Mad Men

Mad Men

Title card
Genre Period drama
Created by Matthew Weiner
Written by Matthew Weiner
Lisa Albert
Jane Anderson
Rick Cleveland
Andrew Colville
Kater Gordon
and others
Starring Jon Hamm
Elisabeth Moss
January Jones
Vincent Kartheiser
Christina Hendricks
John Slattery
Opening theme "A Beautiful Mine" (Instrumental)
by RJD2
Composer(s) David Carbonara
Country of origin United States
Language(s) English
No. of seasons 4
No. of episodes 52 (List of episodes)
Production
Executive producer(s) Matthew Weiner
Scott Hornbacher[1]
Location(s) Los Angeles
Running time 47 minutes
Production company(s) Weiner Bros.
Distributor Lionsgate Television
Broadcast
Original channel AMC
Picture format 480i (SDTV)
720p (HDTV)
Original run July 19, 2007 – present
External links
Website

Mad Men is an American dramatic television series created and produced by Matthew Weiner. The series airs on Sunday evenings on the American cable network AMC and is produced by Lionsgate Television. It premiered on July 19, 2007, and completed its fourth season on October 17, 2010. Each season has consisted of 13 episodes.[2] The fifth season is scheduled to premiere on March 16, 2012.[3]

Mad Men is set in the 1960s, initially at the fictional Sterling Cooper advertising agency on Madison Avenue in New York City, and later at the newly created firm of Sterling Cooper Draper Pryce.[4] The focal point of the series is Don Draper (Jon Hamm), creative director at Sterling Cooper and a founding partner at Sterling Cooper Draper Pryce, and the people in his life, both in and out of the office. As such, it regularly depicts the changing moods and social mores of 1960s America.

Mad Men has received critical acclaim, particularly for its historical authenticity and visual style, and has won multiple awards, including fifteen Emmys and four Golden Globes. It is the first basic cable series to win the Emmy Award for Outstanding Drama Series, winning it in each of its first four seasons in 2008, 2009, 2010, and 2011.[5]

Contents

Production

Conception

In 2000, while working as a staff writer for Becker, Matthew Weiner wrote the first draft for the pilot of what would later be called Mad Men as a spec script.[6][7] Television producer David Chase recruited Weiner to work as a writer on his HBO series The Sopranos after reading the pilot script in 2002.[6][8] "It was lively, and it had something new to say," Chase said. "Here was someone [Weiner] who had written a story about advertising in the 1960s, and was looking at recent American history through that prism."[8] Weiner set the pilot script aside for the next seven years — during which time neither HBO nor Showtime expressed interest in the project[6][7]—until The Sopranos was completing its final season and cable network AMC happened to be in the market for new programming.[8] "The network was looking for distinction in launching its first original series," according to AMC Networks president Ed Carroll "and we took a bet that quality would win out over formulaic mass appeal."[6][9]

Pre-production

Tim Hunter, the director of a half-dozen episodes from the show's first two seasons, called Mad Men a "very well-run show".

“ They have a lot of production meetings during pre-production. The day the script comes in we all meet for a first page turn, and Matt starts telling us how he envisions it. Then there's a "tone" meeting a few days later where Matt tells us how he envisions it. And then there's a final full crew production meeting...[10] ”

Filming and production design

The pilot episode was shot at Silvercup Studios and various locations around New York City; subsequent episodes have been filmed at Los Angeles Center Studios.[1][11] It is available in high definition for showing on AMC-HD and on video-on-demand services available from various cable affiliates.[12] The writers, including Weiner, amassed volumes of research on the period in which Mad Men takes place so as to make most aspects of the series—including detailed set designs, costume design, and props—historically accurate,[7][8][13] producing an authentic visual style that garnered critical praise.[14][15][16] Each episode has a budget between $2–2.5 million, though the pilot episode's budget was over $3 million.[6][7] On the scenes featuring smoking, Weiner stated: "Doing this show without smoking would've been a joke. It would've been sanitary and it would've been phony."[13] Since the actors cannot, by California law, smoke tobacco cigarettes in their workplace, they instead smoke herbal cigarettes.[6][13] Robert Morse was cast in the role of senior partner Bertram Cooper; Morse starred in two 1967 films about amoral businessmen, A Guide for the Married Man (1967), a source of inspiration for Weiner,[8] and How to Succeed in Business without Really Trying (1967), in which Morse recreated his role from the 1961 Broadway play of the same name, (and which was itself based on a satiric novel by a former executive at the now-defunct New York ad agency, Benton & Bowles, Inc.).[17]

Weiner collaborated with cinematographer Phil Abraham and production designers Robert Shaw (who worked on the pilot only) and Dan Bishop to develop a visual style that was "influenced more by cinema than television."[11] Alan Taylor, a veteran director of The Sopranos, directed the pilot and also helped establish the series' visual tone.[18] To convey an "air of mystery" around Don Draper, Taylor tended to shoot from behind him or would frame him partially obscured. Many scenes set at Sterling Cooper were shot lower-than-eyeline to incorporate the ceilings into the composition of frame; this reflects the photography, graphic design and architecture of the period. Alan felt that neither steadicam nor handheld camera work would be appropriate to the "visual grammar of that time, and that aesthetic didn’t mesh with [their] classic approach"—accordingly, the sets were designed to be practical for dolly work.[11]

Finances

According to a 2011 Miller Tabak + Company estimate published in Barrons, Lions Gate Entertainment receives an estimated $2.71 million from AMC for each episode, a little less than the $2.84 million each episode costs to produce.[19]

In March 2011, after negotiations between the network and the series' creator, AMC picked up Mad Men for a fifth season, which will premiere on March 16, 2012.[3] Weiner reportedly signed a $30 million contract which will keep him at the helm of the show for three more seasons.[20][21] A couple of weeks later, a Marie Claire interview with January Jones was published, noting the limits to that financial success when it comes to the actors: "We don’t get paid very much on the show and that’s well-documented. On the other hand, when you do television you have a steady paycheck each week, so that’s nice."[22]

Sales from home video and iTunes could amount to $100 million in revenue during the show's expected seven-year run, with international syndication sales bringing in an additional estimated $700,000 per episode.[19] That does not include the $71[19] to $100 million[23] estimated to come from a Netflix streaming video deal announced in April 2011.

Episode credit and title sequences

The opening title sequence features credits superimposed over a graphic animation of a businessman falling from a height, surrounded by skyscrapers with reflections of period advertising posters and billboards, accompanied by a short edit of the instrumental "A Beautiful Mine" by RJD2. The businessman appears as a black-and-white silhouette. The titles, created by production house Imaginary Forces, pay homage to graphic designer Saul Bass's skyscraper-filled opening titles for Alfred Hitchcock's North by Northwest (1959) and falling man movie poster for Vertigo (1958); Weiner has listed Hitchcock as a major influence on the visual style of the series.[13] David Carbonara composes the original score for the series. Mad Men — Original Score Vol. 1 was released on January 13, 2009.

In a 2010 issue of TV Guide, the show’s opening title sequence ranked #9 on a list of TV's top 10 credits sequences, as selected by readers.[24]

At the end of almost all episodes, the show either fades to black or smash cut to black as period music or a theme by series composer, David Carbonara, plays during the ending credits; at least one episode ends with silence or ambient sounds. A few episodes have ended with more recent popular music, or with a diegetic song dissolving into the credits music.

Crew

Main article: Crew of Mad Men

In addition to having created the series, Matthew Weiner is the show runner, head writer, and an executive producer; he contributes to each episode—writing or co-writing the scripts, casting various roles, and approving costume and set designs.[6][7] He is notorious for being selective about all aspects of the series, and promotes a high level of secrecy around production details.[6][7] Tom Palmer served as a co-executive producer and writer on the first season. Scott Hornbacher (who later became an executive producer[1]), Todd London, Lisa Albert, Andre Jacquemetton, and Maria Jacquemetton were producers on the first season. Palmer, Albert, Andre Jacquemetton, and Maria Jacquemetton were also writers on the first season. Bridget Bedard, Chris Provenzano, and writer's assistant Robin Veith complete the first season writing team.

Albert, Andre Jacquemetton, and Maria Jacquemetton returned as supervising producers for the second season. Veith also returned and was promoted to staff writer. Hornbacher replaced Palmer as co-executive producer for the second season. Consulting producers David Isaacs, Marti Noxon, Rick Cleveland, and Jane Anderson joined the crew for the second season. Weiner, Albert, Andre Jacquemetton, Maria Jacquemetton, Veith, Noxon, Cleveland and Anderson were all writers for the second season. New writer's assistant Kater Gordon was the season's other writer. Isaacs, Cleveland and Anderson left the crew at the end of the second season.

Albert remained a supervising producer for the third season but Andre Jacquemetton and Maria Jacquemetton became consulting producers. Hornbacher was promoted again, this time to executive producer. Veith returned as a story editor and Gordon became a staff writer. Noxon remained a consulting producer and was joined by new consulting producer Frank Pierson. Dahvi Waller joined the crew as a co-producer. Weiner, Albert, Andre Jacquemetton, Maria Jacquemetton, Veith, Noxon and Waller were all writers for the third season. New writer's assistant Erin Levy, executive story editor Cathryn Humphris, script co-ordinator Brett Johnson and freelance writer Andrew Colville complete the third season writing staff.

Tim Hunter, Phil Abraham, Alan Taylor, Jennifer Getzinger, and Lesli Linka Glatter are regular directors for the series. Matthew Weiner directs the season finales.

As of the third season, seven of the nine writers for the show are women, in contrast to Writers Guild of America 2006 statistics that show male writers outnumber female writers by 2 to 1.[25] As Maria Jacquemetton notes:

We have a predominately female writing staff—women from their early 20s to their 50s—and plenty of female department heads and directors. [Show creator] Matt Weiner and [executive producer] Scott Hornbacher hire people they believe in, based on their talent and their experience. 'Can you capture this world? Can you bring great storytelling?'[25]

Characters

Main article: List of Mad Men characters

Mad Men focuses mostly on Don Draper, although it features an ensemble cast representing several segments of society in 1960s New York. Mad Men places emphasis on recollective progression as a means of revealing the characters' past.[26]

Lead characters

Supporting characters

Episodes

Main article: List of Mad Men episodes
Season Episodes Season Premiere Season Finale
1 13 July 19, 2007 October 18, 2007
2 13 July 27, 2008 October 26, 2008
3 13 August 16, 2009 November 8, 2009
4 13 July 25, 2010 October 17, 2010
5 March 16, 2012[44]

Themes

Mad Men depicts parts of American society and culture of the 1960s, highlighting cigarette smoking, drinking, sexism, feminism, adultery, homophobia, and racism.[13][45] Smoking, far more common in the United States of the 1960s than it is now, is featured throughout the series; many characters can be seen smoking several times in the course of an episode.[13] In the pilot, representatives of Lucky Strike cigarettes come to Sterling Cooper looking for a new advertising campaign in the wake of a Reader's Digest report that smoking will lead to various health issues including lung cancer.[46]

The show presents a subculture in which men who are engaged or married frequently enter sexual relationships with other women. It also observes advertising as a corporate outlet for creativity for mainstream, middle-class, young, white men. Along with each of these examples, however, there are hints of the future and the radical changes of the 1960s: Betty's anxiety, early stirrings of the feminist movement (as seen through Peggy), the Beats (that Draper discovers through Midge), drug use, and talk of smoking being harmful to health and physical appearance, which is usually dismissed or ignored. Characters also see stirrings of change in the ad industry itself, with the Volkswagen Beetle's "Think Small" ad campaign mentioned and dismissed by many at Sterling Cooper, although Don Draper spots the nostalgic value and market potential of renaming the Kodak 'wheel' slide projector as the Kodak Carousel.

Themes of alienation, social mobility and ruthlessness also underpin the tone of the show. Draper in particular walks a tight rope when contemplating his rather humble beginnings and the deceitful life he has led as against the power and affluence he wields as a captain of industry, and frequently relieves that pressure by way of excessive and sometimes uncontrolled drinking. At times, Draper is utterly oblivious to the pain he dishes out in condescending confrontations with Betty, Peggy, care providers, in-laws and a rotating crew of secretaries, including those with whom he has had sex; yet at others, particularly when involving Anna Draper and her family, he is wholly solicitous of others' feelings to a fault. In season 4, the Vietnam War becomes much more prominent, especially when Joan's husband, Greg, accepts a commission in the U.S. Army and is to ship to Vietnam after basic training.

Reception

Ratings

The first season's premiere attracted 900,000 viewers,[47] a number which more than doubled for the heavily promoted[48] second season premiere.[49] A major drop in viewership for the episode following the second season premiere prompted concern from some television critics.[48][49] However, "the second season finale [...] posted significantly higher numbers than the series' first season finale, and was up 20% over the season two average. 1.75 million viewers watched Sunday night's season finale, according to fast national data from Nielsen Media Research. The cumulative audience for the three airings of the episode Sunday night (at 9pm, 11 p.m. and 1 a.m.) was 2.9 million viewers."[50]

The third season premiere, which aired August 16, 2009, gained 2.8 million views on its first run, and 0.78 million with the 11 PM and 1 AM repeats.

Season Broadcast dates Premiere viewers
(in millions)
1[47] July 19 – October 18, 2007 0.90
2[49] July 27 – October 26, 2008 2.00
3[51] August 16 – November 8, 2009 2.80
4[52] July 25 – October 17, 2010 2.92

In 2009, Mad Men was second in Nielsen's list of Top 10 timeshifted primetime TV programs, with a 57.7% gain in viewers, second only to the final season of Battlestar Galactica.[53]

Critical reception

Mad Men has received highly positive critical response since its premiere.[54] Viewership for the premiere at 10 p.m. on July 19, 2007, was higher than any other AMC original series to date.[55] A New York Times reviewer called the series groundbreaking for "luxuriating in the not-so-distant past."[45] The San Francisco Chronicle called Mad Men "stylized, visually arresting [...] an adult drama of introspection and the inconvenience of modernity in a man's world".[14] A Chicago Sun-Times reviewer described the series as an "unsentimental portrayal of complicated 'whole people' who act with the more decent 1960 manners America has lost, while also playing grab-ass and crassly defaming subordinates."[56] The reaction at Entertainment Weekly was similar, noting how in the period in which Mad Men takes place, "play is part of work, sexual banter isn't yet harassment, and America is free of self-doubt, guilt, and countercultural confusion."[57] The Los Angeles Times said that the show had found "a strange and lovely space between nostalgia and political correctness".[58] The show also received critical praise for its historical accuracy – mainly its depictions of gender and racial bias, sexual dynamics in the workplace, and the high prevalence of smoking and drinking.[8][15][58][59]

However, Mad Men has become the subject of much race and gender based discussion, particularly with the treatment of women characters and characters of color. In Salon, Nelle Engoron explained that while Mad Men seems to illuminate gender issues, its male characters get off "scot-free" for their drinking and adultery, while the female characters are often punished.[60] Amy Benfer, also writing for Salon, used Oprah's fawning segment on the show (which involved Gayle King visiting the Sterling Cooper offices) to explore how nostalgia for 1960s fashion and social norms obscures most discussion of the rampant racism and sexism during the period, asking "But isn’t it a little odd that a show that, among other things, warns about the dangers of seeing the past in too amber a light has spawned an industry devoted to fetishizing nostalgia for that same flawed past?"[61] Anna Kelna writing in Ms. Magazine points out that "Mad Men itself might ascribe to the feminist agenda, but thanks to its pervasive impact on pop culture, the show is crafting a whole new generation of would-be Bettys (Draper’s stylish wife) not Peggys (the show’s ambitious “career girl”)."[62] Also writing for Ms., Aviva Dove-Viebahn argues that "Mad Men straddles the line between a nuanced portrayal of how sexism and patriarchal entitlement shape lives, careers and social interactions in the 1960s (and, by extension, today) and a glorified rendering of the “fast-paced, chauvinistic world of 1960s advertising and all that comes with it.”"[63] Melissa Witkowski, writing for The Guardian, argued that Peggy's ascendancy was marred because the show "strongly implies that no woman had ever been a copywriter at Sterling Cooper prior to Peggy, but the circumstances of her promotion imply that this was merely because no woman had ever happened to sound talented in front of a man before," pointing out that Peggy's career path bore little resemblance to the stories of successful ad women of the time such as Mary Wells Lawrence and Jean Wade Rindlaub, and argued that the show distorts history by erasing the stories of the successful men and women of color of 1960s era Madison Avenue such as Clarence Holte, George Olden, and Caroline Robinson Jones.[64] Latoya Peterson, writing for Slate's Double X, argues that Mad Men isn't confronting racial issues, but glossing over them.[65] The Root's Michael Ross points out that the continued lack of black admen is rapidly becoming ahistorical.[66]

The Washington Post agreed with most other reviews in regard to Mad Men's visual style, but disliked what was referred to as "lethargic" pacing of the storylines.[67] A review of the first season DVD set in the London Review of Books by Mark Greif was much less laudatory. Greif stated that the series was an "unpleasant little entry in the genre of Now We Know Better" as the cast was a series of historical stereotypes that failed to do anything except "congratulate the present."[68] In a February 2011 review of the show's first four seasons, critic Daniel Mendelsohn wrote that in comparison with similarly acclaimed shows such as The Sopranos, The Wire, Battlestar Galactica, and Friday Night Lights, Mad Men "shares virtually no significant qualities except its design. 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. 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."[69] The American Film Institute selected it as one of the 10 best television series of 2007,[70] 2008[71] and 2009,[72] and it was named the best television show of that year by the Television Critics Association[73] and several national publications, including the Chicago Tribune, The New York Times, the Pittsburgh Post-Gazette, TIME Magazine, and TV Guide.[74]

On June 20, 2007, the consumer-rights activist group Commercial Alert filed a complaint with the United States Distilled Spirits Council alleging that Mad Men sponsor Jack Daniel's whiskey was violating liquor advertising standards since the show features "depictions of overt sexual activity" as well as irresponsible intoxication.[75] Jack Daniel's was mentioned by name in the fifth episode.

Among people who worked in advertising during the 1960s, opinions on the realism of Mad Men differ to some extent. Jerry Della Femina, who worked as a copywriter in that era and later founded his own agency, said that the show "accurately reflects what went on. The smoking, the prejudice and the bigotry."[6] Robert Levinson, one of Weiner's advertising consultants, who worked at BBDO from 1960 to 1980, concurred with Della Femina: "What [Matthew Weiner] captured was so real. The drinking was commonplace, the smoking was constant, the relationships between the executives and the secretaries was exactly right."[6] Conversely, Allen Rosenshine, a copywriter who went on to lead BBDO, called the show "a total fabrication," saying, "if anybody talked to women the way these goons do, they’d have been out on their ass."[76]

Mad Men includes references to real life products, events and places. The filming of an Utz potato chips advertisement formed part of the back story of the Drapers' marital strife. Pete Campbell's father was killed on American Airlines Flight 1 in 1962, on the same day that astronaut John Glenn was given a ticker tape parade on Broadway, events that actually occurred as mentioned.[77] Characters eat in well-known New York restaurants, including the Pen & Pencil and the Palm. Several characters also attended a closed circuit telecast of the Liston vs. Muhammad Ali ("Cassius Clay") boxing match on the day it occurred in real life, May 25, 1965.[78]

Accolades

Main article: List of awards and nominations received by Mad Men

Mad Men is the multiple recipient of nominations and awards from various organizations, including the American Film Institute, Emmys and Creative Arts Emmys from the Academy of Television Arts & Sciences, a Peabody Award from the Peabody Board at the Grady College of Journalism and Mass Communication, Satellite Awards from the International Press Academy, and British Academy Television Awards from the British Academy of Film and Television Arts.

Numerous nominations and award has also been received from guilds and societies such as the Art Directors Guild, the Casting Society of America, the Cinema Audio Society, the Costume Designers Guild, the Directors Guild of America, the Motion Picture Sound Editors, the Producers Guild of America, the Screen Actors Guild, the Television Critics Association, and the Writers Guild of America.

Award highlights include winning the Primetime Emmy Award for Outstanding Drama Series four times, for each of its first four seasons; its fourth win tied the record for serial dramas set earlier by Hill Street Blues (1981–1984), L.A. Law, and The West Wing (2000–2003).[79]

Parodies

Jon Hamm was the host of Saturday Night Live on October 26, 2008, during the show's 34th season. Mad Men was parodied on two skits from that episode. In one, "A-Holes: Pitch Meeting", Hamm is joined by two other Mad Men cast members in cameo appearances, Elisabeth Moss (who was called the morning of the show and asked to play Peggy, since Amy Poehler, who was going to do it, went into labor)[80] and John Slattery.[81] In another skit, "Don Draper's Guide to Picking Up Women," Hamm pokes fun at how easily his character seduces women.[82]

The Simpsons' episode "Treehouse of Horror XIX", which first aired in the United States on November 2, 2008, included a segment called "How to Get Ahead in Dead-Vertising"[83] The segment, an adaptation of the Mad Men animated title sequence, was the "inspiration" of executive producer Al Jean; it featured a "rotund, lunchbox-carrying figure, undoubtedly Homer Simpson, enter[ing] a living room and then float[ing] past windows bearing Springfield-centric displays that include a Duff Beer ad," with the Mad Men theme music on the soundtrack.[83] On November 27, 2011, The Simpsons aired the episode, "The Man in the Blue Flannel Pants," once again parodying Mad Men. It featured Mad Men star John Slattery and Mad Men creator Matthew Weiner.

The children's television show Sesame Street ran a child-friendly parody of Mad Men on November 11, 2009 (episode 4188). Muppet versions of Don Draper and two other advertising professionals are shown going on an "emotional rollercoaster," becoming "mad," "sad" and "happy," as they sort through pictures of an ad campaign featuring a cartoon bear.[84][85] When Miranda Barry of the Sesame Workshop was asked how such a parody is possible "given the drinking, smoking, and womanizing that's a big part of the AMC show", she compared it to their parody of Desperate Housewives: "You may have seen our parody called 'Desperate Houseplants.' It was about a houseplant not getting its needs met by the gardener. So it always works on two levels."[85]

In late 2010, the TV show Arthur had a parody of Mad Men in the episode "Nicked by a Name," using a character named Tom Taper instead of Don Draper.

On 30 Rock (Season 4, Episode 20: The Moms) Liz Lemon's mother, Margaret, mentions working for Sterling Cooper after graduating secretarial school. In the episode "The Ones", Kenneth Parcell has an allergic reaction to strawberries and says "My real name... is Dick Whitman."

In the March 2010 episode "Physical Education" of the TV series Community the character Abed, a television and movie connoisseur, does an impression of Don Draper, after his peers encourage him to change his personality. He practices a conversation with Annie (played by Alison Brie, who plays Trudy Campbell on Mad Men). He offers her cigarettes, while putting on a deep voice and a flirtatious charm. As Annie leans in to kiss Abed, he quickly turns away and says, "Don Draper from Mad Men". While many of his friends are impressed, Shirley shouts, "Don't be him! He cheats on his wife!"

The television show House M.D. references Mad Men when Dr. Gregory House insults a high ranking man who works at a well-respected advertisement agency by calling him Don when his name is Dave.

Another parody entitled, "Malt Men" features actors Ryan Ridley and Eric Price as characters who advertise malt liquor beverages. The five-minute parody appears on Channel 101, a monthly short-film festival in Los Angeles.[86]

The comedy website Funny Or Die has a small series of skits entitled MA Men which transplants the show into present-day South Boston and invariably involves creating ad campaigns for various Boston businesses in which certain members of Boston's professional sports rivals are sodomized. Comedian Rob Delaney plays Draper, Joey McIntyre plays Roger, Nate Corddry plays Campbell, Jessica Chafin plays Joan, Jamie Denbo plays Peggy, Nat Faxon plays Salvatore, and Michaela Watkins plays Trudy.[87]

Marketing

In promotion for the series, AMC aired multiple commercials and a behind the scenes documentary on the making of Mad Men before its premiere. The commercials mostly show the one (usually brief) sex scene from each episode of the season. The commercials, as well as the documentary, featured the song "You Know I'm No Good" by Amy Winehouse.[13] The documentary, in addition to trailers and sneak peeks of upcoming episodes, were released on the official AMC website. Mad Men was also made available at the iTunes Store on July 20, 2007, along with the "making of" documentary.[88]

Inspired by the iconic Zippo brand, the DVD box set of the first season of Mad Men was designed like a flip-open Zippo lighter. Zippo subsequently developed two designs of lighters with "Mad Men" logos to be sold at the company headquarters and online.[89] The DVD box set, as well as a Blu-ray disc set, was released July 1, 2008; it features a total of 23 audio commentaries on the season's 13 episodes from various members of the cast and crew.[90]

For the second season, AMC undertook the largest marketing campaign it had ever launched, intending to reflect the "cinematic quality" of the series.[91] The Grand Central Terminal subway shuttle to Times Square was decorated with life-size posters of Jon Hamm as Don Draper, and quotes from the first season.[91] Inside Grand Central, groups of people dressed in period clothing would hand out "Sterling Cooper" business cards to promote the July 27 season premiere.[91] Window displays were arranged at 14 Bloomingdale's stores for exhibition throughout July, and a 45' by 100' wallscape was posted at the corner of Hollywood and Highland in downtown Hollywood.[91] Television commercials on various cable and local networks, full-page print ads, and a 30-second trailer in Landmark Theaters throughout July were also run in promotion of the series.[91] Television promotions for the second season featured the song "The Truth" by Handsome Boy Modelling School.[92]

In the spring of 2010, Mattel released a series of limited-edition collectible Barbie and Ken dolls based on the characters Don and Betty Draper, Joan Holloway, and Roger Sterling.[93]

For the third season, the clothing store Banana Republic partnered with Mad Men to create window displays at its U.S. stores, showing clothing inspired by the fashion of the show. The store also ran a "casting call" competition, in which participants were asked to mail photos of themselves in period fashion for a chance at a walk-on part in the show;[94] two winners were announced in October 2010.[95]

Another clothing promotion from the series' third season includes a "Mad-Men Edition" suit offered by American clothing retailer Brooks Brothers.[96] The suit is designed by the show's costume designer, Janie Bryant, and is based on an actual style sold by Brooks Brothers in the early 1960s.[96]

The fourth season saw the announcement of a collaboration between Janie Bryant and Californian-based company, Nailtini, to produce a limited-edition line of Mad Men nail polish. The four shades are entitled Bourbon Satin, French 75, Deauville and Stinger and are reported to have been inspired by the fabrics used to make cocktail dresses in the Sixties. The Mad Men nail polish line went on sale in the US in late 2010.[97]

Online promotion

Promotion for Seasons 4 and 5 saw Mad Men and AMC partnering with Banana Republic for the Mad Men Casting Call, in which users submit photos of themselves in Mad Men style and one winner receives the opportunity for a walk-on role in an upcoming season.[98] Promotion for Seasons 3 and 4 included “Mad Men Yourself”, an interactive game in which the user can choose clothing and accessories for an avatar similar to the appearance of Mad Men characters, drawn in the sixties-inspired style of illustrator Dyna Moe.[99] “Mad Men Cocktail Culture” was also featured, an iPhone app that challenges users to create the perfect drink as featured in Mad Men episodes.[100] Another interactive game launched prior to Season 3, the “Sterling Cooper Draper Pryce Job Interview”, allowed users to answer questions based on various scenarios and then offered them a position in the Sterling Cooper Draper Pryce office.[101] Season 3 also included “Which Mad Man Are You?”, an interactive game in which users could find out which Mad Men character they were most like based on their answers to questions about various work and life situations.[102] Users can take trivia quizzes based on the years in which the Mad Men episodes take place[103] and find recipes for 1960s-era drinks on the Mad Men Cocktail Guide.[104] AMC's Mad Men website also features exclusive sneak peek and behind the scenes videos, episodic and behind-the-scenes photo galleries, episode and character guides, a blog, and a community forum.

Product placement

Mad Men has integrated product placement into its narratives. For instance, in a second season episode, the beer manufacturer Heineken is seen as a client seeking to bring its beer to the attention of American consumers. This placement was paid for by Heineken as an additional part of their advertising on the show. The closing episode of season two was broadcast (for its premiere) in the United States with only one brief commercial interruption: a short ad for Heineken beer.[105]

During the fourth season, Unilever created a series of six retro commercials to be aired during the show in the United States. The ads are set at the fictional Smith Winter Mitchell advertising agency and take place during the same time period as Mad Men. The products used in the ads are Dove, Breyers, Hellman's, Klondike, Suave, and Vaseline.[106][107]

Some sources attribute other mentions of real life products on the show, such as ads worked on by the firm, or companies sought as clients including Utz potato chips, Maidenform, Gillette, American Airlines, Clearasil and others to product placement[108]

In an interview for the Archive of American Television on November 12, 2010, creator and showrunner Matthew Weiner stated that there is much less product placement on Mad Men than is commonly perceived, and that most real products featured (including Cadillac and Utz ) are included for purposes of realism, with no product placement deals behind them. Weiner said: "There is very little [product placement], and it is an illusion propagated by the network. It never works out... Literally I've named four things in four seasons and there have probably been a hundred products on the show. Half of them are made up, no one's paying to be on the show."[109]

Weiner added that he is not opposed to product placement, provided that it could increase the show's budget or eliminate the advertising breaks. However, he says that the limited product placement in the show has been a frustrating experience for his creative team. Because of these frustrations, Weiner anticipates no product placement deals in future seasons. "I can say here and now, never again".[110]

Weiner also expressed his regret at his inability to edit Mad Men's Wikipedia article to correct the misperception that real products on the show are the result of product placement deals.[111]

Influence

Mad Men has been credited with setting off a wave of renewed interest in the fashion and culture of the early 1960s. According to The Guardian in 2008, the show was responsible for a revival in men's suits, especially suits resembling those of that time period, with higher waistbands and shorter jackets; as well as "everything from tortoise shell glasses to fedoras".[112]

New York Times theater critic Ben Brantley wrote that the success of Mad Men had turned "the booze-guzzling, chain-smoking, babe-chasing 1960s" into "Broadway’s decade du jour", citing three 1960s-set musicals that had appeared on Broadway in 2010 and 2011: revivals of Promises, Promises and How to Succeed in Business Without Really Trying, and a new musical, Catch Me If You Can.[113] Brantley also wrote, "I’m presuming that Mad Men is the reason this Promises, Promises is set not in the late ’60s, as the original was, but in 1962."[114]

The 2009 TNT series Trust Me, which ran for one season, was set at a modern-day advertising agency; television critic Tom Shales called it a cross between Mad Men and Nip/Tuck. Two network television series that premiered in 2011, Pan Am and the short-lived The Playboy Club, both set in 1963, have frequently been referred to as imitations of Mad Men.[115][116]

Don Draper's rendition of the Frank O'Hara poem 'Mayakovsky' from Meditations in an Emergency, at the end of episode one of season two, led to the poet's work entering the top 50 sales on Amazon.com.[58]

The appearance of actress Christina Hendricks as secretary Joan is said to have sparked a renewed interest in a voluptuous look for women, and to be partly responsible for, among other things, a 10% increase in breast implant surgery in Britain in 2010.[117]

According to the website BabyCenter, the show led to the name "Betty" soaring in popularity for baby girls in the United States in 2010.[118]

International broadcast

Country Network
 Argentina HBO Latin America
Australia Movie Extra, SBS One
 Belarus Channel One
Belgium Acht
 Bolivia HBO Latin America
Brazil HBO Latin America / SBT
Bulgaria Nova Television
Canada AMC, Télé-Québec
 Chile HBO Latin America
 Colombia HBO Latin America
 Costa Rica HBO Latin America
Cyprus LTV
Czech Republic TV Nova
Prima Cool
Denmark TV3 Puls
 Dominican Republic HBO Latin America
 Ecuador HBO Latin America
 El Salvador HBO Latin America
Estonia Kanal 11
Finland Nelonen
France Canal+
Germany FOX Channel, ZDFneo
Greece Star Channel
 Guatemala HBO Latin America
 Honduras HBO Latin America
 Hong Kong STAR World
Hungary m1, m2
 Iceland Stöð 2
India Zee Café
 Indonesia STAR World
Ireland RTE 2
Israel Channel 10
Italy Rai 2
Japan WOWOW
 Kazakhstan Channel One
 Kenya Kenya Television Network
 Latvia TV3
 Lithuania Lietuvos Rytas TV
Macedonia ALFA
Malaysia FX
 Mexico HBO Latin America, Once TV
Netherlands NED 2
 New Zealand SoHo
 Nicaragua HBO Latin America
Norway TVNorge
 Pakistan STAR World
 Panama HBO Latin America
 Paraguay HBO Latin America
 Peru HBO Latin America
 Philippines Jack TV
Studio 23
Poland TVN (Poland), FOXlife
Portugal RTP2
 Puerto Rico AMC
Romania TVR1, Prima TV
Russia Channel One
Saudi Arabia MBC4
Orbit Showtime
 Singapore STAR World
Slovenia RTV SLO
South Africa M-net
Spain Fox, Canal+
Serbia Fox Life
Sweden Kanal 5
 Switzerland SF 1
TSR1
 Taiwan STAR World
 Thailand STAR World
Turkey CNBC-e
Ukraine Mega
United Arab Emirates
OSN First
United Kingdom BBC Four (2008–2011)
Sky Atlantic (2011–)
United States AMC
 Uruguay HBO Latin America
 Venezuela HBO Latin America

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  109. ^ Matthew Weiner Interview. Archive of American Television. Academy of Television Arts & Sciences Foundation. 2010-11-12. Event occurs at part 6 of 7 32:30, 41:33. http://www.emmytvlegends.org/interviews/people/matthew-weiner. Retrieved 2012-01-04. 
  110. ^ Matthew Weiner Interview. Archive of American Television. Academy of Television Arts & Sciences Foundation. 2010-11-12. Event occurs at part 6 of 7 38:00. http://www.emmytvlegends.org/interviews/people/matthew-weiner. Retrieved 2012-01-04. 
  111. ^ Matthew Weiner Interview. Archive of American Television. Academy of Television Arts & Sciences Foundation. 2010-11-12. Event occurs at part 6 of 7 41:48. http://www.emmytvlegends.org/interviews/people/matthew-weiner. Retrieved 2012-01-04. 
  112. ^ How Mad Men became a style guide, The Guardian, August 1, 2008
  113. ^ Scamming as Fast as He Can, Ben Brantley, The New York Times, April 10, 2011
  114. ^ Back in the ’60s: Let’s Tryst Again, Ben Brantley, The New York Times, April 26, 2010
  115. ^ That '60s show, Maxine Shen, New York Post, May 19, 2011
  116. ^ Longing for a time when bad was good, Melissa Maerz, Los Angeles Times, May 22, 2011
  117. ^ Mad Men star Christina Hendricks sparks rush for breast implants, Adam Lusher, The Daily Telegraph, January 30, 2011
  118. ^ 'Glee' and 'Mad Men' influence Top Baby Names of 2010, Ann Oldenburg, USA Today, December 3, 2010

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