Mad Men (2007– )

TV Series  -   -  Drama
8.7
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A drama about one of New York's most prestigious ad agencies at the beginning of the 1960s, focusing on one of the firm's most mysterious but extremely talented ad executives, Donald Draper.

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Title: Mad Men (2007– )

Mad Men (2007– ) on IMDb 8.7/10

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Won 4 Golden Globes. Another 74 wins & 223 nominations. See more awards »
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Cast

Series cast summary:
...
 Don Draper (86 episodes, 2007-2015)
...
 Peggy Olson (86 episodes, 2007-2015)
...
 Pete Campbell (86 episodes, 2007-2015)
...
 Betty Francis / ... (86 episodes, 2007-2015)
...
 Joan Harris / ... (86 episodes, 2007-2015)
...
 Ken Cosgrove (86 episodes, 2007-2015)
...
 Harry Crane (86 episodes, 2007-2015)
...
 Roger Sterling (83 episodes, 2007-2015)
...
 Sally Draper (83 episodes, 2007-2015)
...
 Bertram Cooper (74 episodes, 2007-2015)
...
 Henry Francis (48 episodes, 2009-2015)
...
 Megan Draper / ... (43 episodes, 2010-2015)
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 Paul Kinsey (40 episodes, 2007-2012)
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 Stan Rizzo (40 episodes, 2010-2015)
...
 Salvatore Romano (39 episodes, 2007-2009)
...
 Lane Pryce (35 episodes, 2009-2012)
...
 Trudy Campbell (35 episodes, 2007-2014)
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Storyline

The lives of the men and women who work in an advertising agency in New York in the 1960s. The agency is enjoying success, but the advertising game becomes more competitive as the industry develops. The agency must adapt to ensure its survival. Don Draper is a talented ad executive at the top of his game, but the secrets from his past and his present threaten to topple his work and family life. Written by Kad

Plot Summary | Add Synopsis

Taglines:

Where The Truth Lies ...

Genres:

Drama

Certificate:

TV-14 | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Country:

Language:

Release Date:

19 July 2007 (USA)  »

Also Known As:

Ga Dien  »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

Color:

Aspect Ratio:

1.78 : 1
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Did You Know?

Trivia

In 2012, costume designer Janie Bryant told "Slate" that she always repeats one of Peggy's costumes from the previous season during the next season's premiere. Bryant said that she "[loves] that tradition for Peggy because I think that this all is really based in reality. That's what we would do in real life: We repeat our clothes." See more »

Goofs

In many outdoor scenes, the tops of palm trees can be seen - Particularly in the horse-riding/stable episodes in the first few seasons. See more »

Connections

Referenced in The Tonight Show with Jay Leno: Episode #21.166 (2013) See more »

Soundtracks

A Beautiful Mine
(uncredited)
Composed by Rjd2
Performed by Rjd2
[theme music performed over opening titles]
See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

Ambitious with good cause
8 January 2010 | by (United States) – See all my reviews

Mad Men is one of the best-written and most ambitious TV shows in some time. It is worth close study, not just for learning how to create a well-structured show but also how to write one that is truly original and potentially groundbreaking.

Story world, or arena, is one of the key structural elements in any TV drama (see the TV Drama Class for how to create this element, as well as the other essential structural elements of a successful show). It is where the story takes place and it usually exists within some specific arena that not only delineates a recognizable unit but also has a set of rules, activities and values that defines the characters.

One of the strengths of Mad Men is its story world. Instead of the usual arena of cops, lawyers, or doctors, Mad Men takes us into a Manhattan advertising agency in 1960. Besides being totally unique in TV, this story world is extremely detailed. And the detailing isn't simply a matter of the set design, which is fabulous. It is written into every episode. The writers weave all manner of cultural icons of the late 50s-early 60s, including TV shows, ads, and fashion.

This has two great advantages. One is the pleasure of recognition. If you were a kid at that time, as I was, the show is a virtual time machine. And even if you weren't, the authenticity and texture immerse you in the world and make you feel that "You are there!" The other great advantage is that this past world tricks the audience into believing that this is how it really was back then. The first thing we notice when we see all of these details is how much the world has changed. Everybody smoked back then. The men were in charge and the women were all secretaries and housewives. That sets up the kicker. By first thinking how much we've changed, we then realize, with even more impact, all the ways we haven't. This story, set in 1960, is really about today, or more exactly, the ways that human nature only puts on a new skin and the same fundamental challenges of creating a meaningful life must be faced by each of us, every moment of every day.

Another structural element that immediately jumps out at you if you want to create a TV show or write for one is the desire line. In Mad Men the desire that structures each episode is fairly nebulous, and that's probably going to cut into the show's popularity (I hope I'm wrong on this one). Desire is the main reason almost all TV shows are set in the cop, lawyer, and doctor arenas. These jobs give their shows a simple and repeatable desire line that tracks the episode every week. Catch the criminal. Win the case. Save the life. But of course this is extremely limiting. Most people don't spend their daily lives solving crimes, prosecuting bad guys, and saving lives.

So while the desire line on this show may be more nebulous, it is far closer to what most Americans do in their daily lives. These Mad Men are in the business of selling, which, as Arthur Miller pointed out long ago, is the archetypal American action. But they aren't selling a particular product. They're selling desire, some image of the good life that, because it is a fabricated ideal, is always just out of reach.

Writer Matthew Weiner's brilliant conception for this show is to connect the selling of desire to America to the personal and work lives of the ad men themselves. The ad men want the image of the good life in America that they are selling to be true, even if they intellectually make fun of the poor suckers out there who buy it. Main character Don Draper is handsome and talented, with a beautiful wife and two cute little kids. But he has some secrets he's keeping – like a mistress in the city – and he feels a terrible void he has no idea how to shake. Draper is a master at manipulating desire and creating facades, so when he tries to live the promise for real, the "good life" falls apart in his hands.

We are in Far from Heaven and American Beauty territory here. And the second episode even had Draper give his own version of the Existentialist credo of Sartre and Camus that was seeping into pop culture during the late 50s (how's that for a sweet detail on a TV show?). We'll have to see whether Mad Men can extend beyond a few episodes without imploding. Besides the lack of a clean desire line, the subject of hollow suburban existence will make it extremely difficult for the writers to develop the show over the long term without beating a spiritually dead horse. In the meantime, I'm going to sit back and enjoy some great dramatic writing, and nowadays TV is the only place you'll find it.


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