Mad World on Kritik: Mad Men Season 7.7
"Let’s Have Another Piece of Pie"
Guest Writer: Lauren Goodlad

Monday, May 26, 2014

posted under , , , , , , by Unit for Criticism
[The seventh in the Unit for Criticism's multi-authored series of posts on Season 7 of AMC's Mad Men, posted in collaboration with the publication of MAD MEN, MAD WORLD: Sex, Politics, Style, and the 1960s (Duke University Press, March 2013) Eds. Lauren M. E. Goodlad, Lilya Kaganovsky and Robert A. Rushing]

"Let’s Have Another Piece of Pie"

 Written by: Lauren M. E. Goodlad (Illinois).


The term pastiche has become synonymous with postmodernism and the reign of signifiers detached from deeper reference or history. But as the Princeton Encyclopedia of Poetry and Poetics reminds us, long before pastiche developed its postmodern connotation of using “recognizable ingredients” while offering “no new substance,” the word derived from the Italian for pasticcio “or a hodge-podge of pie containing both meat and pasta.” To say that “Waterloo,” Mad Men’s Season 7 "mid-season finale" is pastiche, is not to condemn a series that, back in 2010, I argued was anything but. For at that time the show—still embedded in the pre-counterculture milieu of the early 60s—turned on a masterful dialectics between historical events like the Kennedy assassination and our own turn-of-the millennium emergencies. Those early-60s stories (as I wrote last June), “in inflecting our imaginary with the ‘history’ we had forgotten to remember as such, added something quite distinct to what we could take for the history of our present.” Yes, Mad Men has changed as it nears its final curtain; and as Caroline Levine wrote two weeks ago, many once-ardent viewers have wearied of its charms. Yet, I, for one, was happy enough last night to pull up a chair and join Roger in the spirit of Irving Berlin’s Depression-era ditty.  “Let’s Have Another Cup of Coffee,” I say, with a nice hodge-podge of meat and pasta on the side.


Of course, Mad Men has always sported a playful self-consciousness, even during episodes of stunning high seriousness. Almost inevitably, the show has begun paying tribute to its own greatest moments: last week by staging an homage to Season 4’s “The Suitcase”and this week, on the occasion of Bert’s death, by recalling us to Joan’s promptitude in Season 1 when she joined Bert in alerting clients to what then looked like Roger’s imminent demise (“The Long Weekend”).

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Madmen Yourself ("Why We Love Mad Men")

Thursday, September 3, 2009

posted under , , , , , by Unit for Criticism



A few weeks ago, inspired partly by some columns that the New York Times published on the topic, I decided to write a short essay on Mad Men, the AMC television series about the world of advertising in the early 1960s. Even if you have never watched the show you may be aware that it has a large following among academics (among others). As I wrote in the essay-- originally titled "Madmen Yourself" and which appears in this week's Chronicle of Higher Education--audience enthusiam for the show is itself a remarkable subject:
"By the time the season-three premier was promoted this month, my friends (men and women in their 30s and 40s) had taken to posting Madmenized avatars of themselves on their Facebook pages. ...What had happened to make these politically progressive adults in the last days of their youth identify with characters from their parents' generation?"


(I should add that Mad Men has many committed viewers who came of age in the 1960s including, fortunately for me, the editor at the Chronicle.)

The brief analysis I offered seems to have worked for the readers who have commented on it. And yet I know from having shared the essay prior to its publication that there are different ways of appreciating Mad Men and of thinking about the dialogue it provokes about history and the present day.

I would love to hear more about them.

Oh and neither the New York Times column nor my essay in the Chronicle contains any season-three spoilers.

Lauren Goodlad

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