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Creator and anti-WASP bigot Matthew Weiner ended his show Mad Men, in his usual style of conspicuously pushing the neurotic propaganda of feminist empowerment and WASP old order cultural displacement while sabotaging his good progressive beliefs by giving in to the exhilarating temptation to sneak morsels of Realtalk™ into his lavish set piece scenes.
(For the record, I thought the show was pretty good 2/3rds of the time. 1/3rd of it was too muddled, directionless, and boilerplate liberal to be worthy of my undivided judgmentalism.)
Mad Men ended on a lot of happy notes. Happy, if we judge by the satisfaction of feminist and manlet pop culture critics crowing about Joan’s new business venture or Peggy’s bright, barren careergrrl future. But CH has the Crimson Pill which will enlighten you about what really happens to all the characters if they were representations of real world people instead of fantasy pewter figurines in the equalist’s curio shoppe.
Joan – She starts a successful video production company spin-off from the contacts she acquired as part of a bonanza of largesse from generous Sterling Cooper men who fucked her or wanted to fuck her over the years. Gradually, her female influence — sexual harassment seminars! — erodes the company’s bottom line, and she has to bring in a male COO to right the ship. As is typical of aging, buxom women who are va va voom in their prime, she bloats up to the size of a tugboat, and at age 45 has to face the prospect of romantic isolation with a son who hates her more each day for selfishly robbing him of a father. She consoles herself with cats, her bank account, and feverish shopping sprees, while wondering in her spare moments if she should have hung up the phone as her lover, Richard, was heading out the door for the last time.
Peggy – Stan and Peggy marry, but Stan comes to resent, despite his best liberal intentions, his subordinate occupational and social role to his wife. This perfectly natural male resentment eats at their marriage, until they divorce and Peggy spends the next twenty years in the bowels of corporate America becoming that ballbusting cunt employees will brag about having worked under as proof of their ability to survive the Worst Boss Ever. She has one Downs Syndrome kid with Stan whom she promptly gives up to an orphanage like she did with her first bastard. She ages poorly and kills herself at age 55 on an overdose of Vicodin.
Betty – Betty dies with a cigarette in her mouth, and Henry finds a younger hotter tighter woman to marry within the year, defying his grief and tears and earnest belief that no one like Betty will ever grace his life again.
Sally – The cock carousel is Sally’s calling. She rides with abandon.
Pete – As a somewhat charming, egotistical prick with executive status, Pete is never wanting for sexual attention from young women. He breaks his promise to Trudy and cheats on her with a Wichita beauty queen. But Pete loves Trudy and treats her well through the haze of his sexual peccadilloes… she is after all his main squeeze and mother of his children… so this complicates Trudy’s anger toward her husband. Trudy loves her prairie life and Lear Jet so much she puts up with Pete’s indiscretions, breaking her promise to him and to herself. There is no worse betrayal than betraying one’s own principles.
Roger – Aloof alpha male to the end, (and CH’s favorite character… “and bring one for my mother…”), Roger learns just enough French to coax hot MILF Marie to offer him anal access. She hates him and loves him for this. Also, he comes to his senses and threatens to rescind his Last Will and Testament to write his bastard son out of it until Joan gives the kid his surname.
Don – Don returns to McCann the most self-assured he’s ever felt. He creates the Coca-Cola “I’d like to teach the world to sing…” ad, which catapults him to superstardom status within the ad-making communitaaaaah. He also returns to chasing skirt and charming the pants off everyone, but now that he’s found inner peace, he no longer feels guilt for his choices. A yogic serenity allows him, for the first time in his life, to accept himself as the alpha male juggernaut people can’t help but love and serve. He stops beating himself up for possessing a skill set which earns him nice things in life, like money, women, and beta male admiration. He bangs Peggy across his desk after she comes to him confessing marital troubles with Stan.
Mad Men is the expectoration of Matthew Weiner’s low T combined with his envy of the Winkelvoss golem and his lifelong mixed feelings for his overbearing Jewish mother.