Unfortunately it's that time again; time to start the excruciating countdown until Don Draper and everyone else return in late July/early August. I'm still processing the season finale, "Tomorrowland," which I was only able to watch a few hours ago, but here are some overall thoughts on the past 13 episodes.
I made a post after the season premiere about how glad I was that the show was back, and that I loved the new energy the series had acquired. Season 3 spent the bulk of its episodes chronicling the agency's oppression under its new British owners (as well as the collapse of Don and Betty's marriage). By contrast, season 4 was all about the excitement so perfectly set up in season 3's finale, and the energy carried over into these past 13 episodes without losing steam. I wouldn't have been surprised if the season 4 premiere had been written very shortly after the completion of season 3; that's how well the energy transferred over. The episodes, though never frenetic, were generally crisper in their pacing and used more dialogue as opposed to season 3's reliance on quiet moments and smoldering stares and glares.
But season 4 was about something other than a newfound energy. It was about transitions, some of which spanned the season, and some of which only came to a head in the latter half. Chief among them, and perhaps my favorite, was Don Draper's shift, roughly split along the halfway point. Still reeling from the effects of his divorce and his new, much less luxurious living space, Don spent the first six or seven episodes in a continued downward spiral. And then, after the death of his first wife (sort of) Anna, we were able to witness a rebirth of sorts. Don started swimming and began drinking less (although I don't think anyone on this show will ever be depicted as completely sober...ever). He had to deal with Anna's death, but at the same time, he had to take care of himself and move forward.
And helping him move forward was one of my favorite new characters of the season: Dr. Faye Miller, played by Cara Buono. A sharp, career-driven woman who knows how to play the business game, Faye wasn't perfect and obviously had some baggage (alluded to in a scene in a phone booth where she yells at whoever is on the line), but she was in many ways good for Don, and didn't simply recoil and whimper in response to his flaws. Of course, there are reasons why Don makes the choice he made in the finale, but we'll save that for later. Now it's time to touch on the rest of the people who make Mad Men so endlessly fascinating.
First and foremost is Peggy Olsen (Elisabeth Moss), who came more and more into her own (as did Pete Campell). Now firmly in a strong position as a copywriter, Peggy was bolder and much, much less timid. Whether it was as simple as going to a bohemian party with the mysterious Joyce, or intimidating an obnoxious new employee by stripping off her clothes to get some work done (it sounds weird, but the moment is great in context and I'm not doing it justice at all), Peggy more and more became a career woman, much like Dr. Miller, someone quite obviously aspired to be like. Having the season close out with Peggy almost single-handedly saving Sterling Cooper Draper Pryce was just the cherry on top of Peggy's character arc.
Meanwhile, Joan, always so fun to watch, went through a number of transitions. Now living the married life, Joan was suddenly forced to deal with her husband's decision to go to Vietnam, and as was shown several times early in the season, it's the last thing she wants. And despite her one-night-stand/reconnection with Roger, she refuses to allow things to go back to the way they were, even upon discovering that she is pregnant with a child who couldn't be her husband's.
Even Lane, whose personal life was never given that much focus, had his moment to shine. Most notable was his even out with his father, who was so insistent that Lane return to London that he punches him, sending his grown son to the floor. For a character who initially began his run on the show as the enemy, Lane's part has evolved into yet another of the show's signature brand of immensely flawed-yet-talented protagonists.
But moving away from the workplace, there's also the issue of Don's other side; his ex-wife Betty, her new husband Henry, and of course the three children. While always important, no one from this side of the show's story impressed or fascinated me more than Don's daughter Sally (Kiernan Shipka), who became such a wonderfully complex character played with great skill by such a young actress. Though the character is perhaps too young to be totally swept up in the revolution(s) of the 60s, I'm thrilled with the direction the writers are taking Sally as she continues to butt heads with Betty, who becomes increasingly bitchy and cold with each appearance.
And speaking of Betty, even with a drastic reduction in appearances (only 4 episodes this season...maybe 5), she continues to fascinate with her downward spiral. While not as overly destructive as Don's, Betty's path puts her on an interesting track that makes me wonder if her marriage to Henry will simply be a cliff-notes version of her marriage to Don. This is highlighted in the season finale, both in her angry interaction with Henry, and with her sudden flaring anger that causes her to lash out (and subsequently fire) Carla. Even when pushed to supporting status, Betty's world of dissatisfaction continues to intrigue, even if her interactions with Don are now limited mostly to phone calls.
As for the season overall, it reached its high point at the middle with "The Suitcase." Set almost entirely in the offices and featuring only a handful of supporting characters, this one-long-night look at Don and Peggy's lives as affected by their work was a highlight, featuring absolutely stellar acting from both Hamm and Moss. Emmy voters, please, let the be the season the show finally earns at least one acting award; you've waited too long, and this is too good of an opportunity to pass up. Amid all of the great acting on the show this year, from Joan's heartbreak to Pete's frustration over the conflicts in his work and personal lives, to Roger's coping with failure, it's "The Suitcase," an episode that only focuses on two characters, that represents the show in its finest.
As for the increasingly divisive finale? Well, that's a bit of a mystery. After the punch of season 3 heading off into bold new territory, season 4 was significantly less forward moving in the work place. However, it's hard to miss the big announcement: Don's proposal to secretary Megan. I think Peggy's reaction upon hearing the news is perhaps how most people felt during it all. As happy as Don seemed, we were caught totally off guard, and somewhat iffy. It wasn't an inherently satisfying ending to what had been such a knock out season, but upon reflection it makes sense. Don's decision to pick Megan over someone like Faye may not be something joyous for us as an audience, but it does make sense in a depressing sort of way. As Faye bluntly puts it when Don tells her of his proposal, Don is only interested in the beginnings of things. He sees a woman who is basically what Betty should have been in his mind, and he jumps, seeking a relationship that will restore things to the way they once were: happy, married, and with children. And as indicated in the final shot, which shows Megan happily asleep but Don looking on edge and awake, light seeping in through his dingy window, there could be plenty of trouble ahead for the newly engaged couple. Lots and lots of trouble.
So where does season 4 rank in the series so far? For me it's easily up there with season 3, and I think it makes a great companion piece as far as tone and story progression goes. The characters remain compelling as ever, and even if the show didn't end with its best foot, this season as a whole represents TV at its finest: well-written, beautifully acted, incisive, and always intriguing enough to keep you waiting desperately to see what will happen next.
Grade: A
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