice place to visit, but I wouldn't want to live there". Don needs to visit a variety of stops along his journey of self recognition.

The USA is a country of immigrants. In the 1960s, that was still obvious in surnames and accents, in grandparents who were Old World European in dress and language.

Oh, wow, that's an excellent point! You're right that most of the people of Don's age in 60's New York would be first generation Americans. Sons and daughters of immigrants. It is the quintessential American story, coming here from another land to escape the poverty and tyranny of the old.

But this episode is looking-glass land! And here, it's the old Europeans who are offering the Americans freedom a way up the ladder. Consider, when Pete flashes his old New York name, he is ignored by the "Count" who pays attention, instead, to Don. No Don's goal is actually to be Pete; to have that respectable New York Royalty name. It's why he married Betty, a WASP Princess, and why he hobnobs with the country club crowd. But the Nomads are offering him the same deal: hook up with their princess, Joy, and they'll take him as is and make him part of their royal family, no questions asked.

He can escape the tyranny of American "royalty," the fact that such royalty would keep him pegged as being from peasant stock, for the upward mobility that these Europeans. Likewise, the British fellow is Duck's way to be raised up into royalty. To stop being a lower tier lackey, his job always in jeopardy, and be given a title and power.

Hmm. Interesting twist. It also occurs to me that it was in the 60's that a lot of Americans, for the first time, had the money and leisure and the airlines there to fly them to exotic places. To see Europe. And to be influenced by such travels. As with Kurt's admission of homosexuality, Europe and European ways were quite a culture shock for most Americans, and offered a lot of temptations that didn't exist in hometown U.S.A.