2012 Emmy Predictions

Tune in this Sunday, September 23rd for one of the most anticipated television events of the year. The 64th Annual Primetime Emmy awards, hosted by Jimmy Kimmel, will commence at 7 P.M., Eastern Time, and will be aired live on ABC. Will Mad Men five-peat? Will Giancarlo Esposito blow away (no pun intended) the competition? And will Modern Family continue to rule the roost among comedies, or will HBO's Girls pull off the big upset? Tune in to find out, but beforehand make sure to refresh yourself with the nominees and review my predictions for the winners in the major categories.

Starting up with the category that's probably going to be announced last, but they always keep the best for last...

Image Credit: AMC

Outstanding Drama Series Nominees:

• Breaking Bad
• Downtown Abbey
• Game of Thrones
• Homeland
• Mad Men
• Boardwalk Empire

And the winner is...Mad Men. Yes, Matthew Weiner and Co. at Sterling Cooper Draper Pryce will run away with its fifth consecutive Emmy win for Outstanding Drama Series (and set a Emmy record for consecutive wins), after a season filled with Roger's LSD trips, a moral journey for Don Draper, January Jones in a fat suit, Pete's desperate affair with Gilmore Girls' Alexis Bledel and that disgusting proposal that Joan prostitute herself, and of course, CHRISTINA HENDRICKS' BEST PERFORMANCE EVER. If any show wins other than Mad Men, it'll most likely be AMC's other critical darling, Breaking Bad. Unfortunately, Game of Thrones won't get much love (though it did the other day when it won six awards at the Creative Arts Emmys) since it's a fantastical drama, though down the road it may become a serious contender, since its here to stay. An upset from Homeland? Probably not, but don't be surprised if Showtime's breakout hit becomes the little engine that could.

Image Credit: AMC

Outstanding Lead Actor in a Drama Series Nominees: 

• Bryan Cranston, Breaking Bad
• Jon Hamm, Mad Men
• Damian Lewis, Homeland
• Michael C. Hall, Dexter
• Hugh Bonneville, Downtown Abbey
• Steve Buscemi, Boardwalk Empire

After a year off the ballot, the winner is...Bryan Cranston. Though I've only seen the first season of Breaking Bad, I've heard it only gets better and that Walter's progression from protagonist to antagonist has resulted in a darker, more addicting spectacle. Jon Hamm is very deserving as well, though he needs an equivalent to season four's "The Suitcase" in order to prevail over this year's tough competition. 

Image Credit: Showtime

Outstanding Lead Actress in a Drama Series Nominees:

• Claire Danes, Homeland
• Julianna Margulies, The Good Wife
• Michelle Dockery, Downtown Abbey
• Elisabeth Moss, Mad Men
• Glenn Close, Damages
• Kathy Bates, Harry's Law

The winner of this category has been a lock for a long time, even though there is a tremendous amount of a talent among these nominees. It would be awesome to watch Damages' Glenn Close win a third Emmy for her portrayal of what many consider the best female character in television, Patty Hewes, but it's doubtful to happen again. The real winner here is (drumroll, please)... Homeland's Clarie Danes for her obsessive and crazed performance as CIA agent Carrie Mathison, who's convinced that a seven year United States Prisoner of War (played by Damian Lewis) is really a terrorist. She also has bipolar disorder, which she must hide from the CIA. Ultimately, her performance went from crazy good to just insane in the final episodes of the first season, and viewers began rooting for her more and more. Now here comes the real test. Will she prevail? 

Image Credit: AMC

Outstanding Supporting Actor in a Drama Series Nominees:

• Brendan Coyle, Downtown Abbey
• Peter Dinklage, Game of Thrones
• Aaron Paul, Breaking Bad
• Jared Harris, Mad Men
• Jim Carter, Downtown Abbey
• Giancarlo Esposito, Breaking Bad

And the winner is...Giancarlo Esposito. Aaron Paul and Peter Dinklage are the returning 2010 and 2011 winners, respectively, in this category, but they might get trounced by Walter White and Jessie Pinkman's stiffest adversary, Gus Fring. Peter Dinklage's heroic and troubled (this may be questioned, as how fans look at House Lannister) performance on season two of Game of Thrones may raise some serious competition, but there's another player here that could pull of an upset, and that is Jared Harris. Many have exhaled his arc on Mad Men this year, and his character's (SPOILER ALERT) demise was masterfully crafted and brilliantly acted. Depending on how much love Mad Men receives and likewise with Breaking Bad, it's possible this category can beget a variety of winners. But, my money's on Gus. Did you see how badass Giancarlo Esposito was in the pilot of Revolution? 

Image Credit: AMC

Outstanding Supporting Actress in a Drama Series Nominees: 

• Maggie Smith, Downtown Abbey
• Christina Hendricks, Mad Men
• Anna Gun, Breaking Bad
• Joanne Froggatt, Downtown Abbey
• Christine Baranski, The Good Wife
• Archie Panjabi, The Good Wife

And the winner is....CHRISTINA HENDRICKS. Many of Mad Men's finest had stellar character arcs this season, and Hendricks' character's is arguably one of the best. Her on-screen chemistry with Jon Hamm is phenomenal, which contributed to "Christmas Waltz" and "The Other Woman" being two of Mad Men's best episodes, ever. Weiner's twisty path for Joan (comparison to a Jaguar?) was devastating, but regardless, we SCDP fans were rooting for Hendricks regardless. Even her tearful reaction, to the horrible climax of "Commissions and Fees," as she firmly believed herself to be the main contributor to ****'s suicide, was flawless. From the moment Joan Holloway welcomed Peggy Olson to the agency in "Smoke Gets in Your Eyes," and advised the new and insecure (at that time) secretary to "go home, take a paper bag and cut some eyeholes out of it, put it over your head, get undressed and look at yourself in the mirror; really evaluate where your strengths and weaknesses are, and be honest," we've been waiting for Hendricks' moment. And this is it.  

Image Credit: ABC

Outstanding Comedy Series Nominees: 

• 30 Rock
• The Big Bang Theory
• Modern Family
• Veep
• Curb Your Enthusiasm
• Girls

And the winner is...Modern Family. While many of these comedies have been around for a while, Modern Family is still in its prime and set to win its third Emmy in a row for Outstanding Comedy Series. Though, HBO's and critics' new favorite comedy Girls is armed and ready for an upset. Don't be shocked if Lena Dunham's breakthrough work sweeps the competition, but then again that might not happen until next year's Emmys. 

Image Credit: FX

Outstanding Lead Actor in a Comedy Series Nominees: 

• Louis C.K., Louie
• Alec Baldwin, 30 Rock
• Jim Parsons, The Big Bang Theory
• Jon Cryer, Two and a Half Men
• Don Cheadle, House of Lies
• Larry David, Curb Your Enthusiasm

And the winner is...Louis C.K. Lost's co-creator Damon Lindelof is obsessed with Louis C.K.'s talent, which has prompted this show to be added to my already extensive "to watch" list. This underrated comedian wholeheartedly deserves the award for his witty performance on FX's Louie. Baldwin, Parsons, and Cryer all have Emmy's in their back pockets, and Larry David's been around forever. Time for some new blood. 

Image Credit: HBO

Outstanding Lead Actress in a Comedy Series Nominees: 

• Zooey Deschanel, New Girl
• Tina Fey, 30 Rock
• Julia Louis-Dreyfus, Veep
• Amy Poehler, Parks and Recreation
• Melissa McCarthy, Mike & Molly
• Lena Dunham, Girls
• Edie Falco, Nurse Jackie

And the winner is...Julia Louis-Dreyfus. She's been there before with Seinfeld, and her time on one of HBO's fresh comedies has gathered much buzz across the board. Although, many, especially those die-hard Parks and Recreation fans, believe Amy Poehler should win, they're right, and they should cross their fingers. You never Knope.  

Image Credit: FOX

Outstanding Supporting Actor in a Comedy Series Nominees: 

• Ty Burrell, Modern Family
• Jessie Tyler Ferguson, Modern Family
• Ed O'Neill, Modern Family
• Eric Stonestreet, Modern Family
• Bill Hader, Saturday Night Live
• Max Greenfield, New Girl

And, here's my upset of the night. The winner is New Girl's Max Greenfield. Prediction: all the votes for Modern Family's actors will be spread out, and Greenfield will inch through the competition. Once again, it's all about fresh blood, but I could be wrong. Ed O'Neill has been touted by critics as the shoe-in for this category, and Ty Burrell won last year. Could make for some interesting results. Money is still on Max.

Image Credit: CBS

Outstanding Supporting Actress in a Comedy Series Nominees: 

• Sofia Vegara, Modern Family
• Merritt Weaver, Nurse Jackie
• Kristen Wiig, Saturday Night Live
• Julie Bowen, Modern Family
• Mayim Bialik, The Big Bang Theory
• Kathryn Joosten, Desperate Housewives

And the winner isn't....Julie Bowen. It's Mayim Bialik, whose been lauded for her acting alongside Jim Parsons in The Big Bang Theory. Before the Emmy nomination predictions hit the airwaves and Internet this summer, I had not heard of Bialik, but my money's on her. Yes, Kristen Wiig definitely deserves an Emmy, but the odds are against her. If it's not Bialik, it will be Bowen. 

Other notes: 

American Horror Story will probably sweep in the Miniseries/Movie category, and hopefully Connie Britton will finally receive some recognition (aside from a nomination), especially since she was passed over for the Outstanding Lead Actress in a Drama Series last year. I'm rooting for Luther's Idris Elba in the Outstanding Lead Actor in a Miniseries/Movie category. If you haven't seen Luther, you must. Now. 

Enjoy the show!

3 Shows You Should be Watching, But Aren't

Image Credit: Showtime

Homeland: Many have called it last season's best new show. Many have not even heard of it at all, but with its recent Emmy buzz and post 9/11 connections, it has garnered more attention over time. Starring Claire Danes as the CIA operative Carrie Mathison, who is racing to prove that a United States Prisoner of War (played by Damian Lewis) is really a terrorist, Homeland serves up a fascinating drama revolving around Carrie's crazed, obsessive mission and Sergeant Nicholas Brody's painful return home after eight years in captivity. Everyone has his or her own secrets on the show, as even Carrie is hiding her manic depression from the CIA, or else she'd be unemployed immediately. While the American people, as well as many powerful political figures, see Brody as a hero, Carrie is the only one who does not. Danes delivers a profound performance through her cat and mouse chase with Brody, as a series of secrets, lies, and deceit unravel into drastic consequences throughout the first season. Each episode leaves its viewers hanging, yearning for more. Homeland's cast, including well-known stage actor and former Criminal Minds star Mandy Patinkin as Carrie's mentor Saul Berenson, helps mold an emotional connection for the viewers with its characters. After seeing the shocking conclusion of the finale, viewers will still be questioning the ethics and motives of each of its characters. It's one show you definitely need to catch up on, before Emmy night (9/23), and before the second season premiere (9/30). Pilot episode currently available on www.sho.com.

Image Credit: USA Network

Political Animals: Elaine Clinton? Or Hillary Barrish? With their backgrounds quite similar, their names can be easily confused. Political Animals, the politically correct miniseries drama on USA Network starring Sigourney Weaver has acquired much buzz over the past few weeks, as four of its six episodes have aired. Some of Animals' central narratives circle around feminism, sexuality, diplomatic relations, and the fight for power, which are all vastly debated topics in the contemporary world. Cunningly, this series whispers at the proactivity many politicians should, but unfortunately do not, possess in a society where personal gains of those making the most important decisions is placed as a priority before the well-being of the American public. And Sigourney Weaver's character is the embodiment of that much-needed zeal. Secretary of State Elaine Barrish is level headed, well opinionated, but speaks her mind, and is not afraid to back down for what she stands for. Her personality is focused on helping America, and even in the midst of her ex-husband, former President Bud Hammond's infidelity, her love for the country did not waiver, and she continued serving as the First Lady. In politics, there is often a clash of one's public and private lives, and Political Animals speaks to that ongoing clash one must confront in order to be successful in the the world's limelight. Even if you're not a advocate of politics, this is one drama about politics worth trying. Currently airing Sundays, 10pm USA Network. First four episodes available at www.usanetwork.com/series/politicalanimals.

Image Credit: BBC One

Luther: Luther, a crafty, dark police miniseries drama produced by BBC One, stars Idris Elba as dedicated, yet psychologically disturbed Detective Chief Inspector John Luther. Every case brings Luther to the edge of darkness; his occupation forces him to delve into the psychologically ravaged mind of the killer in order to stop homicides and crimes from occurring again. There's a certain moral ambiguity and complexity to Elba's character that one can only understand by watching. His unconventional crime solving is coupled with his stunning analytical and intellectual capabilities, which drives his passion for bringing justice to the streets of London. Even after successfully ending a case, Luther lives in the past, bothered by the cloud of evil he's fought. He's been referred to as "dirty" for the lines he's crossed during his cases, and is often frowned upon for his irrational outbursts and fiery temper. Even his wife has left him, since she's haunted by exactly what torments Luther, his obsession with solving crimes and the despair he's uncovered. Luther's a troubled, suicidal hero, one to definitely offer ten hours of sympathy towards. With a vote of confidence, I urge you to explore the grim, disturbing abyss seeping through the Luther's core. You won't be disappointed. Series One and Two currently available on Netflix. 

2012 Emmy Nominee Predictions

Brace yourselves for one of television's most interesting (and most controversial) parts of the summer...

Kerry Washington of ABC's Scandal and Nick Offerman of NBC's Parks and Recreation will announce the 64th Primetime Emmy nominees at 5:40 am, Pacific Time this Thursday, July 19th. Here's the link to watch the live streaming during that time on Thursday:

http://www.emmys.com/2012-primetime-emmys-nomination-announcement

Now, after much thought I have compiled my predicted list of nominees for the major acting categories in comedy and drama. There are many very well-deserving, stellar actors, actresses, and shows, but unfortunately only a few spots per category. So, I have listed "Dream Nominees" below my actual predictions for shows that have a small fighting chance, yet are VERY deserving of a nomination nonetheless. We've seen many deserving actors and actresses and "little shows that could" inch through over the years, so maybe this will be John Noble's or Community's year after all.

Game of Thrones, HBO

Outstanding Drama Series

• Breaking Bad
• Downtown Abbey
• Game of Thrones
• Homeland
• Mad Men
• The Good Wife

Dream Nominees: Damages, Shameless, Sons of Anarchy

Damian Lewis, Homeland

Outstanding Lead Actor in a Drama Series

• Bryan Cranston, Breaking Bad
• Jon Hamm, Mad Men
• Damian Lewis, Homeland
• Kelsey Grammer, Boss
• Hugh Laurie, House
• William H. Macy, Shameless

Dream Nominee: Jason Isaacs, Awake

Mireille Enos, The Killing

Outstanding Lead Actress in a Drama Series

• Claire Danes, Homeland
• Julianna Margulies, The Good Wife
• Elizabeth McGovern, Downtown Abbey
• Elisabeth Moss, Mad Men
• Mireille Enos, The Killing
• Mariska Hargitay, Law & Order: SVU

Dream Nominees: Glenn Close, Damages; Anna Torv, Fringe; Katey Sagal, Sons of Anarchy

John Slattery, Mad Men

Outstanding Supporting Actor in a Drama Series

• Josh Charles, The Good Wife
• Peter Dinklage, Game of Thrones
• Aaron Paul, Breaking Bad
• John Slattery, Mad Men
• Mandy Patinkin, Homeland
• Giancarlo Esposito, Breaking Bad 

Dream Nominees: Vincent Kartheiser, Mad Men; John Noble, Fringe

Maggie Smith, Downtown Abbey

Outstanding Supporting Actress in a Drama Series

• Maggie Smith, Downtown Abbey
• Christina Hendricks, Mad Men
• Kelly MacDonald, Boardwalk Empire
• Morena Baccarin, Homeland
• Christine Baranski, The Good Wife
• Lena Headey, Game of Thrones

Dream Nominees: Rose Bryne, Damages; Regina King, Southland

30 Rock, NBC

Outstanding Comedy Series

• 30 Rock
• The Big Bang Theory
• Modern Family
• New Girl
• Parks and Recreation
• Girls

Dream Nominee: Community

Louis C.K., Louie

Outstanding Lead Actor in a Comedy Series

• Louis C.K., Louie
• Alec Baldwin, 30 Rock
• Jim Parsons, The Big Bang Theory
• Jon Cryer, Two and a Half Men
• Joel McHale, Community
• Adam Scott, Parks and Recreation

Melissa McCarthy, Mike & Molly

Outstanding Lead Actress in a Comedy Series

• Zooey Deschanel, New Girl
• Tina Fey, 30 Rock
• Julia Louis-Dreyfus, Veep
• Amy Poehler, Parks and Recreation
• Melissa McCarthy, Mike & Molly
• Lena Dunham, Girls

Dream Nominee: Martha Plimpton, Raising Hope

Ty Burrell, Modern Family

Outstanding Supporting Actor in a Comedy Series

• Ty Burrell, Modern Family
• Jessie Tyler Ferguson, Modern Family
• Ed O'Neill, Modern Family
• Eric Stonestreet, Modern Family
• Nick Offerman, Parks and Recreation
• Max Greenfield, New Girl

Dream Nominees: Danny Pudi, Community; Donald Glover, Community

Alison Brie, Community

Outstanding Supporting Actress in a Comedy Series

• Sofia Vegara, Modern Family
• Betty White, Hot in Cleveland
• Kristen Wiig, Saturday Night Live
• Julie Bowen, Modern Family
• Jane Lynch, Glee
• Cheryl Hines, Suburgatory

Dream Nominees: Alison Brie, Community; Gillian Jacobs, Community

Luther: A Gaze into the Abyss

Image Credit: BBC One

Luther, a crafty, dark police miniseries drama produced by BBC One, stars Idris Elba as dedicated, yet psychologically disturbed Detective Chief Inspector John Luther. When the series commences, viewers catch a glimpse of the troublesome conclusion of a case Luther headed, involving serial killer Henry Madsen. Abruptly, the show jumps seven months to Luther's first day back on the job, and his boss, Detective Superintendent Rose Teller discovers him in the same place his latest case concluded. Luther's distressed, pondering his last decisions and their chaotic consequences in the Serious Crime Unit.

Yet, he has more demons than that. Every case brings Luther to the edge of darkness; his occupation forces him to delve into the psychologically ravaged mind of the killer in order to stop homicides and crimes from occurring again. There's a certain moral ambiguity and complexity to Elba's character that one can only understand by watching. His unconventional crime solving is coupled with his stunning analytical and intellectual capabilities, which drives his passion for bringing justice to the streets of London. Even after successfully ending a case, Luther lives in the past, bothered by the cloud of evil he's fought. He's been referred to as "dirty" for the lines he's crossed during his cases, and is often frowned upon for his irrational outbursts and fiery temper. Even his wife has left him, since she's haunted by exactly what torments Luther, his obsession with solving crimes and the despair he's uncovered.

Did I mention that Luther spends half a morning on an apartment complex's roof staring off the ledge, slowly inching the laces of his shoes forward to his demise? Or that his closest confidant is a deranged, yet intellectually sound young murderer named Alice Morgan? Luther and Alice's friendship is based off their individual yearnings to fully comprehend the motives of each other's actions. What they both believe is the "right" thing to do might not necessarily be agreed upon by the other. There's a blurred line of good and evil that they both have crossed at some point. Their scenes together are riveting and unpredictable as Alice, played by Ruth Wilson, constantly questions what Luther stands for, yet Luther often seeks her out for advice in his moral struggles.

And that's only the tail end of Luther. While its first season is six episodes and its second only four, the development of the series is prodigious, and one might feel as if a thirteen episode season has been packed into six dense chapters. The tone of the series is dark, gloomy, and even the costumes' color schemes (especially Luther's) embody this. Luther's a troubled, suicidal hero, one to definitely offer ten hours of sympathy towards. With a vote of confidence, I urge you to explore the grim, disturbing abyss seeping through Luther's core. You won't be disappointed.

"The Phantom" of Success

Image Credit: AMC

Peggy's back???!
Roger takes LSD, and flashes New York City.
Pete gets beat up, again.
And Don, well, returns to being Don.
"The Phantom," Mad Men's fifth season finale, did much to sift and work through the dangling plot lines of the season, even quickly answering a question many viewers thought would not be addressed, ever again, one of Peggy's future on the show. As to the episode title, its relevance is the "phantom" that Megan's mother, Marie Calvet, claims she is pursuing through her acting career. Yet, there was more than one "phantom" within the episode, as Don's deceased brother, Adam Whitman resurfaced, and Lane's absence played a prominent role within the dealings of the SCDP partners. There's so much to talk about and connect from this episode that it may be best to start with the minor development that will surely make a difference next season, regardless of how small or big the time jump is.

Sterling Cooper Draper Pryce is now expanding, after their 1967 first quarter revenues spiked 34%. Now, initially Joan is uneasy about the potential of expanding their offices, and she glances to the empty chair in-between a disgruntled Pete and a toothache aggravated Don to seek agreement from Lane, but he's absent. For good. If he was there, he'd completely agree with Joan's cautious disagreement towards the change. In one of the closing scenes of the finale, the partners head upstairs to the empty thirty-eighth floor to evaluate their new, promising space. Even as they all gather on the floor above the agency, there is a sense of uneasiness and risk in expansion, yet hope for a successful future. What once was a company struggling to make ends meet and acquire clients after the loss of Lucky Strike is now thriving with Jaguar. They all want to create more success, and procure more fame and fortune in the advertising world. This space will offer them just that, but at the expense of the money left over from Lane's death benefit Joan received from SCDP's insurance company.....

"Don't leave here without thinking you've done anything for anyone but yourself," says Rebecca Pryce to Don after he delivers her a check for $50,000 to assist Rebecca and Nigel. After Joan shows Don the death benefit check for $175,000, Don takes it upon himself, without the partners' approval, to do what he feels is right in the aftermath of tragedy. What he really does is piss off and upset Rebecca even more. Lane's dead, and not even Don can change that. Even if he threw a million dollars at Rebecca, she would not be happy. The scene in the Pryce's apartment is awkward, and Lane is only mentioned indirectly, when Don stutters his condolences to Rebecca. Don doesn't know any better of how to react in this situation. He's lost loved ones of his own (Anna, Adam), but he has boxed up his emotions from these deaths, and has even avoided confronting Adam's suicide until this moment. When Rebecca flashes Don the photo of Dolores, who she believes to be some sort of mistress of Lane's, Don knows he's overdone his stay. He cannot address her any further, as she begins to interrogate him on Lane's adulterous actions. Don feels wretched and guilty in this moment, seeming that he even paid a prostitute for a night with Lane back in season four. Yet, it seems Don has a lot of revelations in this episode, beyond the fact that his actions aided two men down treacherous paths.

"It's so dark, Peter. I just get to this place, and I suddenly feel a door open, and I wanna walk through it," claims Beth Dawes of her mental instability. Sound familiar? Maybe when Don opened the elevator door and the elevator was missing? Beth cannot walk through the door; she's troubled, restless, and confused. Pete considers her as a way out of his misery, and he has since this season's beautifully crafted episode, "Lady Lazarus." Well, his second chance with Beth arrives, but even after an afternoon with her in Hotel Pennsylvania, Pete is unable to convince her to run away with him. Beth decides to take the electroshock treatment Howard has checked her into the hospital for, and forget about her affair with our favorite slime ball, Pete Campbell. Before Beth leaves the hotel room, Pete utters a final plea, stating, "Don't tell me you're not happy right now. Don't tell me you don't feel better." Pete for sure feels better with Beth. But there is more importance to this line than just this simple farewell scene with Beth. A lot of Mad Men's core development is built on its characters striving for what they want, hoping to obtain their definition of happiness. And we, the audience, every week, cheer them on, as ruthless as their motives and actions may be. "The Phantom," in particular, does a superb job in elevating our favorite ad men and women's emotions to prove that they mainly, even SCDP-free Peggy, are not happy. Even though many of our beloved characters may feel they have succeeded, it's merely a phantom to them. Unhappiness and discontent will return sooner or later. Maybe just as quick as Roger's "enlightenment" wore off. For example, Pete goes to visit Beth in the hospital after her treatment, and she has no idea who he is. For a moment, he sits next to her, explaining that he came to visit a friend. She inquires what was wrong with his friend, and he tells her his story. Pete's devastated; he's in a middle-aged crisis of becoming a stationary man in life, especially with Trudy wanting to build the enormous pool in their suburban home's backyard. He has no one, not even a friend, to talk to about it but Beth. Yet, he has to address himself in the third person. That's just how miserable Pete is. He's not happy. And he never will be. At the end of the finale, he does manage to finagle an apartment in New York City after lying to Trudy about falling asleep at the wheel, rather than getting beat up, not once, but twice, on the train ride home. He'll be excited with it for a day, then gloomy again.

"It's not your tooth that's rotten," states the apparition of Adam Whitman to a drugged Don in the midst of his tooth removal. Adam's persistent presence in the finale is a phantom reminder to Don of both Adam and Lane's suicides. In Adam's circumstance, Don paid Adam to go away and never bother him again, and then Adam hung himself. Don wanted to push aside his problems and forget about his past life and true identity, that of Dick Whitman, the poor son of a prostitute who took advice from a hobo about running away from home. In Lane's circumstance, after Lane felt ashamed for his embezzlement of funds from the agency and hung himself, Don offered money to help mend the situation. In both situations, money played a role, but never helped. It only brought pain, or continued grief. What rotten luck for Don. Back to the significance of the tooth in a second...

There's nothing like a pivotal moment in Don Draper's life without Peggy Olson, or in Peggy's life without Don. Some of the best scenes in the series have occurred from Jon Hamm and Elisabeth Moss' chemistry, and their scene in the finale is another to add to the list. Now, when Don runs into Peggy at an afternoon showing of a movie, he's delighted to see her. Their discussion is quick, as the film begins a few minutes after Don sits down, yet it is meaningful, not only to their relationship, but the understanding of Don's actions in the finale. Don knows Peggy is not returning to SCDP anytime soon, and is proud of her success. While they are discussing Peggy's new job, he mutters to her,"that's what happens when you help someone. They succeed and move on." And he stops for a moment. Don's helped Peggy rise from secretary to copywriter to the creative director at her new agency. Now he must help Megan, another important woman in his life, succeed. He always wanted Megan to be that housewife, sitting at home when he returns from work, but it's only making her miserable. She needs his support in her acting career in order to succeed. Peggy's moved on, but she hasn't forgotten about Don. Don just hopes Megan won't forget about him when she becomes a successful actress, and that's why he's been afraid to let her go.

"You're in bad shape, Dick." Is Don really, especially at the end of the episode? I mentioned this show has been built on the notion of the characters striving for what they believe is happiness, and we hoping that they achieve it. We know Roger's in good shape once again, as he takes his second round of LSD and watches the New York City skyline. After his time with Peggy at the movies, Don returns to SCDP to watch Megan Calvet's screen test. Notice the italics. The black and white image of Megan shoots by the screen, as her smile brings a smile to Don's face. He's in love, and doesn't want to let her go, but he needs to help her succeed. Eventually, Megan lands the role on the Butler Shoes commercial, and Don is there on the set to wish her luck. Before the shooting commences, Don walks off the set, and the set with Megan on it slowly diminishes from our view. One theory is that Don is walking back into his old life once again, as Megan may just be another woman, another phase in his life. Betty was an actress too, and she ceased being one to become a housewife. Megan refuses to settle for that. She has her dreams, and wants more, and with Don's support attains exactly what she wanted. But, Don's strut away and his assistance might just be a transition for their marriage. She was by Don's side in SCDP for the first half of the season, then quit, and promised to revive her acting career. Now that she's achieved it, she's moving on, just like Peggy moved on from SCDP to another agency. Is the "rotten" tooth a microcosm of the Don Draper we've watched this season? Just like the tooth, has Don slowly sauntered back into his "rotten" ways? Has Don actually turned rotten once again, as he enters the bar? The only person aside from Matthew Weiner that will know the answer to that question is the blonde woman who asked Don, "are you alone?" before the finale's last scene cuts to black.

Image Credit: AMC

The song played during the final scene of the finale was "You Only Live Twice," by Nancy Sinatra. The interesting fact about this song is that it premiered in the James Bond film of the same title in June 1967. Now, as we are aware, the events of "The Phantom" took place during March 1967, but Matthew Weiner has always stayed consistent with the release dates of songs, and has chosen not to play them on his show unless they have already debuted before the time period of the episode. So, the events beginning with the five partners gazing out the Madison Avenue window on the soon-to-be second floor of SCDP might have occurred in June 1967.

Here's a few facts and observations to back up this theory:

• Joan mentioned "tabling" the discussion of the expansion until June. Even though SCDP received money from the death benefit, there was no confirmation that the partners would immediately place that money on the new office space.
• Pete was beat up pretty badly on the train. Those injuries were probably sustained for a few solid weeks. There were no signs of his black eye, swollen lip, and bloody chin in either the scene on the 38th floor or the scene showing him with a set of headphones on.
• Peggy never mentioned when she was flying to Virginia to tour the factory that was producing the women's cigarettes. By the look of the outside scenery where those two dogs were mating, it looked pretty nice out for a March evening.
• At the partners meeting, Joan does mention that Butler Shoes was aiming to shoot their commercial in the next quarter, which June 1967 would fall within.

Thoughts? When Mad Men returns in nine months, will Sterling Cooper Draper (RIP Lane) have Dow Chemical? Will Megan still be around? How much screen time will Betty receive next season? Or Peggy? How many times will Roger have taken LSD? What will Bert Cooper's office look like? Will everyone stop hating Harry Crane? Will the expansion of SCD open the door to more new characters? Lastly, how big of a time jump will there be? 

The "Commissions and Fees" to Happiness

Image Credit: AMC

We all knew something was going to happen, we just were unsure when, and to whom. Mad Men's persistent death omens finally took center stage last night. That noose Don Draper was drawing at the commencement of the season reappeared, as Lane Pryce took his own life after Don discovered that Sterling Cooper Draper Pryce's financial officer had embezzled $7,800 to pay taxes in England. His suicide immediately left the partners of the agency in a state of sorrow and dismay and marked the departure of a third character from the ad agency this season. All these departures were built upon power, or lack thereof, and not only did anxiety, discontent, and shame prevail last night, but so did power. Lane lost his frugal occupation the second he forged Don's signature onto the check; it was inevitable. But, how do Peggy, Megan and Lane's resignations fit together? What is the key element, besides power? It's simple. It's Mad Men's protagonist, the middle-aged creative genius of an ad man who has experienced many rebirths in his own life, Don Draper.

Don's had a moral journey this season; an emotion filled ride that really began long before this show ever started. He has scowled at Pete's adulterous night with a prostitute in "Lady Lazarus," raced to stop Joan from lending herself to one of Jaguar's executives for the night in "The Other Woman," yet in the show's first four seasons he's spent several extravagant nights with some of New York's prostitutes. He ceased caring for his creative work for half the season, until receiving a wake up call from Burt Cooper urging him to end his "love leave," even though he has always been focused on the quality of his ad pitches. Work was important, yet Don has pushed aside his creative genius for much of this season until "Dark Shadows," when he left Ginsberg's campaign for Snowball in the taxi cab in exchange for his own slogan and idea. He's risen to the top, just like Lane. We, as viewers, all desperately hoped Don's downward spiral after his divorce and his beloved Anna's death would end, and it has, putting Don back in control of both his own life and SCDP's. Indeed, Lane's demise may actually be the calm before the storm. The moral, renewed Don Draper may be in for a gut check next week.

"What's happiness? It's a moment before you need more happiness," says Don at his meeting with Dow Chemical's Ed Baxter on Monday morning. Unfortunately, Lane didn't get this speech or memo from Don before succumbing to his shame of stealing that money from SCDP. But, will his wife and son Nigel now be deported back to England? Speak of happiness, it's always been debated within this series. What does happiness mean to Lane? Obviously not head of the fiscal control committee for the American Association of Advertising Agencies, which Lane was granted at his breakfast date with a friend within the organization. According to Aristotle, happiness, or eudaimonia, is the reason for which human beings were made, and the backbone behind everything we do. This eudaimonia is human beings' telos, or ultimate goal in life. Even though Don's landed the Jaguar account, which seemed to be so coveted within the past two episodes, but even Roger calls it "shitty" and Don's not content with it. He wants something bigger; he mentions Firestone, Chevy, and Dow Chemical as these means to fulfilling his happiness. The grouchy look on Don's face after landing the Jaguar account was not just because of the partners' deal with Joan to acquire the account; it was because Jaguar was a small step for Don.

"You know, you can't keep being the good little boy while the adults run this business," says our testicle free Bert Cooper to Don as he reveals Lane's cancelled check. Bert's quietly been after Don to do more for the agency, even after his "love leave," but did this statement mean more than meets the eye? Assuming Bert can put two and two together, he might have realized this check was forged, and wanted Don to deal with it, since Don refused to support the Joan/Jaguar deal several weeks before.

Speaking of "adults" running the business, Ken Cosgrove really expressed his distaste for the partners, but it's unclear if he specifically meant the Joan/Jaguar situation when answering Roger's inquiry, "No, I won't want to be a partner; I've seen what's involved." It's always been Pete having more say in accounts than Ken, but Ken really did make a power move last night at his Hemisphere Club meeting with Mr. Sterling, demanding that Roger only place Ken in charge of Dow Chemical if Don miraculously landed the account. Once again, it's power and Don Draper that have the ultimate say in this development within the series and the agency.

"I've started over a lot, Lane. This is the worst part," is Don's reassurance to Lane after his firing. Boy, was Don right. Roger and Don return from their Monday morning meeting with Baxter and those pretentious Dow Chemical folk to discover that the office is empty, except for Bert, Joan, and Pete, sitting at a table with a bottle of alcohol. Pete looks frightened, Joan is in tears, so Bert just blatantly states, "Lane hanged himself." Don takes a moment to sit down, in shock, wondering how much of this was his fault. Really though, Don was the icing on the cake, since Lane's been on a downward spiral since his season four Playboy Bunny fiasco. After learning that Lane's still hanging from his noose, Don sprints towards Lane's office, offering to do something nice for Lane. Cutting Lane down from the noose is the least Don can do, since he cannot rehire Lane now. The moment when Roger, Pete, and Don stand frozen gazing at Lane's stiff, grossly purple, and sad countenance is when the fear and sadness truly sink in for these three. They looked death right in the face, and saw one of their friends and colleagues stricken by it. Don immediately grabs Lane, and Pete stands on the table to cut the noose, and Roger stands still for a second longer. Was he wondering, "could that be me?" It really could have been, if Roger didn't have that LSD-trip-of-an-enlightenment in "Far Away Places," but we'll really never know what Roger thought in that split second in Lane's office. After cutting Lane down, they lay him to rest for the coroner on his couch, offering some peace for the beloved Brit. Roger finds a letter addressed to all the partners, but when they rejoin Bert and Joan in the hall, they open it to only find a letter of resignation. Lane let the before mentioned worst part of starting over get the best of him, only to leave the agency in a similar sorrow and dismay that he has left his wife and son.

RIP Lane, we'll miss you at SCDP.

"You'll tell them that the next day will be better, cause it always is." Now let's see if Don is right. And how will Lane's suicide continue to affect Don? We know Don's lengthy car ride with Glen helped him clear his head a bit, but still. Why do the majority of Don car scenes in this series turn out to be some of the best? And there's been several of them this season. Is Don's moral journey actually bothering him? What's the cost of doing the right thing? A fellow colleague killing himself? And has Roger's enlightenment really worn off? Will Dow Chemical be calling Roger and Don back, and will Ken be able to oust Pete Campbell, finally?

Lastly, we know tomorrow will be better for Sally. She was comforted by Betty after rushing home from the museum, terrified that she had had her first period. And yet, even as Betty offered consolation to her daughter, she still took the moment to attack Megan, bluntly asserting over the telephone, "she needed her mother." Ouch. Poor Megan. Or as Betty calls her, the child-bride.

Next week, "The Phantom." Don comes crashing down from his moral journey? He's only remarried, resettled, and acquired a major account in the midst of his identity crisis, his divorce, his shame of his past life, and his loss of his dear Anna Draper. Quick theory: Joan's going to be there to help him out. Maybe the next day is, indeed, better.