Mad Men
Mad Men has spent three seasons, so far, telling the story of Don Draper, top ad man at a notable agency on Madison Avenue, as he struggles to keep his business, and family life on track, without letting that interrupt his getting laid on a regular basis. The series, set in the 1960s, also focuses on a variety of other characters and situations from that era.
The show is a well of engaging characters. Don is always interesting, but the show also develops a number of other "mad men" in his office. Throughout the series, some characters come and go, but the most important ones include: Roger Sterling, one of Don's bosses at the Sterling Cooper advertising agency, is very compelling. He is likely what Don will end up becoming if he continues to succeed in business. He is great at his job, but his family life is a wreck. He makes consistently questionable decisions in his personal life, but gets by on an undeniable charm and charisma. There is Pete Campbell, who is new to the agency, but has a goal to make it to the top no matter who he steps on to get there. His self serving attitude defines him, but his slimy personality seems to go unnoticed by many and often works in his favor. There is Peggy Olson, a woman working in a man's world who refuses to be defined by her gender. She is also determined to be successful despite any obstacles she might face. She struggles against stereotypes of the time that her behavior might stir. Joan Harris is the queen of the secretaries in the office. She embraces her femininity and uses it to get ahead. She is good at her job, but would prefer filling a traditional house wife role. Betty Draper is the unsatisfied suburban wife of Don. She takes care of their children with the help of a maid and keeps busy with various social and community activities. There are more characters than this, but what is more important is how Matt Weiner and writers uses these characters together to weave a layered story.
Every plot line demands attention for how it uses and forwards character development. Though none of the characters is entirely likable, they all earn a certain amount of sympathy. They are all struggling to get ahead in a changing world, unsure of what exactly would define satisfaction in their lives. A character can do something awful in one episode or scene, and then do something charitable or heroic in the next. They act like real, flawed people. None seems more than fleetingly happy, but they are all trying.
The plot itself is equally gratifying. The pace seems leisurely, like the writers are in no hurry to get to any specific spot but instead are just enjoying watching these characters stories unfold. The series is three seasons in, and the mystery behind Don's past is only now mostly solved. They use story elements like his flashbacks to say something about the current plot, more than as some dramatic hook. Don's marriage has had ups and downs in a way that many people in relationships must relate to. The affairs, the boozing, and the lies do add to the drama, but they also work to create the world and explain the motivations of these characters. And after three seasons, the stories show no sign of slowing down. They creators manage to keep stirring the pot in just the right ways. The set up for season four puts the characters in more interesting situations than ever.
Besides character and plot, there is a lot more to this series though. The setting, 1960s New York, is such a revelatory time for a series to take place. A time that many people and films envision as squeaky clean and innocent is exposed to be much more similar to today than many expect. That revelation brings a connection to modern viewers, allowing them to invest further into this world than many period pieces. The series is also careful to make note of important historical events of the time including Martin Luther King Jr.'s speech, and John F. Kennedy's assassination which works to highlight the amount of social change this period of time brought. They production design of the show is also important. The designers manage to get everything spot on. It never feels faked or inconsistent. From the offices, to the suburbs, to the outfits, to the companies being advertised, everything fits.
After The Wire, many thought television was ruined forever because nothing would come close to that level of mastery, but so far Mad Men appears to be the most qualified successor. Though best enjoyed with a glass of good Scotch and a cigarette in your finest suit or dress, this show will impress you even a la carte.
Runners Up: Lost, Friday Night Lights, Big Love
Venture Bros.
Venture Bros. has very little in common with Mad Men in most ways, but this animated series has proven to be the most entertaining and consistent half hour around. Cartoon Network is in the middle of airing the fourth season of Venture Brothers, and it is about time more people started paying attention to the adventures of young Hank and Dean Venture as they get caught up in their dad's crazy legacy as a boy adventurer and self proclaimed super scientist.
The show's basic premise is to blend every boys favorite memories together in one world and then peek in on what that world would look like down the road. There are countless references including: Johnny Quest, Hardy Boys, Batman and Robin, Astro Boy, Blade, Dr. Strange, James Bond, and much more. Each episode functions as a pop culture "Where's Waldo?" Now this alone earns the series a lot of geek cred, but what sets it apart is what Jackson Public and Doc Hammer (assumed names of the creators) do with the world that they have built.
The characters are some of the most fleshed out animated characters in existence. Dr. Rusty Venture, the boys' father, is a neurotic scientist who has never quite lived up to his own dad. He is often battling villains and rarely accomplishes anything of merit besides endangering his own sons. Hank and Dean are naive, perpetually 16 year old (until recently) boys. They have survived this life due to mysterious circumstances and their body guard. Brock Sampson, the body guard, is the professionally trained savior of the Venture family. He has killed hundreds of villains, and bagged hundreds of women. Dr. Venture's arch nemesis is The Monarch, a butterfly themed villain who rarely manages to pose a real threat. Beyond that, the show offers a host of hilarious characters including: Sergeant Hatred, Dr Orpheus, Dr. Girlfriend, Phantom Limb, David Bowie(!) and more. These characters develop in entertaining and often hilarious ways, all the while never betraying the shows premise or mythology.
Venture Bros. is also all about weaving an entertaining mythology around these characters, that are often thinly veiled parodies of classic heroes. The first two seasons built the world, and the next two seem to be all about playing in it. There are so many great moments in every episode. The dialogue is hilarious. The animation is consistent. The design in inspired. The music, by JG Thirlwell, is also perfect. Every element of this series is gold, hilarious, outrageous gold. The plot up to this point involves, mad science, flying bee hive bases, evil parody of Walt Disney, blackulas, clones, robots, detective stories, pedophilia, love, and failure. Failure is something the creators have described as a primary idea behind the series, which is unexpected for such a successful series. If anyone has ever been or loved (not like Sergeant Hatred) a young boy, or if they just appreciate good storytelling in a unexpected package, then they should find something to appreciate in Venture Bros. This is probably the best animated series since Cowboy Bebop and actually better than Justice League Unlimited.
Runners Up: Breaking Bad, 30 Rock
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