Writers do not live in sync with the rest of humanity. Normal people have free time. Writers have time when they should be writing. This weekend I have been trying to combine the two. I’ve been on a tour of the new cultural institutions around my city, including the Fabrika independent arts centre, Phoenix Square cinema and The Curve theatre. I’ve drank a cup of tea at each, met three friends randomly I had not seen for some time, and written about a thousand words on the second draft on The Hundredth Master of Ninja Assassin. Both productive and relaxing…the only down side is that my hands are now shaking from caffeine overdose.
Now work with me here. I know its a leap, but I’m starting to think that the hit television show Madmen is a work of science fiction.
I’ve been geeking out over Madmen season two for the last fortnight. And when I say geeking out, I mean obsessing. Having watched season one three times (friends kept wanting to see it, so I had to rewatch it with them) I decided it was time to move on to the second season. Partly its the soap opera aspect of the show, once you get me hooked on the life stories of a good ensemble of characters, I’m likely to keep coming back for more and more. But Madmen goes a long, long way beyond the simplistic writing of most soap operas, and even exceeds the spate of recent excellent TV series including The Sopranos and The Wire. In an era when the TV series has become our strongest storytelling vehicle, Madmen is telling the best stories of all.
It’s on the thematic level that Madmen really triumphs. Through the lens of the advertising industry, Madmen is able to look at individual facets of our modern, ever more materialist society. Each character in the show is in someway complicit in the construction of the amoral society that they are also a victim of. From the lead male Don Draper who harnesses the pain of losing love to sell products even while his own family is slipping from his grasp, to junior copywriter Betty Olsen who understands every sin she is committing even whilst she is committing them. As a beat poet charcater says to draper in season one, the characters in Madmen ‘are making the lie’, and then they have to live in it.
And its because of its critique of materialist culture that Madmen is creeping over some line in my thinking to qualify as science fiction. Not in the rockets and rayguns way of course. No, Madmen is a much more interesting kind of SF than that. Imagine if Philip K Dick had been given free reign to write a television show, with the provision that it had to be entirely realist and mainstream. And imagine that J G Ballard and Harlan Ellison were asked in to consult. They might have come up with something not dissimilar from Madmen. There is a thread of paranoia and hyper-realism threaded through the show, as though the materialist reality the characters are inhabiting is actually some artificial projection a la The Truman Show or a PKD novel like Ubik. In season 2 the show introduces an overt discussion of god and morality, which culminates in the heavy symbolism of catholicism and the tarot playing out to the backdrop of the Cuban missile crisis, as though some greater power is trying to commune with the characters. Its tempting to think of madmen as the most subversive kind of science fiction, one that works by treating reality itself as the biggest fiction we have ever created.
I’m saving Madmen season 3 for a rainy day, so now what the hell do I watch?