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It would be hard to imagine a more absorbingly intelligent American TV series--in terms of writing, acting, and visuals--than MAD MEN. Just before the final season of THE SOPRANOS began in late 2007, AMC presented us in the summer with the thirteen episodes of this marvelously atmospheric series created by one of the main writers of the series, Matt Weiner, that HBO insanely took a pass on. Ostensibly the series is about a group of advertising agency working for Madison Avenue advertising agency, the fictitious Sterling-Cooper, in 1960, during the Nixon-Kennedy presidential contest; yet on a deeper level the show wrestles with much larger questions about the meaning of obsession with having (and marketing) happiness in mid-20th-century America. The series centers primarily around four characters whose lives are inextricably linked with one another: Don Draper (Jon Hamm), a handsome advertising executive at Sterling-Cooper of few words but enormous creative gifts who hides a mysterious past; his beautiful but childlike wife Betty (January Jones), whom he keeps entirely separate in the suburbs from his work life and his mistresses in the city; Peggy Olson (Elisabeth Moss), Don's new secretary, whose naive affect and kind heart belie her tremendous ambition; and Pete Campbell (Vincent Kartheiser), the smarmy account executive who trades on his ties to the Old New York "Knickerbocracy" to get him ahead. The four central actors are absolutely first-rate, as are several within their near orbits: John Slattery as Roger Sterling, the roguish partner who is both Don's friend and his competitor; the gifted Joan Hendricks, as the firm's femme fatale head secretary; and Robert Morse, as the firm's wily and eccentric senior partner.

Morse's presence ties the series to his famous work in both the Broadway and Hollywood production of HOW TO SUCCEED IN BUSINESS WITHOUT REALLY TRYING, and the episodes make intelligent reference also to any number of important American fictional works about the NYC business and suburban domestic worlds of the post-War era, including THE APARTMENT and THE BEST OF EVERYTHING. (Richard Yates's REVOLUTIONARY ROAD and the films of Douglas Sirk are also repeatedly evoked too, if in less direct ways.) One of the pleasures of this fine DVD set are the superb extras which allow us to see the especially thoughtful work done by the series' set designers, hairstylists, and (particularly) its head costume designer. The commentaries are generally excellent, and it will come as no surprise to fans of the series that not only the series creator, Matt Weiner, and its writers are especially eloquent but so too are its actors, especially Hamm and Kartheiser. The eye-catching design of this DVD package (fashioned to look and open, naturally, like a classic American manufacturer's product: a Zippo lighter) has been rightly praised for its innovation but also rightly criticized for its unwieldiness.