I wanted so much to like Mad Men, I really did. The show is about advertising, and I'm an advertising maven. It's set in the sixties, and I totally groove to that vibe. It was critically acclaimed before the first episode aired last year, and so I made a point to watch the pilot. After that, I seemed to always have something else to do on Thursdays at 10:00.
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When the DVD came out a few weeks ago I bought it so I could try again. Maybe it'll grow on me, I thought. Maybe I shouldn't be so quick to judge. So I watched the whole first season, and now I'm ready to deliver a verdict.
In just a second. Let me get my glasses. My eyes have gone slightly crosseyed, what from having been rolled every few minutes for the last 13 hours.
Watching Mad Men would make for a great drinking game, even better that "He's dead, Jim." Every time you see a sixties cliché being delivered with all the subtlety of, say, a stripper working the pole, you take a drink.
It seems to me that series writer and producer Matthew Weiner wanted to make a show about what he thinks we think the sixties were like, in exactly the same way that he created a show about what he thought we thought Italian mobsters were like. The difference is, most of us have no experience with real mobsters.
Weiner used to write for the Sopranos. Now, that was never my favourite show, but I did enjoy it, and I watched all of seasons 1 and 2. The dialog never struck me like, "Yo, bad guy, I'm a gangster, and I'm going to shoot you now," but that's exactly how Mad Men seems to me: "Hee hee, I'm a silly woman, so I
totally understand why you don't take me seriously. No, really. I get it!"
In good storytelling you develop strong, complex characters, drop them into a turbulent world, and create conflicts for them to handle. Matthew Weiner's method is to begin with the situation, like, hey, let's show that people smoked a lot back then, or that they drove drunk — then you contrive the characters' movements around them. Watching Mad Men is like watching the assistant director do the blocking.
The most creative part of Mad Men is the opening titles, which you can download as a screensaver from the AMC website, and I did. I hope they win the Emmy for that, really, I do. They also received nominations for production design, costumes, and hair styles, sure. Even cinematography. Even direction, if I squint a little. But outstanding writing? Puh-leez. And especially for the pilot. The clichés were coming so fast and furious, they even obscured the heavy handed metaphors. When the little girl runs into the kitchen with the dry cleaning bag over her head, I actually burst out laughing.
The characters drink and smoke in almost every scene. We get it: people smoked back then. They make a point of showing the pregnant woman drinking and smoking, so we can scream self-righteously. The kids bounce around in the car, without seatbelts. Yeah, yeah — how did we ever survive?
Still, I persisted, trying to enjoy the set design. I do love the sixties furniture, and other authentic details, like the garish nail polish colours. And I squealed with delight at the costumes, especially Betty's groovy white sunglasses and fabulous High Society dresses. And I
want to care about Pete and Peggy, I do. Maybe if the writers had given them a back story; if they'd known each other before Sterling Cooper, I could believe Peggy's doe-eyed devotion to him, but I don't.
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(By the way, if you're wondering where you recognize her from, it's the West Wing. She was Zoey Bartlet, the president's daughter. And Joan was Saffron on Firefly.)
I tried to like Peggy. She's prudish, but determined, so I tried to comprehend why she would sleep with the first guy in the agency who was rude to her. On her first day. I cheered for her, as she fought the rampant sexism to become a copywriter. And when her zipper split and only the most dense of viewers would not have realized it was because she was pregnant, I really began to admire her, because she hid it with fat clothes, knowing she'd be forced to quit her job if her situation became known.
Then, in the last episode, I had to crawl out from under my disbelief which couldn't remain suspended, and crashed down on my head -- she didn't
know she was pregnant? There are so many reasons why that's not plausible, I won't insult your intelligence by listing them.
Eye rolling moment number 847: Don Draper shows up at his mistress's apartment and tells her to pack her bags, he's taking her to Paris. She declines, opting instead to stay, because she and her friends were about to get high and listen to Miles. Now, I've got nothing against Miles, but if the man I was sleeping with showed up waving his bonus cheque and wanting to spend it on me, I wouldn't even stop to pack.
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Are we really expected to sympathize with Don Draper? He has everything, so he wants what he can't have, and we're supposed to feel sorry for him. It's just not working for me. "I'm not used to being talked to this way by a woman," he says, when meeting a prospective new client. The writers were obviously at a loss to come up with a more subtle way to convey the sexism of the times.
I think that's the root of what annoys me about the show: the writers think we're stupid. That unless they deliver every line in the most heavy-handed way, we won't get it.
Note to Matthew Weiner: We get it, already.
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Season 2 begins tomorrow, and am I going to watch it? You bet I am, and I'll tell you why. My favourite scene in season 1 is when Betty shoots at the neighbour's pigeons. She's got some serious rage bottled up, and could go postal any minute. I'm dying to see what she'll do in season 2.