Tag Archives: Mad Men

Mad Men – Love Among the Ruins

God bless Peggy Olsen. She’s a junior Don Draper in the making and Don’s beginning to recognize it. Suffering through the opening strains of Ann-Margret belting out “Bye Bye Birdie” because it’s the concept with which potential new clients Pepsi want to launch their potential new diet soda called Patio, Peggy wants to know how in the world that is supposed to appeal to the target audience, women. She’s summarily dismissed as not being the target audience because she’s “not fat anymore,” but Peggy hits upon the first truism for advertising consultants: the customer is NOT always right.

Poor Kinsey, he can’t decide who he even is. He thinks being an ad man in Madison Avenue is a channel for social justice and civic responsibility. This half-rate Beatnik goes toe-to-toe with representatives of Madison Square Garden, who would like to demolish New York’s Penn Station to make way for their new sports complex (spoiler: the real Penn Station was demolished in October, 1963, surely to Beardo’s dismay). Pete Campbell fires off the first zinger of the episode by pinning a now nervous Kinsey with the ego deflating, “Do you ever listen to yourself?” Pete then scurries off and tattles to Don.

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Mad Men – Out Of Town

Most of us were drawn to Mad Men by the amazing set design and the stunning wardrobes. It is a show that simply looks fantastic. It’s a show packed with beautiful people wearing beautiful clothes speaking beautiful dialog. The bitter irony is that this dream assignment for advertising and marketing professionals—a product that looks so good you can’t help but crank out beautiful, portfolio-worthy creative—is not a smash hit. Not even close. It’s with more than a little self satisfaction that us true believers joyfully scoff at you poorly dressed masses who answer with bewilderment at the question, “What Would Draper Do?”

And so it was with great hype (among a small crowd) that we welcome the season three debut of the best show on TV. You’d think from the cross-promotional and advertising efforts exerted this year that Mad Men is the most watched TV show in America. But like so much in this show, things are not how they appear.

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Mad Men: The Benefactor

AMC's Mad Men - Bobbie BarrettOne reason Don Draper’s character has become a cult hero (especially among advertising and marketing professionals) is the way he deals with people. Be it by charm, wit, or sheer force of will, Draper’s ability to manipulate and manage people is a thing of beauty. Especially interesting to watch is his interactions with women. He can be paternal with his wife and then sheepish at the next turn. He’s been supportive and mentoring with his former Secretary Peggy Olsen and then demeaning and dismissive. He’s childish and jealous with his bohemian ex-girlfriend and then romantic and impulsive. Don Draper is a man successfully living a lie so I suppose he has a complex bag of tricks at his disposal.

So it was particularly juicy watching him work with the crass and domineering wife/manager of a celebrity insult comic who unleashes a particularly cruel barrage on the wife of a sponsor. Draper, being Creative Director and most charming man in New York, is called in to clean up the pieces and finds himself pinned (literally and figuratively) by the comic’s lady.

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Mad Men: Flight One

AMC's Mad Men - Paul Kinsey and friend The genius of Mad Men is that it follows the tried and true rule of good drama: show, don’t tell. In the utterance of a few lines we learn so much about these characters and the circumstances that brought them to this particular place and time. But also like good drama, we don’t learn too much too soon and we the viewers are usually just ahead of the characters in the story. The result is the tightening and loosening of tension that keeps us on the edge of our seat and makes us actually care about what happens to the characters. The layers simply peel back and expose more of the story.

Opening with a party scene at copywriter Paul Kinsey’s house, we learn that our host fancies himself a bohemian writer; that Pete Campbell inflates his own importance—even to his wife; that office hussy Joan used to date Kinsey and finds his whole Beat schtick tiring; and that great music has always made for a great party. None of this was TOLD to the audience, mind you. We saw it all.

The day after a party is usually a drag, so much more so when you come into the office with news of a plane crash. According to Wikipedia, American Airlines Flight One really did crash in Jamaica Bay on March 1, 1962, killing 95 people on board, including Linda McCartney’s mother, Louise Linder Eastman. Like most people, the employees of Sterling Cooper react with a mixture of shock and macabre, uncomfortable humor. Little do they know that Pete Campbell’s father was also one of the victims.

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Mad Men: For Those Who Think Young

AMC's Mad Men - Betsy Draper played by January Jones Last year one million people like me took a weekly trip to 1960 where we interned at the Madison Avenue advertising firm, Sterling Cooper. Most of us were originally drawn in by the hype surrounding the attention to detail the creators of Mad Men applied to the wardrobe and set design, but we stayed when the writing grabbed us and promised to expose as a misogynist fraud of the idyllic America sold to us by the real life ad men who make up the cast of characters. Guess what, Ward Clever fucked his secretary.

Season one showed us how 1960 was an ad man’s world in which the rest of us lived. They had the coolest jobs and biggest expense accounts. They wrote the copy that convinced us to Walk a Mile for a Camel and the jingles to Plop, Plop, Fizz, Fizz away those Tuesday night card games. America in 1960 was flush, maybe for the first time, with disposable income and these guys were going to tell you how to spend it. But men who wrote stories for a living struggled to write their own in the shadow of the Greatest Generation—really just a half-generation removed—and the idea of women in the workforce required a fair amount of adjustment. The protagonist, Don Draper, best personifies America at the dawn of what would be arguably its most turbulent decade–a country with power and money, but troubled by its sense of self. The conflicts that defined our national personality were over, replaced by a whispered “cold war” and internal growing pains. America had secrets that were about to be exposed.

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