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View cart. River Woods. Community masks. About the mask Select you favorite color. Gifts for Her. Gifts for Him. She begins the show as Don's secretary, eventually works her way up, and today, going into the final season, she's one of the top creative minds in the agency. Her business success is sometimes shadowed by a personali life in shambles, though that's true for nearly everyone on Mad Men. That's why it's on a drama list. Everybody cheats in Weiner's world.
Draper is, at best, a serial adulterer. He cheats on Betty January Jones early and often, first with a beatnik who ends up a massive drug addict. Betty Draper isn't at all blind to it. It slowly and completely destroys their marriage but after both have moved on, they cheat on their new spouses with their ex. Roger Sterling John Slattery is in a relationship with the buxom Joan Holloway Christina Hendricks , of which no one could blame him, except that he too is married. Trudy might be annoying but Brie is awesome in every conceivable way.
Sorry for the Community aside. Back to the infidelity, are you beginning to sense a pattern here? What you call love was invented by guys like me Don Draper, S1E1. Past the sex in and out of wedlock, these characters all have issues. Betty Draper grew up wealthy but empty and emotionally stunted. Sadly, she never grew past it and acts like a petulant child.
Her own daughter Sally Kiernan Shipka shows signs of similar problems, but seems to be smarter to the changing world around her. Roger Sterling produces plenty of memorable lines, but he drinks all day, can't find true love, and as he reveals with his "black face" performance in Season 3, doesn't realize the norm has shifted. Pete Campbell can't avoid saying the wrong thing, to the extent it actually sometimes feels like a disease. Salvatore Romano Bryan Batt is gay in I'm not sure I need to expound further to explain the challenges he faces in the corporate environment.
Peggy Olson: Sex sells. Don Draper: Says who? Just so you know, the people who talk that way think that monkeys can do this. They take all this monkey crap and just stick it in a briefcase completely unaware that their success depends on something more than their shoeshine. YOU are the product. Feeling something.
That's what sells. Not them. Not sex. They can't do what we do, and they hate us for it. Again, juxtaposed to our own lives, we all have our own issues.
BBC One London - 26 October - BBC Genome
The extent to which our loved ones or those we meet understand or notice those blemishes depends upon two factors: How much those problems either control us invidivually or how good an actor we all are. It could be the smallest thing. It could be the biggest. In Mad Men, Weiner gives us both, but more often that not, it's a small thing that becomes something enormous. A small fib becomes a big lie. A pot habit in Greenwich Village becomes a crippling heroin addiction. Insecurity becomes rage and vindictiveness.
One of the things Weiner does best with Mad Men is in creating a story and a setting where he can tackle difficult issues and state opinions on all sides without turning his show into a vehicle for activism or advocacy. Personal and internal evolution takes place within the characters and their own minds just as it did for America following the Kennedy assassination or Neil Armstrong's boot sole kissing the lunar surface.
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Both events are shown in a very real way as nearly every main character watches on a television in complete silence respective to the former or pure awe in the case of the latter. Race, class, sex, orientation, jingoism, politics, it's all there. But it never feels like the focus, just a part of the world. It's all there simply because it's all there, both in Mad Men and in Eugene: Hey Brooklyn, come home with me. Peggy Olson: Nuh-uh.
Eugene: Why not? I live alone.
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Peggy Olson: Why should I? Eugene: Because I like you, and we're having a good time, and I'm a good kisser and you know you want to. Peggy Olson: Eugene, I'm in the persuasion business, and frankly I'm disappointed by your presentation. In our own lives, this "it's there because it's there" fashion is how we generally experience these broader concepts.
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Right now, we're watching and living through the aftermath and reaction to the events in Ferguson, Missouri. But for most of us, these are news events that lead to discussion and perhaps to growth, but they aren't the crux of our everyday existence. That may sound callous, but without a personal attachment, all news, all sports, all of it exists at some kind of a distance.
It's the "other" stuff that defines us. It's our jobs. It's our spouses. It's our children. It's our faith. It's our financial concerns. It's our relationship mistakes, both personal and professional. Mad Men provides all of these "real" catalysts in a perfectly humanizing and riveting fashion. You can see definite parallels between the flashbacks, dream and drug hallucinations, and in the sometimes lovable, sometimes despicable lead character.
I love the Mad Men flashbacks. Dick Whitman's childhood, growing up poor, "The Hobo Code," his parents, his brother, and the infamous importance of a Hershey bar to a whorehouse.
Because Don is living a lie, these flashbacks aren't just interesting, they are absolutely necessary. As for the other devices, I'll admit the dream stuff and the drug stuff sometimes goes a bit further than I'd like.
I'm not the audience for the trick content. I can't recall anytime I've enjoyed it in film or television. Another thing Matthew took from David was the role of showrunner and what it truly entailed. Chase was notoriously tough, would rewrite nearly every script, particularly those penned by others, was very careful with the media and hated the very idea of a spoiler. He's lucky his show ended before Twitter and Facebook truly took off.
Weiner has to deal with leaks that could cost him dearly and as a result, he doesn't talk all that much until a season has ended or to set the stage for a season that's about to begin.