“What we have seen is that streaming services [network] Possible TV space [previously] It was the only place where there was something called a kind of ‘background noise’ television,” he added, “and that’s probably why we started watching more of this television. We’re doing it because the data shows that people are watching those shows, and we need to bring costs down.”
It was also notable that one of Netflix’s most truly boundary-pushing shows this year, the drama that modernized Greek mythology, Chaos, was canceled shortly after launching in August. cause an uproar on the internet. as some people pointed outCommissioned in 2018, it probably wouldn’t have been greenlit in the more risk-averse climate of 2024. “Before the pandemic, the market was completely different, and commissions from Netflix were being seen left, right, and right,” says Ravindran. “In a sense, they are still being digested and taken out of the system.”
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One thing that’s still going strong from the so-called “old days” is that Hollywood’s A-list stars flock to movie theaters. Kidman has appeared in at least three shows this year, while others include Jake Gyllenhaal and Natalie Portman. and Cate Blanchett were all in their first leading roles on television. But these days, the excitement around such deals has waned, with big-name, award-winning talent increasingly appearing on shows that are either very generic or simply underwhelming.
Another phenomenon associated with mid-TV that some people find disgusting is the sheer number of shows that feature the exploitation of the super-rich. Some shows, such as The White Lotus and Succession, have meaningfully explored these environments with dramatic or comedic elements. But while conceptually pretending to be saying something about wealth and privilege, it’s actually just using the “eat the rich” theme as an excuse to enjoy shots of nice furniture and big kitchens. has a growing number of pale imitators. as Vinson Cunningham “The New Yorker” About The Perfect Couple: ”[It] Rather than doubling down on and critiquing past media, it’s wearing its hand-me-downs and more or less carrying on the look. ”
Looking to the future
Mid-TV, whether a recognized phenomenon or not, is working for streamers. And it works for viewers too. After all, we are watching these shows. Cunningham added: ”[It’s] like [when] Whether it’s Lynyrd Skynyrd playing Free Bird or Billy Joel playing Piano Man, it’s because we all want it and we won’t stop. ”
But if mid-TV is the new standard, where does that leave the kind of true luxury TV that critics have been drooling over since the “Golden Age of Television” began all those years ago? There’s no need to worry too much, says Whittock. Among the many series on the streamer, “edgy, prestige shows are always launched and successful. Shogun,” a Japanese historical drama for Disney+, is the best of any TV show in history. It won more Emmy Awards than in one season. [Netflix series] baby reindeerThe Scottish stand-up comedian’s outlandish story about mental health is arguably the most talked about show of the year. ”
