Friday, May 22, 2015
A Few Thoughts On The End Of Mad Men
So I finished the last half of last season of Mad Men. It and the finale were ok.
I noted the finale's last two scenes: DD in a group sitting on a grassy green stretch of lawn overlooking the ocean, very Esalen-like, smiling broadly and crazily like one of Kerouac's holy fools, listening to therapeutic type talk from a kind of guru about, I paraphrase, a new day, a new dawn and new beginnings and possibilities. Then cut to the famous Coke commercial, "I'd like to teach...," (which pimped out racial harmony to sell diabetes-inducing cola.)
So is Weiner a wiener? He said in an interview that it's inferable that DD went back to the McCann world eating ad agency and hatched this ad from his retreat experience, that it's a great ad and that it's cynical to be cynical about it.
I say with D.H.L. "Never trust the teller, trust the tale." For large, for me, the hot dog in Weiner respecting his comments on the finale rests principally on two grounds:
1. I'm a critic of the ending of The Sopranos as an artistic cop out, betrayal if you want to get dramatic about it. After X many hours following the story, I argue we're entitled to a touch of resolution--I don't need ribbons and bows wrapping a gift box, I can live with controlled ambiguity, irresolution and ambivalence but not fatuity--you viewer decide, I'm not saying--parading as purposeful ambiguity. We have here, I say, inartful anti climactic darkness, as in being kept in the dark, over richly textured possibility. So, analogously, but not in parallel, in Mad Men's last two scenes we have no way of inferring, con Weiner, whether DD went back to the agency. No, not able to infer, which means being able to draw a conclusion from a body of information, we're simply left guessing. And after all we've been through with DD, how is the sheer unknowing of what happens to him defensible? There's a difference between arguable interpretations arising from a textual foundation and arguments over meaning and significance OOH and guessing over the failure to provide artistically controlled irresolution as is the case, I argue, with the ending in both series, OTOH.
2. Weiner by his comments shows that he can't stand up to the deeper and darker implication of his own work. The adjacency of the last two scenes at a minimum could be thought to show the commercial coopting of such beneficent promise as the "higher" Esalen-like consciousness may hold for us all in order to sell diabetes-inducing, syrupy, teeth rotting, terrible-for-you soft drinks. Here we have an essence of much of advertising: the fantasy-oriented falsification of reality to sell prosaic crap. A more dire implication may be a thematic link between the romanticized hokum of Esalen-like consciousness, namely the privileging of self absorbed feelings-"How do you feel about how Sunflower feels about you feel about how she's feeling?"-and the fetishization of self-involved "freedom" inclining to something solipsistic-as if the hardnesses of reality can be subject to such self centred nonsense, so the link between that romanticized hokum and the traduction of the ideal of racial harmony to sell syrupy not-good-for-you crap: "if it feels good do it" marries being made to feel good about one's self by drinking a soft drink. As I see it, Weiner is stuck in the shallow end, "mad in craft" as Hamlet says, unable to ascend to the depths, so to say, rise to the heights, that is to say, promised but not delivered by his art.
My takes, poor things that they are, for as idiosyncratic and contrarian as they may be.