Vitals
- Products: Mad Men
- Genres: Drama
- Network: AMC
- Cast Members: Christina Hendricks, Elisabeth Moss, January Jones, John Slattery, Jon Hamm, Vincent Kartheiser
- Notable Characters: Don Draper
- Associated Luminaries: Matthew Weiner
Let's be honest. In the past, Mad Men has been anything but a riveting show. Compelling drama, rich character study and subtlety may be the name of the game, but that's never helped the show with attracting a wider audience and becoming the latest water-cooler sensation.
"Did you see Don cheating on his wife...again? Remember that minor conflict Pete had with a co-worker? Or the way Peggy carved out a small piece of a man's world?"
Not exactly the rousing and inspirational tales of our age, but thankfully season four's move to the new organization (and offices) of Sterling Cooper Draper Pryce brings a spark back to the show we've grown so enamored with. Rather than the powerhouse of old with its well-established success, the new firm flounders in trying to stay afloat, much like the man behind it. Instead of the debonair ladies man Don Draper embodied for three seasons, we're watching him come apart at the seams without even broaching the subject of his dual identity, something Jon Hamm and Matthew Weiner desperately needed to bring to the character.
It's not that we never found Don enigmatic and intriguing, but this "pathetic" side to Don offers remarkably new colors to the former Dick Whitman. Ladies still flock to him in droves mind you, be it consultants providing psychology tests, or even just the naughty nurse down the hall, but for two episodes we've seen Don drunkenly strike out, drifting through work and home without even taking a moment to eat. This dynamic could sour quickly, but for now it breathes some new life.
Similarly, the fourth season continues to build on its strengths, namely Kiernan Shipka and John Slattery. It's a little early to be submitting episodes for Emmy consideration, but "Christmas" lets Slattery play almost every side to the Roger Sterling we love, from witty and acerbic, to downtrodden and exasperated. The show doesn't often build characters memorable enough that I could recall if we'd seen Lee Garner Jr. before (an IMDb check lists the pilot) but watching the positions he puts Roger in builds tension beautifully.
It's almost as enjoyable to watch as Marten Weiner's Glen Bishop returning to the fold to smooth-talk Sally Draper, somehow even creepier than his previous obsession with Betty.
And while I've never been a fan of Peggy Olson as a character, her dynamic with the also-returning Freddy Rumsen generates more of that wonderful subtlety Mad Men wins awards for. Sure Peggy's still a woman combatting sexist attitudes and chiseling her role in a man's world, but darn it all if she can't admit that she still needs a man to avoid loneliness on the holidays.
Mad Men might not be your bag, but season four's second wind could make you fall in love all over again.
And Another Thing...
- Reminding me of Walter's cracked windshield (Breaking Bad), there must be some symbolism to Don repeatedly declining to eat.
- Like the dazzling office introduction last week, the Christmas party offers an energy to Mad Men far too lacking in previous years. Before this, I don't think I've ever seen Christina Hendricks in more than a slow, hippy saunter around the office.
- Peggy's dating Karl (Alex's boyfriend) from LOST. Really traded down.
- Don and Roger's faux German accents are almost as ridiculously enjoyable as Jon Hamm's Jamaican receptionist on this year's 30 Rock.
- Oy. The morning after a one-night stand. You know what not to do? GIVE THEM MONEY.
