Mad Men (2007–15), not “Rad Men”: Or, from Brothel Pickpocket to Transcendental Advertiser

Mad Men is often assumed to be “subversive” in the academic literature whereas this investigation interprets the astutely promoted series as questioning capitalism before it ratifies market relations. Alongside convulsive change under capitalism that Mad Men captures, class-striated market societies require narratives that posit class division as compatible with meritocracy. Mad Men delivers such legitimizing narratives through Don Draper's and Peggy Olson's realization of class promotions—whereas Roger Sterling, Jr. and Pete Campbell present the privileges of inherited wealth. Don's performance in advertising illustrates Mad Men's often divided view of capitalism. Don melts down during one pitch and reveals his primordial experiences of capitalism as conditioned by poverty, theft and prostitution. However, by the final episode, Don's Coke ad affirms the market as a vehicle toward transcendental community. While Mad Men interrogates capitalism, it is solidly neoliberal in its disregard for State activity (regulation, implications of elected office). The narratively privileged moment of the series’ extended closing montage doubles-down on capitalism as the flawed but optimal steering mechanism for human aspiration. With the conspicuous exception of Betty Draper Francis who never participated in corporate work, core characters realize wealth and fulfillment by mastering market relations.