Or some of you lack imagination.
quote:Visceral experience is exactly what I said about 30 seconds after it ended.
I've no doubt that the nostalgic details can be appreciated an enjoyed by anyone. I just don't know that the deeply emotional, almost visceral experience is the same for one who didn't live through it.
quote:plus there is a link to this which gives a ton of info on the Hilltop Coke ad..and it's tie in here.
The final montage, for those who want to watch it again in all its glory another 15 or so times like I have (I wish I was kidding)...
http://www.vulture.com/2015/05/see-mad-mens-series-ending-finale-montage.html?mid=twitter_vulture
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Not to go off on a tangent but for those of ya'll who were there can you explain the impact to the Hilltop coke commercial when it came out? I was born 13 years after that commercial came out and I was just curious as to why this is regarded as such an iconic ad.TIA
quote:Thank you. This. so much this.
The conclusion and the different routes that could be taken to get there aren't the same thing.
quote:Any thoughts on this viewpoint?
It wasn't just the final moments that threw me: the bizarre triptych of Don ceding the floor to an anonymous schnook, blissing out in the lotus position, and then maybe? probably? buying the entire world a Coke. It was everything that came before: 60-plus minutes of unexpectedly clumsy lunches, freighted phone calls, and fan service. The latter seemed particularly egregious. The brilliance of Mad Men was, to me, that everyone knew that Peggy and Stan loved each other. It was there in their codependent bellyaching, their wordless phone calls, their easy honesty. The push into full-on Ephronica was as preposterous as it was unnecessary, even with Elisabeth Moss's exquisite performance to anchor it. A good bartender isn't the one who keeps pouring after the glass is full. It's the one who knows when to leave well enough alone.
It was the safety of it all that bugged me, I guess. Mad Men has always been a show that lived in the hollow, uncomfortable spaces between what we want and what we need, that perpetually dared us with visions of the most horrific things imaginable corpses under beds, car crashes on the Thruway only to reveal the status quo as the scariest outcome of them all. But everyone knuckled to convention Sunday night, one way or another: Roger chased his age-appropriate bliss north of the border while securing the financial future of his son. Joan chose work, her truest love, over a life of wide horizons and wider lapels. Pete, reborn after last week's windfall, ferried his perfect family into clear blue skies. Every interaction between these people felt as staged as the cast roundtables AMC has been airing throughout this miniseason. All warm smiles and stiff drinks, throats full of the grandiloquent sentiment generally reserved for eulogies and usually eschewed by Mad Men like the plague. Of the core ensemble, only Sally's fate felt rough and true. She can't fly away to Madrid, like her father would, or scoff through cigarette smoke, like her mother. She has to act like an adult because, for god's sake, it's about time someone did.
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I'm still thinking to myself - WTF?
There was little about that last episode that was good.
quote:Interesting. It seemed obvious to me that Peggy and Stan had a deep relationship from the episode where they were working in different offices, but spending the night on the phone just chatting and being there. It was implied that was a normal thing for them, and they had seemed very close and caring about each other since then to me. That scene felt like something from FRIENDS or a romantic comedy movie.
I disagree with almost every word of it.
The nice-ish ribbons around the other characters stories were appropriate and fitting for a finale. As this thread has shown, many people LIKE nice ribbons and closure.
As to Stan and Peggy. I never saw it. Sorry, I didn't. And that includes rewatching every episode during March getting ready for this last season. Their scene didn't feel contrived to me, at all. As to Don, I think that we were being set up for a punch line. I was pissed watching Don's arc the last two or three episodes. That was instantaneously transformed into a grin with in the first three notes after Don's (almost) smirk. I didn't like watching the set up, but payoff in the punchline was near perfection.
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As to Stan and Peggy. I never saw it. Sorry, I didn't.
quote:me too. they've been circling each other without even knowing it for almost the entire run.
Interesting. It seemed obvious to me that Peggy and Stan had a deep relationship from the episode where they were working in different offices, but spending the night on the phone just chatting and being there. It was implied that was a normal thing for them, and they had seemed very close and caring about each other since then to me.
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Until 1985, when Peggy, now the top creative director at ME, comes up with New Coke. And she finally gets that campaign that makes her famous and recognized.
quote:I can't even tell who's in that photo. Is that Joan? I do remember her husband raping her, but other than that, I don't know.
What the heck is this? I don't remember this at all... Can someone refresh?
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What the heck is this? I don't remember this at all... Can someone refresh?
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The ending on the bus bench in the penultimate seemed such a perfect series ender,