Steve Sailer calls Mad Men a sort of Brideshead Revisited for heterosexual American grown-ups:
For Baby Boomers, it’s hard to watch Mad Men without enviously exclaiming: Our parents had it better!Like the eleven-hour 1981 British adaptation of Evelyn Waugh’s novel about the elegance and indolence of post-Great War Oxford undergrads, Mad Men’s languorous 13-hours per year pace affords viewers the time to wallow in the visual details and manners of a more adult age than our own.
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While Waugh wore his reactionary heart on his sleeve in Brideshead, Weiner maintains plausible deniability in Mad Men by methodically depicting how unenlightened the upper-middle class WASPs of a half century ago were. We in the audience are scandalized to note, for example, that even the most respectable parents in 1960 devoted more time to socializing with other adults than to obsessively overseeing their offspring’s next leap up the steep slope of the meritocratic pyramid.Moreover, many families in 1960 can afford a home on just one income. As Betty Friedan noted, housewives are imprisoned in their suburban homes, escaping in Mad Men only, well… any time they feel like it.
Worse, firms pay married workers more than equally productive single ones, in violation of all the tenets of Friedan and Friedman. Employers back then felt they had a “duty to society,” a concept with which our advanced cultures are no longer familiar.
Even more shockingly, the employees at the Sterling Cooper ad agency knock off work right at 5:15 PM each day. They appear to have some weird Depression-era relic of a notion of solidarity among American workers: that if the bosses want more work done, they should hire more workers.
Didn’t they understand back then that cheap wages and expensive land are what made America great?
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While watching Mad Men, Weiner affords us ample opportunity to congratulate ourselves on how much progress we’ve made. For example, most of the black characters in Mad Men have servile jobs. Today, of course, things are infinitely better. Black men are seldom seen in servile jobs (unless they are African immigrants or gay). In fact, black men aren’t seen in any jobs as much anymore: ten percent of black men were out of the work force in Don Draper’s 1960 versus 24 percent in booming 2000. Indeed, black men aren’t even seen at all as much anymore because a million are now locked away in prison. (The incarceration rate of black male high school dropouts was one percent in the Bad Old Days of Dwight Eisenhower’s last year in office versus 25 percent in Bill Clinton’s glorious finale.)
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As a social commentator, Weiner is on the winning side in the culture war. Yet, as an artist, he senses a void in the brave new America. While he may lack the vocabulary to articulate it, this longing helps give Mad Men its romantic aura that lifts it above its own soap operaish and soft porn tendencies.