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The Aristotelian triad presupposes a specific type of narrative — directed, controlled, authorized, and authoritative —, that is often mirrored in its protagonist, the resolved and resolution-oriented hero. As Matt Hills has argued, such deferrals often create cultish dedication, which can turn these »flexi-narratives« Nelson into intensely interactive programs. Sebastian — Freundschaft oder Liebe? Taylor argues that Mad Men »plays against notions about the s as modern, assured, hopeful and less complicated« and, of course, the show visually and verbally stages the anxiety, anger, and discontent of its white middle-class characters and their time n. At first, Jack Shephard embodies determined, even teleological action: a purposeful drive forward.

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