When Peggy first wandered the hall with the organ music playing, I thought we were going to have a scene where she encounters the "ghosts of Sterling Cooper" - Bert, Lane, and Ida Blankenship. Of course she does run into Roger, who's kind of a walking ghost at this point.

Joan (who, recall, does indeed know a thing or two about corporate protocol) did what everybody says you're supposed to do: go up the chain of command. And addressing the issue through Roger, or Don, or Pete wouldn't likely get her any more respect. As is becoming clear, they simply don't have the pull at McCann they…

This +100. Also, I'm not clear why everybody insists Don's always been so "in Joan's corner." He tried to tell her not to sleep with Herb. But that was really more about his paternalistic/chivalrist set of values, and how poorly he felt it reflected on HIM to have to work with the slime, than anything else. It's not…

Or Safeway, at the very least.

Correction, the 70's. That song was all about coming to terms with the end of the drugged-out "Studio 54" 70's.

But in Hobart's case I don't think it's admiration as much as a personification of the corporate mentality: acquire and assimilate, or at least neutralize the threat posed.

Which is why she asked for it, and went with Henry, who explicitly promised to give her the lifestyle she desired, and mostly delivered: She lives in a giant Victorian mansion (where her fainting couch fits in perfectly) with a maid, doesn't have to work, and is getting her Master's.

Which shows about how much he thinks about his poor, late half-brother.

Hobart: Dance, Draper, dance! (Laughs maniacally.)

Richard's a developer who occasionally uses "a guy" to take care of problems. Though the resolution of the Joan/Hobart conflict was probably a tad more realistic, how awesome would it have been if he'd sent a couple of guys named Moose and Rocco after Hobart to "help him find his checkbook" like Al Czervik did to…

When the overhead lights go out, there's still a lamp on Peggy's desk that works. So perhaps they were implying that somebody who was in the office cleaning stuff out had shut off the lights when they left, not that power to the floor had actually been cut off. I've never rented out a floor of a major office building,…

It probably would've been too on the nose, but imagine if they'd had Joan bump into Joey, now a McCann employee, in the elevator as she left with her Rolodex and her picture of Kevin.

Betty was never dumb, just spoiled and sheltered by her dad into thinking she was a princess. She was definitely smart enough to see that she'd never get the kind of future she wanted staying married to Don "the road's my middle name" Draper.

I think he window thing was a pretty obvious nod to those theories. The plane, on the other hand, most likely just symbolized Don Draper/Dick Whitman's ever-present fondness for escape.

After a few seasons Criminal Intent ditched the lawyer phase of the show and just ended with D'Onofrio (and, you know, the ones in the episodes without D'Onofrio) either tricking the killer into confessing, or just conclusively demonstrating he/she was the perp.

Ah yes the Masucci's - thank god David Chase beat Dick Wolf to the mafia show punch or we might have seen a spinoff based upon them and their Consigliere.

I only watched a couple of those and was not overly impressed. But it was truly surreal to shift to the courtroom scenes, and see everyone dressed in wigs and robes like they do in the U.K.

The two biggest problems with LOLA were its tone and its setting. With regard to the former, it was far too dour. In its prime Law & Order dealt with some heavy stuff, but (particularly during the Lenny Briscoe/Mike Logan years) you always got that cynical, wise-cracking attitude to sort of leaven things. You also had…

Again, the sentimentalist in me likes to imagine the "Harry and the Computer" spinoff, with Harry leaving to join Cutler in "The Agency of the Future," and Ginsberg escaped from Bellevue, constantly plotting to destroy the computer and it's mind-control signals.

That's not surprising. Within the universe of the show, Cutler wasn't exactly pals with the two most influential partners at the post-McCann SC&P (Roger and Don), and he got a pretty big payout. No need to hang around, he could probably even retire at that point. That's the way business works - when people leave a…