Anything as universally praised as Mad Men becomes a target, and Daniel Mendelsohn, a very fine and accomplished writer, has taken it upon himself to do the inevitable: write a Mad Men takedown. In the latest issue of the New York Review of Books, Mendelsohn gets to it, and how: “The writing is extremely weak, the plotting haphazard and often preposterous, the characterizations shallow and sometimes incoherent; its attitude toward the past is glib and its self-positioning in the present is unattractively smug; the acting is, almost without exception, bland and sometimes amateurish.” While obviously we here at Vulture disagree, we feel obliged to hear out a detractor. Let’s take a closer look at Mendelsohn’s arguments.
Mendelsohn early on establishes his TV bona fides (he likes The Wire, The Sopranos, Battlestar Galactica, and Friday Night Lights) and confesses that, despite his dislike of Mad Men, he did keep watching. Then he takes a number of arguments against the show. Let’s break them down.
1) Mad Men isn’t drama — it’s melodrama. Or, more simply put, Mad Men is boring.
Worst of all—in a drama with aspirations to treating social and historical “issues”—the show is melodramatic rather than dramatic. By this I mean that it proceeds, for the most part, like a soap opera, serially (and often unbelievably) generating, and then resolving, successive personal crises (adulteries, abortions, premarital pregnancies, interracial affairs, alcoholism and drug addiction, etc.), rather than exploring, by means of believable conflicts between personality and situation, the contemporary social and cultural phenomena it regards with such fascination: sexism, misogyny, social hypocrisy, racism, the counterculture, and so forth.
2) Mad Men is as subtle about the sixties as Crash was about race.
To my mind, the picture is too crude and the artist too pleased with himself. In Mad Men, everyone chain-smokes, every executive starts drinking before lunch, every man is a chauvinist pig, every male employee viciously competitive and jealous of his colleagues, every white person a reflexive racist (when not irritatingly patronizing). It’s not that you don’t know that, say, sexism was rampant in the workplace before the feminist movement; it’s just that, on the screen, the endless succession of leering junior execs and crude jokes and abusive behavior all meant to signal “sexism” doesn’t work—it’s wearying rather than illuminating.
3) It’s hypocritical, simultaneously indulging our fantasies about the sixties while flattering our sense of superiority to that era.
The problem with Mad Men is that it suffers from a hypocrisy of its own. As the camera glides over Joan’s gigantic bust and hourglass hips, as it languorously follows the swirls of cigarette smoke toward the ceiling, as the clinking of ice in the glass of someone’s midday Canadian Club is lovingly enhanced, you can’t help thinking that the creators of this show are indulging in a kind of dramatic having your cake and eating it, too: even as it invites us to be shocked by what it’s showing us (a scene people love to talk about is one in which a hugely pregnant Betty lights up a cigarette in a car), it keeps eroticizing what it’s showing us, too. For a drama (or book, or whatever) to invite an audience to feel superior to a less enlightened era even as it teases the regressive urges behind the behaviors associated with that era strikes me as the worst possible offense that can be committed in a creative work set in the past: it’s simultaneously contemptuous and pandering. Here, it cripples the show’s ability to tell us anything of real substance about the world it depicts.
4) What some praise as subtlety is just shallowness.
Most of the show’s flaws can, in fact, be attributed to the way it waves certain flags in your face and leaves things at that, without serious thought about dramatic appropriateness or textured characterization. (The writers don’t really want you to think about what Betty might be thinking; they just want you to know that she’s one of those clueless 1960s mothers who smoked during pregnancy.) The writers like to trigger “issue”-related subplots by parachuting some new character or event into the action, often an element that has no relation to anything that’s come before. Although much has been made of the show’s treatment of race, the “treatment” is usually little more than a lazy allusion—race never really makes anything happen in the show. There’s a brief subplot at one point about one of the young associates, Paul Kinsey, a Princeton graduate who turns out—how or why, we never learn—to be living with a black supermarket checkout girl in Montclair, New Jersey. A few colleagues express surprise when they meet her at a party, we briefly see the couple heading to a protest march in Mississippi, and that’s pretty much it—we never hear from or about her again.
5) The acting is bad.
The acting itself is remarkably vacant, for the most part—none more so than the performance of Jon Hamm as Don. There is a long tradition of American actors who excel at suggesting the unconventional and sometimes unpleasant currents coursing beneath their appealing all-American looks: James Stewart was one, Matt Damon is another now. By contrast, you sometimes have the impression that Hamm was hired because he looks like the guy in the old Arrow Shirt ads: a foursquare, square-jawed fellow whose tormented interior we are constantly told about but never really feel. With rare exceptions (notably Robert Morse in an amusing cameo as the eccentric Japanophile partner Bert Cooper), the actors in this show are “acting the atmosphere,” as directors like to say: they’re playing “Sixties people,” rather than inhabiting this or that character, making him or her specific. A lot of Mad Men is like that.
6) People are so drawn to Mad Men because it’s about their parents (So, if you are under 40-years-old and like Mad Men you can, uh, skip this one.)
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quote>The point of identification is, in the end, not Don but Sally, not Betty but Glen: the watching, hopeful, and so often disillusioned children who would grow up to be this program’s audience, watching their younger selves watch their parents screw up…This, more than anything, explains why the greatest part of the audience for Mad Men is made up not, as you might have imagined at one point, by people of the generation it depicts—people who were in their twenties and thirties and forties in the 1960s, and are now in their sixties and seventies and eighties—but by viewers in their forties and early fifties today, which is to say of an age with those characters’ children. [Ed note: We’re not convinced that this parsing of the Mad Men demo is accurate.]
Hence both the show’s serious failings and its strong appeal. If so much of Mad Men is curiously opaque, all inexplicable exteriors and posturing, it occurs to you that this is, after all, how the adult world often looks to children; whatever its blankness, that world, as recreated in the show, feels somehow real to those of us who were kids back then. As for the appeal: Who, after all, can resist the fantasy of seeing what your parents were like before you were born, or when you were still little—too little to understand what the deal was with them, something we can only do now, in hindsight? And who, after having that privileged view, would want to dismiss the lives they led and world they inhabited as trivial—as passing fads, moments of madness? Who would still want to bash them, instead of telling them that we know they were bad but that now we forgive them?
What do you all think? Some of these arguments are more thought provoking than others — his critique of Mad Men’s core hypocrisy is worth thinking on; his critique of the acting, not so much. But let’s try to look at the show objectively: does Mad Men have a hit-you-over-the-head Crash-iness to it? Or does seeing Crash and Mad Men in the same sentence offend your sensibilities?