IMDb > "Mad Men" The Arrangements (2009)
"Mad Men: The Arrangements (#3.4)"
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"Mad Men" The Arrangements (2009)

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Matthew Weiner (created by)
Andrew Colville (written by) ...
View company contact information for The Arrangements on IMDbPro.
TV Series:
Original Air Date:
6 September 2009 (Season 3, Episode 4)
Don has reservations about a misguided potential client who wants to sell jai alai as the "new national pastime." Meanwhile, Sal produces the "Patio" television commercial, Peggy searches for a roommate, and Betty's father passes away. Full summary » | Full synopsis »
User Reviews:
A Highlight of the Series See more (1 total) »


 (Episode Cast) (in credits order) (complete, awaiting verification)

Episode Crew
Directed by
Michael Uppendahl 
Writing credits
Matthew Weiner (created by)

Andrew Colville (written by) and
Matthew Weiner (written by)

Kater Gordon  staff writer

Produced by
Lisa Albert .... supervising producer
Scott Hornbacher .... executive producer
André Jacquemetton .... consulting producer (as Andre Jacquemetton)
Maria Jacquemetton .... consulting producer
Blake McCormick .... producer
Marti Noxon .... consulting producer
Marcy Patterson .... associate producer
Frank Pierson .... consulting producer
Dwayne L. Shattuck .... producer (as Dwayne Shattuck)
Dahvi Waller .... co-producer
Matthew Weiner .... executive producer
Original Music by
David Carbonara 
Cinematography by
Chris Manley  (as Christopher Manley)
Film Editing by
Malcolm Jamieson 
Casting by
Carrie Audino 
Laura Schiff 
Production Design by
Dan Bishop 
Art Direction by
Christopher Brown 
Set Decoration by
Amy Wells 
Costume Design by
Janie Bryant 
Makeup Department
Stephanie A. Fowler .... assistant makeup artist
Lana Grossman .... makeup department head
Lesa Nielsen .... makeup artist
Ron Pipes .... key makeup artist
Angie Wells .... additional makeup
Production Management
Dwayne L. Shattuck .... unit production manager (as Dwayne Shattuck)
Nathaniel Smith .... post-production supervisor
Second Unit Director or Assistant Director
Adam Ben Frank .... first assistant director
Jessica Lowrey .... second assistant director
Elion Olson .... second second assistant director
Art Department
Paulette Fox .... painter
Sean Lyons .... lead scenic
Geoffrey Mandel .... graphic designer
Florencia Martin .... set decoration assistant
Lisa Mayor .... props department assistant
Michele Munoz .... set decoration buyer
Gay Perello .... property master
Lars Petersen .... construction coordinator
Evan Regester .... art department assistant
Lee Ross .... camera scenic
Keith Sale .... leadman
Jefry Shebroe .... on-set props
Shanna Starzyk .... assistant art director
Jordan Steinberg .... on-set dresser
Schuyler Telleen .... art department coordinator
Steven C. Voll .... general foreman
Julie Witherington .... assistant property master
Sound Department
Peter Bentley .... sound mixer
Carey Milbradt .... foley mixer
Magic A. Moreno .... Digital Transfer Engineer: Todd Hollywood
Monique Reymond .... foley artist
Martin Schloemer .... sound recordist
Christopher Sposa .... boom operator (as Chris Sposa)
Special Effects by
Thomas L. Bellissimo .... special effects supervisor
James Ochoa .... special effects technician
Shannon J. Thompson .... special effects foreman
Visual Effects by
Michael S. Pryor .... visual effects producer: Laser Pacific
Chris Wright .... visual effects producer
Jason Wilson .... visual effects artist (uncredited)
Camera and Electrical Department
Michael Ambrose .... gaffer
Michael D. Anderson .... electrician
Chris Cuevas .... assistant camera
Tom Derose .... rigging gaffer
Don Devine .... camera operator "a" camera
Danny Gonzalez .... lighting technician
Lisa Guerriero .... second assistant camera: "a" camera
Jim Leidholdt .... a dolly grip
Jaim O'Neil .... lighting technician
David Parker .... rigging grip
Andrey Prikazchikov .... rigging grip
Jan Ruona .... first assistant camera: "a" camera
David Sammons .... camera operator: "b" camera
Jack Serino .... rigging grip
Paul Tilden .... second assistant camera
Kelly Waldman .... lighting console programmer
Animation Department
Jeremy Cox .... animator: opening titles (uncredited)
Michele Watkins .... coordinator: opening titles (uncredited)
Casting Department
Kendra Shay Clark .... casting associate
Elana Staehli .... extras casting (uncredited)
Costume and Wardrobe Department
Tiger Curran .... costume assistant
Jennifer Ireland .... set costumer
Antonina Lerch .... costume cutter/fitter (as Antonina Grib)
Lynn Ollie .... set costumer
Tiffany White Stanton .... costumer (as Tiffany White)
Editorial Department
Christopher Gay .... assistant editor
Christopher Grizey .... post-production coordinator
Jay Steinberg .... on-line editor
Daniel Yang .... dailies color assist
Location Management
R. Scott Poole .... location manager
Danny Wilson .... assistant location manager
Danny Wilson .... location scout
Music Department
Jay Faires .... music executive
James T. Hill .... music scoring mixer
Tim Perrine .... music preparation
Geoff Stradling .... orchestrator
Kasey Truman .... music coordinator
Brittany Whyte .... music coordinator
Russell Scott Ziecker .... music executive
Transportation Department
Duke Foster .... transportation coordinator
J. Armin Garza II .... driver: camera car
Brenda Ryan .... driver
Other crew
Julia Bogdan-Rollo .... payroll accountant
Meghan Burchfield .... additional set production assistant
Wendy Jane Cohen .... writers production assistant
Jeremy Cox .... designer: opening titles
Kayla Franklin .... assistant to producer
John Hampian .... assistant production coordinator
Cathryn Humphris .... executive story editor
Mary Ann Kellogg .... choreographer
Erin Levy .... writing assistant
Cortney Norris .... production assistant
Marti Noxon .... consulting writer
Deborah Ricketts .... archive researcher
Carson Stroup .... payroll assistant
Bernadette Valer .... assistant accountant
Robin Veith .... executive story editor
Jordan von Netzer .... production assistant
Ben Waesche .... production coordinator
Ric Wolfe .... stage manager: studio segments
Amanda Boyd .... post production assistant (uncredited)
Joanna Cherensky .... writers office intern (uncredited)
Michael Haverfield .... production accountant (uncredited)
Hartley Voss .... writers' intern (uncredited)
Christina Wayne .... network executive (uncredited)

Series Crew
These people are regular crew members. Were they in this episode?
Writing credits
(in alphabetical order)
Matthew Weiner  created by

Production CompaniesDistributorsOther Companies

Additional Details

60 min (with commercials)
Sound Mix:

Did You Know?

Jai Alai is an open-walled arena used to play Basque Pelota is very popular in Spanish-speaking countries and is popular in Florida.See more »
Factual errors: Grandpa Gene is rummaging through his WWI memorabilia and tells Bobby how he shot a German soldier in the head and kept his helmet as a souvenir. However, the helmet is the old style Prussian helmet (Pickelhaube) with the spike on top. These helmets were quickly found to be ineffective and by the time the US entered the war, these helmets had been replaced with steel helmets, so it's not something the German soldier would have been wearing.See more »
Ken Cosgrove:Don, George Caan dropped out of Patio to direct a picture in L.A.
Don Draper:I look forward to his average work. Replace him.
See more »
Movie Connections:
References Bye Bye Birdie (1963)See more »
Over thereSee more »


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1 out of 2 people found the following review useful.
A Highlight of the Series, 9 August 2016
Author: borowiecsminus from Ossining, NY

*** This review may contain spoilers ***

This episode, should it have been consistent, might have been the best of the series so far. However, due to the inconsistency of it, it lands in at #3 (SO FAR).

At a certain point, at the end of Act Two of this episode (about two thirds of the way), it takes a turn for the darker and becomes so, so brilliant. By this point in the season, well, frankly, it's only four episodes in. We're absolutely right to not expect major plot turns to occur. Early seasons in dramas are rarely particularly dramatic. And, late into the second act, it seems like we're right. It's just little things, like Peggy's slightly awkward search for a room mate, or some silly game called jai alai that a man thinks will outpace baseball (he should've tried American Football first). It seems on its way to being a very slow episode, until, right before the writer declares "END ACT TWO," Matthew Weiner drops a bomb on us with the truly untimely death of Gene, Betty Draper's father. It's Act Three of this episode that makes it so good. But before we discuss that, it's better to discuss the death itself, and why it happened when it did, and why it works.

"Mad Men" spent a lot of episodes (ten, to be exact) trying to figure out what kind of show it was. It wasn't until the fantastic "Long Weekend" aired that its identity crisis was solved. It's a slow specifically designed to be slow. It's designed to be so slow, in fact, that we care about tiny, insignificant things like we care about a death in The Walking Dead. We care about the little arguments Peggy has with her family, and Don and Betty's marriage problem. And it's a brilliant design, because when an event like Gene's death happens, it's like a ton of bricks. Such is the strategy of Mad Men. We never expect a death in Mad Men; in fact, this is the first one ever. Surprising, considering this is a drama, and we're well into season three, and it's interesting. And it's even more perfect a time to kill Gene, because we would expect it in a season finale, or mid-season finale, or in fact, anywhere near the end of a season. But when a show that has NEVER killed a character before does so for the first time at a seemingly random point in the season, it's even more crushing.

Then act three kicks in, which is one of the best acts in television history. It's a beautiful aftermath. From this point on, it's pretty much all Don's story. It never really cuts back to Sterling Cooper. We see Don's reaction to Betty breaking the news. We see Betty's family all around a table, talking. And then, most heartbreaking of all, Sally walks in, tears in her eyes, demanding why they were laughing. And what happens next is truly interesting. Don says, "we weren't laughing." Sally knows this is a lie, and proceeds to yell and say things like "he's gone. he's dead, he's really, really dead and no one cares," to which Betty orders her to go watch TV. As if this review wasn't already far too long, allow me to break down why this is a brilliant exchange, piece by piece.

First and foremost, I must give props to Kiernan Brennan Shipka, the actress playing Sally. She was brilliant in this scene.

So, Betty's brother told a joke about heaven. Not a funny memory, a joke about heaven and Gene. And while it was clearly in jest and in good taste, Sally takes it the wrong way, having been evesdropping. When she demands why they were laughing, my reaction if I was Don would be to explain why humor is sometimes a natural and good way of grieving and coping, and that just because something is bad doesn't mean we can't still make a joke. But that's not what Don says. Instead, Don lies. Bad move. Sally clearly knows you were laughing. She heard the joke and the reaction to it. In an instant, her whole family loses all credibility thanks to a poor lie from Don. Then she goes into full outburst, claiming that she's the only one who cares that Gene is dead, and she does this in harsh, not uncertain terms. Tears in her eyes, she isn't complaining, or grieving, as much as she is raging against the people she loves. And that's a little strange. She loses someone she loves so she attacks the people she loves that are still left. Then, finally, Betty tells Sally to go watch TV. Not go to her room, go watch TV. Today, that's more of a reward than a punishment, and it's meant to sound like that. It's meant to seem backwards. Because something that people generally enjoy, and Sally usually enjoys, has turned into a punishment because she now must enjoy it under painful circumstances.

Finally, I have one more point to make. And it is the almost perfect foreshadowing. The climax of the episode, if you ask me is Sally asking "why are you laughing?" Everyone finds it funny but her. Earlier in the episode, the guys and one gal play a prank on Peggy (which is, frankly, actually hilarious), and she has a very similar reaction to it.

If the first two acts were as good as the third, it could break the Top Ten TV Episodes. But since that isn't the case, it only breaks the Top 50.

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