Escapism in television is rarely seen in many shows made today. The feeling of being taken away from the mediocrity of life to another time or place seems to be infrequent. Mad Men’s pilot ‘Smoke gets in your eye’, directed by Alan Taylor, resets and establishes the idea of truly being taken away by television. Mad Men focuses on the life and surroundings of Don Draper, a veteran who is now working in one of New York’s most established advertising firms in the 1960s.
From the get-go, we see Don’s figure in a smoked filled bar room shuffling through tissues of paper with notes of ideas for an advert for Lucky Strike, then a popular cigarette brand. We are introduced to Don Draper the conversationalist and his persuasive powers. For my generation, a show like Mad Men allows a strange diversion from the life we know. Its pilot episode is immersive in its overall atmosphere. A good example of the difference shown in life now and in the 1960s city of New York, which helps the audience escape, is the very first scene of the series. In the smoky room, Don is approached by a black waiter, with his boss automatically having an issue with their discussion. The social expectations for people of colour are already shown in the first five minutes; the way black people were treated in the 60s is shown subtly in this one scene. Even though racial discrimination still happens today, this still reassures us that we are in another time or place. Mad Men is not a period piece, it is more subtle and has statements that don’t bombard the audience compared to other television shows which force a form of escapism that audiences want to see.
Viewers are introduced to Draper’s lifestyle, his work, his flirtations, his affairs, and his family. However, Don Draper as a character seemed too good to be true which left many viewers and myself rushing to the next episode to see if this protagonist had layers behind his picture perfect life. Other characters and character dynamics were introduced as well, Peter Campbell, the young executive working under Draper who seems to resent a competitive nature. Roger Sterling, one of the senior partners at Sterling Cooper who seems to be somewhat close with Don Draper. We are introduced to three main female characters, Betty Draper, Draper’s wife, Peggy Olson, the new secretary at Sterling Copper and Joan Holloway, the promiscuous office manager at the same firm which presented some of the social attitudes towards women, sex, marriage and careers during the 1960s.