Category Archives: The Complete Series

Game of Thrones: The Complete Series


What makes a “great” television drama?  “Great” is a largely meaningless term.  There are dramas that are well written, but not particularly influential.  There are dramas that are influential, but not particularly well written.  Then there is the cream of the crop, the dramas that are both well written and influential.  While it is impossible to assess how influential a show will be two days after its series finale, I’m confident that Game of Thrones will fit squarely in the category of influential, but not particularly well written.

Was it well-written at times?  Absolutely – especially when it stuck closely to its source material, George R.R. Martin’s “A Song of Ice and Fire.”  There were many times the writing was bad during the last two seasons, and there were times that the writing was as bad, if not worse, throughout the series.  Examples include Daenerys’ visit to Qarth, anything involving Ramsey Snow, violence against women that did not happen in the source material, the mustache-twirling villains of Craster’s Keep, Arya’s layover in Braavos, and Jaime’s misadventures in Dorne.  Theon Greyjoy, for instance, spent most of the series in a poorly written subplot, so his demise in the final season does not deeply resonate despite the fact that Alfie Allen has been in the main credits since the very first episode.

The rushed and sloppily written final two seasons may be the show’s most obvious writing failure at the moment, but let’s not forget that the show constantly underwhelmed in its depiction of one of the most compelling characters in the source material, Jon Snow.  While Kit Harrington’s portrayal of Snow has proven popular, the book version of Jon Snow is one of the smartest and emotionally complex characters in the entire series.  The show, on the other hand, often portrayed Snow as well-meaning, but dull and not very bright.

So yeah, Game of Thrones is flawed.  But it is also pushed the technical boundaries of the medium of television drama further than any series that came before. Game of Thrones has given us hundreds of unforgettable images, from the birth of the dragons to the knighting of Brienne of Tarth.  When I think of Game of Thrones, I won’t always think about how Daenerys’ heel turn at the end was sloppily written, but I will remember images, such as the one of Jon and Ygritte looking out from the top of The Wall.

I can reasonably predict that Game of Thrones will be more influential as a technical achievement than anything else.  The way it handled a sprawling story that took place over a decade, over two massive continents, with hundreds of characters will be a text that creators will look at when designing their own equally ambitious television series.  Game of Thrones proved that no series is “unfilmable,” and that may be its most important legacy.

I can’t quite “rank” Game of Thrones yet, but as of right now I would not put it in the same league as The Wire or Mad Men because of its inconsistent, and sometimes outright bad, writing.  A better comparison would be The West Wing.  The West Wing pushed the boundaries of technical achievement in television, not with dragons and white walkers, but by demonstrating a cinematic, “lived-in” feel that still resonates in the industry.  Like Game of Thrones, The West Wing is a rewarding show on the second or third viewing.  Also, like Game of Thrones, The West Wing suffered from poor writing, especially during its final seasons, which resulted in an ending that felt disappointing and failed to resonate as deeply as it could have.

In conclusion, Game of Thrones gets an A+ for technical achievement, but a C+ for writing.  That said, here are some of my favorite moments from Game of Thrones:

  • The Battle of Hardhome: A scene loaded with unforgettable images, not just the iconic “Night King raises the dead” scene.
  • Jon and Ygritte climb The Wall: One of the few times the show did justice to a Jon Snow plotline from the books.
  • Daenerys burns Astapor: This reads differently in retrospect – not so much a moment of triumph as an ominous harbinger of things to come.
  • The Hound eats your chicken: Game of Thrones could be really funny at times, especially when it partnered interesting characters together, like Arya and the Hound.
  • Arya reunites with Nymeria: the last two seasons were flawed, but Arya’s moment of clarity when reuniting with her lost direwolf was a highlight.
  • Tyrion’s “trial by combat” at the Vale: with great dialogue and our introduction to the Bronn/Tyrion friendship, this was an early highlight.
  • Oberyn Martell’s introduction: sometimes Game of Thrones brought in new characters slowly, sometimes it introduced them by showing you exactly who they were and what they were about.
  • “No true king ever needs to say, I am the king:” man, Charles Dance was great as Tywin Lannister, wasn’t he?
  • Battle at the Wall tracking shot: you know which one I’m talking about.
  • “And you will know the debt is paid:” anytime Peter Dinklage and Lena Headey shared a scene it was pure gold.

That’s a wrap on the final season of Game of Thrones!  Thanks for reading!

© 2019 D.G. McCabe

The Americans: The Complete Series

“When a person is born, he can embark on only one of three roads of life. If you go right, the wolves will eat you. If you go left, you will eat the wolves. If you go straight, you will eat yourself.”

-Anton Chekhov, 1878

We’ve become accustomed to television series that end in ultimate victory, ultimate defeat, or some combination.   Most of the time, this takes the form of tying up loose ends in a clearly defined and satisfying manner.  The Americans does not end neatly.  It was never about tying up loose ends.  It was about the lies the characters tell themselves and each other.

The Americans has one of the strongest pilots and series finales of any great television drama. The pilot works because it sets up everything that the show will become best known for: suspense, car chases, 80’s musical cues, and tensions within and without the Jennings household. The pilot sets up a world and makes the viewer want to keep visiting it.

Right now, its last episode feels like the best conclusion of all time, although I’m sure some of that luster will fade as time goes by.  Or maybe not.  Philip and Elizabeth escape, but lose their children, and part of their souls, in the process.  We, the viewers, might seek justice for all of the horrible things these two have done in the name of Mother Russia, but dishing out cosmic punishment was never The Americans’ game.  No, the real enemy was never the KGB or the FBI.  The real enemy was always the enemy within.

Elizabeth was ever the zealot, and at times, purely evil.  She may have done one good thing by icing Tatiana, but does that make up for everything else she has done?  There is a brief dream sequence in the finale that serves the purpose of showing that, in the end, Elizabeth has given up on and destroyed herself in service of a lost cause. She ends the series alive, but filled with regret.

Philip was never as committed to the spy game as Elizabeth.  He seemed to fall into the life by inertia – it gave him an outlet for his violent anger and an excuse to leave a bleak future in Russia.   He experiences more character growth, and with it growing guilt, than any other character on the show. The guilt may come crashing down on Elizabeth in the very last episodes of the series, for for Philip, there hasn’t been anything else for a long time.

Stan is a more sympathetic character, but far from perfect.  After all, he killed a Russian agent in cold blood back in the first season amd destroyed the lives of both Nina and Oleg.  In the end, he’s left with the guilt of not finding out about the Jenningses sooner, and suspicion that his wife might not be who she says she is.

The Jennings children fare better in the end, especially Henry, who by all accounts will be able to move on with his life if he chooses to do so.  Paige may have a harder time, but there’s not proof that she knows much of anything or that she was training to be a spy herself.  All Stan knows is that she knows, he doesn’t know the extent of her actions.

The Americans wasn’t a perfect series. Like most dramas, it had its weak points. Season five was a let down, although it certainly wasn’t bad. Indeed, almost every great drama has a weak season or two, oftentimes the second to last one.

Still, by dwelling in the dark corners and avoiding spy versus spy clichés, The Americans started and finished better than arguably any other show. The show had its share of climaxes and showdowns, but not at the end of the day. No, in the end The Americans wasn’t about the wolves eating or being eaten. It was about the wolves eating themselves.

(c) 2018 D.G. McCabe

New Girl: The Complete Series

Wanted: a new fun show to watch. Must be loaded with silly jokes and funny actors creating memorable characters. High drama and misanthropy need not apply.

In 2011, Fox answered this ad, although they didn’t realize it at first. When they landed a show starring Zooey Deschanel, they figured they were getting some version of the role she had been typecast in for most of her career (“adorkable”). What they didn’t bargain for was that Deschanel would become one of the best comedic “straight-men/women” in television. She would be a new Mary Tyler Moore, but instead of a newsroom in Minneapolis, she would have a loft in Los Angeles.

In a era where even television comedies got serious, New Girl stood apart. It wasn’t quite a Seinfeld-esque show about nothing, but it certainly wasn’t a show with deep themes or innovative storytelling. It was simply a show about a group of misfits slowly growing enough in confidence in themselves to evolve into adults.

New Girl was mostly about the jokes, but the jokes were sustained by the growth of the characters. Jess, Nick, Schmidt, Winston, and Cece shed insecurities, but none of them lost the silly quirks that made them fun to hang out with every Tuesday.

Television comedies often find success with misanthropy and sarcasm (Seinfeld, It’s Always Sunny in Philadelphia) or satire (The Simpsons, 30 Rock). It seems rarer that a successful television comedy is centered on character growth and being fun to spend time with. New Girl rightfully joined shows like Parks and Recreation in this latter category.

Now, we must never forget, there is but one rule. Floor is lava.

(c) 2018 D.G. McCabe

The World at War: The Complete Series

"Down this road on a summer day in 1944, the soldiers came. Nobody lives here now. They stayed only a few hours. When they had gone, the community, which had lived for a thousand years, was dead. This is Oradour-sur-Glane, in France. The day the soldiers came, the people were gathered together. The men were taken to garages and barns, the women and children were led down this road, and they were driven into this church. Here, they heard the firing as their men were shot. Then they were killed too. A few weeks later, many of those who had done the killing were themselves dead, in battle. They never rebuilt Oradour. Its ruins are a memorial. Its martyrdom stands for thousands upon thousands of other martyrdoms in Poland, in Russia, in Burma, China, in a world at war."

– Sir Laurence Olivier reading the opening lines to "The World at War," 1973

World War II officially ended on September 2, 1945, almost 72 years ago.  Anyone officially old enough to fight in that year would be ninety years old now.  In context, when I was a child in the 1980's, there were still thousands of World War I veterans still alive, but they were in their 90's.  Now, the experience of fighting in that First World War has passed from living memory.   The 1980's don't seem that long ago.

Fortunately, there are many excellent chronicles of the time in the last century when we faced, and overcame, the greatest threat to human civilization since the Black Plague.  Standing tall among the many excellent documentaries on the subject is the epic "The World at War," which first aired on ITV in the United Kingdom in 1973 and 1974, and eventually syndicated on PBS during the 1980's.

The World at War is special for a number of reasons, and not just because it is one of the most acclaimed series in television history.  It is narrated by the great Sir Laurence Olivier, commonly regarded as the finest actor of his generation.  It was made at a time when many persons with important first-hand knowledge of the War were still alive, such as Winston Churchill's personal secretary.

Most importantly, the documentary never loses sight of the human toll of the War. It successfully avoids the shallow, rah-rah heroism so often seen in films about the War, especially in the 50's and 60's. The War was a fight against evil, there's no denying that, but it's nothing to be celebrated.

The World at War is rightfully acclaimed, but it has its ups and downs too. The Burma episode feels like it goes on forever and the series itself focuses more heavily on the European War than the Pacific. Even so, the highlights greatly outnumber the missteps. The episode about The Battle of Britain is simply titled, and described, as "Alone." The episode about Stalingrad contains no battle footage, but it doesn't need any. The episode on the Holocaust is one of the most awarded episodes of television ever broadcast. The final episode ties everything up masterfully, with Olivier's voiceover hauntingly asking us to remember.

The twenty-six episode series is available from a couple of different sources, and well worth your time. Evil, after all, never really goes away, and destroying it is a ghastly affair. By remembering the War, it underlines the importance of stopping evil before it gains power. Learning this lesson is the best way to honor those who were lost.

(C) 2017 D.G. McCabe


Downton Abbey – The Complete Series

Let’s do something a little different.  Downton Abbey is a series about history, unlikely drama but history nonetheless.  With that, I imagine a foreword to a fictional book about our characters, written by one of their children.  For your reading pleasure, here is the foreword to the 1959 book “Downton Abbey: A Portrait of My Mother’s Youth” by Marigold Crawley, written by her good friend and fellow popular writer, Ellen Worthington.

Foreword: Downton Abbey, a View From the Gallery

When Marigold told me she was writing a book about the events that took place at Downton Abbey between the summer of 1912 and date of her mother’s wedding in December of 1925, I thought she was mad.  While her last book “Children of the Our Age” dealt with her family’s experience during the Second World War, she was at a distinct advantage there.  First and foremost, she personally lived through those years.

How much could possibly have happened at a sleepy country estate during that time period to warrant such a history?  Improbably, Marigold then told me the volume would even largely gloss over the years of the Great War and focus heavily on the 1920’s.

I was at the point of advising her to pursue another topic.  Then I saw her mountain of research, including interviews with most of the major players (even one with her great-grandmother that she had done as a child).  I was so impressed that I insisted that I must write the foreword, so here we are.

I have known the Crawley family for many years, ever since the first time I made the trek to Downton Abbey with Marigold when we were children in the early 1930’s.  When I went through her notes, I was surprised and a little shocked to learn about everything that transpired there during the fourteen years depicted within this volume.

Some of the events herein are hard to believe.  Matthew Crawley, for instance, was a dull solicitor.  Then, struck by good fortune, found himself heir to a wealthy estate.  Struck by bad fortune, he was thought paralyzed from a wound during the Great War.  Then, good fortune again, he fully recovered and married.  Then he died in a car accident.

There’s a relative who “returned from the dead” during the War.  There’s the scandalous incident with a Turkish diplomat, which has long been an open secret in certain circles.  There’s a romance between a valet and a lady’s maid that would be fit for a Thomas Hardy novel.  It’s frankly hard to believe that so many things could happen to one family and their staff during a scant fourteen years.

What struck me most about the story, however, is the development of the characters.   Marigold has described her mother’s character arc in her previous writings (most notably a thorough history of The Sketch Magazine), but it’s no less jarring here that the strong, brilliant woman I’ve known all my life was once nearly consumed by jealously and depression.  Thomas Barrow, the Crawley family butler, who I have only known as patient and kind, was apparently a conniving sneak at one point.  Even Tom Branson, one of the pioneers of the automotive industry in Great Britain, was for a time banned from his native Ireland for being a socialist revolutionary.

My favorite character stays consistent throughout the story, and that’s Marigold’s great-grandmother, the Dowager Countess of Grantham (Marigold insists the woman will haunt my dreams with biting words if I were to refer to her by her birth name).  She was at the same time the voice of upper class aristocratic angst and the voice of reason and kindness.  I wish I had known her in life, but she is so well depicted herein that we have the next best thing (although Marigold’s mother and her aunt Mary have certainly inherited a solid amount of the Dowager Countess’ wit).

That one family had given Marigold three voluminous histories is scarcely believable, but when you meet the people described herein, you will see why these stories continue to be so popular.   I hope you enjoy them as much as I do.

Ellen Worthington, London, 1958


(c) 2016 D.G. McCabe

The West Wing – The Complete Series

“We shouldn’t elect a president.  We should elect a magician.”

Will Rogers

This month marks the ten year anniversary of the start of the final season of The West Wing.  The West Wing is my favorite network drama, and I would go so far as to call it the best network drama.  I’ve thought about writing this post for a long time, and I’ve come to the conclusion that the best way to discuss a series with the scope of The West Wing is season by season.

Season One

Key Episodes: The West Wing (Pilot), The Crackpots and These Women, In Excelsis Deo

The West Wing premiered the same year as The Sopranos.  Which show you prefer really comes down to what theme you find more interesting – the corrosive nature of evil or the frustrating nature of good.  Audiences, critics, and television writers have clearly sided with the former.  For every popular show about fundamentally good protagonists (Parks and Recreation), there are three about morally ambiguous ones (The Wire, Game of Thrones, Mad Men), and five about fundamentally evil ones (The Sopranos, Breaking Bad, Boardwalk Empire, House of Cards, Hannibal).

The West Wing is an aberration in the so-called “Golden Age” of television.  It is was a highly rated political drama with strong writing, strong acting, and innovative television production techniques.  While being fundamentally positive, it wasn’t cheesy – it had a real sense of gravitas.  Jed Bartlet (Martin Sheen) was potentially a once in a lifetime president trying to do his best in the face of a cynical political system.

The first season of the West Wing sets the stage for its two best seasons, but in many ways it is also a showcase of some of the criticisms of the Aaron Sorkin seasons of the show (1-4).  The Bartlet Administration’s political opponents often come off as one dimensional, no one is a fan of Mandy Hampton (Moira Kelly), and there are times that the show feels a bit like a civics lesson, albeit an entertaining one.  Fortunately the show gradually adds depth to the Republicans characters, writes Mandy out of the show, and adds in exposition more seamlessly as it goes on.

Season Two

Key Episodes: In the Shadow of Two Gunmen; Shibboleth; Noel; Somebody’s Going to Emergency, Somebody’s Going to Jail; 18th and Potomac; Two Cathedrals

Seasons two and three of The West Wing are two of the best seasons of any show.  Season two especially ramps up the drama and characterizations.  It builds on the successes of the first season while repairing most of its flaws.

The season opens by providing much needed backstory for the characters.  After a shooting at the end of season one, a series of flashbacks tells the story about how the Bartlet team came together and won the Democratic Party’s nomination.  The story is framed by the aftermath of the shooting, especially Josh Lyman (Bradley Whitford) fighting for his life after being critically wounded.

The events of the first episode, combined with the backstory within, bring a real feeling of momentum to the second season that wasn’t always there in the first season.  The Bartlet presidency seems to be recovering from early missteps, that is until the end of the season.

Two Cathedrals might be the best episode of the entire series for a variety of reasons.  The ticking timebomb of the Bartlet Administration is Jed Bartlet’s failure to disclose a potentially debilitating illness (Multiple Sclerosis) while he was running for president.  Two Cathedrals centers on Bartlet struggling with the decision to weather the scandal and run for a second term or to accept defeat and announce that he will not run for reelection.  His decision to run again in the face of overwhelming odds is subtle, but it is there at the end of the episode in a beautifully shot moment.

Season Three

Key Episodes: Bartlet for America, The Two Bartlets, Night Five, Hartsfield’s Landing, Posse Comitatus

The first half of Season Three largely deals with Bartlet’s reponse to his revelation at the end of Season Two, but the show increasingly becomes about his reelection campaign.  Meanwhile, at the end of the season he has to make a difficult decision – whether to assassinate a foreign leader who moonlights as a terrorist.

That’s just the plot.  The best parts of season three involve deep-dives into the characters.  Every member of the team gets examined in this season, the highlights being Bartlet for America, where we learn a lot more about Leo McGarry (John Spencer), and a stretch of episodes in the second half of the season that once again masterfully get inside the head of Bartlet himself.

Fittingly, season three ends on a Shakespearean note with a fantastic final episode.  While the show would have its moments for the next four seasons, it would not again reach such heights.

Season Four

Key Episodes: 20 Hours in America, College Kids, Game On, Holy Night, Inauguration, Twenty Five

Season four starts off strongly with a series of great episodes leading up to Bartlet’s re-election.  I don’t even mind that his opponent is a bit of a lightweight – the show must go on after all and it’s clear the whole time that Bartlet is going to win.  It’s compelling television how he gets there.

Although the first half of the season is compelling, the second half meanders a bit.  After two and a half seasons dominated by the MS revelation and the re-election campaign, it loses focus.  There aren’t any outright bad episodes, but every time I re-watch the series this is about the point where I lose momentum and would rather start over at the pilot than watch the next episode.

Although plenty have disagreed with me, I’m not a fan of the last couple of episodes either.  I think this is where Sorkin started losing control of the narrative, and the whole “Zoey gets kidnapped” storyline feels like it would be better placed in an episode of Law and Order than The West Wing.

Season Five

Key Episodes: The Stormy Present, Slow News Day, The Supremes,  Access

Season five is by far the weakest season in the series.  The key problem is that one creative force (Sorkin) was replaced by a dozen writers weaned on “patient of the week/case of the week/criminal of the week” dramas. While they try their best to weave the threads together, the fifth season feels like “political issue of the week.” There are unrealistic episodes (Toby saves Social Security), rushed episodes (let’s appoint two Supreme Court justices in an hour), and gimmicks (fake documentary starring CJ).

There are two redeeming qualities in the fifth season.  The acting remains top notch.  Although poor writing makes the characters say things that just sound wrong, they are still compelling to the audience.  Episodes like “The Stormy Present” give interesting depth to the West Wing world by shedding light on the pre-Bartlet era.  There are a couple of other strong episodes too, and strong moments in weak episodes throughout, so it’s still worth watching for the most part.

Season Six

Key Episodes: King Corn, Freedonia, Things Fall Apart, 2162 Votes

The sixth season is better than the fifth season, but it doesn’t start out that way.  The scenes inside the White House are starting to feel repetitive at this point, and the writers are still in “issue of the week” mode by and large.

The West Wing’s creative team did do something brilliant to turn the series around during the sixth season.  It removed a year from the Bartlet Presidency (which I would argue fits between “Access” and “Talking Points” in season five), and brought us into the campaign for his successor.  The narrative center of the show shifts from Jed Bartlet to Josh Lyman as Josh guides a long-shot presidential candidate, Matt Santos (Jimmy Smits) through the Democratic nomination process.

The campaign storyline injects new life and purpose into the West Wing, and the campaign episodes in season six are its best.  Unlike the Bartlet reelection campaign, Santos has a worthy opponent in Republican nominee Arnold Vinick (Alan Alda).  For the first time since those re-election episodes, the show is filled with new life and purpose.

Season Seven

Key Episodes: The Debate, Duck and Cover, Welcome to Where Ever You Are, Election Day, Tomorrow

Season seven is the equal to seasons four and one, although it doesn’t quite reach the heights of seasons two and three.  Bartlet’s last days in office are punctuated by a nuclear meltdown, an international crisis, and the anxious wait for his successor.  Smartly, the last season is condensed into about four months rather than matching up with the calendar like previous seasons.  It’s mostly all election, all the time, pushed forward by strong performances by Smits, Alda, and Whitford.

One improvement from season six that I’d like to point out is in the characterization of Matt Santos.  In the sixth season, his candidacy seems too unrealistic and out-there – he’s introduced to us as a three term congressman after all.  His resume is fleshed out a bit in season seven with two terms as mayor of Houston, TX, a distinguished career as a Marine fighter pilot, a degree from the U.S. Naval Academy, and the ability to win the State of Texas for the Democratic Party (granted that’s trumped by Vinnick’s equally superhuman ability to win the State of California for the GOP).

The rare mis-step is the live debate episode.  It’s in season five gimmick territory and I would rather have had a behind the scenes episode like season four’s excellent “Game On.” It’s interesting, but it can be easily skipped too.

Tragically, John Spencer passed away in the middle of production, so the writers had a difficult decision to make regarding the fate of his character.  Fortunately it their solution was well handled and dramatically compelling.  The last episodes in general can be described as such, and the last few scenes of “Tomorrow” are especially bittersweet.


Sometimes it seems like the American people want someone with magical powers in the White House.  As a fictional creation, Jed Bartlet comes awfully close at times – but is human enough to keep us all interested.  His America is a better place for having him lead it.

Will we ever have the opportunity to visit the West Wing universe again?  I highly doubt it.  It was likely a hard enough concept to sell the first time around and a sequel series would be met with unattainable expectations.  Still, I wonder how Matt Santos did.  If he got re-elected, his term would have ended in 2014 after all.

Ultimately we view our president through the clouded lens of our own hopes, fears, and political preferences.  The man or woman who dares seek that job inevitably acquires a maddening combination of expectations they can never meet and blame for events they had no control over.  The West Wing is essentially about a group of good people trying to do a good job in the face of both.

(c) 2015 D.G. McCabe

Mad Men – The Complete Series

Nature’s first green is gold,
Her hardest hue to hold.
Her early leaf’s a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.

– Robert Frost, “Nothing Gold Can Stay,” 1923

Most of the notable television dramas that have aired since 1999 (called by some the Golden Age of Television Dramas) have used the language of cinema to examine certain issues.  The Sopranos uses that language to deconstruct an American myth, the Wire to examine the troubles of urban America, and Breaking Bad to document one man’s descent into evil.

Mad Men’s storytelling has  much more in common with the Modern American Theater of Tennessee Williams or Eugene O’Neil than these other great dramas.  It doesn’t examine myths or cities or evil.  At its core Mad Men is about something much more intimate – the unrelenting arrow of time.

Don Draper has often been described in the same breath as the criminals and monsters of some of these other series – but what has he done?  Don doesn’t kill anyone, and the one crime he does commit haunts every aspect of his life.  That doesn’t make him a good person – far from it – but just because he’s not a hero doesn’t make him an anti-hero.  In the end he’s just a man with problems and flaws that, the desertion and identity theft part aside, aren’t that different from the problems and flaws of regular people.

While Don is the central pivot of the show, it really is an ensemble.  The core six characters (Don, Peggy, Pete, Roger, Joan, and Betty) each has their own unique hopes and dreams, struggles and flaws.  The only character that gets a definitive end is Betty, the rest just keep moving along.

One of the key frustrations of watching Mad Men is that its characters never seem to change.  I would argue that if you watch all eight (sorry AMC, seven) seasons in a row you would see the characters change a lot, but not drastically and not quickly.  There are no epiphanies, just six main characters doing their best to adapt to changing circumstances.

The slow and erratic progression of the characters makes the last few episodes all the more satisfying when the core characters finally appear to start learning from their mistakes.  Each of their endings, in a vacuum, would feel a little too tidy if it weren’t for the fact that these endings are the result of a decade of trial and error.

And what of the final scene?  There are two interpretations that come to mind, and both fit the central theme of the show.  Either 1) Don has found some semblance of self-forgiveness and moved on, while the advertising world moves on his absence or 2) Don has come up with another brilliant idea and, setting his baggage aside, returns to a job that he’s very, very good at.

Matthew Weiner couldn’t have Don explicitly create the famous Coca-Cola ad.  After all, real people came up with that real ad and should be given their due credit.  Whether Don contributed to that ad campaign or not, it doesn’t matter.  The world keeps moving along, and our characters will need to adapt to survive. And even if they seem content today, nothing gold can stay.

(c) 2015 D.G. McCabe