It’s a mad, mad, mad, mad world on TV’s Mad Men

News that MAD MEN, the multi-Emmy-winning series on AMC, had its fifth season delayed until 2012 is a disappointment for the show’s viewers. I’m catching up with season 4, and it’s as good as ever. (As much as I’d like to delay finishing to tide me over until next year, I don’t think it’s possible.)

In case you haven’t seen it, the show takes place in 1960′s New York City, revolves around an ad agency and focuses on Don Draper (played by actor Jon Hamm). What’ll initially catch your eye is the wardrobe, the incessant smoking, the nonstop liquoring and shameless womanizing. (If you’re trying to quit tobacco, this show won’t help.)

I get sucked into the beauty and allure of the 60′s, New York City, cheap prices for everything. One character goes to an Allen Ginsberg poetry reading, another to a Bob Dylan concert. I’m a bit jelly for their (fake) experiences, but the show doesn’t romanticize the past. It doesn’t hide the civil rights movement, the objectivity of women in the work place and the Cold War paranoia.

MAD MEN CAST

Male colleagues attribute the advancement of a female copy writer’s career with unwarranted quips to her waning virtue, all within her presence. A man draws an obscene cartoon and posts it in a female assistant’s office and plays it off with this stunner: “This is why I don’t like working with women. They can’t take a joke.” (Post-feminist readers, I feel your awe and disgust.) African-American men and women tend the elevators, restrooms and lunch carts, and characters don’t hide their bigotry, which is accurate for the era. A female assistant comforts a newbie in regard to the intimidation of a typewriter by saying “It was designed by a man, and he knew to make it simple enough for a woman to use.” (Arg!) This show also touches on homosexuality in the 60′s, how the discussion is avoided … basically, it’s a repression sandwich.

Click here to “Mad Men” yourself.

MAD MEN doesn’t hide the paralleled difficulties for women and African-Americans to be seen as equal citizens. I don’t want to recommend this show over a history book, but it showcases the small battles, which a history lesson may not always illuminate. Watching this makes me reflect on the opportunities I’m lucky enough to have today, it makes me grateful for the battles won before my time and happy that there’s something on television that makes me think beyond the screen.

Ok, I get that after all that, these characters and this time period may not seem preferable to watch, but there’s so much more to it: superior writing, character development and notable acting (Elisabeth Moss has had me rewinding scenes to applaud her nuanced performance). If anything, the carefully mapped set designs and costumes take you away from the current day, and that’s one of the hallmarks of entertainment for me. You’d be mad to miss it.

Click here to see Don Draper let loose on 30 Rock.

The Adjustment Bureau: under-rated?

I didn’t expect much from THE ADJUSTMENT BUREAU, but I knew I still wanted to see it. I’m a fan of Emily Blunt (she killed it in YOUNG VICTORIA and THE DEVIL WEARS PRADA), and I think she has a promising career ahead of her. Matt Damon, of course, has star-studded charisma, and I can’t remember a time he’s disappointed me. (I did however, skip his clairvoyant thriller, HEREAFTER, so maybe my perception’s askew.)

ADJUSTMENT BUREAU

So, the film: you buy Matt Damon as a nice guy from the wrong side of the tracks who makes it big and achieves success at a young age … likely because it parallels Damon’s life and his early success as the co-writer and star of GOOD WILL HUNTING. The chemistry between Damon and Blunt is palpable,  MAD MEN’S John Slattery makes his big-screen appearance in duds that resemble his day job’s. (Spoiler alert: But in THE ADJUSTMENT BUREAU, hats are magical.) As you can guess by the trailer, the movie questions free will, chance and destiny, and I didn’t mind this, it was a break from the usual thrillers or formulaic romantic comedies (which I still love). That’s not to say it’s lacking suspense. (On two occasions, I audibly gasped (*actually yelped.))

My friend, Matt (not Damon), pointed out that some movies with an original idea have an ending that often doesn’t do it justice. This was the case with THE ADJUSTMENT BUREAU, but I still liked it. In hard times like these, recovering from a recession, this movie is appealing because it’s moral is the higher-ups aren’t always right, questioning authority is sometimes good and fighting for what you want doesn’t always create a negative outcome. I think it’s worth watching if you’re curious.