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A teaser trailer for the third season of The White Lotus is out and the release date has been revealed: February 16, 2025. Parker Posey? Walton Goggins? Yes, please. But I’ve got a love/hate relationship with this show (I couldn’t get through the first season but thought the second season was great), so I’m feeling cautiously optimistic.
Now airing on PBS and streaming on their website, a new four-hour documentary film about Leonardo da Vinci directed by Ken Burns, Sarah Burns, and David McMahon.
A 15th century polymath of soaring imagination and profound intellect, Leonardo da Vinci created some of the most revered works of art of all time, but his artistic endeavors often seemed peripheral to his pursuits in science and engineering. Through his paintings and thousands of pages of drawings and writings, Leonardo da Vinci explores one of humankind’s most curious and innovative minds.
The trailer for the series is above and there are several extended clips available on the website and on YouTube.
In 2015, the BBC & PBS adapted the first two books of Hilary Mantel’s excellent Wolf Hall trilogy into a six-episode miniseries called Wolf Hall, starring Mark Rylance as Thomas Cromwell and Damian Lewis as Henry VIII. Now they’ve made a second miniseries that covers the events of the third book, The Mirror and the Light. Here’s a trailer and synopsis:
The TV sequel picks up in May 1536 after the beheading of Anne Boleyn and follows the last four years of Thomas Cromwell’s life, completing his journey from self-made man to the most feared and influential figure of his time. These are years when Henry’s regime is severely tested by religious rebellion at home, traitors plotting abroad and the threat of invasion. Cromwell must deftly navigate the moral complexities that accompany the exercise of power in this bloody time; he’s caught between his desire to do what’s right and his instinct to survive. The question is: how long can anyone survive under Henry’s brutally mercurial gaze?
Wolf Hall: The Mirror and the Light premieres in the UK on BBC One on Nov 10 but Americans have to wait until March 23, 2025 to watch it on PBS.
Somehow, I missed that the teaser trailer for season two of the excellent The Last of Us premiered almost a month ago. I guess both I and the world have been busy with other things and also keeping tabs on the entire interest and media landscape is just not something that’s possible.
Anyway, I am excited for this season to drop sometime in 2025. The skinny from Wikipedia is:
The second season, based on the 2020 game The Last of Us Part II, follows Joel (Pedro Pascal) and Ellie (Bella Ramsey) five years after the events of the first season, and introduces Abby (Kaitlyn Dever).
And that “the season is expected to span seven episodes”.
Marlene Weisman was a graphic designer for Saturday Night Live from 1988–1994, which is the sweet spot of when I was really into the show. So this interview with Weisman by Steven Heller is right up my alley.
I did have a close working relationship with Mike Myers, who basically wrote his own sketches and would come down to our art department to talk to me about the graphics. He wanted to approve everything himself. He was very specific in what he wanted, and I truly enjoyed working with him.
I clicked with him on where he was coming from creatively. I loved establishing the Euro-style SPROCKETS graphics for him, and creating all his Simon drawings for that series of his sketches, which was really fun. As someone with a similar passion for UK ’60s pop culture, I also loved drawing and creating the title sequence for his “1960s Movie” sketch, which I have a hunch was the seed of the idea for his Austin Powers movies!
You can check out more of Weisman’s SNL work on her website and see some of the graphics she helped create in classic sketches like Colon Blow, Toonces the Driving Cat, Happy Fun Ball, Wayne’s World, and Sprockets.
See also Creating Saturday Night Live’s Cue Cards. (via chris glass)
Kasso is a Japanese game show that’s like a skateboarding version of Ninja Warrior. A group of skaters is challenged to navigate a series of obstacle courses that require the street and park skating skills. Some of the obstacles are truly diabolical — to get the gist, check out these videos:
You can catch more of Kasso on their YouTube channel. (via @mathowie)
The trailer for season two of Silo, which starts on Apple TV+ on November 15. It doesn’t reveal much but I am excited to watch the new season! (No spoilers please from folks who have read the books.)
These solidly middlebrow shows like Silo, The Diplomat, and The Gilded Age are some of my favorites to watch these days because they are well-produced with quality actors but don’t tax the viewer (ok, me…they don’t tax me) as much as more serious fare like Shōgun, My Brilliant Friend, Severance, or Chernobyl (all of which I love to bits but sometimes feels like eating your vegetables, if you know what I mean). But a good media diet is a varied media diet and stuff like Silo is really hitting the spot for me right now.
The food documentary series Chef’s Table returns with chefs & culinary experts from Italy, China, Cambodia, and the US who all work in the medium of the noodle. Here’s the trailer for Chef’s Table: Noodles:
The four main chefs profiled are Peppe Guida, Guirong Wei, Nite Yun, and Evan Funke. Now streaming on Netflix.
Well, I don’t know how I missed this, but the fantastic HBO series My Brilliant Friend is back for its fourth and final season. The series is based on Elena Ferrante’s Neapolitan novels and this season covers the events of the fourth book, The Story of the Lost Child.
I love My Brilliant Friend — it’s one of my all-time favorites and might be the best show you’re not watching. I agree completely with Clare Thorp’s description of it as “criminally underrated”.
As the trailer above shows, the previous two lead actors (who were excellent) have been replaced by older ones, a change I’m a little apprehensive about, but everything else about the show has been pitch perfect so I’m gonna trust the process. From an NPR piece on the new season:
“This child is you, when you were a child,” Maiorino recalled her friend Alessia saying about the novel’s titular protagonist and sometimes antagonist Lila. Like Lila and her friend Lenù, Maiorino is from Naples and stayed in the south, while her friend left to study in the north of the country, get married and have children.
Art has now truly imitated life for Maiorino, who plays Lila in the fourth season of the series.
New episodes of My Brilliant Friend started airing on HBO last night and will drop every Monday for the next 10 weeks. Go check it out!
From the staff at Rolling Stone, a list of the all-time best 100 episodes of TV. The rules: 1 episode per show, no reality (or talk shows or news or sketch comedy), and it’s mostly American shows (but, come on, no episodes of Fawlty Towers?)
I cannot help it, I love lists like these; here are a few of my favorites from the larger collection:
86. Black Mirror, “San Junipero” (Season 3, Episode 4)
83. The Fresh Prince of Bel-Air, “Papa’s Got a Brand New Excuse” (Season 4, Episode 24)
73. The Good Place, “Michael’s Gambit” (Season 1, Episode 13)
53. Six Feet Under, “Everyone’s Waiting” (Season 5, Episode 12)
50. The Last of Us, “Long Long Time” (Season 1, Episode 3)
38. The Bear, “Forks” (Season 2, Episode 7)
31. Deadwood, “Sold Under Sin” (Season 1, Episode 12)
25. Homicide: Life on the Street, “Three Men and Adena” (Season 1, Episode 6)
24. Fleabag, “Episode 1” (Season 2, Episode 1)
20. The Americans, “The Magic of David Copperfield V: The Statue of Liberty Disappears” (Season 4, Episode 8)
14. Succession, “Connor’s Wedding” (Season 4, Episode 3)
12. The Wire, “Middle Ground” (Season 3, Episode 11)
6. Mad Men, “The Suitcase” (Season 4, Episode 7)
5. Seinfeld, “The Contest” (Season 4, Episode 10)
2. The Simpsons, “Last Exit to Springfield” (Season 4, Episode 17)
So much to agree and disagree with here. Thoughts? Also: television!
Amazon’s series The Rings of Power hasn’t gotten great reviews and Evan Puschak hypothesizes that, unlike movies, TV is not the right medium to tell Tolkien’s stories.
I’m skeptical that the Lord of the Rings, or any other story from Tolkien’s mythology, can really work as a TV series. It’s a square peg round hole situation. TV as a form just doesn’t play to the strengths of Tolkien’s vision.
I was among the minority of viewers who enjoyed the first season of Amazon’s Lord of the Rings series The Rings of Power, so I was excited to watch this extended trailer for the show’s second season. It seems to give away a little too much of the story for my taste (even though we all knew where it was going), but I am definitely pumped for season two.
Sauron has returned. Cast out by Galadriel, without army or ally, the rising Dark Lord must now rely on his own cunning to rebuild his strength and oversee the creation of the Rings of Power, which will allow him to bind all the peoples of Middle-earth to his sinister will.
Season two starts streaming on Amazon Prime on August 29.
55 years ago today, on July 20, 1969, Neil Armstrong & Buzz Aldrin landed on the Moon and went for a little walk. For the 16th year in a row, you can watch the original CBS News coverage of Walter Cronkite reporting on the Moon landing and the first Moon walk on a small B&W television, synced to the present-day time. Just open this page in your browser today, July 20th, and the coverage will start playing at the proper time. Here’s the schedule (all times EDT):
4:10:30 pm: Moon landing broadcast starts
4:17:40 pm: Lunar module lands on the Moon
4:20:15 pm - 10:51:26 pm: Break in coverage
10:51:27 pm: Moon walk broadcast starts
10:56:15 pm: First step on Moon
11:51:30 pm: Nixon speaks to the Eagle crew
12:00:30 am: Broadcast end (on July 21)
Set an alarm on your phone or calendar! Also, this works best on an actual computer but I think it functions ok on phones and tablets if necessary.
Back in 2018, I wrote a bit about what to look out for when you’re watching the landing:
The radio voices you hear are mostly Mission Control in Houston (specifically Apollo astronaut Charlie Duke, who acted as the spacecraft communicator for this mission) and Buzz Aldrin, whose job during the landing was to keep an eye on the LM’s altitude and speed — you can hear him calling it out, “3 1/2 down, 220 feet, 13 forward.” Armstrong doesn’t say a whole lot…he’s busy flying and furiously searching for a suitable landing site. But it’s Armstrong that says after they land, “Houston, Tranquility Base here. The Eagle has landed.”. Note the change in call sign from “Eagle” to “Tranquility Base”. :)
Two things to listen for on the broadcast: the 1201/1202 program alarms I mentioned above and two quick callouts by Charlie Duke about the remaining fuel towards the end: “60 seconds” and “30 seconds”. Armstrong is taking all this information in through his earpiece — the 1202s, the altitude and speed from Aldrin, and the remaining fuel — and using it to figure out where to land.
The legendary dancer, actor, and singer Gene Kelly appeared on The Muppet Show in season five, in what turned out to be the last episode of the show ever filmed. The episode’s gag involved Kelly being under the impression he was turning up to watch the show and not perform. Kermit tricks him into it, but in the final act, Kelly refuses to do his most famous song, Singin’ in the Rain. Until…
As Jonathan Hoefler said about this bit on Threads:
For all the satire and irony and anxiety that shaped Gen X, we were so lucky to grow up with the gentleness, wit, kindness, and respect of Jim Henson, the Children’s Television Workshop, and public television generally. How lovely is this?
Well, the teaser trailer answers almost no questions about the second season of Severance, so job well done with the teasing there lads. Here’s one thing though: the season starts on January 17, 2025 on Apple TV+. Oh, and this:
In season two, Mark and his friends learn the dire consequences of trifling with the severance barrier, leading them further down a path of woe.
Season 2 reunites its ensemble cast of stars including Emmy Award nominee Adam Scott, Britt Lower, Tramell Tillman, Zach Cherry, Jen Tullock, Michael Chernus, Dichen Lachman, Emmy Award winner John Turturro, Academy Award winner Christopher Walken and Academy and Emmy Award winner Patricia Arquette, and welcomes new series regular Sarah Bock.
✅ Teased
✅ Interest piqued
✅ New event created in my calendar for Jan 17
✅ And a stick of butter
The USPS is honoring longtime Jeopardy! host Alex Trebek with a stamp that cleverly mimics a blue Jeopardy! answer — and the whole sheet of stamps looks like the game board. The text of the answer reads:
This naturalized U.S. citizen hosted the quiz show “Jeopardy!” for 37 seasons
And the question is, of course: “Who is Alex Trebek?” You can buy your Forever 73¢ Trebek stamps from the USPS website.
Somehow, I didn’t know that until quite recently, tennis balls were white instead of yellow (Wimbledon used white balls until 1985). Here’s a British Pathé film from 1961 that shows how tennis balls were made, along with Wimbledon ball boy training:
I also didn’t know that many people think tennis balls are green when they are actually a color called “optic yellow”. Oh and that David Attenborough had a hand in the switch from white to yellow.
The change in color happened due to the demands of television transmissions. In 1972 television was already in color all over the world (although in Spain it was not generalized until five or six years later). At the end of the 1960s, the person in charge of the BBC broadcasts (which, of course, was in charge of Wimbledon) was the renowned documentary filmmaker David Attenborough. And he noticed that the visibility of the traditional white ball was not perfect, especially if it approached the lines of the rectangle of play.
In that year of 1972, tennis was in full growth: the professional and amateur circuits had unified and women’s professional tennis was also growing. Tennis was becoming a great world spectacle and in this context television was fundamental. The International Tennis Federation, in charge of the rules, commissioned a study which showed that the yellow ball was more visible and therefore easier for viewers to follow. The courts, moreover, began to be multicolored once the use of synthetic materials in official tournaments was approved.
In case you or someone you know needs a little levity or pick-me-up today, might I suggest what might be the cutest thing that’s ever aired on television: a little girl named Joey and Kermit the Frog saying the alphabet.
I have to admit, The Bear is a little up and down for me. But the highs (Forks, Fishes, Honeydew) are so high that it’s well worth the effort. Anyway, the trailer for season three dropped yesterday and, no surprise, it looks intense.
So. Much. Unaddressed. Trauma. That these people are inflicting upon one another. (Men will literally open a Michelin-starred restaurant instead of going to therapy.) It seems like Carmy, not the restaurant, is the titular Bear. (via laura olin)
Two of my biggest childhood touchstones were Sesame Street and the Muppet Show. The creative spark behind both shows was Jim Henson, the subject of a forthcoming documentary directed by Ron Howard. From the press release:
Produced with the full participation and cooperation of the Henson family, “Jim Henson Idea Man” is an unprecedented, intimate look at Henson’s illustrious, revolutionary career and complex personal life. Using never-before-seen personal archival home movies, photographs, sketches, and Henson’s personal diaries, as well as interviews with those who knew him best, the film is the definitive portrait of one of the world’s most inspiring and iconoclastic creators.
Jim Henson Idea Man will be available to stream on Disney+ on Friday. (via the kid should see this)
I just started a rewatch of Chernobyl and was struck by the opening lines of the first episode spoken by Jared Harris, who plays Soviet nuclear physicist Valery Legasov:
What is the cost of lies? It’s not that we’ll mistake them for the truth. The real danger is that if we hear enough lies, then we no longer recognize the truth at all. What can we do then? What else is left but to abandon even the hope of truth and content ourselves instead with stories? In these stories, it doesn’t matter who the heroes are. All we want to know is: Who is to blame?
Which reminds me of what historian and philosopher Hannah Arendt said in a 1974 interview:
The moment we no longer have a free press, anything can happen. What makes it possible for a totalitarian or any other dictatorship to rule is that people are not informed; how can you have an opinion if you are not informed? If everybody always lies to you, the consequence is not that you believe the lies, but rather that nobody believes anything any longer. This is because lies, by their very nature, have to be changed, and a lying government has constantly to rewrite its own history. On the receiving end you get not only one lie-a lie which you could go on for the rest of your days-but you get a great number of lies, depending on how the political wind blows. And a people that no longer can believe anything cannot make up its mind. It is deprived not only of its capacity to act but also of its capacity to think and to judge. And with such a people you can then do what you please.
And also what On Tyranny author Timothy Snyder wrote a few days after the January 6th attack on Congress:
Post-truth is pre-fascism, and Trump has been our post-truth president. When we give up on truth, we concede power to those with the wealth and charisma to create spectacle in its place. Without agreement about some basic facts, citizens cannot form the civil society that would allow them to defend themselves. If we lose the institutions that produce facts that are pertinent to us, then we tend to wallow in attractive abstractions and fictions. Truth defends itself particularly poorly when there is not very much of it around, and the era of Trump — like the era of Vladimir Putin in Russia — is one of the decline of local news. Social media is no substitute: It supercharges the mental habits by which we seek emotional stimulation and comfort, which means losing the distinction between what feels true and what actually is true.
I am apparently one of the few people who really liked the first season of the Lord of the Rings prequel series, The Rings of Power. I mean, it had its rough spots and maybe there was a little too much table-setting, but in general it left me wanting to see what was going to happen next. The trailer for season two just dropped and it looks pretty action-packed and stocked with characters & events that would be familiar to those who have read the main book series. Here’s the synopsis:
Sauron has returned. Cast out by Galadriel, without army or ally, the rising Dark Lord must now rely on his own cunning to rebuild his strength and oversee the creation of the Rings of Power, which will allow him to bind all the peoples of Middle-earth to his sinister will. Building on Season One’s epic scope and ambition, the new season plunges even its most beloved and vulnerable characters into a rising tide of darkness, challenging each to find their place in a world that is increasingly on the brink of calamity. Elves and dwarves, orcs and men, wizards and Harfoots… as friendships are strained and kingdoms begin to fracture, the forces of good will struggle ever more valiantly to hold on to what matters to them most of all… each other.
And they also released a behind-the-scenes look at the production of season two:
The second season of The Rings of Power premieres on August 29 on Amazon Prime.
TV critic James Poniewozik writing for the NY Times:
Mid TV, on the other hand, almost can’t be bad for some of the same reasons that keep it from being great. It’s often an echo of the last generation of breakthrough TV (so the highs and lows of “Game of Thrones” are succeeded by the faithful adequacy of “House of the Dragon”). Or it’s made by professionals who know how to make TV too well, and therefore miss a prerequisite of making great art, which is training yourself to forget how the thing was ever done and thus coming up with your own way of doing it.
Mid is not a strict genre with a universal definition. But it’s what you get when you raise TV’s production values and lower its ambitions. It reminds you a little of something you once liked a lot. It substitutes great casting for great ideas. (You really liked the star in that other thing! You can’t believe they got Meryl Streep!)
Mid is based on a well-known book or movie or murder. Mid looks great on a big screen. (Though for some reason everything looks blue.) Mid was shot on location in multiple countries. Mid probably could have been a couple episodes shorter. Mid is fine, though. It’s good enough.
Above all, Mid is easy. It’s not dumb easy — it shows evidence that its writers have read books. But the story beats are familiar. Plot points and themes are repeated. You don’t have to immerse yourself single-mindedly the way you might have with, say, “The Wire.” It is prestige TV that you can fold laundry to.
Bullseye. Although I also agree with this caveat from Alan Sepinwall:
I’d only take issue with this excellent Poniewozik essay in the sense that not all Mid TV is created equal. Poker Face and Mr. & Mrs. Smith are great examples of the kinds of shows they want to be. I’d rather have those than all these wild swings by people who don’t understand how to make TV.
For me, the problem with Mid TV is differentiating it from actual good TV…finding shows that you actually don’t want to fold laundry to. I’ve gotten burned a few times on shows that I thought were going to be challenging & interesting — Constellation, 1899, and Mrs. Davis come to mind — but were just sort of aggressively fine (so much so that it turned me off).
Two more thoughts, from the comments section of Poniewozik’s piece. I love this re: specificity:
Shogun is by far the best show released this year, and it has an enormous amount to do with its *specificity* of artistic vision. All of the “mid” shows otherwise referenced here are trying to achieve too many things at once or appeal to too many demographics to have much of an impact. They are content, not art.
It’s a contradictory truth that if you want to create something that really connects with people (even a lot of people), you gotta make it specific or personal (or both). Shōgun is right at the top of my to-watch list (after I finish the five shows I’m stinge watching).
Writer of TV here. I won awards for an iconic HBO show. I can tell you that 95 percent of the blame here lies with the executives who are now so scared to lose their jobs that they just go right down the middle — to the mid, if you will. It’s easier to say yes to a show they have seen before than take a risk on something outside the box.
And yes, they are using AI to give us “notes”. I feel very lucky to have worked in this medium when it still rewarded real creativity.
Sounds about right.
Ryan Gosling was on Saturday Night Live this weekend and they did a sequel to one of my favorite SNL sketches (which is completely dorky in a design nerd sort of way) ever: Papyrus. Behold, Papyrus 2:
Avatar spawned worlds, right? Every little leaf of every little flower, every little eyelash of every little creature: thoroughly thought out. But the logo: it’s Papyrus, in bold. Nobody cares. Does James Cameron care? I don’t think so.
I didn’t know (or had somehow forgotten) that Marlo Thomas’s seminal children’s album Free to Be… You and Me (Spotify, Apple Music) was turned into a TV special that aired in 1974.
The basic concept was to encourage post-1960s gender neutrality, saluting values such as individuality, tolerance, and comfort with one’s identity. A major thematic message is that anyone — whether a boy or a girl — can achieve anything.
The TV show starred Thomas, Mel Brooks, Harry Belefonte, Dionne Warwick, Carol Channing, Michael Jackson, Dustin Hoffman, and many others. You can watch the whole thing (commercials included) on YouTube:
Times TV critic James Poniewozik wrote about the show for its 50th anniversary.
The opening sketch features Thomas and Mel Brooks as cue-ball-headed puppet babies in a hospital nursery, daffily trying to work out which of them is a boy and which is a girl — the Brooks baby declares himself a girl because he wants to be “a cocktail waitress” — and setting up the bigger themes of the special: What is a boy and what is a girl?
As newborns, they’re indistinguishable, just base line people - eyes, ears, hands, mouth. They haven’t yet been programmed with all the lessons about boy things and girl things, boy colors and girl colors, boy games and girl games. The rest of the special gives its young viewers a decoder ring for those messages, and permission to disregard them.
Take “Parents Are People,” a duet with Thomas and Harry Belafonte, which remains one of the most innocently radical things I’ve ever seen on TV. The lyrics explain that your mom and dad are just “people with children,” who have their own lives and a wide range of careers open to both of them.
Back in 2012, Dan Kois wrote a three-part series on the album.
Mel Brooks’ session was more eventful. Thomas had written to him that the album “would benefit the Ms. Foundation,” and when he came in the morning of his recording, he told her that he thought the material Reiner and Stone had written was funny but that he didn’t know what it had to do with multiple sclerosis. Once set straight about the MS in question, Brooks joined Thomas in the recording booth, where they would both play babies for the album’s first sketch, “Boy Meets Girl.”
“When I directed,” Alda recalls, “I would be meticulous and relentless. I would do a lot of takes. But Mel is not a guy who’s used to doing a lot of takes. He’s not used to taking direction from anybody — you know, he gives direction.” Alda didn’t love the first few takes of “Boy Meets Girl”; in the end it took, Alda remembers, 10 or 15 tries, with Brooks improvising madly all along the way. Rodgers was there that day to record “Ladies First,” and she still remembers standing in the control room laughing harder with each take. “Mel was generous,” Alda allows, “and he let me egg him on.”
We listened to Free to Be… quite a bit in the car when the kids were younger. Nice to see it pop up again.
Ok, this video is targeted at a pretty small audience and is super goofy, but it hit me square in the forehead and so I can’t help but post it here: it’s footage from Rowan Atkinson’s Mr. Bean with Bush’s 1994 alternative rock hit Glycerine playing over it. And yes, there is a change of lyrics at a critical point. 100/100, no notes. (via @jamesjm)
Last weekend, my daughter and I watched all 8 episodes of Percy Jackson and the Olympians on Disney+. We binged it. That’s how people watch TV shows now: streaming services have entire shows available at the click of the “next episode” button. Many shows are uploaded a whole season at a time for maximum bingeability — no need to wait more than the time it takes to skip the credits to continue the story. It’s an all-you-can-eat media buffet. The mechanics and economics of streaming media have changed how we watch TV and movies — the binge watch reigns supreme.
But recently, I’ve found myself watching some shows in a much different way. When I find a new show I really like or I’m digging into the newest season of a favorite series, instead of getting hooked and then blasting through all the available episodes, I’ll slow down or even stop watching so as to prolong the pleasure…or to delay the end. I feel like a squirrel, hoarding nuts for the winter. It’s stinge watching instead of binge watching.
Schitt’s Creek was the first show I recall stinge watching. I just didn’t want to stop spending time with those people and so I went from watching 1-2 episodes per day to a few a week. The final season’s 14 episodes probably took me longer to watch than the first three seasons put together. I’ve also done this with The Great British Bake-off, The Expanse, and Silo. And it’s gotten worse — right now, I’m in the middle of four different shows that I am loving but cannot bring myself to actually watch: Reservation Dogs (love those shitasses), For All Mankind (haven’t watched the last episode of the most recent season), Star Trek: Strange New Worlds (stalled out on the second-to-last episode of s01), and The Great (I stopped in the middle of an episode where something Very Dramatic happens and I just can’t seem to continue).
Wondering if anyone else has been stinge watching and curious about what their motivations might be, I asked about it on Instagram and found that dozens of others swim against the fierce current of binge watching…and even stinge read books.1 The Sopranos, Ted Lasso, The Wire, Firefly, Escape at Dannemora, Fleishman Is in Trouble, The Bear, Griselda, and Brooklyn 99 were all cited as shows too good to keep watching. One reader told me she still hasn’t watched the end of Schitt’s Creek “because those characters all grew so much and I knew the last episode would be really emotional and I wanted to avoid crying”.
This was a common theme amongst the stinge watchers, particularly with series finales. Digital media producer Micaela Mielniczenko didn’t want to finish Gilmore Girls “because I loved the characters so much and I didn’t want the story and world to end”. I felt the same way about The Expanse — I wanted to live in that world and with those characters forever, a testament to the world building and character development by the writers, directors, showrunners, and actors.
My friend Adriana X. Jacobs, a professor of modern Hebrew literature, poet, game designer, and long-time stinge watcher, says she has trouble with denouements. She told me:
They put me in a melancholy mood. I prefer the build-up, that long stretch when a character is tunneling (literally or figuratively) their way into or out of a problem. But the story interests me a lot less once the issues start to resolve. This is why it took me YEARS to finish Oldboy (dir. Park Chan-wook), a movie I kept pausing and abandoning when the protagonist was still trapped in that unholy hotel room.
I knew that the story would take him out of the room but I wanted to remain in the mess and confinement. It’s the same thing with Normal People. Even though I’ve read the book and know that the ending is (thank god) open-ended, by not finishing the series, I leave these chaotic characters even further suspended in that beautiful, very human state of uncertainty and possibility.
Wow, yes, exactly.
Andreas, who normally hoards shows to watch in the “dark days of winter” in Berlin, said that he had trouble finishing Wednesday on Netflix: “God I loved that so, so much, I could not bear the thought of it ending so soon.” He rewatched the entire first season immediately after finishing the show and even “did a whole keynote speech only with [Wednesday’s] quotes as slides”.2
Courtney Walsh, who is holding off on finishing Brooklyn 99, told me:
Delaying the finale keeps the characters in stasis and delays me feeling sad when it’s over. By keeping it in the queue, I’ll be happy when I watch, not sad.
Several other people told me they hold off on watching certain shows until they need them. When I asked her when she was going to watch the rest of Brooklyn 99, Walsh said:
When I need a guaranteed, bittersweet day. When I’m thinking about the past and I know that these 8-10 episodes will fit the bill. Probably in the next year or two. Bittersweet is a hard emotion to plan for and keep for later. When I can, I do!
Ryan N said that he keeps a stash of Queer Eye episodes because they’re “like soothing medicine in dark times”. Mielniczenko keeps the last episode or two (or sometimes a whole season) of a show in her queue because she likes “the idea that I can finish these shows at any point”. I definitely held back on the final episodes of Schitt’s Creek until I was emotionally ready and on GBBO episodes until I needed a guaranteed pick-me-up on a particularly gloomy day.
Josh Puetz is portioning Firefly out in drips and drabs — he last watched an episode in Dec 2022 as a treat to himself for being sick — and I asked how he was going to decide when to finish the rest of it:
I think…when I’m ready to let go of the characters and story on my terms. So many endings and changes in life are out of our control, but this one little thing (ending a series, saying goodbye) happens when I need it.
Puetz said he’s not a binge watcher at all (one-in-a-row is the most he can muster), but I both binge and stinge. Several of the shows I mentioned above (like Reservation Dogs & ST: Strange New Worlds), I binged several episodes at a stretch before slowing down when I realized, oh god, I’m going to run out! I loved Succession and could not wait to watch the series finale last May. The second season of the Gilded Age aired over two months last fall and I gobbled up each episode as it aired on Sunday nights.
Mielniczenko said she doesn’t horde every book or show; her stinge watch candidates “usually have a world that is unique/exciting or comforting/wholesome”. Like I said above, for me it usually comes down to the characters and the world and whether they overcome my need to find out how the plot wraps up. When something is soapy or sensational, like The Gilded Age or The White Lotus, I have to watch to find out what happens. But if my desire for the company of beloved characters and the comfort of a familiar place outweighs my desire for plot closure, I slow down and bank those shows for later.3
Streaming services are definitely geared towards binge watching, but the creators of particular shows have worked their magic so well, creating realities that feel unusually real, that some of us want to stay in them for as long as we can. My Brilliant Friend, one of my favorite shows of the last few years, is returning this year for a fourth and final season on HBO, and I am at once deliriously excited to meet those characters again but am also already bracing myself to have to say goodbye to them. At least I’ll have fellow stinge watchers to commiserate with.
Are you a stinge watcher? Let us know which shows you’re stuck on and why in the comments.
If the vibe of this commercial for the Coca-Cola Company seems familiar, perhaps it’s because Christopher Storer directed it — Storer is the creator of The Bear and wrote & directed Fishes, the intense season two Christmas episode. No homemade Sprite in this video though…they got to use the real stuff! (via matt)
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