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End of an Era: Mad Men and the Ordeal of Civility, by James J. O'Meara
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AMC's Mad Men (2007-2015) was an instant hit, winning fifteen Golden Globes and four Emmys and "redefining television." Already a slew of books have appeared to examine its cultural impact. Now comes The End of an Era: Mad Men and the Ordeal of Civility, bringing to the discussion a unique perspective: race realist and Traditionalist. Drawing in equal measure from Kevin MacDonald and René Guénon, and able to marshal a stunning array of pop culture reference points, James J. O'Meara -- himself a child of the '60s and a product of America's long-dead industrial heartland -- examines the hidden agendas and social implications of the Mad Men phenomenon. At its center is a bravura, two-part essay analyzing the disintegration of the Sterling Cooper Draper Pryce agency as symbolic reenactment of the archetypal struggle of the Aryan and the Judaic for control of Western civilization. From the culture-creating powers of the three-button suit, to the dissolution of the Aryan Ego in the hot tubs of Esalen, The End of An Era delivers one stunning insight after another. You'll never watch a rerun of Mad Men the same way you did the first time. "James O'Meara is a cultural alchemist scrying the flickering images of TV series and old films for signs of perennial wisdom lying dormant at the heart of postmodernity. In End of an Era he focuses on the TV show Mad Men and reveals Traditional archetypes at war with Judaic crypsis for the soul of the series."-Christopher Pankhurst, author of Numinous Machines "This short collection of essays is an invigorating romp through contemporary American culture, such as it is. James J. O'Meara's concept of 'Judaic inversion' unlocks the mystery of why so much Hollywood and television fare is what it is: the recurring Jewish desire to exact revenge on a WASP society that (allegedly) excluded Jews. John Murray Cuddihy (The Ordeal of Civility) would surely approve of O'Meara's readings of the hit TV series Mad Men. As O'Meara writes, 'Don Draper is really Dick Whitman (= white man), guilty of desertion and manslaughter, both capital crimes. After all, we all know every successful WASP is a big old phony, right?' Understanding this spirited book will help you understand the mentality of the hostile elite that has been corrupting our culture for generations. And understanding is a critical step in trying to take back our own culture."-Edmund Connelly "James J. O'Meara brings his 'paranoiac-critical method' to bear upon the singular TV drama Mad Men, and the reader emerges with fresh insight on this iconically ironic pop-culture phenomenon."-Andy Nowicki, author of Lost Violent Souls "James J. O'Meara's ingenious and mutually illuminating juxtapositions of popular culture and arcane theory (in this case Mad Men and Traditionalist wisdom) bring to mind a thinker with a very different worldview, namely Slavoj Žižek, author of such books as Enjoy Your Symptom!: Jacques Lacan in Hollywood and Out. James J. O'Meara is the Slavoj Žižek of the Alternative Right."-Greg Johnson, author of New Right vs. Old Right
- Sales Rank: #2048475 in Books
- Published on: 2015-08-19
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .26" w x 5.51" l, .32 pounds
- Binding: Paperback
- 108 pages
Most helpful customer reviews
6 of 6 people found the following review helpful.
An Excellent Book Which Cuts Across the Layers of the Show Mad Men
By Carl Robinson
It is best to read James O'Meara's work several times through or you will miss the subtle humor and wit hidden in his hard hitting essays. In just one case in this particular work, he creates a new word, "inguilting," and its particular use within the work is expertly placed for effect. Attention to all people who work to take the massive ocean which is the English language and take it's power to illuminate an idea-use the word "inguilting." The conditions in American culture cry for this word.
This is a short book-a series of essays which explore the themes within the AMC series Mad Men. For those people in the year 2015 somehow living under a rock, Mad Men is a story of a high rolling ad agency in the 1960s. The actors dress well and enjoy a freedom and license which is really unknown today. Indeed, the early 1960s appeared to be halcyon time for most Americans.
We all know how the 1960s ended and how that decade seems to serve as a point in time where it is easy to infer that before was better than after-at least for America's historical white population. O'Meara argues, quite persuasively, that this entire series is one where Jewish culture creators-or distorters-deliberatly attempt to show whites in general and WASPs in particular as dishonest frauds and thus it paints them in the sunset years of their rule as people deserving to be replaced by more "meritocratic" Jews.
Indeed, a simple google search of "Mad+Men+Jewish+Hostility" brings up an interview of the show's creator Matthew Weiner and his ethnic sensitivities and hostilities are right there in the open. O'Meara saw it first though, and shows how the insertion of "Irish" advertisement competitors at one point in the series is a thinly veiled allusion to Jews seizing the financial, governmental, and cultural strategic territory in the American Society. Essentially, Jews have WASPs, in particular, upper class WASPs from the Northeast as targets in their very sharp, deliberately provoked conflict against American white Gentiles. It is (so far) sub-leathal and fiercely hostile propaganda that is deadly serious. Indeed once you see what O'Meara so carefully presents in this book you see it in other cultural works. For example, the cult classic Mystic Pizza (1988) has many of the exact same poisonous themes although that movie is otherwise a wholesome silver screen message for young women to think hard about choosing their husband.
O'Meara also uses Mad Men's wholesome themes to show that one can be a virtuous man by dressing well, being courteous and polite. Fellas, there's no reason to act a boor to prove one's honor.
As of this writing, this book is regretfully only in the convenient, but lacking, Kindle format. For this reviewer, reading anything on Kindle is not the same as the wonderful, old fashioned paper book. The feel of the paper on one's fingers and the shuffling sound of the paper as one turns the page is one of those little things that enhance the reading experience and one doesn't know how wonderful it is until those things are gone. Consequently, the footnotes in this Kindle Book are all arranged at the end of the work and not on the literal foot of the page as normally would be the case. There are links of course and it is still pretty easy to get to them and back to the main passage, but it is a bit of a "not the same" to this stubborn Luddite. The key thing here is that O'Meara's true writing skills are displayed in his humorous, insightful, and well written footnotes. It is a bit like the humorous footnotes found in Edward Gibbon's Decline and Fall of the Roman Empire. Don't skip the footnotes, don't skip them at all.
O'Meara is really on top of technological and cultural trends. In the days of I Love Lucy, each episode was a clever, repeatable formula that pitted existing characters with basic one time situations in one time episodes. If you see one episode of I Love Lucy, you've basically seen them all. Essentially, Lucy always has some "splaning" to do to Ricky. Now with Netflix, Hulu, and other streaming services, TV Shows have become extremely long stories where the nuance of the plot spreads across several seasons. Additionally, the material within the shows is far more serious and edgy since Cable TV can easily skirt around government decency rules established for shows running across government controlled frequencies for a discerning audience willing to pay top dollar. All reviewers need to catch up to O'Meara.
In short, this is an excellent book which cuts across the layers of Mad Men and contemporary American culture.
5 of 5 people found the following review helpful.
The 1960s, As Imagined by Someone Who Wasn't There
By margot
The Mad Men series ran from 2007 to 2015, and for a least half of that run, James O'Meara sporadically commented on the show in online periodicals. He often used its plot developments as an excuse to carom off into some loosely related social criticism, including such subjects as: haberdashery; the "manspreading" controversy and its connection to the exaltation of the negro and the thug in pop-culture; the strange parallels between Mad Men's social dynamics and those of the cult comedy Caddyshack; and Jewish use of entryism.
O'Meara has his own peculiar manner of critique. For him, as for McLuhan, superficialities are the substance. Suits, haircuts, cigarettes—these are not mere props and decoration gathered in the interest of verisimilitude in order to support the story; they *are* the story. So much so that trying to boil down the storylines of Mad Men in order to find something profound and incisive about 1960s society is missing the point entirely. An awareness of social issues is injected into the scripts—a nod here to feminism, a nod there to racial politics—but it's all tinsel, artifice and decoration, with no more deep significance than the ever-shifting tail-fin shapes on early 1960s Cadillacs. Because Mad Men was not really "about the Sixties." The whole saga was really "about" our recent period 2007-2015, and the peculiar ways we embrace and fetishize certain pop-culture signifiers of the 1960s.
Thus, we begin with a discussion of Mad Men's sartorial splendor: how the JFK years were the golden age of the business suit, and how this is a basic theme of the television series, at least in its early seasons. For advertising men—as for most men who had real jobs in office buildings—the suit was first and foremost a uniform. It signified that a man belonged the club, the cadre, or (one of O'Meara's favorite words) the Männerbund.
And the dissolution of that uniformed cadre—first through the loud, ridiculous paisley-and-bellbottom styles of the "peacock revolution" in the late 60s and 1970s; then through the rise of workplace slob-culture via academic bohemians, engineering-and-tech workers, and "business-casual" dress rules—is the most immediately noticeable difference between today's workplace culture and that of a half-century ago.
O'Meara's attention to the superficial is nicely suited to Mad Men. You can't subject the storylines or character development to much analysis because—well, basically they're not very good. By good I mean something that is either a) original and brilliantly inspired (like the best Hitchcock film scripts, or the whole story arc of Breaking Bad); or b) something that is authentic: full of period detail, but mainly resounding with the ring of truth and nuanced personal experience.
Mad Men lacked both qualities. It was a clever pastiche that brought nothing new to the table. It was not written by someone who grew up in the ad agencies of the 1960s, but rather by someone who's seen a lot of television and movies, and probably read a lot of Mad magazine as well. Mad Men may be the most unoriginal cable series ever to have a modicum of success. It is not only a derivative product, it is derivative at a third- or fourth-hand remove.The atmosphere, the production design, and many of the character details, are copied wholesale from a handful of feature films, which were themselves overstyled and hyperbolic. These include The Man in the Gray Flannel Suit, The Apartment, and—most notable visually—The Best of Everything, with Hope Lange, Suzy Parker, Joan Crawford and Robert Evans in the glamorous jungle of the publishing world.
O'Meara suggests another filmic source, the 1962 Otto Preminger film Advise and Consent. This has two plot elements that found their way into Mad Men. There is the backstory of a hidden past and potential for blackmail (homosexuality in Advise and Consent, Don Draper's stolen identity in Mad Men). There is also a suicide by a major character to escape consequences of his deceit and shame (the bisexual senator in the film; the embezzling partner Pryce in the television series).
It is significant that neither the series creator, Matthew Weiner (born in 1965 and raised in Los Angeles) nor most of its viewers, have a first-hand knowledge of the 1960s. This is why the series never feels obliged to recreate the "feel" of the 1960s, and settles merely for '60s window-dressing.
As noted already, this comes out in the cheap, flashy way in which racial and sexual fads are handled. In some cases this creative laziness makes a whole mess of a projected storyline. There is late-cycle development in which Sterling Cooper is taken over by a bigger ad conglomerate. The apparent subtext here is the takeover of the firm, and the ad industry, by Jews. But Jews were no novelty in the NYC ad biz in the 1950s and 60s, and in any event Weiner backs off from his original intent, making the acquiring firm the putatively "Irish Catholic" ad firm McCann Erickson. On the one hand Weiner and company promote the modern Judaic folk-myth of the Excluded Jew, and on the other reveal a great deal of discomfort in presenting Jewish characters qua Jews. The only distinctly Jewish character I recall from the series is a retail client named Rachel Menken, whom Don Draper takes under his wing (and to bed) for the sheer novelty of it all. I understand there is also a copywriter named Ginsberg whom I somehow missed; he goes completely looneytunes, mutilates himself, and is borne away from Sterling Cooper on a stretcher. These two are as representative of Jews, I submit, as Mad Men's Sterling Cooper agency is a realistic depiction of the 1960s advertising business.
1 of 1 people found the following review helpful.
Behind the Mask of a Pop-Culture Phenomenon
By Sam Finlay
In "End of an Era: Mad Men and the Ordeal of Civility," Mr. O'Meara provides a thoughtful analysis of the pop-culture phenomenon of "Mad Men" and its underpinnings. Breaking ranks from the hype surrounding the show, he chronicles the cultural and political attitudes lying at its bedrock, and noting the hook of its aesthetic appeal to modern audiences, Mr. O'Meara shows that behind the sleek 60's facade lies an attempt to ret-con a turning point in American history.
If you're a fan of sharp commentary on pop-culture that steps outside of "safe-spaces," or if you simply enjoyed the show and would like a peek behind the curtain, check out Mr. O'Meara's "End of an Era: Mad Men and the Ordeal of Civility."
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