As Matt Zoller Seitz observes, "Mad Men" is a prestige series *without* a grand narrative plan; it's *not* about the formation of a cartel or the war between NY and NJ crime families.
In that sense, "Mad Men" resembles "The Good Wife"; both shows just follow life as life unfolds. "The Good Wife" has a procedural backbone--almost every hour I recall is a spotlight on a particular legal case. Although more loosely, "Mad Men" also makes use of a procedural format. There is generally an effort to seduce a client, whether the client is a cigarette maker, or a male deodorant brand, or an airline.
The procedural element is delightful to me. Think about the deodorant. Don enlists his young workers for help. But they dwell on the scientific properties of aerosol; they don't know what they're doing. They work up images of aerosol cans in a spaceship--it's unclear if they have identified an audience or if anyone will make a powerful emotional connection between spaceships and deodorant. Don sees the problem immediately. "You're trying to tap into a boyish love of space exploration? But men don't buy their own deodorant. They send their wives."
We then watch Don solve the mystery in real time. Deodorant is about smell, which is about sex. The chemical particles mix with a man's musk, and the musk penetrates any nearby woman; the molecules thrust their little electrons into the woman's waiting nose. "What do women want?" Don asks flirtatiously. (He is thinking aloud.) "What do women want? YOU know better than to ASK." He mumbles for a moment. "What do women want? A chance to get closer to HIM."
When I watch "Sunday in the Park With George," I'm especially interested in the actual painting scenes; I find these more captivating than the romantic drama. (Surely, this is not what James Lapine intended.) In the same way, I like Don the artist more than Don the cad/orphan/negligent father. I gotta be me.
Matt Zoller Seitz writes very well about "Mad Men." For example, he notes something crucial about "The Suitcase," the high point of the series and a watershed moment in TV history. One climax of "The Suitcase" shows Don kneeling down to kiss Peggy's hand. This is powerful--but it *gains* additional, subtextual power through its link to Episode 1.1. In that very first episode, Peggy awkwardly tried to offer sex to Don by slipping a hand onto his. It's all about the hands. Also, Seitz has wonderful insights about Betty. I hadn't realized that the "Fat Betty" subplot grew out of a response to January Jones's real-world pregnancy. (Jones shed her weight so quickly, the subplot proved to be unnecessary. But Weiner kept it.) Betty's difficult father evokes thoughts of Carmela Soprano's parents. (Struggling with dementia, Mr. Hofstadt tries to grope his child. I'm reminded of a moment when Carmela indirectly asks her own father for assurance that she is more than "Tony Soprano's trophy." Pointedly, and without words, Mr. De Angelis declines to help.) Seitz connects Betty's fury with Don's professional triumph. Perhaps Don "rallies" so memorably, at the end of Season Three, because he needs to do something with all of his pre-divorce agitation. If he cannot be a potent spouse and father, he can at least be a savior (or momentary savior) in the workplace.
Hats off to Seitz for "Mad Man Carousel." This is a substantial achievement.
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