Mad Men has a genuine argument for being the greatest drama in the history of television. Of course, it wouldn't have been able to obtain such a lofty reputation if it wasn't for the compelling cast of characters on the series. At every turn, Mad Men was doing right by its characters, allowing them to drive the story forward, rather than reworking their behavior to fit the show's plotting.
As such, it should be no surprise that Mad Men boasts some of the best character arcs in television history, too. Its run on AMC was highly compelling; the characters helped make it that way. From those rising out of domesticity to those navigating a challenging world and potentially becoming D.B. Cooper, the arcs on Mad Men were quite remarkable.
10 Bert Cooper
Bert Cooper (Robert Morse) was about as steady a figure on Mad Men as anyone. Due to his reliable nature, his arc was never too challenging. Instead, Bert's stories largely revolved around him being comforting.
Yes, he occasionally dropped the hammer on his contemporaries. But for the most part, he was pleasant and content to support his friends. Bert's arc was built around putting the audience at ease, rather than pushing the character in any daunting directions.
9 Betty Draper
It might be easy to say that Betty Draper (January Jones) receives no tangible development on the series, considering her last scene is essentially emblematic of where she always was on Mad Men. However, this would be neglecting all the tribulations faced along the way.
Sure, Betty's arc is not marked by upward mobility (it's rather cyclical and stagnant), but she still contains multitudes. Her character arc contains trials of trauma and loneliness, which are compelling even if she doesn't conquer them.
8 Roger Sterling
Roger's (John Slattery) character arc is largely similar to Betty's, in that most of what he is on screen for his first appearance is still evident in his last appearance.
Roger's character arc was marked by a suave, wry sense of humor, and unflinching loyalty to the people he cares about. In the end, he ends up making more of a commitment, but this is just a sweet topping to an arc that never needed to be monumental. Fans were just as content with Roger when he was cracking wise.
7 Lane Pryce
Yes, Lane Pryce (Jared Harris) has a tragic character arc on Mad Men. But tragedies can still be comprised of high-quality storytelling. Just look at Shakespeare and his myriad plays about characters who never stood a chance to escape misery.
Sadly, despite all of his ambition and occasional ebullience, Lane ends up succumbing to this misery. It's a low moment on Mad Men, but one that also serves to make the glimmers of light all the more appreciated. That includes the prior pit stops along the way for Lane.
6 Stan Rizzo
Up-and-coming art director Stan Rizzo (Jay R. Ferguson) does not become a main character on Mad Men until the fifth season. When he does join the fray, though, he becomes a crucial figure in the show's eventual endgame.
Yes, Stan's arc is largely connected to (and celebrated for) Peggy and their mutual love, realized by the time of the finale. But what makes Stan's arc so grand is that he's clearly the most talented and most game-changing of the unproven talents who enter the show later. Stan's arc represents a great portion of the future.
5 Sally Draper
Speaking of the future, Sally Draper (Kiernan Shipka) is one of the youngest characters on Mad Men and one who has so much left to do once the series resolves its timeline at the end of 1970.
The counterculture factors into Sally's arc a great deal, but she is always emblematic of how people grow and change and wish for better for their lives, rather than accepting the status quo and deferring to de facto leaders (who became such solely because of their age). Sally's arc is defined by the realization of self and the hope she won't fall into the same trappings as her parental figures. The care one feels for Sally's arc is evident throughout.
4 Joan Holloway
In the early days of Mad Men, Joan Holloway (Christina Hendricks) was so clearly destined for bigger things. It would have been a disservice to her character if she didn't wind up with one of the show's best arcs.
Thankfully, that's exactly what happens. Joan rises through the ranks on nothing but confidence and talent, demonstrating that she didn't need to be an advertising expert/prodigy to make an impact. By the end, she's running her own organization and illustrating the personal agency that always defined her arc.
3 Pete Campbell
When Pete Campbell (Vincent Kartheiser) was introduced on Mad Men, he instantly became one of the easiest characters to hate. He was so sniveling, cowardly, and short-sighted that it seemed impossible he would last long with Sterling Cooper.
By the end, though, by some miracle, Pete became one of the most fun characters on this show. It's almost inexplicable. His arc contained petulant brattiness and detestable affairs, but he still wound up fun. When his arc ends on an airport runway, fan's hearts could not help but swell when seeing a happy ending for Pete Campbell. His arc earned it; it truly acheived redemption.
2 Don Draper
It should be no surprise that Don Draper (Jon Hamm) ranks this high on the list. After all, the main character on a show with impeccable character arcs deserves the honor of a top-two position, at least.
It's not just a default slot for Don, though. His character arc was so moving throughout the show. Was he a great guy? Probably not. But he was a man who tried his best and a man who had such a troubling upbringing that the audience understood why he was afraid to love and show he cared. Coupling this with all the mysterious possibility that he would be D.B. Cooper and Don's character arc is clearly one for the ages.
1 Peggy Olson
Because of how brilliant Don's characterization was on Mad Men, it would take someone truly special to unseat him at the top of the ranking for the show's best arcs. Peggy Olson (Elisabeth Moss) fits this ideal perfectly and she's the clear character on the series with the best arc.
Her arc can be simplified into "secretary to copywriter," but it's about so much more than that. She stands up for herself to people who are more intimidating than her and more qualified than her. But she also earns her spot as a character more qualified than all of them. Just take a look at Peggy entering McCann Erickson with sunglasses and a cigarette and try to deny that her arc is Mad Men's best.
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