How is it all over? We’ll never again delight in Roger’s dapper mustache or watch Don make terrible choices about women. No more ugly suits from Peggy or gorgeous pencil skirts from Joan. We have made it to the 70s, and somehow everyone looks better than ever as we wrap up their lives: Don travels to California and goes to a hippie retreat and learns how to love. Joan gets a new opportunity thanks to Ken and starts her own production company. Sally’s the most grownup person on the show. Peggy almost jumps ship with Joan but ends up jumping Stan instead when they realize they love each other. And, in the end, Don maybe has a transcendental experience and decides to buy the world a Coke.
Okay guys, let’s do this. Meredith translated this recap into pig latin.
Janie Bryant went all-out for this episode. It’s hard to find snark when everyone looks amazing in every single scene. This show will rightfully be remembered for its groundbreaking writing and excellent acting, but let’s never forget: this is a show with a lot of ridiculously good-looking people in it. Don’s wearing a Canadian tuxedo here, and he still looks good:
This episode sees Don hit what may actually be his rock bottom, but not before he wears a denim jacket. When he showed up at Stephanie’s house and said “Nothing much” was new, I just kept yelling “You’re wearing a jean jacket, don’t pretend you’re okay!” at the TV. This could only happen in the last episode of the series, because could we ever look at Don the same way again after seeing him in the precursor to Justin Timberlake’s 2001 VMA outfit?
Don spends his last episode freed from the confines of his work armor. As he gets the news about Betty, he wears Sears’s finest Dad weekend-wear.
He looks so clean-cut here! Like a guy who could almost be a responsible father to his three soon-to-be-motherless children. Too bad that in the next scene he’s a sweaty, drunken mess, and we are promptly reminded that no, Don is not capable of dealing with adversity like a normal person.
It’s weird to see Don in clothes that feel almost modern. I’m pretty sure I’ve gone on dates with guys wearing this same outfit. None of them fill it out quite like Jon Hamm, though.
Also, it’s crazy how many earth tones we’ve seen Don wear since he left New York. The man became a hobo and embraced colors.
After a devastating call with Peggy, an emotional breakdown, and hugging a stranger, Don gets his om on. Don Draper, barefoot. Who would have thought?
Look at him being zen, finding the inner calm and enlightenment that he will later exploit when he pitches a catchy jingle to Coke. Alternately, maybe this is how Don Draper becomes the Reverend Richard Wayne Gary Wayne from Unbreakable Kimmy Schmidt. Either way, we leave Don Draper in a state of meditation, which is fantastic because it means I won the bet with my friend that the series wouldn’t end with him jumping out a window.
This episode does a great job of tying up everyone’s loose ends. In particular, we get amazing closure on Joan, who kicks off the episode doing some (little c) coke while looking every bit the bombshell.
When magazines say I can get a beach body, can I get this one? Because I would like to look like Aphrodite emerging from the sea in a clamshell. Also, Joan trying cocaine gives us another classic Mad Men drug moment when she says “I feel like someone just gave me some very good news.”
Joan meets with Ken for lunch, and he gives her a job: produce a film on Dow’s industrial chemicals division.
It’s amazing to see Joan back to wearing clothes that make her happy. During the McCann disaster, her wardrobe lost some of its essential Joan-ness. But that has to be one of the lowest necklines we’ve seen on her during the daytime, and the red is showstopping. If this was the last time we saw Joan, it would have been enough. Fortunately, the TV Gods were generous and we had several more Joan moments. However, she never looked as stunning as in this scene.
Roger and Joan have one last scene together when Roger tells her that he’s writing Kevin into his will and marrying Marie. Joan is as tickled by the situation as I am by Roger’s leisure-wear.
I love how Roger’s wardrobe always looks of-an-era, but also kind of timeless. This outfit would be hideous on Pete, but it looks weirdly suave on Roger. It must be the mustache. It makes everything work. Joan’s housedress isn’t her best look, but she spent the day child-free, so of course she’s going to kick back for a few hours. It must be exhausting to be Joan 24/7.
I mean, just look at her. You try to be Joan for a day, let alone your entire life. The woman is carrying two handbags!
Joan is going to absolutely destroy the 80s. A woman with a white briefcase fears nothing.
Not even her rich boyfriend leaving her because he’s a brat who demands her undivided attention.
I hope the image of Joan in a leopard print robe haunts Richard’s dreams for years. She’s going to move on. Joan Holloway-Harris is unstoppable. But one day, Richard will just be the sad leathery guy in a leisure suit trying to get his girlfriend to dye her hair red.
Joan’s story ends with her running Holloway-Harris out of her apartment. A business needs two names to sound real, so she uses both of hers.
It’s hard to tell, but she’s wearing pants here. Joan is going to rule the world one day.
Not to quote my own tweets, but it’s crazy to me that Joan’s story ends with her finding a new career and Peggy’s story ends with her finding a man. But oh, the man she finds!
We’re all big fans of Stan Rizzo and his lush beard here at YKYLF. Yes, Brian Krakow would probably be a more responsible choice for Peggy in the long-run, but he’ll never understand Peggy the way Stan does.
Stan’s face says it all: “She’s going to do that thing everyone hates where she acts all perky and insistent, isn’t she?” Their outfits couldn’t be more different: she’s in a turtleneck, one of two outfit missteps for her in this episode, and he’s in his cultural appropriation-finest. But it doesn’t matter, because he just stands there and lets Peggy Olsen all over everything, the way she always does.
Peggy gets multiple wardrobe changes this week, and most of them are pretty adorable. The scooter dress silhouette works for her, and there are no bows in sight. Saying goodbye to Peggy is hard, but seeing her in several cute outfits makes me feel better about leaving her behind.
Oh man, 70s orange is in full-swing in this episode. Granted, it’s mostly limited to Peggy and Stan’s wardrobes, but it’s still weird to see so much burnt orange everywhere. The color works for her, though. I’d like to think that, after her talk with Roger, Peggy when through her wardrobe and got rid of everything she bought while trying to make men comfortable.
The other sartorial misstep is what Peggy wears to her lunch with Joan.
Mock turtleneck, polka dots, and stripes? Peggy, I know you’re confused right now, but try to keep the chaos out of your wardrobe. You were doing so well!
Peggy sticks the landing, though, when she wraps up the episode in two very cute dresses. The first, a navy and burnt orange scooter dress, is picture-perfect for her romcom ending.
No, this is not my computer background now, who told you that?
Is this the first time we’ve seen Peggy actually cinch her waist? The belted look is almost Joan-like, but it is a shape that works for her. I’m glad that for her realization that she loves Stan, Peggy gets to look amazing. In real life, this would happen on the day she’s wearing that hideous plaid suit. Then again, in real life, “Because every time I’m face to face with you, I want to strangle you” is not a confession of love.
As for Stan’s outfit, this is Stan at maximum Rizzo-ness. The suede vest, the corduroy pants, the turquoise jewelry – like Joan in that red dress, this is how I will remember Stan in the finale.
During their montage moment, Peggy and Stan make my heart fill with joy if for no other reason than they’re wearing different outfits, which means they didn’t kiss then promptly get in a huge fight.
Such a 70s look for Peggy, but the big lapels work on her. I hope that, as she moves into the 70s, her bows transition into these big collars, because it’s infinitely more flattering. Maybe being with Stan mellows her out a little? If nothing else, she’ll have easy access to a lot of weed.
We get a few more moments with Sally, but her best look is the one she wears when she’s on the phone with Don:
No one has rocked the schoolgirl look quite like Sally, and that’s only partly because she’s an actual schoolgirl. If Peggy were coming of age in 1970, there’s no way the hemline would be that short or the sweater would be that well-tailored. Sally is the daughter of two incredible clotheshorses, and you can tell. I’m going to miss her plaids and fabulous outerwear.
One last visit from Marie Calvet, who continues to be flawless:
If we suddenly learned that Marie was Coco Chanel’s muse, I wouldn’t even blink. Her looks is so chic and timeless, but the oversized earrings give her that little bit of edge which keeps the whole look from being dowdy. May we all grow into Marie Calvet when we turn 60.
But not before being Trudy in our 30s and 40s.
The last character we see may be Don, but Trudy’s the one I found myself thinking most about. She appears for a brief second in the montage, but look at her. This is how Trudy dresses to fly on a private jet to Oklahoma. The woman’s coat is Serena Van der Woodsen-short, but she’s wearing a fur hat that I swear she’s about to toss in the air while twirling around.
Matthew Weiner wrapped everyone’s story so we didn’t have to worry about what happened after the credits, but Trudy’s the character I’m sure might just make it after all