<p>Actress Elisabeth Moss, who is currently promoting the final season of <em>The Handmaid&rsquo;s Tale</em>, has shared that she would be open to returning if a <em>Mad Men</em> reboot ever takes place. Moss rose to fame for her award-winning role as Peggy Olson in the iconic TV series.</p>
<p><strong>Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/andor-showrunner-credits-pedro-pascals-the-mandalorian-for-getting-the-show-off-the-ground-8946074">Andor showrunner credits Pedro Pascal's The Mandalorian for getting the show off the ground</a></strong></p>
<h2>What is Mad Men about?</h2>
<p>Mad Men is a period drama set in the 1950s that follows the charismatic advertising executive Don Draper (Jon Hamm) of the ad agency Sterling Cooper. The show explores both the personal and professional lives of Draper and his colleagues. Peggy Olson, initially Draper&rsquo;s secretary, gradually rises through the ranks to become a key figure at the agency.</p>
<p><strong>Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/director-james-toback-ordered-to-pay-17-billion-to-40-women-for-sexual-assault-in-historic-ruling-8945865">Director James Toback ordered to pay $1.7 Billion to 40 women for sexual assault in historic ruling</a></strong></p>
<p>While appearing on <em>Watch What Happens Live!</em>, Moss said she would be happy to reprise her role:<br>"I'm not one of those people that&rsquo;s like, 'I want to move on and do&hellip;.' Mad Men is one of the greatest things I've ever done and will ever do."</p>
<blockquote class="twitter-tweet">
<p lang="en" dir="ltr">Could Elisabeth Moss see herself in a Mad Men reboot? <a href="https://twitter.com/hashtag/WWHL?src=hash&amp;ref_src=twsrc%5Etfw">#WWHL</a> <a href="https://t.co/r9ubCd0SUL">pic.twitter.com/r9ubCd0SUL</a></p>
&mdash; Watch What Happens Live! (@BravoWWHL) <a href="https://twitter.com/BravoWWHL/status/1909785837187088467?ref_src=twsrc%5Etfw">April 9, 2025</a></blockquote>
<p><strong>Also Read: <a href="https://www.wionews.com/entertainment/one-and-done-short-lived-tv-series-that-became-cult-hits-8946232">One and Done: Short-lived TV series that became cult hits</a></strong></p>
<h2>A legacy worth revisiting</h2>
<p>Mad Men is widely regarded as one of the greatest TV shows ever made, running for seven critically acclaimed seasons. While there may not be an urgent need to reboot such a beloved series, a continuation of events following the finale or a spin-off could be intriguing for fans.</p>
<p>Meanwhile, Elisabeth Moss is starring in the final season of<em> The Handmaid&rsquo;s Tale</em>, which will consist of ten episodes. It is set to premiere on 8 April 2025, with new episodes releasing every Tuesday on Hulu. Indian viewers can stream the series on Prime Video.</p>
<blockquote class="twitter-tweet">
<p lang="en" dir="ltr">Next stop: The final chapter. Watch the first three episodes now on <a href="https://twitter.com/hulu?ref_src=twsrc%5Etfw">@hulu</a> and with <a href="https://twitter.com/hashtag/HuluOnDisneyPlus?src=hash&amp;ref_src=twsrc%5Etfw">#HuluOnDisneyPlus</a>. <a href="https://twitter.com/hashtag/TheHandmaidsTale?src=hash&amp;ref_src=twsrc%5Etfw">#TheHandmaidsTale</a> <a href="https://t.co/Dct2vhGRX1">pic.twitter.com/Dct2vhGRX1</a></p>
&mdash; The Handmaid's Tale (@HandmaidsOnHulu) <a href="https://twitter.com/HandmaidsOnHulu/status/1909637406795395241?ref_src=twsrc%5Etfw">April 8, 2025</a></blockquote>
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<p><strong>Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/daredevil-born-again-directors-teases-brutal-season-one-finale-8946956">Daredevil: Born Again directors teases brutal season one finale</a></strong></p>

Elisabeth Moss, who is currently promoting the final season of The Handmaid’s Tale, has shared that she would be open to returning if a Mad Men reboot.

Actress Elisabeth Moss, who is currently promoting the final season of The Handmaid’s Tale, has shared that she would be open to returning if a Mad Men reboot ever takes place. Moss rose to fame for her award-winning role as Peggy Olson in the iconic TV series. Also Read: Andor showrunner credits Pedro Pascal's The Mandalorian for getting the show off the ground What is Mad Men about? Mad Men is a period drama set in the 1950s that follows the charismatic advertising executive Don Draper (Jon Hamm) of the ad agency Sterling Cooper. The show explores both the personal and professional lives of Draper and his colleagues. Peggy Olson, initially Draper’s secretary, gradually rises through the ranks to become a key figure at the agency. Also Read: Director James Toback ordered to pay $1.7 Billion to 40 women for sexual assault in historic ruling While appearing on Watch What Happens Live!, Moss said she would be happy to reprise her role: "I'm not one of those people that’s like, 'I want to move on and do….' Mad Men is one of the greatest things I've ever done and will ever do." Could Elisabeth Moss see herself in a Mad Men reboot? #WWHL pic.twitter.com/r9ubCd0SUL — Watch What Happens Live! (@BravoWWHL) April 9, 2025 Also Read: One and Done: Short-lived TV series that became cult hits A legacy worth revisiting Mad Men is widely regarded as one of the greatest TV shows ever made, running for seven critically acclaimed seasons. While there may not be an urgent need to reboot such a beloved series, a continuation of events following the finale or a spin-off could be intriguing for fans. Meanwhile, Elisabeth Moss is starring in the final season of The Handmaid’s Tale, which will consist of ten episodes. It is set to premiere on 8 April 2025, with new episodes releasing every Tuesday on Hulu. Indian viewers can stream the series on Prime Video. Next stop: The final chapter. Watch the first three episodes now on @hulu and with #HuluOnDisneyPlus. #TheHandmaidsTale pic.twitter.com/Dct2vhGRX1 — The Handmaid's Tale (@HandmaidsOnHulu) April 8, 2025 Also Read: Daredevil: Born Again directors teases brutal season one finale

The Handmaid's Tale star Elisabeth Moss is open to return for a Mad Men reboot

<p>Jon Hamm and Anna Osceola, who shared screen space in <em>Mad Men </em>and <em>Confess, Fletch</em>, tied the knot on Saturday at Anderson Canyon in Big Sur. Interestingly, this is the same place where the<em> Mad Men</em> finale was filmed in 2015. They were joined by several celebrity friends, including Billy Crudup, Paul Rudd and Tina Fey.</p>

<p>According to TMZ, the couple's walkup song was the theme to the 1967 James Bond film "You Only Live Twice". While Osceola donned a simple yet gorgeous white wedding gown with a plunging neckline, her now-husband wore a black suit with a matching bow tie. The couple looked adorable as they took wedding vows in the presence of their friends and loved ones.</p>

<p>Check out the viral photos below!</p>

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<p>They two reportedly first met on the set of the popular television series <em>Mad Men</em> in 2015, however, they weren't romantically linked till 2020.&nbsp;Hamm played protagonist Don Draper in the AMC series, while Osceola appeared as Clementine, a receptionist who worked at a retreat that Don visited in an episode of the final&nbsp;season.&nbsp;</p>

<p><strong>Also read:&nbsp;<a href="https://www.wionews.com/entertainment/emotional-elton-john-closes-out-glastonbury-festival-608685">'Emotional' Elton John closes out Glastonbury festival</a></strong></p>

<p>Back in September 2022, Hamm gave an interview to Howard Stern on his<em> Sirius XM </em>show where he revealed that he could see himself being married someday.</p>

<p>"This is all part of what I'm saying. This is another place in my life that I feel very settled and comfortable. I'm in a relationship right now and it's comfortable," Hamm said, before adding that he's been able to sit down to start to think "about all that stuff, that's made the relationship that I'm in now even more meaningful and opened up the possibility of things like being married, having kids, defining a new version of happiness, life, wellness".</p>

<p>The couple made their red carpet debut in 2022 at an Oscars afterparty. They also attended the premiere of&nbsp;their crime comedy feature <em>Confess, Fletch </em>last&nbsp;year.</p>

<p><strong>WATCH WION LIVE HERE</strong></p>

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Jon Hamm and Anna Osceola, who shared screen space in Mad Men and Confess, Fletch, tied the knot on Saturday at Anderson Canyon in Big Sur. Interestingly, this is the same place where the Mad Men finale was filmed in 2015.

Jon Hamm and Anna Osceola, who shared screen space in Mad Men and Confess, Fletch, tied the knot on Saturday at Anderson Canyon in Big Sur. Interestingly, this is the same place where the Mad Men finale was filmed in 2015. They were joined by several celebrity friends, including Billy Crudup, Paul Rudd and Tina Fey. According to TMZ, the couple's walkup song was the theme to the 1967 James Bond film "You Only Live Twice". While Osceola donned a simple yet gorgeous white wedding gown with a plunging neckline, her now-husband wore a black suit with a matching bow tie. The couple looked adorable as they took wedding vows in the presence of their friends and loved ones. Check out the viral photos below! View this post on Instagram A post shared by Page Six (@pagesix) They two reportedly first met on the set of the popular television series Mad Men in 2015, however, they weren't romantically linked till 2020. Hamm played protagonist Don Draper in the AMC series, while Osceola appeared as Clementine, a receptionist who worked at a retreat that Don visited in an episode of the final season. Also read: 'Emotional' Elton John closes out Glastonbury festival Back in September 2022, Hamm gave an interview to Howard Stern on his Sirius XM show where he revealed that he could see himself being married someday. "This is all part of what I'm saying. This is another place in my life that I feel very settled and comfortable. I'm in a relationship right now and it's comfortable," Hamm said, before adding that he's been able to sit down to start to think "about all that stuff, that's made the relationship that I'm in now even more meaningful and opened up the possibility of things like being married, having kids, defining a new version of happiness, life, wellness". The couple made their red carpet debut in 2022 at an Oscars afterparty. They also attended the premiere of their crime comedy feature Confess, Fletch last year. WATCH WION LIVE HERE You can now write for wionews.com and be a part of the community. Share your stories and opinions with us here.

Mad Men co-stars Jon Hamm and Anna Osceola tie the knot at the same spot the series finale was filmed

<p>Ladies, Jon Hamm is officially off the market. The <em>Mad Men </em>star is reportedly engaged to actress Anna Osceola. The duo has been in a relationship for the last three years. The two acted together in <em>Confess, Fletch</em>, and <em>Mad Men</em>, where they initially were introduced. Mad Men's final season aired in 2015.&nbsp;<br />
<br />
Even though Hamm, 51, and Osceola, 34, were seen together just once in 2017, they didn't start dating until the beginning of 2020, when they were frequently spotted out together. The discreetly in-love couple, who both avoid social media, were seen playing tennis together in May last year.</p>

<p>They were also spotted spending a day at the beach in Santa Barbara, California in September. Although they have kept their relationship fairly quiet, the couple was seen engaging in intense PDA while on vacation in Italy in September 2021.<br />
<br />
In March 2022, the stars of <em>Top Gun: Maverick</em> and <em>Law &amp; Order True Crime</em>, respectively, stepped out for an Awards watching party as a couple.</p>

<p><strong><a href="https://www.wionews.com/videos/exclusive-jon-hamm-on-working-with-tom-cruise-in-top-gun-maverick-482572">Exclusive: Jon Hamm on working with Tom Cruise in Top Gun: Maverick</a></strong><br />
<br />
Previously, from 1997 through 2015, Hamm was in a long-term relationship with actress and screenwriter Jennifer Westfeldt. In a joint statement, the ex-couple stated that they will "continue to be supportive of each other in every way possible moving forward."</p>

<p><em>(With agency inputs)</em></p>


Ladies, Jon Hamm is officially off the market. The Mad Men star is reportedly engaged to actress Anna Osceola. The duo has been in a relationship for the last three years.

Ladies, Jon Hamm is officially off the market. The Mad Men star is reportedly engaged to actress Anna Osceola. The duo has been in a relationship for the last three years. The two acted together in Confess, Fletch, and Mad Men, where they initially were introduced. Mad Men's final season aired in 2015. Even though Hamm, 51, and Osceola, 34, were seen together just once in 2017, they didn't start dating until the beginning of 2020, when they were frequently spotted out together. The discreetly in-love couple, who both avoid social media, were seen playing tennis together in May last year. They were also spotted spending a day at the beach in Santa Barbara, California in September. Although they have kept their relationship fairly quiet, the couple was seen engaging in intense PDA while on vacation in Italy in September 2021. In March 2022, the stars of Top Gun: Maverick and Law & Order True Crime, respectively, stepped out for an Awards watching party as a couple. Exclusive: Jon Hamm on working with Tom Cruise in Top Gun: Maverick Previously, from 1997 through 2015, Hamm was in a long-term relationship with actress and screenwriter Jennifer Westfeldt. In a joint statement, the ex-couple stated that they will "continue to be supportive of each other in every way possible moving forward." (With agency inputs)

Jon Hamm, Anna Osceola engaged after 3 years of dating: Reports

<p>In 1999, HBO debuted 'The Sopranos', a TV series called Tony Soprano, a family man and a mobster suffering from something relatable to nearly every working human being: work-life balance. He is unable to balance his family life with his, um, career as a crime lord. The series was superbly written and acted, and ushered in what is now known as the Golden Age of Television. Indeed, it was this show that made the television medium the place of prestige. If not for 'The Sopranos' there will not be 'The Wire', 'Mad Men', 'Breaking Bad', 'Game of Thrones', and so on.</p>

<p><strong>When Netflix entered the picture</strong></p>

<p>The medium initially flourished after Netflix entered the picture and became a true challenger to the supremacy of legacy players like HBO. For the last 7-8 years, the leader in streaming space just showered money on every writer with any halfway-adequate idea that could somehow be worked into a TV show. The result was a flood of content for Netflix subscribers, most of it unwatchable for those with decent taste.</p>

<p>Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-hollywood-desperately-cutting-back-on-movie-tv-budgets-after-years-of-profligate-spending-495576"><strong>Hollywood desperately cutting back on movie, TV budgets after years of profligate spending</strong></a></p>

<p>Then, the streaming giant upped the ante even further and set its eyes on filmmakers of prestige, and managed to rope in the Coen Brothers, Alfonso Cuarón, Bong Joon-Ho, and even Martin Scorsese. While the films came out great, the company had to shell out up to $225 million (in the case of Scorsese's 'The Irishman') to make those movies. It is anybody's guess as to whether the company got a decent return on investment with respect to those movies as we only have the number of views to gauge that.&nbsp;</p>

<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/WHXxVmeGQUc" title="YouTube video player" width="560"></iframe></p>

<p><strong>Cracks in the edifice?</strong></p>

<p>TV has enjoyed this reputation for more than two decades now, but not it appears cracks are showing the edifice.&nbsp;</p>

<p>Earlier this year, it was revealed that for the first time in a decade Netflix lost subscribers instead of gaining them. About 200,000 subscribers said goodbye to the streamer, when it expected to gain 2.5 million users. It was a giant setback and forced the company to take stock of its choices. It has reportedly been considering offering cheap, ad-supported plans and banning users from sharing their passwords with friends and family.&nbsp;</p>

<p>Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/netflix-fires-300-employees-in-latest-round-of-layoffs-amid-financial-troubles-491223"><strong>Netflix fires 300 employees in latest round of layoffs amid financial troubles</strong></a></p>

<p>Whether Netflix gets over its woes soon or not is irrelevant. What is relevant is it's not just Netflix. The Golden Age of the TV medium, due to several factors, appears to be over, and perhaps has been for quite some time.&nbsp;</p>

<p><strong>Streaming wars</strong></p>

<p>The death of high-quality, prestige television as we know it began with still-ongoing streaming wars. Earlier Netflix -- and to some extent Amazon Prime Video -- was the only big player in streaming space. Now there are a dozen. The competition is fierce and to make matters worse for Netflix, services like HBO Max and Disney+ come bundled with decades of legacy content due to the long history of the studios behind them.</p>

<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="664" src="https://www.youtube.com/embed/f2Cs-u4b6hI" title="The Lord of the Rings: The Rings of Power – Main Teaser | Amazon Prime Video" width="1180"></iframe></p>

<p>As streaming wars have raged, nearly every single studio has jumped in. Thus far, only Sony holds out. And this has been Netflix's loss. Also, many have gotten over its binge-friendly model of releasing the entire season all at once, and instead, wish for an interval between episodes' release. Netflix's algorithmic-driven approach has also been excoriated, particularly when it recommends inferior clones just after one has finished a good TV show.&nbsp;</p>

<p>Due to multiple streamers, there has also been a flood of content. And since new stuff has found only intermittent success, much of it cashing on to nostalgia factor that comes from age-old franchises.</p>

<p><strong>The death of 'prestige television'</strong></p>

<p>Earlier this month, Bloomberg reported that a TV director making $4 million a year is now getting $750,000 and the TV budgets are dropped by a shocking 30 per cent. Sure, there are still expensive productions like Amazon's 'The Lord of the Rings: The Rings of Power' and 'Game of Thrones' spinoff 'The House of the Dragon' that come out later this year, but then again these are tried and tested properties. No streamer, even Prime Video, with that virtually unlimited Amazon money, is shelling out good money for fresh television.&nbsp;</p>

<p>And this is a tragedy. For if studio execs were not generous with talented writers' visions, we would not have 'The Sopranos' and we would not have 'Breaking Bad'. For all intents and purposes, the Golden Age of TV appears to be well and truly over.</p>


In 1999, HBO debuted 'The Sopranos', a TV series called Tony Soprano, a family man and a mobster suffering from something relatable to nearly every working human being: work-life balance.

In 1999, HBO debuted 'The Sopranos', a TV series called Tony Soprano, a family man and a mobster suffering from something relatable to nearly every working human being: work-life balance. He is unable to balance his family life with his, um, career as a crime lord. The series was superbly written and acted, and ushered in what is now known as the Golden Age of Television. Indeed, it was this show that made the television medium the place of prestige. If not for 'The Sopranos' there will not be 'The Wire', 'Mad Men', 'Breaking Bad', 'Game of Thrones', and so on. When Netflix entered the picture The medium initially flourished after Netflix entered the picture and became a true challenger to the supremacy of legacy players like HBO. For the last 7-8 years, the leader in streaming space just showered money on every writer with any halfway-adequate idea that could somehow be worked into a TV show. The result was a flood of content for Netflix subscribers, most of it unwatchable for those with decent taste. Also Read: Hollywood desperately cutting back on movie, TV budgets after years of profligate spending Then, the streaming giant upped the ante even further and set its eyes on filmmakers of prestige, and managed to rope in the Coen Brothers, Alfonso Cuarón, Bong Joon-Ho, and even Martin Scorsese. While the films came out great, the company had to shell out up to $225 million (in the case of Scorsese's 'The Irishman') to make those movies. It is anybody's guess as to whether the company got a decent return on investment with respect to those movies as we only have the number of views to gauge that. Cracks in the edifice? TV has enjoyed this reputation for more than two decades now, but not it appears cracks are showing the edifice. Earlier this year, it was revealed that for the first time in a decade Netflix lost subscribers instead of gaining them. About 200,000 subscribers said goodbye to the streamer, when it expected to gain 2.5 million users. It was a giant setback and forced the company to take stock of its choices. It has reportedly been considering offering cheap, ad-supported plans and banning users from sharing their passwords with friends and family. Also Read: Netflix fires 300 employees in latest round of layoffs amid financial troubles Whether Netflix gets over its woes soon or not is irrelevant. What is relevant is it's not just Netflix. The Golden Age of the TV medium, due to several factors, appears to be over, and perhaps has been for quite some time. Streaming wars The death of high-quality, prestige television as we know it began with still-ongoing streaming wars. Earlier Netflix -- and to some extent Amazon Prime Video -- was the only big player in streaming space. Now there are a dozen. The competition is fierce and to make matters worse for Netflix, services like HBO Max and Disney+ come bundled with decades of legacy content due to the long history of the studios behind them. As streaming wars have raged, nearly every single studio has jumped in. Thus far, only Sony holds out. And this has been Netflix's loss. Also, many have gotten over its binge-friendly model of releasing the entire season all at once, and instead, wish for an interval between episodes' release. Netflix's algorithmic-driven approach has also been excoriated, particularly when it recommends inferior clones just after one has finished a good TV show. Due to multiple streamers, there has also been a flood of content. And since new stuff has found only intermittent success, much of it cashing on to nostalgia factor that comes from age-old franchises. The death of 'prestige television' Earlier this month, Bloomberg reported that a TV director making $4 million a year is now getting $750,000 and the TV budgets are dropped by a shocking 30 per cent. Sure, there are still expensive productions like Amazon's 'The Lord of the Rings: The Rings of Power' and 'Game of Thrones' spinoff 'The House of the Dragon' that come out later this year, but then again these are tried and tested properties. No streamer, even Prime Video, with that virtually unlimited Amazon money, is shelling out good money for fresh television. And this is a tragedy. For if studio execs were not generous with talented writers' visions, we would not have 'The Sopranos' and we would not have 'Breaking Bad'. For all intents and purposes, the Golden Age of TV appears to be well and truly over.

Is the Golden Age of Television over?

<p>Disney+’s “WandaVision” began with a bold, disorienting move, taking viewers and depositing them without explanation into an unsettling bubble of 1950s television.</p>

<p>I am referring, of course, to the show’s practice of releasing new episodes only once every week.</p>

<p>Releasing TV installments on a schedule — “Same Bat-time, same Bat-channel,” as the show’s superhero predecessor “Batman” promised — was standard practice in the days of black-and-white TV, and still is on most traditional networks. But the age of Netflix has led accustomed streaming fans to getting full seasons all at once, and some WandaViewers did not care to wait for what an IndieWire review referred to as “inconvenient weekly installments.”</p>

<p>“WandaVision” is not the first streaming show to face complaints for not feeding its audience on the all-you-can-eat plan. Last year, Eric Kripke, showrunner of Amazon’s dystopian superhero drama “The Boys,” defended the decision to release Season 2’s episodes weekly, against some fans’ objections, “to have time to sort of slow down a little bit and have conversations about everything.” (“The Boys” did release its first three episodes on its premiere date, “WandaVision” its first two; Disney is also following the weekly model with its latest Marvel series, “The Falcon and the Winter Soldier.”)</p>

<p>Slow down? We are not much of a slowdown society these days. If people can have something, they increasingly believe they should, in Costco-size portions, to be savored or swallowed anaconda-like as they see fit. Who the hell is anyone else to tell us to chew between bites? We’ll chew when we feel like it!</p>

<p>Fans’ increasing expectation of — and creators’ occasional pushback against — the binge model resonates with other tech-driven arguments over how art should properly be enjoyed. Should the audience or the artist decide how the work is best experienced? Are you violating the artistic intention of an album when you listen to it on shuffle? Are you a cretin for watching a movie on your phone when the director insisted it be viewed on a big screen?</p>

<p>Certainly, advocates of “I want it all, now” can sound entitled, like kids on the Wonka factory tour grousing that the gobstoppers aren’t coming fast enough. But there can also be a kind of high-handedness to the defense of weekly airings, as if the communal watercooler ritual were somehow more authentic, and as if viewers needed to be guided toward the correct choice lest they, like children failing the marshmallow test, make the wrong one.</p>

<p>Maybe a more useful way of looking at the weekly and binge models is that neither is inherently better. Instead, they’re one more set of storytelling tools — like shooting in front of a studio audience, or not — creatively suited to different kinds of stories.</p>

<p>Release schedules, like many aspects of TV, are a case of the creative format following the business model. In the days of rabbit ears TV, you watched a show when it was beamed at you or not at all. Weekly (or daily) schedules built habits and fan bases.</p>

<p>When Netflix entered the original-series business in the early 2010s, it could have followed some form of scheduling. Instead, dropping full seasons at once was a way of branding it as a forward-looking business — this ain’t your grandma’s TV! — and a way to find viewers where broadcast TV wasn’t. (By letting viewers watch at their leisure, Netflix laid claim to the vast stretches, like Fridays and Saturdays, when fans had a lot of time and less marquee scheduled programming.)</p>

<p>For an era — well, a few years — this defined streaming TV. And the different formats led to different creative forms. Traditional TV serials broke stories into structured units with tune-in-next-time endings. Binge series are often looser in episode structure, sometimes to the extent that whole seasons can feel like extended “episodes.” (Or extended movies, such as Netflix’s “Stranger Things,” whose season titles — “Stranger Things 2” and “Stranger Things 3”— recalled the film franchises that inspired the series.)</p>

<p>Eventually some competitors, including Hulu, Apple and Disney, separated themselves from Netflix with old-school weekly schedules, at least for some series. And Disney+, with its first streaming phenomena, showed that the traditional TV schedule works best for shows that play like traditional TV, with tight episode construction and careful maintenance of suspense.</p>

<p>Mystery, in particular, lends itself well to the waiting game. In “WandaVision,” part of the mystery was the show itself: What were these weekly “sitcoms,” really, and who was in charge? The effect wasn’t ruined by bingeing (I recently rewatched it with my wife, who caught up on it over a couple of days), but it really benefited from giving it a long-term lease in your head.</p>

<p>Disney+’s “Star Wars” western, “The Mandalorian,” was a different sort of mystery. Each episode arrived with little information about what it was or where it was going. (The existence of its pint-size breakout star, Grogu, aka Baby Yoda, wasn’t even revealed until the end of the first episode.) Every installment dropped you into a new world, on a new adventure, without warning; it felt like watching a serial short before the main feature at an old-timey movie parlor.</p>

<p>But “mystery” here doesn’t have to mean genre mystery. This was the case with “Mad Men,” whose creator, Matthew Weiner, has said, with justification, that it wouldn’t work if released a full season at a time. Its artfully withholding storytelling and its willingness to drop the viewer in unexplained circumstances made watching feel like allowing yourself to be blindfolded and kidnapped once a week. (Of course, that hasn’t stopped bingers from mainlining it during the pandemic.)</p>

<p>Bingeing, on the other hand, benefits certain kinds of immersive long-form TV that Netflix has gotten adept at: more straightforward miniseries, such as “The Queen’s Gambit,” and the visual equivalent of page-turner novels, such as “Bridgerton.” In some cases, a binge also helps gloss over weaknesses or repetitions that you might linger on with more time to dwell on them. (In general, I’m thinking of serial stories here; sitcoms, anthologies or procedurals with self-contained episodes feel less affected by the choice.)</p>

<p>There are also business dimensions to the debate, particularly the argument that spreading a season over months can allow a show to build word-of-mouth and grow, whereas binge-series just crash and recede, like waves on an endless content ocean. But business and artistic choices are two different things.</p>

<p>HBO’s “Game of Thrones,” for instance, might not have become the same mass phenomenon if it had dropped its seasons Netflix-style. But (unpopular opinion alert!) it plays better as a binge. All those slow-rolling character arcs are clearer, the ending feels better foreshadowed — even Daenerys’ years wandering Essos don’t seem quite so interminable.</p>

<p>NBC’s afterlife comedy “The Good Place,” likewise, always felt to me like a binge show trapped in weekly form, with the end of each episode igniting the storyline of the next, in the chain-smoking fashion of so many Netflix shows.</p>

<p>On the other hand, the first season of Amazon’s corporate mystery “Homecoming” might have built more suspense if it had been doled out over weeks. And on the other hand, Apple TV+’s alternative space-race drama “For All Mankind,” a slow burn of a series whose current season builds to two gripping final episodes, might have been better dropped all at once; I could see it losing viewers on the long, digressive journey before the payoff.</p>

<p>Regardless, it’s good to see streaming platforms experimenting with their schedules; hopefully, they’re starting to see “To binge or not to binge?” as one creative choice among many. It made sense for Netflix to prove that the binge model could work, which unlocked a form of TV storytelling whose rules creators are still figuring out.</p>

<p>But just because you can make TV a certain way now doesn’t mean you always should. Sometimes, good things come from those who make you wait.</p>


Disney+’s “WandaVision” began with a bold, disorienting move, taking viewers and depositing them without explanation into an unsettling bubble of 1950s television.

Disney+’s “WandaVision” began with a bold, disorienting move, taking viewers and depositing them without explanation into an unsettling bubble of 1950s television. I am referring, of course, to the show’s practice of releasing new episodes only once every week. Releasing TV installments on a schedule — “Same Bat-time, same Bat-channel,” as the show’s superhero predecessor “Batman” promised — was standard practice in the days of black-and-white TV, and still is on most traditional networks. But the age of Netflix has led accustomed streaming fans to getting full seasons all at once, and some WandaViewers did not care to wait for what an IndieWire review referred to as “inconvenient weekly installments.” “WandaVision” is not the first streaming show to face complaints for not feeding its audience on the all-you-can-eat plan. Last year, Eric Kripke, showrunner of Amazon’s dystopian superhero drama “The Boys,” defended the decision to release Season 2’s episodes weekly, against some fans’ objections, “to have time to sort of slow down a little bit and have conversations about everything.” (“The Boys” did release its first three episodes on its premiere date, “WandaVision” its first two; Disney is also following the weekly model with its latest Marvel series, “The Falcon and the Winter Soldier.”) Slow down? We are not much of a slowdown society these days. If people can have something, they increasingly believe they should, in Costco-size portions, to be savored or swallowed anaconda-like as they see fit. Who the hell is anyone else to tell us to chew between bites? We’ll chew when we feel like it! Fans’ increasing expectation of — and creators’ occasional pushback against — the binge model resonates with other tech-driven arguments over how art should properly be enjoyed. Should the audience or the artist decide how the work is best experienced? Are you violating the artistic intention of an album when you listen to it on shuffle? Are you a cretin for watching a movie on your phone when the director insisted it be viewed on a big screen? Certainly, advocates of “I want it all, now” can sound entitled, like kids on the Wonka factory tour grousing that the gobstoppers aren’t coming fast enough. But there can also be a kind of high-handedness to the defense of weekly airings, as if the communal watercooler ritual were somehow more authentic, and as if viewers needed to be guided toward the correct choice lest they, like children failing the marshmallow test, make the wrong one. Maybe a more useful way of looking at the weekly and binge models is that neither is inherently better. Instead, they’re one more set of storytelling tools — like shooting in front of a studio audience, or not — creatively suited to different kinds of stories. Release schedules, like many aspects of TV, are a case of the creative format following the business model. In the days of rabbit ears TV, you watched a show when it was beamed at you or not at all. Weekly (or daily) schedules built habits and fan bases. When Netflix entered the original-series business in the early 2010s, it could have followed some form of scheduling. Instead, dropping full seasons at once was a way of branding it as a forward-looking business — this ain’t your grandma’s TV! — and a way to find viewers where broadcast TV wasn’t. (By letting viewers watch at their leisure, Netflix laid claim to the vast stretches, like Fridays and Saturdays, when fans had a lot of time and less marquee scheduled programming.) For an era — well, a few years — this defined streaming TV. And the different formats led to different creative forms. Traditional TV serials broke stories into structured units with tune-in-next-time endings. Binge series are often looser in episode structure, sometimes to the extent that whole seasons can feel like extended “episodes.” (Or extended movies, such as Netflix’s “Stranger Things,” whose season titles — “Stranger Things 2” and “Stranger Things 3”— recalled the film franchises that inspired the series.) Eventually some competitors, including Hulu, Apple and Disney, separated themselves from Netflix with old-school weekly schedules, at least for some series. And Disney+, with its first streaming phenomena, showed that the traditional TV schedule works best for shows that play like traditional TV, with tight episode construction and careful maintenance of suspense. Mystery, in particular, lends itself well to the waiting game. In “WandaVision,” part of the mystery was the show itself: What were these weekly “sitcoms,” really, and who was in charge? The effect wasn’t ruined by bingeing (I recently rewatched it with my wife, who caught up on it over a couple of days), but it really benefited from giving it a long-term lease in your head. Disney+’s “Star Wars” western, “The Mandalorian,” was a different sort of mystery. Each episode arrived with little information about what it was or where it was going. (The existence of its pint-size breakout star, Grogu, aka Baby Yoda, wasn’t even revealed until the end of the first episode.) Every installment dropped you into a new world, on a new adventure, without warning; it felt like watching a serial short before the main feature at an old-timey movie parlor. But “mystery” here doesn’t have to mean genre mystery. This was the case with “Mad Men,” whose creator, Matthew Weiner, has said, with justification, that it wouldn’t work if released a full season at a time. Its artfully withholding storytelling and its willingness to drop the viewer in unexplained circumstances made watching feel like allowing yourself to be blindfolded and kidnapped once a week. (Of course, that hasn’t stopped bingers from mainlining it during the pandemic.) Bingeing, on the other hand, benefits certain kinds of immersive long-form TV that Netflix has gotten adept at: more straightforward miniseries, such as “The Queen’s Gambit,” and the visual equivalent of page-turner novels, such as “Bridgerton.” In some cases, a binge also helps gloss over weaknesses or repetitions that you might linger on with more time to dwell on them. (In general, I’m thinking of serial stories here; sitcoms, anthologies or procedurals with self-contained episodes feel less affected by the choice.) There are also business dimensions to the debate, particularly the argument that spreading a season over months can allow a show to build word-of-mouth and grow, whereas binge-series just crash and recede, like waves on an endless content ocean. But business and artistic choices are two different things. HBO’s “Game of Thrones,” for instance, might not have become the same mass phenomenon if it had dropped its seasons Netflix-style. But (unpopular opinion alert!) it plays better as a binge. All those slow-rolling character arcs are clearer, the ending feels better foreshadowed — even Daenerys’ years wandering Essos don’t seem quite so interminable. NBC’s afterlife comedy “The Good Place,” likewise, always felt to me like a binge show trapped in weekly form, with the end of each episode igniting the storyline of the next, in the chain-smoking fashion of so many Netflix shows. On the other hand, the first season of Amazon’s corporate mystery “Homecoming” might have built more suspense if it had been doled out over weeks. And on the other hand, Apple TV+’s alternative space-race drama “For All Mankind,” a slow burn of a series whose current season builds to two gripping final episodes, might have been better dropped all at once; I could see it losing viewers on the long, digressive journey before the payoff. Regardless, it’s good to see streaming platforms experimenting with their schedules; hopefully, they’re starting to see “To binge or not to binge?” as one creative choice among many. It made sense for Netflix to prove that the binge model could work, which unlocked a form of TV storytelling whose rules creators are still figuring out. But just because you can make TV a certain way now doesn’t mean you always should. Sometimes, good things come from those who make you wait.

TV's battle of the binge: Why the wait can be worth it

<p>The Hollywood Foreign Press Association announced the first round of presenters for the 75th Annual Golden Globe Awards and it&#39;s Hollywood royalty all the way.&nbsp;</p>

<p>Making it to the first list of presenters is the rising star &quot;Wonder Woman&quot;&nbsp;actress Gal Gadot who had a very successful 2017 with her film zooming for box office record numbers. She will be accompanied by everyone&#39;s favourite &quot;Bond&quot;&nbsp;girl Halle Berry, Emma Watson, Carol Burnett, and former host Amy Poehler. There are boys, too,&nbsp;in the list including&nbsp;Chris Hemsworth and Neil Patrick Harris.&nbsp;</p>

<p>Newly married Alicia Vikander will also be making an appearance along with &quot;Sex and the City&quot;&nbsp;star Sarah Jessica Parker, Kelly Clarkson, Kerry Washington and &quot;Lady Bird&quot;&nbsp;writer cum director Greta Gerwig.</p>

<p>The upcoming film &quot;The Assassination of Gianni Versace&quot;&nbsp;stars Pen&eacute;lope Cruz, Darren Criss, Ricky Martin and Edgar Ram&iacute;rez also made the list, as well as Seth Rogen, J.K. Simmons, Sharon Stone.</p>

<p>Christina Hendricks, Isabelle Huppert, Shirley MacLaine and Aaron Taylor-Johnson finish&nbsp;the list.</p>

<p>&quot;Late Night&quot;&nbsp;host Seth Meyers will be stepping in as host, taking over duties from fellow &quot;Saturday Night Live&quot;&nbsp;host Jimmy Fallon. The comedian has already been featured in advertisements possibly referring to&nbsp;the sexual harassment scandals in the industry, saying, &ldquo;Hollywood, we have a lot to talk about.&rdquo;</p>

<p>Oprah Winfrey will&nbsp;be honoured as the Golden Globes&rsquo; Cecil B. DeMille Award winner this year.&nbsp;</p>

<p>The 75th Annual Golden Globe Awards will air live from the Beverly Hilton Hotel in Beverly Hills on January 7, 2018.&nbsp;</p>


The coveted Golden Globes 2018 awards show is scheduled to take place on January 7

The Hollywood Foreign Press Association announced the first round of presenters for the 75th Annual Golden Globe Awards and it's Hollywood royalty all the way. Making it to the first list of presenters is the rising star "Wonder Woman" actress Gal Gadot who had a very successful 2017 with her film zooming for box office record numbers. She will be accompanied by everyone's favourite "Bond" girl Halle Berry, Emma Watson, Carol Burnett, and former host Amy Poehler. There are boys, too, in the list including Chris Hemsworth and Neil Patrick Harris. Newly married Alicia Vikander will also be making an appearance along with "Sex and the City" star Sarah Jessica Parker, Kelly Clarkson, Kerry Washington and "Lady Bird" writer cum director Greta Gerwig. The upcoming film "The Assassination of Gianni Versace" stars Penélope Cruz, Darren Criss, Ricky Martin and Edgar Ramírez also made the list, as well as Seth Rogen, J.K. Simmons, Sharon Stone. Christina Hendricks, Isabelle Huppert, Shirley MacLaine and Aaron Taylor-Johnson finish the list. "Late Night" host Seth Meyers will be stepping in as host, taking over duties from fellow "Saturday Night Live" host Jimmy Fallon. The comedian has already been featured in advertisements possibly referring to the sexual harassment scandals in the industry, saying, “Hollywood, we have a lot to talk about.” Oprah Winfrey will be honoured as the Golden Globes’ Cecil B. DeMille Award winner this year. The 75th Annual Golden Globe Awards will air live from the Beverly Hilton Hotel in Beverly Hills on January 7, 2018.

Golden Globes 2018: Former 'Bond' girl Halle Berry, 'Wonder Woman' Gal Gadot, Penelope Cruz to present

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