Warning: Spoilers Ahead

On Sunday night’s episode of “Mad Men,” we learn that although the series has made it to the 1970s, women’s rights in the workplace is still far off.

Last week, Sterling Cooper & Partners got the shocking news that they where being absorbed by their subsidiary, McCann Erickson.

Erickson’s head executive, Jim Hobart, pitched SC&P partners — Don Draper, Roger Sterling, Ted Chaough, Peter Campbell, and Joan Holloway — that they were “rolling out the red carpet” for them with major accounts, companies SC&P had been struggling to nab for years.

But when Hobart went around the table telling the partners which big accounts they would head, he left out Joan, and she noticed. After the group celebrated the news, Joan told Peter she didn’t know if a woman could get the same accounts as the men at McCann Erickson.

This premonition, unfortunately, turned out to be accurate Sunday night for Joan in a heartbreaking episode.

We find out very quickly that McCann Erickson is a boys club when Joan is on the phone with her Avon contact, along with her junior account man, Dennis. Suddenly, Dennis takes over the call and basically ruins it with his lack of knowledge of the client (like asking if he golfs, unaware the client is in a wheelchair).

This leads Joan to reach out for support from Hobart’s second in command, Ferg Donnelly. She asks for Dennis to be put off her team. Ferg says he’ll handle it.

Ferg gets back to Joan with a solution, but first tells her the logic behind why Dennis acted the way he did.

He tells Joan that Dennis acted in a more authoritative role because he has a wife and three children and “he’s not going to work for a girl… What is he going to say, ‘she’s my boss?’”

This obviously isn’t Joan’s first time hearing a chauvinistic remark. We’ve seen her endure it countless times on the show, and again she lets this one roll off her.

But things get even more uncomfortable for Joan when Ferg tells her his solution is that he would now work on the account for her, adding, “I know a good job when I see one.”

Ferg then pushes Joan to set up a trip to Atlanta to speak with the Avon client in person and apologize for Dennis' remarks. Joan deflects Ferg’s sly advance of proposing a trip together by saying that the client will be in town soon. Ferg replies by telling her he’s “not expecting anything more than a good time” by working with her.

Joan is completely deflated from the encounter. But to drive home the point that McCann Erickson has little need of Joan, Ferg leaves her office with this zing: “We can’t lose those accounts, what else would you do around here?”

With nowhere to turn (and now getting candy and love letters from Ferg), Joan goes right to the top and has a meeting with Hobart. She voices her displeasure with Ferg and suggests that she takes on the accounts on her own, suggesting she receive the same “certain amount of status” she had at SC&P.

But Hobart responds to Joan’s suggestion by saying, “Your status has changed.”

“I don’t care about your SC&P partnership,” he told her. “I don’t know if somebody left it to you in their will, but your little stake doesn’t mean anything here.”

This leads to a battle of words with Joan standing up for her rights and letting Hobart know that she’s happy to take her half million dollars McCann Erickson owes her and just leave the company. Hobart tells her to figure out a way to get along with Ferg, or expect a letter from their lawyer.

“I wonder how many women around here would like to speak to a lawyer?” Joan fires back. “I believe the equal employment opportunity commission has one.”

Joan continues that the second she made a complaint the ACLU would be in her office and in the lobby there would be “Betty Friedan and half the women who marched down 5th avenue.”

Hobart counters by saying he’ll give her 50-cents on the dollar to never see her again, essentially offering her half of what she’s owed to walk away.

Joan says she’s not negotiating, and Hobart tells her to leave the office.

Though any "Man Men" fan wouldn’t be shocked by this unethical exchange, recent seasons did show the evolution (albeit, minor) of women's rights in the workplace. Joan being a partner at SC&P and Peggy Olson named head copy chief, proved that. But by being gobbled up by the larger Erickson, it’s evident equality hasn’t spread throughout Madison Avenue.

Along with Joan’s troubles on Sunday’s episode, Peggy was still at the empty SC&P offices because Erickson thought she was coming to the company as a secretary, not one of the heads of the copy division. She demanded an office before setting foot there.

As Joan points out to Hobart with her mention of feminist activist Betty Friedan, the cry for equal equality for women was becoming louder at the time.

Friedan lead the Women’s Strike for Equality in August of 1970. Falling on the 50th anniversary of the passing of the Nineteenth Amendment, which gave American women the right to vote, more than 20,000 women gathering for protests in New York City and throughout the country to protest the lack of equal equality in the workforce, political rights for women, and social equality.

Though that historic moment had recently happened, it didn’t help Joan.

The day following her heated meeting with Hobart, Roger Sterling told Joan to take Hubart’s deal of 50-cents on the dollar.

“Take the money and be done with them,” said Sterling.

Joan was finally beaten. She took the framed picture of her son and rolodex from her desk and told Sterling, “Tell him it's a deal.”

She then walked out of the office.

With only two episodes left of the show, we hope Joan will find redemption before the final curtain falls.

UPDATE: On Monday, the ACLU tweeted their support of Joan.

SEE ALSO: 10 early roles of 'Mad Men' actors before they were stars

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NOW WATCH: How the stars of AMC's blockbuster 'Mad Men' have changed over the years

Warning: BIG spoiler ahead

With only two episode left of AMC’s “Mad Men,” many were expecting something substantial to happen on Sunday night’s episode to get us ready for the show’s finale next week, and fans weren’t disappointed.

One of the storylines on the show last night was that Betty Draper has been diagnosed with lung cancer. We hear the news while the doctor talks to Betty’s husband, Henry Francis (Christopher Stanley), that it is terminal and that she has less than a year to live, unless she begins treatment which may extend her life for another year.

Back to school taking psychology classes, Betty was walking up the stairs in one of the buildings on campus, looking a little tired, when she lost her footing and embarrassingly slipped and fell on the stairs. At the doctor’s office, she learned she has a broken rib, but they also found a tumor spreading rapidly.

Not letting the moment get to her, Betty puts on a brave face as she divulges to Henry that she will not be undergoing the treatment needed to extend her life that the doctor recommends.

Henry goes to Sally (Kiernan Shipka) at her school to tell her the news — though Betty asked him not to tell the kids — and bring her home in hopes she will convince Betty to reconsider her decision.

But Betty doesn’t concede. Telling Sally that she saw her mother die in a similar way and won’t allow Sally and the other kids see her go through that. Also stating that, “she is not a quitter.”

She gives Sally an envelope that holds all the necessary arrangements following her death.

While Sally reads it we hear its contents told in a voiceover of Betty. The letter entails where she wants to be laid to rest, for Sally to remind the funeral home how she likes to wear her hair, the dress she wants to be buried in. 

The news about Betty sent shockwaves through the Internet.

Fans of actress January Jones were especially moved Sunday night, and they began sending their condolences to her Instagram account in which Jones posted a picture of Betty in last night’s episode. 

Needless to say, some folks who didn’t watch yet were not happy receiving the spoiler. 

SEE ALSO: A shocking development happened to one of the main characters on 'Mad Men' last night

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NOW WATCH: How the stars of AMC's blockbuster 'Mad Men' have changed over the years

"Mad Men" finally comes to an end this weekend, with the seventh and final season's finale airing on Sunday May 17 at 10pm on AMC.

To celebrate/commemorate AMC has put out one final ad building up to the finale, which looks back at all the memorable moments from the show. We first spotted it on Vulture, and we've collected some GIF highlights below.

The trailer is set to Paul Anka's "Times of Your Life," which The Wall Street Journal points out is "fitting,"considering it was also made famous by the 1970s Kodak ad campaign (and who can forget Don Draper's memorable Kodak "Carousel" pitch in the very first season of the show?)

And it also turns the spot into a bit of a tear-jerker, as it chronicles Sterling Cooper and the Draper family's best — and most emotional — bits.

Like Don lovingly filming his family.

Betty looking stunning.

All our favorite members of the Sterling Cooper clan.

THIS dance.

This smooch.

And this wistful goodbye.

SEE ALSO: A bunch of ad execs told us the truth about the drinking, sex, and whether the business is still like ‘Mad Men’

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NOW WATCH: How the stars of AMC's blockbuster 'Mad Men' have changed over the years

Warning: Spoilers ahead (if you’re not caught up on season 7)

After seven seasons on the air, this Sunday marks the final episode of AMC's hit show "Mad Men."

If you haven't been keeping up with the current season, here's the key points you need to know before watching the finale.

1. Sterling Cooper & Partners is no more.

The advertising agency that housed the talented and very sought-after creative director Don Draper was finally absorbed by its parent company, McCann Erickson, a few episodes ago. When the partners revealed the news to the SC&P staff, Draper announced “this is just the beginning.”

But everyone could see that things would never be the same, and soon Don would too. 

2. Joan has left McCann Erickson after being sexually harassed. 

Out of all the SC&P partners, Joan Holloway had the hardest transition moving to McCann Erickson. In fact, she quickly learned that her status at SC&P didn’t mean squat. First, she was talked down to by a male junior member on her team. Then she was hit on by one of the executives at the company.

But Joan finally realized where she stood in the company when her chat with McCann Erickson’s head honcho, Jim Hobart, ended with her threatening to get the ACLU involved for sexism in the work place. When it was all said and done, she never reported the company and agreed to leave with only half the money it owed her.  

3. Peggy has turned over a new leaf.

As Joan was fighting the boys club at McCann Erickson, Peggy Olson was just trying to get in the door. At first the company thought she was a secretary. But Peggy stood her ground and stayed in the SC&P offices until she finally was told that McCann Erickson had an office for her. But in those final hours at SC&P she had a heart-to-heart with Roger Sterling. And through that she realized that going to McCann Erickson can be a new chapter in her career. A place where no one knows her past and she can create an edgy, no-nonsense persona. 

4. Peter and Trudy are staring over.

On last week’s episode, Pete Campbell stumbles into a job opportunity at Learjet. This makes him think about the future, which would mean leaving New York. When he gets a serious offer, he decides to profess to his ex-wife Trudy that he still has feelings for her and wants her and their daughter to come with him to Wichita if he accepts the job. Following an emotional pre-dawn heart-to-heart, the two decide to give it another shot. 

5. Betty has cancer.

One of the most shocking developments from these final episodes is the reveal that Betty has lung cancer. She learned about it after injuring herself falling on stairs at the school where she’s taking psychology classes. The diagnosis is not good. The cancer is terminal and the doctor believes she has a year left to live, at the most. But Betty is staying strong about the news. She refuses to undergo treatment, and plans to continue taking classes and living her final months to the fullest. 

6. Don is on the road.

What will more than likely be the main focus of the final episode is the journey Don is currently on. He quickly realized McCann Erickson wasn’t for him after sitting in on a pitch meeting for Miller Beer with a table full of the McCann Erickson creative team. Seeing he was just a fish in a large pond, he walked out of the meeting and has been driving across the country ever since. He first tried to track down the waitress he’d been sleeping with for the last half of the season. When he couldn’t track her down, he began driving west. He’s even told people that he “used to be in advertising.” Last we saw him, he gave up his car to a kid he recently met and sat alone at the side of the road.

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NOW WATCH: How the stars of AMC's blockbuster 'Mad Men' have changed over the years

Warning: Spoilers ahead (if you’re not caught up on season 7)

After seven seasons on the air, this Sunday marks the final episode of AMC's hit show "Mad Men."

If you haven't been keeping up with the current season, here's the key points you need to know before watching the finale.

1. Sterling Cooper & Partners is no more.

The advertising agency that housed the talented and very sought-after creative director Don Draper was finally absorbed by its parent company, McCann Erickson, a few episodes ago. When the partners revealed the news to the SC&P staff, Draper announced “this is just the beginning.”

But everyone could see that things would never be the same, and soon Don would too. 

2. Joan has left McCann Erickson after being sexually harassed. 

Out of all the SC&P partners, Joan Holloway had the hardest transition moving to McCann Erickson. In fact, she quickly learned that her status at SC&P didn’t mean squat. First, she was talked down to by a male junior member on her team. Then she was hit on by one of the executives at the company.

But Joan finally realized where she stood in the company when her chat with McCann Erickson’s head honcho, Jim Hobart, ended with her threatening to get the ACLU involved for sexism in the work place. When it was all said and done, she never reported the company and agreed to leave with only half the money it owed her.  

3. Peggy has turned over a new leaf.

As Joan was fighting the boys club at McCann Erickson, Peggy Olson was just trying to get in the door. At first the company thought she was a secretary. But Peggy stood her ground and stayed in the SC&P offices until she finally was told that McCann Erickson had an office for her. But in those final hours at SC&P she had a heart-to-heart with Roger Sterling. And through that she realized that going to McCann Erickson can be a new chapter in her career. A place where no one knows her past and she can create an edgy, no-nonsense persona. 

4. Peter and Trudy are staring over.

On last week’s episode, Pete Campbell stumbles into a job opportunity at Learjet. This makes him think about the future, which would mean leaving New York. When he gets a serious offer, he decides to profess to his ex-wife Trudy that he still has feelings for her and wants her and their daughter to come with him to Wichita if he accepts the job. Following an emotional pre-dawn heart-to-heart, the two decide to give it another shot. 

5. Betty has cancer.

One of the most shocking developments from these final episodes is the reveal that Betty has lung cancer. She learned about it after injuring herself falling on stairs at the school where she’s taking psychology classes. The diagnosis is not good. The cancer is terminal and the doctor believes she has a year left to live, at the most. But Betty is staying strong about the news. She refuses to undergo treatment, and plans to continue taking classes and living her final months to the fullest. 

6. Don is on the road.

What will more than likely be the main focus of the final episode is the journey Don is currently on. He quickly realized McCann Erickson wasn’t for him after sitting in on a pitch meeting for Miller Beer with a table full of the McCann Erickson creative team. Seeing he was just a fish in a large pond, he walked out of the meeting and has been driving across the country ever since. He first tried to track down the waitress he’d been sleeping with for the last half of the season. When he couldn’t track her down, he began driving west. He’s even told people that he “used to be in advertising.” Last we saw him, he gave up his car to a kid he recently met and sat alone at the side of the road.

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NOW WATCH: How the stars of AMC's blockbuster 'Mad Men' have changed over the years

The "Mad Men" series finale is currently airing on AMC.

If you're trying to watch any of AMC's sister networks right now,they'll advise you to do the same.

In honor of "Mad Men" coming to an end, the network's four sister channels BBC America, IFC, Sundance, and WE are supposed to be blacked out.

Here's how the networks look:

Curiously, WE is airing other programming though it says the network is airing the same content as the former three.

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NOW WATCH: How the stars of AMC's blockbuster 'Mad Men' have changed over the years

Warning: If you haven't watched the "Mad Men" series finale, there are spoilers ahead.

"I'd like to build the world a home And furnish it with love Grow apple trees and honey bees And snow white turtle doves. I'd like to teach the world to sing in perfect harmony. I'd like to buy the world a Coke and keep it company."

The series finale of "Mad Men" closed with the famous 1971 Coca Cola ad "I'd like to Buy the World a Coke."

McCann Erickson advertising executive Bill Backer came up with the concept for the ad, which eventually cost over $250,000 to make.

Check it out below:

The idea for the ad, originally known as the Hilltop ad, came after a plane flying Backer was forced to land in Ireland. You can read more on the making of the ad on Coca-Cola's site, here.

SEE ALSO: AMC's sister networks have gone black in honor of the "Mad Men" finale

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Warning: There are spoilers ahead.

The series finale of "Mad Men" ended on the popular 1971 Coca-Cola ad, "I'd like to Buy the World a Coke."

While the ending may have left some wondering why that was the ad "Mad Men" ended on, diehard fans of the series will know the famous commercial was alluded to way back in season one.

In episode 9, "Shoot," Don Draper (Jon Hamm) takes then-wife Betty (January Jones) to the theater to see a show. During intermission, Betty speaks with Jim Hobart, the head of McCann Erickson. 

While making small talk, Hobart mentions he's working on an international campaign for Coca-Cola and invites Betty to try out as a potential model given her resemblance to Grace Kelly.

Interested by the idea of returning to modeling, Betty takes Hobart up on his offer, trying out for the ad campaign. 

However, Hobart's main interest in Betty is to try and steal Don away from Sterling-Cooper. Hobart sends over the images of Betty to Don, but the ad man isn't having any of it. 

As a result, Betty doesn't end up on the Coca-Cola account. 

Hobart shows up again in season 7, episode 2, "A Day's Work," trying to court Draper another time (not particularly for a Coca-Cola campaign).

The "Mad Men" finale brings the Coke storyline full circle. 

At the end of the episode, the 1971 ad that plays was made by McCann Erickson, the agency Hobart worked for in season one.

Funny enough, the ad even ended up with two prominent blonde haired young women, similar in appearance to a young Betty Draper.

You can watch the ad below:

SEE ALSO: Here's the 1971 Coca-Cola ad that played during the "Mad Men" finale

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We now live in a world without "Mad Men." We've said goodbye to Don, Roger, Joan, Peggy, Pete and the rest of the Sterling Cooper Draper Pryce (and other, lesser partners) gang. Let's indulge our nostalgia by revisiting how our favorite characters looked when the show first premiered in 2007.

Produced by Devan Joseph 

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Warning: Spoilers ahead

Seven years of AMC’s “Mad Men” came to a close on Sunday night and (thankfully) a lot happened.

Here are the highlights.

1. Don racing cars at the famous Bonneville Salt Flats.

We left Don at the end of last week’s episode sitting alone on the side of the road after giving his car away to a kid he had just met. To open the series finale we find him racing down the Bonneville Salt Flats testing out a car that may vie for the land speed record. After driving the car, he talks to the car’s owners about what needs to be tweaked on it before they run the car again. One owner responds: “You know a lot about cars for someone who doesn’t own one.”

2. Joan decides to go into business on her own.

If you’re a fan of “Mad Men,” it’s no surprise that Joan would one day decide to go into business on her own. Meeting with Ken Cosgrove, Joan learns that Dow Chemical is in need of a producer for a short film the company is making. With Joan’s connections, she decides to take on the role. She tried to get Peggy to leave McCann Erickson and partner with her, but we soon learn Peggy will have other things on her mind.

3. Don learns that Betty has cancer.

It seems the only person Don has been keeping in contact with during his road trip across America is his daughter, Sally. During a conversation in the finale with the two over the phone, Sally finally reveals to Don that Betty has cancer. Prepared to come back home, Don calls Betty to tell her, but Betty doesn’t want him around fighting with her about custody of their children during her final days. “I want to keep things as normal as possible,” she tells him. “And you not being here is part of that.”

4. Roger finds love… again.

The affair between Roger Sterling and Marie, the mother of Don’s ex-wife Megan, has turned out to be serious. Though they seem to be arguing as much as they make love, Roger tells Joan that he’s going to marry Marie. Roger also tells Joan that he is reworking his will so that their secret son will receive part of the Sterling fortune when Roger passes away one day.

5. Don makes it to California.

Whenever Don has had to escape in the past, he usually goes to California and the finale was no different. He shows up at the doorstep of Stephanie, the niece of Anna Draper (the wife of the real Don Draper), who he’s helped in the past. Now off the road, Don doesn’t know what to do next, but Stephanie asks him to join her at a hippie commune she’s going to up-state.

6. Peggy and Don have a final talk.

Things don’t work out well for Don at the commune. He and Stephanie have an argument and she leaves the commune in the middle of the night. Now alone with no way of leaving the secluded estate, Don begins to break down. He calls Peggy who pleads with him to come back to New York. She even tries to entice him with an account: “Don’t you want to work on Coke?”

But Don is in a dark place, telling her he’s “not the man you think I am.” When Peggy asks him, “What did you ever do that was so bad?” He replies: “I broke my vows…took another man’s name, and made nothing of it.”

He ends by telling her, “I only called because I realized I never said goodbye to you.”

7. Stan tells Peggy that he loves her.

Peggy and Stan have been working together on and off for years and there always seemed to be a spark. But in the finale, Stan finally opens up that he loves her. When Peggy calls Stan to tell her she talked to Don, the conversation soon changes to Stan telling Peggy how he feels about her. This is an obvious shock to Peggy, but she quickly realizes she love him, too. She tells Stan, “You make everything okay, you always do. No matter what.”

Stan then races to Peggy’s office while Peggy is still talking to him on the phone. The two embrace and kiss.

8. Don realizes he’s not alone.

Don sits by the payphone he used to call Peggy in a daze when a young woman from the commune convinces him to join her in a group discussion taking place. Don sits in the group completely unaware of what’s going on. But then a man named Leonard addresses the group.

"I've never been interesting to anybody,” he tells the group. “I work in an office. People walk right by me. I know they don't see me… And I go home and I watch my wife and my kids, they don't look up when I sit down… It’s like no one's cared where I've gone.”

Hearing this, Don finally snaps out of it and looks directly at Leonard.

Leonard continues:

“I had a dream I was on the shelf in the refrigerator. Someone closes the door and the light goes off, and I know everybody's out there eating. And they open the door and you see everyone smiling and they are happy to see you but maybe they don't look right at you and maybe they don't pick you. And then the door closes again, the light goes off.”

Leonard begins to sob. Don stands and embraces Leonard.

In the final shot of the series, Don is still at the commune. Meditating as the sun raises from the Pacific Ocean in the background. He smiles and then a jump cut goes to this advertisement for Coke from 1971.

Since the finale has aired there’s been much discussion behind the meaning of the mysterious ending.  

SEE ALSO: Much of the backstory for "Mad Men" came from a movie script the creator never finished

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Warning: Spoilers ahead

We finally learned the fate of Don Draper on Sunday’s series finale of "Mad Men."

For many, it was a surprise to see Don receive such a tame farewell as he sat in meditation on the Pacific Coast.

But looking back on the pilot episode of the series, there’s a moment that not only explains how Don sees life, but explains how things would turn out for him on the show.

It’s a scene between Don and potential client Rachel Menken (Maggie Siff) towards the end of the episode. Don invites Rachel out for drinks to apologize for the way he treated her at their meeting that afternoon.

Then the conversation turns more personal when Rachel admits the main reason she’s not married is because she’s never been in love.

Draper: "She won’t get married because she’s never been in love? I think I wrote that to sell nylons."

Menken: "For a lot of people love isn’t just a slogan…"

Draper: "What you call love was invented by guys like me to sell nylons. You’re born alone and you die alone and the world just throws a bunch of rules on top of you to forget those facts. But I never forget. I live like there’s no tomorrow because there isn’t one."

Menken: "I don’t think I realized it until this moment but it must be hard being a man, too… Mr. Draper, I don’t know what it is you really believe in but I do know what it feels like to be out of place, to be disconnected, to see the whole world laid out in front of you the way other people live it. There’s something about you that tells me you know it too."

Following Rachel's remarks, Don’s confidence is completely shattered and he turns back into Dick Whitman (his real name from his childhood).

Look at Don’s reaction once Rachel is done talking.

This back and forth showed two things to the audience that they would have to remember for the rest of the show:

1.  That Don wants everyone to believe that he doesn’t care about anyone and will live his life only how he sees fit.

2. When he meets someone who has had a similar “disconnected” existence as him, he can’t help but pull closer to them.

This is evident with Rachel, who he begins to sleep with in season one of the show, and even tells her he grew up with a prostitute for a mother and a drunk for a father. Like most of the women in Don’s life, Rachel figures him out and leaves him. But Don always had a soft spot for Rachel. Her ghost even appears as a vision to Don following her death in the last season. 

Sunday’s final episode finds Don in the same predicament he was in that evening with Rachel back on the pilot.

Completely disconnected from anyone who ever loved him and sitting with a blank stare at a hippie commune, he meets Leonard.

The two are sitting in a group discussion when Leonard takes the hot seat and tells the group, “I’ve never been interesting to anybody. I work in an office. People walk right by me…I go home and I watch my wife and my kids, they don't look up when I sit down… It’s like no one's cared where I've gone.”

Leonard, like Don and Rachel, is out of place and sees the world laid out in front of him the way other people live it. He drives that home by telling the group a dream he had.

“I had a dream I was on the shelf in the refrigerator. Someone closes the door and the light goes off, and I know everybody's out there eating. And they open the door and you see everyone smiling and they are happy to see you but maybe they don't look right at you and maybe they don't pick you. And then the door closes again, the light goes off.”

Hearing this leads to Don's transformation back to Dick Whitman once again. And Don can’t help but to react once more.

In this case, with Leonard weeping, Don stands up, walks to Leonard and embraces him. Neither are alone anymore.

SEE ALSO: Here's the 1971 Coca-Cola ad that played during the 'Mad Men' finale

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Warning: Spoilers ahead

One of the most fulfilling moments from Sunday’s series finale of “Mad Men” was seeing Peggy Olson find love.

Throughout the show, Peggy was a fan favorite for the major reason that she seemed to be the most relatable of the bunch.

And as we saw her rise through the ranks in her profession, we also watched her heartache in the romance department.

But Sunday night she learned her longtime art director, Stan Rizzo, wanted to be more than just friends.

It kind of feels like Peggy and Stan were already in a relationship. They always would talk over the phone after hours and bickered like an old married couple.

And after their latest quarrel, Stan finally let his feelings be known.

Peggy called Stan to tell him she finally heard from Don. But eventually she apologizes for their latest argument, which had to do with her possibly leaving McCann Erickson to start a company with Joan.

Stan: ”You're going to do great no matter what you do…[I don’t want you to go but] every time I'm face to face with you I want to strangle you… Then I miss you when I go away, and then I call you and I get the person I want to talk to.

I think about how you came into my life and you drove me crazy and now I don't even know what to do with myself because all I want to do is be with you.

I want to be with you, I'm in love with you."

Peggy: ”What?"

Stan: ”I love you, Peggy."

Peggy: ”I don't know what to say…I mean, I don't even think about you. But I do, all the time. Because you're there. And you're here (touches her heart) and you make everything ok, you always do. No matter what. I mean, I must be, because you're always right. I can't believe this, but I think I'm in love with you, too. I really do." 

The line goes quiet and Peggy doesn’t know what happened to Stan. And then suddenly he shows up at her office doorway.

And then this happens.

(h/t Vulture) 

SEE ALSO: The 8 best moments from last night’s 'Mad Men' series finale

MORE: This moment in the pilot episode of ‘Mad Men’ predicted how Don Draper would end up

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NOW WATCH: How the stars of AMC's blockbuster 'Mad Men' changed over the years

Before production kicked off on season one of "Mad Men," costume designer Janie Bryant created collages of images from magazines for each of the main characters called "mood boards." 

These clippings were taken directly from the era, and they provide a strikingly accurate representation of what the characters would eventually become.

The mood boards can currently be seen in full at the "Mad Men" exhibit at the Museum of the Moving Image, which runs until June 14.

Here are a few of the mood boards:

Don Draper (Jon Hamm) would fit in well with most of the men who worked on Madison Avenue at the time.

Bryant did a lot of research into Joan's (Christina Hendricks) hairstyle.

The board is situated right next to Joan's green, blood-spattered dress from the infamous scene in which an executive loses his foot to a lawnmower.

It looks like glasses were supposed to be a big part of Peggy Olson's (Elisabeth Moss) look, despite the fact she never wears a single pair during the show's run.

Similar boards were created to detail the show's equally detailed sets.

The Draper House in Ossining was designed to look like a typical post-World War II suburban home.

Though "Mad Men" kicks off in 1960, the kitchen in the home the Drapers occupy during the show's first three seasons is "decorated in a colonial style that was common in the 1950s."

According to the Museum, creator Matthew Weiner "felt it was important - and more natural - to create a visual world that suggested a continuity with the past." In the "imagined backstory," the kitchen was remodeled in 1957.

Even their bathroom was ripped right out of that time period.

And here's the inspiration for Megan Draper's (Jessica Pare) home in the Los Angeles neighborhood of Laurel Canyon. It draws much inspiration from the turmoil of 1960s L.A.

While maybe hard to see, the California driver's license in the far right corner belonged to Charles Manson.

Megan moves to LA in the late 1960s around the time of Manson. A popular theory arose two years ago that Megan Draper is Sharon Tate, and would meet a similar, tragic fate. While "Mad Men" creator Matthew Weiner himself disproved the theory, Manson and Tate no doubt had influence on the show's later seasons.

The mood boards, and many other pieces of "Mad Men" history, are currently at the Museum of the Moving Image in New York through June 14.  

SEE ALSO: Much of the backstory for 'Mad Men' came from a movie script the creator never finished

SEE ALSO: Here's how 'Mad Men' is so good at avoiding spoilers

SEE ALSO: 10 early roles of 'Mad Men' actors before they were stars

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NOW WATCH: How the stars of AMC's blockbuster 'Mad Men' have changed over the years

Following Sunday night's series finale of the AMC drama “Mad Men,” which hit a record ratings high, the New York Times talked to lead actor Jon Hamm about this thoughts on the finale.

Hamm said that he and "Mad Men" creator Matthew Weiner talked about the ending “for a long time,” and that the show runner was fixated on the finale ending with Draper’s eyes closed and a smile on his face.

Here’s Hamm's interpretation of that moment, and the Coca-Cola ad that followed:

"My take is that, the next day, he wakes up in this beautiful place, and has this serene moment of understanding, and realizes who he is. And who he is, is an advertising man. And so, this thing comes to him. There’s a way to see it in a completely cynical way, and say, 'Wow, that’s awful.' But I think that for Don, it represents some kind of understanding and comfort in this incredibly unquiet, uncomfortable life that he has led. There was a little bit of a crumb dropped earlier in the season when Ted says there are three women in every man’s life, and Don says, 'You’ve been sitting on that for a while, huh?' There are, not coincidentally, three person to person phone calls that Don makes in this episode, to three women who are important to him for different reasons. You see the slow degeneration of his relationships with those women over the course of those phone calls."

The emotional phone call Don has with Peggy was a challenge to shoot. Hamm explains:

"[With January Jones and Kiernan Shipka], we shot those on set. So you can actually have the person sitting right off camera, reading the lines to you. [For Elisabeth Moss], we were three and a half hours up the [California] coast, on the edge of a cliff. When he hangs up with Peggy, that was an incredibly difficult scene to shoot. We were in the middle of nowhere, and they were going to just have someone else read the lines, off-screen, for me. Elisabeth wasn’t there, but both Elisabeth and I suggested that it might be better if we could have an actual connection on the phone. So she was on the other end of the phone. I’m sure there are other takes of that scene where I’m much more emotional, and Matthew chose to use the ones that are a little more confused and restrained. He’s completely bereft, and because of that, he is then open to hearing this information and this story from this stranger."

Hamm believes how we leave the characters in the finale is not necessarily how their lives will turn out:

"The world doesn’t blow up right after the Coke commercial ends. No one is suggesting that Stan and Peggy live happily ever after, or that Joan’s business is a rousing success, or that Roger and Marie come back from Paris together. None of it is done. Matt had said at one point, 'I just want my characters to be a little more happy than they were in the beginning,' and I think that’s pretty much true. But these aren’t the last moments of any of these characters’ lives, including Betty. She doesn’t have much time left, but damn if she’s not going to spend it the way she wants to spend it."

Hamm said at a Television Academy event last weekend that after playing Don Draper he’s going to “fade into nothingness and no one will remember me.” Does he really believe that?

I think every actor thinks that when they end a job. You only hope that something else comes along. Do I think I will fade into obscurity? Hopefully not yet. But probably at some point, I will. Because that’s the nature of all things flesh. That’s how it works. It’s a hell of a thing, to end something like this. Is my melancholy seeping through enough? [laughs] In a much more healthy sense, we all put this show to bed quite some time ago, and said our goodbyes and cried our tears. Everybody’s moved on. I’m looking forward to seeing everyone else’s next things. As I said to someone, I’ll see you on 'The Love Boat.' And if you print that, somebody, somewhere, is going to pitch that.

Read Hamm's full interview with The New York Times here.

SEE ALSO: This moment in the pilot episode of "Mad Men" predicted how Don Draper would end up

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NOW WATCH: How the stars of AMC's blockbuster 'Mad Men' changed over the years

In addition to ending its story on a high note, AMC's "Mad Men" series finale has also nabbed the series' highest ratings ever.

Sunday's show-closer attracted 1.7 million viewers in the cable network’s key demographic of adults, aged 25 to 54 years old, according to Nielsen's live plus same day viewing numbers. That is the series’ highest audience ever in the key demo.

Overall, the show attracted 3.3 million total viewers. That is “Mad Men’s” third most-watched episode of its seven-season run. The Season 5 and Season 6 premieres are the No. 1 and No. 2 most-watched episodes of the series’ run, respectively.

AMC will release its ratings report on Friday in order to reflect three days of delayed viewing, which can often double these initial numbers in the case of “Mad Men.”

“Mad Men” ended on Sunday with main character Don Draper (Jon Hamm) on a journey of contemplation. During which, he would come up with one of advertising’s most iconic commercials: Coke’s 1971 “Hilltop” promo.

SEE ALSO: Here's what Jon Hamm thinks happens to his Don Draper character after the 'Mad Men' finale

MORE: Here's one of the happiest moments from the ‘Mad Men’ series finale

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NOW WATCH: How the stars of AMC's blockbuster 'Mad Men' changed over the years

One word that could best describe "Mad Men" creator Matthew Weiner is "obsessive." 

Throughout the entire run of "Mad Men," he made sure to get all the period details right and went as far as to model a kitchen after the year 1957 instead of 1960 in order to ensure continuity.

Outside of the sets, costumes, and cigarettes one of the most memorable features on all of "Mad Men" is the music. Weiner handpicked many of the songs used throughout the series by hand. 

The most surprising part, though, is that he was planning the show's soundtrack years before he even knew what "Mad Men" would become.

SEE ALSO: Here are the vision boards that helped create the looks of 'Mad Men'

AND: Much of the backstory for 'Mad Men' came from a movie script the creator never finished

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NOW WATCH: How the stars of AMC's blockbuster 'Mad Men' changed over the years

Currently in its seventh and final season, "Mad Men" will soon say goodbye after eight years on the air.

When that time comes, the show's creator and writer, Matthew Weiner, says, "I'm pretty sure I'm going to be sad." 

The 49-year-old spoke to Business Insider at the Time 100 gala, where he explained that in the meantime, he's just trying to live in the moment.

"I'm doing something I don't usually do, I'm trying to really savor these current experiences and the love that I'm getting from people about the show," says Weiner. "I'm hearing things that I always wanted to hear, people telling me what the show means to them, people worried about how I'm doing. I'm just a writer, and I love that this meant something to people."

With a cast and crew that have become like family over the years, Weiner says, "We have all sworn to stay in touch, I'll tell you that."

When it comes time for the final episode, Weiner says, "I think we'll all watch the end of the show together."

But Weiner usually prefers to watch the show on Sunday nights with a smaller crowd.

"I do like to watch it," Weiner says of his hit AMC show. "I watch it with my family, and we're going to have some viewing parties. But I'm not fun to watch it with. I'm totally intolerant of any conversation."

While Weiner says that the show "does look different when when you see it with other people," he never has any regrets because "I had the chance to do whatever I wanted to do" during filming.

But to this day, Weiner says, "I get anxious on Sundays. For me, it's like a performance."

"It's such a pleasure," Weiner adds of his experience on the show. "Do you know how weird it is to see your name on TV? I haven't gotten over that yet, believe it or not."

SEE ALSO: Here's how 'Mad Men' creator Matthew Weiner manages his super busy schedule

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NOW WATCH: How the stars of AMC's blockbuster 'Mad Men' have changed over the years

In a press call for National Geographic's upcoming documentary series "American Genius," Apple co-founder Steve Wozniak took time to give glowing reviews to two TV shows about the tech world — HBO's "Silicon Valley" and AMC's "Halt and Catch Fire."

Wozniak found the comedic portrayal of start-up culture in "Silicon Valley" to be both amusing and realistic to his own experiences.

"Silicon Valley, I watched the entire first season," he said. "It fit into this thing where when we started Apple there were companies that would spin-off."

Wozniak continued:

"Then along came groups like Bill Gates and Microsoft and Steve Jobs and myself and Apple and a lot of young, young people; Mark Zuckerberg working in a dorm, creating these great companies. So, it became very enamored by people and wanting to be an entrepreneur, wanting to know the formula. How can I someday be part of a startup, one of the most exciting in life for people of that university-type age? So, those TV shows definitely would find a [audience], either have an interest, a spark, a point that could grab an audience."

In response to a reporter's question about "Halt and Catch Fire," AMC's period drama about the Silicon Prairie of Texas in 1983, Wozniak reacted even more positively:

"'Halt and Catch Fire,' too. Wow, I love the portrayal, but it's more like a lot of the drama."

"American Genius" premieres on the National Geographic Channel on June 1 at 9 p.m. ET/PT. 

The first episode, "Jobs vs. Gates," will detail the battle between Steve Jobs and Bill Gates to bring the personal computer to the masses in the 1980s and feature commentary from Wozniak, Twitter co-founder and entrepreneur Biz Stone, politician and businessman Mitt Romney, and others.

SEE ALSO: Apple co-founder Steve Wozniak says the best Steve Jobs film is this 1999 made-for-TV movie

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It was easy to write off the first season of "Halt and Catch Fire." Almost too easy. 

Part of it had nothing to do with the show itself—a drama about about a group of misfits who band together to reverse engineer IBM's personal computer and inadvertently end up revolutionizing the industry.

Unfortunately for the show, the network it was on very quickly overshadowed the content of the series itself.

When "Halt and Catch Fire" was about to debut last summer, it was almost painfully obvious how much AMC needed a hit.

"Breaking Bad" had just concluded the year before after having its final season split across two years, and "Mad Men" was on hiatus, having done the same thing. It felt like the network was stalling for time, looking for a critical hit to pair with the immense commercial success of "The Walking Dead." 

In that climate, "Halt and Catch Fire" never really got a fair shake. Regardless of the actual intent behind the show, it was seen as AMC's attempt to build another "Mad Men," and the show's first few episodes seemed to confirm that: a period setting, a charismatic lead with a dark past, and a bit of sex thrown in for good measure. 

Visually, it lacked anything nearly as identifiable or iconic as the retro-cool-yet-arty vibe of "Mad Men," or the wide-angle loneliness of "Breaking Bad." It didn't have a lead character as charismatic as John Hamm's Don Draper, or as thoughtfully drawn as Brian Cranston's Walter White.

In fact, Lee Pace seems almost hamstrung in the early episodes of "Halt and Catch Fire," shoehorned into a role that doesn't seem to give him much to do other than be Don Draper via Patrick Bateman, only with less murder. If you've seen Pace in "Pushing Daisies," you'll find yourself wishing the show gave him more to do. 

Here's the good news though: It does, and over the 10 episodes of season one, the entire show starts to really gel and assert its own identity. And it becomes something quite good.

The problem with those early episodes—and the thing that might lead you to impulsively pass on the show—is that they do a pretty bad job of signaling what the show is actually about, or suggesting what its most compelling aspects might be. And Lee Pace's Joe MacMillan, isn't necessarily at the center of it all.

Instead, what makes "Halt and Catch Fire" truly fascinating is the way it chronicles the birth of consumer tech culture, and the huge role women had in the early tech scene—something that's almost entirely been written out of recent history in favor of celebrating men like Steve Jobs or Mark Zuckerburg. 

That the show improves so quickly over the course of such a brief season—it really figures itself out about six episodes into its 10-episode first season—is a pretty good sign of how quickly the show's creators cotton to what works and what doesn't.

Its second season, which premiered May 31 (and can be watched on AMC's website for free) is a bit of a soft reboot, with a renewed focus on two of the best characters on the show: Mackenzie Davis' Cameron Howard and Kerry Bishé's Donna Clark in new roles as leader's of Cameron's new startup, Mutiny. 

With all that said, the show isn't without flaws—it is yet another show about people being terrible to others in order to get what they want, and its narrow focus can make it seem extremely homogeneous—it's not going to win any diversity awards anytime soon (although D.B. Woodside of "24" fame makes a memorable appearance in the seventh episode). But it's early enough in the show's run—and improving quickly enough—to make the 11-episode catch-up binge worth considering.

It's title is still terrible, though.  

Check out the trailer for season 2 below. 

SEE ALSO: The meaning behind the title 'Halt and Catch Fire'

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We have a while to go before the new season of "The Walking Dead," but that doesn't mean we can't get excited for for a glimpse of Rick and the rest of the gang.

AMC debuted the first artwork for season six and it hints at a potential rift between Rick and his old buddy Morgan (Lennie James).

Warning: Some spoilers ahead!

Remember, Morgan just joined the group at Alexandria at the very end of the season 5 finale.

He walked in at essentially the worst moment ever, moments after Rick was told to kill a member of the Alexandria clan.

Since we recently learned Morgan has taken up a rather spiritual existence — he doesn't really believe in the whole killing thing — it will be exciting to see how he and Rick interact at the top of season six.

"The Walking Dead" crew will be heading to San Diego Comic-Con where we can expect to see the first preview of the new season. 

Their panel will kick off Friday, July 10 at 3 p.m. EST. Expect to see some footage online not too long afterward.

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