Can Don Draper survive the ’60s?
In an interview best remembered for being the one in which he said he had no working toilet, Vincent Kartheiser, "Mad Men’s" unsatisfiable Pete Campbell, described “Mad Men” as “a portrait of white men doing their stuff, just as their power is coming under threat.” Through five seasons the threat to the white guys of Sterling Cooper Draper Pryce has largely been existential. Don Draper’s agency may have a Jewish copywriter, an African-American secretary and a female partner (who prostituted her way to the top), he may have a wife and protégé with their own desires and ambitions, his historical moment may be exceedingly ungenerous to adults, but his worst enemy, the most potent underminer of his happiness, has been himself, his past, his hang-ups, his habits, his mortality. The world is changing, but then the world is always changing. Can he?