“Meditations in an Emergency”
October 26th, 2008
“We don’t know what’s really going on; you know that.”
While there have been a lot of meta-critical statements made by characters in the universe of Matthew Weiner’s Mad Men, there is perhaps none more simple than this observation Don makes about the nature of the Cuban Missile Crisis. The entire series hinges on secrets, on facts hidden to everyone but a select few who are concealing something that is potential volatile. For the most part, these secrets are more dangerous to those who hold them than those who are in the dark: for others, not having secrets when you know that others do can leave you desperate for something, anything to identify with them.
The genius of “Meditations in an Emergency” is the emergency itself, the Cuban Missile Crisis which suddenly made the Cold War very real. Kinsey notes how everyone is looking at people in a different way, suddenly terrified that they’re a spy and that they’re helping to organize some sort of attack. For our characters, however, this culture of fear and concern is less a motivator to run for the hills in search of safety and more an opportunity to face what is truly inside of them. If there is a single unifying factor in our main characters, it is that none of them show any signs of running away in the face of this struggle: instead, they all run closer than ever before to that which has paralyzed them, that which has confused them, or that which has been causing them to question themselves.
What we get in this fantastic season finale, then, is a series of actions: letters written, confessions given, power plays made, acts committed, and feelings confronted. The end result is, without question, the ultimate test of these characters: it is a question not of whether we value their actions, but rather their choice in making them which defines who they are, and why they matter to us as a viewer, to Weiner as a writer, and to this series as a timepiece of a period of social and personal change.