BBC Radio 5 Live hit a new low when it chose for a quick quote on the American mid-term elections, not some United States senator or esteemed American political pundit, but an actor from The West Wing. Sensibly, he simply said that he had no idea how things would work out and that we would just have to wait and see.
Dragging in actors who have played major figures in some television drama to comment on the news offers up a number of intriguing possibilities. How about Robert Hardy (of Winston Churchill fame) giving his views on the likely outcome of the Iraq and Afghanistan conflicts or perhaps James Gandolfini, who played Tony Soprano, to analyse the latest crime figures. Or what about former ER doctor George Clooney commenting on health service cutbacks? And Don Draper of Mad Men is surely qualified enough to talk about the American economy.
Which brings me neatly to Mad Men. This series has moved on apace and is now receiving the recognition it more than deserves. But watching the current series raises two questions. First, is it past its sell-by date? And second, who is the real hero?
On the first question, it’s inevitable that TV companies will milk success until it’s dry. After all, most of them are profit-making organisations. However, I’m beginning to get the feeling that perhaps Mad Men ought not to have come so far. It has suddenly shifted a time zone. The costumes are markedly different, as is the office style, whereas the attraction of the programme lay so much in its interpretation of a distinct period in Madison Avenue affairs. No doubt, though, its continuing success will warrant yet a further series. So many other successful series, such as Desperate Housewives, long overstay their welcome. Still, why complain when Mad Men is still head and shoulders above anything else currently on the box?
On the second question, it has been intriguing to watch reputations tumble or grow. Our supposed hero Don Draper has turned out to be something of a cad: a serial womaniser, liar, bully and drunkard. Meanwhile, the once weak Pete Campbell has grown in stature to become a more reflective and confident individual. Draper’s ex, Betty, once the put-upon wife, has developed into a neurotic and pathetic manipulator. Lance Price, the English partner, has become stronger and more assertive. Roger Sterling remains, as ever, privileged, Machiavellian and sexist. And that leaves Peggy and Joan. The former may have become a copywriter, but she still lacks confidence and remains confused about her own identity and role in life. Will she make that leap from child of the 1950s to radical feminist of the ’60s? Finally there is Joan, once the office pin-up, but not any more. She has emerged as the real hero – assured not only of herself, but her role in the organisation. Stand up Joan, the star of the show.
Adam Crozier, the new chief executive of ITV, has been talking about how the channel deliberately targets the lowest common denominator audience. He’s certainly right there though it only goes to illustrate the level to which ITV has fallen. Once it brought us the likes of Brideshead Revisted, End of Empire, World In Action and Weekend World.
Tony Livesey on 5 Live late one night last week invited listeners to come up with a programme idea that could be classed as the lowest common denominator. Someone rang in to suggest “Fix Your Own Funeral” – a series where individuals plan their own interment with songs, speeches, prayers, hymns and so on. Someone else then rang in to suggest it would be better called “Come Die With Me”. How long before we see it on ITV? Not long is my guess, if Adam Crozier has his way.
