By John Keegan and Henry Tran

After four seasons of memorable season finale episodes, each with a major event that shifts the foundation of the series, "The Phantom" takes a different, stranger tack. It seems fitting that a largely introspective season -- one where it has spent the majority of the time exploring the characters' darker impulses and desires -- ends with an introspective finale.

By John Keegan and Henry Tran

There was bound to be consequences to Lane Pryce's choice to embezzle funds from the company several episodes ago. Due to his lone status as the money man as well as a foreigner seemingly lost in a country that has never fully accepted him, Lane resorts to the most horrifying and final choice left to him. His fellow co-workers are now forced to deal with his shocking suicide head-on instead of sweeping events aside like they've been doing for much of the season.

By John Keegan and Henry Tran

It's all glitz and glamour until someone brings something distasteful up to the surface. When that happens, it has a way of rotting whatever gets in the way. All throughout this episode, I felt as if the walls of Jericho were falling all around the characters. The firm is not flush with money so they have to fight tooth-and-nail for any account they can get their hands on. They do try, befitting what Don said in his speech to rally the troops in the previous episode, but there are costs to getting that golden goose.

By John Keegan and Henry Tran

Sterling Cooper Draper Pryce is an advertising firm. So we know from the outset that they deal in popular consumerism. They try their hardest to make money off of what people desire. Only, the people who work at the firm aren't getting what they desire the most. The most obvious example of this mindset has been Pete throughout the season, but he has a small role in this episode. No, the unfulfilled desire comes from other places and other characters, including one, Paul Kinsey, who hasn't been seen in two seasons. This causes plenty of frustration, which is only beginning to bubble to the surface in some cases while bursting at the seams in others. It has been a really dark season so far (even by "Mad Men" standards) and I don't think this is the last we're going to see of it.

By John Keegan and Henry Tran

I've been accused in the past of judging Betty Francis too harshly on a couple of episodes on this show. I take that criticism to heart and as such, I've tried to look at Betty's character objectively. She makes her return here after the events of "Tea Leaves" and I'm still unsure of her place in the whole narrative.

By John Keegan and Henry Tran

The show chooses to highlight the struggles between men and women in the face of change among other things. A tug-o-war is occurring everywhere you look, from inside SCDP to the New York suburbs and even in the presence of crucial clients needed for business to continue. All of the characters on this show can't handle change the way they should.

By John Keegan and Henry Tran

Every character on "Mad Men" could easily be so happy and content with their lives. It would suck much of the drama out of the show, but it has occurred to me that this show may be the saddest one on television right now. Even in a moment of triumph for the firm -- Megan saving the floundering Heinz account -- the joy feels somewhat muted, possibly because business still remains tenuous.

By John Keegan and Henry Tran

From one episode to another, things on this show are never what they appear to be. They change so often, it could be seen as a whiplash effect on the show's plotlines. Thankfully, the show is so layered and the characters so rich that it can compensate for anything that could be considered strange.