document_title: M&M's

question_text: when did they stop making light brown m&m

question_tokens: when did they stop making light brown m&m

text: M&M's

text: History[edit]

text: Forrest Mars, Sr., son of the Mars Company founder, Frank C. Mars, copied the idea for the candy in the 1930s during the Spanish Civil War when he saw soldiers eating British made Smarties, chocolate pellets with a colored shell of what confectioners call hard panning (essentially hardened sugar syrup) surrounding the outside, preventing the candies from melting. Mars received a patent for his own process on March 3, 1941.[7] Production began in 1941 in a factory located at 285 Badger Avenue in Clinton Hill, Newark, New Jersey. When the company was founded it was M&M Limited.[8] The two "Ms" represent the names of Forrest E. Mars Sr., the founder of Newark Company, and Bruce Murrie, son of Hershey Chocolate's president William F. R. Murrie, who had a 20 percent share in the product.[9] The arrangement allowed the candies to be made with Hershey chocolate, as Hershey had control of the rationed chocolate at the time.[10]

text: The demand for the candies during World War II caused an increase in production and its factory moved to bigger quarters at 200 North 12th Street in Newark, New Jersey, where it remained until 1958 when it moved to a bigger factory at Hackettstown. During the war, the candies were exclusively sold to the military.[11]

text: In 1949, the brand released the tagline "Melts in your mouth, not in your hand."[12]

text: In 1950, a black "M" was imprinted on the candies giving them a unique trademark. It was changed to white in 1954.[8]

text: In the early 1950s, the Midwest Research Institute (now MRIGlobal) in Kansas City, Missouri, worked on behalf of M&M's to perfect a process whereby 3,300 pounds (1,500 kg) of chocolate centers could be coated every hour.[13]

text: Peanut M&M's were introduced in 1954 but first appeared[14] only in the color tan. In 1960, M&M's added the yellow, red, and green colors.

text: In 1976, orange was added to the M&M rainbow to replace red, which was discontinued due to the red dye scare over Red Dyes #2 and #4 having been evaluated to be carcinogenic in nature. In spite of the fact that M&M's had used the less controversial Red Dye #40, the public was wary of any food being dyed red. Red M&M's were re-introduced in 1987.

text: In the 1980s, M&M's were introduced internationally to Australia, Canada, Europe, Hong Kong, Japan, Malaysia, and the United Kingdom.[15]

text: Although they were marketed and then withdrawn in the 1960s, almond-centered M&M's were available again in 1988 in limited release, with appearances only during Christmas and Easter times; they became a standard part of the product line in 1992.

text: Also in 1986, M&M's launched Holidays Chocolate Candies for Easter and Christmas, with the Easter candies having bunny, chick, and egg symbols on pastel-colored shells, and the Christmas candies having pine tree, bell, and candle symbols on red and green shells; with the latter also having a special mint flavor. By 1993, the holiday symbols were replaced with the standard trademark "M".

text: In 1991, Peanut Butter M&M's were released. These candies have peanut butter inside the chocolate center and the same color scheme as the other varieties. As of at least 2013, the size of the peanut butter M&M has become slightly smaller.

text: In 1995, tan M&Ms were discontinued to be replaced by blue.[16]

text: In 1996, Mars introduced "M&M's Minis", smaller candies usually sold in plastic tubes instead of bags.[17]

text: In 1999, Crispy M&M's were released. They were slightly larger than the milk chocolate variety and also featured a crispy wafer center. They were discontinued in the United States in 2005 and remained available in Europe, and Southeast Asia. In January 2015, they returned to production in the United States.

text: In July 2001, Dulce de Leche M&M's were introduced in five markets with large Hispanic populations: Los Angeles, California; San Diego, California; Miami, Florida; Mcallen-Brownsville, Texas; and San Antonio, Texas.[18] The flavor never became popular with the Hispanic community, who preferred existing M&M's flavors, and it was discontinued in most areas by early 2003.[19]

text: In 2010, Pretzel M&M's were released. They contain a crunchy, salty pretzel center inside of the chocolate coating and are about the same size as the Peanut M&M's, but their shape tends to be more spherical.

text: In 2013, the M&M's chocolate bar was re-released. It was originally released in 2004 and named M-Azing.

text: In 2014, Mega M&M's were re-introduced. Before then, the 'Mega M&M's' had been released in 2007 promoting the Shrek Movies, being dubbed "Ogre-Sized M&M's".

text: In 2015, Crispy M&M's were re-introduced in the United States. They had remained available continuously in Europe and Australia.

text: In 2016, the M&M cookie was re-introduced in the United States.

text: Also in 2016, the M&M's flavor vote was created in which the fans could vote for either honey, coffee, or chili nut M&M's to go with peanut M&M's. Coffee Nuts was announced as the winner by VEEP's Tony Hale [20]

text: In April 2017, M&M's chocolate blocks went on sale in Australia. Six varieties (milk chocolate, strawberry, crispy, hazelnut, crispy mint and almond) are available.

text: Also in 2017, Caramel M&M's were released in the United States.[21]

text: Varieties[edit]

text: M&M's varieties have included the following sizes and fillings. Note that some have only been made available for a limited time, such as white cheesecake for Easter, pumpkin spice or white candy corn for Halloween, and White Strawberry Shortcake for Valentine's Day.

text:
sizes: regular (in the following flavors), minis, mega (×3 the chocolate) and the "chocolate bar".
chocolate: milk chocolate, dark chocolate, white chocolate
nut: peanuts, almonds, peanut butter, dark chocolate peanut, strawberried peanut butter, strawberry nut
spice and herb: mint chocolate, cinnamon, pumpkin spice, white chocolate peppermint, holiday mint, gingerbread, mint crisp, pumpkin spice latte, mocha, coffee nut, honey nut, and chili nut.[22]
fruit: orange chocolate, cherry, raspberry, cherry cordial, pineapple, coconut, candy apple
dessert: pretzel, birthday cake, white chocolate candy corn, red velvet, dulce de leche, white chocolate carrot cake, vanilla shake, crispy, three milks (tres leches), pecan pie, and caramel.
colors: Easter regularly sees pastel-colored candies and Christmas bags have green and red only

tag: ul

text: Marketing[edit]

text: Over the years, marketing has helped build and expand the M&M's brand. Computer-animated graphics, personification of the candies as characters with cartoon-like storytelling, and various merchandising techniques including the introduction of new flavors, colors and customizable merchandise have helped to increase the brand's recognition as a candy icon.

text: E.T.: The Extra-Terrestrial[edit]

text: In 1982, the Mars candy bar company rejected the inclusion of M&M's in the new Steven Spielberg movie E.T.: The Extra-Terrestrial. Competitor Hershey, on the other hand, took a chance with their Reese's Pieces, which is similar to M&M's but contains a peanut butter filling, and with the blockbuster success, its candy sales dramatically increased, perhaps by as much as 300%.[23]

text: Marketing campaigns[edit]

text: In 1990, M&M's exhibited at New York's Erie County Fair a life-size fiberglass cow covered with 66,000 M&M candies—each adhered by hand with the "m" logo on each candy facing outward. According to a website run by the cow's designer, Michael Adams, the stunt earned M&M Mars $1 million in free publicity because it was reported on by Newsweek magazine, as well as the New York Post, UPI and WABC-TV, and Live with Regis.[24]

text: In 1995, the company ran the M&M's Color Campaign, a contest in which participants were given the choice of selecting purple, blue, or pink as the color of a new variety of M&M's. The announcement of the winning color (blue) was carried on most of the television networks' news programs as well as the talk shows of David Letterman and Jay Leno.[25] As part of the contest results, the company had the Empire State Building lighted in blue.[25] Although the financial details of these deals were not disclosed and neither was the campaign's effect on sales, one marketing book estimated that the company "collected millions" in free publicity and that the campaign "certainly" resulted in an increasing of the brand's awareness.[25]

text: In 1998, M&M's were styled as "The Official Candy of the New Millennium," as MM is the Roman numeral for 2000. This date was also the release of the rainbow M&M's, which are multi-colored and filled with a variety of different fillings.

text: In 2000, "Plain" M&M's (a name created in 1954 when "Peanut" M&M's were introduced) were renamed "Milk Chocolate" M&M's, and pictures of the candy pieces were added to the traditional brown and white packaging.[26]

text: Joint marketing campaigns[edit]

text: In 1990, Mars Snackfood US signed up to be a sponsor for NASCAR in the Sprint Cup Series. Drivers for the M&M's-sponsored car through the years have included Ernie Irvan (1999), Ken Schrader (2000–02), Eliott Sadler (2003–06), Ricky Rudd (2007), David Gilliland (2006–07), Kyle Busch (2008-current, won 2015 Sprint Cup Series Championship), and Michael McDowell.

text: The introduction of the blue M&M to Australia was promoted by the Australian Football League's Carlton Football Club, which wore sky-blue colored guernseys in one of its matches in 1997 instead of its traditional navy blue – a color which the successful and fiercely traditional club had worn since the 1870s.[27] In 2010, Mars Snackfood Australia described it as the most successful promotional campaign it had ever engaged in.[28]

text: In April 2005, M&M's ran the "mPire" promotion to tie in with the Star Wars: Episode III – Revenge of the Sith movie release. M&M's were offered in dark chocolate varieties (Regular and Peanut) for the first time after a string of Addams Family M&M's commercials.

text: In May 2004, M&M's ran a Shrek 2 promotion to tie in with the movie's release. M&M's were offered "ogre-sized" (65% larger) in swamp/ogre colors. They were sold at many stores displayed in huge cardboard-cutout ogre displays.

text: In the summer of 2005, Mars added "Mega M&M's" to the lineup.[29] These candies, at 55% larger than the traditional M&M's, were a little smaller than the ogre-sized version. They were available in milk chocolate and peanut varieties. The colors for Mega M&M's were changed to less-bright colors, ostensibly to appeal to older consumers: teal (replacing green), beige (replacing orange), maroon (replacing red), gold (replacing yellow), blue-gray (replacing blue), and brown.

text: In July 2006, Dark Chocolate M&M's reappeared in a purple package, followed in 2007 by Dark Chocolate Peanut M&M's. Also in 2006, the company piloted White Chocolate M&M's as a tie-in with their "Pirates of the Caribbean" promotion. The company also offered eight new flavors of M&M's via online sales, as well as at M&M's World locations: "All That Razz"; "Eat, Drink, & Be Cherry"; "A Day at the Peach"; "Orange-U-Glad"; "Mint Condition"; "AlmonDeeLicious"; "Nut What You Think"; and "Cookie Monster". Mars also released a "Crispy Mint" variety in Australia that year.

text: Also in 2006, M&M's became the official chocolate of NASCAR.

text: In 2007, M&M's introduced a limited-edition raspberry flavor called "M&M's Razzberry Chocolate Candies".

text: Also in 2007, M&M's produced a 50-foot, smiling Lady Liberty M&M statue to kick off a campaign encouraging Americans to create their own M&M characters at mms.com. The website allows for people to log in and create their own character from scratch. They can choose features such as the color, shape, hair, and accessories.

text: In 2008, two limited-edition varieties of the candy were introduced – "Wildly Cherry" M&M's, and, as a marketing tie-in with the film Indiana Jones and the Kingdom of the Crystal Skull, "Mint Crisp" M&M's.

text: M&M's also introduced another new product called "M&M's Premiums" in 2008. They come in five flavors – chocolate almond, mint chocolate, mocha, raspberry almond, and triple chocolate (milk, dark, and white chocolate), which are sold in small upright cartons with a plastic bag inside. M&M's Premiums do not have a candy shell but are coated with carnauba wax and color. Dark Chocolate was added in 2009, replacing Mocha.

text: During the summer of 2008, My M&M's launched 'Faces,' which allows consumers to print the faces of loved ones on M&M's chocolate candies at mymms.com.

text: In February 2009, M&M's launched the "M&M's Colour Break-Up" promotion in Australia where M&M's were sold in separate packs (one for each color): the packs included a code to win prizes.[30]

text: In Summer 2009, M&M's launched a limited-edition "Strawberried Peanut Butter" variant to tie in with the release of Transformers: Revenge of the Fallen. In addition, M&M's launched a limited edition "Coconut M&M's," which became a permanent item in 2010.

text: In early 2010, M&M's Bare All were released as part of a competition in Australia and New Zealand.[31] M&M's Bare All winning packs were ordinary M&M's, but without colored shells. An official website was launched, along with television advertisements.[citation needed] In April 2010, M&M's launched a new pretzel variety.[32]

text: In November 2011, Mars released M&M's Cinnamon Milk Chocolate for Christmas.

text: About the time pretzel M&M's came out, the M&M's wrapper designs in the U.S. were redone, from the old design, used from 2004-early 2010.

text: In 2012, M&M's released two new Dark Chocolate flavors: Raspberry and Mint. Also that year, M&M's released a White Chocolate flavor for the Easter season. From May 30, 2012, onwards, M&M's will be launched in Macau. Its Macanese launch language is Portuguese. In 2012, Peanut M&M's were produced in the UK in a limited edition "Red, White and Blues only" pack, in connection with the country's Diamond Jubilee and 2012 Summer Olympics. The 'M' remains white on the white candies. The commercial advertising this promotional package had Yellow donning various outfits of British stereotypes to try to get into the limited edition pack. Similarly, to promote the 2014 FIFA World Cup, Peanut M&M's were produced in a pack that contained only green, yellow, and blue candies, dubbed "Brazilian M&M's" in reference to the colors of the flag of Brazil. "Brazilian M&M's" were re-released in 2016 to promote the 2016 Summer Olympics, but are now available in both Chocolate and Peanut.

text: In 2013, M&M's launched the "Better with M" campaign, which included cause-related marketing. The campaign worked with Habitat for Humanity and encouraged fans to use a Facebook app to volunteer at the various sites where the homes were being built.[33] The advertising campaign was one of the largest that Mars had ever executed.[33] The 2013 "America Better With M" initiative sough to provide money directly to Habitat for Humanity through offering limited versions of M&Ms in red, white and blue.

text: Related brands[edit]

text: Related candy brands from Mars include Minstrels, Revels, Skittles, and Treets.

text: M&M's World specialty shops have been established in some locations, including Las Vegas, Orlando, New York, London, and Shanghai.

text: Several M&Ms-themed video games have been created. The first was M&M's: The Lost Formulas, released on September 28, 2000.

text: M&M's characters[edit]

text: Early black-and-white adverts for the candy in 1954 featured two talking, anthropomorphic M&M characters—one plain and one peanut—diving into a swimming pool full of chocolate.[34]

text: The first incarnation of the characters in CGI was a 1994 celebrity campaign which had the characters interacting with celebrities on which M&Ms candy color is their favorite. This campaign was created by Blue Sky Studios. Concurrent with 1995's blue M&M campaign, M&M's introduced second computer-animated "spokescandies" in their television commercials. The depiction and campaign of the M&M's were made by Will Vinton in 1995. Vinton previously created the clay-animation California Raisins in 1986. Around the time he worked on CGI projects, he made the depiction of the M&M's as more mature than most food mascots. These include the team of the cynical and sardonic Red (originally voiced by Jon Lovitz, thereafter Billy West[35]) who is the mascot for milk chocolate, peanut butter, and crispy M&M's, and the happy and gullible Yellow (originally voiced by John Goodman, thereafter J.K. Simmons), who is the mascot for peanut M&M's (he was originally known as "Peanut" when first introduced). Other mascots include the "cool one", Blue (voiced by Phil Hartman until his death in 1998, thereafter Robb Pruitt) who is the mascot for almond M&M's; the seductive Green (voiced by Cree Summer), who is the mascot for both dark chocolate mint and peanut butter M&M's, and the slightly neurotic Orange (voiced by Eric Kirchberger), who was introduced when Crispy M&M's were first released and returned when Pretzel M&M's debuted in 2010. Orange, upon his return, was joined by the second non-M&M mascot, Pretzel Guy, who "supports" him and offers helpful advice as he hates the idea of having a pretzel put inside his body.

text: Other mascots that were introduced, but no longer used, are Almond, the original green guy; Orange, a female peanut character, Chocolate Bar; the first non-M&M character that always gets foiled or outdone by Red and Yellow by being melted when M&M's can't, and the Swarmees for M&M's Minis candies, which are portrayed as destructive yet crafty troublemakers who Red and Yellow are always trying unsuccessfully to contain.

text: Female M&M's mascots were introduced in 1995. Green was the milk chocolate mascot and Tan was the peanut. Marketing discontinued Tan when they introduced the then-new Blue mascot. Green was the only female M&M's mascot from her introduction in 1995 until 2012 when M&M's unveiled a new additional spokescandy, the businesslike Ms. Brown (voiced by Miss America 1984 Vanessa Williams), the "Chief Chocolate Officer."[36] She made her debut in a Super Bowl XLVI advertisement, where several people at a party assume she is naked because her shell is the same color as her insides, which causes Red to remove his outer shell thinking "it's that kind of party", and start dancing to the LMFAO song "Sexy And I Know It."

text:
Color
Character
Type
Voice actor

Red
Red
Milk Chocolate, Dark Chocolate, Peanut Butter, and Crispy
Jon Lovitz (1995–96)
Billy West (1996–present)

Yellow
Yellow
Peanut, and Dark Chocolate Peanut
John Goodman (1995–96)
J. K. Simmons (1996–present)

Blue
Blue
Almond, Raspberry, and Dark Chocolate
Phil Hartman (1995–98)
Robb Pruitt (1998–present)

Green
Green
Dark Chocolate, Dark Chocolate Mint, and Peanut Butter
Cree Summer

Orange
Crispy
Crispy and Pretzel
Eric Kirchberger

Brown
Ms. Brown
Dark Chocolate and Milk Chocolate
Vanessa Williams

Tan
Caramel (cube)
Caramel
David Cross

N/A
Pretzel
Pretzel
Maurice LaMarche

text: Color changes in chocolate M&M's[edit]

text: The original color of M&M's candies are red, yellow, violet, green and orange.[12]

text: In 1976, the Food and drug Administrtion released a study that links red dye food coloring to cancer. Though Mars did not use this dye they decided to pull the red M&M's from the market to avoid possible misunderstandings. The red candy were reintroduced to the market ten years later.[12]

text: In early 1995, Mars ran a promotion in which consumers were invited to vote on which of blue, pink, or purple would replace the tan M&M's. Blue was the winner with 54% of the votes.[37] It replaced tan in late 1995. Consumers could vote by calling 1-800-FUN-COLOR. Ads for the new blue colors featured a plain and an almond blue M&M character as Red and Yellow take notice of trying to do takes in the commercial by painting themselves blue where they appear on stage with B.B. King singing the blues, but the filmmakers had to cut the scene as they were not the real blue M&M's; another featured Red and Yellow holding their breath to look like the new blue M&M's, where Steven Weber sees the three M&M's, Red, Yellow, and Blue; and one more featuring Weber talking to the blue M&M if he had dived into the chocolate pool, but did not.

text: In 2002, Mars solicited votes in their first ever "M&M's Global Color Vote" to add a new color from three choices: aqua (turquoise), pink, and purple. Purple won and was featured for a limited time. To help the colors get votes, Ken Schrader and his MB2 Motorsports team, who was sponsored by M&M's at the time, ran four paint schemes during the 2002 NASCAR Winston Cup Series season representing the promotion (one for aqua, one for pink, one for purple, and another one with all three colors on the car.) Specially marked packages of M&M's were released in Japan. Finding a bag of all purple M&M's entitled the customer to a prize of 100 million yen (equivalent to approximately USD $852,000).

text: On January 1, 2004, at the stroke of midnight, Mars removed all of the colors of M&M's and made them black-and-white on both their candies and the packaging. It coincided with a commercial parodying The Wizard of Oz where Dorothy is home in bed and looks out of the window and sees what the colors of the four M&M's were. The goal was to help the M&M's find their colors in black-and-white packages of M&M's, in this order: brown, orange, red, green, yellow, and blue. After all of the colors have been found, the colored packaging returned, and began carrying the theme "Chocolate is better in color".

text: Since 2004, M&M's have been available online in 17 colors, with personalized phrases on each candy on the opposite side from the "m".[38] Released around Christmas, these custom-printed M&M's were originally intended for holiday greetings, but are now available all year round.

text: For the 2008 Valentine's Day season, Mars introduced all-green bags of M&M's. This was due to common urban folklore that says green M&M's are an aphrodisiac.[39] They were brought back for 2009 alongside the "Ms. Green Heats Up Valentine's Day" contest.

text: In October 2011, Mars released M&M's White Chocolate Candy Corn exclusively in the United States for Halloween. These candies come in three candy corn inspired colors: white, bright yellow, and bright orange.

text: The following is a summary of the changes to the colors of the flagship (milk chocolate) flavor of M&M's, the only filling manufactured continuously since the beginning of the brand. From 1941 until 1969, each package contained M&M's in five different colors; when red M&M's were reintroduced in 1987, they were added as a sixth color instead of replacing any of the existing colors.

text: Health concerns[edit]

text: Red candies were eliminated in 1976[40] because of health concerns over the dye amaranth (FD&C Red #2), which was a suspected carcinogen, and were replaced with orange-colored candies. This was done despite the fact that M&M's did not contain the dye; the action was purely to satisfy worried consumers. Red candies were reintroduced ten years later, but they also kept the orange colored M&M's. Paul Hethmon, then a student at University of Tennessee, started the campaign to bring back red M&M's as a joke that would eventually become a worldwide phenomenon.[41]

text: In Europe, red M&M's contain the red dye carmine (E120).[42] Carmine, also known as cochineal, has had some campaigns launched against its use in food, because it is made from crushed insects. Notably, Starbucks in the UK had a campaign launched against it for using carmine.[43]


document_title: Gun laws in Indiana

question_text: how old do you have to be in indiana to buy a gun

root

text: Gun laws in Indiana

text: Summary table[edit]

text:
Subject/Law
Long guns
Handguns
Relevant Statutes
Notes

Permit to purchase?
No
No
None

Firearm registration?
No
No
None

Assault weapon law?
No
No
None

Magazine capacity restriction?
No
No
None

Owner license required?
No
No
None

Carry license required?
No
Yes
IC 35-47-2-3
Shall-Issue. Officially "License to Carry Handgun", which covers concealed and open carry.
As of July 1, 2017, persons who a) are at least 18 years old, b) are protected by a protection order, c) have applied for a license, and d) are not prohibited from possessing a handgun may carry a handgun without a license for 60 days from the date of the protection order being issued.[1]

Open carry?
Yes
Yes
IC 35-47-2-3
May carry openly with license.
On May 9, 2017, the Indiana Supreme Court ruled that detaining an individual based solely upon their possession of a handgun (in order to verify that they are licensed) violates the Fourth Amendment absent any other reasonable articulable suspicion of a crime being committed.[2]

Vehicle carry?
Yes
Yes
IC 35-47-2-3
May carry in a vehicle with license. [3]

State preemption of local restrictions?
Yes
Yes
IC 35-47-11.1-2
Enacted in 2011

NFA weapons restricted?
No
No
IC 35-47-5-10
Federal laws observed.

Shall certify?
Yes
Yes

Shall certify within 15 days.[4]

Peaceable journey laws?
No
No
None
Federal rules observed.

Castle Doctrine law?
Yes
Yes
IC 35-41-3-2
No duty to retreat from dwelling, curtilage, or occupied motor vehicle.

Duty to inform?
No
No
IC 35-47-2-24
Indiana law does not require one to disclose possession of a firearm on contact with Law Enforcement.

Background checks required for private sales?
No
No
None

Red flag law?
Yes
Yes
IC 35-47-14-6(b)
The police may temporarily confiscate firearms from people who are threatening to harm themselves or others, and then get a court order afterwards.

tag: table

text: State preemption[edit]

text: Local laws regulating the possession and ownership of ammunition, firearms and shooting accessories are prohibited per IC 35–47–11.1–2, subject to the exemptions listed in IC 35–47–11.1–4. (New provisions effective 2011 Jul 01.)

tag: p

text: Carrying handguns[edit]

text: Indiana requires a license for most methods of carrying a handgun. Indiana laws are silent concerning the manner of carry; therefore, the laws cover open carry, concealed carry, vehicle carry, and locked case carry. There are exceptions for carrying a handgun unloaded, not readily accessible, and secured in a case in a vehicle, on your own property, from place of purchase and to a firearm range for the purpose of practice.[5]

text: Indiana is a "shall issue" state for the License To Carry a Handgun.[6] A license to carry will be issued to individuals age 18 or older who meet a number of legal requirements. Currently both limited term and unlimited lifetime licenses are available.

text: Grounds for disqualification include a conviction for a felony or for misdemeanor domestic battery. A license can also be denied if the applicant has been arrested for a violent crime and "a court has found probable cause to believe that the person committed the offense charged". Documented substance abuse within a certain time frame is a disqualifier, as is documented evidence of any given person's "propensity for violent or emotionally unstable conduct."

text: Indiana residents, or non-residents with a "regular place of business" in Indiana, must obtain an Indiana license. Application for a license must be made to the local police department, or absent that, to the county police department. Four-year and lifetime permits are issued for Indiana residents. Out-of-state residents may only be issued four-year permits, minus Active Duty Military who become stationed in Indiana. Active Duty military stationed in Indiana can apply for lifetime permits through their local city or county police department.

text: Indiana law stands mute vis-à-vis long gun carry. There are some Department of Natural Resources (DNR) rules, but these only apply on DNR properties or to hunters. Generally speaking, possession of long guns is legal whether the gun is either on one's person or in one's motor vehicle, loaded or not, concealed or not. There are additional rules regarding firearms possession on ATVs and snowmobiles.

text: Restricted locations[edit]

text: It is illegal to carry a concealed weapon, even sporting arms, on school property (K-12 and day care) or on a school bus,[7] Lawful gun owners may have guns in their vehicles on school property provided the gun is stored out of plain sight in the person's locked motor vehicle[8] or that the driver is only transporting someone to, or from, a school event. It is also illegal to carry on a commercial airplane or in the controlled section of an airport,[9] on a riverboat gambling cruise, at the Indiana State Fair, courthouses and the Indiana Statehouse and Government Center. Carrying on Army Corps of Engineers property which include Brookville Lake, Cagles Mill Lake, Cecil M. Harden Lake, J. Edward Roush Lake, Mississinewa Lake, Monroe Lake, Patoka Lake, and Salamonie Lake is restricted according to CFR Title 36, Chapter 111, Part 327.[10]

text: Private businesses may restrict or forbid firearms on their properties. However, a 2010 law prohibits employers from discharging employees for in-vehicle firearms possession on business property.[11] Furthermore, an employer may not ask any employee about the possession of firearms and/or ammunition.[12]

text: Ownership and purchase[edit]

text: Firearms dealers or private individuals may not sell any firearm to someone less than 18 years old, or less than 23 years old if the buyer was "adjudicated a delinquent child for an act that would be a felony if committed by an adult", or to a person who is mentally incompetent or is a drug or alcohol abuser.[citation needed]

text: All NFA-regulated weapons and devices are legal in Indiana.

text: Reciprocity[edit]

text: Indiana honors all other states handgun licenses, though not all other states honor Indiana's license.[13] Because there is no obligation for one state to notify another state of any change in their gun laws the Indiana State Police does not attempt to track this information. An Illinois Firearms Owners Identification (FOID) card allows Illinois residents to purchase and possess firearms and ammunition. The FOID is not a permit to carry a handgun, therefore it is not honored as such by Indiana,[14] but the Illinois license to carry a concealed firearm, first issued in February 2014, is honored like that of any other state.

text: The following states have established arrangements where they recognize or honor permits or licenses issued by the State of Indiana: Alabama, Alaska, Arizona, Arkansas, Colorado, Florida, Georgia, Idaho, Iowa, Kansas, Kentucky, Louisiana, Michigan, Mississippi, Missouri, Montana, New Hampshire, North Carolina, North Dakota, Ohio, Oklahoma, Pennsylvania, South Dakota, Tennessee, Texas, Utah, Vermont, Wisconsin, and Wyoming.[15]

text: Firearm (Handgun) License Statistics[edit]

text: In January 2013, the Indiana State Police Firearms Section began publishing quarterly reports that show the number of active handgun licenses held by Indiana residents. As of December 31, 2015, there were 661,334 active licenses to carry firearms issued by Indiana, with 23.8% being issued to females. In 2015, 5.4% of all applicants were rejected for various reasons, 15.5% of rejected applicants being female. [16]

text: Loss of Firearm Rights[edit]

text: Both Indiana and Federal laws restrict purchase and possession under certain circumstances. Federal law prohibits possession of firearms for life by those convicted of felonies and for those convicted of misdemeanors involving domestic violence. Indiana law prohibits as follows:

text:
IC 35-47-2-1 prohibits carrying handguns or possession within dwelling by those convicted of domestic battery.
IC 35-47-4-6 states that it is a Class A misdemeanor for a person convicted of domestic battery to possess a firearm.
IC 35-47-2-7 prohibits transfer or sale of firearms to any person with a felony conviction.
IC 35-47-4-5 prohibits possession of firearms for convictions of “serious violent felonies”.

text: While Indiana law mirrors federal law for the most part, it does not ban those with non-violent felonies from possession of firearms. Therefore, a person with a non-violent felony in Indiana would be allowed to possess a firearm under Indiana law, but because federal law prohibits possession in this instance, that person would be unable to purchase a firearm since purchasing a firearm is subject to federal law and a NICS background check. [17]

text: Restoration of Firearm Rights[edit]

text: Because firearm rights are governed by state and federal law, whether someone can restore those rights can be a tricky question even for an attorney to answer. In some circumstances a person might be able to restore their Indiana rights while not fully restoring their federal rights.

text: For those barred from possession because of a conviction for domestic battery, Indiana Code § 35-47-4-7 allows one to petition the court for restoration of the right after 5 years from the date of conviction.

text: Restoration of rights for those convicted of felonies is usually barred by federal law. This arises because federal law does not recognize expungements as restoring firearm rights if the expungement does not fully satisfy federal law by fully sealing the conviction so that it cannot be used in subsequent proceedings. Therefore, while an Indiana expungement restores civil rights (except for domestic battery, which requires a separate petition), it does not restore one’s federal rights. The only exception is for non-violent Class D felony convictions. Because Indiana law allows those with non-violent Class D felony convictions to petition the court to reduce the felony to a Class A misdemeanor, unless a person was barred by other convictions, a successful reduction will restore a person’s rights under federal and state law. [18]

text: Other laws[edit]

text: In Indiana, the police may temporarily confiscate firearms from people who are threatening to harm themselves or others. No warrant or judge's signature is necessary. The police must submit a written statement describing why the person whose guns were seized is considered dangerous, and the person can respond at a hearing. Within 14 days a judge must agree that probable cause exists, or the person's guns must be returned.[19][20][21][22]

text: Cartridges that "can be fired in a handgun" that have "a projectile that has a metal core and an outer coating of plastic" are prohibited. "This section does not apply to nylon coated ammunition, plastic shot capsules, or ammunition designed to be used in rifles or shotguns."

text: Indiana provides lawsuit protection to law-abiding manufacturers, sellers, and trade associations for the misuse of firearms by third parties. Lawsuits are permitted for cases of damage or injury caused by defective firearms or ammunition, or breach of contract or warranty.[23]

text: Indiana's law about self-defense (and the defense of others) can be found at Indiana Code, Title 35, Article 41, Chapter 3–2.

text: Suppressors are legal in the state of Indiana with the correct provisions and tax stamps to the correct federal entities and may be used for hunting.

text: The information in this article is either directly stated (or inferred) from Indiana Code, Title 35, Article 47, Chapters 1–14, Title 34, Article 28, Chapter 7 and Title 34, Article 12, Chapter 3.


document_title: Tony DiNozzo and Ziva David

question_text: what does tony say to ziva at the end of nine lives

question_tokens: what does tony say to ziva at the end of nine lives

text: Tony DiNozzo and Ziva David

text: Casting and concept[edit]

text: Michael Weatherly was cast for the role of Anthony "Tony" DiNozzo in 2003 and appeared in every episode of the show's first 13 seasons. The character is portrayed as "complex": he is a former Baltimore homicide detective with a "heroic spirit"[6] as well as a "total dinosaur in terms of sexual politics".[7]

text: In the second season finale, NCIS series regular Caitlin Todd was killed off after Sasha Alexander, her portrayer, decided to permanently leave the show.[8] Shortly afterwards, series creator Donald P. Bellisario voiced intentions to replace Todd with another female lead, whom he stated would be "someone foreign who brings a whole new attitude".[9] He expressed hopes that the new character would be drastically different from Todd,[10] who was "kind of uptight".[9]

text: One aspect Bellisario wanted to change was the way the character would interact with Tony. Though Tony and Kate had a "wonderful dynamic",[9] he ultimately thought that "[she] treated [him] like a big brother" and decided "to bring in a character that causes Tony to have to sit back and not quite be able to handle her".[11]

text: Cote de Pablo, who was one of the last to audition,[12] was set to perform opposite Michael Weatherly to test for chemistry.[5] Weatherly improvised during the audition by brushing her hair back and commenting, "You remind me of Salma Hayek."[13] De Pablo, who was initially upset by the departure from the script, stayed in character and "dismissed him completely".[5] She later said in an interview, "He totally did it with the other [actresses]. One other girl sort of flirted back with him, and she was sort of open. Which is what actors do! They're sort of open. But I got lucky and got the part because I responded the way they felt was right."[13]

text: According to Bellisario, CBS chief executive Leslie Moonves "took one look at her and said, Wow!"[8] Co-executive producer Charles Floyd Johnson commented, "When you get actors who really listen and respond organically in the moment to what they're hearing, sometimes magic happens. They really seemed to get that immediately, and that doesn't always happen."[5]

text: Producers eventually decided to make de Pablo's character, who was given "the arresting name of Ziva David",[8] an Israeli agent.[5] Bellisario had previously discussed possibly scripting her as European or Australian.[9] She is introduced as having a soldier mentality[14] and as "[someone] who was comfortable in her own sexuality and used to working with men on an equal footing".[12]

text: Development[edit]

text: Early seasons[edit]

text: Tony and Ziva first meet in the "Kill Ari" two-part story arc at the beginning of Season 3 during the manhunt for Ari Haswari, Kate's killer and Ziva's half-brother.[15] Michael Weatherly and Cote de Pablo both point to "Under Covers", the eighth episode of that season, as the catalyst for the flirtation between the characters.[16][17] The episode involves Tony and Ziva being sent undercover as a married couple, an assignment that requires them to simulate sexual relations in order to solidify their cover.[18] De Pablo commented, "Michael and I talked about all of those scenes right before we did them. We had a totally different way of looking at it. In our minds, we thought the characters weren't faking anything. They just got carried away. Then all of the sudden after that, they saw each other in a different light."[17] Weatherly discussed the creation of the "Under Covers" scenario:

text: "This episode was so much fun to shoot. Cote de Pablo, who plays Ziva, came to me right before we were shooting the first scene where we kissed, and said, 'I've never kissed anyone on camera before.' I was expecting this timid little bird kiss, like a little peck, but she was like a lioness—she practically ate my head off! This is where TIVA (Tony+Ziva) started. We were told to really have fun with it, they wanted a sexy thing happening, and Cote delivered. I was just sort of along for the ride. And let's be honest, three out of the four letters in 'TIVA' are from Ziva, so what is the 'T' then? The crucible, is it the cross? I don't think so."[16]

text: At the time, Bellisario said that he "kind of [likes] what's going on now" and that it was unlikely that the relationship would be taken further any time in the immediate future.[11] De Pablo agreed, saying, "I would think if the characters get together, the whole mystery would be done. I think it will be a lot more fun to play the tension."[11] She elaborated in another interview, "My character has sort of this understated flirtation with Michael's character, Tony. She gets jealous, but I think she would never admit it or hook up with someone in the workplace. He scares her to death. He is the epitome of the American man and all of the things that come out of his mouth are brutally stupid."[14]

text: Tony is renowned for his juvenile sense of humor and "commitment phobias"[4] while Ziva is characterized as "a tease" early on, a factor that de Pablo enjoyed playing "because [she's] so not that in real life".[19] Some aspects of Ziva's personality disturb him, such as the fact that she sleeps with a gun in her hand and snores very loudly.[20][unreliable source?] However, as co-workers, they respect each other despite their frequent exchange of sarcastic remarks. Both have had a string of failed romances.[4][21]

text: Team leader Gibbs (Mark Harmon) resigns in Hiatus (Part II), the third season finale, and appoints Tony as his replacement.[22][better source needed] During the 2006 summer break, it was reported that Ziva would fall under suspicion of being a spy in the fall premiere,[19] and in the opening episode, "Shalom", she is framed by the Iranian government for the murder of a terrorist in FBI custody and the two agents guarding him.[23] When she initially goes to the Israeli embassy to report their deaths, which she witnessed, Mossad Officer Michael Bashan asks her directly, "Did you or did you not sleep with him?" In response to her confusion, Bashan tells her that he knows that Tony has been visiting her apartment at least once a week for the past three months and that Mossad officers have been spying on her, evidently on orders from her father, Mossad Director Eli David.[23]

text:
"I think they're just having a lot of fun watching us fight our way through it. I don't care either way and I have no idea. That's the fun aspect of not knowing...being bombarded by all this attraction and seeing them fight it or deal with it the best way possible. They're both very funny. Tony's always trying to hit on women and he doesn't try to hit Ziva. Those moments they get too close they try to brush themselves off and say 'Oh, that didn't happen.'"

—Cote de Pablo[14]

tag: div

text: Throughout the episode, Tony vigorously defends Ziva's innocence to the FBI, as well as berating any agent who dares question her loyalty when her car is found at a bombing in downtown Georgetown. She is eventually cleared of all wrongdoing.[23] Though Ziva never addresses Bashan's accusation and her relationship with Tony is left undefined, there is no overt romantic connection in subsequent episodes.[24]

text: Shortly afterwards, Tony begins dating Jeanne Benoit (Scottie Thompson) and is shown to be on the verge of a serious commitment for the first time within the series.[22] His romance with Jeanne continues to progress throughout the year, and he remains tight-lipped about it when his colleagues notice the change in his behavior. When questioned about the effects this would have on Tony and Ziva's relationship, de Pablo commented, "Am I just being jealous? I don't know. I still love him very much, but I've sort of thrown away that possibility because I think he's really struggling with some immense feelings for somebody else."[3] In an interview with Chicago Tribune, she clarified that Ziva "does have feelings for DiNozzo," but that she was uncertain that this would be addressed.[25]

text: In the Season 4 finale, "Angel of Death", it is made apparent that Tony and Jeanne's relationship was orchestrated by NCIS Director Jenny Shepard (Lauren Holly) in hopes of catching Jeanne's father, an arms dealer, though Tony had fallen in love while on assignment.[22] Jeanne breaks it off following this revelation, and their storyline is ultimately given closure in the fifth season episode "Internal Affairs".[22]

text: Bellisario stepped down as executive producer in May 2007 after series star Mark Harmon threatened to walk due to alleged "overly long production days",[26] and co-executive producer Charles Floyd Johnson and head writer Shane Brennan took over afterwards.[27]

text: Following the fatal shooting of Director Shepard in the fifth season finale, the NCIS team is disbanded by the new Director Vance: McGee is sent to cyber crimes, Ziva is returned to Israel, and Tony is deployed on an aircraft carrier.[28]

text: Michael Rivkin and captivity in Somalia[edit]

text: Season 6 focuses more on Ziva and Tony, but leaves their relationship undefined. Gibbs manages to have Ziva and McGee transferred back to the team in the premiere, but Tony is still acting as agent afloat on the USS Seahawk. In the following episode, Ziva accompanies Gibbs onto the Seahawk as part of a murder investigation and notices that Tony has pictures of her in a bikini pinned up in his room.[29] After the investigation is closed, his deployment is ended prematurely and he is allowed to return to the team in the conclusion of the episode.[29]

text: As the season progresses, Ziva seems to have become involved with someone while in Israel but refuses to discuss it. In "Nine Lives", after she plans a visit to Israel, Tony looks through her desk and finds a picture of an unidentified man (Merik Tadros).[30] Before she leaves, he tells her to have a good trip ("Nisiya Tova") in Hebrew, demonstrating that he had at least made some effort to learn that phrase.[31] In "Cloak", Ziva disobeys Gibbs' orders to not engage during a war game, attacking the guards to defend Tony. Later they both say that they are "tired of pretending": Tony about the politics in the hunt for the mole within the team, which required the team to withhold information from each other, and Ziva for reasons undisclosed.[32]

text: Producers and writers for NCIS were initially divided over how to proceed with Tadros' character. In January 2009, some were suggesting possibly making him a relative of Ziva, an idea Cote de Pablo opposed. It was also proposed that Ziva would "stop toying with [Tony] completely" which would "drive him even more insane". De Pablo relayed, "We're going to play around with the idea that it could possibly be real love, and see how [he] deals with it."[33] In March, executive producer Shane Brennan stated, "You've got what you might want to call a triangle. It's a triangle with very, very pointy ends. Someone's going to get hurt."[34] He continued, "Something tragic will happen to Tony. Something tragic will happen to Ziva as well."[34]

text: This comes to a head when Tadros appeared again portraying Mossad Officer Michael Rivkin in the "Legend" two-part, which also served as a backdoor pilot for the show's spin-off, NCIS: Los Angeles.[34] He arrives in the United States during the NCIS team's hunt for members of a terrorist sleeper cell.[35] Working independently, he draws ire from the agency when he kills suspects rather than bringing them in for questioning. Tony begins to doubt Ziva's loyalty to NCIS when she continues to defend Rivkin, and it becomes apparent by the end of Part II that she is involved in a relationship with him as the two are seen lying together in bed in the last few seconds of "Legend Part 2".[36]

text: More details were released in the days preceding the finale. Michael Weatherly disclosed, "The way this season is ending, and what's gonna happen with Ziva and Tony and Rivkin, it's pretty massive and explosive, and it's gonna span four episodes."[37] De Pablo added, "We could not be farther away from kissing. I'm telling you, it's not 'I hate you' [kissing sound] anger; it's 'I want to kill you' anger. Like, 'I want to shoot you in the head, but instead I'm gonna put my gun on your knee' anger….He does something to her that is almost unforgivable. However, the reason he does it is because he truly believes it's going to help her. Little does he know that he almost kills her."[17] When asked how the storyline would affect Tony and Ziva's interactions, Tadros replied, "I think that love can hurt and heal. In this case, we'll have opportunity to see both of those things take place. I don't want to say too much, but... I think it will only make their connection stronger, as they learn a lot more about each other."[36]

text: Viewers speculated that Ziva's romance with Rivkin was "arranged" and something that she was "trapped" in.[36] Tadros responded:

text: "Well, with the underworld of espionage, you would never really know. They could easily have been paired and had to be in love and then had to learn to love each other.... The way I've always approached it is that Rivkin loves Ziva. They've always wanted to add some suspense and mystery to all of it, but I would always say to the directors, 'How could I not love her?' But he also has a job to do. And so does she. [Executive producer] Shane [Brennan] is a genius, so it's been a great pleasure to just go along for this ride. I'm excited to watch the finale [airing May 19] myself just to see how it all plays out!"[36]

text: Tony confronts a drunken Rivkin at Ziva's apartment in the episode directly prior to the finale. When he attempts to arrest Rivkin for killing the leader of the terrorist cell in Los Angeles and also an ICE agent (which Mossad leader Eli David later reveals was an accident), a fight breaks out between the two men which eventually results in Tony being forced to shoot Rivkin in self-defense due to the fact that Rivkin is about to stab Tony with a piece of glass.[23] Though he had acted in self-defense, Rivkin later succumbs to his injuries and dies with his death having serious repercussions for Tony and Ziva's relationship, culminating in Ziva leaving NCIS to resume working for Mossad in the finale, "Aliyah".[23] She is quickly assigned to take Rivkin's place on a mission to take down a terrorist in Somalia. In the closing moments of the episode, she is shown to have been captured and tortured nearly beyond recognition by a terrorist demanding information on NCIS.[38]

text: Brennan reportedly kept the cliffhanger ending a secret from most of the cast, saying that "those pages were only in one copy of the script".[39] Shortly after "Aliyah" aired, it was assured that Ziva "will be back next season. But she'll be a changed woman."[40]

text: During the summer hiatus, de Pablo admitted that she was to a point tired of the producers teasing the pairing and said, "I wish the writers would just make it easy for us and just say, 'You know, go into the elevator and kiss passionately.' Or, [have us say] say, 'I don't like you.'"[41] She added, "But I've always thought that, deep inside, Tony loves Ziva and Ziva loves Tony, but she's almost ashamed of saying it because he's so stupid. In the best of ways. That personal that he comes out with, that frat boy thing -- he's hiding constantly from the truth. It's just a big facade and she sees right through it."[41]

text: In Season 7 premiere "Truth or Consequences", Tony initiates a mission of revenge against the terrorists believed to be responsible for Ziva's (presumed) death, traveling to Somalia along with Gibbs and McGee to avenge her murder.[42] After intentionally allowing himself to be captured and interrogated, he finds that Ziva is actually still alive, having been held hostage the entire time. Upon being brought into the room to talk to him, she is shown to have been severely beaten and very weak as well as unsure of how to react at Tony's presence. Ziva asks why Tony is in Somalia, saying that he should not have come. Tony, under truth serum, first deflects. When Ziva asks again, he replies, "I couldn't live without you, I guess."[43]

text: Eventually, Gibbs kills their captor with a long range head shot, allowing them to return safely to the US.[43] In the following episode, there seems to be a great degree of awkwardness between them, which is ultimately resolved when Ziva confronts Tony in the men's room and thanks him, saying he would "always have her back" before kissing him on the cheek.[44][45]

text: Recovery and outcomes[edit]

text:
"After all they've both been through, Tony and Ziva are very emotionally cautious around each other and will continue to circle each other warily. They have to get past this trust issue, which is: did Tony kill Ziva's boyfriend because he was jealous or because he actually was a threat? He was a threat, but whether or not Tony was actually jealous, that's up to the viewers to decide!"

—Michael Weatherly, 2009[46]

text: Though Tony and Ziva's "will they/won't they" tension appeared to progress during the first few episodes of the seventh season, Cote de Pablo had already stated that it would not be resolved in the immediate future.[41] Michael Weatherly opined that putting the two characters together at the time would be "Kryptonite" due to Ziva's assassin background.[47]

text: Ziva resigns from Mossad in the fourth episode of the season, "Good Cop, Bad Cop", and applies to become a full-fledged NCIS agent, effectively becoming the "probie"[note A] on the team.[13]

text: In December 2009, TV Fanatic announced that "the January 26 episode finds Tony and Ziva hopping a plane to the most romantic city on earth. The city of light, and of love. That's right, Ziva and Tony in Paris! You wouldn't believe it, but as if that weren't enough, their French hotel totally screws up the reservation and the two bad-ass agents end up ... gulp ... sharing a room together."[48] Executive producer Shane Brennan disclosed, "There will be a realization that the spark is still there. It doesn't mean that something is going to be resolved, but it does mean that the journey may have started again. It's a long road back. When you think about what they went through, for them to resolve what happened and come to terms with that, it's a long road back."[49]

text: During the episode, Ziva tells a witness that she and Tony shared a hotel room, and that she took the couch so she wouldn't have to hear Tony whine about his back. Tony in turn tells McGee that he took the couch. Ziva asks him why he lied and he returns the question. There was much speculation on the part of fans about whether the characters might have shared more than was divulged, but Weatherly said in response, "The truth of what happened is probably something that can be discovered inside the episode itself. If you really listen to what they say, I think it is pretty clear what happened: Nothing."[50] He clarified that Tony and Ziva had "a tremendous amount of fun" in Paris and that, "Ziva had more fun with Tony than she thought she was going to have, which maybe shocked her a little bit, because she was so angry at him after he killed her boyfriend last year."[51] Cote de Pablo added, "Michael has his views of what happened in Paris. I have mine. We haven't discussed it. But all I can say is it was good."[51] Shortly afterwards, Glenn Diaz from BuddyTV reported that the cast was divided on whether or not the characters should be allowed to progress beyond "unfulfilled sexual tension".[51]

text: In the following episode "Masquerade", Ziva mentions her time in Somalia, but refuses to give Tony much more than a few terse statements about it, though he was obviously willing to listen to her.[52] In the final episode of Season 7, "Rule Fifty-One", Tony misses Ziva's citizenship ceremony due to an unexpected assignment from Director Vance, despite his personal promises to her that he would be there.[53]

text: Port to Port Killer, EJ Barrett, and Ray Cruz[edit]

text: Executive producer Shane Brennan left NCIS to focus on the spinoff, NCIS: Los Angeles, and was replaced by Gary Glasberg in 2011.[54]

text: The series introduced new love interests for both Tony and Ziva in the latter half of Season 8, and in February 2011, Michael Ausiello from TVLine announced that Ziva's boyfriend "Ray arrives in this season's 20th episode and is described as a handsome, charming, intelligent federal agent of Mediterranean or Latin American descent. He has a strong, nice-guy demeanor but—I'm quoting from the casting notice here—'there's a hint of a mystery behind his smile.'"[55] A week later, Glasberg described the character as a "fun, smart, exciting addition",[56] and Michael Weatherly commented, "I think it’s going to be interesting. Tony cares about Ziva and wants to make sure she’s not mixed up with the wrong kind of guy, so he’s going to be watchful and protective of her."[56] After Enrique Murciano was cast for the role of Ray Cruz, Cote de Pablo said, "You never know if you're gonna have chemistry, and since I had no say in the casting, I was sort of waiting to meet this famous Enrique Murciano."[57] She went on to describe his appearance in the show: "There's a lovely scene in which he basically brings his interpretation of 'fancy' candlelight dinner, which takes place by the vending machines at NCIS. It's really funny. There's kissing involved. We kept it light and we kept it fun, and we kept it like two people who are genuinely in to each other and wanting to move things along. It's about what's going on between the lines. These two people are touchy-feely, and that's different for Ziva."[57]

text: The character of Erica Jane "EJ" Barrett (Sarah Jane Morris) was set to be introduced in the episode "One Last Score", which also marked Weatherly's directing debut.[6] Weatherly divulged, "With the appearance of EJ, suddenly there's a renewed spirit that Tony has always had in him – it's what made him to go Africa and rescue Ziva with McGee. [Sometimes] he acts like a goofball because that's what people expect, but in this episode he comes away from that place. We'll see what the audience thinks, but for me, he feels potential and possibility in a way that he hasn't for years. EJ is a mirror, so he sees that hope for himself again."[6] He added, "She's the diametric opposite of Ziva – physically, and in her demeanor, her way of being. She has her eccentricities as well, which makes her adorable to Tony and highly irritating to Ziva."[6]

text: Around the same time, a "major serial killer plot" was launched that would center on "a murdering psychopath" called the Port to Port killer.[58] TVLine reported, "this menace will prove to be extremely formidable — so much so that Gibbs will be forced to expand his team."[58]

text: At the end of EJ's first episode, she begins a sexual relationship with Tony. She is a team leader, having accepted the assignment in Rota, Spain that Tony had turned down several years prior.[6] Ray, a CIA agent, first appears in "Two-Faced" after having evidently dated Ziva for several months. Ziva abruptly ends their relationship after learning that he had lied to her directly about his reasoning for being in Washington, D.C. and by omission about his role in the Port to Port killer case.[59]

text: In the episode "Swan Song", former NCIS agent Mike Franks is killed by the Port to Port killer, who is identified as Lieutenant Jonas Cobb, and Ziva turns to Tony for comfort while the team is grieving over his death.[60] She is kidnapped by Cobb in the following episode, the Season 8 finale, and Tony shows great concern. When EJ assures him that they will find Ziva, he replies that "it's just different for some of us".

text: EJ takes an extended leave of absence with the conclusion of the season, ending her affair with Tony. Ziva and Ray repair their relationship somewhat, and he gives her an empty ring box as a "promise" before leaving for a long-term assignment. Glasberg commented, "Ziva and Ray are a little open-ended at the moment. There isn't any closure to it. We'll have to see where it leads, but I think he was pretty clear that he has a job to do at the moment, and that's gonna be the primary focus for him."[61] The use of the ring box was criticized by viewers as an "empty gesture".[62]

text: EJ returns for a guest appearance in the Season 9 episode "Housekeeping". After a fallout with Tony, she tells him that Ziva respects him and cares about him. He at first deflects but then says, "Surround yourself with people you would give your own life for." At the end of the show, he and Ziva have a brief discussion about their relationship but are interrupted when Ray calls her.[63] Ray returns after spending several months on his overseas assignment in the following episode and proposes to Ziva, much to her shock.[64]

text: Glasberg said that Tony would not openly oppose the possibility of her getting engaged, explaining, "Tony wants Ziva to be happy. He's protective of her and cares about her and has feelings for her, and, at the end of the day, wants to make sure that she's safe and happy with the direction of her life."[64] Though Ziva accepts Ray's proposal after some hesitation, she confronts him and breaks off the engagement after realizing that he had killed a woman on American soil while attempting to rectify a failure from overseas.

text: Season X and the Year of Tiva and an emotional farewell[edit]

text:
"They've been through extraordinary circumstances together, so it doesn't necessarily require the explosion. There's a real, plain-spoken, straight read between them, so they don't have to jump through hoops. When she watches Tony does his stuff or he watches her hide behind that barricade of an Israeli assassin princess mentality, they both clock it, they know it and they can move around each other. It's a great relationship."

—Michael Weatherly, 2013[65]

text: In the ninth season finale, "Till Death Do Us Part", a bomb is planted by domestic terrorist Harper Dearing. Tony and Ziva, feeling bad about missing Jimmy and Breena's wedding, try to cheer each other up by joking about how awful weddings are—an exchange that begins to take on meaning when they become wistful about "the vow, the ring, the kiss, the ketubah..." and eloping instead of dealing with all the fuss. Later, when the Navy Yard is seconds from exploding, Ziva refuses to leave the building without Tony. The bomb goes off while they are still in the elevator; Ziva and Tony fall to the ground, with Tony's arm around her waist, and their free hands clasped tightly as the elevator appears to crash.[66]

text: Glasberg stated that the Season 10 premiere would "pick up with them in that elevator" and that there would be "some conversations".[67] When questioned about the framing of the situation, he replied that their time trapped in the elevator would be the "trajectory" for a more in depth look at the relationship later in the tenth season.[65] He added, "The consensus was to do that more of that this season, to peel back some layers and find little moments — and [ever since then] we're finding opportunities I think the Tony and Ziva fans will really enjoy."[65]

text: The tenth season was promoted as "Season X",[68] and Michael Weatherly dubbed it the "Year of Tiva",[69][70] saying, "This is the year. Trust me. This is the year."[65] Cote de Pablo was more apprehensive and said, "I think that is maybe Michael and his wishful thinking. I've had years in which I thought, 'Oh my God, this a Tiva year,' and there have been years he thought were Tiva years…. The truth is, we have yet to find out where that storyline is going to go. I think they're toying around with us like they always do."[70]

text: However, shortly after the season began, TV Guide announced, "In a November episode of CBS' NCIS, the origins of Tony's fascination with cinema will be explained — and strengthen his bond with Ziva."[71] This involved him finding an old camera with photographs of his mother and later showing them to Ziva. Weatherly stated, "She was really the beginning of his love for movies and why that is such a deep, penetrating part of who he is. The last gift she gave him was to turn to the movies as a moral compass."[71] De Pablo divulged, "We end up going deeper with each other than ever before. It's a profound, soft, vulnerable moment."[71]

text: This was followed by "Ziva reminiscing with her partner about her dead sister [Tali]".[72] In "Shell Shock (Part II)", she attempts to purchase tickets to the opera but is unable due to it being sold out. Tony, believing her to be going on a date, badgers her until she admits that she goes to the opera every year on her deceased sister's birthday, as Tali had wanted to be a singer. Unable to obtain tickets for her himself, he makes a CD of opera music and gives it to her to listen to.[73]

text: In the eleventh episode of Season 10 and the first of 2013, "Shabbat Shalom", Ziva's estranged father Eli is killed in a house attack, along with Director Vance's wife Jackie.[74] Glasberg discussed the ramifications that would be shown in the following episode, "Shiva", saying, "There's a part of Ziva that's wounded, and broken, and Tony is there for her — as a friend, and as a coworker ... We end up back in Tony's apartment, and there's some really lovely, emotional stuff that happens."[75][better source needed] He added, "You'll really see Tony be there for her and support her and emotionally be strong for her. It's all the things I hope that people who enjoy the Tony-Ziva relationship will look for."[74] Throughout the episode, Tony attempts to comfort Ziva, taking her to his apartment as a precaution against the possibility of her being the next target and bringing her long-time Israeli friend Shmeil Pinkhas to stay with them. Near the end of the episode, he comes to see her off as she prepares to fly to Israel for Eli's funeral and assures her in Hebrew that she is not alone.[76]

text: When asked if the dynamic between the characters would continue to progress, de Pablo remarked, "I have a feeling that they're going to want to play with that [relationship] a little bit more and see where that goes. I think they're always testing that relationship and they're always throwing things at it to see how far they can take [it]. It's already a very complex relationship. They're very close; they're very good friends; and they trust each other. So, I think the complexity of it all can go further and I think they're going to explore more."[77] Pauley Perrette, who portrays series regular Abby Sciuto, openly opposed it and said, "I don't want any of our cast members to be in relationships on screen at all. I like things the way they are, so I'm not in [to] that. I'm petitioning against it."[77]

text: "Berlin", set later in the season, features Tony and Ziva departing for Germany to track down Ilan Bodnar, her father's killer. Before the episode aired, Glasberg disclosed that they would share a slow dance while there, resulting in "a very personal moment of vulnerability where her guard goes down and she lets herself melt into his arms".[78] De Pablo added, "You also see [Tony] as a man Teddy Bear — like, a very sweet but manly man, a guy who's really taking care of a situation and really wants to make it better, a guy who's not looking for the joke or is uncomfortable staring at a woman or reaching out to hold her hand."[79] This is highlighted in the closing scenes as the two of them drive home from the airport, and Ziva explains her animosity towards Orli Elbaz (Marina Sirtis), the new director of Mossad: Elbaz was the reason her parents split up. She tells Tony, "If it were not for Orli, things would be different. I would be a different person." Tony then takes her hand, and Ziva intertwines their fingers together. Tony replies, "Then I should catch her before she leaves, you know, and thank her." The episode ends with a cliffhanger when an unknown vehicle crashes into them, leaving their fates unknown.[80]

text: De Pablo described the filming of the dancing scene:

text: "Michael and I crafted that scene. We felt the moment was very intimate, and we thought that just looking at each other was enough. And the director kept saying, 'No, I want the moment to be longer,' and we had to sort of fight the director. Finally, I had to say, 'Listen, if there was any more time of staring into each other's eyes, it would be like, cut to a hotel room.'…so finding the length of the moment became a topic. We certainly enjoyed it. I told [Tony] — without really realizing what I was saying and then I realized it came out the wrong way — I said, 'God, I felt a little drunk when I was staring at you.' I'm not sure if it was because by the end of the day we were both so tired or if it was because it was just such a magical moment."[79]

text: They both survive the crash, and despite being urged to back off by various other characters, Ziva ultimately kills Bodnar in the following episode. This leads to DOD investigator Richard Parsons (Colin Hanks) initiating a witch hunt against the team and Ziva being aggressively interrogated about her conduct in the aftermath of her father's death.[81] When he accuses her of sleeping with an old friend while in Israel, Tony, who had been viewing the interrogation from the observation room, abruptly ends it and forces Parsons out. When he approaches Ziva about the accusation, she admits that it was a "moment of weakness" because she felt alone. This obviously hurts Tony, and he says, "My Hebrew must not be as good as I thought because I could've sworn when I dropped you off at the airport, I told you you are not alone". Ziva recalls this, and Tony says that they must have different interpretations before walking away. Despite this, he later confronts Parsons, demanding that Ziva be left alone and calling her his best friend.[81]

text:
"I don't think so. I think there's a little more to it than that. I think they're sort of dancing around each other and trying to get a sense of how to move forward and, based on everything that's happened in the last year, where they are and what the next step is going to be. And, you know, we're letting it slowly percolate and build and hopefully get it to a place that's going to be satisfying for everybody."

—Gary Glasberg in an interview when asked if Ziva "friend zoned" Tony in the Season 10 finale[82]

text: In the following episode, the Season 10 finale, tension exists until Ziva privately tells Tony that she is sorry if she hurt him during the ordeal, that she cares too much about their friendship, and that she does not want things to be awkward between them. He kisses her forehead and assures her that "nothing is awkward between friends".[83]

text: Despite concerns to the contrary, Glasberg denied that Ziva "friend zoned" Tony in the finale.[82] He explained, "It might not satisfy everyone out there, but I think we're getting there — she even reaches up with her hand and puts it very gently, and in a lovely way, on his shoulder before that kiss happens. I think there are gestures being made that have definitely advanced from where we were a year ago."[82] In response to complaints about the pace of the development, he said, "There are a lot of fans who would like to see that story advance much faster than we're doing it, but I firmly believe a little goes a long way and there are ways to tease it and to flirt that are just as significant and just as meaningful."[84] He maintained, "We made huge strides. Their relationship has evolved, has changed. They're a little more open with each other and a little more emotionally connected, certainly more than where we were at the beginning of the season. [The couple's closeness] may not be the big leap that a lot of people would like it to be, but I also feel like we're enjoying the pace at which this is happening. That's not to say we're not headed in the direction everyone would like to go, but I think we’re getting there. It's very complicated when two agents who are working together get into a relationship, and that's something that [Tony and Ziva] would be very conscious of. So I think they would tread lightly, which is why, in theory, we're treading lightly and being very careful about the steps that we take."[69]

text: On July 10, 2013 it was announced that Cote De Pablo would not be returning to her role as Ziva David for the upcoming 11th season. De Pablo stated "I’ve had 8 great years with NCIS and Ziva David. I have huge respect and affection for Mark, Gary, Michael, David, Rocky, Pauley, Brian, Sean, all of the team and CBS. I look forward to finishing Ziva’s story." However it was announced that Cote De Pablo would return for the beginning of season 11 to wrap up Ziva's storyline. Show runner Gary Glasberg stated in an interview with EW that: "The amazing resolution you're going to see is pretty damn heart-wrenching and we're incredibly proud of it," he writes. "Prepare yourselves for a moment in television history. Images that will end up in the archives. I couldn't be happier with how my NCIS family stepped up and did some of the most emotional work we've ever done."

text: On September 24, 2013 the episode "Whiskey Tango Foxtrot" aired and on October 1, 2013 "Past, Present, and Future" aired, opening with the introduction of a new threat: Benham Parsa and also the Brotherhood of Doubt.

text: In the episode, "Past, Present and Future", Tony heads to Israel to search for Ziva but eventually finds no sign of her, although a few months later he finds her in hiding at the very farmhouse where she was born, Ziva having gone to examine herself and her past.

text: Tony and Ziva share their first on-screen kiss as themselves on the tarmac in Tel-Aviv. However, in 2013, showrunner Gary Glasberg told TVLine the characters had shared another smooch in a previous season, but it did not make the cut.[85] The couple previously kissed in season 3, episode 8 Under Covers during a covert operation as married assassins.

text: Despite Tony's efforts to persuade Ziva to return to the United States and NCIS, Ziva instead chooses to stay in Israel, with Tony reluctantly returning to the United States although Tony manages to find Ziva's Star of David necklace in his jacket pocket.

text: In the season 13 finale "Family First," after learning of Ziva's death in the bombing of her Israel home caused by Trent Kort, the NCIS crew mourn her. Tony is then introduced to his almost two-year-old daughter, Tali. Conflicted, Tony asks Mossad Director Orli Elbaz about Ziva's motivations for not telling him about Tali. Orli tells him that she wanted to, especially as Tali grew but that she feared he would not be pleased, to which Tony tells her "Then she never knew me at all." Later in the episode, Tony finds a picture of him and Ziva in Paris, to which Tali points to each of them, saying "Ima" and "Abba" indicating that she knew who he was, her father.

text: After killing Kort, Tony and Gibbs have a heart to heart, where DiNozzo informs him that he is moving on from NCIS, with his daughter, his family.

text: Evidently we have a daughter, me and Ziva. She knew me better than I thought. When McGee called, something hit me. I got this feeling, something I'd never felt before. In that moment, I didn't want Trent Kort dead. All I wanted to do was take care of Tali. Everything she had in her life was gone. Except me. I'm it. I'm everything to that little girl now. And I've never been anybody's everything before. But that's it. I'm done now. I'm going to take Tali to Israel, look for some answers. Then I'm going to take her to Paris. Ziva loves Paris. And you gotta believe what you gotta believe. [holds out his right hand as if to offer Gibbs a handshake] I'd say thank you but it doesn't quite cover it, boss.

text: Speaking of Ziva's fate, Glasberg stated "Tremendous thought was put into every element of what you saw last night...down to the lines of dialogue, the specific wordage. At the end of the day, I leave it in the hands of our fantastic fans and audience".[86]

text: Reception[edit]

text: Over the seasons, Tony and Ziva's flirtation attracted much media attention, commentary, and praise.[24][48][87][88] Maureen Ryan of the Chicago Tribune wrote that the characters' "love-hate banter gives the show extra zip" during Cote de Pablo's first year on the show.[11] They have been called a "power couple" by Entertainment Weekly[78] and "one of TV's hottest couples" by TV Guide.[3] In May 2009, they were pictured on the cover of TV Guide Magazine and described as "TV's hottest love-hate relationship".[89]

text: Fondness for the pairing led to a dislike for some of Tony and Ziva's other love interests on the show;[36] by contrast, EJ, Tony's ex, became well-received after encouraging him to pursue a relationship with Ziva.[90]

text: The pairing's slow progression was discussed by reviewers, and Ariane Lange from BuzzFeed referred to it as "their sexual-tension-ridden not-quite-love affair".[91] Some viewers became frustrated with the show's seeming unwillingness to allow the characters to enter an actual relationship. Ryan expressed sentiment on the matter in 2009: "It's hard not to enjoy the chemistry between investigators Ziva David (Cote de Pablo) and Tony DiNozzo (Michael Weatherly)...It makes me grind my teeth with frustration that TV writers and producers are so averse to putting will-they-or-won't-they couples together."[41] Executive producer Gary Glasberg admitted to feeling pressure from the audience to pair them officially.[64]

text: The couple was not universally accepted among viewers, and a portion of the audience felt that pairing the characters would disrupt the dynamics of the series.[92] Matt Webb Mitovich from TVLine suggested that the dispute among fans over how far "Tiva" should be taken had left producers in a "no win" situation, saying, "Quite honestly, I think NCIS and show boss Gary Glasberg face a tremendously difficult juggling act with this (would-be) couple because it is TV's most watched program, and like a game of Jenga, you can't be quite sure which slight move could send things toppling. Is NCIS No. 1 because it metes out exactly 25 milligrams of romance every third episode, and never a bit more? Is there a fear that going all-in with Tiva will soap up the show too much?"[92]

text: In 2010, Kate Stroup listed Tony and Ziva among Entertainment Weekly's "10 'Will They/Won't They' TV Couples", saying, "The chemistry is undeniable."[93] In 2012, they appeared again in the magazine's "30 Best 'Will They/Won't They?' TV Couples".[94] Similarly, the pair was included in BuddyTV's compile of "The Top 12 Will-They-or-Won't-They Couples of 2012"[95] and TV Guide's top 15 "TV Duos Who Should Do It".[96]


document_title: Mad Men (season 5)

question_text: who does don draper marry in season 5

question_tokens: who does don draper marry in season 5

text: Mad Men (season 5)

text: Cast[edit]

text: Main cast[edit]

text:
Jon Hamm as Don Draper (13 episodes)
Elisabeth Moss as Peggy Olson (12 episodes)
Vincent Kartheiser as Pete Campbell (13 episodes)
January Jones as Betty Francis (4 episodes)
Christina Hendricks as Joan Harris (11 episodes)
Jared Harris as Lane Pryce (7 episodes)
Aaron Staton as Ken Cosgrove (12 episodes)
Rich Sommer as Harry Crane (10 episodes)
Kiernan Shipka as Sally Draper (7 episodes)
Jessica Paré as Megan Draper (13 episodes)
Christopher Stanley as Henry Francis (4 episodes)
Jay R. Ferguson as Stan Rizzo (11 episodes)
Robert Morse as Bert Cooper (9 episodes)
John Slattery as Roger Sterling (13 episodes)

text: Recurring cast[edit]

text:
Ben Feldman as Michael Ginsberg (9 episodes)
Teyonah Parris as Dawn Chambers (8 episodes)
Mason Vale Cotton as Bobby Draper (6 episodes)
Embeth Davidtz as Rebecca Pryce (6 episodes)
Jeff Clarke as Howard Dawes (5 episodes)
Beth Hall as Caroline (5 episodes)
Meghan Bradley as Julia (4 episodes)
Alison Brie as Trudy Campbell (4 episodes)
Christine Estabrook as Gail Holloway (4 episodes)
Peyton List as Jane Sterling (4 episodes)
Sadie Alexandru as Scarlett (3 episodes)
Alexis Bledel as Beth Dawes (3 episodes)
Stephanie Drake as Meredith (3 episodes)
Pamela Dunlap as Pauline Francis (3 episodes)
Charlie Hofheimer as Abe Drexler (3 episodes)
Larisa Oleynik as Cynthia Cosgrove (3 episodes)
Julia Ormond as Marie Calvet (2 episodes)
Kevin Rahm as Ted Chaough (2 episodes)
Marten Holden Weiner as Glen Bishop (2 episodes)
Ray Wise as Ed Baxter (2 episodes)
Talia Balsam as Mona Sterling (1 episode)
Michael Gladis as Paul Kinsey (1 episode)
Ronald Guttman as Emile Calvet (1 episode)
Zosia Mamet as Joyce Ramsay (1 episode)
Joel Murray as Freddy Rumsen (1 episode)
Samuel Page as Greg Harris (1 episode)
Jay Paulson as Adam Whitman (1 episode)
Myra Turley as Katherine Olson (1 episode)

text: Plot[edit]

text: Don Draper has married his secretary Megan Calvet, who throws a surprise birthday party for Don and their co-workers. Don is embarrassed by the party and Megan serenading him in front of his co-workers. Megan (who has been promoted to copywriter) meanwhile struggles with Don's growing detachment with work, as he is constantly having Megan come in late and leave early to the agency, and her own unfulfilled dream of being an actress. Don's detachment alienates Peggy, who is being made to train Megan, and Bert, who feels that Don has gone "on love leave", not caring about his job or turning in quality work.

text: Feeling her chances at work have been undercut by Don's detachment, the couple have a fight while touring a Howard Johnson's hotel. Don leaves Megan behind in a huff when she tells him that she's come to find the advertising industry hollow and superficial. Megan manages to hitch a ride back to their new apartment, where they fight and ultimately reconcile.

text: Don's slacking at work coincides with the arrival of a new hire, in the form of young advertising phenom Michael Ginsberg. Young, aggressive, and anti-social, Ginsberg proves to be a rival for Don and Peggy. When the two are made to pitch advertisements for a snow cone company, Don purposely leaves behind Ginsberg's child-friendly campaign material in order to pitch his own darker, devil-themed campaign instead, which is ultimately chosen. Meanwhile, Peggy finds herself reaching a glass ceiling with regards to Ginsberg being able to rise faster within the company. However, one evening Ginsberg confides his dark secret to Peggy: that he was born in a Nazi concentration camp for Jews, where his mother died and that he spent his first five years in an orphanage before his father found him and took him to America to live. By the end, Peggy decides to leave the agency for another firm in order to fulfill her full potential. Don attempts to keep her by offering her a raise but ultimately concedes that Peggy has to leave him to continue out of his shadow. Before she leaves the office forever, Don kisses her hand, finally realizing how important she was to him. Peggy also makes a new change at home: she accepts her boyfriend's proposal to live together, to her mother's disapproval.

text: Elsewhere, Roger struggles to remain relevant in the company as Pete Campbell schemes to steal his plush office for himself. Roger begins to secretly pay Peggy and Ginsberg to produce material for him to pitch to clients. He also experiments with LSD, which has a profound impact on him and his own marriage to Jane; under the influence of the drug the two confess that their marriage has failed and they divorce. Roger meanwhile begins pursuing an affair with Megan's mother, culminating in Don's daughter Sally catching her step-grandmother performing oral sex on Roger.

text: Pete Campbell, having moved to the suburbs, begins to become more and more detached from his life and starts missing the big city. His relationship with Lane Pryce collapses and the two fight, with Lane beating Pete up in front of the other partners. He also begins a relationship with Beth Dawes, the wife of a fellow train commuter, who later breaks off the affair out of guilt even though she and Pete know that her husband is unrepentant in his own adultery. She later tells Pete that her husband is forcing her to undergo electroshock therapy because of her manic depression. Pete visits his mistress one last time in the hospital, whose memories of the affair have been destroyed. He confronts Beth's husband later on the train, revealing the affair and culminating in a fist fight. Returning home defeated and alone, his wife Trudy agrees to allow Pete to rent an apartment in the city for overnight stays.

text: Joan struggles with single motherhood while her husband is overseas, with help from her mother. However, when she discovers that Greg has signed up for another tour of duty in the Army Medical Corps without consulting her, Joan confronts Greg and in the process denounces him for his earlier rape of her and orders him out of her and their son's life. Greg reluctantly agrees but then files for divorce, which upsets Joan as she fears that Greg will paint her as the villain in their divorce case. Further complicating things is the firm's pursuit of Jaguar as a client, as Pete is able to get a promise that the agency will get the account if Joan sleeps with the head of the Jaguar dealers' association. Pete arranges a vote behind Don's back, and the other partners reluctantly agree to pay Joan to have sex with the executive to secure the account for them. However, Lane convinces Joan to take an ownership percentage of the company instead as Don tries (and fails) to stop Joan from doing the deed. The firm wins the account, but alienates Joan and Don from the rest of the partners and from each other.

text: Lane Pryce struggles with his own demons as he is revealed to be greatly in debt and owing a good amount of taxes from when he moved his money to the US last season to help keep the firm afloat. When his scheme to use his Christmas bonus to pay off his tax debt fails, Lane is forced to steal from the company to pay his debt. Bert and Don discover this and Don fires Lane, who then kills himself rather than face the disgrace of resigning and returning to England. He hangs himself in his office, leaving Roger, Pete, and Don to cut him down. Nobody but Don knows the reason behind his suicide.

text: Megan (who has returned to acting) seeks Don's help to secure a commercial role for her. Megan's visiting mother cruelly denounces Megan's ambitions and tells Don that he should not help Megan, as she believes that Megan's dream of acting must be crushed and that she should behave like the proper wife of a wealthy man. While Don is at the dentist, Megan's mother reduces her daughter to a quivering wreck, resulting in Don agreeing to help Megan get the role in order to secure her the happiness she needs to function. Eventually, she gets the role, and after dropping her off at the studio, Don leaves to a bar where he sits by himself and orders a drink.

text: The season ends with a montage of all the main characters having realizations about themselves. Pete, in the aftermath of his affair with Beth, is seen sitting alone on his couch with his headphones on and eyes closed. Peggy, having quickly risen through the ranks in her new career, is shown toasting a single glass of champagne to herself with a smile on her face. A naked Roger looks out the window of his hotel room at the city, in the throes of an LSD trip, and raises both of his arms into the air. And lastly, Don is seen at the bar, where a woman begins to flirt with him and asks if he is alone. He turns and looks at her ambiguously.

text: Episodes[edit]

text:
No.overallNo. inseasonTitleDirected byWritten byOriginal air dateUS viewers(millions)535412"A Little Kiss"Jennifer GetzingerMatthew WeinerMarch 25, 2012 (2012-03-25)3.54[5]
It's Memorial Day weekend, 1966, and Don's children are spending the holiday with him and his new wife, Megan, at the Drapers' new and stylish Manhattan apartment.   Pete struggles at SCDP due to Roger's constant attempts to undermine him through his, Pete's, accounts.  Joan, on maternity leave after giving birth to her son, Kevin, has a helping houseguest in her mother.  Megan throws a surprise birthday party for Don at their apartment with all of Sterling Cooper Draper Pryce in attendance, except for Joan.
553"Tea Leaves"Jon HammErin Levy and Matthew WeinerApril 1, 2012 (2012-04-01)2.94[6]
When Betty sees a doctor to try to get a prescription for diet pills, the doctor discovers a nodule on her thyroid.  Although the nodule is later discovered to be benign, in the meantime Betty dwells on her mortality.  Harry and Don go backstage at a Rolling Stones concert after a Heinz executive suggests trying to get the band to record a jingle for their ad campaign.  Pete signs Mohawk Airlines as a client and gives the account to Roger.  Roger asks Peggy to hire a new copywriter for Mohawk, so she interviews Michael Ginsberg.  Don gives his OK.
564"Mystery Date"Matt ShakmanVictor Levin and Matthew WeinerApril 8, 2012 (2012-04-08)2.75[7]
Don runs into an ex-lover, and can't seem to escape her presence. Joan's husband, Greg, returns from his tour of duty in Vietnam only to reveal that he is being sent back for another year of service. Sally becomes frightened after reading stories on the Richard Speck murders, leading her step-grandmother to educate her on the concepts of fear and defense. Dawn spends the night at Peggy's apartment after becoming too afraid to return home because of racial violence near Harlem.
575"Signal 30"John SlatteryFrank Pierson and Matthew WeinerApril 15, 2012 (2012-04-15)2.69[8]
The episode occurs roughly two weeks after the previous one—around the time of Charles Whitman's shooting rampage at the University of Texas at Austin. Pete and Trudy host a dinner party in the suburbs, attended by Don, Megan, Ken, and his wife. Pete also attends driver's education classes where he views the film Signal 30 and flirts with a young woman. After watching England win the 1966 FIFA World Cup Final with expatriate Brits, Lane attempts to land an account with Jaguar Cars, leading to a physical altercation with Pete.
586"Far Away Places"Scott HornbacherSemi Chellas and Matthew WeinerApril 22, 2012 (2012-04-22)2.66[9]
Peggy becomes alienated both at work and in her personal life. Roger and Jane take LSD with a group of intellectuals, altering how they see the world, and allowing them to speak honestly about their marriage. Don and Megan take an impromptu road trip to Plattsburgh, New York to visit the Howard Johnson's flagship hotel and restaurant, which turns into a disaster after Megan informs Don that she dislikes orange sherbet. Bert Cooper reprimands Don for being on "love leave" after Peggy's failure with Heinz.
597"At the Codfish Ball"Michael UppendahlJonathan IglaApril 29, 2012 (2012-04-29)2.31[10]
Don is honored at a banquet for the American Cancer Society, but finds his professional reputation has been damaged. Megan comes up with a last-minute pitch to save the Heinz account. Peggy thinks Abe is going to propose to her, but he instead suggests they move in together, a decision that doesn't go over well with her or her mother.  When Henry's mother breaks her ankle while babysitting at the Francis house, Sally takes charge, then comes to stay with Don and Megan, who are already hosting the latter's parents.
608"Lady Lazarus"Phil AbrahamMatthew WeinerMay 6, 2012 (2012-05-06)2.29[11]
Megan has second thoughts about her career path after the success with Heinz but finds it difficult to tell Don.  Peggy, unwittingly caught between the two when Megan's lie comes to light, finally lets her frustrations be known to both Megan and Don.  Pete finds that his increasing success at the firm does not fill the emptiness of his life.  After a chance encounter one evening with a neighbor, he becomes obsessed with wanting to repeat the experience.  Don returns to creative work full throttle, only to find the cultural changes of the 1960s have left him behind.
619"Dark Shadows"Scott HornbacherErin LevyMay 13, 2012 (2012-05-13)2.13[13]
As a toxic smog cloud hangs over New York City during Thanksgiving 1966,[12] Betty's jealousy of Don and Megan leads her to tell Sally about Anna Draper. Don and Peggy are both irritated by Michael Ginsberg's rising star, and Don takes a devious approach to clip the wings of the young copywriter. Roger gets handed a new client (Manischewitz) by Bert Cooper, but Roger's decision that he needs more Jewish input to help him involves estranged wife Jane, with unfortunate results. Pete continues to resent that his brief affair has ended with Beth, the wife of commuter-acquaintance Howard.
6210"Christmas Waltz"Michael UppendahlVictor Levin and Matthew WeinerMay 20, 2012 (2012-05-20)1.92[14]
Around Christmas, Lane is instructed by his London attorney to wire $8,000 to England within two days for back taxes, or else he risks being arrested. Lane, in fear, forges a check from Don. Harry meets with Paul Kinsey, who has joined the Hare Krishnas and has written a terrible spec script for the series Star Trek. Harry later pays for a trip for Paul to Los Angeles so Paul can try to break into scriptwriting. Joan is served divorce papers, and after an outburst to the office receptionist, she and Don go to a bar for a drink and have an intimate chat. Meanwhile, Pete reveals that Jaguar is again looking for an advertising firm, and that presentations will start in mid-January.
6311"The Other Woman"Phil AbrahamSemi Chellas and Matthew WeinerMay 27, 2012 (2012-05-27)2.07[15]
Pete asks Joan to sleep with a client to secure the Jaguar account. Meanwhile, the creatives work long nights to come up with the perfect pitch for the presentation. Don becomes furious after learning Megan could take a role in Boston. Feeling unappreciated, Peggy attends lunch with Freddy Rumsen, who encourages her to make a move. Later, Peggy meets with Ted Chaough, from rival firm CGC, and is offered chief copywriter position.
6412"Commissions and Fees"Christopher ManleyAndre Jacquemetton & Maria JacquemettonJune 3, 2012 (2012-06-03)2.41[16]
Don discovers that Lane stole money from the company and fires him. Sally has a rendezvous with former neighbor Glen Bishop, which ends abruptly. After Don expresses a yearning for more, Roger gets him a meeting with Dow Chemical, a client that could shape the future of the company. Lane falls into a melancholic depression and commits suicide.
6513"The Phantom"Matthew WeinerJonathan Igla and Matthew WeinerJune 10, 2012 (2012-06-10)2.70[17]
Don has a toothache that brings up painful memories of his brother as the firm looks to expand after a profitable quarter with Joan running the books. Roger seeks to expand the affair with Megan's mother and asks her to join him on a second LSD trip. Pete has a "last" encounter with Beth and finds she is receiving shock treatment. Megan struggles to find acting work and asks for Don's help getting an audition for a commercial at the agency to jump-start her career. Peggy is adjusting to her new agency and enjoying the challenge of an upcoming campaign bid for Philip Morris' "top secret ladies cigarette", but still seeks Don's approval.

text: Production[edit]

text: Crew[edit]

text: Series creator Matthew Weiner also served as showrunner and executive producer, and is credited as a writer on 10 of the 13 episodes of the season, often co-writing the episodes with another writer. Erin Levy was promoted to co-producer and wrote two episodes. Victor Levin joined as co-executive producer and wrote two episodes. Frank Pierson joined as consulting producer and wrote one episode. Semi Chellas was promoted to co-producer and wrote two episodes. Jonathan Igla wrote two episodes. Writing team Andre Jacquemetton and Maria Jacquemetton were promoted to executive producers and co-wrote one episode together. Other producers included Blake McCormick and executive producer Scott Hornbacher.

text: Jennifer Getzinger, Scott Hornbacher, Michael Uppendahl, and Phil Abraham each directed two episodes for the season. The remaining episodes were directed by Matt Shakman, cast member John Slattery, Matthew Weiner, who directs each season finale; with cast member Jon Hamm and cinematographer Christopher Manley each making their directorial debuts.

text: Reception[edit]

text: The fifth season of Mad Men has received critical acclaim. Review aggregator Rotten Tomatoes reports that 97% of 34 critics have given the season a positive review. The site's consensus is: "With its brilliantly crafted characters, razor-sharp writing, and ambitious sweep, Mad Men continues to surprise and unsettle."[18] On Metacritic, the fifth season has scored an 89 out of 100 based on 24 reviews, indicating universal acclaim.[19]

text: Accolades[edit]

text: The fifth season received three nominations from the Television Critics Association Awards for Program of the Year and Outstanding Achievement in Drama, while Jon Hamm was nominated for Individual Achievement in Drama.[20]

text: 64th Primetime Emmy Awards[edit]

text: Season five received 17 nominations for the 64th Primetime Emmy Awards, although it did not win any.[21]

text:
Outstanding Drama Series
Outstanding Lead Actor in a Drama Series: Jon Hamm
Outstanding Lead Actress in a Drama Series: Elisabeth Moss
Outstanding Supporting Actor in a Drama Series: Jared Harris
Outstanding Supporting Actress in a Drama Series: Christina Hendricks
Outstanding Guest Actor in a Drama Series: Ben Feldman
Outstanding Guest Actress in a Drama Series: Julia Ormond
Outstanding Directing for a Drama Series: Phil Abraham for "The Other Woman"
Outstanding Writing for a Drama Series:
Semi Chellas and Matthew Weiner for "Far Away Places"
Semi Chellas and Matthew Weiner for "The Other Woman"
Andre Jacquemetton and Maria Jacquemetton for "Commissions and Fees"
Outstanding Art Direction for a Single-Camera Series
Outstanding Casting for a Drama Series
Outstanding Cinematography for a One Hour Series
Outstanding Hairstyling for a Single-Camera Series
Outstanding Makeup for a Single-Camera Series (Non-Prosthetic)
Outstanding Single-Camera Picture Editing for a Drama Series