They literally didn't show any of the steps of Don creating the ad. To me that's pretty much the definition of ambiguous. If they wanted to be clear about it, I think there's a way they could've shown it.

or "Kurt Sutter"

Eh, I feel like people taking the various Coke-related clues and saying they point to this unambiguously is a bit of a stretch. Like, really, we think that months later, Don went to create the ad, and remembered the front-desk girl with the hair ribbons, and thought, "yeah, that's a thing I should put in the ad!"

Yeah I read that too, so when I saw this article I was like, wait, did Sepinwall really miss something?

I think it was left intentionally ambiguous as to whether he actually went back and created that ad, but was intended more as a metaphor for how Don had found contentment by embracing a new openness rather than trying to constantly strive for the 50s ideal of being loved in a traditional family which he'd always based…

First things first—Don does go back to McCann-Erickson, and he does create that Coke ad.

I didn't like most of that sentence, but the final "r." were pretty outstanding.

Oh god…

You see, because coke is another word for cocaine.

The only thing we get is a smile, a *ding*, and a cut to the ad. Everything else is pure extrapolation This is a show that has never forced the audience to figure out plot points on their own, but rather has kept its big ideas in metaphor and subtext. To me, at least, the idea of all those signposts pointing to an…

And even in that interview he says it's a little bit ambiguous, and that's just his interpretation of what happens. I'd be curious to see the takes from writers on the show, but I'd only take final word from Weiner himself.

I have to say, I think it's crazy that so many people are convinced beyond a shadow of a doubt that Don creates the Coke ad. At most I'd call it intentionally ambiguous, but I just think it was supposed to be an ironic metaphor. The Coke ad is juxtaposed against the ads Don wrote in the 60s similar to how the new,…

That connection also provides a first look into one of the movie’s dominant themes: the burden of fatherhood.

Just your friendly neighborhood Pedant-Man.

Nolan shot Dark Night and Rises (and Interstellar) in 70mm IMAX for certain scenes, which are in 1.43:1. It alternated between the standard 2.35:1 and 1.43:1.

Also Spider-Man, probably.

"Christ, what an a-"

No, a tractor.

It sounds like that was the case, from some additional context:

I also loved the books, but would maybe be more excited about them becoming a show if they weren't becoming a show on SciyFiy.