The Mad Men series finale: it's the real thing!

I don't know if I was the only one who was a bit queased-out by the final episode of Mad Men last night. My lack of excitement before I even saw it was telling, and all the way through it I was poised for "it-was-all-a-dream" syndrome, something hopelessly hokey to just kill the whole thing.

In a way, it happened. (This is full of spoilers, so if it's on your DVR and you haven't seen it yet, well, just keep on reading!) I noted an uncharacteristic compulsion to neatly-if-artificially tie up loose ends, and, especially, pair off those nice deserving kids with the right partners (while paring down other, less-workable connections). The show got heavily into the EST-y, Esalin-ish movements of the early '70s, with Don, the least likely candidate, being most deeply-involved. 

Though they didn't show Betty lying with waxen beauty in her coffin with a lily in her hand (and her husband, ol' Whatsisname, anxiously shaking hands up and down the aisle of the church wondering if his wife's corpse was pretty enough to win him the Governorship - sorry, I can't forgive him for that VERY BAD crying scene last week), they did show her smoking as she gently expired from lung cancer. How ironic: it's Betty who self-destructs, not Don.

I won't get into the rest of it because reciting the details lays bare just how soap-operatic the show had become.  How they ended Don - suicidal one minute, compassionate the next, followed by blissfully "ohmmm"-ing on a hilltop - made me literally groan out loud. The topper for all this was a repeat of the "iconic" Coke commercial of 1971, in which an angelic choir of wholesome and well-fed hippies proclaims Coke as "The Real Thing". Irony alert! Irony alert!

The show was all about artifice, wasn't it? Illusion, delusion, hawking products that were just products, things, not some fulfillment of the American Dream. (Remember the carousel? And how about "it's toasted", which essentially means nothing). I don't know if this was intended or not, but three minutes before the ending of the ending, I was saying out loud, "Okay, then. . . " As the old jazz musician once said after playing for 12 hours, "How we gonna end this thing?"

They ended it all right, because they had to. Old Wienerhead finally had his day. (Spelling variation intentional.) I don't know if it was because only one person acted as emperor and Ayatollah, but sometimes the seams showed. The seams represented how much air time a character was allowed in each episode/season. This was contractual, and seemingly non-negotiable. How do I know this? When AMC insisted on adding an extra commercial, a character had to be dropped. This horrified me, but it didn't seem to bother anyone else. And then there were the "hysteric returns": oh Jesus, there's Duck Phillips again! How'd he get in here? He rose from the dead more predictably and annoyingly than Jesus. How did this happen? Why, folks, it was in his contract! Duck Phillips must have had a particularly good agent and worked all this out from the beginning of the series. Sal Romano did not, and was out on his ass just as his character was starting to get interesting. 

It's over, it's over, it's over, as Roy Orbison once wailed, and I'm a bit relieved, and also kind of let down. Sort of like getting married, I think. I've never been divorced, so I can't comment on that. At its best, this show kicked ass. I was in love with Don and made little gifs of him (a sure sign of fascination. No Blingees, though. Can I make one now?). I could hardly believe how consistently good it was. When did it all begin to slip sideways? Everyone wants to blame Megan, poor thing, but wasn't it really all her fault? It had something to do with the way she embarrassed Don in front of all his friends with the Zoo-bee-doo-bee-doo thing.

That would kill any show's mojo, don't you think?

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Grog Grows Own Tail

Can't say just what started this, but maybe it was my daughter-in-law saying, "By the way, I sent away for the Sea Monkeys."

"The. . . the. . . (gulp)". . . (I was already being dragged into the past, and all those summers at the cottage with the Jimmy Olsen Annual).

"Oh yeah, but there's only one problem with them. They only come with a year's supply of food. So what are you supposed to feed them after that? Rubber boots?"

So you could still get them. It was hard to believe, in this age of cynicism and truth in advertising, but there it was. And kids still wanted them. My own grandkids wanted them. It was all a little hard to absorb.

The sea monkeys, along with so many things we yearned for in those old comic book ads, were the stuff of legend. We never actually sent away for them or for anything else, though I considered the 100 Dolls for $1 (not having any idea what they meant by "Lilliputian cuteness": would 9-year-old girls be likely to read Jonathan Swift?). It all had to do with American-ness, the American dollar looking nothing like the Canadian dollar. We just knew it was Different. You had to send actual dollars, because no one had heard of a money order in those days, plus all these things only cost about a buck.

Anyway, back to the sea monkeys: it was a very long time before I actually saw any, and I don't recall whose house I was in. There was a small plastic tank full of cloudy, smelly, slimy water, with little multi-legged things squirming around in it. Doing tricks, I suppose. No sign of a castle or royal sceptres.

The rest of the story wasn't filled in until about 10 years ago, when my husband and I made a trip to Utah and saw millions of brine shrimp, the only creatures who can withstand the thick saline waters of the Great Salt Lake.

Oh, OK then (choke), but there was still the Onion Gum ("Tastes like. . . like. . . ONIONS! It's too funny!" This was one of our favorites. I devoted a whole post to this tiny ad, riffing on it with all sorts of different photographic/photoshop effects.) And there were the hundreds of strong man ads with pictures of nearly-nude, wildly overdeveloped men flexing every muscle at once. These seemed to interest my brother Arthur, though I have come to wonder about it since.

Comic book ads were all tied in with summers at Bondi, a resort in Muskoka that qualifies as a little bit of heaven on earth. (The fact that Bondi is still there, preserved by my friend Nancy and her brother Brian, is even more of a marvel, and somehow gives me hope). For two weeks we were absolutely free. And of course we didn't fully appreciate it: we rampaged through that time like wild horses, and before we knew it we came to that miserable moment when we began to count the days we had left.

I wonder to this day how many live chihuahuas were delivered to kids willing to sell photo-finishing door to door, or unload tubes of salve. Or that poor monkey: how would it survive, and wouldn't it be so full of fear that it would bite everyone? Attitudes towards animals were different then (and the word chihuahua wasn't even used: but for God's sake, if we were supposed to understand lilliputian, what was so hard about chihuahua??). They were freight to be shipped. I wonder how many kids just didn't tell their parents.

I used to wonder about Grog, until I saw a Hawaiian ti plant at some sort of horticultural display. You just stuck it in the ground, and, voila! a shade tree in minutes. Whether Grog kept producing another tail, and another and another and another, was anyone's guess. But what can you expect for a buck?

Seeing these again gives me that queer feeling of deeply-buried deja vu. Many of the ads have been so enhanced that they look a thousand times more vibrant than the original grainy, 2" square things, usually plastered together on a great exuberant wall of ads. (These make great wallpaper, by the way.) And I even solved a few mysteries. For example, I found out exactly what you got if you sent away for the 100 dolls.

These looked like very chintzy Monopoly tokens, all of them made of pink plastic. There were maybe 30 different designs, but the thing is, they were 2" high and about a billionth of an inch thick, standing up on bases like those farm animals I used to have. I saw a collection of them on eBay, where they are now worth a lot of money as collectibles (though only if the 100-piece set is intact: people do count them).

I don't know, I get the strangest feeling seeing these. Paradise Lost, then found again. Not having, of course, and not just looking, but coveting. We wanted these things, we ached for them as only a child can ache, a child with no money and no power and no parental approval. I know a buck meant a lot more then, but why go to so much effort for such a lousy return? And wouldn't most people want their money back?

I don't look at comics now, they're all different, though I guess you can snoop around and find vintage ones if you're willing to pay top dollar (and I'm not). We don't put 15 cents into an envelope to get Onion Gum, not when there's PayPal and the like. I don't save Kellogg's box tops and send away for little plastic submarines that you fill with baking soda. It's a whole different game.