A Critical Look at Mad Men Through Media Theories

AMC’s Mad Men (2007–2015) offers a sophisticated portrayal of the 1960s advertising industry, weaving narratives of power, gender dynamics, and identity crises in a rapidly modernizing world. Beneath its meticulous aesthetic lies a deeply layered critique of cultural and systemic inequities. In this blog i will be using different theories to unpack Mad Men as both a reflective and prescriptive media product.

Stack and Kelly (2006, 2010) emphasize how media representations shape societal norms and individual identities. Mad Men’s nostalgic lens captures the sexism, racism, and classism of 1960s America while also engaging in a subtle critique of these injustices.

Female characters like Peggy Olson and Joan Holloway challenge traditional gender roles, navigating male-dominated corporate spaces. However, the show often romanticizes these struggles, portraying them as exceptions rather than addressing systemic barriers. The series resists dominant narratives by offering a nuanced look at women’s agency in oppressive structures. For example, Peggy’s rise from secretary to copywriter reflects the potential for resistance but also highlights the cost of assimilation.

Hall’s concept of stereotyping as a signifying practice offers a critical lens for analyzing Mad Men’s characters and narratives. The near-invisibility of non-white characters highlights the exclusionary norms of both the 1960s and the entertainment industry when the series aired. For instance, African American characters appear mainly in subservient roles, reflecting the period’s racial hierarchy. The show explores and reinforces gender binaries, portraying men as dominant decision-makers and women as sexualized or nurturing figures. Joan’s use of her sexuality for professional advancement underscores Hall’s argument that stereotypes are often reductive and oversimplified representations. Don Draper embodies Hall’s "hero-villain" duality, a morally ambiguous figure who manipulates others while struggling with his own fractured identity. This complexity resists simple categorization, encouraging viewers to interrogate their own biases. Drawing on Kelly’s (2010) dimensions of media representation, Mad Men exemplifies the need for critical media education: The series frames the 1960s as a transformative yet exclusionary time, inviting viewers to critique the era’s legacy on modern society. The aspirational yet flawed portrayals of characters like Peggy and Don influence how audiences perceive success, agency, and morality. Through its layered narratives, Mad Men invites a critical reading that goes beyond its surface appeal, making it a powerful tool for media literacy.

Mad Men is more than a historical drama; it is a reflective mirror of our ongoing struggles with representation, power, and identity. Using the frameworks of Stack and Kelly, Simmons, and Hall, viewers can unpack its complexities and engage in deeper conversations about the media’s role in shaping society. As Simmons suggests, popular culture can be a catalyst for social change. In classrooms and beyond, Mad Men serves as a compelling entry point to question, resist, and reimagine the narratives we consume and create. It challenges us to watch critically and act boldly, ensuring that the lessons of the past inform a more equitable future.