The Strategy (S7x06)
Airdate: 18 May 2014
Written by: Semi Chellas
Directed by: Phil Abraham
Running Time: 48 minutes
The decision by AMC to split the final season of Mad Men into two distinct halves, separated by a lengthy hiatus spanning nearly a year, fundamentally altered the structural expectations of the series finale. This strategy, motivated by a desire to compete simultaneously in two different awards cycles and to replicate the successful model employed by Breaking Bad, resulted in the first half of Season 7 functioning effectively as a de facto separate season. Consequently, the sixth episode of this mini-season, titled "The Strategy," arrived with significant weight. As the penultimate instalment of this truncated run, the audience naturally anticipated "wham" moments—the sudden, jarring plot developments that are the hallmark of prestige television at the time. However, the writer Semi Chellas generally eschewed the melodrama of such expectations in favour of a more subdued approach focused on subtle character exposition. While this restraint might have disappointed those seeking spectacle, the general result is nevertheless a very good episode that grounds the show’s sprawling narrative with quiet intensity.
The plot of The Strategy is set firmly in June 1969, a period of cultural transition that the series tackles with its characteristic precision. The "strategy" in the title refers to the main storyline dealing with Peggy Olson, who is tasked with creating an advertising campaign for Burger Chief. She approaches the task with great professionalism, travelling to the Midwest to interview actual restaurant customers to understand what attracts them to that particular chain. This dedication to research is the core of her "strategy." Based on these findings, she prepares a campaign that impresses Lou, Don, and Pete, who flew from Los Angeles to witness the presentation. However, Pete, ever the political operator, suggests that Don should close the deal during the pitch. While Pete likely intended this as professional advice, his interference inadvertently sows the seeds of a minor rift between Peggy and Don. Peggy feels insecure about her work and asks Don what he really thinks. Don is nominally supportive, but his advice to "explore other avenues" is frustratingly vague. This makes Peggy doubt her instincts, leading her to work late into the evening to find an alternative. It is a scene of profound vulnerability for her, as she admits that this insecurity is partly due to the fact that she is recently turning 30. Don’s reassurance that he believes in her allows her to return the next day with a refined alternative pitch. The emotional climax of this storyline is tender and functional: Don and Peggy, their friendship solidified again, bond with each other by dancing to the tune of Sinatra’s "My Way." The episode ends with Peggy explaining her pitch—which is based on the concept that Burger Chef serves as a better place for family bonding than the home table—to Don and Pete while they are enjoying a pleasant meal at tables in actual Burger Chief restaurant, a visual metaphor for their own shared professional and personal space.
While Peggy’s storyline drives the episode forward with emotional resonance, two other side storylines deal with the personal lives of Pete and Don, respectively, and their respective women coming from Los Angeles to New York. Pete is bringing Bonnie to vacation in the city and expects her to spend some time shopping. He, however, has other plans, that involve visiting his daughter Tammy in his old home in Cos Cob, Connecticut. He is, however, much disappointed that Tammy does not recognise him, and he is even insulted by the fact that Trudy deliberately found an excuse not to be at home only to evade seeing him. His reaction is petulant; he decides to stay and wait for her, only to then depart acrimoniously when she finally appears. Bonnie is visibly displeased to have to wait for him in their hotel room, and she is later seen flying back to LA alone. This storyline serves as a stark contrast to Peggy’s journey, highlighting Pete’s inability to navigate adult relationships with grace.
Similarly, Megan Draper makes a surprise visit to Don, who is actually very happy to see her. Their reunion is happy one, but Don cannot fail to notice that Megan has begun to pack clothes and some stuff with her to take back to LA. These small, practical details suggest that their separation might be permanent, adding a layer of melancholy to what should have been a joyous reunion.
Perhaps the storyline with the most important consequences for the firm’s future starts with GM executive Bill Hartley (Matthew Glave) arriving from Detroit, accompanied by Bill Benson, to visit S&CP offices. Later, Bob is awoken by Hartley who calls him from police station, needing bail after being beaten and arrested by an undercover NYPD officer whom he tried to solicit for sex. Bob posts bail for him, and Hartley, as a sign of gratitude, confides that GM is going to promote "Project XP" with their own advertising, ditching S&CP. He also tells that Bob doesn't have to worry because Buick has a reserved executive spot for S&CP’s "golden boy." Bob, after that, goes on a Sunday date with Joan, tells everything about GM and Buick, and asks Joan to marry him, because he needs an image of a family man for the new position. He makes his pitch by playing to Joan being close to 40 and her son needing a father, but Joan is worldly enough to know that Bob isn't actually interested in her and wants a convenient "beard." She rejects him, and the next day brings the news to the partners meeting at S&CP. The apparent loss of the Chevrolet account prompts Jim Cutler to suggest a firm reorganisation based on a focus on new computers and having Harry Crane promoted to partner. The motion is passed despite opposition from Joan and Roger, signalling a significant shift in power dynamics within the firm.
The episode is notable for being the first in which the issue of homosexuality and its treatment in 1960s America plays a major part of the plot since the departure of Salvatore "Sal" Romano in Season 3. The episode takes place roughly at the same time as the Stonewall riots, but the events are never referenced, at least not directly. Instead, the storyline addresses some of the complexities of the subject through the words of Hartley, who, as a closeted gay man, inoculated himself from suspicions through understanding the mechanics of a "beard" wife and, also, having Detroit as a company town under the umbrage of GM, which provided him with the protection of local police. He contrasts this with New York City, which is much bigger and therefore more "tempting" for men like him, but also much more dangerous. This provides a realistic glimpse into the precarious existence of gay men in the city during that era.
Despite these strong thematic elements, the episode will be best remembered for another scene building complex, but honest, and arguably the most functional relationship between two characters—Don and Peggy—which two of them, together with Pete, form a symbolic "family." The scene is well directed by Phil Abraham, who matches the subdued tone of the script with visual clarity and emotional precision. It captures a moment of genuine connection that transcends employer-employee dynamics.
That said, the storyline with Pete and his petulant, childish treatment of his soon-to-be-ex wife and girlfriend looks much weaker, just as the corporate intrigue involving Harry Crane is given almost casual treatment. The conflict with Joan and Bob feels rushed compared to the weight it carries, and the reorganisation of the firm feels like a consequence rather than a fully developed plot point.
At the end of the day, The Strategy is nevertheless very good and provides more than adequate building block for the closing of what would ultimately become Mad Men’s penultimate chapter. It avoids the temptation of the "wham" moment, preferring instead to let the relationships breathe and the subtext simmer. It tells a lot about show's quality that these quieter moments often resonate more deeply than any explosion or sudden revelation.
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