[[folder: Fridge Brilliance ]]

* Loads. This show greatly benefits from a close viewing.
** The best might be the scenes of Don's father and his relationship and how Don seems stuck following the same path, until Don finally breaks free.
** Lane Pryce is the only one with a Mets Pennant. It's 64, the Mets are new, and the rest of them have long lasting loyalties, but both the Giants and Dodgers just left meaning the rest of the office either is Yankee fans or heart broken.
* There is a scene somewhere in the series where we see Don Draper read ''Literature/TheGreatGatsby''. That's when the sheer amount of similarities between the book's protagonist Jay Gatsby and Don Draper dawned upon me, and I realized that Gatsby was probably an inspiration in the creation of the Don Draper character (SPOILERS ahead):
** They are both a typical embodiment of UsefulNotes/TheAmericanDream, both coming from very poor families and, by themselves, climbing their way up the social ladder.
** They both got to where they are by shady means, Jay by bootlegging and Don by manipulating Roger Sterling to get his career defining job.
** They both carry around a personality that isn't their own; Jay Gatsby is really Johnny Gatz and Don Draper is really Dick Whitman (although Jay Gatsby hasn't explicitly committed identity theft, as Don has).
** To a certain extent, the reason for their false personalities could be that they literally needed "a new name", to even get remotely accepted in the upper social classes, in spite of their piss poor heritage.
** They are both suave and dashing on the outside, but have a shady, [[DarkAndTroubledPast dark and troubled past]].
** And, by god, I had another realization. The "F" in Donald F. Draper and F. Scott Fitzgerald both stand for, guess what, Francis. You might scold me for [[WildMassGuessing WMG'ing]] here, but it's just too good of a coincidence for me!
* Bertram Cooper is at several occasions seen recommending ''Literature/AtlasShrugged''. Later in the series I realized that he is the embodiment of Ayn Rand's objectivist ethical philosophy - he is the ultimate ethical egoist / rationally selfish man. This means all his actions are, in one way or another, directed by a pragmatic attitude of what he thinks best for himself, not some predefined idealism of what is "right". How can we see this? When he first finds out the truth about [[spoiler: Don's identity and desertion]], he doesn't give a shit, because Don is a giant resource for the company, and by extension, himself. When he later needs Don to sign a contract, and is close to losing the giant resource that Don is (which would hurt himself and his wealth), he has absolutely no qualms blackmailing him with said knowledge, forcing him to sign the contract, and thus, securing his resource. Berty doesn't care if [[spoiler: desertion]] or blackmail is somehow "wrong" and "unethical". If it can help him and his situation, he's OK with it.
** It should be noted, though, that Bertram Cooper (and, to a lesser extent, Roger Sterling) is actually a subversion of the Randian risk taking, hard working, badass businessman: he thinks of himself as being a capitalist hero when it is obvious to the audience that he does nothing all day but read philosophy in his office and lets Don and co do all the heavy lifting.
--> '''Bert Cooper''', after learning the truth about Don: ''There is more profit in forgetting this right now''.
* In episode one of season two, Don sends a copy of ''Meditations in an Emergency'' to an unknown person, with a note saying "Made me think of you. -- D." Several episodes later we find out that it went to Anna, the widow of the real Don Draper. I didn't realized he'd signed it just "D" until I rewatched 2x01, but of course he did that because to her he's Dick or replacement-Don, not Don.
** Also, it gives him some cover. For Anna, he's signing it as Dick, if anyone else finds it, he can claim he's signing it as Don.
* [[TheAllegedCar The Chevrolet Vega]]. Gorgeous, American-muscle-meets-Italian-''carrozeria'' styling over cutting-edge technology developed at record-breaking expense by the largest engineering organization in the world, yours for an economy-car price. And then the engine starts to burn oil at 12,000 miles, warps its head not long after, and then it fails state inspection on rust at a year old. The perfect metaphor for [[TheSeventies the decade they're about to enter]].
** Overlaps with the ArtisticLicense used throughout the whole series to credit RealLife ad campaigns to Sterling Cooper and its' successors. The Vega launch ads were created by Campbell-Ewald, as mentioned in story Chevy's ad agency since the dinosaur age, but they ''looked'' like they could've been done by a completely different team than the rest of the model year 1971 Chevy ads. See what the [[http://www.oldcarbrochures.org/index.php/NA/Chevrolet/1971_Chevrolet showroom brochures]] looked like.
* Season 6 was criticized for having a chaotic plot arc, but it takes place over 1967-68, a chaotic time.
* Don not wanting Megan to do love scenes just seems like basic hypocrisy, until you remember where he grew up. Megan getting paid to do love scenes was too much like prostitution to him.
* Don has no familiarity of The Beatles other than a ''very'' basic idea of what they sound like and Megan takes it upon herself to introduce him to them. At first this doesn't make sense since years earlier he attended one of their concerts with Sally. But the concert they attended, the band's historic performance at Shea Stadium, had so many screaming fans that it was impossible to actually hear the music. Don never got a chance to hear them until Megan gave him "Revolver."
* In the First Season, Peggy was gaining a significant amount of weight because of her pregnancy. One would wonder how she came into buying a new (and drab) wardrobe when she just started working as a secretary. Well [[http://tomandlorenzo.com/2010/06/mad-style-peggy-olson-season-1-part-2-2/ Tom and Lorenzo reveal in their Mad Style column]] that Peggy was [[http://tomandlorenzo.com/2010/06/mad-style-the-olson-women-2/ borrowing a few outfits from her plus-sized mother and sister, outfits that even show up in the second season]].
* When Joan impatiently waits for Kevin's babysitter, he watches ''Series/SesameStreet'', which seems like just a cute little moment of childhood. Then you think about the concept: The show mimics advertising to "sell" learning; ''Series/MadMen'' itself is a show about advertising. Kevin doesn't know it yet, but he's seeing the impact of "Mommy's Job".
* The title sequence. While many fans thought that Don would commit suicide in the final episode, thanks to it showing him falling from a building made of ads, [[spoiler:it represents his finally finding inner peace. At the end of the sequence, Don is shown sitting contentedly with a drink in his hand. The series ends with him meditating with a bunch of hippies.]]
* As the show goes on, Don's go-to pitch of nostalgia for a simpler time becomes less and less compelling. [[spoiler: In the finale, Don finally finds a contemporary equivalent: universal peace and love, and the result is even more successful than The Carousel.]]
* Betty's nickname from Don is "Birdie" and in Season 1, in retaliation for threatening Sally's dog Polly, she shoots her neighbor's pigeons when they take flight while Bobby Helms's "You're My Special Angel" plays. Well after the events of ''The Milk and Honey Route'' where [[spoiler: she finds out she has a terminal case of lung cancer]] just when she started new college classes and gained a new outlook on her life, this incident can be looked at as a case of {{Foreshadowing}}; she was a metaphorical bird in a gilded cage, struck down just when she started flying out.
* The Patio ''Film/ByeByeBirdie'' commercial. When you see it, you can tell that something's clearly off when compared to what it was based on. While Roger Sterling immediately points out the fact that the singer isn't Ann-Margret, there's another reason it feels off: Sal Romano, whose brainchild it is, is playing up more of the campy musical theatre quality of the original and didn't direct it with the intention of sex appeal because he's gay. It's so subtle that you don't notice it.

[[folder: Fridge Horror ]]

* A major part of Peggy's season 2 storyline was her coming to terms with her surprise pregnancy and the birth of her child at the end of season 1. At first it seems like just incredibly powerful denial on her part. Fast forward to Season 3's ''The Fog'' which shows what it was like for a woman to give birth in the mid-sixties, specifically [[http://en.wikipedia.org/wiki/Twilight_sleep twilight sleep]]. It was horrifying for Betty to be drugged into an amnesiac state while giving birth, but at least she had been there before. Now imagine Peggy, who had no idea what to expect and DIDN'T REALIZE SHE WAS PREGNANT, to suddenly be put in that state....
** What about Trudy and Joan?? And oh many RealLife women? [[AndIMustScream Nooooo......]]
** When Peggy arrives, it's suggested she is in active labor and it's possible she DIDN'T have Twilight sleep because it would have been too late. Not all women gave birth this way either.
* The entirety of [[spoiler:Lane's suicide]]. Rewatch the scene where Roger, Don, and Pete [[spoiler:break into his office to cut him down]], and you'll notice lots of new details you probably didn't notice on a first viewing:
** First thing: [[spoiler:Lane staged the office so that his body would block the door. Joan would be the most likely person to try to key into his office to leave the books on his desk. Considering they were such close friends ans he had obvious feelings for her, it's likely he intentionally set his death up to spare her from having to see his body, as a sort of morbid final favor to her. Technically he could have tied the rope anywhere in the room; the structural cross-beams in a building run throughout a room with acoustic tiles like that.]]
** It also happened to be the hardest thing for Don to have to deal with, physically and emotionally.
** In an interview, series costume designer Janie Bryant said that [[spoiler:the rope Lane eventually used was the sash from his bathrobe, the gray one he wore at home in "Signal 30". He obviously bought the supplies to rig the Jaguar, but had to improvise his noose. It's more visible just as Pete has the scissors, but it's clearly a shiny silken cord, and not a nylon rope from the hardware store. It means that Lane, who even failed at having a nice, quiet death the way he wanted, had to come up with a plan B in the few hours before the Monday morning workday started. And hangings can often take a long time, with the victim suffering anywhere from 4 to 15 minutes before death finally sets in.]] Shudder.
** [[spoiler:The body doesn't look so good (obviously) in the closeup shots when Roger and Don go to catch him—it's mostly the weird way his hair is done; it looks very uncharacteristically and unattractively plastered to his scalp in the closeup. It makes sense that he would have sweat it out while choking to death, but Lane was so set on killing himself that weekend that he saw no reason to bathe or wash his hair for three days, and that's why it was so greasy and flat.]]
** [[spoiler:Lane's glasses were on the desk blotter across the room from the noose. Imagine how excruciatingly that had to have played out. He would have had to set them down, walk through a dark room (all the lamps were off when they broke in), climb onto the fairly tall table, tie the noose around his neck, and do this final deed, all while he was basically blind.]]
* In the finale, [[spoiler: Roger marries Marie and moves to Montreal with her. This happens in November 1970, which would have been right in the middle of the [[http://en.wikipedia.org/wiki/October_Crisis October Crisis]], when martial law was enacted after the Quebec Minister of Labour was kidnapped by [=FLQ=] terrorists.]]


[[folder: Fridge Logic ]]

* In "Out of Town", how can Don remember the events surrounding his birth when he either wasn't there or was a newborn baby?
** I assume he was imagining it.
* Much is made of the fact that Don does not have a "contract". However, early in the series (at least two years before he meets Conrad Hilton, who forces the issue) Don is made a partner with 12.5% of the firm. The paperwork surrounding this share offering/grant is a de facto contract, regardless of anything else associated with Don's work.
** When Cooper offers Don the partnership, Don explicitly says "no contract" and Cooper assures him that he won't ask him to sign one. The share offering is more a financial transaction than anything else...Don's job at the agency remained essentially the same.
* At the end of Season 3 the senior staff of Sterling Cooper take all of the documentation and physical artifacts from their accounts out of the office, effectively ''stealing their own company''. You really have to wonder if such a thing would be legal, or even possible.
** This may not be 100% accurate, but, seeing as Sterling-Cooper is a partnership and not a publicly traded company, the partners have every right to take any equipment and office supplies for themselves. They do own them, after all. This would be different in a publicly traded corporation, where all things belong to the company, not the investors.