1 - Smoke Gets In Your Eyes
InvestigationAll three lenses are solid — worth protecting as it stands.
The result doesn’t oblige what comes next Consequence
HoldingIt commits to one clear thing and holds it.
A successful ad executive navigates the challenges of the advertising industry while facing a crackdown on health claims by the Trade Commission. Other loglines ›
How to read these: in industry coverage, Pass is the default outcome for the majority of professional scripts, and Consider means the reader stayed in the room. Industry-wide, the median professional evaluation sits at a 6 — scores of 8+ are rare everywhere, on purpose.
A prestige period pilot with a championable voice and a fully operational workplace engine, held back from the top band by a disconnect between the protagonist's professional win and his private cost.
A prestige period drama that uses the rituals of an advertising agency to deliver sharp social observation, character contradiction, and a repeatable engine of persuasion and private compromise.
Readers split on the contract: four read this as prestige, one as elevated commercial. The split traces to the late personal threads — the prestige reads see deliberate psychological restraint, the commercial read sees a missing series engine.
The dialogue control, period texture, and central pitch sequence are consistent enough across the runtime that the draft clearly clears the bar for a serious read.
The personal material and late serial hooks are less integrated than the advertising story, limiting the force of the final stretch as a unified pilot trajectory.
A pilot with a distinctive central dynamic and sharp period dialogue that needs targeted revision to connect the protagonist's professional win to his private cost and clarify the late-thread hierarchy.
Readers read as Elevated commercial1 Prestige4
Tie one moment in the Lucky Strike pitch to a visible personal or creative constraint for Don, so the professional win and the private wound begin to operate on the same line; this addresses the core disconnect and reduces the cost of integrating the female ensemble and late-thread hierarchy.
The script builds its 1960 setting through props, social friction, and incidental actions rather than explanatory dialogue, giving the read a confident, lived-in quality.
Tightening causal links or adding female objectives risks turning sharp, indirect exchanges into plot-forward exposition or on-the-nose motivation.
When adding objectives or causal beats, keep the dialogue rhythm indirect and let the new beats emerge through behavior and withheld answers rather than explicit statements.
Connecting Don's private wound to the pitch could turn the boardroom scene into a confession, softening the cool, performative surface that makes it land.
Keep the pitch clean and professional; let the personal cost register through a preceding choice or a subtle behavioral shift rather than rewriting the pitch itself into a monologue.
The reader gets a satisfying campaign resolution but feels little personal or creative cost attached to it, so the pilot's central question of who Don is when he isn't performing reads as a separate track from the plot.
The pilot tracks Don's public brilliance and private emptiness on parallel lines, resolving the tobacco crisis through intellectual reversal while interiority arrives as ornament or statement.
Tie one moment in the pitch sequence to a visible personal or creative constraint for Don, so the professional payoff registers as a costly act of self-exposure rather than detached cleverness.
The reader's investment in the ongoing series thins when the script leaves Don's orbit, as female characters are positioned as mirrors or reactors rather than agents with legible wants.
The pilot is structured around Don's POV and treats the women as surfaces reflecting his condition, leaving the ensemble without a second engine to sustain the series.
Give at least one female character a self-directed objective or private beat that the script frames as her own, so her choices read as decisions rather than reactions to male pressure.
The reader is pulled out of the scene to reconstruct how plot mechanics work, and the closing stretch feels like a series of separate introductions rather than a converging progression.
The script needs Pete to have the research report to create a mid-pitch reversal, but the causal link is left off-page; simultaneously, post-pitch personal beats function as parallel tags rather than accumulating toward the final image.
Close the causal gap around the research report with a minimal on-page beat, and let a single personal thread become the main bridge from the pitch resolution to the final family image.
Committing to a repeatable workplace engine means tightening the causal chain around the Lucky Strike pitch and giving the female ensemble clear objectives to sustain weekly conflict.
Committing to a slow-burn psychological portrait means preserving the current structural diffuseness and letting the late personal threads remain as atmospheric tags that deepen Don's mystery rather than driving plot.
Run a strict proofread pass to remove stray asterisks, fix spelling slips like 'florescent' and 'principal,' and strip editorializing action lines that tell the reader how to interpret a character's orientation or body.
The pilot's dialogue and central pitch sequence deliver a distinctive, championable voice that demonstrates the series' thematic argument through character action rather than exposition.
The pilot's central crisis resolves through cleverness while the protagonist's private wound stays parallel to the plot, leaving the emotional payoff unearned.
On the score: The score sits between two verdicts — small changes in either direction could flip it.
Setting: 1960, Manhattan
Themes: Smoking and its perception, Challenges in the advertising industry, Relationship dynamics and support, Navigating the workplace, Cynicism and living in the present, Marketing strategies and creativity, Tensions in professional and personal relationships
Conflict & Stakes: The challenges of advertising cigarettes amidst health concerns, Don's career decline, and personal relationships
Mood: Slick, sophisticated, and introspective
Standout Features:
Comparable Scripts: Mad Men, Revolutionary Road, An Education, The Apartment, A Single Man, The Catcher in the Rye, Who's Afraid of Virginia Woolf?, Casablanca, The Great Gatsby, Network
This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.
Breaks down your script along various categories.
Breaks down the emotional journey of the audience across the script.
All of your scenes analyzed individually and compared, so you can zero in on what to improve.
This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.
High-level overview
Summary:
Don Draper, a successful ad executive, faces challenges with his cigarette account and the crackdown on health claims by the Trade Commission. He seeks solace and advice from Midge Daniels, an artist he is involved with. Midge offers sarcastic remarks and suggestions but also provides support and reassurance.
Meanwhile, Peggy Olson starts her first day as a secretary at Sterling Cooper and receives guidance from Joan, the office manager, on how to navigate the office and handle Don. Peggy also goes to the doctor to get a prescription for contraceptive pills, where she is made to feel comfortable and responsible.
Don and his colleague, Roger, have conversations about their upcoming meeting with the tobacco executives and discuss the lack of diversity in the company. They meet Rachel Mencken, who challenges Don's strategies during a boardroom meeting, leading to tension and arguments. However, Don's pitch of a new angle for cigarette advertising - emphasizing the dangers of everyday life - impresses the executives.
In a separate storyline, Don and Rachel engage in a deep conversation about love, loneliness, and the meaning of life after their heated argument. They find a mutual connection and acknowledge the possibility of a future meeting.
Overall, the movie explores Don's professional and personal life, his relationships with various characters, and the challenges he faces in the advertising industry. It delves into themes of love, identity, and societal expectations during the 1960s.
Scene by Scene Summaries
Each axis shows your script's raw score (0–10) in that category. We recently upgraded the AI models behind these categories, so percentile rankings are temporarily unavailable while we re-score our reference library.
Hover over each axis on the radar chart to see what that category measures and why it matters.
Analysis: The screenplay establishes a rich, subtext-driven ensemble through Don Draper's professional and personal unraveling, Peggy Olson's initiation into the advertising world, and Pete Campbell's desperate ambition. Its greatest strength is the way it uses dialogue, silence, and visual metaphor to make characters feel layered and alive. The areas needing enhancement are chiefly in the supporting arcs—Pete's motivations can feel plot-driven, Rachel's transformation arrives quickly, and the pilot could more fully clarify Peggy's agency in her final choice.
Analysis: The Mad Men pilot immediately establishes a clear and compelling premise: a 1960 Madison Avenue advertising executive, Don Draper, must save his flagship cigarette account while masking the existential and professional cracks beneath his polished surface. Its originality lies in using the ad industry as a lens on American illusion, and the historical irony of selling cigarettes gives it an instant dramatic engine. The premise is more atmosphere- and character-driven than plot-driven, which is an asset for a series but requires the pilot to plant a long-term hook beyond the cigarette meeting.
Analysis: The pilot script for 'Mad Men' is a masterfully constructed workplace drama that uses the cigarette-account crisis as a spine while weaving together character introductions, thematic motifs, and social commentary. Its strengths are the vivid thematic framing, the efficient interweaving of multiple plotlines, and the brilliant boardroom reversal. The main areas for improvement are the somewhat compressed Don/Rachel romance, the lightly dramatized theft of Greta's report, and the tonal isolation of the strip-club scene from the central plot.
Analysis: The pilot of Mad Men thoughtfully establishes a world in which advertising manufactures happiness and identity, using Don Draper's professional and private crises to dramatize the emotional cost of living a constructed life. The script's sharp period detail and layered dialogue give the themes real resonance, while occasional didactic monologues and a broad constellation of secondary themes keep the message from achieving its fullest depth.
Analysis: This pilot establishes a visually confident period world where smoking, glass, and suburban perfection are woven into the narrative. The script's greatest visual strength is its ability to turn objects—a cocktail napkin, a Purple Heart, a blank presentation folder—into storytelling tools. Its imagery is economical but evocative, and its iconic final pull-back shot crystallizes the show's themes of isolation and conformity.
Analysis: The screenplay demonstrates a sophisticated, restrained emotional landscape, using subtext, visual metaphor, and existential longing to create a melancholic, character-driven pilot. Its greatest strengths are Don Draper's layered vulnerability, the pointed conversations with Rachel, and a tonal consistency that evokes the loneliness behind the glamour of 1960s advertising. The emotional impact is strong but occasionally underdeveloped in supporting arcs such as Pete and Peggy, where beats feel abrupt and would benefit from deeper interiority and connective tissue.
Analysis: The pilot effectively sets up Don Draper's central professional battle—rescuing Lucky Strike from a market now barred from making health claims—and gives that battle a ticking clock and a satisfying imaginative victory. The conflicts with Pete, Rachel, and Don's own emptiness are clear, but after the big pitch the stakes drop sharply, and the personal subplots are resolved too easily. Strengthening the post-victory complications and making the antagonists' moves more consequential would keep audience tension high.
Analysis: The pilot is a strikingly original work that revises the period drama through a cynical, psychologically rich lens. It uses advertising as both subject and style, presenting a world where desire, identity, and truth are manufactured. The script excels in character ambiguity, thematic density, and the subversion of nostalgic imagery, making it a benchmark for complex cable antihero storytelling.
Expand to see detailed analysis
View Complete AnalysisProtagonist
Antagonist
| Theme | Theme Details | Theme Explanation |
|---|---|---|
|
Smoking and its perception
|
Discussions about smoking 'Old Gold' cigarettes, negative perception of smoking, and its impact on relationships
|
This theme explores the topic of smoking and its perception in society during the 1960s. It delves into the loyalty towards a particular brand, the negative stigma associated with smoking, and how it affects personal relationships. |
|
Challenges in the advertising industry
|
Don's challenges with his cigarette account and the realization of the end of health claims for cigarettes
|
This theme focuses on the difficulties faced by Don in his advertising career, specifically in relation to his cigarette account. It highlights the challenges arising from the crackdown on health claims and the potential decline of his career. |
|
Relationship dynamics and support
|
Interactions between Don and Midge, sarcastic banter, Don's frustration, and Midge's support
|
This theme explores the dynamics of relationships, particularly between Don and Midge. It showcases their banter, sarcastic remarks, and Don's frustrations, along with Midge offering support and reassurance. |
|
Navigating the workplace
|
Peggy's first day as a secretary, advice from Joan on office dynamics and impressing male colleagues
|
This theme focuses on Peggy's entry into the workplace and the advice she receives from Joan. It delves into the dynamics of working in an office, handling superiors like Don, and making a good impression on male colleagues. |
|
Cynicism and living in the present
|
Don's philosophy of living in the moment, his cynical views on love, loneliness, and feeling out of place
|
This theme revolves around Don's perspective on life and love. It touches upon his cynical views, his philosophy of living in the present, and his feelings of loneliness and disconnection from others. |
|
Marketing strategies and creativity
|
Brainstorming strategies to advertise cigarettes, using 'Death Wish', and proposing 'Lucky Strike - It's Toasted'
|
This theme explores the creativity and strategic thinking involved in marketing, particularly in the context of advertising cigarettes. It focuses on the brainstorming process, the suggestion of a new approach using 'Death Wish', and Don's proposal of the slogan 'Lucky Strike - It's Toasted'. |
|
Tensions in professional and personal relationships
|
Arguments with Rachel Mencken and storming out of meetings
|
This theme revolves around the tensions that arise in professional and personal relationships. It highlights the arguments between Don and Rachel Mencken during meetings and the subsequent storming out. |
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Everything above was written for you before you arrived. These are the things you can set running yourself, on the whole script or on one scene at a time.
All three lenses are solid — worth protecting as it stands.
The result doesn’t oblige what comes next Consequence
HoldingIt commits to one clear thing and holds it.
All three lenses are solid — worth protecting as it stands.
It restates its note rather than deepening it Development
HoldingThe reader can follow what matters.
Design is broken — a load-bearing lens isn’t doing its job yet.
It isn’t clearly about one thing yet Contract
HoldingEvery beat and line earns its place.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
Read is broken — a load-bearing lens isn’t doing its job yet.
The beats can be called before they land Unpredictability
HoldingThe reader can follow what matters.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It ends about where it started Movement
HoldingThe reader can follow what matters.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It ends about where it started Movement
HoldingThe reader can follow what matters.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
All three lenses are solid — worth protecting as it stands.
A real force keeps it pushing forward Pressure
HoldingThe reader can follow what matters.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
It restates its note rather than deepening it Development
HoldingThe reader can follow what matters.
A ritual beat repeats a known pattern on purpose, so movement and freshness read low by design.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingA real force keeps it pushing forward.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It ends about where it started Movement
HoldingThe reader can follow what matters.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
All three lenses are solid — worth protecting as it stands.
It ends about where it started Movement
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
It restates its note rather than deepening it Development
HoldingThe reader can follow what matters.
An aftermath beat lands the cost of what just happened rather than driving new action.
No lens is broken, but Design, Execution and Read are soft — this reads as a polish pass.
It restates its note rather than deepening it Development
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
It plays close to the version we’ve seen before Freshness
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingThe reader can follow what matters.
Read is broken — a load-bearing lens isn’t doing its job yet.
It isn’t clearly about one thing yet Contract
HoldingEvery beat and line earns its place.
A transition carries us between beats. It owes less structurally than a scene built to turn.
Your scene scores are compared against professional produced screenplays in our vault (The Matrix, Breaking Bad, etc.). The percentile shows where you rank compared to these films.
Example: A score of 8.5 in Dialogue might be 85th percentile (strong!), while the same 8.5 in Conflict might only be 50th percentile (needs work). The percentile tells you what your raw scores actually mean.
Hover over each axis on the radar chart to see what that category measures and why it matters.
“Functional” (5–6) is a solid, professional scene — that's where most scenes sit. The scale rides low on purpose, so it has room to point down (where to fix) and up (what's working).
Scenes now use the full 0–10 scale, so your numbers will look lower and more spread out than before. That's the new, smarter model being honest — not a verdict on your script.
The table below uses the same colors: warm = worth a look · neutral = fine · green = working. The point is awareness, not maxing every number — a scene can be light on plot or conflict for good reasons.
| Compelled to Read | Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Triage | Design | Overall | Clarity | Scene Impact | Concept | Plot | Originality | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - Smoke Gets In Your Eyes | KeepInvestigationAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 9.5 / 8.5 | 7 / 6.5 | 7 | 4 | 8 | 8 | 2 | 7.5 | 8 | 4 | 3 | 2 | 3 | 7 | 5 | 9 | 7 | 8 | 9 | 7 | |
| 2 - Late Night Conversation | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.8 | 9 / 8.5 | 5.5 / 6.5 | 8 | 6 | 7 | 8 | 2 | 7.5 | 8 | 5 | 2 | 5.5 | 5 | 5 | 6 | 8 | 6.5 | 6.5 | 9 | 7 | |
| 3 - Late Night Visit | ReworkOrientationDesign is broken — a load-bearing lens isn’t doing its job yet. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 6.5 | 9.5 / 8.5 | 5 / 6.5 | 7 | 5 | 6.5 | 8 | 2 | 7.5 | 6 | 4 | 4 | 5 | 3.5 | 4 | 6 | 8 | 7 | 6.5 | 9 | 7 | |
| 4 - Pete's Bachelor Party Plans | ReworkOrientationRead is broken — a load-bearing lens isn’t doing its job yet. | SoftThe structure works but is leaking power in places. | 6.2 | 9.5 / 8.5 | 5 / 7 | 6 | 6 | 5.5 | 8 | 1 | 7 | 8 | 4 | 2 | 3 | 4.5 | 5 | 4 | 8 | 6.5 | 7 | 9 | 6.5 | |
| 5 - First Day at the Office | PolishOrientationNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.5 | 9 / 8.5 | 5.5 / 6.5 | 7 | 5 | 6.5 | 8 | 1.5 | 6 | 7 | 2 | 2 | 2.5 | 5 | 3 | 5 | 8 | 6.5 | 7.5 | 9 | 7 | |
| 6 - Don's Preparations | PolishOrientationNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.8 | 9 / 8.5 | 6.5 / 7.5 | 7 | 6 | 7 | 8 | 2 | 7.5 | 6 | 5 | 4 | 6.5 | 5.5 | 5 | 6 | 8 | 7 | 7 | 9 | 7.5 | |
| 7 - untitled | KeepOrientationAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.8 | 9 / 8.5 | 5 / 7 | 7 | 6 | 5.5 | 8 | 3 | 6 | 7 | 6 | 5 | 4 | 5 | 5 | 5 | 8 | 7 | 7.5 | 9 | 7.5 | |
| 8 - Don and Pete's Meeting with Rachel Mencken | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7.2 | 9.5 / 9 | 7 / 7.5 | 7 | 7 | 6.5 | 8 | 3 | 8 | 7 | 8 | 4 | 6.5 | 7 | 5 | 7 | 9 | 7.5 | 8 | 9 | 7.5 | |
| 9 - Peggy's Doctor Visit | KeepRitualAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 9 / 8 | 6 / 6.5 | 7 | 6 | 6.5 | 6 | 2 | 7 | 8 | 4 | 5 | 5 | 5 | 7 | 6 | 7 | 6 | 6 | 8 | 5.5 | |
| 10 - Don confronts Rachel | KeepContestAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 9 / 8.5 | 7 / 7 | 7 | 6 | 6.5 | 7 | 3 | 7 | 8 | 8 | 8 | 6 | 6.5 | 7 | 6 | 8 | 7.5 | 7.5 | 8 | 7 | |
| 11 - Tension in the Board Room | PolishOrientationNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.5 | 9 / 8 | 5.5 / 6.5 | 7 | 6 | 6 | 7 | 3 | 7 | 8 | 6 | 5 | 5 | 6 | 5 | 6 | 8 | 6.5 | 7 | 9 | 7 | |
| 12 - The Argument | KeepInvestigationAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.8 | 9 / 8.5 | 5.5 / 7.5 | 8 | 6 | 7 | 7 | 2 | 7 | 8 | 6 | 4 | 7 | 4 | 7 | 6 | 8 | 6.5 | 6 | 8.5 | 7 | |
| 13 - Finding a New Strategy | KeepDeliveryAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 8.2 | 9.5 / 9 | 7.5 / 8 | 9 | 8 | 8 | 9 | 4 | 8 | 9.5 | 9 | 9 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 9 | 8.5 | |
| 14 - Don's Frustration | KeepAftermathAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7.2 | 9 / 8.5 | 7.5 / 7.8 | 7 | 7 | 6 | 8 | 4 | 8 | 8.5 | 8 | 6 | 6.5 | 8 | 5 | 7 | 8 | 7.5 | 8 | 9.5 | 7 | |
| 15 - Tension at the Boardroom | PolishPursuitNo lens is broken, but Design, Execution and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.5 | 8.5 / 8 | 4 / 6.5 | 6 | 4 | 5.5 | 8 | 2 | 7 | 5 | 5 | 4 | 4 | 3 | 7 | 6 | 7 | 6.5 | 7 | 8 | 5.5 | |
| 16 - A Spirited Debate | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7.8 | 9 / 9 | 8 / 8 | 9 | 7 | 8.5 | 9 | 5 | 9 | 7 | 7 | 6 | 7 | 6 | 8 | 9 | 10 | 8.5 | 8.5 | 9 | 8 | |
| 17 - Late Night Encounter | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 9 / 8.5 | 7.5 / 7 | 7 | 5 | 7 | 8 | 6 | 7.5 | 6 | 6 | 5 | 5 | 5 | 7 | 7 | 8 | 7 | 7.5 | 8.5 | 7 | |
| 18 - Connection in Conflict | ReworkTransitionRead is broken — a load-bearing lens isn’t doing its job yet. | SoftThe structure works but is leaking power in places. | 5.5 | 9 / 8 | 1 / 6 | 5 | 2 | 3 | 0 | 0 | 0 | 0 | 0 | 0 | 0 | 1 | 2 | 4 | 0 | 2 | 5 | 7 | 3 | |
| Pattern | Explanation |
|---|---|
| Correlation between Tone and Emotional Impact | The tone of the scenes in this screenplay seems to have a significant impact on the emotional impact of the audience. The scenes with a tense tone tend to have higher emotional impact ratings, while the light-hearted scenes have lower emotional impact ratings. |
| Correlation between Dialogue and Character Changes | There is a positive correlation between the quality of dialogue and the extent of character changes in this screenplay. Scenes with better dialogue tend to have more pronounced character changes. |
| Correlation between Conflict and High Stakes | There is a strong positive correlation between the level of conflict and the high stakes in the scenes of this screenplay. As the conflict increases, the stakes also tend to rise. |
| Correlation between Concept and Plot | The concept and plot of this screenplay are closely related. Scenes with higher concept scores also tend to have higher plot scores. |
| Trope | Trope Details | Trope Explanation |
|---|
| Scene Number | Line |
|---|---|
| 1 | Don: I love smoking. |
| 2 | Midge: Is this the part where I say, 'Don Draper is the greatest ad-man ever and his big strong brain will find a way to lead the sheep to the slaughterhouse'? |
| 4 | Pete Campbell: What a great gal. I'll tell you guys, she stole my heart. |
| 5 | Joan: And listen, we're going to be working together so don't take this the wrong way, but a girl like you, with those darling little ankles, I'd find a way to make them sing. Also, men love scarves. |
| 16 | Don: "You're born alone, you die alone, and this world just drops a bunch of rules on top of you to make you forget those facts. But I never forget. I'm living like there's no tomorrow, because there isn't one." |
| Array ( [0] => A successful ad executive navigates the challenges of the advertising industry while facing a crackdown on health claims by the Trade Commission. [1] => Seeking solace, the ad executive finds support and reassurance from an artist he is involved with, who offers sarcastic remarks and suggestions. [2] => A new secretary receives guidance from the office manager on how to handle her boss, while also obtaining contraception and embracing responsibility. [3] => Conversations about diversity and upcoming meetings with tobacco executives lead to tension and arguments, but a new angle for cigarette advertising impresses. [4] => After a heated argument, the ad executive engages in a deep conversation about love and loneliness, sparking a mutual connection and possibility of a future meeting. ) |
| A talented but troubled advertising executive in 1960s New York grapples with his identity, his past, and the changing world around him. |
| In the golden age of advertising, a creative genius must confront the dark side of the American Dream and his own inner demons. |
| As the world of advertising undergoes a transformation, a group of men and women navigate the complexities of their personal and professional lives. |
| A woman challenges the male-dominated world of advertising, seeking success and fulfillment in a society bound by traditional gender roles. |
| Behind the glamorous facade of Madison Avenue, a group of ad-men and women grapple with existential questions about happiness, identity, and the true meaning of success. |
| In 1960s New York, a brilliant but troubled advertising executive navigates the high-stakes world of Madison Avenue while grappling with the complexities of his own identity and personal life. |
| As the advertising industry faces increasing scrutiny and regulation, a talented creative director must find innovative ways to sell his clients' products while wrestling with his own moral and existential dilemmas. |
| A group of ambitious, driven individuals in the 1960s New York advertising world clash and conspire as they strive to climb the corporate ladder and maintain their hold on power. |
| In the cutthroat world of 1960s Madison Avenue, a young woman joins a prestigious advertising firm and must navigate the gender dynamics and power structures of the industry while discovering her own inner strength. |
| A captivating character study that delves into the personal lives and psychological complexities of the men and women who fueled the golden age of American advertising in the 1960s. |
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Scene by Scene Emotions